Pret Reporteur: Fashion On Display

Pret Reporteur: New City, New Baubles

After eight years of living in Chicago, I’ve recently picked up and moved to New York City. Aside from my excitement over new museums and street vendor food (can you believe they’re illegal in Chicago?) I’ve arrived with a carefully curated list of boutiques and NYC haunts that I’m looking forward to doing more than just reading about, now that we’re sharing the same coast. Having fantasized about all the new ways I’ll be adorning myself, I can’t wait to dig in and scour some of the world’s best vintage and jewelry spots. New city, new baubles. Here’s where you’ll find me:

1. Catbird: Despite being entirely unattached to the institution of marriage, I am very attached to the institution of unique engagement rings. I have this secret, overwhelming fear that when I do finally receive one, it’ll be horrible, and silver, and princess cut, and all things hive-inducing, and how will I ever send it back? Luckily, Catbird exists. This Brooklyn boutique has the most sensational selection of unique and vintage-inspired jewelry as well as an entire cache of engagement and wedding rings that are not meant to look like engagement and wedding rings. Artisan paper products, candles and beauty items highlight the shop’s collection, culled from a handpicked blend of local and global designers. Beware, Catbird: you may not know it, but you and I are fixin’ to get hitched.

2. Frieda and Nellie: I love best friends. I have one, she’s great, and she constantly showers me with jewelry. It’s her love language, as she says, and the pieces she’s gifted to me from across the globe are some of the most special in my collection. Stacy Herzog and Sarah Reid’s vintage encrusted friendship bracelets come from and are inspired by their grandmothers’ personal jewelry collections — how fabulous is that? All handmade with brightly colored thread and luminous rhinestones, they’re wonderful for both layering and as their own personal statement pieces. While Frieda and Nellie has snuck onto this list as an exception (although they’re based in NYC, and that’s where the women live and shop for their pieces, the collection is actually sold at boutiques around the country), its quirky, unique flavor embodies everything I’m looking forward to about the NYC jewelry scene.

3.Love Adorned: Once, I threw this huge tassel I bought in Paris on a chain and called it a necklace. It’s now one of my favorite pieces in the world, but I’ve always lamented that I didn’t buy 20 more so that I could do weird things like wear them all at the same time. Thus, I cannot possibly explain my excitement about discovering Love Adorned and the huge feather tassel necklaces they just recently added to their shop. As I dove in and began to scour their site, I came upon their collection of vintage costume rings with enormous garnets and sapphires, exotic beaded necklaces reminiscent of ancient Mexican empires with their turquoise and burnt orange hues, and then, the creme de la creme of vintage jewelry: an entire display of finds entitled: “the weird ones.” I’m in.

4. Erica Weiner:  Erica Weiner’s jewelry, based on a “collection of curiosities” she has spent years building, is inspired by the quaint elegance of vintage with a sense of humor that infuses each piece with its own personality and story. A collection which combines hand-made jewelry with found objects (like an exquisite Georgian men’s ring, inspired by military signet rings and featuring the scripted initials “AR”), Weiner’s shop features timeless pieces that will remain forever stylish. I might just nab “AR’s” ring for myself. Who wouldn’t want a secret lover from another era?

5. Pippin Vintage Jewelry: A top pick for DANNIJO’s Danielle and Jodie Snyder, Pippin vintage is an ideal Manhattan spot for a catch-all of good vintage. Let’s be honest, when I see walls of hanging necklaces and cases filled with rings, I know there’s a whole world of one-of-a-kind pieces to be found. Pippin looks to be a place where you can always return to find new treasures and I’m looking forward to being a frequent customer.

— Amanda Aldinger

Pret Reporteur: Livin’ On A Wedge

Despite coming from a family of giants (my “shortest” sibling is 5’10″), I clock in at a humble 5’4″. And although I don’t have a complex about my height, it does provide apt foundation for my proclivity for wedges — in my opinion, the greatest shoe ever. Unlike heels, wedges can be comfortably worn all day long, and there’s something about the girth of their excessive platform that is ideal for statement-making. Heels, of course, make powerful impressions of their own, but for everyday style that keeps you effortlessly sartorial, the wedge is queen. Here’s what I’ll be stomping around in come fall.

