Three- some looks

Daisy Lowe in The Vampire’s Wife. ’17.

The Vampires Wife celebrates femininity through laden fabric, bringing a sense of  costume, of play to any formal occasion.

Daisy steps to its spirit through innocent, white lace cut-outs, an arguable homage to mum’s (Pearl Lowe’s) kittenish brand; this purity contrasts against an otherwise floral gray dress, providing shadow, dimension to the dark, but in body-con.

Overall,  Daisy plays with innocence while, in heavy fabric is conservative female- giving the girls edgy Victorian.

Jeremy Strong in Loro Piana. ’24.

Fashion boy. Jeremy Strong always dresses with a hint of aloof, bolstered by eminent luxury. Here, he’s almost fuck-boy in white suit, black loafers and Richard Mille watch.

Saddling him with sophistication, however, is the floral motif: a youthful bloom disintegrated to petals, so that the deconstruction, unexpected, strikes centre stage.

To make sense of the look, we re-organise said floral scratchings into full flower, the fashion journey: morsels of success/ beauty leading to bright celebration. Where the destination is of equal improtance to the journey.

Kate Moss in The Vampire’s Wife. ’16.

Here, Kate explodes 60s rockabilly with a swinging mini in block lurid hue. But what her dress does differently, in A-line ribbon ties, is assert innocence, while contextually steeped in debased rock.

Dressed in this way she might announce: “I’m aware of what’s happening around me but I stand innocent”.

Even the green speaks to self-awareness, it’s anything but sexy, an independent colour in the echelons of sexy noir.  Sort of giving a strong-willed pixie playing at darkness’ edge.