Now that the temperature’s dipped to around the 1-degree mark, I just want to stay in and hibernate. My default winter work-from-home-wear is Heat-Tech, a Hanro long sleeve tee, three fine-knit merino sweaters topped off by a shrunk-in-the-wash men’s Margiela nubby knit and Levi’s.
The nubby knit is important. Chunky, textured jumpers and socks are all I want to wear now and they’re all the rage. Partly because they feel good and partly because a crude, craftsy sensibility is permeating everything as a counterpoint to tech fatigue. I wrote about this for BON magazine’s autumn issue, which you can read here. (more…)
My distaste of Instagram brows and ‘flawless’, matte-finish foundation can be traced to my early-90s initiation into beauty rituals. Although it was the decade of Kevyn Aucoin and his haute supermodels, it also saw the parallel (and arguably more influential) rise of Bridget Hall’s outdoorsy glow and Annie Morton’s morning-after-the-night before undereye shadow. (more…)
From designer stickers to cartoon character smartphone covers to kidult footwear, there’s no stopping the rise of playful luxury. And no-one is more in tune with this emerging product category than Chanel, whose LED trainers illuminated the SS16 catwalk. As the AW16 Chanel show kicks off, Bon has published my article on how the heritage house embraced the next generation of international big spenders, one kitsch accessory at a time. Read the article at Bon.se.
“For menswear, the shows coincide with delivery. When the men’s editors arrive in Milan, on Friday afternoon most people go, straight away, to Prada and it’s the Prada fight. Who can buy it first? Then we go and see the new show. You have to do it before the new show, while the old show is still ‘the new show’.”
Charie Porter discusses ‘newness’ at the menswear shows in BON International