Rebecca Minkoff will expand beyond handbags for the spring season, adding jewelry, eyewear, cold weather scarves and more shoes to her repertoire, WWD reports.
Making their debut at the designer's spring runway show on September 12 during Fashion Week, the new lines includes six categories of jewelry retailing between $50-$350, as well as eight sunglasses styles priced between $125-$250, and a doubling of footwear styles to 50 for spring.
“I love mixed hardware. There's a lot of the two-tone effect, so she doesn't have to worry about mixing and matching," Minkoff told WWD.
The first images of the new goods reveal woven-leather cuffs, studded and clear-plastic shades, and a new python-print wooden wedge sandal.
2011年8月30日星期二
2011年8月29日星期一
Balancing cool fall fashion and sultry summer style
By the time September rolls around, many are ready to jump into their new fall clothes, but it's often too warm to wear them. Finding ways to keep rocking your summer wardrobe while updating it with a few fall items can refresh your whole closet.
"[The] cocoon sweater is the ultimate layering piece when transitioning from summer to fall. Wear it now over a tank and over another sweater when the temperatures drop," recommends Jennifer Bayley, a spokesperson for Express.
Shorts are also on tap and strutted down many fall runways. Try out new, heavier weight options, or extend the life of summer staples such as black and denim shorts. Denim cut-offs take to fall by swapping out the T-shirt, bare legs and chunky sandals for a lightweight open weave sweater, tights and a pair of platform wedge-heeled shoes or booties.
"Shorts offer the perfect opportunity to take advantage of the trend in patterned tights - stripes, burn outs, and textured tights all add a new dimension to legs as you transition into fall dressing," says Bayley.
You can also make summer's black dressy shorts do double duty by outfitting them with a silky blouse, a dressy jacket, block-heeled pumps and tights for work. For a more casual look, keep the shorts and tights but sub in a sweater, denim or leather jacket and switch your pumps for fashion boots until the snow flies.
Lace, floral and sheer blouses and dresses are among the many other must-haves that can be layered to go the distance from summer into fall.
"I recommend wearing silk tops and chiffon dresses for late summer nights and then layering them over super-thin sculpted jersey tops in cooler fall weather," says Lubov Azria, chief creative officer at BCBG Max Azria Group.
Adding tops and accessories in fall colours such as red, violet, wine, grey, orange and green will also give your wardrobe a nudge forward.
"Try a rich red or jewel tone, like port or Tahiti blue, to introduce the fall mood. Wear them now, with lighter accessories and sandals, and later with suede boots and leather cuff bracelets," suggests Azria.
Clothes, scarves, bags and shoes with snake print and wild cat patterns will also keep you a step ahead of fall.
"Animal prints and especially leopard motifs are very strong fall trends that you can start wearing right now. A lightweight animal print tunic, dress or top is the perfect go-to pattern to get you through late summer into early winter," says Jillian Zrihen, a spokesperson for Foxy Jeans.
"[The] cocoon sweater is the ultimate layering piece when transitioning from summer to fall. Wear it now over a tank and over another sweater when the temperatures drop," recommends Jennifer Bayley, a spokesperson for Express.
Shorts are also on tap and strutted down many fall runways. Try out new, heavier weight options, or extend the life of summer staples such as black and denim shorts. Denim cut-offs take to fall by swapping out the T-shirt, bare legs and chunky sandals for a lightweight open weave sweater, tights and a pair of platform wedge-heeled shoes or booties.
"Shorts offer the perfect opportunity to take advantage of the trend in patterned tights - stripes, burn outs, and textured tights all add a new dimension to legs as you transition into fall dressing," says Bayley.
You can also make summer's black dressy shorts do double duty by outfitting them with a silky blouse, a dressy jacket, block-heeled pumps and tights for work. For a more casual look, keep the shorts and tights but sub in a sweater, denim or leather jacket and switch your pumps for fashion boots until the snow flies.
Lace, floral and sheer blouses and dresses are among the many other must-haves that can be layered to go the distance from summer into fall.
"I recommend wearing silk tops and chiffon dresses for late summer nights and then layering them over super-thin sculpted jersey tops in cooler fall weather," says Lubov Azria, chief creative officer at BCBG Max Azria Group.
Adding tops and accessories in fall colours such as red, violet, wine, grey, orange and green will also give your wardrobe a nudge forward.
"Try a rich red or jewel tone, like port or Tahiti blue, to introduce the fall mood. Wear them now, with lighter accessories and sandals, and later with suede boots and leather cuff bracelets," suggests Azria.