1. Senso Acacia Pony Wedge, $214.95

When these  Senso wedges popped up on my Tumblr the other day I about fell off my chair. I love the boldness of the graphic black and white stripes, and the dip where the platform meets the heel in the back that looks like a pair of lips pursed for a kiss. That same effect is mirrored at the toe of the shoe — who doesn’t love a pair of shoes that are perpetually kissing the world? Bold, architecturally interesting, and, with a 5.25 inch platform, the perfect height. I’m hopelessly in love.

2. Messeca Coraline, 169.95

I adore leather wedges with wooden platforms, and this three-banded coral number from Messeca is a beautiful shoe. Personally, I’m all about employing coral as an offbeat neutral, and the Coraline’s bright hue is ideal for spring to fall. The darling little peep toe is on point for sporting your new summer pedicure (I’d love it with lime green), or to be paired, in bold contrast, with black tights in the chillier months. No matter what, you’ll be flying high in these babies, which also weigh in with a solid five inch heel.

3. Kelsi Dagger Huette, $149

I can’t help it. I’m really coveting a leopard wedge. Animal prints are the type of trend you can keep forever, even if you end up hating the item every other year. What I love about these Kelsi Daggers is the two-toned spin on a very classic animal print — an update with an edge. The high bootie makes it ideal for fall and winter, and I love how the leopard print wraps around enough of the heel that it peeks out from behind the black wedge from the back. Plus, they’re synthetic! Even PETA would approve.

4. Chloé Platform Sandal, $695

Every closet must contain black and neutral options of your favorite shoe style, and this camel brown Chloé platform sandal is a gorgeous neutral wedge — it’s no secret that Chloé stands for all things chic. I really love how the delicate double ankle strap and bow are juxtaposed against the weight of the platform — the elongation of the shoe up the leg resembles the grace of a dancer in profile.  Unlike my leopard indulgence up above, these platform wedges will never go out of style. An ideal investment wedge.

5. Jeffrey Campbell “Skate” Bootie, $199.95

How fun are these guys? Although I tend to prefer black shoes to white, I love the architecture of this heel and its resemblance to an ice skate. Jeffrey Campbell is always a great choice for eccentric designs that won’t break your bank, but will always make a statement — and there’s no doubt that you’ll be turning heads all over the place in these babies. The open toe keeps it fresh (I’m such a sucker for it), and I appreciate that the bootie doesn’t go too high up on the leg, flattering the ankle and keeping those gorgeous cutouts in the spotlight.

— Amanda Aldinger

Image layout: Molly Murphy

Pret Reporteur: It’s A Beaded Summer

I recently returned from a week-long vacation in Mexico — a trip that was not only gloriously relaxing, but which also installed in me an obsession for my new must-have summer item: the beaded accessory. I fell in love with all of the hand-beaded necklaces, belts and bracelets overflowing in the flea markets of downtown Puerta Vallarta. But, alas, a suitcase can only hold so much, so I retrieved a few special pieces for myself and came back committed to finding my new favorite trend stateside. A little research turned up a plethora of goodies, so I’ve pared it down to a few select beaded treasures that I am coveting hardcore — the perfect final touches for a successful, and stylish, beaded summer.

1. Pencey Caius Beaded Sandal, $320

Lo and behold, the first item that turned up in my search was this gorgeous beaded sandal from Pencey. I love the geometric prints in the delicate, neutral palate and adore the idea of a sexy, beaded sandal to strut about in the summer weather. I’m also obsessed with the double tasseled zipper closure (tassels are another accessory I can’t get enough of). There’s nothing these heels wouldn’t match. Who doesn’t love a shoe with a little individual flare?

2. Lanvin Grosgrain Belt, $1020

I envy you women who can rock a belt, for no matter what size or style I try, a belt does nothing for this rectangular torso except accentuate the fact that I don’t have a waist. A good belt is one of those pieces that can completely transform an outfit, and this little number from Lanvin is a stunner. Also doubling as a headband, its beautiful faux pearls and Swarovski crystals make this a very special (and glittery!) piece. Hippie chic or effortlessly feminine, this piece is a definite testament to the power of the bead.

