meet the new gibson girls

Last week I wore my hair up in what I thought was a cute and subdued (and yes, poufy) manner. Forty-five minutes into dinner, my former boss’ 15-year-old daughter asked me whether I watched Jersey Shore, then coyly informed me that my hair looked just like a certain greasy Oompa Loompa’s. This is the second time in as many weeks that I have had to deal with otherwise literate and well-adjusted teenagers who seem to be getting their only fashion cues from MTV. I may not be able to convince Brother the Younger to wear straight-leg jeans (yet) but I am not giving up the pouf to the guidettes of the world.

Once upon a time, when a woman’s hair was known as her “crowning glory,” Charles Dana Gibson sketched what would ultimately be the first pin-up: the Gibson Girl. Fresh on the heels of Parisian hairdresser M. Marcel Grateau, whose heated wave iron would change women’s hair forever, Gibson sketched his feminine ideal with a tiny waist contrasted with upswept curled hair piled high. Besides being beautiful, the Gibson girl was at ease, fashionable, and an equal to man.

Ladies, this is how it’s done:

Clockwise from top left: Chanel-approved extensions and pouf; Miu Miu girls sporting half-up and braided pompadours; models at Elie Saab with Gibson Girl hair; fluffy and refined at Louis Vuitton; more Victorian throwback hair (and couture) at Christian Dior; Eva Mendes; poufs and tortoiseshell glasses at Michael Kors; candyfloss hair at Roberto Cavalli; love the hair, love the lips, love Kirsten Dunst as Marie Antoinette; structured updos at YSL.

gaga trickle-down

I finally had a chance to take a look at the Paris couture shows last night, and the thing that struck me the most was not the clothes themselves, but the hair and accessories. Living up to my namesake I guess. I couldn’t help but having a strong feeling of déjà vu, as if I had seen all of those hairstyles before. And it turns out, in some form or another, I have! We all have, adorning the head of everyone’s favorite pop star, Gaga herself. She has taken inspiration from (and served as a fashion plate for) many avant garde designers – McQueen, Hussein Chalayan  – but inspiring some of the world’s most elite designers is all in a day’s work.

Exhibits 1-4: Jean Paul Gaultier’s Mexican fiesta  is confusing and profoundly unwearable. As for the straw/hair sombrero, Gaga did it better. Chanel’s runway hair is a trend explosion – My Little Pony silver streaks, giant bows, and teased poufs that are definitely reminiscent of her signature hair bow, which she gave to Oprah on her show. Afterall, Karl even had Gaga front and center at his show last week. I can take or leave the hair, but I am in love with the silver and pastel hues and looking forward to continuing the trend in the near future by dressing like a giant cupcake.

John Galliano’s equestrian-themed show for Christian Dior showcases a less obvious influence but no less compelling when you see Stephen Jones’ couture hats and the pop star’s headpiece side-by-side. Finally, the lampshade hats at Riccardo Tisci’s Givenchy show are a reduction of a similar dress Gaga wore last summer. Thoughts on her Grammy Awards ensemble? As usual, it was her hair I was most fascinated with – like a freaky Barbie-Silence of the Lambs fusion. Oh, Gagita.

lace in the face

Dior‘s Spring 2010 may have you running to Bloomingdale’s to get your fix but Eric Traore has figured out a much better way to do it. Chanel needs to up the ante with their faux tattoos. These are making me wish for warmer weather and Marie Antoinette-style castle parties. Speaking of the Dauphine, I am feeling her inspiration in many aspects — that hair, the French-as-a-third-language thing, shoes, that Adam and the Ants song I can’t get out of my head, and now makeup. Hopefully I won’t find myself with my head on the proverbial chopping block at any point this year.

cat-eyes for dummies

The most comprehensive article about how to get the perfect cat-eye (from Glamour) I’ve come across yet. I’m a fan of level 3. For extra help, read this. In terms of makeup, try Chanel’s Automatic Liquid Eyeliner, or Shiseido’s Accentuating Cream Eyeliner. The former is my favorite but takes some practice to apply; the latter comes with its own brush for precision and is totally smudge-free when you apply. Below, some pics to inspire you.

from top left: backstage at Louis Vuitton; Rihanna; fancy cat-eye — the white makes your eyes look bigger; the always-sexy Brigitte Bardot; a model backstage at Chanel; eye detail at Dior; simple, and; not-so-simple cat-eyes

thinking happy thoughts

Under two feet of snow I’m snuggled up with the latest W and my French lessons. I am hoping beyond hope that sales are good this weekend and that we will be able to cover some ground as we barrel towards end-of-season, despite this crazy weather. I guess we will have to wait until Monday to find out how super Super Saturday was.

So, in the meantime, I am thinking happy thoughts and imagining a warmer time and pedicures.

from top: 1. Miu Miu shoes, with or without rhinestone embellishments. Below is a thumbnail of my favorite pair from Resort. I may have to send this on over to the ladies at Bluff; would love to see some jeweled shoelery! 2. I love these Fendi shoes but practically speaking I don’t think I could pull off the 7-inch heel and the lucite is muito Miami. What I am more interested in are the Chanel tights from the barnyard show; a similar pair is currently available at Wolford. 3. I adore the seasonless look of the Diors and how they are paired with cute little socks. Need. Wedges!! 4. This spring I am finally ready to wear the man’s shoe because my favorite brand, Dieppa-Restrepo, is coming out with a more open shoe, the Dina and the Breezy Cali (below l-r). Now I just have to wait for the snow to melt.

on couture

Ever since watching The Last Emperor I have a newfound appreciation for the craftsmanship that goes into making couture. Couture is difficult. Naysayers decry it as archaic, unsustainable – an overblown manifestation of waste and greed and excess. In the last decade, couture has lost Versace, Ungaro, Lanvin, and YSL. Fashion is flying faster and leaner these days. But to others, couture represents the pinnacle of industry’s imagination and craftsmanship. This year for the first time, Paris Couture Week is adding haute joallerie from Boucheron, Cartier, Chanel, and Van Cleef & Arpels, among others. Although there are thought to be only about 2,000 couture clients around the world, Chanel is buying up ateliers and enlisting them for their own customers. Couture is like a license to use the most expensive materials, and create the most spectacular dresses. And in the eyes of Karl Lagerfeld and Galliano, the fairy-princess dresses of couture shows are the best marketing tool of all.

So I was sad to hear this morning that Christian Lacroix’s eponymous label, after a few near-buys and an incredibly drawn-out process of bidding and bankruptcy, will be forced to abandon couture and restructure to a bare bones licensing operation. All this after he and his suppliers worked without pay for months to produce what would be the last collection, sending teary-eyed models down the runway. This restructuring will see the house reduced from more than 100 coutouriers, designers, and businesspeople to about ten. Lacroix’s business has never turned a profit, which obviously played a role in the downfall of Versace and Ungaro as well; even in good times, there’s only so long you can keep a brand alive on sentimentality. It is particularly bad for the artisan culture; as the opportunity of finding work gets narrower they will remain jobless and fewer designers will choose to uphold the standards of couture. Hopefully this is just an example of unfortunate financial planning and not another fallen house on the way to a Dior-Chanel celebrity deathmatch.