Clothes, scarves, bags and shoes with snake print and wild cat patterns will also keep you a step ahead of fall.
"Animal prints and especially leopard motifs are very strong fall trends that you can start wearing right now. A lightweight animal print tunic, dress or top is the perfect go-to pattern to get you through late summer into early winter," says Jillian Zrihen, a spokesperson for Foxy Jeans.
2011年8月25日星期四
Barneys Warehouse Sale: Starting Tomorrow Morning
Witness, above, the Kirkwood Rodarte wedge that will set you apart from most everyone in the world, except those who can afford it at full price for $2790 or who are fast enough to get it on sale at the warehouse sale for $1119.
2011年8月23日星期二
Stepping up
To the international fashion world Mark Fast is an iconoclast with a talent to be reckoned with.
To his family and friends in Winnipeg, he is the dreamer who gets inspiration from Manitoba highways and horizons.
The 30-year-old fashion designer grew up outside Selkirk, later moving closer to the city, where he attended Mennonite Brethren Collegiate Institute and from where he says, "I imagined my way to London."
Fast moved to England to attend the prestigious Central St. Martin's School, whose graduates include designer Stella McCartney and Alexander McQueen. He completed his undergraduate degree and in 2008 earned his master's as well. Fast is one of a select group of students to pass the rigours of the New Generation selection committee, paving the way for him to have his work on display during London Fashion week. His clothes have been worn by celebrities including Kylie Minogue, Leighton Meester and Beyoncé.
Fast's rise to international fashion darling was quick. He won praise for his urbane, spiderweb hand-knit dresses and drew a lot of press for the so-called size-zero debacle in which he used size 12 models to show his tight-fitting knit mini-dresses during one of his 2009 London shows. In a culture where stick figures are the standard, it was a bold move, especially for an emerging brand.
Fast's designs are sold at retail locations such as Barney's in New York, and The Room at The Bay and Carte Blanche in Toronto. The designer has also been thinking of launching an online shop. In the meantime, if his collections -- even his diffusion line, Faster by Mark Fast -- are out of reach for most Winnipeg fashion lovers geographically, not to mention price-wise, there will soon be a way for Fast fans to get their hands, or rather their feet, on one of his designs.
Fast is creating a collection in collaboration with Montreal-based footwear company Aldo. The pieces will be previewed at New York fashion week next month where Fast will be showing his lower price line, Faster, for the first time.
While they are still in the production phase, early reports say that some shoes in the collection will be inspired by African designs and will incorporate some of Fast's trademark sexy knits. A fringe sandal, for example, is made with a textile and leather-trimmed wedge heel while the top has raffia detailing and knit straps.
"It's the combination of traditional and contemporary references. I like the dichotomy of something severe and serene," says Fast in an email. "This collaboration has given me the opportunity to work with new shoe technology and resources. The Aldo team have been quite inspiring in their innovations."
Aldo returns the love.
"Mark is a fellow Canadian whose talent we have always admired," Douglas Bensadoun, Aldo creative director told the Free Press in an email. "Aldo feels strongly about supporting Canadian fashion whether at home or abroad and we know our customers will be as excited as we are about this collaboration."
An as-yet-undetermined number of Mark Fast/Aldo shoes will be at Aldo stores for spring 2012. But those interested can get a preview from the catwalk photos of his September Faster show in New York.
Fast has already collaborated with the likes of British retailer Topshop and French shoe guru Christian Louboutin.
The designer/High Street collaborations have been making news since Karl Lagerfeld first did a collection for the Swedish retailer H&M in 2004. It's a way for the designer to make quick cash, something their own lines don't easily do for them, and for the mass market brand to gain some star power.
The Fast/Aldo deal is arguably one of the more exciting Canadian retail collaborations to date. It's also one more step closer to Fast's Canadian roots, which he seems to be embracing of late. He worked with Toronto-based Danier leathers on his autumn/winter 2011/12 collection and is selling a capsule collection under Danier. This past summer he had an installation at Toronto's Luminato cultural festival.
Do his Canadian projects suggest his star is fading in London? Unlikely, as British shopaholics seem as eager for the Aldo collections as anyone, if the style bloggers are any measure.
Online site CatwalkQueen got a preview of a first sketch and concluded, "It seems like it'll be a pretty stellar collaboration," while British lifestyle magazine Grazia cooed, "In a brilliant move by High Street shoe giant Aldo, Mr. Fast will now be delivering his sexy knits and flashy fringing to a whole new area of the body -- and we reckon they're going to be super hot."