3. Paul & Joe Perlee Cross-body Bag, $189

I LOVE this bag by Paul & Joe. Its detailing is incredible: woven leather strap, gorgeous camel brown tassels hang from the top, and the bottom sashays with more beaded tassels. (You know how I feel about beads and tassels!) Needless to say, it’s the ultimate example of a fabulous beaded accessory, and why everyone should have a closet filled with them. Its petite shape makes it ideal for on-the-go summer activities, the beading is gorgeous and it’s on sale. It’s perfect. You’ve no excuses.

4. Chan Luu Beaded Bracelet, $345

I see this little guy being included on a very well curated wrist of braceleted goodness, highlighted by some knock-out nails and a great, really weird ring. The colors on this Chan Luu bracelet are beautiful: I love the bright minty green mixed amongst the more subdued hues, and who could say no to the little button closure? Unique closures are ideal. Especially when they’re tassels. But that’s neither here nor there, because this piece is adorable all on its own.

5. Zulu Bangle Bracelet, $28

This bracelet and the next item come from an organization called Beaded Hope, which simultaneously raises money for HIV/AIDs and supports the creative traditions of African hand beading. Each piece is hand-made, and the proceeds support the fight against HIV/AIDs in Africa. My best friend went to South Africa last year and the beaded baubles she brought back are absolutely our favorites from all of our international jewelry hunts — to be able to get the real deal online is a wonderful treat. I love the colors of this Zulu bracelet, and, that it’s a bangle. Often times, beaded bracelets are smaller and good for layering, but this piece stands gloriously alone. And what is better than jewelry that supports a good cause? Not even that beaded, tasseled Paul & Joe bag.

6.  Ndebele Necklace, $42

When it comes to beaded jewelry, this beautiful necklace is the ultimate pièce de résistance. The colors are absolutely incredible, and I love its rigid structure. There’s very little I need to say to sell this piece, for it certainly does that all on its own. Its shape is rooted in the tradition of marital faithfulness — a noble meaning for a sensational piece of jewelry. I’ll take 5.

—Amanda Aldinger

Image Layout: Molly Murphy

Performance Fashion: Vanessa Beecroft

Last month, I wrote about Marc Jacobs’ work with Stephen Sprouse as an introduction into his collaborations with some of the world’s leading contemporary artists. This month, we’ll continue that exploration with a look at his work with renowned performance artist, Vanessa Beecroft.

Jacobs’ collaborations with fashion designers and artists like Stephen Sprouse and Takashi Murakami are the partnerships which have garnered the most public acclaim, but it is his more avant-garde explorations of the brand which have defined Jacobs as a true artistic innovator — such as his work with Vanessa Beecroft, whose autobiographical performance art generally involves public configurations of nude women in various states of accessorized undress.

A notoriously aggressive personality, Beecroft is an exercise bulimic who is extremely public about how her nearly lifelong eating disorder — also the the crux of her work. Although performance art is not the only genre in which she creates — she also paints and draws, and has made a decades-long art project from her eating diary, a daily log of every calorie she intakes — she is best known for her provocatively staged public events. The majority of her performance pieces are documented through photography, which she cites as a necessary, but misrepresented portrayal of what her pieces are meant to accomplish. Her obsessive interest in fashion colors her stagings, for her models are always styled in designer heels (often donated by fashion designers like Prada and Tom Ford who interested in Beecroft’s work and want to associate with her artistically), wigs, makeup, and various sorts of accessories. So often, the resulting photograph is usually more akin to a high fashion editorial than what a Beecroft piece actually is: a slow, hours-long experience where the models are required to simply stand nude in front of a clothed audience, their increasingly palpable shame and discomfort symbolically (although not overtly) mirroring Beecroft’s experience as a disordered individual hideously fiendishly obsessed with her weight and appearance.

