Amy Winehouse photographed by Hedi Slimane

Perhaps due to the uncertainty surrounding the cause of Amy Winehouse’s sudden death, another question has emerged in the days following: is she or is she not a style icon? It was a post on New York Magazine’s fashion news blog The Cut that first tipped me off to this debate. They cite an article written by British fashion critic Lisa Armstrong during the height of Winehouse’s popularity, which expressed outrage that publicists in the industry were attempting to make her outfits desirable.

Sure, fashion publicists can be an insufferable bunch, but should we really let that discredit Winehouse’s wholly original look? Many music critics have eulogized her with bombastically written articles claiming that her music was the one thing she had control over. To that I say, really? When you get down to it, her unique look was essentially an extension of her musical aesthetic. It was dirty doo-wop brought to life, a physical manifestation of her cuss words sung over sweet melodies. This dichotomy is what made her such a thoroughly fascinating person. She lived a rock and roll lifestyle whilst emulating the family-friendly sounds of ’50s and ’60s girl groups.

Winehouse’s appearance may have been disheveled, but you’d have to be quite deluded to think that it was anything but calculatedly so. Someone who put no effort into their appearance could never maintain a beehive as mythically perfect as hers. She often wore tennis clothes, an emblem of conservatism if ever there was one, but offset them with a fit that, on her often emaciated frame, suggested a griminess all her own. In the past few years, she had been collaborating with Fred Perry, the British company known for its polo shirts that have become popular with the irony-loving indie crowd.

In today’s tabloid culture, where celebrity worship effectively dominates the mainstream knowledge of fashion, the concept of a style icon is a bit misguided. Many seem to have the impression that, as Armstrong suggested, a style icon is supposed to be some sort of guide of what to wear. However, there is a distinct difference between someone who is perceived as well-dressed and someone possessing an iconic look. “Iconic” is a bold word. It is often applied in inappropriate contexts.

Model Isabeli Fontana as Winehouse in Vogue Paris

Perhaps the best way to determine whether someone is a style icon or not is to imagine their look being worn on another person. Could you tell who they were meant to look like? Throw someone in an audacious minidress and sky-high heels. Does she look like Kim Kardashian? On the other hand, put someone in a slinky white dress with a a carefully coifed blonde bob, red lipstick, and a beauty mark. Congratulations, they’re Marilyn Monroe. The same applies, naturally, to a Fred Perry polo shirt, a miniskirt, a pair of nude ballet flats, a giant black beehive, and winged eyeliner. Numerous fashion spreads circa 2008 can attest to it.

So, in effect, you can’t really be a style icon unless someone can dress up as you for Halloween. The word iconic suggests an immediate resonance. In the worlds of music and film, icons are generally those who we’re on a first name basis with. In terms of style, iconic is a combination of elements that always add up to suggest one person, almost like a mathematical formula. A style icon is distinct, memorable, and original. I’ll be damned if Amy Winehouse didn’t check every box.

Last summer when I spent a week in Key Largo, my 16 onces of sunscreen got confiscated at the airport. As soon as I had unpacked, I set off looking to purchase a replacement, and soon met an eccentric giftshop owner who tried to convince me the sun protection product she sold was the meaning of life. $8 seemed like a rip off for the small bottle i purchased but i soon found it was worth every penny- http://www.solrx.com/inc/sdetail/177 most sunblocks have a “reapply every few hours” warning printed somewhere on their label, but you used this stuff once and you were fully protected. FOREVER (or at least until you scrub it off with soap and scalding water…)

If you didn’t find this post in time and are currently sporting the lobster look, click here

Versace

Starting with last season, Donatella Versace has been experimenting with reappropriating the heritage of her family’s brand. Last season she playfully spliced up the house’s logo, this season she worked with another traditional print. Her manipulation was much more straightforward this time around, however; she scaled the print so large that only the tiniest detail would cover an entire dress. Indeed, her delving in the archives has never exactly been direct. She seeks to modernize everything she reintroduces, and this collection was a prime example of that. A few looks were especially thrilling–a black and white coatdress comes to mind–but you get the impression Versace could have dug deeper. In spite of that, however, this was a pleasingly on-beat outing.

Moschino

The uniform has been making waves this season, especially in Milan, and Moschino had the most direct inspiration yet. The models, in their impeccably cut suits and perfectly rounded hats looked like either bellhops or drivers with the utmost pride in their job. These are the service workers who polish their badges and shine their shoes every night. On the other end of the spectrum, when the girls were out of their constricting uniforms, there was a sort of free-flowing creativity to their clothes. It was surprisingly bold and well-executed, given that Moschino doesn’t necessarily have a reputation for making garments like that. Gold also made an impressive showing, especially since we haven’t really seen any this season.

