Everyone loves a fairy tale – especially the happy ending. And today, we got our very own. This morning, Coach dropped their Disney x Coach: A Dark Fairy Tale collaboration, which puts a uniquely dark spin on Sleeping Beauty and Snow White. The collection, which fuses Disney’s animation with Coach’s signature cool, is chock-full of hoodies, jackets, purses and dresses all fit for a princess – or an Evil Queen.
Launching tomorrow, exclusively at Coach’s SoHo flagship, and globally next week, the Dark Fairy Tale capsule is just the latest in Disney and Coach’s ongoing partnership. Coach Creative Director Stuart Vevers first teamed up with the iconic company on a Mickey Mouse collection in 2016. Since then, the brand has also released special edition partnerships with Selena Gomez and artist Keith Haring.
For their Fall 18 collection, Coach, led by Creative Director Stuart Vevers, fused two very distinct aesthetics into a new kind of visual tone that sticks out as a much different perspective on the current zeitgeist of fashion from other major brands this season.
Those two palettes are gothic and American Southwest, blended together to create a runway show that could have been a parade of the costumes for a new breed of vampire cowboys – and we’re digging it. It’s a distinctly bold offering in a sea of Fashion Week presentations that stuck to the still-going trend of modern athleisure.
Decked out in Stuart Vevers’s spring collection for Coach, singer Alex Winston opens up about pop, New York, and an unexpected background in opera.
The world of pop music seems to be inhabited by teenyboppers making international stardom more a matter of nepotism or highly funded image than honest work. Singers like Alex Winston are a rare discovery, not only in the sophistication and cognitively engaging nature of her work, but also her honesty regarding the difficulties of trying to make it in perhaps the most finely beautified of music genres. Her first album, 2012’s King Con, seems to be belatedly garnering the attention it deserved, with journalists repeatedly mentioning how improperly unrecognized the work went upon release.
The talk of King Con comes mostly from excitement over Winston’s still-untitled sophomore album, which is due out in July. We talked to the excited pop darling as she finished a series of noteworthy shows at Austin’s SXSW, touching on how she started singing, opening up on the second album, and what she learned throughout the years. BlackBook shot the up-and-comer wearing pieces from designer Stuart Vevers’ spring collection for Coach, cheeky Gary Baseman collaboration items among them.
When you’re not out on the road, where are you based?
I don’t currently have an apartment but I’m based in New York. I’m subletting. I’ve been there for five years. I grew up in Detroit and did music there as well but I had an opportunity in New York and I sort of said “screw it,” and moved and kind of didn’t look back, and things started picking up right when I moved and it’s been great.
What’s your experience of New York been like? A lot of artists seem to have a love/hate relationship with the city.
Yeah, it is an artist-friendly city but it also isn’t at the same time. People don’t sit and talk about how much their rent is like it’s the weather for no reason. It’s difficult, it’s not an easy city to live in, but it’s a great city if you can pull it off. Like I’m sitting with one of my bandmates right now and they have to hustle all the time just to make music in the city and play in different bands and different shows to make a living. I’m really fortunate that I started doing this professionally right when I moved there and I’ve been able to keep busy with it.
When you were younger, you were involved in opera. How did that come about?
Well, I think I started doing it because my mom didn’t know what to do with me. I was singing around the house, driving her fucking insane, and she had a friend that taught opera that she grew up with and she just put me in singing lessons with her. I did that from the time I was ten until I was 20. And I liked it fine, you know, but I was out of place there. It wasn’t my choice. I wasn’t like, “Mom, I love opera music so much, I want to do this as a profession.”
But it was good for me vocally to stay healthy and to learn how to actually sing, but then I feel like when I started doing my own thing I kind of had to unlearn a lot of that, because it was all very…you’re pretty much reading what’s on paper and trying to sound like something else, and that wasn’t me…The things that I find interesting are flaws and being able to have your own voice and not be pristine and perfect, and just show a bit of realness.
How does your new music differ from previous work?
Well, this record’s a lot different from the first record in terms of lyrical content and concepts. The first one was totally about other people, completely, and sort of like fantastical stories about things I had memories about, like weird niche subcultures and things that I found interesting. It was stuff that I liked so I was writing about it, but this record was solely a personal record, and it was about the past two years of my life. So it was very different, and very weird for me to write about myself.
