Review for "Class Act" by Sarah Haight in W Magazine

In the article, Sarah Haight asserts that “San Francisco’s sprawling Academy of Art University [is looking] to compete as a serious school of fashion.” With her portrayal of the school’s highly acclaimed administrators, Simon Ungless and Gladys Perint Palmer, Haight generates a cogent set of reasons for the school’s up-and-coming status. Not only does she reference the two esteemed backgrounds of acclaimed fashion studies and industry experience, but she also reveals their long-standing devotion to the betterment and advancement of the university. The sense of respectability and achievement held throughout the article is displayed through the high standards maintained by the instructors: in no more than the first year, every fashion student must know how “to draw, cut, sew, and drape.” Haight seeks to change the university’s perceived image of a low-tier fashion school in order to reveal the Academy as “the world’s best fashion school you’ve never heard of.” She establishes an honest tone towards an audience of interested and educated individuals. In regard to whether the Academy of Art University is portrayed in a negative or positive light, Haight displays a ray of optimism in her article.

Balmainia

Since 2006, Balmain has offered a freshness that can only be attributed to the talents of Christophe Decarnin, named artistic director of the prestigious label. The 65-year-old French fashion house has been able to pull itself out of rockbottom (aka bankruptcy) and establish a once-again groundbreaking brand. Succeeding Pierre Balmain and Oscar de la Renta, Decarnin quickly demonstrated his ability to convey an edgy approach to a classic line. Adored by celebrities and craved by aspiring fashionistas everywhere, Balmain has been able to break tradition thanks to Decarnin.

Decarnin himself has commented on the importance of holding true to Pierre Balmain: “it is very important to hold the spirit of Balmain, and I think about him everyday.” When it comes to inspiration, Decarnin is no stranger to the life and legacy of Balmain (the man and the label). Pierre Balmain was born in 1914 and studied architecture in Paris, but left school to work for fashion designer Edward Molyneux. Balmain founded his own house in 1945 and incorporated his studies of structure and build into his elegantly shaped and draped designs. He, along with Christian Dior and Cristobal Balenciaga, was responsible for reintroducing luxury into a post-World War II fashion world. His sophisticated, fashionable looks were a preference among royals and movie stars alike, ranging from Marlene Dietrich to Katherine Hepburn to Sophia Loren. Continuing to Dress the likes of Ava Gardener and Bridgitte Bardot, Balmain rose to fame and fortune all while popularizing an iconic look: simple, tailored suits and evening gowns with the same aesthetic of slender and elegant lines. He designed clothes for 16 different films, as well as his eponymous line, throughout his life. Until his death in 1982, Balmain was seen as the man to epitomize elegance and style in his brand.

The journey from Balmain to Decarnin, however, was not as lovely as the fashion world had hoped it would be. Balmain’s assistant, Erik Mortensen, took over until 1990, and two years later, Oscar de la Renta joined. From 1992 to 2002, de la Renta designed couture for the house until Laurent Mercier took over. The glory days were dwindling for the classic brand, and soon the house fell under financial burden and subsequently filed for bankruptcy. Today, the ingenious French designer Christophe Decarnin guides the house.

Without fear, Decarnin has taken Balmain away from its soigné mode and recreated (with much approval) a more contemporary, edgier vision. Born in 1964 in the city of Le Touquet, Christophe Decarnin began his passion for resuscitation at an early age. Fascinated by the images and style of 50s Hollywood films, Decarnin left home for Paris at seventeen to attend ESMOD, Paris’s most prestigious fashion school. Soon after, he spent seven years as head designer of ready-to-wear for Paco Rabanne. In 2005, revived and ready to make a come back, investors recruited Decarnin to revitalize the fashion house.

Geared towards a younger customer and in a boulder direction, Decarnin has successfully aroused “Balmainia.” Apart from influencing other designers’ work, the change can also be seen in the Balmain’s revenue: in 2009 the mass income amounted to $28 million. Sales have doubled since his appointment, and that is only the beginning. For a label that was once known for ultbraelegant evening attire complete with pletes and draping, the designer has taken the label to a whole different level. Replete with embellished necklines, short hemlines, fringe, appliqués, sequins, chain mail, and a skintight silhouette, the collections of Balmain have come a long way.

