You probably think you won’t wear these Milan fashion week trends, but you
will
Iknow what you’re thinking: you wouldn’t dress like this if I paid you. Your
dad’s 80s blazer, over a white lace nightie, with an upturned fruit basket on
your head, punk choker and square sunglasses, a la Gucci? Er, I don’t think so.
A cartoon-print Crombie coat with knee-high sport socks and winklepickers? Not
today, thanks all the same, even if it is Prada.
Don’t take this the wrong way, but you’re mistaken. You will dress like this.
Not necessarily this week, or even this year, and not, I admit, exactly like
this, because you would be bankrupt, and people would cross the street to avoid
you. But still. The clothes you see here from Milan fashion week will have a
huge effect on what all of us wear.
There is an often-repeated line about how Donald Trump shouldn’t be taken
literally but should be taken seriously. That, basically, is the best way to
think about Milan fashion week. In other words: scoff at your peril, because
this is real life. What happens on the catwalk is exaggerated and skewed for
effect, but it still directs what we all wear.
There is a knack to translating catwalk into clothes. First, don’t let the
glitz and glamour distract you from the real story. You know how Agatha Christie
set her whodunnits in exotic locations – the Orient Express, a Caribbean beach
house, an archaelogical dig in the Middle East – in order to keep the reader
from too swiftly identifying the bones of the plot? Miuccia Prada, Donatella
Versace, Domenico Dolce and Stefano Gabbana do pretty much the exact same thing
at Milan fashion week, sprinkling supermodels (Versace), sequins (Dolce &
Gabbana) and lofty, backstage-TED-talk pronouncements about womankind (Prada)
over the catwalks like so much dry ice, so that we are caught up in the
narrative and forget that we are being sold clothes. And – remember the
suspicious-sounding Mr Owen in And Then There Were None, who you think is the
murderer but turns out to be just a pseudonym? – designers then throw red
herrings into the mix. Racy slogans, Gigi’s abs, tiaras, fake-fur bum bags. All
just misdirection.
To understand what’s really going on, make like an X-ray machine, and zero in
on the silhouette. Are the clothes tight, or loose? Where does the hemline fall?
Where can you see skin? What is happening at the neckline: is it one clean
layer, or are there multiple collars? Are the lines angular or soft? Next, look
for the pieces that link different looks together. Is there one garment that
keeps reappearing? A colour, mood or decade that threads through different
designers’ shows? These are the clues that will help you make sense of the
catwalk. Spoiler alert: I’ve gone ahead and cracked the codes for Milan fashion
week.
Don’t be fooled by all the cardigans at Gucci. Milan fashion week is never
not about how to be sexy. Last season, the hotness was all in the ab gap. The
wearing of an abbreviated top to display a slice of ab the height of a tequila
shot above the waistband of your jeans or leggings, seen on every pavement this
summer, was a look that came from these very catwalks a year ago. The new way to
be sexy, as seen in Milan, is with a sheer skirt over visible big pants. This
was seen at Roberto Cavalli and Fendi, as well as Dolce. For the non-Hadids
among us, this is likely to translate into party skirts and dresses that have an
opaque petticoat to the upper thigh, and a longer sheer layer over the top.What
goes on just under your chin is the headline of your outfit. This isn’t a
fashion fact, it’s a fact-fact: think ties, football scarves, Theresa May’s
strong and stable necklaces. So even though Miuccia Prada said backstage after
her latest show that the collection was a celebration of the female gaze and a
call to the sisterhood to embrace direct action, I would argue that it was
actually about a new collar situation incoming on the fashion horizon. The
default catwalk neckline for the past year has been a polo neck under a slip
dress or a coat. Here, by contrast, most outfits featured two sharp-collared
crew-neck tops, one on top of the other: a shirt with a collared coat, as here,
or a shirt under a boxy jacket. This catwalk is especially significant because
the Prada and Miu Miu catwalks were instrumental in making the
poloneck-under-everything trend happen, but the look happened at lots of places:
at Jil Sander, where it was a white shirt under a black jacket, and at Bottega
Veneta, where a coloured silk blouse was buttoned under a contrasting
jacket.Eleven models on the Gucci catwalk wore checked blazers. Now, I don’t
know how closely you watched the Gucci show, but you could have missed this even
if you were there. Because one checked blazer was worn over a full-length white
lace gown, with a straw spaceship hat; another over a Gucci-monogrammed skirt
with polka-dot nude hosiery, high-heeled sandals, smudged orange lipstick and a
fringe that is best described as “Farrah Fawcett sticks her hand in a plug
socket”. Smoke and mirrors, see! Because the most significant takeaway from
Gucci this season is not the Elton John tracksuit, but the checked blazer, which
is already a front-row and streetstyle favourite this fashion month, and is
hereby confirmed as a key look for next season, too.