To his family and friends in Winnipeg, he is the dreamer who gets inspiration from Manitoba highways and horizons.
The 30-year-old fashion designer grew up outside Selkirk, later moving closer to the city, where he attended Mennonite Brethren Collegiate Institute and from where he says, "I imagined my way to London."
Fast moved to England to attend the prestigious Central St. Martin's School, whose graduates include designer Stella McCartney and Alexander McQueen. He completed his undergraduate degree and in 2008 earned his master's as well. Fast is one of a select group of students to pass the rigours of the New Generation selection committee, paving the way for him to have his work on display during London Fashion week. His clothes have been worn by celebrities including Kylie Minogue, Leighton Meester and Beyoncé.
Fast's rise to international fashion darling was quick. He won praise for his urbane, spiderweb hand-knit dresses and drew a lot of press for the so-called size-zero debacle in which he used size 12 models to show his tight-fitting knit mini-dresses during one of his 2009 London shows. In a culture where stick figures are the standard, it was a bold move, especially for an emerging brand.
Fast's designs are sold at retail locations such as Barney's in New York, and The Room at The Bay and Carte Blanche in Toronto. The designer has also been thinking of launching an online shop. In the meantime, if his collections -- even his diffusion line, Faster by Mark Fast -- are out of reach for most Winnipeg fashion lovers geographically, not to mention price-wise, there will soon be a way for Fast fans to get their hands, or rather their feet, on one of his designs.
Fast is creating a collection in collaboration with Montreal-based footwear company Aldo. The pieces will be previewed at New York fashion week next month where Fast will be showing his lower price line, Faster, for the first time.
While they are still in the production phase, early reports say that some shoes in the collection will be inspired by African designs and will incorporate some of Fast's trademark sexy knits. A fringe sandal, for example, is made with a textile and leather-trimmed wedge heel while the top has raffia detailing and knit straps.
"It's the combination of traditional and contemporary references. I like the dichotomy of something severe and serene," says Fast in an email. "This collaboration has given me the opportunity to work with new shoe technology and resources. The Aldo team have been quite inspiring in their innovations."
Aldo returns the love.
"Mark is a fellow Canadian whose talent we have always admired," Douglas Bensadoun, Aldo creative director told the Free Press in an email. "Aldo feels strongly about supporting Canadian fashion whether at home or abroad and we know our customers will be as excited as we are about this collaboration."
An as-yet-undetermined number of Mark Fast/Aldo shoes will be at Aldo stores for spring 2012. But those interested can get a preview from the catwalk photos of his September Faster show in New York.
Fast has already collaborated with the likes of British retailer Topshop and French shoe guru Christian Louboutin.
The designer/High Street collaborations have been making news since Karl Lagerfeld first did a collection for the Swedish retailer H&M in 2004. It's a way for the designer to make quick cash, something their own lines don't easily do for them, and for the mass market brand to gain some star power.
The Fast/Aldo deal is arguably one of the more exciting Canadian retail collaborations to date. It's also one more step closer to Fast's Canadian roots, which he seems to be embracing of late. He worked with Toronto-based Danier leathers on his autumn/winter 2011/12 collection and is selling a capsule collection under Danier. This past summer he had an installation at Toronto's Luminato cultural festival.
Do his Canadian projects suggest his star is fading in London? Unlikely, as British shopaholics seem as eager for the Aldo collections as anyone, if the style bloggers are any measure.
Online site CatwalkQueen got a preview of a first sketch and concluded, "It seems like it'll be a pretty stellar collaboration," while British lifestyle magazine Grazia cooed, "In a brilliant move by High Street shoe giant Aldo, Mr. Fast will now be delivering his sexy knits and flashy fringing to a whole new area of the body -- and we reckon they're going to be super hot."
2011年8月22日星期一
"Cornered"
Oh, Walter. Even when you are right, you are so, so wrong. "This whole thing—all of this—it's all about me!” he insists when trying to open Jesse's eyes to how Gus and Mike are manipulating him. "I am not in danger—I am the danger!” he glowers to Skyler when she reiterates that he should give himself up rather than work with murderers. Yes and yes. But, in a more accurate sense, no no no no what are you doing you idiot no!
