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fashiontipsfromcomicstrips: Denis Medri Gives Batman and Friends a Rockabilly Makeover [link] Artist Denis Medri created a series of 1950s-inspired redesigns of characters from Gotham City, transforming Batman’s friends and foes into a stylish cast of rockabilly vigilantes, varsity team sidekicks, and sinister Teddy Boys. From Bruce Wayne’s Batmobile-styled hot rod to Catwoman’s Bettie Page-invoking getup, Gotham has never looked this darn peachy keen. Pulling inspiration from the ’50s and pop culture, Medri’s rendition of Gotham City is an absolute delight that successfully fuses nostalgia with the Bat-Universe. Barbara Gordon’s redesign pulls directly from Grease, translating the dynamic between Barbara and her alter-ego as Batgirl by borrowing fashion cues from Sandy’s wardrobe. Likewise, Medri’s interpretation of Two-Face resembles a split personality between Happy Days’ Richie Cunningham and an evil Fonzie, while The Riddler greatly resembles 3-D from Back to the Future. Although most of these redesigns contain a degree of costuming elements with the masks and cowls, Medri’s illustrations serve as fine examples of how to adapt the signature styling elements of the Bat-family and Arkham’s finest into casual yet unique cosplay options, if not wearable retro street fashion. The Nightwing varsity jacket serves as a great styling update to the classic superhero emblem t-shirt, with letterman jackets being on-trend over the past couple of years. The restyling of Harley Quinn and Two-Face are a fine example of the striking effects that simple color-blocking, layers, and pattern mixing can have when coordinating an ensemble. Check out the entire series of Denis Medri’s rockabilly Batman redesigns on ComicsAlliance!
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fashiontipsfromcomicstrips: Denis Medri Gives Batman and Friends a Rockabilly Makeover [link] Artist Denis Medri created a series of 1950s-inspired redesigns of characters from Gotham City, transforming Batman’s friends and foes into a stylish cast of rockabilly vigilantes, varsity team sidekicks, and sinister Teddy Boys. From Bruce Wayne’s Batmobile-styled hot rod to Catwoman’s Bettie Page-invoking getup, Gotham has never looked this darn peachy keen. Pulling inspiration from the ’50s and pop culture, Medri’s rendition of Gotham City is an absolute delight that successfully fuses nostalgia with the Bat-Universe. Barbara Gordon’s redesign pulls directly from Grease, translating the dynamic between Barbara and her alter-ego as Batgirl by borrowing fashion cues from Sandy’s wardrobe. Likewise, Medri’s interpretation of Two-Face resembles a split personality between Happy Days’ Richie Cunningham and an evil Fonzie, while The Riddler greatly resembles 3-D from Back to the Future. Although most of these redesigns contain a degree of costuming elements with the masks and cowls, Medri’s illustrations serve as fine examples of how to adapt the signature styling elements of the Bat-family and Arkham’s finest into casual yet unique cosplay options, if not wearable retro street fashion. The Nightwing varsity jacket serves as a great styling update to the classic superhero emblem t-shirt, with letterman jackets being on-trend over the past couple of years. The restyling of Harley Quinn and Two-Face are a fine example of the striking effects that simple color-blocking, layers, and pattern mixing can have when coordinating an ensemble. Check out the entire series of Denis Medri’s rockabilly Batman redesigns on ComicsAlliance!
Zoom
fashiontipsfromcomicstrips: Denis Medri Gives Batman and Friends a Rockabilly Makeover [link] Artist Denis Medri created a series of 1950s-inspired redesigns of characters from Gotham City, transforming Batman’s friends and foes into a stylish cast of rockabilly vigilantes, varsity team sidekicks, and sinister Teddy Boys. From Bruce Wayne’s Batmobile-styled hot rod to Catwoman’s Bettie Page-invoking getup, Gotham has never looked this darn peachy keen. Pulling inspiration from the ’50s and pop culture, Medri’s rendition of Gotham City is an absolute delight that successfully fuses nostalgia with the Bat-Universe. Barbara Gordon’s redesign pulls directly from Grease, translating the dynamic between Barbara and her alter-ego as Batgirl by borrowing fashion cues from Sandy’s wardrobe. Likewise, Medri’s interpretation of Two-Face resembles a split personality between Happy Days’ Richie Cunningham and an evil Fonzie, while The Riddler greatly resembles 3-D from Back to the Future. Although most of these redesigns contain a degree of costuming elements with the masks and cowls, Medri’s illustrations serve as fine examples of how to adapt the signature styling elements of the Bat-family and Arkham’s finest into casual yet unique cosplay options, if not wearable retro street fashion. The Nightwing varsity jacket serves as a great styling update to the classic superhero emblem t-shirt, with letterman jackets being on-trend over the past couple of years. The restyling of Harley Quinn and Two-Face are a fine example of the striking effects that simple color-blocking, layers, and pattern mixing can have when coordinating an ensemble. Check out the entire series of Denis Medri’s rockabilly Batman redesigns on ComicsAlliance!
Zoom