Etro

An Etro show is what the person who coined the term “melting pot” had in mind. Veronica Etro borrows freely from any culture that strikes her fancy, and the results are a lovely collision. This season, however, the multicultural elements were less obvious, and instead a sort of bohemian spirit prevailed. Plaids were everywhere–they seem to be something of trend this season–as were oversized, relatively rugged coats. As usual, the mix was just right.

Gianfranco Ferre

Coming Soon!

Blumarine

Coming Soon!

Alrighty then! Come back tomorrow for Bottega Veneta, Jil Sander, Roberto Cavalli, Emilio Pucci, & Moschino Cheap & Chic.

Prada

Last season, the Prada show started with a bang: a flash of fluorescent light followed by an exhilarating, colorful collection. This season started much more gently, by contrast. In an all white room, Miuccia started the collection out with a few classics. From there, the collection could’ve gone anywhere. There were snakeskin boots, aviator-like oversized sunglasses and caps, and somewhat boxy proportions. Perhaps those were just distractors, however; because it was actually those seemingly generic black coats that became a jumping-off point of sorts. Evidently, Miuccia was thinking about purity and innocence, as well as her all time favorite muse: the schoolgirl. But in case your knowledge of schoolgirls is heavily reliant on fetish porn, this show should provide a reality check. In actuality, schoolgirl uniforms are all about unflattering pleats, awkward shapes,  and outdated plaids. Miuccia goes against the grain whenever possible, refusing to sexualize her clothes, and often settling for what is widely considered ugly. It’s easy to produce beautiful, unimaginative fashion; but she unequivocally says that’s not enough. Her off-kilter clashing combination of blown-up plaid in bright colors and two-tone snakeskin boots is one that leave most questioning what they think is beautiful clothing. Those looks were the real meat of the collection, the takeaway of the theme, but perhaps my favorite looks were the fur-covered ones. Fur detailing has been all over the place this season, but it takes something really out-there to stand out from the pack. Miuccia’s take was to have nondescript, plain-jane coats and dresses and then make them appear to literally sprout fur like a Chia Pet. Those looks were wacky but fascinatingly beautiful. For the final looks, Miuccia layered dull sequins together to make matted, blurry dresses. The effect was abstract and interesting, though it didn’t add much to the theme. All in all, the collection left you a lot to think about. It was a real statement in the “what is ugly?” category, and it’s sure to inspire intense debates in the days to come.

MaxMara

Your “no white after Labor Day” grandma is rolling in her grave (or her chair. I don’t wish death to your grandmother). The MaxMara show began with a progression of ethereal winter white. Having made that statement, the show evolved into an interesting mix-match theme. After last season, it seems MaxMara is working to move away from its reliable, conservative image and venturing into more modernized territory. This season had a few plays on that idea, notably a wool coat with a large fur patch on it, which is far more interesting than either a plain wool or fur coat. There were also some worn-in looking pieces, which had a nice approachable touch to them that isn’t always associated with the brand. All in all, it was a successful effort, and the revamping of the brand’s image is going well.

Fendi

Sometimes it seems that Karl Lagerfeld doesn’t exactly know what to do with Fendi. Sometimes it’s hip and modern, occasionally it’s upscale and ladylike. It’s never really been a must-see collection, but sometimes it will surprise you. Last season’s outing was a coolly composed refreshing spring collection. Continuing in that same vein, this season had a lovable schlub vibe to it. Fall and winter are often hard to dress for without looking a little bit messy and overwhelmed, and Lagerfeld seemed to be embracing that. Sure, he’s not one to accept faults or glorify flaws, but the overall look to the collection had a sneaky element of comfort and effortlessness. Outerwear, as it tends to in fall collection, made a big impression. But these were coats that were easy to imagine being worn day after day. They didn’t look untouchable as many runway looks often can. And that is precisely where these past two Fendi collections have succeeded: they have something special to offer. Here’s hoping Karl keeps it up.

D&G

Where’s the controversy? I would like to allege that Stefano and Domencio were more inspired by Express Yourself than Lady Gaga. Indeed, there was a strong day-glo 80′s theme running throughout, especially if you looked at the Converse-esque shoes. Then again, D&G isn’t exactly noted for its subtlety. If you can’t glean any of the inspiration from a D&G collection, you probably have no business analyzing things. This season, they began with a scrambled letter motif, which would be interesting if I was 5 and learning the alphabet for the first time. I’m not, however, and so that idea sort of fell flat. You can’t pour alphabet soup on everything and hope that jazzes things up. All that being said, however, you know what to expect going into a D&G collection. It’s painfully obvious, but it is what it is.