Read more at: http://www.queeniebridesmaid.co.uk/grey-bridesmaid-dresses-uk
Thursday 28 September 2017
Tuesday 26 September 2017
I do NOT like sex with old, obese men: the perils of being a stock-shot
model
.
It began on Twitter, of course, as these things do. A user called Craig Nunn (@hrtbps) wrote: "'Why not model for stock images?' they said. 'What could possibly go wrong?' they said." And he enclosed a picture from the agony aunt column in this newspaper, showing a concerned-looking young woman in expensive pyjamas beneath the headline: "I fantasise about group sex with old, obese men".
In truth, the young woman, Samantha Ovens – like all models – did know the risks. Stock shots, in case you weren't aware, are photographs illustrating general themes taken not for a specific purpose but to supply magazines, advertisers or anybody else with a library of useful images. Look up "mean boss" or "couple arguing" online and you'll get the gist. Having modelled for a few, you soon start to notice yourself looking worried about a mortgage here, or suffering from PMT there. But you don't expect this. Not this.
"I opened it up when I was with some friends," says Ovens, who had been tipped off at the weekend by the Twitter whirlwind. "In fact, I was with my partner's mum as well. I screeched with laughter and said: 'Oh. You have to see this.' There's me looking very anxious, and I bloody well would be, wouldn't I?"
The image in question had come from a "Colds and Illnesses" shoot she did two years ago, when she was 36. "I think they had me sneezing, curled up in bed, blowing my nose. There were loads of different versions," she recalls. Being gay in real life, but a specialist in portraying yummy mummies in the press and on television, she is used to a certain level of irony where all her work is concerned. But this was new.
And you do have to be careful. Ovens is a successful model, with past clients including Debenhams, Optical Express, Colgate and British Airways. At one stage she was lucratively installed as "the Harpic Power Plus girl". But big brands take some interest in a model's wider career, and can be reluctant to share them with anything too tawdry. "If I want to keep those kinds of clients, I make sure I protect my image, so to speak," she says. And has the Guardian damaged it? "It doesn't worry me in the slightest." (Indeed, she has gained around 90 Twitter followers as a result.)
There is, in any case, a certain vapidity about the world of stock shots, with all its perfect families and people who look fantastic even when they're ill, so a measure of ridicule goes with the territory. A case in point is the army of female models who are required to pose laughing with salad (a wholesome scene so popular with picture libraries that it has its own fansite). Just yesterday Ovens was looking worried again, this time illustrating "stress" in the Telegraph.
"How can you take it seriously?" she says about the obese old men debacle. "There are bigger things in this life to get concerned about."
Read more at;royal blue bridesmaid dresses
.
It began on Twitter, of course, as these things do. A user called Craig Nunn (@hrtbps) wrote: "'Why not model for stock images?' they said. 'What could possibly go wrong?' they said." And he enclosed a picture from the agony aunt column in this newspaper, showing a concerned-looking young woman in expensive pyjamas beneath the headline: "I fantasise about group sex with old, obese men".