For a man who began this series by reinventing himself and establishing a double life, Walter's salient characteristic in season four is his tone-deafness to people and situations. Skyler correctly interprets his drunken boasting at Hank and Marie's dinner table, realizing that (a) he wouldn't have gotten so bent out of shape if Hank's praise weren't for a co-worker, and (b) if Walter's co-workers are being viciously murdered, that's not the safe and stable workplace he had allowed her to imagine. But he cruelly swats away her concern, choosing to focus on her unfortunate insistence that he's in over his head rather than her legitimate concern for everyone's safety. "Who are you talking to right now? Who is it that you think you see?” he shouts. In his mind, he's the linchpin of the Fring empire, which "ceases to exist” if he doesn't show up for work, and woe betide anyone who belittles him. To Skyler's nightmare scenario of someone knocking at their door with murderous intentions, Walter hisses, "I am the one who knocks.”
Almost immediately, Walter realizes that his outburst was a terrible mistake. When Skyler initially insisted (back in episode three, "Open House”) that Walter go to the police if things get rough, it was part of a scene where she was taking control and schooling Walter on the notion of risk. Now in this second iteration, both we and Walter belatedly realize that she's absolutely serious about this part—it's not a piece of the power play. His remorse comes too late, though; Skyler grabs Holly and, in one of her more heartbreaking scenes in the series, flips a coin at the Four Corners monument to decide which state to flee to. She can't accept the verdict of the coin—Colorado—even when Holly gazes up at her with a baby's wide-eyed look of trust, as if to say, "Where we headed, Mom?” In the end, fate and common sense alike lose out over the processes she's already set in motion, I'm surmising; we're likely to find out more of her reasons for staying in coming episodes, but it's still a bit mysterious here.
Walter misreads his reunion with Jesse at the Fring laundry even more egregiously, although his analysis of the situation is eerily accurate. If there were a single empathetic bone in his body these days, he would see that what he's doing to Jesse in that conversation is exactly what has been done to him—and what has turned him into a fuming ball of rage. He attempts to demonstrate to Jesse exactly why nobody would spend two minutes or two cents grooming him for higher responsibilities in the organization. Why would anybody use Jesse as a guard? "Are you a former Navy SEAL? Do you have to have your hands registered as lethal weapons?” he sneers. Don't underestimate Jesse too badly, Walter—he sees more than anyone thinks. "I see that they can't outright kill me, but they don't want me getting high. I see that this thing started as Gus getting Mike to babysit me,” Jesse asserts. But then he saved Mike from robbery or worse, "so maybe I'm not such a loser after all.” But Walter's not listening to that last bit, which is the key to understanding what's happening inside Jesse's head; he just wants to understand what's happening inside Fring's head. "This robbery you stopped wasn't even real… Gus goes to work driving a wedge between you and me—how long did those guys even chase you?”
What Walter is willfully ignoring is that the bond between him and Jesse, the one Gus is trying to break, is not one of trust and mutual benefit. It's now based on the horrible things they've done for each other and to each other. That's a bond Jesse is clearly fleeing, substituting Mike as his mentor and going all out to impress him when they stake out the illicit house of blue meth together. Mike is in no mood to be the audience for this performance at first, but when Jesse lures tweaker Tucker out into the yard and even gets him to take over the pointless digging ("How deep do you think it is?” Jesse asks; "Pretty deep,” Tucker confesses), he breaks into a near smile. We don't hear Mike's assessment of his performance to Fring at the diner, cutting away to Jesse waiting outside before he articulates it, but when Fring comes out, Jesse uneasily solicits his praise. "I hear you can handle yourself,” Fring observes, and when Jesse asks, "Why me?”, the boss replies: "I like to think I can see things in people.” It may have started as a ploy, as Gus and Mike's conversation last week indicated and as Jesse intuits. But if I were in his shoes, I'd believe that I had gotten the boss's notice after that little exchange.
And given that there is trouble afoot with the cartel, Gus is going to need some people who can read the lay of the land. The episode begins with a blackly comic inversion of Mike's badassery in "Bullet Points,” as two Fring enforcers hiding in the back of a fry-batter shipment get outsmarted (rather than outgunned) by three cartel hit men. After offing the driver, the cartel guys attach the truck's exhaust to the refrigeration system, smothering the enforcers in carbon monoxide and forcing them to shoot the truck full of holes from the inside to try to catch a breath. Wait a bit, push the bodies out of the way when you open the truck, use your black light to find the one bucket of batter marked with an invisible star, leave the rest to spoil in the desert (along with the driver's empty lunch cooler, whose contents you've already consumed), and when Gus' men come looking for their stolen crystal, send them a message: "Ready to talk?” That's the cartel approach, and Mike sees it as hardball; he wants to strike back in the same vein, by hiring more muscle and taking the fight to them, but Gus wants the war to "stay cold” and directs Mike to set up the meeting.