Alright, that about does it for now. I hope you enjoyed today’s shows. Tomorrow brings us Moschino, Etro, Gianfranco Ferre, Blumarine, and Versace. Get a good night’s sleep! That’s eight hours, you repeat-offender insomniacs. Get off Twitter.

Gucci

Frida Giannini has not been the most celebrated designer at Gucci in history, and that is not exactly unjust. Her work has never been very polarizing or idiosyncratic. She has never led a movement. She’s a perfectly capable designer, but she’s not inspiring revolutions. One thing to her credit, however, is that she’s the queen of the 70′s reference. Seriously, she’s been exploring the 70′s as a source of inspiration for years now. Now that they’ve finally come back into fashion, it seems she’s not squandering the opportunity to bask in her favorite decade. Her clothes had a lot of commonality with those of Marc Jacobs last season. It had the same dressy-casual feel to it, and the same loose but luxurious sentiment. Particularly beautiful were a couple of coats toward the middle. It was that point where you stop scrutinizing and start simply taking a show in. The pace got derailed a bit with some ill-advised largely sheer evening gowns, but those solid looks more than made up for it. All in all, it was Giannini’s best effort at the house in memory, and possibly one of the best of the season so far.

Alberta Ferretti

Compared to last season’s austere minimal effort, this season’s Alberta Ferretti collection was positively electric. That was clearly not lost on Ferretti, who put shapes resembling lightning bolts on some dresses. It was colorful, glossy, somewhat 60′s influence, and there was never a dull moment. I’d be lying if I said I didn’t prefer last season’s effort, but it was a valiant attempt. There were moments that had be verging on a cringe, but it was by and large a successful showing.

Alright, you crazy biznatches. Do I even have to say it? Tomorrow. Is. PRADA!!!!!!!!!!! Oh, and MaxMara, Fendi, D&G, and Albino.

Mary Katrantzou

Mary Katrantzou had a breakthrough last season with her architecture-inspired collection of wearable art, which won the adoration of critics across the world. Perhaps she didn’t see it as as much of a turning point as everyone else did, however, because she didn’t exactly proceed from there this season. Instead the collection began with some riffs on print explosion–geometric prints worn with busy floral tights, for instance. Gradually, she brought some of the prints from last season’s collection back, and that was by far the highlight of the lineup. That being said, however, this was far from a worthy follow-up to that last brilliant collection. Katrantzou had quickly gained fame the good old fashion way: with pure talent and ingenuity. But she didn’t make good on the promise of that collection this time around, and for that reason her showing was quite a disappointment.

Marios Schwab

Marios Schwab served up simplicity this season, and ladylike, considerably conservative clothes were on the menu. It must get exhausting, being a constantly colorful London designer, and some of them seem to be having their minimal moment. You can’t blame them, but they’re hopefully the only ones still stuck on that trend. The collection wasn’t too bad, but it didn’t make much of an impression. Then again, it wasn’t until I saw the sneaky details on Schwab’s collection last season that I gained a reasonable level of respect for it, after, of course, I wrote a less-than-favorable review. Well, sir, I apologize. I hope you have some serious tricks up your sleeve this season, too.

Aquascutum

Aquascutum’s got a brand new design director, and a revamped appearance to match. Though it can often be one of the more traditional British brands, this season’s collection had a colorful, funky verve to it. There was more diversity in the looks as well, which has sometimes been a problem for the label. All in all, it was a promising debut sizzling with revitalized energy.

Alright, it was a short but sweet day. Come back tomorrow for our first update from Milan, with shows from Gucci & Alberta Ferretti!

Burberry Prorsum

Christopher Bailey has been highly regarded for transforming Burberry into a modern brand, appealing to the young women of today with his own brand of essentials. Last season, however, he was heavily criticized for sticking to that aesthetic a little too hard. As his outlook became a bit outdated, he somewhat stubbornly stuck to motorcycle jackets and minidresses. Well, it was a lesson learned, it appears. He seems to have realized that perhaps the best way to move his Burberry into the future is to look to the past. This season had a very dressy, 60′s air about it, from the matchy-matchy accessories to the curvy, womanly shapes. Bailey was sly, however. He stuck to his signatures, like military jackets and trenches, making slight tweaks to fit the theme of the show. All in all, it was far more invigorated and exciting than last season’s limp effort, and it dealt with its perhaps cliched inspiration in a fresh and unique way.

