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  1. by Alexander Fury .

    SHOWstudio Redesign - Step One

    Eagle-eyed SHOWstudio viewers may have noticed that we have unveiled something of a new look - indeed, 1 September 2011 marks the first step of an ongoing, wide-ranging site redesign set to roll out over the next two months. We will be continually revamping the site over that period, launching new fashion films, showcasing live streams and broadcasting interviews and events as well as reporting direct from the collections as always. 

    Over this period, we will also be revisiting archive projects, adding and reworking existing content to augment and improve the SHOWstudio experience for all viewers! This is just the start of the revamp: many more features will be added to the site across the course of 2011, taking SHOWstudio into a new decade with a fresh, exciting and innovative look with the same exceptional content.

    As always, we welcome feedback from our global viewers. If you have any comments on this initial step of our redesign, please email feedback@showstudio.com

    Recent comments

    1. kate
      17:18 1 Sep 2011
      The new site looks great guys! Its really easy to get around, glad that theres everything up now too.

      Bravo all round i say.x
    2. Liam
      17:21 1 Sep 2011
      Digging the new site folks! Proper nice, a big pat ont'back from me x
    3. AndrewSmith
      17:37 1 Sep 2011
      Wow! This is amazing! I'm hyperventilating right now.

    4. 18:59 1 Sep 2011
      Amazing! Love the new site. Smokey xxxx
    5. NIck
      19:18 1 Sep 2011
      I love so much about the new site, for starters not having to log in to leave comments.
      Well done SHOWstudio.
    6. ChrisSummerfield
      10:49 2 Sep 2011
      Love the new layout of the website. Hope that I can still be involved All the best and well done. Chris
    7. Rob
      11:06 2 Sep 2011
      Do any of these improvements to the interface involve uploading the full uncut version of In Fashion interviews? Would be a DREAM
    Comment
  2. by Alexander Fury .

    First Look: Prada 'Candy' Film Short and 'Making Of' Video

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    For the launch of their latest perfume, Candy, the Italian fashion behemoth Prada turned to famed fashion photographer Jean Paul Goude to create this short film inspired, he said, by inverting the usual battle of the sexes and having the woman lead the man. From a man who helped craft the ever-powerful aesthetic of Grace Jones in the late seventies and early eighties, that's definitely saying something. Here, we showcase not only the film short but also a 'making of' featuring a voiceover from Jean Paul Goude himself, explaining the inspirations that informed the film and allowing a sneak peek behind the scenes on the set of the video shoot.

  3. by Alexander Fury .

    First Look: Dasha Zhukova and her 'Garage'

    The latest magazine created by former POP editor in chief Dasha Zhukova hits newstands later this month. Well, 'newstands' is perhaps incorrect: Garage - an oversized glossy tome of considerable heft - is set to sell at high-end magazine retailers and more than a few galleries.

    In fact, that's the ethos of the magazine as a whole - titled after Zhukova's Garage Center for Contemporary Culture in Moscow and exploring the intersection between the art and fashion worlds. Opening the magazine, that's the first thing that hits you. The pages are peppered with high-fashion - as you would imagine from any contemporary style bible - but equally present is high-art. You don't even need to crack the spine to tell that: the first issue of Garage has three different versions, sporting varied covers. That has become a standard magazine practise in recent years - however, less standard is the fact that one sees model Lily Donaldson transformed into a bulbous-headed doll in Nick Knight and Dinos Chapman's collaboration; one sports a smiley-faced Richard Prince print, and a third is photographed by Hedi Slimane but features no fashion at all. It does, however, feature a Damien Hirst tattoo across model Shauna Taylor's crotch - hidden for modesty's sake (and legality) by a peel-off butterfly.

    Garage is the latest in a series of art-fashion ventures, where the merger of the worlds have become less of a collision and more of a collaboration. Back in February, the Gagosian Gallery Paris mounted Fleurs d'Excès, an exhibition of narcotic-inspired jewellery by Christian Dior designer Victoire de Castellane; London designer Richard Nicoll has been collaborating with seminal punk artist Linder Sterling for two years; and Louis Vuitton has plans for a 'Foundation for Creation' to launch next year, matching their contemporary art-stuffed flagships worldwide (we're talking original Koons and Murakami here, not a Picasso print in a dodgy clip-frame).