Walter's certainly not wrong to see everything as ploys, schemes, setups, chess moves. It all is that. But it can also be more—relationships, loyalties, trust, consequences. When he buys Walter Jr. a muscle car instead of a sensible used car from the lot they visit first, it's blatant bribery ("I think if you're going to buy me off… buy me off”). Then he makes two claims to assert his right to do so: "Maybe it's a little flashy, but he needed a car, and I'm his father—I should be able to give him what he wants;” and, when it's clear Skyler will not let it stand, "I just worry that he'll blame you for this.” The problem is that those claims directly contradict the central claim of protecting his family that he's repeated to others and to himself ad nauseam. Walter doesn't believe everyone can come out a winner. Even as he loudly insists on "The firewall! Church and state!” to avoid being interrogated by Skyler about his work in Gus' lab, he kicks as hard as he can against the firewalls that others have erected to keep their trains running on time, sapping and sabotaging them like mad to claw his way back into a position of power. Or, as Skyler puts it (in a speech that's just a bit too on-the-nose), "Someone has to protect this family from the man who protects this family.” All Walter can see are ways to divide and conquer, both those being used on him by others and those he's deploying himself, and it's a form of blindness he's not going to be able to afford much longer.
For a man who began this series by reinventing himself and establishing a double life, Walter's salient characteristic in season four is his tone-deafness to people and situations. Skyler correctly interprets his drunken boasting at Hank and Marie's dinner table, realizing that (a) he wouldn't have gotten so bent out of shape if Hank's praise weren't for a co-worker, and (b) if Walter's co-workers are being viciously murdered, that's not the safe and stable workplace he had allowed her to imagine. But he cruelly swats away her concern, choosing to focus on her unfortunate insistence that he's in over his head rather than her legitimate concern for everyone's safety. "Who are you talking to right now? Who is it that you think you see?” he shouts. In his mind, he's the linchpin of the Fring empire, which "ceases to exist” if he doesn't show up for work, and woe betide anyone who belittles him. To Skyler's nightmare scenario of someone knocking at their door with murderous intentions, Walter hisses, "I am the one who knocks.”
Almost immediately, Walter realizes that his outburst was a terrible mistake. When Skyler initially insisted (back in episode three, "Open House”) that Walter go to the police if things get rough, it was part of a scene where she was taking control and schooling Walter on the notion of risk. Now in this second iteration, both we and Walter belatedly realize that she's absolutely serious about this part—it's not a piece of the power play. His remorse comes too late, though; Skyler grabs Holly and, in one of her more heartbreaking scenes in the series, flips a coin at the Four Corners monument to decide which state to flee to. She can't accept the verdict of the coin—Colorado—even when Holly gazes up at her with a baby's wide-eyed look of trust, as if to say, "Where we headed, Mom?” In the end, fate and common sense alike lose out over the processes she's already set in motion, I'm surmising; we're likely to find out more of her reasons for staying in coming episodes, but it's still a bit mysterious here.
Walter misreads his reunion with Jesse at the Fring laundry even more egregiously, although his analysis of the situation is eerily accurate. If there were a single empathetic bone in his body these days, he would see that what he's doing to Jesse in that conversation is exactly what has been done to him—and what has turned him into a fuming ball of rage. He attempts to demonstrate to Jesse exactly why nobody would spend two minutes or two cents grooming him for higher responsibilities in the organization. Why would anybody use Jesse as a guard? "Are you a former Navy SEAL? Do you have to have your hands registered as lethal weapons?” he sneers. Don't underestimate Jesse too badly, Walter—he sees more than anyone thinks. "I see that they can't outright kill me, but they don't want me getting high. I see that this thing started as Gus getting Mike to babysit me,” Jesse asserts. But then he saved Mike from robbery or worse, "so maybe I'm not such a loser after all.” But Walter's not listening to that last bit, which is the key to understanding what's happening inside Jesse's head; he just wants to understand what's happening inside Fring's head. "This robbery you stopped wasn't even real… Gus goes to work driving a wedge between you and me—how long did those guys even chase you?”
