W.E is Madonna’s labour of love – a tribute to her life-long idol, the controversial socialite who clawed her way up the social ladder with vigour, not totally unlike the director herself.

Set in New York in 1998, the story revolves around Wally Winthrop (Abbie Cornish), a Sotheby’s employee married to an award-winning psychiatrist, who persuades her to quit her job for the domestic life and trying for a baby.

Wally’s obsession with Wallace Simpson (Andrea Riseborough) grows more intense, much to the annoyance of her absent husband, when Sotheby’s holds a series of auctions, selling the Duchess of Windsor’s  possessions.  As Wally, conveniently named after her heroine, daydreams, we are drawn into the world of the formidable social climber and eventual fashion icon Wallace Simpson and her scandalous third marriage to Edward, the next king of England.

Wally develops a close friendship with a Russian security guard at the gallery, who indulges her fantasy with after-hours secret viewings, and soon the world of Wallace Simpson becomes an escape as her life crumbles around her.

One of the strengths of W.E is that it’s a highly styled visual treat.  The costumes are exquisite, especially the evening gowns worn by Wallace Simpson, who had a penchant for Mainbocher and Schiaparelli.  Galliano, Issa, Cartier and Stephen Jones contributed to Wallace’s lavish wardrobe, under the direction of Arianne Philips, a long-time Madonna collaborator.

The reverence of the film was momentarily suspended with some lighter, humorous scenes.  Edward spiked his snoozing guests drinks with benzoin, which had them raising the skirt levels and pogo-ing to the Sex Pistols (a reference to Sofia Coppola’s Marie-Antoinette, perhaps).

One glaring problem with the film is Madonna’s heavy-handedness with presenting the increasingly parallel lives of Wally and Wallace.  At certain points in the film, Wallace appears in a vision and speaks to Wally, sometimes mockingly, and at other times for comfort.  The ridiculousness of it almost compromised the subtlety of the film.

The parallels between Madonna and Wallace Simpson are glaringly apparent and it’s no coincidence that W.E was made at this point in her life.  Both strong, sassy American women, they could command a room and bring a bit of brash fun to the upper echelons of society.  As faux-geezer Guy Richie hushes his royal connections, you could say that they both married into British aristocracy and questioned their true place there.

W.E has some historical inconsistencies and it was at times shaky, but it’s a real visual gem and most enjoyable to watch.  Madonna’s dedication to W.E, from the costumes to the ever-changing cast is admirable and while it needs to be reigned in at certain points, it’s a film to be proud of.

Meaning ’beginning’ or ‘start’ in Japanese, DSM has a bi-annual Tachiagari, when the store shuts down for three days to change direction and make room for fresh installations, newly invited designer and a thoroughly different mood.

The new season additions are meticulously overseen by Comme des Garçons founder Rei Kawakubo and husband Adrian Joffe.

A major coup for DSM is the Egg space on the fourth floor, as they have always wanted to work with the London brand, headed up by former Issey Miyake designer Maureen Doherty.

The clean, structured and voluminous pieces are custom-made and tailored to your body.  Summer raffia hats are also available with the bespoke service.

Comme des Garçons have also collaborated with Dr Martens on two limited edition pairs of airwair Mary Janes.

New season Comme des Garçons Play cashmere cardigans and tees….

On the third floor, Stephen Jones has created a unique installation featuring his exquisite millinery with quirky topiary, perfectly embodying the feeling of Spring…

Alber Elbaz personally curated the Lanvin display exclusively for Dover Street Market.

Jewel shaded silk dresses feature next to metallic gold and caramel pieces and his signature luxury embellished tees.

There is also a treasure cabinet for bags, accessories, mother and daughter figurines and illustrated stationery – a more personal display than you would find in a regular department store.

Hussein Chalayan…

Christopher Kane…

Erdem…

Comme des Garçons…

Comme des Garçons has collaborated with Paco Rabanne to reissue le69, an iconic futuristic handbag as worn by Brigitte Bardot, Françoise Hardy, and Catherine Deneuve.

Rei Kawakubo has re-imagined le69 using different materials and created a limited edition collection of 9 designs.

Le69 is exclusive to Dover Street Market has takes pride of place on a conveyor belt in the front window.

New sneaker space…

For more information and to see the Spring/Summer 2011 collection, visit: www.doverstreetmarket.com.

Are you loving Alber’s chessboard Lanvin space, or is le69 top on your accessories wish list?  What are you favourite pieces for Spring/Summer 2011?

Photos by Chérie City

Katie Grand helped launch Dazed & Confused and moved on to the best magazine ever (in my opinion), The Face, but she really came into her own with POP, co-founded with Ashley Heath.

Under Katie’s direction, POP was all about the fun and ‘jolly’ side of fashion, favouring bunnies, muppets and lashings of pink over heroin-chic dreariness.

Katie had a knack for bringing celebs out of their comfort zone on photo shoots and for the inaugural cover, she herded up her Central Saint Martins chums Stella McCartney, Luella Bartley, Phoebe Philo and Liberty Ross to pose as futuristic pole dancers.