    But Garage takes this to a different level. We offered a sneak preview back in June, streaming Nick Knight's collaboration with Dinos Chapman live from the studio floor (the editorial images will be showcased on site in line with the magazine's publication during London Fashion Week), and the collaborations through the magazine continue in the same vein, with pieces from Marina Abramović, Paul McCarthy and Matthew Day Jackson rubbing shoulders with the fashion world elite like Joan Juliet Buck and Giovanna Battaglia, who crafts a series of garments from foodstuffs. Culinary couture or Cuisine-art? A McQueen ballgown rendered in lush lettuce fronds and Vuitton fur coat executed entirely from walnuts definitely tread the line.

    That's fashion going art, but Pinar Yolaçan's work seemed to be art going fashion - her figures were swathed head-to-toe in instantly recognisable Missoni fabrics, faces limbs and even bodies obscured by the vibrant graphics of the fabrics, with more than an air of Leigh Bowery, the grandmaster of s-art-orial extremism, about them. It brings a whole new meaning to the term 'making an exhibition of oneself.' Knight and Chapman's collaboration is intriguing because it fuses the trademarks of both: the macabre, distorted vision of Dinos Chapman, so often obsessed with twisted notions of innocence combines with Knight's urge to push the technical boundaries of image-making and his continuing exploration of ideas of beauty outside of the still-strict confines of fashion's 'norm'. The result? Lily Donaldson as photoshopped Blythe doll in a subversive playhouse pock-marked with glory-holes and anarchic graffiti, but dressed in the best of Autumn/Winter 2011 from Marc Jacobs, Miu Miu and Mary Katrantzou.

    Comments

    1. lauren
      23:49 1 Sep 2011
      So cool
    Comment
  4. by Alexander Fury .

    Absolut Pugh at the W Hotel
    Photography: Matthew Stone

    There's nothing fashion likes better than a really great party - and, it seems, few throw better shindigs than Mr Gareth Pugh. There was his jaunt to Milan with legendary east London clubnight Boombox, his September 2007 fashion week afterparty (replete with Kylie Minogue set, naturally) and just this Tuesday Gareth took over the 'E WOW' penthouse of London's W Hotel for an intimate soirée - 'Reflections of Fashion' - celebrating his collaboration with Absolut vodka. 'Absolut Mode Edition by Gareth Pugh' is the name, and certainly Gareth collaboration is terribly fashionable, re-interpreting a trademark piece from the Pugh archive: those 'Stealth-Bomber' arms from his Spring/Summer 2007 collection.

    'I wanted to create something epic for my collaboration with Absolut. I feel it was important to attempt to enhance the silhouette of the iconic Absolut bottle shape, as after all, shape, proportion and silhouette are the building blocks for any designer.' That was Pugh's take - in Pugh's words - on 'dressing' his Absolut bottle. The fashion crowd who clustered to celebrate his rendition of the bottle included milliner Stephen Jones, stylist Katie Shillingford, art director Simon Costin and artist and photographer Matthew Stone, who captured the impromptu portfolio of images above at the penthouse party.

    Recent comments

    1. Jesper
      04:58 14 Sep 2011
      Any suggestions where to purchase this special Mode edition? Thanks!
    2. Boston
      11:40 24 Oct 2011
      That's 2 clveer by half and 2x2 clever 4 me. Thanks!
    Comment
  5. by Alexander Fury .

    New Vintage
    Marc Jacobs Autumn/Winter 2007 by Nick Knight

    With continuing (or rather continual) rumours circulating as to the as-yet-unnamed of John Galliano's successor at Christian Dior have now alighted on Marc Jacobs of Louis Vuitton, at least according to Women's Wear Daily. As fine a time as any to look back at what I consider to be one of Jacobs' finest moments (albeit not especially Dior): Autumn/Winter 2007, a seventies-meets-thirties collection of strict, severe lines, unadorned elegance and lotsa hats (merci, Mr. Jones) inspired - fancy! - by the idea of 'boring' fashion. Of course, in Marc Jacobs' hands, it ended up being anything but. The collection garnered MJ a nomination for CFDA Womenswear Designer of the Year - and hence was included in Nick Knight's specially-commissioned fashion film The Nominees, alongside young guns Proenza Schouler and old master Oscar de la Renta, modelled by Agyness. Watch Ms. Deyn work those wide brims, wider trousers and some major colour-blocking in this true fashion film 'moment' - and see if you can spot Nick Knight's own cameo appearance...