What Walter is willfully ignoring is that the bond between him and Jesse, the one Gus is trying to break, is not one of trust and mutual benefit. It's now based on the horrible things they've done for each other and to each other. That's a bond Jesse is clearly fleeing, substituting Mike as his mentor and going all out to impress him when they stake out the illicit house of blue meth together. Mike is in no mood to be the audience for this performance at first, but when Jesse lures tweaker Tucker out into the yard and even gets him to take over the pointless digging ("How deep do you think it is?” Jesse asks; "Pretty deep,” Tucker confesses), he breaks into a near smile. We don't hear Mike's assessment of his performance to Fring at the diner, cutting away to Jesse waiting outside before he articulates it, but when Fring comes out, Jesse uneasily solicits his praise. "I hear you can handle yourself,” Fring observes, and when Jesse asks, "Why me?”, the boss replies: "I like to think I can see things in people.” It may have started as a ploy, as Gus and Mike's conversation last week indicated and as Jesse intuits. But if I were in his shoes, I'd believe that I had gotten the boss's notice after that little exchange.
And given that there is trouble afoot with the cartel, Gus is going to need some people who can read the lay of the land. The episode begins with a blackly comic inversion of Mike's badassery in "Bullet Points,” as two Fring enforcers hiding in the back of a fry-batter shipment get outsmarted (rather than outgunned) by three cartel hit men. After offing the driver, the cartel guys attach the truck's exhaust to the refrigeration system, smothering the enforcers in carbon monoxide and forcing them to shoot the truck full of holes from the inside to try to catch a breath. Wait a bit, push the bodies out of the way when you open the truck, use your black light to find the one bucket of batter marked with an invisible star, leave the rest to spoil in the desert (along with the driver's empty lunch cooler, whose contents you've already consumed), and when Gus' men come looking for their stolen crystal, send them a message: "Ready to talk?” That's the cartel approach, and Mike sees it as hardball; he wants to strike back in the same vein, by hiring more muscle and taking the fight to them, but Gus wants the war to "stay cold” and directs Mike to set up the meeting.
Walter's certainly not wrong to see everything as ploys, schemes, setups, chess moves. It all is that. But it can also be more—relationships, loyalties, trust, consequences. When he buys Walter Jr. a muscle car instead of a sensible used car from the lot they visit first, it's blatant bribery ("I think if you're going to buy me off… buy me off”). Then he makes two claims to assert his right to do so: "Maybe it's a little flashy, but he needed a car, and I'm his father—I should be able to give him what he wants;” and, when it's clear Skyler will not let it stand, "I just worry that he'll blame you for this.” The problem is that those claims directly contradict the central claim of protecting his family that he's repeated to others and to himself ad nauseam. Walter doesn't believe everyone can come out a winner. Even as he loudly insists on "The firewall! Church and state!” to avoid being interrogated by Skyler about his work in Gus' lab, he kicks as hard as he can against the firewalls that others have erected to keep their trains running on time, sapping and sabotaging them like mad to claw his way back into a position of power. Or, as Skyler puts it (in a speech that's just a bit too on-the-nose), "Someone has to protect this family from the man who protects this family.” All Walter can see are ways to divide and conquer, both those being used on him by others and those he's deploying himself, and it's a form of blindness he's not going to be able to afford much longer.
2011年8月19日星期五
Smart 'back to school' looks come in bold patterns, plaids and stripes
What's cool for school this fall?
Look for patterns, including plaids and bold stripes on everything from shirts and dresses to backpacks and coats. For guys and girls, hoodies and graphic or solid T's are great for layering and look good with skinny jeans (yes, they're still "in"), as well as some of the '70s-influenced boot-cut and flares that are coming 'round again. Blazers are also a good look for 2011, as are high-top sneakers -- for girls this is a fun way to translate the high-fashion "menswear" trend that you'll see this season.
Texture is also important, with faux fur and hand-made crochet looks adding cozy warmth once the weather gets cooler. Look for both materials in vests that update dresses, jeans or leggings. Another layering possibility: the easy-to-wear shrug.
For feet, ballet flats, canvas flats and boots with wedge heels are casual and comfortable ways to show style.
Accessory details you'll want to hold onto from last year: scarves, feathers (woven into hair and in earrings), chunky watches and vintage touches like retro sunglasses or even lunchboxes.
Remember to wear it all with confidence, your truly coolest accessory.
Girls just wanna have fur
Faux-fur leopard vest, Pink Chicken, $89, Zoe + Jack. Dress, Pink Chicken, $79, Zoe + Jack. Black leggings, $5, Target. Bronze headband, $20, Ruby. Satin ballet flats, $29.95, Gap Kids. Vintage lunchbox, $89, Montgomery Street Antique Mall.
Go graphic
Long-sleeve T-shirt, $17.94, Old Navy. Black denim jean, $40, Macy's. Light-up shoes, Skechers, $54.99, Famous Footwear.