There’s a certain taboo quality about the psychological origins of Beecroft’s work that makes it potentially unsettling as a collaboration with a luxury brand as iconic as Louis Vuitton. The fashion industry is consistently under fire by critics who claim that industry standards regarding sample sizes and the preferred body shapes for models promote an unhealthy female body image. Therefore, it could potentially be construed that Jacobs’ collaborations with Beecroft are an indirect, or direct, support of eating disorders or an unhealthy lifestyle.

Regardless, I am fascinated by Beecroft’s work, and the genuine way in which her series has developed conceptually from her eschewing performance art, to inadvertently discovering during a college art exhibition that the inclusion of actual women into her work was a powerful enhancement.  I’m especially impressed with Louis Vuitton’s incorporation of her performances into openings at some of their stores, in addition to staging some of her pieces at Espace Louis Vuitton Champs-Elysee, an art-specific space in Paris (there is an Espace in Tokyo, as well) built and curated by Louis Vuitton. There is an honesty to Beecroft’s work that doesn’t attempt to inflate meaning, or even capitalize on the elements which could be, to many, considered shocking. This genuine embracing of concept works well within the Louis Vuitton sphere, paralleling Jacobs’ design work at Louis Vuitton. Beautiful women, adorned with various symbols of glamour, surrounded by inimitable luxury, but yet also exuding palpable discomfort and shame — realities which no woman is immune to, no matter how perfect their bodies, or surroundings. “I became a performance artist by mistake,” Beecroft said in an interview with Judith Thurman for the The New Yorker. “There is something vulgar about the genre: its human reality. … I like to know that each of [the girls] has a weakness. Seeing other women’s bodies is a relief, because even the most desirable body bears the scars of an imperfect life.”

These imperfect lives were prominently on display at the reopening of the Louis Vuitton flagship on the Champs-Elysee in October 2005, which featured 30 black and white models (chosen by Beecroft) who were arranged amongst the shelves in the center of the atrium, their contorted bodies draped along Louis Vuitton trunks. The nude models were wearing bright coral lipstick and shimmery purple eyeshadow, an exuberant approach to makeup that shined in stark contrast to the wig caps imprisoning their hair. Their legs were wrapped in leather laces that stemmed from their high heels and encircled their calves like those from a ballerina’s point shoes. Unlike the glamour Beecroft identified in many of the photo documents of her stagings, the women at the Louis Vuitton Champs-Elysee opening seem sullen, detached and tired, with their posture shrunken as if to hide themselves as much as possible, despite their blatant nudity.

Although certainly there is an dynamic aesthetic at work here, Jacobs’ incorporation of Beecroft’s performance art goes far beyond the impact of a neon-graffitied Keepall bag, or the impressiveness of an expertly designed boutique. I am so taken with this collaboration because he incorporates fashion with humanity — and not just the humanity of the models, or the humanity of the customer as seen through the models, but the humanity of the artist, as well. Because Beecroft could be Jacobs’ consumer — wealthy, elite, cultured, strumming about the highest tiers of society, but, ultimately, deeply damaged (as is Jacobs — his battle with drugs and alcohol and bouts with rehab are a leitmotif of his life and career that rarely escape an interview).

For the same opening of Louis Vuitton Champs-Elysee, Beecroft staged an alternate piece, which featured a group of black and white women positioned in the middle of a massive room at the Petit Palais. An image of the women’s bodies was projected behind them, and viewers were able to see that their bodies spelled out “LV” — white for the L and black for the V. Beecroft was inspired to create this performance after finding an old magazine at a flea market in New York, which featured images of Erte’s human alphabet that he illustrated in the late 1920s. Of Erte’s project, Roland Barthes said, “it is [...] an illusion to think that fashion is obsessed with the body. Fashion is obsessed with that other thing that Erte discovered, with the extreme lucidity of the artist, and that is the Letter, the inscription of the body in a systematic space of signs.” This observation is significantly apt when applied to Beecroft’s work with Jacobs.

Not only is the Louis Vuitton brand home to one of the most ubiquitous visual logos in the industry, but the brand itself is much more than just a purveyor of clothing or a tool for improving the body. Louis Vuitton emphasizes a lifestyle; a lifestyle that has gained attraction via the popularity of certain signs, but also a lifestyle that puts emphasis on culture and an all-encompassing intellectual wellness, rather than just a shallow obsession with objects. By so richly highlighting these signs with the presence of raw humanity, Jacobs and Beecroft elevate the impact of both their work, tying it in to something bigger than themselves and more powerful than just an object.