fashiontipsfromcomicstrips: Denis Medri Gives Batman and Friends a Rockabilly Makeover [link] Artist Denis Medri created a series of 1950s-inspired redesigns of characters from Gotham City, transforming Batman’s friends and foes into a stylish cast of rockabilly vigilantes, varsity team sidekicks, and sinister Teddy Boys. From Bruce Wayne’s Batmobile-styled hot rod to Catwoman’s Bettie Page-invoking getup, Gotham has never looked this darn peachy keen. Pulling inspiration from the ’50s and pop culture, Medri’s rendition of Gotham City is an absolute delight that successfully fuses nostalgia with the Bat-Universe. Barbara Gordon’s redesign pulls directly from Grease, translating the dynamic between Barbara and her alter-ego as Batgirl by borrowing fashion cues from Sandy’s wardrobe. Likewise, Medri’s interpretation of Two-Face resembles a split personality between Happy Days’ Richie Cunningham and an evil Fonzie, while The Riddler greatly resembles 3-D from Back to the Future. Although most of these redesigns contain a degree of costuming elements with the masks and cowls, Medri’s illustrations serve as fine examples of how to adapt the signature styling elements of the Bat-family and Arkham’s finest into casual yet unique cosplay options, if not wearable retro street fashion. The Nightwing varsity jacket serves as a great styling update to the classic superhero emblem t-shirt, with letterman jackets being on-trend over the past couple of years. The restyling of Harley Quinn and Two-Face are a fine example of the striking effects that simple color-blocking, layers, and pattern mixing can have when coordinating an ensemble. Check out the entire series of Denis Medri’s rockabilly Batman redesigns on ComicsAlliance!
Zoom
fashiontipsfromcomicstrips: Denis Medri Gives Batman and Friends a Rockabilly Makeover [link] Artist Denis Medri created a series of 1950s-inspired redesigns of characters from Gotham City, transforming Batman’s friends and foes into a stylish cast of rockabilly vigilantes, varsity team sidekicks, and sinister Teddy Boys. From Bruce Wayne’s Batmobile-styled hot rod to Catwoman’s Bettie Page-invoking getup, Gotham has never looked this darn peachy keen. Pulling inspiration from the ’50s and pop culture, Medri’s rendition of Gotham City is an absolute delight that successfully fuses nostalgia with the Bat-Universe. Barbara Gordon’s redesign pulls directly from Grease, translating the dynamic between Barbara and her alter-ego as Batgirl by borrowing fashion cues from Sandy’s wardrobe. Likewise, Medri’s interpretation of Two-Face resembles a split personality between Happy Days’ Richie Cunningham and an evil Fonzie, while The Riddler greatly resembles 3-D from Back to the Future. Although most of these redesigns contain a degree of costuming elements with the masks and cowls, Medri’s illustrations serve as fine examples of how to adapt the signature styling elements of the Bat-family and Arkham’s finest into casual yet unique cosplay options, if not wearable retro street fashion. The Nightwing varsity jacket serves as a great styling update to the classic superhero emblem t-shirt, with letterman jackets being on-trend over the past couple of years. The restyling of Harley Quinn and Two-Face are a fine example of the striking effects that simple color-blocking, layers, and pattern mixing can have when coordinating an ensemble. Check out the entire series of Denis Medri’s rockabilly Batman redesigns on ComicsAlliance!
Zoom
fashiontipsfromcomicstrips: Denis Medri Gives Batman and Friends a Rockabilly Makeover [link] Artist Denis Medri created a series of 1950s-inspired redesigns of characters from Gotham City, transforming Batman’s friends and foes into a stylish cast of rockabilly vigilantes, varsity team sidekicks, and sinister Teddy Boys. From Bruce Wayne’s Batmobile-styled hot rod to Catwoman’s Bettie Page-invoking getup, Gotham has never looked this darn peachy keen. Pulling inspiration from the ’50s and pop culture, Medri’s rendition of Gotham City is an absolute delight that successfully fuses nostalgia with the Bat-Universe. Barbara Gordon’s redesign pulls directly from Grease, translating the dynamic between Barbara and her alter-ego as Batgirl by borrowing fashion cues from Sandy’s wardrobe. Likewise, Medri’s interpretation of Two-Face resembles a split personality between Happy Days’ Richie Cunningham and an evil Fonzie, while The Riddler greatly resembles 3-D from Back to the Future. Although most of these redesigns contain a degree of costuming elements with the masks and cowls, Medri’s illustrations serve as fine examples of how to adapt the signature styling elements of the Bat-family and Arkham’s finest into casual yet unique cosplay options, if not wearable retro street fashion. The Nightwing varsity jacket serves as a great styling update to the classic superhero emblem t-shirt, with letterman jackets being on-trend over the past couple of years. The restyling of Harley Quinn and Two-Face are a fine example of the striking effects that simple color-blocking, layers, and pattern mixing can have when coordinating an ensemble. Check out the entire series of Denis Medri’s rockabilly Batman redesigns on ComicsAlliance!
Zoom
fashiontipsfromcomicstrips: Denis Medri Gives Batman and Friends a Rockabilly Makeover [link] Artist Denis Medri created a series of 1950s-inspired redesigns of characters from Gotham City, transforming Batman’s friends and foes into a stylish cast of rockabilly vigilantes, varsity team sidekicks, and sinister Teddy Boys. From Bruce Wayne’s Batmobile-styled hot rod to Catwoman’s Bettie Page-invoking getup, Gotham has never looked this darn peachy keen. Pulling inspiration from the ’50s and pop culture, Medri’s rendition of Gotham City is an absolute delight that successfully fuses nostalgia with the Bat-Universe. Barbara Gordon’s redesign pulls directly from Grease, translating the dynamic between Barbara and her alter-ego as Batgirl by borrowing fashion cues from Sandy’s wardrobe. Likewise, Medri’s interpretation of Two-Face resembles a split personality between Happy Days’ Richie Cunningham and an evil Fonzie, while The Riddler greatly resembles 3-D from Back to the Future. Although most of these redesigns contain a degree of costuming elements with the masks and cowls, Medri’s illustrations serve as fine examples of how to adapt the signature styling elements of the Bat-family and Arkham’s finest into casual yet unique cosplay options, if not wearable retro street fashion. The Nightwing varsity jacket serves as a great styling update to the classic superhero emblem t-shirt, with letterman jackets being on-trend over the past couple of years. The restyling of Harley Quinn and Two-Face are a fine example of the striking effects that simple color-blocking, layers, and pattern mixing can have when coordinating an ensemble. Check out the entire series of Denis Medri’s rockabilly Batman redesigns on ComicsAlliance!
Zoom