Also, the second record is such a weird headfuck too because you understand the process and what’s going to happen. But I think at a certain point you have to detach from that and not worry about it and not worry about being vulnerable and putting yourself out there, because at the end of the day, it’s the most important that you make something really honest as opposed to [worrying about] what other people are going to think of it. But at first it was hard for me to wrap my head around. It was like, “Do I really want to say this? Do I want people to know that this is how I felt?” But now I don’t care. I’m too lazy now.
You sound like you’re a lot more confident now than maybe on the first album.
I was reading something that was like, “Experience comes from failure.” And it’s true! It’s like, it’s the hard shit that you that makes you a pro. The way you understand how a business works is by going through the ringer and through all the crappy stuff.
What’s the biggest lesson that you’ve learned or advice you could share?
I think it’s like, learning to know what you’re willing to do and what you’re not willing to do, and also when it’s appropriate to compromise. Like those are some of the biggest things that I’ve learned throughout this; sticking to your guns creatively but also being willing to embrace things that aren’t as comfortable at first, because ultimately it hurts your career. When I was younger, I was so stubborn with everything. And now I’m learning that sometimes compromising is okay, as long as it’s not compromising yourself artistically. But there are so many aspects of being a musician these days. It’s not just about the music; it’s about things like social media, and it doesn’t come naturally to me.
Musicians are now expected to do a lot more than just make music.
It’s stupid and it’s unfortunate too for people that are just musicians. I mean that’s the thing too…people have tried to pigeonhole me into bullshit that I don’t want to do. Like, “What’s your thing? What’s your thing?” Well my thing is making songs that hopefully people will like. But it’s easier said than done. It makes other people’s jobs easier when I guess you have something that’s really marketable.
How did you become certain that you wanted to be a professional performer?
I mean, it’s the only thing I do. I’ve always known I was going to be a musician. I didn’t have anything else. I barely graduated high school. I was working on music back then. I don’t have another thing. This is just what I do so I do it because I have to do it. I love making music. And to have a career where I can just continue to tour and play shows for the next 15, 20 years — that would be my dream. I don’t have to be a megastar. But to be able to have a career, I want to be a career artist, so that’s what I’m working towards.
What type of people do you think is connecting with your music?
I honestly don’t know! It’s kind of diverse. When I go overseas it’s like 40-year-old men. Sometimes young teenage girls or like fun gay guys…I don’t know! It’s just all over the place. And I like that. It’s not like a specific niche, I don’t think. Like I haven’t been able to figure out my demographic yet, which I like.
What are your thoughts on live performance?
I love playing. It’s my favorite part. I love performing and my band is amazing. They’ve been with me, some of them, since I moved to New York. And so we know each other really well. To be a solo artist in New York without a consistent band is really hard, and I’m so lucky to have them, because like I said earlier, everyone’s trying to hustle and make money to make a living, and they have to do what they have to do, but my band is super dedicated. They’re talented and it’s just fun. We have the best time on the road.
Do you ever get tired of life on the road?
Honestly, I like it. I don’t like being in one place for very long. Like, that’s why right now I don’t have an apartment. I’m between New York, L.A., and Detroit…and London. I like living out of a suitcase. I don’t like sitting still. So for now, I still really like it. Ask me in a couple years.
What would you like to say to fans before they press play on the new album?
I guess just know that it’s really personal, and the most honest I will ever be is on this record. And I guess I just want them to know the process and that it took a lot of work, a lot of work to get me into a place where I felt comfortable sharing myself, and I hope that people can relate to some of the things that I’ve been through. I hope maybe it will help someone else out if they’re going through a tough time.
Ben “B-Roc” Ruttner and James “JPatt” Patterson of The Knocks are overflowing with kinetic energy. Now the producers are making a name for themselves.
Sitting in an East Village townhouse cluttered with art, the guys are as excited to tell their story as we are to hear it. A decade or so of running the DJ scene in downtown New York nightlife, writing for the aforementioned powerhouse performers, and releasing a thread of singles and remixes that have made their Internet presence nothing short of pervasive, Ruttner and Patterson are anxious for the release of their forthcoming EP, So Classic. We talked to the duo about their humble, sometimes frustrating beginnings, the pros and cons of playing music for New Yorkers, and why their new work finally feels right.