Photos: 1. Vanessa Beecroft, artobserved.com, 2. – 4. Louis Vuitton Champs-Elysee Exhibit, vanessabeecroft.com, 5. Black White LV, styleite.com

—Amanda Aldinger

Image Layout: Molly Murphy

Defacing The Monogram

As Marc Jacobs hits nearly three decades in the design world, Second City Style takes a look at one of his most iconic collaborations.

Marc Jacobs’ birthday was a few weeks ago (48 years old!), and in the last three decades he’s been designing, he has arguably changed the face of fashion as we know it. Not only has he made notable contributions to men’s and women’s wear with his Marc Jacobs and Marc by Marc Jacobs collections, but his work as the Creative Director of Louis Vuitton has involved iconic collaborations with some of the world’s most important contemporary artists. Projects with Vanessa Beecroft, Takashi Murakami, Richard Prince, Manolo Blahnik, Annie Leibovitz, and Jun Aoki remain notable amongst the hundreds of artists he has partnered with during his time at Vuitton, but without a doubt, one of Jacobs’ most acclaimed collaborations is his graffiti collection with Stephen Sprouse, and follow-up tribute collection in memoriam of the designer after he passed away in 2004.

It wasn’t until 1999, more than ten years after seeing Sprouse’s first collection, that Marc Jacobs began to play with the idea of manipulating the Louis Vuitton “LV” monogram. But rather than using his own design prowess and defacing the monogram himself, he conceptualized the idea and, instead, chose to use it as an opportunity for collaboration. “I had seen Charlotte Gainsbourg’s apartment and in this corner, she had this Vuitton suitcase, which I guess belonged to her dad, Serge, that had been painted black. And so that was in my head, this idea of covering up the monogram,” explained Marc Jacobs in a tribute book to Stephen Sprouse. The piece which sparked Jacobs’ desire to deface the monogram was that piece that started the entire Louis Vuitton brand in 1864: the trunk. “We could have hired a graphic artist,” said Jacobs, “but I wanted to use Stephen’s graffiti specifically because it meant something to me. Stephen as an artist, Stephen as a New York figure, Stephen and his style of graffiti. It had the credibility of street, but it also had this sort of style of somebody who was a fashion designer. So there was always this great integrity in his work.”

By producing this graffiti collection, Marc Jacobs and Stephen Sprouse scandalized Louis Vuitton, just as Stephen Sprouse worked from the type of graffiti prints that had scandalized public structures all over New York. In the end, Jacobs did what graffiti artists had been doing for decades: defacing public property through a subversive approach to art. Of his collection with Stephen Sprouse — purses, dresses, skateboards, luggage, leggings, shoes, all designed in the signature Louis Vuitton monogram that was then printed over in neon, seemingly hand-printed bubble letters that aggressively spelled out “Louis Vuitton” — Jacobs noted, “We broke all the rules that season. I had been told that we were not allowed to change the monogram. We were not allowed to do this. We were not allowed to do that. And I had been trying to follow the rules and do what everybody had told me until it got the point where I realized, ‘I’ve been listening to everybody and that’s not why I was brought in here.” Jacobs was consciously integrating different view points to give the brand a greater sense of cultural relativity; to engage the fashion public on the most widespread, culturally intuitive level possible. “I was brought in here to do something to make this young and cool and contemporary and of the moment. In order to do that, I have to have a certain amount of disrespect for the rules. I’m not a rebellious person, but I do like to take risks, and Stephen was the first person that I worked with who helped me to break the rules here.”