  6. by Alexander Fury .

    Next SHOWstudio Shop show - 'The Café'

    Preparations are well underway for the latest SHOWstudio Shop show, The Café. I physically restrained myself from punning on 'percolating' or 'brewing' there, as this latest show, curated by SHOWstudio Shop director Carrie Scott, is an ode to the old-fashioned cup of Joe. In fact, it's much more: inspired by coffee culture and café society from the coffee shops of seventeeth-century Europe through eighteenth-century salonistes and the artist-thronged cafés of fin de siècle Montmartre right through to our own 'bucks, Frapuccinos and pop-up baristas, the exhibition will see our own Bruton Place base transformed into a coffee shop for the occasion. Artists and designers included in the show run the gamut from photographer Steven Meisel to the inventive duo Rebecca & Mike to London avant-garde milliner Piers Atkinson. More details will be dribbling onto the site as preparations progress through the coming weeks, the exhibition itself opening on Fashion's Night Out, 8 September 2011.

  7. by Alexander Fury .

    Wedding Belle: Katie Shillingford and Alex Dromgoole's stylish wedding celebrations
    Photography: Amy Gwatkin

    At the risk of sounding like a trite excerpt from Sex And The City: The Movie, when news of SHOWstudio favourite Katie Shillingford's nuptials hit our HQ the reaction was one of extreme excitement. Ms Shillingford's trademark style - showcased in the pages of Dazed & Confused, on the catwalks of Gareth Pugh, Craig Lawrence and Viktor & Rolf and across more than a few films here on SHOWstudio - guaranteed a Fashion Statement (capitalisation intentional), although the celebration of her marriage to Alex Dromgoole was low-key and informal.

    Married on 29 July in Eltham Palace, an Art Deco set-piece in Greenwich, Shillingford's attire underlined the mood: a face-framing veil by Stephen Jones topping a grey slashed silk dress with a sinuous thirties line by long-term collaborator and even longer-term friend Gareth Pugh. Maquillage came courtesy of Alex Box, while the finger-waved Harlow-style hair was by Alex Brownsell, albeit in a decidedly contemporary shade of cerise (ditto Shillingford's chain-festooned manicure, documented here by Amy Gwatkin). Bridesmaids Karen Langley, Nell Kalonji, Hanna Hanra and Shillingford's niece Tilly all wore Craig Lawrence, Gary Card created the set and decoration and London jewellery Dominic Jones designed the rings. A true family affair - fashion family included. Heartfelt congratulations to both Alex and Katie from all at SHOWstudio.

    Comments

    1. paul.herron
      11:21 27 Aug 2011
      Beautiful images.
    Comment
  8. by Alexander Fury .

    Resort 2012: Prada

    For any woman hankering after the reconfigured Lily Pulitzer florals, impressionistic post-war golfer scribbles or geometric silk bowling shirts that look as if a bored seventies housewife went stir-crazy with a Bedazzler from Prada's Spring/Summer 2012 menswear collection - fear not! Miuccia is never one to leave her loyal customers disappointed, and mined the exact same inspiration for her 2012 Prada Resort collection. In fact, a few of the garments seemed lifted straight from her men's wardrobe: the aforementioned slinky shirts and rhinestoned satin jackets, for one, came slightly oversized and free from any feminine shaping. I'm not sure if it's just me who detects a whiff of Quentin Crisp in the crisply folded foulards and jaunty berets, but certainly their dandyish air had a whiff of fey masculinity to it. Femme, rather than feminine, you might say.

    Putting berets and cravats regrettably to one side, it was lady-like all the way, skirts knee-length, blouses buttoned-up, and necklines rounded demurely below the clavicles. Some of the more prim and proper elements seemed a throwback to Mrs Prada's terribly Sincere Chic of S/S 2000. Indeed, the lip-print from that collection popped up a few times, across a pinched-collar crepe de chine blouse, a slouched hat, or a few neat pochette bags with clunky bakelite-alike chain-link straps. At other times, it emerged as just one of four or five clashing in single outfits - acid flower-power capri pants, oversized and undersized lipstick smackers and a brown-and-beige seventies geometric, say, or those pouts doing the rounds on a beret alongside a windowpane-check pinafore, nailhead silk scarf or waxed denim bag strewn with Quant daisies. Sounds like a hard sell? Hardly, especially not with Prada's iconic print past doing quick business on eBay, and the rest of the collection composed of the kind of sickly-sweet pastels, off textures and covetable accessories the name Prada is synonymous with, this was business as usual.