fashiontipsfromcomicstrips:

Denis Medri Gives Batman and Friends a Rockabilly Makeover [link]

Artist Denis Medri created a series of 1950s-inspired redesigns of characters from Gotham City, transforming Batman’s friends and foes into a stylish cast of rockabilly vigilantes, varsity team sidekicks, and sinister Teddy Boys. From Bruce Wayne’s Batmobile-styled hot rod to Catwoman’s Bettie Page-invoking getup, Gotham has never looked this darn peachy keen.

Pulling inspiration from the ’50s and pop culture, Medri’s rendition of Gotham City is an absolute delight that successfully fuses nostalgia with the Bat-Universe. Barbara Gordon’s redesign pulls directly from Grease, translating the dynamic between Barbara and her alter-ego as Batgirl by borrowing fashion cues from Sandy’s wardrobe. Likewise, Medri’s interpretation of Two-Face resembles a split personality between Happy Days’ Richie Cunningham and an evil Fonzie, while The Riddler greatly resembles 3-D from Back to the Future.

Although most of these redesigns contain a degree of costuming elements with the masks and cowls, Medri’s illustrations serve as fine examples of how to adapt the signature styling elements of the Bat-family and Arkham’s finest into casual yet unique cosplay options, if not wearable retro street fashion. The Nightwing varsity jacket serves as a great styling update to the classic superhero emblem t-shirt, with letterman jackets being on-trend over the past couple of years. The restyling of Harley Quinn and Two-Face are a fine example of the striking effects that simple color-blocking, layers, and pattern mixing can have when coordinating an ensemble.