Peter Pilotto

Peter Pilotto is known for his prints, and he made good on that reputation in his show today. The seemingly haphazard mixture of patterns, paired with bleached and faded fabrics, seemed to imply a literal explosion of prints. There were plaids and stripes and checks, among others, but the technique employed ensured that it never got to be too much. If you were able to get past all the prints, there was some satisfying if uninspired colorblocking. The shapes were somewhat of a sequel to his effort last season, including long dresses with high, tied necks and loose, full-cut trousers. Spring’s effort may have been more accomplished and interesting, but this was a decent follow-up.

Pringle of Scotland

Pringle of Scotland had a homespun vibe about it, with a plethora of blanket-like knits and cozy fairisle patterns. It was a bit reminiscent of Chanel’s last fall collection at times, especially when fur was thrown in the mix. Despite that, however, it was an overall pleasing collection, chock full of pieces that will surely be appreciated when next year’s bitter winter rolls around.

Christopher Kane

Christopher Kane’s show started out a bit earthy, but he quickly left earth to explore other planets. Gradually,the show evolved into an odd sort of juxtaposition: semi-conservative ladylike clothes detailed with intergalactic-looking translucent tubes. If there’s one woman in here, she appears to live a triple life. Kane has certainly had better collections and made better efforts, but, to his credit, his work is very rarely bland. He is a fan of a striking contrast, which sometimes works quite well (his floral on leather collection from a couple seasons back, for instance), but can also leave you scratching your head. Sadly, this season’s output seemed like the latter, but it was a valiant effort, and you can’t blame him for that.

Erdem

Erdem had a prim and proper feel to it last season, with delicate floral prints and lace that was more Puritan than naughty. Evidently, however, that girly woman has seen the world by now. This season’s follow up swapped the florals for abstracts, the whites and reds for dark, sensuous colors, and brought back the lace under a whole new context. Perhaps it has something to do with the idea of spring versus fall. While those bright, feminine frocks may be a delight come springtime, one needs something a little darker to survive the reality check of winter. Either way, both sides of the spectrum suit Erdem. Though it’s hard to imagine what the resort collection will look like.

Paul Smith

It’s a man’s world! Paul Smith is better known for his menswear than his menswear, so it’s no surprise that he decided to do a heavily menswear-inspired collection such as the one he showed today. And it’s a good thing, too. If you don’t like girls in slouchy men’s suits and nerd glasses, than I don’t think I want to talk to you. The models looked like modern day Annie Halls, though perhaps a bit less sloppy. Honestly, this is a collection that defies analysis. It’s just sooo cute.

Mark Fast

Mark Fast knows his way around a gimmick. He first gained press for using plus size models which, to his credit, he still does. His clothes, what the people stayed for, were primarily focused on a unique webby construction. It was quite interesting, at first, but you obviously can’t maintain a fashion brand with only one idea. Gradually, Fast has been adding to his repertoire, though he’s yet to show that he has much to offer beyond that initial novelty. This season there were a lot of broad, boxy knits, which were not a new development for him, but they seemed to be moreso the focus of the collection than they have been in the past. His aesthetic seems to be that warrior woman thing, but I don’t have to tell you how far past the expiration date that is. The problem is that, as I said, when you have an audience hooked, you want to show rapid growth and development in your first couple of shows. Hype can be a great start to a career, but it can also kill one. I’m not pronouncing Fast’s brand dead, but I’d say its life expectancy is shortening.

Giles

There are more parallels than you would think between fashion people and nuns. They devote their lives to a non-human entity, they are often found dressed in black, they worship and obsessively quote their icons. Whether Giles Deacon was thinking of these similarities himself is unclear, but it was hard not to see the divine nunspiration (that was nunspired) behind his latest collection. Whereas he’s never shied away from a big, ridiculous statement, there was incredible control behind this effort. The color pallate was kept largely to black and white, the silhouettes were tight and strict, and the fur details were handled as minimally and effectively as possible. Perhaps Deacon means to say he is more than his “crazy” persona. These were wonderful clothes, for any designer, among some of the best so far this season.

Well, that about does it. Come back tomorrow for our last installment in London, with shows from Mary Katrantzou, Marios Schwab, Aquascutum, and Meadham Kirchhoff.

