I loved this pic of the front row at Ruby. Well done Pam Wolstenholme (style editor at Heat), Melinda Shaw (editor Heat) and Arthur Malan (GQ fashion ed), for keeping a poker face appropriate to the milieu. We cannot say that about all the denizens of the front row. I can’t think what they are tittering about?
I will post a nice round up of last night’s shows – Amanda Laird Cherry, Lunar, Ruby, Two, Abigail Betz ASAP
I recall the board of Burberry, still struggling to recover its upmarket reputation, voicing displeasure with their chairman for lunching with Victoria Beckham. Things have changed.
Clothes become fashion when they are about something else. In Britain the else is class (duh) which is demonstrated by the Guardian’s evolution-of-Victoria gallery. Its point being not only that V’s clothes have become prettier, but less street (in the pejorative sense). As Hadley Freeman points out “Wag style, as coined by Posh, was all about her slimness … It was also a look based on pride in wealth.” Even an American like Freeman knows it’s not money but enthusiasm that is déclassé. It’s no real irony that Victoria gained respectability only when she stopped calling herself Posh.
It takes skill to adapt to the reigning orthodoxy, but shifting convention is more impressive still. So well done DJ Sbu. The Niknaks Man managed to win the title of GQ’s Best Dressed Man 2008 while still looking like a Bakos Brothers couch (sorry, sofa). Good for him: as Marx taught us, celebrities have changed clothes in various ways, but changing journalists’ interpretation of those clothes is really on point.
Still, some circumspection about who is calling the shots. How did Victoria Adams from Essex become the face of the Marc Jacobs spring/summer 2008 campaign? As Freeman points out: “This combination might have seemed implausible to most – the ultimate Wag and the designer who coined grunge – but Jacobs has become increasingly interested in celebrities with kitsch pop culture value.” After all, how much autonomy can you expect from a face? On the other hand, how did a previously-scrawny Jewish kid from the New World become creative director of a 150-year old European luxury powerhouse. Maybe there is something to that American Dream.
Further reading: Some Hope, by Edward St Aubyn
Such a great pic of Melissa Jane Maxstead (Glamour) and Arthur Malan ( GQ) ( Apologies I don’t know the boy in burgundy)
I am in desperate search for the perfect red lippy – where I ask did Melissa get hers?
Anyway this party pic is by way of introducing the Friday track – ( Ok I know its Monday but I forgot) Simon Shear reminded me
so here is his Monday choice with suitable blurb…
Listening to this song used to make me nostalgic for a moment that hadn’t yet ended. Now that it’s over, I’m not sure I could bear to hear the track again.
But that shouldn’t stop you.
Monday bonus: Some sweet, geeky hip hop http://www.youtube.com/watch?v=UG7QLx3tjOU
Thanks for that Simon
(This is a guest blog from my friend Simon Shear – he is quite taken with the subject so I think he should speak for himself.)
In an NYRB podcast about, among other things, the place of the professional critic in the era of the weblog, Daniel Mendelsohn stresses (amusingly) the importance of expertise. The case might be strongest regarding literature, where personal expression is in this instance not so much a counterweight to the hegemony of the academy as public opinion run amok, but perhaps less persuasive in terms of pop, where the rousing of the masses is the whole point. This is why pop music criticism tends to succeed or fail (on its own terms) according to slickness of prose and insider knowledge.
Which got me thinking of So You Think You Can Dance (M-Net Series, 7pm, last night), the best tv show, like, ever. There are several reasons for its excellence: the likeability of the host and judges, the personalities of the dancers, and the innovative choreography (big up Napoleon & Tabitha). But also, it has found the perfect medium. What can the panel of experts say about someone singing a pop song? There are a couple of technical variables – notably pitch
– but even these count only insofar as they deliver the wow factor. Whereas SYTYCD is about realising the yowza effect through technique. And the judges are themselves perfectly balanced about evaluating the technique (which they qualified to do) with expression (which they are also qualified to do).
More importantly for our purpose, judge and producer Nigel Lythgoe’s wardrobe is exemplary. It’s a lesson to the GQ crew – usually tasteful without being bland, sometimes flash without being tacky. This is what Ryan Seacrest can aspire to when he grows up. In fact, the stylists on SYTYCD rarely fail to impress. Still, it’s a show of substance as well as style. I admired Jamie’s shirt, tie, jersey, hoodie combo on the opening show. But viewers didn’t dig his moves, and he was booted off.
What with the flowing champagne, cadging a lift in a Rolls, and mingling in an atmosphere charged with abundant lashings of cologne and cigar smoke, I practically missed the announcement. But I can now safely confirm that the winner was one Sbu Leope, Yfm DJ, closely followed by the Future Fin CEO Zumaid Moti, and in third place Arie Fabian from the clothing chain Fabiani.
Here’s the rest of the Top Ten list:
4 – Grant Van Den Berg – Owner Frank Bespoke)
5 – Felipe Mazibuko – Stylist
6 – Mahlatse ‘chilliboy’ Ralepelle – Sprinbok rugby player
7 – Brad Armitage – One of the fellows who started Vida, Entrepreneur and owner of CSG beer
8 – Ryan Botha – Moroka Swallows
9 – Simphiwe Mdlalose – Director Jupiter Drawing Room
10 – Randall Abrahams – Radio Producer
BTW – Sanche Frolich won best dressed woman in one of her own creations ( Story)
Have a look at some of the lovely people at the party