Check out the entire series of Denis Medri’s rockabilly Batman redesigns on ComicsAlliance!

intrigued-by-llamas: modmad: thebohemians-rpsody: Dublin You see, this is what I love about Ireland. Most people would look at that rock and say; “gosh, that’s a pretty cool rock, I wonder how it stays up like that?” No. That is not the right way to do things. The Irish look at that and say; “I’m going to build a house on that fucker.” Thats not in Dublin… It doesn’t even look like Ireland. Correct me if I am wrong, but the whole thing looks photoshopped.
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intrigued-by-llamas:

modmad:

thebohemians-rpsody:

Dublin

You see, this is what I love about Ireland.

Most people would look at that rock and say; “gosh, that’s a pretty cool rock, I wonder how it stays up like that?”

No. That is not the right way to do things.

The Irish look at that and say; “I’m going to build a house on that fucker.”

Thats not in Dublin…

It doesn’t even look like Ireland. Correct me if I am wrong, but the whole thing looks photoshopped.

gq: Seven New Obama Conspiracies!How The Radical Fringe Will Freak Over the New Biography These are hard times for birthers. The moment seems to have passed, the “evidence” rejected. But salvation awaits! David Maraniss’s exhaustive biography, Barack Obama: The Story, stretching from before his birth to the start of his political career, is out this month—and sure to inspire a new wave of conspiracy theories about our Kenyan Muslim commie in chief. GQ contributor Yoni Brenner puts on his tinfoil hat to predict the paranoias to come. Two new theories below. Click here for the rest. Page 159: “Other women—previous girlfriends, later girlfriends and wives—would say that [Barack Obama’s father] had an intense sexual magnetism that seemed irresistible.” SEXERS: Far from coincidental, Obama senior’s Intense Sexual Magnetism, or ISM, was obtained by Kenyan revolutionaries through the Soviets, who undermined British rule with a program of long walks and mind-blowing sex. Page 167: “When the birth notice appeared in the Star-Bulletin…the parents were identified as Mr. and Mrs. Barack H. Obama and their home address was listed as 6085 Kalanianaole Highway.” KALERS: Although Kalanianaole appears to be an innocent street name, it is also an anagram for “Anal Kale-onia”— a bizarre colonic treatment soon to become mandatory under Obamacare.
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gq:

Seven New Obama Conspiracies!
How The Radical Fringe Will Freak Over the New Biography

These are hard times for birthers. The moment seems to have passed, the “evidence” rejected. But salvation awaits! David Maraniss’s exhaustive biography, Barack Obama: The Story, stretching from before his birth to the start of his political career, is out this month—and sure to inspire a new wave of conspiracy theories about our Kenyan Muslim commie in chief. GQ contributor Yoni Brenner puts on his tinfoil hat to predict the paranoias to come. Two new theories below. Click here for the rest.

Page 159:
“Other women—previous girlfriends, later girlfriends and wives—would say that [Barack Obama’s father] had an intense sexual magnetism that seemed irresistible.”

SEXERS: Far from coincidental, Obama senior’s Intense Sexual Magnetism, or ISM, was obtained by Kenyan revolutionaries through the Soviets, who undermined British rule with a program of long walks and mind-blowing sex.

Page 167:
“When the birth notice appeared in the Star-Bulletin…the parents were identified as Mr. and Mrs. Barack H. Obama and their home address was listed as 6085 Kalanianaole Highway.”

KALERS: Although Kalanianaole appears to be an innocent street name, it is also an anagram for “Anal Kale-onia”— a bizarre colonic treatment soon to become mandatory under Obamacare.