Show your stripes
Striped T-shirt, Copper Key, $20, Dillard's. Boy blazer, Daughters of the Liberation, $88, Anthropologie. Boot-cut denim jean, $69.50, Gap. Hinged skinny belt, $48, Anthropologie. Wedge boot, Chinese Laundry, $59.95, DSW Shoe Warehouse. Pendant leaf necklace, $35, Ruby. I-Phone rocker case set, Tech Candy, $32.99, Bon Sens, The Shoppes at Brownstone Village.
Sleek in a slim hoodie
Hooded cardigan, Buckle Black Label No. 048, $49.95, Buckle. T-shirt, $4, Target. Plaid long-sleeve shirt, BKE, $49.95, Buckle. Denim jean, $49.50, Hollister. Canvas shoes, $45, Vans. Headband headphones, Philips, $41.79, Target. Model's own woven bracelet.
Shrug it on
Long sleeve T-shirt, $15, Justice. Shrug sweater, $34.95, Gap Kids. Dirndl skirt, Candie's Girl, $40, Kohl's. Athletic shoes, $49.99, Converse All Star, Journeys. Plaid backpack, $29.99, Target. Knee-high socks, $4.99, Target.
Look for patterns, including plaids and bold stripes on everything from shirts and dresses to backpacks and coats. For guys and girls, hoodies and graphic or solid T's are great for layering and look good with skinny jeans (yes, they're still "in"), as well as some of the '70s-influenced boot-cut and flares that are coming 'round again. Blazers are also a good look for 2011, as are high-top sneakers -- for girls this is a fun way to translate the high-fashion "menswear" trend that you'll see this season.
Texture is also important, with faux fur and hand-made crochet looks adding cozy warmth once the weather gets cooler. Look for both materials in vests that update dresses, jeans or leggings. Another layering possibility: the easy-to-wear shrug.
For feet, ballet flats, canvas flats and boots with wedge heels are casual and comfortable ways to show style.
Accessory details you'll want to hold onto from last year: scarves, feathers (woven into hair and in earrings), chunky watches and vintage touches like retro sunglasses or even lunchboxes.
Remember to wear it all with confidence, your truly coolest accessory.
Girls just wanna have fur
Faux-fur leopard vest, Pink Chicken, $89, Zoe + Jack. Dress, Pink Chicken, $79, Zoe + Jack. Black leggings, $5, Target. Bronze headband, $20, Ruby. Satin ballet flats, $29.95, Gap Kids. Vintage lunchbox, $89, Montgomery Street Antique Mall.
Go graphic
Long-sleeve T-shirt, $17.94, Old Navy. Black denim jean, $40, Macy's. Light-up shoes, Skechers, $54.99, Famous Footwear.
Show your stripes
Striped T-shirt, Copper Key, $20, Dillard's. Boy blazer, Daughters of the Liberation, $88, Anthropologie. Boot-cut denim jean, $69.50, Gap. Hinged skinny belt, $48, Anthropologie. Wedge boot, Chinese Laundry, $59.95, DSW Shoe Warehouse. Pendant leaf necklace, $35, Ruby. I-Phone rocker case set, Tech Candy, $32.99, Bon Sens, The Shoppes at Brownstone Village.
Sleek in a slim hoodie
Hooded cardigan, Buckle Black Label No. 048, $49.95, Buckle. T-shirt, $4, Target. Plaid long-sleeve shirt, BKE, $49.95, Buckle. Denim jean, $49.50, Hollister. Canvas shoes, $45, Vans. Headband headphones, Philips, $41.79, Target. Model's own woven bracelet.
Shrug it on
Long sleeve T-shirt, $15, Justice. Shrug sweater, $34.95, Gap Kids. Dirndl skirt, Candie's Girl, $40, Kohl's. Athletic shoes, $49.99, Converse All Star, Journeys. Plaid backpack, $29.99, Target. Knee-high socks, $4.99, Target.
2011年8月16日星期二
These Troupers Take Dramatic Turns at the Hospital
http://cheaphoganshoes.slkut.com/106
Quinn Lemley, an actress and chanteuse, has specialized in portraying Rita Hayworth in a one-woman show—channeling the 1940s glamour queen's songs and mannerisms, sashaying across the stage in elegant evening gowns reminiscent of old Hollywood.
But on some mornings after a performance, Ms. Lemley would report to Weill Cornell Medical College for a very different kind of acting job. Her costume for these gigs is two hospital gowns, one wrapped artfully on top of the other, accented by her long, red hair and, on a recent day, four-inch, flaming orange wedge shoes.
"I try to wear the gowns in a stylish way," says Ms. Lemley, preparing to slip into character as a newspaper editor with severe chest pains and a drug habit.