In truth, the young woman, Samantha Ovens – like all models – did know the risks. Stock shots, in case you weren't aware, are photographs illustrating general themes taken not for a specific purpose but to supply magazines, advertisers or anybody else with a library of useful images. Look up "mean boss" or "couple arguing" online and you'll get the gist. Having modelled for a few, you soon start to notice yourself looking worried about a mortgage here, or suffering from PMT there. But you don't expect this. Not this.
"I opened it up when I was with some friends," says Ovens, who had been tipped off at the weekend by the Twitter whirlwind. "In fact, I was with my partner's mum as well. I screeched with laughter and said: 'Oh. You have to see this.' There's me looking very anxious, and I bloody well would be, wouldn't I?"
The image in question had come from a "Colds and Illnesses" shoot she did two years ago, when she was 36. "I think they had me sneezing, curled up in bed, blowing my nose. There were loads of different versions," she recalls. Being gay in real life, but a specialist in portraying yummy mummies in the press and on television, she is used to a certain level of irony where all her work is concerned. But this was new.
And you do have to be careful. Ovens is a successful model, with past clients including Debenhams, Optical Express, Colgate and British Airways. At one stage she was lucratively installed as "the Harpic Power Plus girl". But big brands take some interest in a model's wider career, and can be reluctant to share them with anything too tawdry. "If I want to keep those kinds of clients, I make sure I protect my image, so to speak," she says. And has the Guardian damaged it? "It doesn't worry me in the slightest." (Indeed, she has gained around 90 Twitter followers as a result.)
There is, in any case, a certain vapidity about the world of stock shots, with all its perfect families and people who look fantastic even when they're ill, so a measure of ridicule goes with the territory. A case in point is the army of female models who are required to pose laughing with salad (a wholesome scene so popular with picture libraries that it has its own fansite). Just yesterday Ovens was looking worried again, this time illustrating "stress" in the Telegraph.
"How can you take it seriously?" she says about the obese old men debacle. "There are bigger things in this life to get concerned about."
Read more at;royal blue bridesmaid dresses
Friday 22 September 2017
River Island is selling a £180 sleeping bag coat and fashion has definitely gone too far
River Island is selling a £180 sleeping bag coat and fashion has definitely
gone too far
We thought we’d seen it all when ASOS released a range of questionable clothing items, and we lost even more faith when Spanx came forward with some arm tights – but it’s River Island who’s winning the ‘WTF?’ clothing award of the year.
The clothing brand has released an oversized sleeping bag coat which comes in pink and khaki.
It’s made using padded fabric and features a zipped detachable blanket, cuffed sleeves, a funnel neck and a concealed zip front fastening for extra warmth.
Honestly, while the coat does make the wearer look like a walking duvet, we’ve got to admit it sounds luxurious – the perfect coat to snuggle up in when you don’t want to waste money on the heating.
But that’s not the problem – the problem is that this coat costs a whopping £180 – and it seems to be inspired by what people living on the streets often have to wear to keep warm at night.
The sleeping bag coat was first introduced by Detroit-based non-profit the Empowerment Plan, which hires previously homeless women to make warm coats from sleeping bag materials for those still living on the streets.
The jacket, which can be worn as a coat, transforms into a sleeping bag and even into a shoulder bag, is constructed of durable, water resistant Cordura fabric from Carhartt, upcycled automotive insulation from General Motors, and other materials provided by generous donors.
Instead of selling the coats, the charity asks that those willing sponsor a coat – which covers the cost of labour, materials and overhead expenses – and ultimately gives someone in need something warm for the winter.
Overall, this wonderful idea will cost a sponsor £80, which is £100 less than what River Island is selling as a fashion statement.
We understand that to stay relevant, brands have to consistently come up with new ideas to wow their customers – even if those ideas are controversial.
But we have to question what the designers were thinking when they created a coat that looks more like a pink puffer jacket with a cape-like sleeping bag attached to it.
Read more at:grey bridesmaid dresses
We thought we’d seen it all when ASOS released a range of questionable clothing items, and we lost even more faith when Spanx came forward with some arm tights – but it’s River Island who’s winning the ‘WTF?’ clothing award of the year.
