Knocking at the Pale Blue Door.

“If you follow your nose and open your ears and let the breeze carry the waft of smoke and the whiff of moonshine, the promise of love will drive you on and with furtive looks you knock three times, a heavily lacquered hand reaches out. Light, love and laughter spill out into the night sky before the city falls back into it’s slumber, only turning slightly in it’s cold and guilty bed.”

I only lost my London virginity two months ago. Now, living blindly between Fulham and Chelsea (a microcosmic middle-class bubble with rather an overabundance of mulberry handbags) I have spent my days in this beautiful city exploring the overpriced joys of the King’s Road. So it was rather a breath of fresh air when my boyfriend (a real Londoner) decided to surprise me with a truly mind-boggling experience down a dark side-ally in Hackney. Don’t panic, I’m not about to regale you with an inappropriate story of that sort. However, I feel I might struggle here, as words will never truly convey the intense sensory overload I experienced over the threshold of Tony Hornecker’s “Pale Blue Door”.

The artist Tony Hornecker spent 6 years transforming his home - an old warehouse garage - into a wonderland of obscurity, and has since been hosting a number of ‘pop-up dining clubs’ each year. Alcoves, balconies, outré deckings and hidden installations are the backdrop for a cosy, boozy and reassuringly homemade three-course dinner. This is not just a touch of the alternative, but a full-blown immersion into Tony’s surreal world. It is an experience like no other.

The evening was supposed to be a surprise, and the only clue I was given came in the form of a teasingly cryptic description on Tony’s blog (above). As we timidly shuffled down the dark alley, a warm light spilled out of the rickety wooden door, the handle of which being a giant pair of antlers. Naturally. Inside, the atmosphere was intimate and welcoming, decorated with the most eclectic selection of items I have ever seen. A giant portrait of Colonel Gaddafi occupied one wall, while the latter half of a chicken protruded from another. It was the embodiment of everything fairytale and otherworldly. The place was so reminiscent of Alice in Wonderland that – particularly after my third glass of wine - I was genuinely concerned that a trip to the toilet might involve falling down a hole in the ground.

The roast beef dinner was served in a variety of containers, including gravy boats and oversized cups and saucers. So too was the wine, with glasses varying from pint to thimble size. A little confusing at times, but more novel than bothersome. Our host, a Miss Amanda Pet, scantily clad in a tight sequin leotard, made regular interjections, and apologized more than once for “testicle slippage” - whatever that is.

 As the evening drew to a close, we began to wonder about matters of etiquette. Tony had cooked us a delicious meal after all; I could see him cooking from where we sat. We had been welcomed into his world, his home, and the two of us had the overwhelming urge to thank him personally. And yet, this was a restaurant – albeit an extraordinary one – and hunting down the chef to shake him by the hand seemed a little absurd. Our compromise involved a series of stumbled ‘thank-yous’ as we passed him on our way out, putting his own freshly-washed dessert bowels back into the 60’s dresser.

Once in a while you discover something that you will never forget, The Pale Blue Door is undoubtedly one of them and i cannot recommend it enough.

(Images via http://tonyhornecker.wordpress.com/)

Milan Fashion Week: A Week of Beautiful Contradictions.

Image via Style.com

This year Milan Fashion Week rubber-stamped many of the trends that had been showcased in both New York and London, whilst simultaneously remaining true to its ethos and providing a scattering of fun and alternative palettes.

A cacophony of bright colours and quirky prints, specifically chilli red and bold yellows, broke the conservative tone set in New York and instigated the sense of fun and optimism often prevalent in Milan. Alberta Ferretti, Missoni and Salvatore Ferragamo all favoured tropical-inspired exotic themes, whilst a sense of playful perkiness was specifically evident in pieces such as Prada’s iconic Hot-rod footwear and Dolce and Gabbana’s pasta-inspired jewellery and distinct ‘five-a-day’ theme.

A clear focus on fabric construction and technique resounded throughout the collections this season, most notably in Raf Simon’s collection for Jil Sander. Here the focal points were clean, crisp whites and modern lines, punctuated by shocks of neon paisley and Picasso-esque doodles. Simmons has successfully maintained the soul and appeal of the Jil Sander brand, in pieces such as the simple white shirt, tailored jacket and slim line trousers, whilst injecting a hint of this season’s penchant for 1950’s glamour and bright colours, upholding the electric atmosphere in Milan.

Strengthening this season’s move towards spring pastels, Miuccia Prada was adamant that the aggregate impact of Prada’s Spring 2012 show would ‘take on the taboo of sweetness’. However, the elusive nature of this sweetness was emphasised by the juxtaposition of appliqué leather skirts emblazoned with hot-rod iconography against candyfloss pink lace coats and powder blue skirts. Prada, a brand that has consistently trodden a fine line between overt sexuality and modest femininity, has yet again achieved a beautiful investigation of contradicting ideals. The romance of the sugary pastels, 1950’s silhouettes and feminine pleating, was undercut with currents of surrealist, David Lynch-esque twists such as the flame detailed spurs on each pair of heels.

The thread of 1950’s glamour was carried through a number of collections, including Dolce and Gabanna, where it was combined with a large helping of fruit and vegetables. Their full A-line skirts and wide-cut short playsuits evoked the strong feelings of fun and frivolity so typical of Milan Fashion Week. Each piece was covered in large, bold and bright vegetable motifs, yet maintained the emphasis on the woman's sexuality. Their evening wear utilised a similar silhouette, but moved away from the Sicilian market stall and towards a series of stunningly elegant cocktail dresses in black lace, encrusted with copious amounts of sparkle. 

The finale, inspired by footage of the 1950’s Miss Italia, saw a huge swathe of their signature, gem encrusted, corsets simultaneously parading down the catwalk. This show-stopping moment created a true sense of theatre, typifying the mischievous extravagance of Milan and certainly cemented Dolce and Gabbana as the feel-good show of the season. 

Lizzy Wilkinson

How Do I Look?

‘How do I look?’ A persistent question that has preoccupied the human race ever since cavemen began accessorising their woolly mammoth skins in the quest for tribal differentiation. 



Perceptions about what looks ‘good’ have changed throughout the ages, and we cannot deny the extent to which society influences our personal style choices and dictates the way we look at others. By definition, to look ‘good’ requires you to be pleasing in appearance and conform to current ideals of form and proportion. The pressure to conform is very much present in today’s society, and we are in fact confusing looking ‘good’ with conforming to the trends of the moment. It is not so much ‘how do I look? but ‘how am I supposed to look?’



Looking good is about confidence in the ability to pull off one’s own individual style, and this doesn’t mean following the crowd. Fast fashion of the digital age means that no longer are we segregated into the ‘mods and rockers’ of the 60s or the ‘punks’ and ‘new romantics’ of the 80’s, but rather bombarded with fluid and conflicting trends that are reinterpreted in the blink of a season. Thus we as a generation of fashion consumers are festooned with various conflicting items of clothing, none of which necessarily communicate who we are or who we would like to be. 



In terms of my own style, I have always favoured a more tailored ‘Kate Moss circa 1997 meets Whistles for afternoon tea’ look, and have often been described as delicate and womanly. I’m far from innocent when it comes to following the trends of the moment, but would like to think that I understand how certain looks, no matter how fashionable, would leave me looking and feeling a bit of a twerp (ankle socks in particular).

Ultimately, Fashion has always been about making an impact – whether it be to intimidate or endear, to attract attention, to seduce, or simply to fit in. However, looking good is about knowing yourself and how you feel in the clothes you are wearing, not just seeing that they look good on someone else.

By Lizzy Wilkinson