paperomance: The Development of Victoria Beckham. My evening has been spent watching Victoria Beckham collections on YouTube whilst snacking on numerous biscuits and drinking full-fat coke, hardly a perfect match when you think of Victoria’s petite frame and body concious collections. But it got me thinking about how Victoria has really developed as a designer since her début collection at New York Fashion Week in 2008. Prior to creating her brand and first collection, Victoria had little-to-no fashion experience or knowledge. Of course she walked at Milan Fashion Week and had a string of magazine appearances, but that was it. She never had her heart set on becoming a fashion designer when she was younger. It was music that caught her attention, and of course as we all know, her dream came true and she was part of one of the most successful pop groups in history. Fast forward several years and it’s hard to believe the former posh spice is now a fully fledged designer with eight collections under her belt. With the first collection for Spring/Summer 2009, Victoria focused on glamour, sophistication, and feminine-chic. No surprise when you’re branded “posh spice”. Examples from this collection include a trompe l’oeil style dress with wrap shirt and fitted skirt for the day time, and a strapless corset with an organza bodice overlay and sequinned hip panel for the evening. Fall/Winter 2009 followed a similar trend, but with this season Victoria experimented with different colours and materials. Examples include a deep purple futuristic capped sleeve silk mini dress, a gold houndstooth boucle sleeveless mini dress, and a beautiful one-shoulder floor-grazing black gown with chenille and metallic details. Spring 2010, Fall 2010 and Spring 2011 stuck to this familiar patten and theme that Victoria had developed a comfort for. Her collections were proving successful and popular, so it’s no wonder she stuck to what the critics liked. It wasn’t until Fall 2011 when Victoria decided to move away from glamorous red carpet designs, and focus more attention on minimalism and urban-chic. She took away the metallics, the cocktail dresses, the frocks, and the elaborate palette. And replaced it with long and lean silhouettes, parkas, and a more sportier take on fashion.  What I find most appealing about Victoria Beckham’s collections is the way she has one idea, and constantly develops that idea over the seasons. Typically Victoria would add new elements each season such as print, embroideries and volume. But what I have noticed since Fall 2011 is how she develops a particular garment over the seasons. For example, the simple crepe dress which is perhaps Victoria’s statement piece since Fall 2011 has seen many alternations over the seasons. Fall 2011’s crepe dress was very minimalistic and simple with a merlot textured crepe 3/4 sleeve square neck dress, whilst Spring 2012 saw the addition of what looked like seat belt straps on a black double crepe floor-lengh dress. And finally for Fall 2012, Victoria added polo shifts to double crepes and made the collection somewhat sportier. The collection even cites Victoria’s son’s baseball outfits as inspiration. Cute, right?  I usually like designers that try something different with each collection, and seek inspiration from new things. And while it is clear that Victoria likes to stick to a familiar style or trend over consecutive seasons, I can’t help but enjoy what she designs. Victoria’s collections always seem fresh and new (in terms of what she’s ever designed in the past). And I find that fantastic especially taking into consideration that she’s not been a designer for that long. Fall 2012 was one of her best collections yet in my opinion, and you know a designer is becoming “successful” when Anna Wintour is front row. You won’t see the queen of fashion at a Kanye West show for some time. I wonder if Victoria will stick to this minimalistic trend for Spring 2013, or will she go back to glam. One thing for certain is her stretchy hourglass dresses are not going anywhere. 
Zoom
paperomance: The Development of Victoria Beckham. My evening has been spent watching Victoria Beckham collections on YouTube whilst snacking on numerous biscuits and drinking full-fat coke, hardly a perfect match when you think of Victoria’s petite frame and body concious collections. But it got me thinking about how Victoria has really developed as a designer since her début collection at New York Fashion Week in 2008. Prior to creating her brand and first collection, Victoria had little-to-no fashion experience or knowledge. Of course she walked at Milan Fashion Week and had a string of magazine appearances, but that was it. She never had her heart set on becoming a fashion designer when she was younger. It was music that caught her attention, and of course as we all know, her dream came true and she was part of one of the most successful pop groups in history. Fast forward several years and it’s hard to believe the former posh spice is now a fully fledged designer with eight collections under her belt. With the first collection for Spring/Summer 2009, Victoria focused on glamour, sophistication, and feminine-chic. No surprise when you’re branded “posh spice”. Examples from this collection include a trompe l’oeil style dress with wrap shirt and fitted skirt for the day time, and a strapless corset with an organza bodice overlay and sequinned hip panel for the evening. Fall/Winter 2009 followed a similar trend, but with this season Victoria experimented with different colours and materials. Examples include a deep purple futuristic capped sleeve silk mini dress, a gold houndstooth boucle sleeveless mini dress, and a beautiful one-shoulder floor-grazing black gown with chenille and metallic details. Spring 2010, Fall 2010 and Spring 2011 stuck to this familiar patten and theme that Victoria had developed a comfort for. Her collections were proving successful and popular, so it’s no wonder she stuck to what the critics liked. It wasn’t until Fall 2011 when Victoria decided to move away from glamorous red carpet designs, and focus more attention on minimalism and urban-chic. She took away the metallics, the cocktail dresses, the frocks, and the elaborate palette. And replaced it with long and lean silhouettes, parkas, and a more sportier take on fashion.  What I find most appealing about Victoria Beckham’s collections is the way she has one idea, and constantly develops that idea over the seasons. Typically Victoria would add new elements each season such as print, embroideries and volume. But what I have noticed since Fall 2011 is how she develops a particular garment over the seasons. For example, the simple crepe dress which is perhaps Victoria’s statement piece since Fall 2011 has seen many alternations over the seasons. Fall 2011’s crepe dress was very minimalistic and simple with a merlot textured crepe 3/4 sleeve square neck dress, whilst Spring 2012 saw the addition of what looked like seat belt straps on a black double crepe floor-lengh dress. And finally for Fall 2012, Victoria added polo shifts to double crepes and made the collection somewhat sportier. The collection even cites Victoria’s son’s baseball outfits as inspiration. Cute, right?  I usually like designers that try something different with each collection, and seek inspiration from new things. And while it is clear that Victoria likes to stick to a familiar style or trend over consecutive seasons, I can’t help but enjoy what she designs. Victoria’s collections always seem fresh and new (in terms of what she’s ever designed in the past). And I find that fantastic especially taking into consideration that she’s not been a designer for that long. Fall 2012 was one of her best collections yet in my opinion, and you know a designer is becoming “successful” when Anna Wintour is front row. You won’t see the queen of fashion at a Kanye West show for some time. I wonder if Victoria will stick to this minimalistic trend for Spring 2013, or will she go back to glam. One thing for certain is her stretchy hourglass dresses are not going anywhere. 
Zoom

