Jennifer Morrison attended the LA Premiere of her new movie “Warriors,” which was held at the Arclight in Hollywood yesterday.
The blonde actress chose this beautiful champagne-coloured Jacques Fath Haute Couture silk satin cocktail dress, which she picked up from renowned LA vintage mecca Decades Inc.
Her vintage strapless dress features intricate bronze and gold embroidery with a belted waist.
Jennifer accessorized with a pair of matching pointed-toe pumps and a large cocktail ring.
She wore her hair up in a very pretty curled style, leaving a few face-framing strands.
This is such a beautiful look on Jennifer and I love that she kept her accessories, hair and makeup simple, allowing her gorgeous dress to shine.
I can imagine this being even more breath-taking in real-life.
Credit: Getty
There was plenty to take in at last night’s opening party for Rag & Bone’s new store on Mercer Street. For starters, the petite blond in tiny gray flannel shorts chatting with designers Marcus Wainwright and David Neville proved to be Sienna Miller. And no, readers of The New York Times, she’s not dating either. Actually, Neville’s wife, Gucci Westman, was in on the chitchat as she bounced their young son Dashel. Hung on the walls were blow-ups of Joseph Holmes’ photographs, which depict Ye Olde Curiosity Shoppe-esque workspaces, inviting some self-congratulation on the clutter of one’s own workspace. (The store will in fact have a rotating selection of photography. Next up: Mark Borthwick.) In contrast, the record collection stacked behind the bar invited reflection on the relative suckiness of one’s own vinyl cache.Eventually, however, the eye alighted on a current fashion rarity—comfortable shoes. Sneakers! Pancake-flat lace-up boots! Something best described as the love child of Dr. Martens and mukluks! Has the reign of the skyscraper platform come to an end? “We’ve been doing really well with the shoes,” said Wainwright, picking up a pair of cone-heel ankle boots that are reportedly blowing out. “This is about three inches,” he said. “Which isn’t so bad. Walkable.” Not that Rag & Bone has shied away from introducing a few nosebleed high pairs to its expanded collection of shoes for Spring 2010. “We’ve got a few four-inchers,” he admitted. The heel is dead, long live the heel.—Maya Singer
“It’s inspired by that winsome time period in your life that she just captured so well,” Wren designer Melissa Coker said last night of What’s Up?, the short film by Gia Coppola presenting her Spring ‘12 collection (and Fallon jewelry collaboration). “Everything from the way Gia captured light to the performances was so inspiring.” The film made its official debut during New York fashion week in September, but last night, Coker and Coppola set up shop at Kristen Lee and Brady Cunningham’s West Hollywood boutique Tenoversix, where they were joined by the likes of Clémence Poésy, Nora Zehetner, Allison Miller, and Fashiontoast’s Rumi Neely, for the film’s coming-home party of sorts.To tell her story, Coppola—along with Lula’s Leith Clark as stylist and creative director—chose a teenage protagonist and set her against a languid Los Angeles afternoon haze. Filmed on location at Coppola’s mother’s house during what Angelenos affectionately dubbed “Carmageddon,” the movie shoot faced its challenges when the city effectually shut down as the famed 405 freeway was closed for repairs. It was that isolation that rang true for Coppola’s heroine, 16-year-old Bella Zarember. “We were at my mom’s house with the freeway in the foreground and we just felt stuck. The feeling of that weekend began to really shape the project,” she told Style.com before the screening. Equally influential was Coppola’s own southern California upbringing. “Just being back in my room,” she recalled of the experience, “it reminds you of that feeling of not being able to drive and just feeling confined.” Cue the signature Coppola take on teen angst—an unlikely but fitting backdrop for Coker’s playful Spring collection.
Hollywood legend Edith Head holds the distinction of the most Academy Award nominations ever: 35, for her work designing costumes for some of the great pictures and stars of cinema’s golden age. (She won eight, and you can see her work in Sabrina, To Catch a Thief, Vertigo, The Ten Commandments, All About Eve, and Funny Face, which she co-designed with no less than Hubert de Givenchy.) And even with all of that, she found time in the late sixties to pen a how-to guide to style. Next week, How to Dress for Success gets the full reissue treatment ($19.95, abramsbooks.com). Some of Head’s wisdom may seem a little retrograde to the reader of the aughts, but her salty wit and curlicue prose hold up quite nicely. (Not to mention her original black-and-white line drawings, complete with helpful suggestions: “Too big! Too much! Too heavy!”)Here’s Head on “How to Dress to Get a Man…And Keep Him”: “The contents of this chapter may be a shock to the woman who feels that the less she wears in pursuit of a man the better. To her we can only say that while the boys ogle and applaud the charms of Venus Unadorned in art galleries, night clubs, and between the covers of some magazines, it’s the covered girls rather than the Cover Girls they invariably marry.” It’s what you might expect the typing pool at the Mad Men office to tell one another—although Edith, unlike them, goes into more detail concerning each specific type of man you might hope to land, from the football fan (”dress warmly! There’s nothing more revolting to the rugged gridiron enthusiast than a shivering, complaining female whose only comment about the game is ‘I’m freezing!’ “) to the far-out intellectual (”What would be the shy man’s chloroform is this man’s meat”).And, despite the occasional feminist-riling bit of man-trapping, there are also plenty of celebrations of all women, great and small (and charts for how to dress either, and everyone in between). “One of the few fallacious quotations ever attributed to our beloved and revered forefather Benjamin Franklin was, ‘With a pillow over their heads all women look alike,’ ” begins the chapter on “How to Analyze Your Figure.” “Knowing women’s figures as I do, I would have to tell dear old Ben to go fly his kite. If he were alive today, I’d take him into my designing room where stand hundreds of white cotton and fabric torsos which are replicas of the figures of famous movie stars whose wardrobes I create. There’s no such thing as a standard size movie star, or woman for that matter.” She should know—she dressed them all.
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