How did you two meet and start playing music together?
B-Roc: We were each producers in our own right, making mainly Hip Hop music at the time — like in high school and early college days. We met through a mutual friend actually when I went to the New School, because JPatt had a friend that went there. At that point, we were both kind of new to being in New York City a lot and kind of just played each other beats and sent stuff back and forth on the Internet, stuff like that, just to kind of see what we were working on. And then we both needed roommates, so we moved into an apartment together in the East Village, actually Avenue C. We were still doing our own thing in our own rooms and slowly started to kind of work on projects together. The stuff that we were making was really cool and ended up taking off a little bit.
So you guys could literally hear what the other was working on through the walls?
B-Roc: Yeah, that’s actually how we got the name The Knocks. Because we used to have like a shitty little apartment where the walls were paper-thin and we each had studio-sized speakers in our rooms. We’d each be making beats really loudly and the neighbors would knock on the walls and the ceilings, and we called them “the knocks.” I’d be like, “I got the knocks. I have to stop playing.” I’d turn my speakers off and I’d go into his room basically until he got the knocks.
What kind of work were the two of you doing at the time?
JPatt: I think we were both at the time writing a lot of stuff for other people. We were doing the whole kind of L.A. base producer thing where they’re all sort of aiming for the same Pop record. And it’s kind of unfulfilling work in that you’re not really making anything that’s real, like that comes from any sort of real place. So I feel like we’re both artists…we both love what we do before…I mean we both want to make money off of it obviously, but at least for me I like the fulfillment of the music we make and being appreciated. Like, it coming from somewhere where someone can appreciate what I do, because it is me. So we were kind of like, fuck that. It was kind of an accident, we were just joking around, like jokingly made this dancer called “Can’t Shake Your Love” in our production room of our studio, not even in the main room.
B-Roc: This is like 2008 or 2009. The EDM thing hadn’t really hit.
JPatt: We did that and we literally just threw it up online to some bloggers that we knew and got the most feedback or like the best response of anything we had done up until that point. So then we were like, “Maybe we’re onto something.”
The Knocks photographed by Justin Bridges for BlackBook
You guys have both been members of New York’s downtown music scene for a while. How has this affected your sound or style?
JPatt: We were both DJs, so we would go out and test stuff in the clubs, or see what people are reacting to so that when we get back into the studio, we could kind of just put that into our music and what we’re aiming for as far as vibe, if we want to really get the crowd’s reaction. The New York scene is like the scene in my opinion, so it helps to be involved in it in that way.
Do you think it’s the scene for just music or for basically everything artistic?
JPatt: For music especially, because we do music, but really for everything. Like if you ask me, I feel like New York is the place to be but especially for the music, because there’s every kind of scene here and there are open format gigs where you have to play every kind of music in a three hour span, and a lot of DJs are House DJs or Hip Hop DJs, or ‘whatever’ DJs. You have to play to every kind of person while keeping the crowd unified. It’s a really unique skill set.
B-Roc: I think it comes through in our music. You can’t listen to our music and be like, “Oh, they’re a House duo,” or whatever. You can hear a lot of influence from Hip Hop and you can hear a lot of influence from old Soul, and Classic Rock even. That’s kind of what we aim for. It’s like, we don’t corner ourselves …even when I met him, he wasn’t even DJing yet. It was my day job. I was DJing five nights a week at like all those clubs, whether it was like 1Oak or Darby, all those crappy bottle places, and you have to be on your toes and be able to mix a U2 record into a Jay-Z song, and I think seeing reactions and when people react to different parts of it, like “Oh this part of this U2 song always goes off so big in the club, and then this part of that Daft Punk song…” so were always in the studio using that. We’re like, “Oh, this breakdown sounds like Fleetwood Mac versus this breakdown, which sounds like Frankie Knuckles.”
It must be a great tool to be able to so regularly gauge how a live audience is reacting to you music.
B-Roc: At the same time it can be dangerous though, because New York is such a bubble. But it’s almost like running with weights on because New York audiences are even harder in a sense where they’ll just sit there and stare and then you’ll go do the same thing in Boston and everyone will be like, “Woah!” and freak out because they don’t see it all the time. In New York, everyone’s like, “I could go see this show or I could go see this other guy here.” There’s so much shit going on.
