Chloé and Parris Gordon, co-founders of Canadian fashion labelBeaufille, are exemplars of the “effortless chic” aesthetic that’s perpetually in vogue but so difficult to master. Members of FORBES’ 2017 30 Under 30, the sisters, 29 and 27 respectively, are New York Fashion Week regulars now after debuting three seasons ago in September 2015.
Beaufille (pronounced bo-fee) is a nonsensical French word meaning “handsome girl,” or “one who presents an effortless chic demeanor.” The brand symbolizes the marriage of masculine and feminine and an allusion to their French names and heritage.
“We’re kind of opposites. Parris is more of a girly girl and I’m more of a tomboy,” Chloé explained. “Both of our personalities feed into the brand name and the collection, so she always makes sure we’re staying true to the feminine side and me the masculine side.”
Natives of Toronto, the Gordons budded as designers at Nova Scotia College of Art and Design (NSCAD), where Chloé majored in fashion textiles and Parris studied jewelry design and metal-smithing—perfect complements for collaboration.
Since launching in 2013, the duo has showcased both a handmade artisanal jewelry collection along with a ready-to-wear line each season. The sisters have grown both as entrepreneurs and designers, achieving both commercial and editorial success. Beaufille expects to quintuple their sales in 2017 after luxury retailers Net-a-Porter and Moda Operandi picked up their label last year and select items sold out within the first day.
“Getting more retailers and exposure was huge for us,” Parris said. “But I think we’ve gained more confidence in our designs because of the feedback from the shows.”
Beaufille’s minimalist womenswear has always exuded elegance with long lean lines and clean oversized silhouettes. Garments often show just a sliver of skin—a peekaboo shoulder or side midriff for the right touch of sexy. The brand has also championed flared pants and bell sleeves before the trend re-entered current style conversation.
This season, Beaufille got down to earth. The 18 looks they presented in a Greenwich Village gallery was inspired by a vacation they took to their Nova Scotia design roots.
“We were at a beach, and there was this seaweed that had this ombre effect from green to yellow,” Chloé recalled. “And as we started looking at fabrics, those colors from nature kept appearing, and they shaped the collection.”
While their previous seasons worked within blacks and whites, their fall/winter 2017 line took a leap with color (and even a floral print). As a young brand helmed by millennial designers, Beaufille exudes more “mature” than “youthful” in its aesthetic, but the expansion of color brought a newfound vibrancy to the label. What used to be ochre is now marigold, maroon now burgundy, and olive now chartreuse.
Though the brand is about masculine and feminine contradiction, the current collection is more romantic than their previous ones. The clothes seem to hang—float—ever so easily on the sloping bodies of the models.
“With corset stitching and tailoring, we did a lot of classic men’s pieces but then detailed them for a woman’s shape,” Chloé explained. The French inspiration is stronger than ever, with soft silhouettes, ruffled chiffon, flowing skirts that seem ideal for twirling in the French countryside (too far?)
The standout garments included all of the leather pieces, from the mid-calf skirt to the torso corset—an armor atop airy dresses. Other hardware included the jewelry—their biggest selection yet—which featured a speckled white stone called leopard agate this season. The earrings, cuffs, and statement rings that bore the marbleized stone harmonized the with the lightness of the clothing.
Ultimately, what Beaufille has mastered is the coveted I-just-throw-this-on-when-I-don’t-think-about-what-I’m-wearing aesthetic. With that down, the Gordon sisters have endless potential.
“We’re going to take it one season at a time and stay true to our brand image,” Parris said. “But we totally want to be a full-circle brand with menswear, bags, shoes in the future.”Read more at:bridesmaid dresses
What to wear when it’s freezing and snow is on the ground? Ski pants might seem a sensible answer, but possibly not when worn stirrupped over 10cm lime-suede stilettos, no tights. What madness is this? New York Fashion Week in February, when the price of fashion could be pneumonia.