Decarnin has seemingly been able to spin thread into gold. Balmain has since become one of the most expensive clothing lines ever--a sparkly tee is $3,000, dresses are $12,000 to $22,000, and jackets are $5,000. So what is making women go crazy for seemingly overpriced attire? Kate Phelan, Vogue’s fashion direction, sounds like she may have a theory: “It's become a cool label. Quite trashy, but glamorous, rock 'n' roll and sexy, and there's a lack of that in fashion." Customers are aware that it is an investment. The fashion house is a name that people trust and Decarnin has achieved a sought-after line. A new tone is being given--a sexy, youthful one--that not many other designers are offering.

Icons ranging from French Vogue editor Carine Roitfied to award-winning director Sofia Coppola have skyrocketed Decarnin into legendary status. Despite the sudden rise in success, the designer does not love the celebrity endorsement, but rather enjoys the cultivation of mystery. Talent and discretion have supplied Christophe Decarnin with a five-times sales turnover for one of the most prestigious French designing houses.

Decarnin with his bitches.

Ankle Report

With all the crazy hosiery variations going on lately, only one trend has been making consistent comeback over the decades: the ankle sock. Established in the late 20s and popularized in the 50s, along with poodle skirts and cat-eye glasses, the ankle sock has become one of America’s lasting adornments of an era. They’re affordable, comfortable, and respected amongst women of class everywhere: what’s not to love?

Formerly deemed the “bobby sock,” the ankle sock has periodically come back into fashion as stylists and designers commonly reference the 40s and 50s time periods. Worn with a sense of nostalgia, the socks have been visited by veritable fashionistas such as Katherine Hepburn. The thing about ankle socks is that they can allude to any number of decades; whether a 20s female golfer (à la The Great Gatsby’s Jordan Baker) or a 50s teen (perhaps Grease’s Sandy?) is attempting to be conveyed, the ankle sock is a sure bet for paying dues to the past.

Now, whether you blame the recurring androgynous footwear fad, a subconscious desire to bring back the roaring 20’s growth of economy and decadence, or a candid sentimentality for sock hops, there is no denying that the ankle sock is appearing on a diverse bunch of feet.

However, it is merely not enough to own a pair of ankle socks to deem oneself a trendsetter; it is what one does with those socks that truly transports the modern era of fashion with the past to create a new look. Previously, the socks were classically worn with a pair of Oxfords or various types of loafers along with a below-the-knee skirt (the poodle dog was optional). Today, woman can wear ankle socks in an innumerable amount of ways.

To unquestioningly ‘rock’ the socks, one must first understand the principles of proportion and anatomy. Ankle socks typically look best on lean legs...but then again, doesn’t everything? The important thing to keep in mind when donning an under-the-knee sock is the length. A higher sock is typically going to make the leg look longer and slimmer, and a shorter sock is going to shorten the leg line. Have no fear, however, because the proper shoe will determine whether the socks are ‘hot or not.’

As seen in the 2010 Spring RTW’s, bothChristian Dior and Burberry Porsum demonstrated an ankle sock ubiquity in their shows. To draw a comparison to these shows and the popularity of ankle socks since then, one must look at how the designers approached the socks: long, bare legs and kneck-breaking heels. Equilibrium was in full effect for the two collections as barely there legs were balanced out with playful ankle socks and full, generous tops. Still, there are many more ways to tackle the ankle sock--as seen in the Fall 2010 RTW, Marc Jacobs took a different route when designing around the socks. Through references to both the 40s and 50s, Jacobs’s socks were paired with flats and mid-calf length dresses and skirts. Sticking to neutral colors (the same light gray colored socks were never changed), the stability of the collection was grounded. As Burberry stuck to this kind of mentality, Dior chose to accessorize with sparkly, tight, and colorful ankle socks throughout his collection.

As stated before, the ankle sock is nothing new, but that does not mean that it can be worn with anything. The appropriate ensemble and pair of shoes is what can ultimately determine the success of the socks. However, when in doubt, look to early-adapter Alexa Chung to unlock all ankle sock secrets--she seems to have the best luck with them.