As you said, you guys used to be a part of that base producer songwriting process. Contrarily, you’ve fully collaborated with and helped to develop certain artists, like Alex Winston. Can you expand on that?
B-Roc: That’s how we started and that’s what we wanted to do. Like, we had this kid who got signed to Columbia Records at one point and then Winston…she was making us work on music and we made her move to New York and started producing this other kind of stuff for her…But then The Knocks stuff got so busy, and you can’t really balance it all; you have to focus.
But now that our album’s done I can definitely see us going back and doing more of that, but also our album is very collaborative. Like even when it was just production stuff, we worked with a lot of other producers, and whether it’s guitar players, horn players, musicians…Phoebe [Ryan] is featured on our album. We worked with a lot of artists like that. Most of the features are not just guys that we call up and pay. It’s basically people that we know through the scene here and friends, which always ends up being the best songs. Like “Classic” was totally just a collab with a friend. That song “Comfortable,” which is one of our bigger songs, was just a collab with our friend from X Ambassadors. Because we always kind of feel like underdogs. We’ve never been put in the studio with anyone huge, or it’s rare that we get thrown in with massive guys, so we kind of try to create our own path.
How does this type of collaborative work compare to what you were doing before?
JPatt: I didn’t mean writing with other people is unfulfilling. I meant there is like a specific style. It’s like, “So-and-so, a huge artist, needs a record. They want it to sound like these other five records. Go.” And then they send that call sheet out to like a million different producers and everyone sends in what they think will work, and then they end up going with Dr. Luke. That’s the kind of production work we were trying to get away from.
B-Roc: They’d be like, “We need a song like Britney Spears meets Courtney Love meets the Ying Yang Twins,” and you’re like, “What are you talking about?” I mean yeah, it looks good on paper, but it’s not the way music works.
Do you ever feel that people within the industry are trying to force a certain image onto The Knocks, or classify you in an inorganic way?
JPatt: For a while we were on this other label, I won’t even name any names, but we were on a label for a sec that was a little like the nightmare stories that you hear about labels, where they’re like, “You know, we like what you do, but why don’t you try this other thing that isn’t anything like what you do, at all?” It was just a constant struggle trying to prove our points to them. It was just a bunch of older guys who had no connection to current pop culture and just like hear the radio on the way to work and are like, “Oh, this is what kids are listening to.” And that’s what they try to force you into. So we were there for a second but luckily we were able to get out of that with a clean break. So, yeah, it’s hard for us to be put into those sorts of boxes.
B-Roc: [And that’s because] we already kind of built it up. And I’m super hands-on with administrative things, like the artwork and direction of stuff like that. I think as long as you know what you want and you have something secure…like working with a label like Atlantic’s been amazing because they just want to amplify it. They saw us already as a packaged thing, like they saw what we were already doing, and were like, “Yeah, we love this. Let’s just make it even bigger.”
Then in terms of your real style and appearance, what are you guys into?
JPatt: I like vintage stuff. I like old stuff. LPM is one of my favorite stores to go to. And I like the ‘90s era vintage, graphic cartoon tees, and troop jackets, and stuff like that. Mostly dark colors.
B-Roc: I’m into vintage stuff also. I’m a little bit more into the rocker side of things, all the ‘90s grunge, and I grew up as a punk rocker in middle school. That was my whole thing, so it’s funny to now come back [to that]. I wish I had a lot of those old clothes I wore, but I got rid of all of them for like, my Rocawear suits in high school (laughs). I’m big on leather jackets, and I have a vintage Marilyn Manson tee that’s like my favorite shirt of all time.
Can you tell me about the new EP?
B-Roc: The EP is a taste of what we have to come with the album. It definitely is a new sound, but at the same time we feel like it’s finally the right sound. We feel like, you know, a lot of these bands nowadays with the Internet, like you put out a song and overnight it gets big and all of a sudden we’re playing these shows. And we we’re touring with only having like, four songs, and we had to play a lot of live remixes because we didn’t have enough material. I felt like these past five or whatever years that we’ve been on the road a lot and just running around, we haven’t had time to really sit down and develop our sound. We’d just kind of been running with whatever we were doing. And it just felt like over this time, slowly, we’ve been building, and like when we made “Classic” and a couple of these other new songs, everything seemed to kind of click in this way that was like, “Okay, now this is what we’ve been meant to make.”