Leaving POP in the hands of Russian art princess Dasha Zhukova, Katie moved on to Conde Nast to set up rival bi-annual mag, LOVE.

Along the way, Katie Grand has styled and consulted for the likes of Giles, Prada, Miu Miu and Louis Vuitton and was Creative Director of Mulberry.  The fashion industry loves Katie for her ‘outside’ style and down-to-earth attitude and it is her refusal to conform that has made her such a leading force today.

On her friendship with Luella, Katie says: “‘I suppose we’ve always been a loud gang in a way.  Luella and I were really aware from the minute we started being friends that we annoyed people. Like there was one London Fashion Week when we wore fluoro for the whole week and just got photographed everywhere.

“It was just those little things, like not wearing black and heels, and how easy it is to be anti-establishment without doing anything very wrong. Or like being at proper parties drunk and loud and obnoxious and falling over. It’s not like we were very influential or anything. It was much more people saying, “Oh, I wish those girls would go and wash!” We were quite scummy really.”

While trying to find ticket details for the event (not yet available, but I’ll find out), I spotted some other upcoming talks about conversations with Juergen Teller, Peter Blake and quilting chameleon Kaffe Fassett.

Museums At Night takes place from 14-16 May, with over 220 national events, including Stitch And Bitch at the Hunterian Museum, free arts festival No Soule For Sale at Tate Modern,  a silent disco at the Tate Liverpool, a Jane Austen-inspired evening at The Assembly House in Norwich and an exclusive viewing of London’s Apsley House.

Visit www.culture24.org.uk/museumsatnight for the full programme and more details.

The ELLE Style Awards (newly sponsored by Next) have the reputation of being ‘the fashion Oscars’, but I reckon they’re the rebellious, bad gal cousin of the red carpet snooze-athons.  With not a floor length, chiffon Elie Saab dress in sight, the ELLE Style Awards are a fashion magpie’s dream and there’s always some naughty behaviour and gossip from the night  - last year courtesy of Mickey Rourke, who tried it on with Thandie Newton.

Last year’s awards saw Hollywood misfits Courtney Love and Mickey Rourke pick up Woman of the Year and Best Actor – a formidable and brave choice for ELLE, given their turbulent lives.  On the fashion side, Lara Bohinc, Rupert Sanderson, Peter Pilotto, Erdem and Christopher Kane all scooped prestigious awards, with Style Visionary going to Viktor & Rolf and Stephen Jones being recognised for his Outstanding Achievement.

This year, Naomi Campbell is being honoured with an Outstanding Contribution award for her 25th year in the fashion industry and for her role as Global Ambassador of the White Ribbon Alliance.

So, who is going to bag all of the prizes this year?  Any guesses?  I’m placing my bets on Georgia Jagger for the Model award, Carey Mulligan for Actress, Alexa Chung for Style Icon, Nicholas Kirkwood for Accessories Designer, Hannah Marshall for New Designer and Jonathan Saunders for British Designer.  If I get at least one designer right, I think I should treat myself to one of their pieces to celebrate!

Oh yes, and more ELLE-related news – they have just launched a new horoscopes application for the iPhone.  You can now get free daily astrological updates from ELLEuk.com’s resident astrologers, The Saturn Sisters.

As a horoscope sceptic, I’m hoping that ELLE will follow this with a fashion-based app, for when I finally get round to trading in my knackered old Blackberry for the phone of my dreams.

The ELLE Style Awards will take place on 22 February at the Grand Connaught Rooms in London.

As Tavi smartly pointed out, she is about half the size of the average fashion ed/celeb and the offending bow was shot with holes. Would any editor dare to strip Diane Pernet of her signature raised veil? Non, pas du tout!  So really, the crux of the matter is that the teen fashion prodigy has fast-tracked her way to the privileges that editors have spent years trying to cultivating and maintain and surprisingly enough, they don’t like it!

Couture is an industry clawing on by its teeth, so it’s no surprise that designers are consciously trying to appeal to a younger market – hence Tavi at Dior, Lady Gaga sporting Armani Privé and Valentino’s woodland neon nymphs.

The direction of the house of Valentino has been somewhat vague since the departure of Valentino Garavani.  His second set of predecessors and former Valentino accessories designers Maria Grazia Chiuri and Pier Paolo Piccioli began their assault on a new look brand with their romantic, sculptural A/W 09 collection, but this season they’ve gone wild and thrown the rulebook to the wind.

Valentino’s elegant woman has put her prim little suit in storage and turned into a to a cyber partygirl with a new best mate, Alice Dellal.  Blush and nude shades are carried over from the Autumn/Winter ready-to-wear collection, but this time they’re set off with flashes of fluorescent pink and yellow and silver (with more than a nod to Pam Hogg’s panelled catsuits).

Underneath the neon and sparkle, there are whispers of classic Valentino, with beautiful draping, volume and embellishment, but the pair really stick the knife in with their interpretation of  the iconic ‘Valentino red dress’.  There are three red dresses in the collection, the most outrageous being a red leather mini dress with waves of leather ruffles.