The clothing brand has released an oversized sleeping bag coat which comes in pink and khaki.
It’s made using padded fabric and features a zipped detachable blanket, cuffed sleeves, a funnel neck and a concealed zip front fastening for extra warmth.
Honestly, while the coat does make the wearer look like a walking duvet, we’ve got to admit it sounds luxurious – the perfect coat to snuggle up in when you don’t want to waste money on the heating.
But that’s not the problem – the problem is that this coat costs a whopping £180 – and it seems to be inspired by what people living on the streets often have to wear to keep warm at night.
The sleeping bag coat was first introduced by Detroit-based non-profit the Empowerment Plan, which hires previously homeless women to make warm coats from sleeping bag materials for those still living on the streets.
The jacket, which can be worn as a coat, transforms into a sleeping bag and even into a shoulder bag, is constructed of durable, water resistant Cordura fabric from Carhartt, upcycled automotive insulation from General Motors, and other materials provided by generous donors.
Instead of selling the coats, the charity asks that those willing sponsor a coat – which covers the cost of labour, materials and overhead expenses – and ultimately gives someone in need something warm for the winter.
Overall, this wonderful idea will cost a sponsor £80, which is £100 less than what River Island is selling as a fashion statement.
We understand that to stay relevant, brands have to consistently come up with new ideas to wow their customers – even if those ideas are controversial.
But we have to question what the designers were thinking when they created a coat that looks more like a pink puffer jacket with a cape-like sleeping bag attached to it.
Read more at:grey bridesmaid dresses
Wednesday 20 September 2017
Is there a protest message in your new jacket's pocket? You've been shop-dropped
Is there a protest message in your new jacket's pocket? You've been shop-dropped
This London fashion week, shoppers might find themselves pondering something a little more sobering than which bar does the most Insta-worthy Louboutin-inspired pop-up cocktail menu, or how to get front-row tickets to the House of Holland show. Craftivist Collective is a group of “gentle activists” that protests against injustices in a quiet, non-confrontational manner involving pretty, handcrafted gestures of defiance. In an attempt to shine a spotlight on the ethics of the British fashion industry, its members will be spending the four-day clothing festival in high-street stores near LFW’s Somerset House base engaged in “shop-dropping”. This involves creating messages of protest, taking them into retailers and planting them inside the pockets of clothing for consumers to find. The name stems from the fact that it involves adding extra items into stores, thus making it the antithesis of shoplifting – although retailers are unlikely to appreciate the additions.
“The shops have no idea we’re doing it at all, but I can’t imagine they’d be happy if they knew,” says Sarah Corbett, the founder of Craftivist Collective, which previously convinced M&S board members to pay the living wage by stitching messages on to hankies. “We’re targeting fast fashion shops that put profit over people and the planet, so I don’t think they’d be keen on us encouraging their customers to ask questions about how their clothes were made.”
The messages take the form of “fashion statements” that are neatly handwritten on miniature scrolls. These are tied shut with a ribbon bow and contain phrases such as: “Beauty is not just in the eye of the beholder ... It is woven into the very fabric of the cloth. Our clothes can never be truly beautiful if they hide the ugliness of worker exploitation.” On the outside, they say: “Please open me.”
Corbett started shop-dropping at Stockholm fashion week in 2014, in collaboration with Fashion Revolution, a campaign group opposing worker exploitation that launched in the wake of the 2013 Rana Plaza factory collapse, which killed 1,135 garment workers in Dhaka, Bangadesh. For the past three years, she has been running workshops that teach craftivists how to make the fashion statements. She brings a rail of clothing that lets them practice looking natural while sneaking scrolls into pockets; as a rule, it’s not a form of protest that works in large numbers.
“We want people to discover the scrolls later on so that it’s intriguing. We hope that it might create genuine curiosity about how their clothes have been made,” says Corbett.
“I genuinely love fashion, and during fashion week there’s a spotlight on the industry. I’d like to use that so we can think about how fashion could be beautiful on the inside as well as the outside.”
