A little while back I got a mailing from Barney’s. Most likely they sent it in recognition of last year’s giddy Narciso Rodriguez LBD. Or an exorbitant tube of Cle de Peu concealer I ran in to replace, but that’s another story. It was a large black and white book, maybe 11×14. Fashion Week for Fall 2011 had just finished, and mysteries of the catwalk were still fresh in my mind.
I tore out the pages that I found most interesting, to scan. These are they. Above, Azzedine Alaia. Let’s all chant “Waistline, waistline, waistline.” Louder please. Below, a look I quite favor, and easier to pull off, from Jil Sander. Pockets, even. The dodgy light makes even comfort compelling.
In this day of high-resolution everything, instant online shopping, and relentless wardrobe planning, there’s still room for a little low-fi. When you magnify print beyond useful enlargement, the page turns into what looks like hordes of tiny lamps, flaring and blurring. There’s space between the dots. A very smart CEO once told me that marketing is as much about what you leave out as what you say.
Above, L’Wren Scott, up close. I rarely hanker after her stuff, but black and white print tones this skirt down enough to provoke a happily raised eyebrow.
Below, a Chanel-style jacket at Proenza Schuler, skirt under repair. The models appear not to care one whit. I no longer lead a life with occasion or the means to wear clothes like this very often. But doesn’t Barney’s do a good job of inciting desire? More so than many of the full-shine ads in Vogue et. alia?
Sideways glances and a yellow and black color block dress. I don’t remember who made it. I don’t even like yellow, or color blocking. But in black and white this looks like a satin shell, which I do like. There’s room for interpretation and the all-too-helpful contributions of one’s imagination.
Evocative. Now that’s the word I was looking for.
Images: All by Barney’s. You can see pictures from the campaign here, online, but it’s not the same.