I went to go see the Hobbit, and I loved it. The craftmanship, the funnies, the killing of filthy orcs-es, the sexy dwarves (um, can you say Thorin, Kili, Fili?). Anyways…
It was the second time I went to see The Hobbit, that I realized how much of a gangster Bilbo is. To leave his beloved Shire and possessions and to go on an amazing, unbelievavle quest…in a velvet jacket. Dang.
That’s when I realized that every day is a new adventure, and I hardly dress the part. I want to be like Bilbo, dressing myself with some dang beitzim. So I went home on a mission.
Now some of us are nerds, but we’re not all strutting down the street bragging, “I got me a replica of the One Ring to rule them all.” We’re inspired and captivated by the strange lands, sexy elves, and details in the making of, but we’re not trying to learn Elvish. But as I started looking for the Middle Earth knapsacks that got my fashion sense tingling, I found that you can get mighty close without looking like you’re on your way to Comic Con.
…You Middle Earth gangster you…
The Hobbit: An Unexpected Journey; Photo: Alamy
For those bold enough to go into the world with a velvet blazer:
For those who prefer to stick with wool…
Supreme Loro Piana Wool Overcoat
I like to call the “Griffin Bladecut Jacket” the Radagast jacket. (Also in black-below)
I loved Bilbo’s backpack. I found some for the Ladies (and/or gents) below, but if you find some post them in the comment box!
Celebrate the darkness with the Dark Shadow tee by Rick Owens:
When you find yourself giving up, you’re going to need an article of clothing that reminds you of home. Think about this Stone Island Cardigan.
What items do you bring on your quests? What would you add to this list? Post it in the comment box! And if you haven’t seen The Hobbit: An Expected Journey, do!
Handcrafted and cured mahogany ear pieces
“Open Air” Configuration (the cups are open-backed)
Frequency Response and more info: Not yet released but keep an eye out for style#: DS2012
As stated by GQ:
If you’re not a ballet dancer, then no.
If you’re not a pro/athlete and making it look good, then no.
If you’re not a superhero, then no.
If you’re not Peter Pan, then no.
If you’re not David Bowie in Labyrinth, then no.
If it’s not laundry day and your borrowing your girlfriend’s leggings, then no.
If you’re not trying to get beat up, then no.
If you’re not trying to show how small your penis is (stop laughing), then no.
If you’re trying to show how big your penis is (stop laughing), definitely no.
If you’re not a male street walker, then no.
If you’re trying to make the world doubt the future of mankind, then yes, go ahead.
By Kiara Walker
Founder of the Gallery of Fashion Art
Dries Van Noten
Dries Van Noten has an incredible knack for creating consistently comfortable glamour, and his Spring RTW 2013 collection was no exception. Van Noten’s grunge-inspired plaid prints may pay some homage to the good ol’ early 1990s rocker days, but the term “hard-edged” certainly does not describe his approach to fabrics. Integrating delicate organza, comfortable crepe, and lustrous taffeta, along with a variety of floral prints and simulated “floral” treatments, Van Noten creates a beautiful dance of masculinity and femininity—more than a playful dance really, but rather, a harmonious marriage of softness and hardness. While the late Kurt Cobain might trigger images of dark, sullen garage bands and angst-ridden, emotionally overcharged teens, Dries Van Noten’s ambiguous mixture of prints and texture is neither irreverently grotesque nor a tired cliché. His ever-refreshing, effortlessly “cool” collection exudes a casual elegance, making us constantly redefine what constitutes the term “elegant.”
Louis Vuitton’s “needs-no-introductions” creative director, Marc Jacobs, clearly sees nothing wrong, old, or hindering about looking towards the past in order to re-discover something new. Jacobs’ Spring 2013 RTW collection for Louis Vuitton is a perfect example of taking little bits and pieces of history–such iconic images and ideas (in this case, the ever popular Pop Art movement)–that we have seen over and over again—and really dissecting, analyzing, and reconstructing it to create something groundbreaking—er, well, in this case, rejuvenating, uplifting, experimental, and revived. Jacobs definitely delivered a breath of fresh air, showing a variety of flattering lengths and expanding but not exhausting the limits of the “checkerboard” through color, cut, and transparency. His end result was a whimsical, daring, and playful presentation of visual excitement, youthful spirit, and modern elegance.
Skin was definitely “in” this season at Balenciaga. Yet, for Nicolas Ghesquière, skin wasn’t about the stereotypical, scantily clad and outrageously tight party dress, nor the plunging, sheer JLO sarong, or even the ultra femme fatale-Sharon Stone-red carpet slit. No, Balenciaga’s collection bore a futuristic artistry (most noted to Ghesquière) that is graphic and severe, yet investigative and purposeful. In particular, his boxy white midriff top, worn by Liya Kebede, paired with a dramatic black and white skirt with oversized ruffles almost harks back to the structural, yet streamlined elegance of vintage Cristobal, with its exploration of shape and linearity. A string of Ghesquière’s suits and tailored looks, which consist of either a cropped or “bra-like” top, again achieve an unadorned, streamlined appeal, but are strong and confident due to their contradictory pairing. He maintains his Ghesquière rawness, but with a finesse that is visually sharp and a courage of conviction that is noticeable throughout. His curious amalgam of replicated tweeds incorporated through crop tops and mini skirt-jacket “twinsets,” is in fact, ambiguous—on a good level, upholding a worthy promise of innovation. Towards the latter half of the show, his artistic flavor and bold graphicness extends exceedingly so into a more delicate and technically intricate arrangement of geometric patterns.
Despite delving into an undeniably darker palette, Haider Ackermann did not necessarily plunge into the pits of despair—rather, his black, chocolate brown, white, and navy color story felt ultra luxurious, rich–in more ways than one–and inspiring. The thick, graphic black belt (bordering on the edge of a harness) proved to be a dominant feature throughout the collection, pulling together several looks that featured a beautiful mix of both structural and slinky stripes, polka dots, and geometric prints. One could say that the color scheme actually helped to achieve this understated elegance. Even his all-black pieces—effortless in movement—commanded attention, showing the range of what his collection had to offer. Though quite the majority layered, Ackermann’s looks, particularly his outerwear, are organically fluid and exquisitely draped, adding to the power and luxury of the clothes. Haider Ackermann’s collection overall maintained an admirable balance of strength and grace.