Many of the front row appeared to be suffering from seasonal affective disorder, though not in the usual sense. They might, by way of one example, have nonchalantly offset a woolly hat with bare legs. Or, if they were wearing a coat at all, they might allow it partially to slip off their shoulders. I am going to call this “shawling”, a new Balenciaga-inspired phen- omenon that is even more annoying than the now old hat “shrobe-ing” once beloved of the fashion community. (That was when you wore a coat over your shoulders, arms out of sleeves. Keep up!)
The name on everyone’s lips was Raf Simons, the Belgian designer who was to present his first collection for Calvin Klein. The name on no one’s lips, but endlessly hinted at, was Donald Trump. The question: what does it mean to be American in 2017?
The only concrete answer the New York fashion crowd offered came in the form of clothes. Americana. Power suits. Red, white and blue. Big stuff (shoulders especially). Snug stuff (knitted everything).
1. Club Americana. How to make your mark on the most quintessentially American of brands? By out-Uncle-Samming the opposition, in the case of Simons’ debut at Calvin Klein. So there were the cowboy shirts and boots with which the west was won, not to mention the head-to-toe denim that also helped the brand to win over the world in the 1990s. And there was reinvented sportswear — such as the mesh tops with knitted varsity sleeves — and Wall Street-appropriate tailoring. It could have looked like theme-park fashion but, in the hands of a designer of Simons’ calibre — he was at Christian Dior before he moved to the US — it was rendered right here, right now. What’s more, there was something for everyone, which was, it seems, Simons’ point. “It is the coming together of different characters and different individuals,” he said. “Just like America itself.”
2. All hail the power suit. Turns out there’s a reason why you have watchedWorking Girl all those times. Because the power suit is back and you can pick up some pointers from late-era Tess McGill and any-era Katharine Parker. (Not, repeat not, when it comes to hair.)
What does a designer do when they are worried about a new president? Conjure up jackets with shoulder pads, apparently. Behold, the 21st-century power suit. As seen at Victoria Beckham, or VB, not to mention at Calvin Klein, Alexander Wang, Tibi and the cool kids, Monse, where those bodybuilder shoulders were zipped open. Think dark, plain wools and lots of greyish tweeds. Serious stuff.
3. Jumper dresses and dressy jumpers. The jumper dress used to be better as a concept than a reality, in that it was a dress that, if we were honest, never had enough heft to function as an actual jumper. Not any more. At Tibi it came in spangly forest green over matching leggings; at Victoria Beckham it transformed navy rib-knit into sexy, with its clingy cut and a front that was zip-up and — presumably, by extension — down. Yet it still looked warm. Bliss. Va-va-voom jumpers were everywhere, too — double bliss — even at upscale Oscar de la Renta and Carolina Herrera.
4. The new surplus. Think surplus as in big, as in a lot of it, as in some of the baggiest trousers not to mention jackets and coats, you have ever seen. That was the case at VB, where there were wool trews that would conveniently sweep your floors as you go (not that I imagine Beckham factors in such matters) and a long coat with bulbous sleeves in which to keep extra snackage (ditto).
J Crew’s lilac satin trews were so capacious as to be practically a ballgown. (Ball-trousers? No, that sounds wrong.) The Row had more clothes to get lost in, a feeling that its pint-size designers, the Olsen twins, must be used to. Think surplus, too, as in layering, layering and more layering, in ways both entirely unnecessary yet rather cool looking, fashion’s favourite double act (see 9).
5. Scarlet women. Red was the colour of the season. Sure, blue and white came in second and third place, but rare was the designer who didn’t feature red in some way. Even The Row — usually a black, white and taupe affair — threw in a red card. Just the one mind: a thick-satin coat-and-trouser ensemble.
Beckham’s shade was lipstick, inspired by her make-up range for Estee Lauder, and used for sweater-and-skirt combos. Oscar de la Renta kept it strictly lippy, too — except when it came to the red eyeshadow, that is — but Carolina Herrera and Altuzarra both added a plum shade.
6. Any skirt as long as it’s chiffon. After a couple of years of hearting on pleated metallic skirts, it was inevitable that fashion would move on, but it’s not gone far. Pleated chiffon is the radical retool of the season, with some ruffled options, too, to keep things fresh.
The good news is that the fabric is multilayered and therefore not remotely see-through, plus it’s more flattering to wear than the stiffer metallics.