paperomance:

The Development of Victoria Beckham.

My evening has been spent watching Victoria Beckham collections on YouTube whilst snacking on numerous biscuits and drinking full-fat coke, hardly a perfect match when you think of Victoria’s petite frame and body concious collections. But it got me thinking about how Victoria has really developed as a designer since her début collection at New York Fashion Week in 2008. Prior to creating her brand and first collection, Victoria had little-to-no fashion experience or knowledge. Of course she walked at Milan Fashion Week and had a string of magazine appearances, but that was it. She never had her heart set on becoming a fashion designer when she was younger. It was music that caught her attention, and of course as we all know, her dream came true and she was part of one of the most successful pop groups in history.

Fast forward several years and it’s hard to believe the former posh spice is now a fully fledged designer with eight collections under her belt. With the first collection for Spring/Summer 2009, Victoria focused on glamour, sophistication, and feminine-chic. No surprise when you’re branded “posh spice”. Examples from this collection include a trompe l’oeil style dress with wrap shirt and fitted skirt for the day time, and a strapless corset with an organza bodice overlay and sequinned hip panel for the evening. Fall/Winter 2009 followed a similar trend, but with this season Victoria experimented with different colours and materials. Examples include a deep purple futuristic capped sleeve silk mini dress, a gold houndstooth boucle sleeveless mini dress, and a beautiful one-shoulder floor-grazing black gown with chenille and metallic details.

Spring 2010, Fall 2010 and Spring 2011 stuck to this familiar patten and theme that Victoria had developed a comfort for. Her collections were proving successful and popular, so it’s no wonder she stuck to what the critics liked. It wasn’t until Fall 2011 when Victoria decided to move away from glamorous red carpet designs, and focus more attention on minimalism and urban-chic. She took away the metallics, the cocktail dresses, the frocks, and the elaborate palette. And replaced it with long and lean silhouettes, parkas, and a more sportier take on fashion. 

What I find most appealing about Victoria Beckham’s collections is the way she has one idea, and constantly develops that idea over the seasons. Typically Victoria would add new elements each season such as print, embroideries and volume. But what I have noticed since Fall 2011 is how she develops a particular garment over the seasons. For example, the simple crepe dress which is perhaps Victoria’s statement piece since Fall 2011 has seen many alternations over the seasons. Fall 2011’s crepe dress was very minimalistic and simple with a merlot textured crepe 3/4 sleeve square neck dress, whilst Spring 2012 saw the addition of what looked like seat belt straps on a black double crepe floor-lengh dress. And finally for Fall 2012, Victoria added polo shifts to double crepes and made the collection somewhat sportier. The collection even cites Victoria’s son’s baseball outfits as inspiration. Cute, right? 

I usually like designers that try something different with each collection, and seek inspiration from new things. And while it is clear that Victoria likes to stick to a familiar style or trend over consecutive seasons, I can’t help but enjoy what she designs. Victoria’s collections always seem fresh and new (in terms of what she’s ever designed in the past). And I find that fantastic especially taking into consideration that she’s not been a designer for that long. Fall 2012 was one of her best collections yet in my opinion, and you know a designer is becoming “successful” when Anna Wintour is front row. You won’t see the queen of fashion at a Kanye West show for some time. I wonder if Victoria will stick to this minimalistic trend for Spring 2013, or will she go back to glam. One thing for certain is her stretchy hourglass dresses are not going anywhere. 

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