Jonathan Saunders

Jonathan Saunders’ clothes have an almost doll-like playfulness to them. That’s not to say that they’re not practical; they’d have a place in many closets, but he simply doesn’t register as a “real women” commercial designer. He seems to have somewhat of an obsession with perfection when it comes to the fit and ideology behind his designs. It’s a no-hair-out-of-place philosophy, but it isn’t exactly intimidating, either. Perhaps Saunders finds looser, untamed silhouettes too messy; indeed, some of those indecisive hemlines and oversized cuts can often look like they need a designer’s attention, and not that they’ve had one’s. His aesthetic isn’t “short and tight,” necessarily, but it is body conscious, without being the sort of futuristic “bodycon” we’ve come to know in recent years. This season’s effort seemed like a natural progression from spring’s terrific collection, including some pieces that were lifted and shown in different colors and styled differently, including a belted blazer with sort of rounded, tapered sleeves. Jewel tones made an impression, especially pretty emerald greens. When he got past the basics, Saunders showed some colorful prints that seemed to have tropical underpinnings; perhaps the Prada effect is going to come more into play in the bolder European shows. All in all, it was a decisive, skilled lineup, which is somewhat refreshing after seeing a lot of nondescript, relatively bland collections in New York. Sure, we’re talking apples and oranges here, but London can always be counted on for a burst of vibrancy after a bleak New York season.

Acne

Acne was heavy on the utility this season. Workwear was ironically made as impractical as possible in reimaginations such as leather overalls with capri-length legs. Acne’s runway collections are nothing if not avant garde, but you had to wonder a few times throughout the lineup whether they were trying too hard. Sure, experimenting with traditional clothes and reinterpreting them in new fabrics and new sensibilities is always appreciated as a methodology, but it’s much more appreciated if it has a purpose. Unfortunately, there didn’t seem to be much in the way of that at Acne this season. Better luck next time, I suppose.

Mulberry

If anything, I love London because it’s so easy to understand what you’re looking at. No, these designers aren’t scared one bit of being gleefully literal, which was on full display at Mulberry. There was an obvious utility inspiration, as evidenced by frontal cargo pockets, which would be great for smuggling things in style. There were also dogs walking down the runway, which I guess is neat if you’re in to that sort of thing. Either way, it was a fun, classically quirky collection, a great way to start things off in London.

Antonio Berardi

Antonio Berardi knows a thing or two about balance. His show began with some heavily textured all white looks, then evolved into graphic black and white looks, then finally exploded into a string of intricate, luxe eveningwear. His unexpected combination of elements, however, is what sets him apart. Where else could you find delicate lace, hardy shearling, and glossy metallics all in one place? Berardi has an eye for glamour, but he can also surprise you, which is a great skill to have in your arsenal.

Unique

Cruella DeVille, is that you? Yes, the infamous villain of 101 Dalmatians fame seemed to be very much the building at Topshop’s Unique show, especially in the first few looks that evoked DeVille’s long lusted-after dalmatian fur coat. Thankfully, however, there probably wasn’t any real dog fur on display. If you needed further affirmation of the reference, however, there were some graphic tees with cartoon dalmatians on them. And that’s where some of the true oddness of this show lies. Though Cruella DeVille seems like the perfect ironic muse to grow up a little bit, the show didn’t seem firmly gripped to that theme. The show was, to put it mildly, inconsistent, but the results did, oddly enough, add up at times. Cruella’s never looked so good.

Matthew Williamson

Is it even worth mentioning fur anymore? It’s everywhere this season. Everywhere. Regardless, Matthew Williamson find a way to use it that captured my attention, so I suppose it is worth a mention. Williamson’s approach this season seemed to be very collage-y. Whether it was through color blocking, patchwork, or artful patches of fur, there was an impression that each combination required deft skill to be successful. Ombre fur, which now seems to be becoming somewhat of a trend, made an appearance. All in all, it was a characteristically eclectic and exuberant effort from Williamson, a job well done.

Temperley London

Interestingly enough, a lot of designers seem to be making a push for rich, unbridled eveningwear this season. Though many have long claimed, perhaps rightfully so, that the distinction between eveningwear and daywear is disappearing with the times, old school glamour seems to be making a comeback. Perhaps it’s Tom Ford’s return, as a champion of after dark apparel, that’s spawned this resurgence, but it seems to be a movement that is largely being orchestrated by younger designers, like Prabal Gurung and, now, Alice Temperley. Her Temperley London show was an even mixture of bold day looks and dramatic evening looks. Perhaps we can take this as a sign that designers are feeling less hampered by economic troubles at this point in time. Finally, they’re making bigger statements again, and it’s exciting to see.

Alright, day one and two of London are a wrap. But do come back for day three, with offerings from Peter Pilotto, Pringle of Scotland, Christopher Kane, Burberry, Paul Smith, Mark Fast, and Giles!