When his collection with Sprouse hit stores, critics were impressed that Jacobs so readily shared credit with Stephen. “They felt it was an unusual thing for me to be newly in my position and promoting someone and sharing the credit. I just thought of the whole situation as being like this creative society in Europe during the twenties and the thirties when people like Chanel and Schiaparelli would bring in their artist friends like Cocteau or Dali. So I never really felt like it was any big deal,” Jacobs said. This concept of double-branding was so refreshing, because very rarely in the fashion world does one see two people so connected in their collaboration, especially when one’s work is brought on to re-brand the other’s. “Stephen took this logo that was so status, so elitist, and took it somewhere else that I thought was just genius,” said Polly Mellen. “And Marc Jacobs — what a brave man!…he wanted Stephen to go as far out as he wanted. I hungered for those pieces.”

While Marc Jacobs was certainly set up to continue creating within the controlled environment that was founded long before his leadership, he chose to stretch those boundaries, and instead, operate from a place of genuine inclusiveness and collaboration. His work with over hundreds of artists exemplify a deep appreciation for art and fashion within a social context and a need to connect fashion with the whole of the human spectrum, as opposed to just those trailing their fingers in pools of luxury. Jacobs has proven that even high tiers of luxury can be artistically and culturally relational, producing his own brand of pop culture luxury that democratizes fashion and art in a refreshingly modern way.

1. Louis Vuitton Rose Speedy Bag
2. Louis Vuitton Bracelets
3. Louis Vuitton Pareo
4. Louis Vuitton Sprouse Rose Pump
5. Marc Jacobs and Graffiti Keepall Bag
6. Stephen Sprouse and Marc Jacobs, 2000

—Amanda Aldinger

Photos: harpersbazaar.com

Image Layout: Molly Murphy

Five Walks of Fashion: Exploring The Vibrant Fashion Culture Of Antwerp

I just recently returned from a month-long European excursion where I stayed primarily in Paris, but was able to pepper my French adventure with trips to London, Monaco, Versailles and Antwerp. In my head, I had this hyperbolically romanticized idea of Paris, and Parisian fashion. Impeccable, seamless, avant-garde, exquisite – I was sure that my entire experience would be engulfed by a visual whirlwind of cultured perfection. On many levels, it was. Although I’m not sure than anything can ever live up to the imagined affairs of a young woman eager to shed stateside boundaries and embrace the life-changing experiences of other cultures.

The epitome of rich historicity, Paris was a dream. But when it came to blow-your-mind, guttural, unlike-anything-you’ve-seen-before fashion, Antwerp completely threw me for a sartorial loop and overwhelmed the competition. Housing the Royal Academy of Fine Arts, which provides the world’s leading training in fashion, Antwerp is the Dutch home to some of the world’s most prolific designers and fashion culture. Putting themselves on the mark by graduating the legendary Antwerp Six in the early eighties: Dirk Bikkembergs, Ann Demeulemeester, Walter Van Beirendonck, Dries Van Noten, Dirk Van Saene, and Marina Yee, the saturation of inimitable talent which seeps into the oeuvre of Antwerpan culture sets the quaint, friendly town above and beyond many of fashion’s honored mainstays like Paris and Milan.

According to the Antwerp Fashion Walk, a detailed guide to Antwerpen fashion produced by the Flanders Fashion Institute, the city’s fashion culture is geographically divided into five distinct sections, each holding their own rich history and distinct personality. Although each district is rife with brilliant shopping, fabulous street style, and palpable chicness, here is a brief survey of each of the walk’s most notable and unique fashion-centric establishments.

Walk 1: ModeNatie
The ModeNatie houses some of the most important and commemorated fashion institutions in Antwerp, including the MOMu, the Fashion Museum Province of Antwerp, the Flanders Fashion Institute, and the Royal Academy of Fine Arts’ fashion department, which is part of Hogeschool Antwerpen (most commonly referred to as ‘the Academy’). The MOMu is a veritable fashion oasis, possessing over 25,000 garments, shoes, and additional fashion-centric items, and producing two exhibitions a year – including a previously installed Yohji Yamamoto retrospective (the Yohji Yamamoto Dream Shop, 2006) in which visitors were invited to actually wear the clothing displayed in the exhibit. In addition to these iconic educational monuments, the ModeNatie is also home to the flagship store of Antwerp’s very own Dries Van Noten.

