Haute Potture

So often, we use the word 'magical' to describe a particular kind of fashion aesthetic; something beautiful that somehow, in its fabric,  design, construction and fall on the body evokes an idea of the 'other'. Something from the wondrous depths of the human imagination.

One only need look to: Valentine, Elie Saab, Meadham Kirchhoff; Dolce & Gabbana a/w 14; a Mark Jacobs (a/w 12, a/w 13) or Lagerfeld show (s/s 12).

Or a Harry Potter movie.

Bear with me, I’m not going to start discussing in minute detail the warp and weft of Ron Weasley’s pyjamas. Instead, my aim is to pay homage to the costume designers, assistants and a number of stand-out costumes that will, wonderfully, live on for ever through the magic of film.

So, let's start at the top. The big man. Dumbledore.

  

The craftsmanship and attention to detail seen in Dumbledore’s robes is mesmirising. With gossamer-like embroidery and sheer sorcerous wafting-ability, the Hogwart's Head has serious style power. And thanks to the Warner Bros tour, you get to see every stitch up-close and personal. No glass cabinet masking the splendour of light hitting fabric or suffocating the art of a beautifully-designed garment.

Intricately woven by the hands of elves (well, probably)

Discussing costumes featured during the eight, formidable Harry Potter films, without mentioning the dreamlike, pivotal Yule Ball from the fifth instalment, The Goblet of Fire, would be like going to school without the threat of a psychotic dark lord pummelling every school year.

It was of course when Hermione stepped out of her Griffindor robes, tamed her wild, auburn locks and wowed her fellow classmates in this, a beautiful and very clever ball gown. Girly enough not to belie her young years yet just grown-up enough to make Ron and Harry's jaws drop to the floor - the power of a dress to secure a man’s heart for ever. 

Muggles and wizards alike know how spell-binding coordinated accessories can be

And who could forget the utter triumph of the Beauxbatons Academy of Magic uniform?

Beautiful, whipped felt hats, classic brogues with an ultra-feminine update and a silk cape in the most powdery of powder blue... Clémence Poésy as Fleur Delacour looked resplendently - and dutifully - French. Yet again, the costumiers (including designer, Jany Temime) perfectly balanced character, story and sartorial sorcery.

The real magic here? The undeniable power of fashion, costume - call it what you will - to define a moment, weave into a setting, story or character and make it real.

v

Country dreams - Oscar de la Renta

It's funny. You might think haute couture isn't relevant to the poor kid in a run-down town or the country girl - who often doesn't bother with make-up as the beings she sees on her thrice-weekly run is more likely to have four legs than two - that is, until someone like Oscar de la Renta passes away.

Shockwaves reverberate wherever and for whomever when a legendary fashion designer is no more.

The first American designer to create haute couture for a Paris fashion house, de la Renta began creating his synonymous collection of breathtakingly beautiful clothes in 1965 having had previously studied under Cristóbal Balenciaga, and worked for Lanvin, Dior and Elizabeth Arden in Paris.

For me, de la Renta fulfilled the dreams of the women he dressed (celebrities dream too, you know) and allowed women the world over to continue to dream. Who could forget the rose pink dress made by de la Renta for Carrie Bradshaw's "Date with the Russian"? The Slavic artist may have given me the heeby jeebies from day one but that dress... sigh.

More recently, Amal's wedding dress?

The stuff that dream are made of. Sentimental? Yes. Unashamedly so.

Of course, the American couturier didn't just do gowns. Pant suits, shift dresses, shirts... everything had de la Renta's signature opulence and grace. The kind of clothes women want to wear to feel, well, womanly.

"Fashion is only fashion once a woman puts it on". True, Oscar but can't beautiful clothing be so much more than 'fashion': a feeling, a dream, an escape, an art....

Whether worn or only seen, Oscar de La Renta's work is sure to be truly appreciated by every urban and rural princess for ever more.

v

Chatsworth

A girl - very happily - in mud

So much emphasis in this country is put on its cities. Nay, London. 

I L-O-V-E love London. Best city in the world hands down.

But I don't live in the capital. I live in the countryside. Northamptonshire to be precise; home county of the British Grand Prix, Silverstone; the British shoe industry and Princess Diana's family estate and resting place, Althorp. 

I live in a medium-sized village in a petite cottage with my fiancé and three-month kitten, Roger.

Having spent a limited amount of time gaining work experience in the fashion media industry in Sweden last year and hankering for life in the capital to start my career in fashion journalism I decided to take a different approach and investigate for myself the relevance of high-end fashion outside of London.

Does fashion exist out here in the sticks?

Do country folk care about how much Christopher Bailey earns now as Chief Creative and Chief Executive Officer at Burberry? Or who sat FROW at Elie Saab's latest couture show?(damn them all, jealousy doesn't begin to cover it)

Along the way I'll also be looking at country pursuits, attitudes, art and style starting with a look at how important the traditional English garden is to high fashion. I'll be discussing the beauty of the rose, the poppy and, heck, even the humble daisy; revelling in the great British summer with rural villages fêtes and fairs, and indulging in a little aristocratic dress and history.

Flowers, fields, fashion, houses, pubs, birds and reasonable rent. Say hello to a girl - very happily - in mud.

v