Read more at: http://www.queeniebridesmaid.co.uk/vintage-bridesmaid-dresses
http://www.queeniebridesmaid.co.uk/plus-size-bridesmaid-dresses
Monday 18 September 2017
Breastfeeding on the front row: a beginner's guide
Breastfeeding on the front row: a beginner's guide
When I got pregnant last year, the first thing anybody asked me was, how would I carry on working? Maternity leave was never going to be on the cards. As a fashion blogger and writer, I knew that, from a financial standpoint, work couldn’t come to a grinding halt. But I’m blessed with a mother keen on being a hands-on grandmother, who knows how to lull a baby to sleep with Cantonese nursery rhymes, and a partner who works part-time and is a firm believer in 50/50 parenting. As my due date loomed large, I blissfully thought things would just work themselves out
Back in January, a week after I gave birth to my daughter Nico, I was still working to a print deadline – dictating sentences into my iPhone and breastfeeding at the same time, before graduating to one-handed typing. Sure, I couldn’t move my bum off the sofa because it was so painful but, hurrah, I could knock out a few paragraphs about women’s tailoring.
It was really adamance on my part to keep working. My postnatal mind was suddenly preoccupied with nappies, nap patterns and breastfeeding latch techniques. Continuing to do something familiar was my way of taking back control of my sleep-deprived, cry-addled brain. So when the requests to host panel discussions, cover shows and go on press trips started to filter in, I said yes – and delved into the conundrum of doing the fashion thing and caring for Nico.
Dressing was the least of my problems. I’ve enjoyed hunting for tops or dresses with yankable necklines and billowing hems to facilitate breastfeeding, without having to resort to dull nursing tops. Retaining my personal style was one immediate way to feel like the pre-mother me, just by pulling on, say a favourite Molly Goddard dress while worrying over Nico’s slimy green poo.
Travelling with her has had its ups and downs. There were the easy trips such as a gentle Eurostar train to Paris for the Chanel cruise show, where Nico got to stay in a hotel room bigger than my house. I chortled at her gurgling in her pram at the Prada Fondazione in Milan, with Courtney Love on the next table. On the flipside I nearly had to lock myself in the bathroom on the flight back from the Gucci cruise show in Florence, as Nico screamed relentlessly and I could see Jared Leto(who features in Gucci’s perfume ads) wincing in his seat.
When I did have to leave her behind for the Dior and Louis Vuitton cruise shows in Los Angeles and Tokyo, it required weeks of pumping like a milking cow to build up a stash in the freezer, as well as the mental preparation for doing the dastardly thing of leaving a three-month baby. The week away will be remembered for the countless lengthy trips to the toilet, pumping milk out in order to maintain supply, while looking at pictures of Nico on my phone – like a non-sexual parallel of masturbating with porn.
The fashion industry, full of inspiring women who have done the motherhood thing and managed their careers, has been a source of support in my mission to work with baby in tow. But this full-throttle life has its pitfalls. At Paris couture fashion week, stuck in traffic and late for both a show and Nico’s feeding time, I felt a failure professionally and personally.
Back home, I imagined shards of judgment from other mothers – a self-imposed guilt dictated by the construct of a conventional maternity leave where you’re supposed to be nurturing your baby 100% of the time. But will Nico remember any of those times I’ve looked at her and momentarily wished I didn’t have to shove my breast into her mouth? Not likely. Will she care that she came along for the ride with her mother and her suitcase full of frocks to eight countries in the first six months of her life? Probably not. Will she one day, eventually, understand the importance of being able to work in a vocation she is passionate about and be a mother at the same time? I hope so.
Read more at:coral bridesmaid dresses | champagne bridesmaid dresses
When I got pregnant last year, the first thing anybody asked me was, how would I carry on working? Maternity leave was never going to be on the cards. As a fashion blogger and writer, I knew that, from a financial standpoint, work couldn’t come to a grinding halt. But I’m blessed with a mother keen on being a hands-on grandmother, who knows how to lull a baby to sleep with Cantonese nursery rhymes, and a partner who works part-time and is a firm believer in 50/50 parenting. As my due date loomed large, I blissfully thought things would just work themselves out
Back in January, a week after I gave birth to my daughter Nico, I was still working to a print deadline – dictating sentences into my iPhone and breastfeeding at the same time, before graduating to one-handed typing. Sure, I couldn’t move my bum off the sofa because it was so painful but, hurrah, I could knock out a few paragraphs about women’s tailoring.
