Thursday, 9 July 2015


I've seen Alexander McQueen: Savage Beauty at the V&A three times and I'm hoping to get to the show once more before it closes on 2nd August 2015. It's such an exciting show and I've discovered something new each time I've visited.

Savage Beauty has been described as Alexander McQueen's homecoming and we are lucky to have such an amazing exhibition on our doorstep.

Here's an edited version of the speech the V&A's Senior Curator of Fashion, Claire Wilcox, made at the Press opening of the exhibition:

'Alexander McQueen was one of the most influential designers of his generation. His radical and fearless vision changed the way we look at fashion. He provoked with his bumster trousers, he astonished with his dresses made from hand painted glass and razor clam shells, he shocked with his powerful and spectacular catwalk shows that were characterised by a love of storytelling.

Although bold and subversive with his ideas, everything McQueen did was rooted in craftsmanship of the highest level. As you probably know the original version of Savage Beauty took place at the Metropolitan Museum of Art in New York in 2011. It was brilliantly curated by Andrew Bolton, Curator of the Costume Institute, who is also a consultant curator on this exhibition.   

Portrait of Alexander McQueen, 1997. Photographed by Marc Hom
© Marc Hom/Trunk Archive

Sunday, 15 March 2015


As the V&A's spectacular Wedding Dresses 1775-2014 exhibition comes to a close, the curator Edwina Ehrman discusses some of the highlights of the show and reveals what she wore to her own wedding.

Please describe your wedding dress - did you wear a white dress?
I did - I got married in 1976 and, in the end, I wore a Liberty's wedding dress. It was a classic mid -'70's design – so, a high neck, a pin-tuck front, big balloon transparent sleeves and quite a full skirt, plus a train. The bit that made me really feel like a bride was the train. It changed me completely - it was quite transforming.I had a headdress and a veil and I hated the headdress. It was very much the era of the headdress and looking back, it was absolutely vile. Weddings now are very different, because the bride usually has complete control and often the groom, too, due to the financial aspect. A wedding is something that the bride and groom will plan together now. I was completely reliant on my parents to fund the wedding.

1970's Style: Chiffon velvet and machine-made lace 'Faye Dunaway' dress by Thea Porter.
Designed for Susanne Trill when she married James Elliot in Lincoln on 21st March 1970

Wool dress with Celtic scrollwork designed by Jean Muir for Pamela Colin's
marriage to Lord Harlech in 1969

Saturday, 20 December 2014


Here's an interview with Sally Wood, the founder of Sweet Theatre, that I wrote for Harper's Bazaar's website. Love her Shakespearean Leading Ladies chocolate bars:


The Sweet Theatre chocolatier, theatre producer, actress and wife of a Rolling Stone gives Bazaar a look into her life
Picture courtesy of Matt Crockett

As well as working on a new musical of Jackie and touring with her husband Ronnie Wood, Sally launched her highly successful Sweet Theatre range of chocolates at Harvey Nichols last year. A result of her love of baking and Shakespeare, the chocolate bars are named after the Bard’s leading ladies, here she tells us all about them...

When did your passion for baking start?
I lived in the home economics room at secondary school. I had a wonderful teacher called Mrs Adams who taught me all about baking and how to decorate cakes. I was immediately hooked!

Can you remember the first thing you baked and was it a success?
It was a Christmas cake for a school competition; I must have been about 13. I just kept icing more and more silver trees on it and won first prize - possibly for the ‘most trees on a cake’!  I’ve still got a photo of it.

What was the catalyst for launching Sweet Theatre?
I’ve gifted a lot of bakes over the years and eventually started to wonder if I could produce something with a longer shelf life. I worked on the chocolate bars for fun originally, but decided to take them more seriously when they got such a positive reaction.


Here are some festive chocolates treats to try from a recent post for Harper's Bazaar. Created by Sally Wood of Sweet Theatre and international chef, Lawrence Otterburn, the recipes are all inspired by Shakespeare's leading ladies. You can find Sweet Theatre at Harvey Nichols and at


The Sweet Theatre founder and chef Lawrence Otterburn create five mouth-watering recipes exclusively for Bazaar
Juliet's white chocolate, cranberry and chestnut fudge. All pictures courtesy of Matt Crockett.

No food is as synonymous with Christmas and celebrations as chocolate. Here Sally Wood, founder of the Sweet Theatre chocolate company and chef Lawrence Otterburn, share five delicious festive recipes created exclusively for Harper's Bazaar.