  9. by Alexander Fury .

    Les Smokings - Hayward's History

    What better illustration of the history of Hayward than a list of the famous clients they have dressed? Although, this list isn't scribbled on any old piece of paper, but written across a selection of archive patterns brought in by Ritchie Charlton, which formed the basis of suits for some of Britain's best-dressed gentlemen. Our list today includes George Best, Paul McCartney and the Duke of York (and, for those less than eagle-eyed amongst you, an American visitor in the form of Woody Allen at the bottom of this photograph).

  10. by Alexander Fury .

    Les Smokings - Hayward: The man behind the label

    We've publicised this stream under the name of Hayward, the storied London tailoring house founded by Doug Hayward that has suited up some of Britain's true pop-culture icons (we're talking Michael Caine, Jackie Stewart and Richard Burton).

    Ritchie Charlton - the man actually pad-stitching, steaming and seaming this jacket into existence - also has something of a storied career. Prior to becoming Managing Director of Hayward, Charlton lead the acclaimed ready-to-wear line at Kilgour, French and Stanbury since 1998, becoming director of the company alongside Carlo Brandelli when rebranded as Kilgour in 2003. That tailoring house was of course responsible for a shift in the image of Savile Row - from stuffy to sleek, via razor-sharp minimalist tailoring that took a turn on the Paris catwalk (the critics weren't so much effusive and down-and-out hyperbolic in their praise).

    Prior to this, Charlton worked with a selection of the greatest names in British fashion, including the now-closed London couture house of Hartnell, based just around the corner on Bruton Street and famed as wedding and coronation gown supplied to Her Majesty. Charlton's work was during the final flurry of Hartnell's couture business, with former Dior head Marc Bohan as chief designer in the early 1990s (a position Vivienne Westwood was also allegedly in the running for). Today, however, Charlton's work is of the most traditional and masculine sense, as he finishes the first stage of work on our tuxedo jacket.

  11. by Alexander Fury .

    Les Smokings - Hayward: A look inside

    Layers of interlining and interfacing have been hand-stitched together, forming a 'skeleton' to sit underneath the wool of the tuxedo jacket. Strategically strengthened at vital points (four layers of fabric under the armhole, for example, rather than the three elsewhere), this underlayer is the most important part of the jacket, literally sculpting the fabric around the body. Ritchie Charlton originally trained as a coat-maker - although in tailoring-speak a 'coat' means any garment that has sleeves - and generally he now focusing purely on cutting the coat rather than sewing a piece from start to finish, especially given the demand from clients. This is therefore an even rarer treat than we first realised, as we catch Charlton hard at work creating an entire custom-tailored Hayward piece.

  12. by Alexander Fury .

    Resort 2012: Giles

    Nattier, Rigaud and the buttoned-up femmes of the Ancien Régime is hardly the inspirational fodder you expect to be taking centre-stage in a Giles collection - after all, Giles Deacon is a designer who has Pacman as a muse, sent out bags in the shape of gremlins and dinosaurs, and stuffed a pile-up of Minis with gerbera daisies as a set for a show where Anna Dello Russo trotted out in fondant-fancy lace clutching stuffed toy sheep named 'Fungaro'. Straight-laced - or faced - he ain't. But the frills and furbelows of Versailles were the inspiration behind Deacon's latest offering for resort, but updated for 2012.

    The update came through Deacon's steadfast removal of any element of stiffness - even his duchesse satin Watteau-back gowns in shades of navy and Rose de Pompadour had a fluidity of movement to them. Paniers became gathered fullness belling out at the hem of short shifts, and the whaleboned corps of court costume were reinterpreted as an intricately-seamed cap-sleeve top fanning out across the hips of skinny cropped trousers. The ladies of the court themselves cropped up, in a print of Nattier's rose-strewn portrait of the Marquise d'Antin - Giles mirrored it, refracting it almost into abstraction, or chopped up its composite parts so garlands of flowers danced across simple crepe de chine tops or draped bias dresses. Giles has evidently learned a trick from his time at Ungaro: these gowns had a distinct Parisian polish to them, not to mention a liquid drape that attests to many hours spent with the Ungaro flou atelier. A gold lamé-threaded gingham had a touch of Versailles gilt to it - albeit Versailles via Vegas, the kind of bad-taste tack Giles loves so much to deflate anything that may have looked even slightly pompous. Although with Deacon's deftness of touch, that was never really an issue, was it?