It was really adamance on my part to keep working. My postnatal mind was suddenly preoccupied with nappies, nap patterns and breastfeeding latch techniques. Continuing to do something familiar was my way of taking back control of my sleep-deprived, cry-addled brain. So when the requests to host panel discussions, cover shows and go on press trips started to filter in, I said yes – and delved into the conundrum of doing the fashion thing and caring for Nico.
Dressing was the least of my problems. I’ve enjoyed hunting for tops or dresses with yankable necklines and billowing hems to facilitate breastfeeding, without having to resort to dull nursing tops. Retaining my personal style was one immediate way to feel like the pre-mother me, just by pulling on, say a favourite Molly Goddard dress while worrying over Nico’s slimy green poo.
Travelling with her has had its ups and downs. There were the easy trips such as a gentle Eurostar train to Paris for the Chanel cruise show, where Nico got to stay in a hotel room bigger than my house. I chortled at her gurgling in her pram at the Prada Fondazione in Milan, with Courtney Love on the next table. On the flipside I nearly had to lock myself in the bathroom on the flight back from the Gucci cruise show in Florence, as Nico screamed relentlessly and I could see Jared Leto(who features in Gucci’s perfume ads) wincing in his seat.
When I did have to leave her behind for the Dior and Louis Vuitton cruise shows in Los Angeles and Tokyo, it required weeks of pumping like a milking cow to build up a stash in the freezer, as well as the mental preparation for doing the dastardly thing of leaving a three-month baby. The week away will be remembered for the countless lengthy trips to the toilet, pumping milk out in order to maintain supply, while looking at pictures of Nico on my phone – like a non-sexual parallel of masturbating with porn.
The fashion industry, full of inspiring women who have done the motherhood thing and managed their careers, has been a source of support in my mission to work with baby in tow. But this full-throttle life has its pitfalls. At Paris couture fashion week, stuck in traffic and late for both a show and Nico’s feeding time, I felt a failure professionally and personally.
Back home, I imagined shards of judgment from other mothers – a self-imposed guilt dictated by the construct of a conventional maternity leave where you’re supposed to be nurturing your baby 100% of the time. But will Nico remember any of those times I’ve looked at her and momentarily wished I didn’t have to shove my breast into her mouth? Not likely. Will she care that she came along for the ride with her mother and her suitcase full of frocks to eight countries in the first six months of her life? Probably not. Will she one day, eventually, understand the importance of being able to work in a vocation she is passionate about and be a mother at the same time? I hope so.
Read more at:coral bridesmaid dresses | champagne bridesmaid dresses
Friday 1 September 2017
Netflix is two decades old, so which shows have influenced your wardrobe the most
Netflix was launched exactly twenty years ago this week, and over the two
decades has accumulated over 100 million subscribers worldwide and provided us
not only with a means of watching out favourite movies on demand, but also with
a host of addictive original TV shows, films and documentaries.
In honour of the occasion, global fashion search platform, Lyst, have looked into which of the Netflix series that have captivated our attention over the years have had the greatest influence on our wardrobes.
These are the 5 stylish shows that have had the most potent effect on the way we dress..
. House of Cards
It's no secret that Claire Underwood, the formidable and exceptionally polished First Lady played by Robin Wright in Netflix' House of Cards, is a fictional fashion plate in her own right. From the perfectly structured tailoring that's nipped and tucked until it looks like a second skin, to the sky-high heels that she strides around in as if they were sneakers; her sartorial prowess has garnered more than 19,000 Instagram hashtags to date. Indeed, her glossy exterior has even led to comparisons being drawn between her and her off-screen counterpart, First Lady Melania Trump.