Walk 2: The South
The South is is one of Antwerp’s trendiest locales, filled with chic restaurants and art galleries, as well as the Royal Museum of Fine Arts, which features a bench designed by Ann Demeulemeester, herself, installed when the building was renovated. The South is also the walk in which Demeulemeester planted her flagship store, just a short walk from the ModeNatie. Marked by the stark, industrial architecture of buildings like the Hippodroom and the Justitiepaleis (Court of Justice), Antwerp’s modern art museum, the Muhka is also located in The South. The one-of-a-kind, avant-garde art presented in the Mukha syncs well with the many furniture designers and gallerists who call The South their home.

Walk 3: Historic Centre
The Historic Centre is home primarily to department stores and shopping districts, as well as the famed Cathedral of Our Lady. Notable primarily for its historic significance to Antwerp, the square, now called the Groenplaats (green place) originally existed as the cathedral’s cemetary. Comprised of buildings featuring richly detailed Dutch architecture, and a bevy of boutiques selling the wares of local Antwerpen designers – Ann Saelens, Festival – the Historic Centre is also buffered on one side by the harbor. Not only are the warehouses in the harbor area popular locales for various designer installations and events, including the Museum aan de Stroom (Museum on the River) which is in the planning stages, but a waterfront warehouse currently houses Dries Van Noten’s personal office.

Walk 4: Meir and Leien
Meir and Leien begin in the Groenplaats and constitutes Antwerp’s most commercial shopping area, boasting an expansive shopping district with emblazoned storefronts showcasing the names of international chains like: Zara, Hugo Boss, Diesel, Burberry, Viktor and Rolf, Zac Posen, Ralph Lauren and Alberta Ferretti, to name a few. Aesthetically speaking, Meir and Leien are a far visual cry from areas like the ModeNatie and the Historic Center, which are rife with storied architecture. Rather, Meir and Leien are highly contemporized, both the diamond center of Antwerp, as well as the home of luxury shopping in stores like Chanel, John Galliano, Gucci, Prada, Kenzo, Escada, Junya Watanabe, Yohji Yamamoto, and Comme des Garcons.

Walk 5: Wilde Zee (Wild Sea) and Quartier Latin (Latin Quarter)
Together, these two neighborhoods host some of the best of the best of Belgian fashion designers. In Wilde Zee you can find the sensational A.P.C., which stocks designers such as Isabelle Marant, Vanessa Bruno and Claudie Pierlot, next to stores like Bellerose, Chine Collection and Kipling, which are renowned for their selling of popular Belgian brands. Louis, who originally stocked the Antwerp Six, opened his store by selling Ann Demeulemeester and currently sells clothing by Margiela, Dirk Van Saene, Jurgi Persoons, Veronique Branquinho, Raf Simmons, Olivier Theyseks and A.F. Vandervorst. Entrenched within an unbelievable array of clothing by fashion’s top innovators, Wilde Zee and Quartier Latin are the tie that binds for any fashion lover, Dutch and beyond. This list merely hints at the multitude of incredible fashion experiences contained within Antwerp’s daintily progressive walls. My three days in this enchanting city gave me little time to explore its rich cultural history and deep reverence for fashion in the way I would have liked. But if I left with anything after my European travels, it was an eagerness to revisit Antwerp so that I may dive deep into the many attractions, boutiques, museums, and opportunities for one-of-a-kind shopping the city possesses. Paris is great, but for all you traveling fashionistas, I urge you to indulge your sartorial whims in all that Antwerp has to offer. You won’t be disappointed.

1. Image from the Masters of Black Exhibit Currently at the Momu, anothermag.com
2. Inside the Ann Demeulemeester Flagship Store, anndemeulemeester.be
3. The Dries Van Noten Flagship Store, flickr.com
4. Looks by Designer Toon Geboers, Shown at this Year’s Royal Academy Fashion Show, antwerp-fashion.be
5. The Antwerp Six: Ann Demeulemeester, Marina Yee, Walter Van Beirendonck, Dries Van Noten, Dirk Van Saene, Dirk Bikkembergs, antwerpfashion.blogspot.com

— Amanda Aldinger

Image Layout: Laura Funk