JPatt: It’s a good showcase of everything that we’ve been through up until now, and everything we’ve learned, all of our influences, you can really hear them and it’s not like muddy in that it’s two-layered.
How does this work feel to you compared to what you used to produce?
JPatt: It doesn’t feel forced at all. Like even with the old label, by the end, we had reached sort of a weird compromise with them and then they folded, but even with the music that we made in lieu of that compromise, still to me felt a little bit forced, like we were trying to please someone else.
B-Roc: It feels right, and it feels good to have that. Because we definitely had a whole album done that was like cool and a good album but like I feel way better about this one. When we were with the last label, we scrapped a whole album and went and made a whole new record, and it was such a blessing in disguise because we’re super proud of this, and it just feels like something that no one’s ever done before.
Decked out in Stuart Vevers-designed Coach for this exclusive interview and photo shoot, singer/songwriter Lenka talks about her cheerful new album.
Whether you know it or not, singer/songwriter Lenka’s music has likely graced your ears numerous times. The Australian sensation’s whimsical, cup-half-full attitude fueled the international hit “The Show” from her eponymous debut album, with her music continuing to gain traction with tracks like “Everything at Once.” The irresistibly catchy optimism of her sound is an advertiser’s dream, helping her land music in giant commercials for the likes of Coca Cola, Windows, and Old Navy—not to mention TV features on prevalent shows like “Grey’s Anatomy” and “Ugly Betty.”
After taking time to focus on her growing family, Lenka is back to spread the jubilant vibes with her fourth studio album, The Bright Side. We talked to the multifaceted artist about her musical evolution, working with husband James Gulliver Hancock, and the wonders of exploring fashion via social media while she happily tried on pieces from Stuart Vevers’s sunny spring collection for Coach, including a t-shirt designed in collaboration with artist Gary Baseman, to whom Lenka just happens to have a personal connection.
You’ve been both an actress and a singer. Which passion came first?
When I was a little girl, I wanted to be a dancer, and then that changed when I was a teenager. I decided I wanted to be an actor and my mom helped me out getting an agent, and I started acting quite early at about twelve, thirteen. So I was like a professional teen actress, which was really fun, being in high school and getting to leave school and go for acting and stuff.
And how did the shift to singing come about?
I think maybe I was a little bit burnt out from that career choice already by about the age of nineteen (laughs). I don’t know, I just knew that I wasn’t going to be 100% committed to the life of an actor, as my mentors were. Like my teacher at acting school was Cate Blanchett. She’s like, 150% an actor–she just lives and breathes it, and I knew I wasn’t like that. I went to art school and studied sculpture, performance art and video, and that didn’t feel like the quite right fit.
And this whole time, you know, I liked music and I could do a little bit of music, and my dad’s a musician, but I never was thinking that it would be a career, probably because of my dad. I just wanted to rebel against the whole notion of doing the same thing. But I was singing in a play when I was about 22, 23, you know, like an Off-Broadway, fringe theater thing, and my director sang a song, and that was the moment where I totally flopped over and I realized that I was enjoying singing more and I was getting more out of it, and it felt like the audience was getting more out of it. People kept saying to me, “You should do more music.” So that was when I sort of shifted focus and spent my time brushing up my music theory and writing songs. And then I joined a band so it kind of quickly became my life.
It’s funny how you end up falling into the things that wind up being your strongest passions.
I know, and sometimes I regret a little bit that I didn’t know earlier because I was actually 30 by the time that my first album came out, because I was in the band for a few years and then I started doing solo stuff, and then it takes a few years to sort of get people to believe in you and give you the money to make an album. So I’m like, “Shit, if I started at 15, I would have had so much more time to do all that experimenting and everything. I’d be touring and be 23, which would be more fun I think because now I’m like married and I have a kid and my life doesn’t feel that “Rock ‘n’ Roll.”
You and your husband, visual artist James Gulliver Hancock, have worked quite a bit together. Can you talk about being a creative team?