    Returning to that humour, it must be noted that Deacon's stand as the finest lookbook shots of the entire resort season. Catch the moving gremlins, miniature dolls, the man himself and even Fungaro making Hitchcockian cameos in these ad-hoc, off-cuff shots of an accomplished collection that could never be described as either.

  13. by Alexander Fury .

    Resort 2012: Marios Schwab

    A designer ever-intelligently questioning fashion's conventions through his intricately thought and wrought clothing, Marios Schwab was the last designer you'd expect to take the idea of a Resort collection literally. Then again, maybe it was the season's alternative moniker, Cruise, that provided the inspirations for Schwab's keynote print, a selection of sea-shells, coral and aquatic do-dads that ran riot across Schwab's ever-controlled and spare shapes. It's amusing to see them mislabelled as 'floral', in the same way that prints derived from muscle-tissues and bone samples in Schwab's S/S 2008 collection flummoxed the critics.

    Glancing at his back-catalogue isn't something Schwab does very often, but this collection had a touch of the greatest hits to it. Which, for resort, is just what you want. The silhouettes were generally short and suctioned-in, bar one skinny, floor-length frock that recalled Schwab's infamously sinuous (read: practically immobilising) A/W 2008 collection. The other dresses were slightly more forgiving, in muted tones of taupe, teal and a zing of mustard. The life aquatic print emerged on these as subtly fetishistic strips harnessing waist, breasts and shoulders, or re-interpretations of the metallic plates with which Schwab made his mark back as a Fashion East fledgling. Sometimes the strapping was elastic, gently puckering his jersey into tactile drapes of fabric across the body. If that all sounds a bit buttoned-up and buckled-down for resort, Schwab sliced open his clever clogs frocks and inserted sections of chiffon to flash a few slithers of aerobicised flesh.

  14. by Alexander Fury .

    Haute Couture A/W 2011: A Means to an End

    Haute couture week is officially over. Well, just about - Azzedine Alaïa has just staged his Autumn/Winter show, his first in almost a decade, and a few jewellery showcases are dragging the 'weak' (sic) to a limping finish. Mr Alaïa not only has the last word when it comes to the couture designs, but his views on fashion in general ring true. 'We don’t need to think in seasons anymore; we need to think about beautiful clothes.'

    The best collections this week have taken that as their raison d'être, exactly the way it should be at couture. Valentino was bare-faced beauty, pure and simple. Well, not so simple: whorling ribbons of lace and organza around the body, speckling tulle with sequins fading in and out of graphic pattern and lining strict coats in delicate chantilly lace aren't the easiest couture tricks in the book, but Maria Grazia Chiuri and Pier Paolo Piccioli - and their workrooms - rose to the challenge with the greatest of ease. It was a salutary effort, for the house and for couture as a whole.

    I'm still brooding over Givenchy's haute couture outing - perhaps after reading the outpourings of praise from the fashion pack eulogising Riccardo Tisci's effort. But should a new season's haute couture offering really inspire eulogy? Tisci's garments were beautiful, but off the body they seemed dead, already readied to be enshrined in museums never to be touched by human hands (or by anything bar acid-free tissue). Looking on them on a technical level, they were stunning. The garment most often highlighted was a gown crafted from hand cut 'sequins' of chantilly lace. That one took a month of work - as in, if you totted up the hours it took to slice, stitch and fit, it would amount to a month of round-the-clock working, some 744 hours or thereabouts. It's that kind of workmanship that boggles the mind, and undoubtedly deserves applause whether clothing a body or museum mannequin.