Use to soften the edges of power jackets or to glamour up a cosy knit as seen at Carolina Herrera. Yes, more good news: jumpers and skirts are still acceptable evening attire.
7. The biker jacket goes girlie. There’s nothing better than a one-stop way to refresh your look and the easiest next season will be with a biker jacket, newly feminised and so much more flattering. Carolina Herrera’s was tailored to kill; Calvin Klein’s was strewn with silver roses; Creatures of the Wind’s was apple leather. Vroom-vroom.
8. Sies-ing it up. Ask a frower which is their favourite new label and it’s a fair bet Sies Marjan will be the answer. Its third collection by Sander Lak, a Dries van Noten alumnus, encapsulated why. First, the colour! Why channel only a handful of hues, like most designers, when you can go full ice-cream parlour? Sies delivered pistachio, peach and berry shades that went from palest pink to deepest purple. Then there’s the designer’s genius at creating showstopping total looks out of wearable separates.
9. Little Edie layering. Little Edie, one of the eccentric mother and daughter duo in the 1975 documentary Grey Gardens, has long been a fashion muse. How apt that the very week it was announced theGrey Gardens house is for sale (a snip at just under $US20 million), her influence should be felt more than ever. Edie Beale, to use her real name, never met a skirt that she wouldn’t rather wear as top, or the other way round, and it was always a case of more is more.
She would have approved of the dresses over skirts at Sies Marjan and Proenza Schouler, and over trousers at Tibi and — most memorably — Monse (chartreuse velvet meets black leather). Then there was Zadig & Voltaire’s Edie-tastic red hoodie ‘n’ red trousers ‘n’ pink petticoat slip combo.
10. Boots and box bags. It looks like the statement boot will still be issuing directives next season, be it Victoria Beckham’s hot-red, heeled, knee-high style or Oscar de la Renta’s knockout, diamante-bloom-strewn number — more of a declaration of independence than a mere statement. As for the box bag, at VB it was an actual vanity case, with interior mirror, and big enough for her best-selling make-up range.
Roomier still was Calvin Klein’s take on the bag that is a box. This was more of a doctor’s affair, with space for a stethoscope or two. Fashion was taking a nation’s pulse, in the only way it knew how.Read more at:bridesmaid dresses online
Chunky knits and frilly dresses took over the London catwalk on Friday as the British capital kicked off its leg of the autumn/winter womenswear fashion week calendar.
After New York, fashionistas gather for London Fashion Week (LFW) where a mix of established names, high-street labels and emerging designers will present their latest creations during five days of runway shows and presentations.
While smaller than fellow fashion capitals New York, Milan and Paris, the event in London - which is known for its fashion schools and new creative talent - will host labels including Burberry, Mulberry, Versace's Versus line and Temperley London.
With some brands using the catwalk to make political statements during New York Fashion Week, fashionistas expect London designers could follow suit.
"There seems to be a mood of activism. There seems to be a lot of people finding a voice," accessories designer Anya Hindmarch said when asked what to expect this fashion season.
"I think London is all about creativity."
Among the first to present his autumn/winter 2017 collection was designer Eudon Choi, who dressed models in chunky ribbed jumpers worn like shawls, wide-leg trousers and sports shoes.
Taking inspiration from architect Adolf Loos, London-based Choi, who first trained as a designer for menswear in Seoul, presented a line of "utilitarian designs," adding metallic button-like fastenings on his tailored looks.
The collection featured shirts with extended backs, quilted parkas, oversized coats, sweaters adorned with tie details and satin dresses.
London-based Turkish designer Bora Aksu, who took inspiration from prominent British suffragette Princess Sophia Duleep Singh for his line, presented floral as well as frilly dresses in white, pale pink and blue, with black and white checked jacket and skirt combinations also featuring.
Models, some in small hats, wore calf-high black boots on top of tights embroidered with words such as "love" and "freedom".
More than 50 catwalk shows and 30 presentations will be held during LFW, which takes place with the uncertainty of Brexit looming over the industry.Read more at:bridesmaid dresses online