He’s an illustrator and a visual artist…if you’re a New Yorker, you’ve probably seen his work on the subway. And from the very beginning, when I started to do solo music, he was really there for the visual side of building up my identity as a singer/songwriter. This sort of whimsical, childlike thing I have going on is partly developed by his style as well. We’d actually just started dating as well, so really the joining of us together romantically was the joining of us together creatively as well, and that was quite exciting. We were like, “Yeah! We have lots of stuff that we can do together.” And we wanted to help each other’s careers move along in a parallel path.
We don’t work together as much now. I tend to hire more people. But he’s always there as a kind of production designer or at least another pair of eyes to help out, and he still does all the layout and everything for all my albums and merch. He’s gotten a little busier; he’s fulltime now, doing books and things, but yeah, we’re lucky because I think you want to have a partner that has a similar career to you, but I don’t know though if I would want my guitarist or someone to be my partner or something like that.
The Bright Side is going to be your fourth studio album. Can you talk to me about the musical evolution you’ve experienced since the beginning of your career?
Well this album, it’s a little bit of a return to what I feel like is my strength as a songwriter, with sort of optimistic, kind of happy songs that I had departed from for a little while. But my mood in my life right now warranted me to revisit, so I’ve just made those happy tunes again. And also, I have a toddler who wants to dance, so he was really responding to me making things with a more up-tempo, upbeat kind of feel to them. I mean I’ve been striving to try and be very happy in my life and I feel like I’m at that point [now], and I just wanted to bottle it. This album is basically a capsule of my happiness. I want to be able to look back on it and say, “That was a good time in my life.”
Where did your inspiration for the songs come from this time around?
A fair few of the songs were born from briefs for film and TV writing. I’ve been sort of taking a bit of time off, having a baby and stuff, but still doing a little bit of writing. So, you know, sometimes they’ll be like, “This is the character, these are the themes in the show. Can you write a song along those lines?” And I’m allowed to use those songs whether or not they’ve been used in that project, so I’m still able to put them on a record or something if I want to. So I’ve sort of had this collection of songs that I loved and they made up about half of the record and then I sort of rounded it out with the last few tracks.
So some of the songs are about your own life, and some are about characters that were described to you?
Yeah, but the thing is that the characters that I’m given to write about are usually young, joyful girls, so it’s kind of the same vibe anyway because that’s what I’m known for. So the two are intertwined. It’s like, “Oh, perfect! This is exactly how I feel right now. I can easily write a song like that.”
Where does the album stand at this moment?
It’s totally finished. The vinyl is getting printed as we speak and it’s slated to release on June 16th, so I think that’s probably enough time to get it all ready. I’m sure we’ll release a new song before then, too. I’m not sure which one; it sort of depends on which one I want to make a video for.
So the visual component plays a factor in which singles get released. Do you have any ideas yet?
There’s one video that I want to do that [my husband] wouldn’t be involved in, because it isn’t going to be that pretty, but there’s this one song called “Unique” and I want to do it with fans, get them to send in videos of themselves, and I bought a selfie stick. I was so embarrassed by it–I was like, “This is for a video. I’m allowed to do this.” But I’ve used it so many times, it’s so much fun. I mean, it’s amazing! I’ve got a new iPhone and the camera is amazing and I just sort of want to take it with my life a little bit and do one of those sort of behind the scenes, just walking along the streets kind of videos. It won’t be all that artistic, but I think it will suit the song.
When it comes to fashion, do you think about what you wear on stage heavily?
I do think about it heavily. I spend a lot of timing trolling vintage markets and things like that because I do love ‘50s Mod and kind of vintage looks. At the moment, I’ve been doing a lot of blue, like “Blue Skies,” almost like a bit Normcore and suburban, just black and white and blue. And then I’m obsessed with polka dots at the moment…I love graphic prints and unusual color combinations so my eye is usually caught by things like that.
Is there anyone you look toward as a fashion icon?
As far as icons, I don’t know who it would be. I feel like it would be vintage-y people too. I should look at my Pinterest right now. It’s been a really big tool for me when I have to communicate with stylists. It’s great. I can just be like, “If you want to see what kind of stuff I like, have a look at this.” Or you can make an album specifically for a particular shoot, like that’s what we did with my album cover shoot.
I like Mary Quant, 1960s stuff. There’s a lot of Mary Quant in here. I often really like what Taylor Swift is wearing. I’ll see her walking down the street and be like “Hmm, I think we have the same Pinterest board.”