    The same is true of Jean Paul Gaultier, once the new boy on the block but a dab hand at couture nowadays. The beauty on the Gaultier catwalk always hath some strangeness to it. This time, we had fur and feathers flying - for peacock males too, as Gaultier returned to his love of homme couture. He's launching a male perfume, in case you were wondering - Kokorico, the title derived from the French onomatopoeic term for a cockerel's crow. The Gaultier male, cocksure as ever, crows through his couture, with beaded transparent trews, fur trimmed jackets and a neat line in skirts for men. Gaultier's done those before, but here it was the old ideas that were the stand-out successes. A feathered frock referencing his 1997 couture debut was stunning, as was a fluffy Fair Isle rendered in down, a masterpiece of the plumassier's terribly specific art executed by Lemarié. We saw it in 1998, but the great thing about the timeless beauty of haute couture is that it looked just as good, if not better, today. Maybe that occurred to Gaultier when preparing his latest one-man show - a retrospective at the Montreal Museum of Fine Arts. Lucky for us, Gaultier didn't see any reason to keep his archive enshrined - he got it back in action, on the human body. That's what fashion, even haute couture, should be all about.

    Comments

    1. ChrisSummerfield
      10:51 2 Sep 2011
      I love the new layout of the work and website. Hope that I can still be involved.xx Chris
    Comment
  15. by Alexander Fury .

    Haute Couture A/W 2011: Worth Couture

    Despite Parisian protestations, haute couture isn't a French art-form. It was founded by Charles Frederick Worth who, as the name suggests, was an Englishman. The House of Worth opened its doors in 1858, establishing not only haute couture as an industry but the idea of designer as fashion dictator. Worth may have dressed every woman of note from the Empress Eugenie down, but it was Charles Fredrick who called the shots, allowing no dissent and no discussion of his aesthetic decisions.

    The House of Worth closed its doors in 1952 - but has now been revived, with Italian Giovanni Bedin at the helm and enviable house archives to draw upon. Bedin's creations revel in the idea of couture as spectacle: it isn't so much about modernising Worth as celebrating its heritage. His latest offering for A/W 2011 takes its inspiration from the corset, and perhaps more notably from the crinoline, which Worth popularised and is often credited with inventing. Bedin titled his collection 'A Gilded Cage' - ironic, really, given that a woman's position in society at the height of Worth's Second Empire popularity and influence was often described as a gilded cage, luxurious but constrictive. Bedin's slant was slightly less psychological and more playful, winding grosgrain-bound boning in undulating shapes around the waist, breasts and hips of his predominantly short and dramatically-proportioned pieces.

    There were hints of Gaultier circa Madonna Blonde Ambition in the criss-crossing stays that sometimes reared up the torso to bell around the breasts, and Bedin's short, highly-worked dresses felt less 1850s and more 1980s, with shades of Lacroix's poufed skirts, exuberance and sometimes questionable taste. Than again, the same could be said of Monsieur Worth - his early patron, Princess Pauline von Metternich, was known for being what we would term 'flashy', an accusation as often held against Worth's gowns as the woman who wore them. The longer dresses Bedin proposed in stark black and white seemed more in keeping with the hallowed tradition of haute couture elegance, where the curlicues of whalebone acted as an accent to the figure rather than a distraction from the design.

  16. by Alexander Fury .

    Haute Couture A/W 2011: Loewe Love

    Haute couture week seemed like a terribly apt time for Spanish luxury leather house Loewe to introduce the press to their made-to-order line of clothes and accessories. It was an 'introduction' rather than a launch because this has been a thriving area of Loewe business for years, accounting for 70% of the brands total clothing sales. Evidently Loewe's customers figure that if they're spending a small fortune on a piece of leathery outerwear, they may as well spend a smudge more and have it crafted exactly as they like.

    The made-to-measure service doesn't just apply to clothes: clients can order the brand's handbags in custom skins and shades, ranging from signature golden suede through rich shades of ostrich and calfskin, to glazed crocodile in boiled-sweet sorbet (that model clocks in at £20k, in case you're considering). Loewe creative director Stuart Vevers has also used the made-to-order service to resurrect best-sellers from the house's archive alongside his own designs. This time, a stiff-framed semi-circular bag from 1953 taps into the brand's lady-like chic story from their A/W 2011 collection.

    A couture unveiling makes perfect sense - after all, who is more likely to drop five figures on a bag than the couture-clad mavens who drop closer to six on an evening-gown? Unlike the couture shows, Loewe's trunk-show isn't confined to Paris. The made-to-order service is offered to cliques of clients across Europe, North America and the far east, placing their orders six months ahead for delivery of one-off pieces to coincide with winter. But even in mid-July the urge to mollycoddle yourself in layers of hide and fur was almost irresistible. Factor in the sweltering heat of midsummer Paris, and that's quite some shelf appeal.

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