The sheer visors and ‘exotic bird’ make-up seem to reference Avatar and the models certainly have an eco-warrior vibe.  This unashamed attempt to appeal to a younger, ‘new money’ crowd hasn’t gone unnoticed, and their new rock ‘n’ roll image has sent shockwaves through Valentino’s clique.

Valentino’s partner Giancarlo Giammetti labelled the collection a ‘ridiculous circus’ and told WWD that both he and Valentino “are always supportive of the designers of Valentino, even if we don’t approve of their effort to be cool at all costs.”

A polar opposite collection was John Galliano’s historical, equestrian collection that looked back to the work of Belle Epoque designer Charles Lamb, who was also the inspiration for Christian Dior’s New Look collection in 1947.

Galliano cracked the whip, as models were sent down the catwalk in Edwardian riding jackets with nipped-in waists and peplums, checked skirts with bustles and top hats with veils.  Next up was cocktail hour with the most beautiful jewel coloured, gathered chiffon skirts, embellished jackets, halter-neck bustier shirts and draped dresses in Duchesse satin.

For evening wear, it was all about the most incredible ball gowns and Galliano found inspiration with ‘The Gibson Girls’, the illustrated feminine ideals at the turn of the century.  There were delicately structured satin bodices with voluminous, sculptural skirts in exquisite fabrics and a colour palette including dusky pink, raspberry, petrol, mauve and ice blue.

You can tell that Galliano lives for creating couture and the colours, craftsmanship and historical references make his shows the most anticipated of all.  Suzy Menkes acknowledged the beauty and emotion of the collection, but suggested that “it would be a fine thing if Mr. Galliano could just once make the starting point of Dior couture not fashion’s sweet memories but a clean sheet of paper on which he writes 2010.”

It’s interesting that designers who have been at the helm of Valentino for just over two seasons should cut away from the house’s heritage so significantly, while Galliano, who has made Dior his own since his arrival in 1996, still references Christian Dior’s most prominent collections like an old friend.

With rejuvenated houses such as Balmain, Givenchy and Balenciaga excelling commercially but losing part of their original identity (plus the closure of Christian Lacroix), I would personally drape myself in raspberry tulle in support of Galliano’s nostalgia over a label who is in the painful midst of a personality crisis.

I love the fashion warrior look, with the studs, spikes, chains and whatnot, but I always seem to drift back into floral tea dress/grunge territory.  It takes a special kind of girl to rock a floral dress, patterned or embellished – see floral fans Helena Christensen, Chloë Sevigny, Eva Green and Erdem girls Keira Knightley and Thandie Newton for reference.

Thanie Newton wearing Erdem

It’s all about picking interesting colours, an attractive pattern and the right shape and hem length (oh, and a statement lip colour always helps).  But enough fashion rambling and on to the real crux of the matter…Erdem is bring fashion to the people!

Erdem is the latest designer to show his favourite pieces in a series of catwalks shows, as the focus of the V&A’s Fashion In Motion. This year’s Fashion In Motion events have already seen Giles Deacon and Stephen Jones present their catwalk collections to the public and the initiative has been running for an impressive ten years.

Erdem showed his first collection at the V&A and it is a perfectly timed collaboration, as they unveil their new major exhibition, Decode: Digital Design Sensations.

Erdem has been one of the first new British designers to use technology to his own advantage, incorporating digital printing (pioneered by Basso & Brooke in 2004), which has also been adopted by Marios Schwab, Mary Katranzou and William Tempest.  The results are crystal clear precision and a vibrant, more eye-catching effect.  It is also a more economical technique, as there is no minimum printing run to break even, and the big fashion houses are now catching on to the trend.

The popularity of Erdem’s collections lie in him creating a number of different silhouettes, meaning there is an Erdem look for every shape.  Everything is extremely wearable, with Jonathan Saunders-style panelling to complement curves and no unnecessary cut-out detailing or low-fastening.

Erdem has been compared to Christian Lacroix many times and his pieces described as ‘semi-couture’, but there is none of the old-world gaudiness, as Erdem looks towards the fashion of the future.

But while Erdem is one of the main east London players (he’s a fellow Hackney lad), he has further strengthened his more conventional links and collaborated with Bond Street stationers Smythson on a covetable, limited edition range of diaries and notebooks.

The diaries feature whimsical colour block line drawings engraved and printed on goat-skin leather. There are also a range of notebooks that are covered in Erdem’s signature floral prints with added flower motifs and dashes of gold.  All books and diaries are lined with beautiful silk from Erdem’s resort 2010 collection and two pages of illustrations.  Prices start at an eye-watering £115 for the Panama Diary, but my guess is that you’ll carry it around with you everywhere and will thus be more organised than ever!

Admission to Fashion In Motion at the V&A is free but booking is essential
Tickets will be available from Monday 30 November
To book call +44 (0)20 7942 2820£115