How do you find a lot of your inspiration?
That’s a lot of Pinterest too. You do find that if you start to follow people or you get on a thread, it sort of learns what you like. Like it knows that I like bold patterns, so it will just show me people’s latest runway looks that have lots of crazy patters.
Eleonora Carisi on the street at NYFW. Photo: Julien Boudet/BFAnyc.com
Why wait for the fall collections to hit stores in 6-9 months? Grab the reigns and a pair of scissors — with these stylings tricks you’ll be so next season.
TIE ONE ONE *As seen at Wes Gordon, Coach, and Pyer Moss The bandana is back. Fasten one around your neck for an instant, Wild West-style update. Courtesy of Coach
Courtesy of Wes Gordon
THROW ONE OVER *As seen at Jason Wu, Creatures of the Wind, Ohne Titel, Rodebjer, Donna Karan, Suno The fur stole in two steps: 1) find a fur scarf then 2) throw it over your shoulder. Now you are ahead of the trends. And warm. Want bonus points? Belt it. Courtesy of Creatures of the Wind
THE NEW FLARE *As seen at Rosie Assoulin, Rodebjer, CG, Opening Ceremony Pants were cropped and many were flared. Get the look now by taking a pair of scissors to an old pair of flared or wide leg denim jeans. Courtesy of CG
Ah, Coach. Easily one of the best shows of the day. Stuart Vevers‘ reinvigoration of the American heritage brand is going swimmingly — each season gets better and better.
Fall found us in a somewhat nostalgic and totally unpretentious zone, with star models like Binx Walton, Lexi Boling, and Sam Rollinson clothed in familiar silhouettes cut from luxurious materials — think the thickest shearling and fleece, and the most perfect leathers. Want the general gist of things? Here’s what’s what.
1. Think the basic principals of a school girl’s wardrobe in better materials and more generous, flattering cuts.
2. Stuart Vevers loves shearling every which way (and so will you.)
“There’s this sort of coolness about natural hair, and we’ll probably see a lot of it this season because it feels very modern.”
So says Guido Palau, Redken‘s global styling director, and master of hair at today’s Coach show. From the moment the first model stepped out wearing Stuart Vevers‘ fall 2015 designs for the brand, it was apparent just how cool the look was to be. There’s nothing fussy about it, nothing at all try-hard — the greatness of this look is that it works on every gal’s hair, because the end desired result is unique to you.
In a press release, Guido explains how aimed to keep the hair as natural as possible.
“[I] really played up the individual personalities of the girls. A lot of the shows this season want to keep the girls’ personalities — they don’t want armies.”
So how to get this individually unique, totally ideal, insouciant and cool hair?
1. Wash hair, allowing it to air dry. (Guido used sulphate-free Frizz Dismiss shampoo and conditioner from Redken.)
2. Create a part just off center to keep it just “not-thought-about” without getting messy.
3. Smooth a touch of cream for shine near the roots (Guido used Redken’s move ability 05.)
That’s it, there’s nothing else to it. Stick straight, with a bend, wavy, curly, and so on, this is the kind of styling that truly looks good all around.
Cara Delevingne for John Hardy, courtesy of John Hardy
Dreaming of Coach
Believe it or not, there has been more than one occasion on which I’ve wanted to be the 17-year-old actress, and perennially well-dressed Chloe Grace Moretz. When she acted alongside Alec Baldwin in “30 Rock” is one example that comes to mind.
The new Coach Dreamers campaign features Moretz and Kid Cudi, who the brand describes as “individual, authentic and innately cool.” Shot by Mikael Janssen, the images feature hit-maker Stuart Vevers‘ second collection for Coach, which will be available in February.
Also, that backpack. Ameeeezing.
Photos courtesy of Coach
Cara’s New John Hardy Campaign Cara’s back in Bali decked out in Hardy jewels.
Alexander Wang for Your House In an exclusive with WSJ. Magazine, Alexander Wang reveals that he’s designed three pieces of furniture in collaboration with Poltrona Frau, a 101-year-old Italian label. If Wang’s new denim has left you wanting more, add items such as a brass-footed, shearling beanbag chair to your indulgences list come February.
Fendi via iPhone
Well this is dangerous. Come March you can clicky-clicky a Fendi buggy without very much thought at all. You didn’t hear it from us.