Juliet’s White Chocolate, Cranberry and Chestnut Fudge

Prep time: 15 minutes
Cooking time: 10 minutes
Cooling time: 3 hours in fridge
Serves: 20–24 pieces

200g Sweet Theatre Juliet white chocolate (broken into pieces)
350g golden caster sugar
30g unsalted butter
Pinch of salt
125ml evaporated milk
1 tsp vanilla extract
50g dried cranberries
50g roast chopped chestnuts
Icing sugar to decorate

1. Place sugar, butter salt and evaporated milk into a large solid based pan (copper or Le Creuset are best) and heat gently until everything has dissolved.
2. Increase heat and bring to the boil, stirring constantly, for around 5 minutes (it should start to reach a soft ball stage which you can check by dropping a little into a glass of cold water or using a sugar thermometer).
3. Take your fudge mixture off the heat and stir in chocolate and vanilla extract until smooth.
4. Leave for 5 minutes and fold in cranberries and roast chestnuts.
5. Pour into a large flat silicone or tin tray and chill in fridge until set, you could also use greased baking tray or individual silicone chocolate moulds to make single pieces.
6. Cut into 20-24 pieces and sprinkle with icing sugar to serve.


I spent a lovely morning with Nick Rayne and Laurence Dacade of Rayne at London Fashion Week recently. Here's the Q&A with Laurence that I wrote for Harper's Bazaar's website. I'll be posting my interview with Nick Rayne and lots more images very soon:


The designer and committed anglophile talks footwear, British heritage and stepping into the future
Picture courtesy of Rayne

As the talented French footwear designer introduces her second collection for Rayne, Laurence Dacade discusses the relaunch of the quintessentially British luxury brand with Harper’s BazaarOriginally launched in 1885 by Henry and Mary Rayne, the brand has collaborated with designers Roger Vivier and André Perugia, and worked closely with British couturiers such as Norman Hartnell and Hardy Amies in the 1950s and 1960s. The shoes have been worn by an enviable line-up of famous women, including Elizabeth Taylor, Brigitte Bardot and Queen Elizabeth II, who wore Rayne designs at both her wedding and coronation. Today, the brand is run by the founders’ great-grandson Nick Rayne, who re-introduced it in 2013 after a 20-year absence from the market.

Were you very familiar with the Rayne brand before being appointed as designer?
When Nick originally showed me the Rayne archive, I realised that I had many images of the shoes on my wall and vintage footwear in my own archive. I buy vintage shoes because I like the design and not the label, so all these things came together when we met. I loved the history of the brand and I also loved that it was an English story, which sounded so exotic to me.

Wednesday, 30 July 2014


Here's a must-have for all handbag aficionados! 

Discover the provenance of the Hermes Kelly, Chanel 2.55 and Fendi Baguette, plus an impressive line-up of historical and modern designs, in Meredith Etherington-Smith's latest book, The Secret History of the Handbag.

The author expertly leads us on a visual journey of the rise of the handbag, highlighting the social history of the bag and revealing many lesser-known facts en route, including that Leonardo da Vinci conceptualised the prototype for a messenger-style bag in c.1497.

Meredith Etherington-Smith worked as an editor at Harper's & Queen, Paris Vogue and Town & Country, and has written several books, including a biography of Salvador Dali and Vanities: The Golden Age of Necessaires and Minaudieres. She has edited Christie's Magazine since the 1990's.

You can view my piece on The Secret History of the Handbag for here and read my Q&A with Meredith Etherington-Smith, below. 

Enduring style icon JacquelineKennedy Onassis (1929-1994) at Heathrow airport with her eponymous Gucci Jackie bag, 1971 Picture courtesy of Mary Evans Picture Library/Interfoto Agentur

Tuesday, 29 July 2014


Many thanks to Harriet Bowe, Features Editor of The Industry London, for doing this Q&A with me. It was fun to reflect on past work experiences...


Member Interview with Lottie Johansson
Freelance editor, consultant and blogger, Lottie Johansson has worked for every fashion publication worth knowing, including a considerable number of the fashion industry’s most prestigious titles. Honing her skills at the likes of VogueMarie Claire and Drapers, Lottie has carved out an illustrious career – putting her in touch with many Industry members along the way. She’s also just joined the British Society of Magazine Editors. Here the brand new Industry member tells us more.

With over 15 years experience, what’s been your biggest highlight so far?
There have been so many highlights over the years, but I really enjoyed working at Condé Nast. Firstly, as fashion and beauty editor at Brides and then as executive fashion and beauty editor at Vogue, where editor-in-chief Liz Tilberis and publishing director Dick Shortway appointed me. I worked closely with both the editorial and commercial teams at Vogue, which I found really interesting. I also styled a lovely shoot with photographer, Arthur Elgort in New York and inadvertently sold a page of advertising at the fashion trade show Igedo in Dusseldorf – my one and only experience of selling space.