In the 30 days following the release of the third season of House of Cards, searches for 'women's tailoring' increased 18% compared to the previous month, with searches for boleros - a style that Underwood often sports - having steadily increased since the launch of the show.
What's more, when Wright's character appeared on-screen in an ivory Alexander McQueen sheath dress in the first season, Lyst saw searches for the style triple. And following the arrival of the latest and fifth season, this knock on effect shows no signs of waning, with the Dolce & Gabbana dress worn by Underwood causing 12,000 shoppers to search for the style.
Stranger Things
Eleven, the protagonist played by Millie Bobby Brown in Netflix' spooky show Stranger Things that launched last year, has also gained herself status as a style icon. Not only did she provide inspiration for an exceptionally large number of Halloween costumes last year (think smock dresses layered underneath lightweight coach jackets, paired with sporty shin-grazing socks), but a pink Peter Pan collar dress, which bore close resemblance to that worn by Bobby Brown's on-screen character, was viewed once every 3 minutes on Lyst last September.
“These spikes may have been caused by repeated exposure to the fashion trends on-screen, sometimes as a result of binge-watching, strengthening long term memory of items, in turn, affecting what you want to buy,'' says Barrie Gunter, pyschologist and emeritus professor in media.
And Eleven wasn't the only fashion influencer to emerge from the show. Barb, the red haired, glasses and plaid shirt- wearing character who mysteriously disappears early on in the first season, also gained herself a following, with 271 people typing 'Barb' into Lyst between August and mid-September, seeking to emulate her unique brand of geek-chic.
Read more at: http://www.queeniebridesmaid.co.uk
In honour of the occasion, global fashion search platform, Lyst, have looked into which of the Netflix series that have captivated our attention over the years have had the greatest influence on our wardrobes.
These are the 5 stylish shows that have had the most potent effect on the way we dress..
. House of Cards
It's no secret that Claire Underwood, the formidable and exceptionally polished First Lady played by Robin Wright in Netflix' House of Cards, is a fictional fashion plate in her own right. From the perfectly structured tailoring that's nipped and tucked until it looks like a second skin, to the sky-high heels that she strides around in as if they were sneakers; her sartorial prowess has garnered more than 19,000 Instagram hashtags to date. Indeed, her glossy exterior has even led to comparisons being drawn between her and her off-screen counterpart, First Lady Melania Trump.
In the 30 days following the release of the third season of House of Cards, searches for 'women's tailoring' increased 18% compared to the previous month, with searches for boleros - a style that Underwood often sports - having steadily increased since the launch of the show.
What's more, when Wright's character appeared on-screen in an ivory Alexander McQueen sheath dress in the first season, Lyst saw searches for the style triple. And following the arrival of the latest and fifth season, this knock on effect shows no signs of waning, with the Dolce & Gabbana dress worn by Underwood causing 12,000 shoppers to search for the style.
Stranger Things
Eleven, the protagonist played by Millie Bobby Brown in Netflix' spooky show Stranger Things that launched last year, has also gained herself status as a style icon. Not only did she provide inspiration for an exceptionally large number of Halloween costumes last year (think smock dresses layered underneath lightweight coach jackets, paired with sporty shin-grazing socks), but a pink Peter Pan collar dress, which bore close resemblance to that worn by Bobby Brown's on-screen character, was viewed once every 3 minutes on Lyst last September.
“These spikes may have been caused by repeated exposure to the fashion trends on-screen, sometimes as a result of binge-watching, strengthening long term memory of items, in turn, affecting what you want to buy,'' says Barrie Gunter, pyschologist and emeritus professor in media.
And Eleven wasn't the only fashion influencer to emerge from the show. Barb, the red haired, glasses and plaid shirt- wearing character who mysteriously disappears early on in the first season, also gained herself a following, with 271 people typing 'Barb' into Lyst between August and mid-September, seeking to emulate her unique brand of geek-chic.
Read more at: http://www.queeniebridesmaid.co.uk
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