Forget waiting on tables or doing menial jobs. These days, to support themselves between gigs, or simply keep plying their craft, actors are auditioning at hospitals and medical schools to portray sick people—"standardized patients" in med school terms—who help aspiring doctors learn their craft.
Win May, who oversees the standardized patient program at the University of Southern California's Keck School of Medicine says she has recruited actors who have appeared on TV shows such as "Mad Men" and "The Closer" or starred in commercials.
In New York, Bedpan Alley, the nickname for a swath of hospitals on Manhattan's Upper East Side, has forged an alliance with the city's deep pool of professional actors—many of whom are happy to land a day job playing a patient.
Weill Cornell Medical College, the Manhattan school connected to Cornell University and New York Presbyterian Hospital, pays actors $25 an hour typically for an eight-hour day. The medical college invested $13 million in a standardized patients center opened in 2007. Along with a dozen exam rooms stocked with medical equipment, there are hidden cameras that record every interaction between students and actors; two-way mirrors allow faculty to observe.
"It is like what happens at a police station," says Yoon Kang, director of the medical school's Margaret and Ian Smith Clinical Skills Center. The encounter is recorded, and students later review their performance and get feedback.
In the current economy, both Dr. Kang in New York and Dr. May in L.A. say they've seen an uptick in actors wanting patient roles.
"At least you're acting on some level," says Denise Lock, an actress and opera singer who is part of Weill Cornell's ensemble cast. Ms. Lock, who has appeared in overseas productions of Porgy and Bess, is a veteran at playing patients at medical school.
"I have done heart attacks, lupus, diabetes, Parkinson's, hot flashes," she says.
Medical schools have long used "simulated" patients to teach students to diagnose conditions. But these programs have become more widespread—and rigorous—in recent years, experts say. Concern over patient safety helped fuel growth, Dr. Kang says: "In simulated environments, students can practice and make mistakes—no one is going to get hurt."
Quinn Lemley, an actress and chanteuse, has specialized in portraying Rita Hayworth in a one-woman show—channeling the 1940s glamour queen's songs and mannerisms, sashaying across the stage in elegant evening gowns reminiscent of old Hollywood.
But on some mornings after a performance, Ms. Lemley would report to Weill Cornell Medical College for a very different kind of acting job. Her costume for these gigs is two hospital gowns, one wrapped artfully on top of the other, accented by her long, red hair and, on a recent day, four-inch, flaming orange wedge shoes.
"I try to wear the gowns in a stylish way," says Ms. Lemley, preparing to slip into character as a newspaper editor with severe chest pains and a drug habit.
Forget waiting on tables or doing menial jobs. These days, to support themselves between gigs, or simply keep plying their craft, actors are auditioning at hospitals and medical schools to portray sick people—"standardized patients" in med school terms—who help aspiring doctors learn their craft.
Win May, who oversees the standardized patient program at the University of Southern California's Keck School of Medicine says she has recruited actors who have appeared on TV shows such as "Mad Men" and "The Closer" or starred in commercials.
In New York, Bedpan Alley, the nickname for a swath of hospitals on Manhattan's Upper East Side, has forged an alliance with the city's deep pool of professional actors—many of whom are happy to land a day job playing a patient.
Weill Cornell Medical College, the Manhattan school connected to Cornell University and New York Presbyterian Hospital, pays actors $25 an hour typically for an eight-hour day. The medical college invested $13 million in a standardized patients center opened in 2007. Along with a dozen exam rooms stocked with medical equipment, there are hidden cameras that record every interaction between students and actors; two-way mirrors allow faculty to observe.
"It is like what happens at a police station," says Yoon Kang, director of the medical school's Margaret and Ian Smith Clinical Skills Center. The encounter is recorded, and students later review their performance and get feedback.
In the current economy, both Dr. Kang in New York and Dr. May in L.A. say they've seen an uptick in actors wanting patient roles.
"At least you're acting on some level," says Denise Lock, an actress and opera singer who is part of Weill Cornell's ensemble cast. Ms. Lock, who has appeared in overseas productions of Porgy and Bess, is a veteran at playing patients at medical school.
"I have done heart attacks, lupus, diabetes, Parkinson's, hot flashes," she says.
Medical schools have long used "simulated" patients to teach students to diagnose conditions. But these programs have become more widespread—and rigorous—in recent years, experts say. Concern over patient safety helped fuel growth, Dr. Kang says: "In simulated environments, students can practice and make mistakes—no one is going to get hurt."
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