Well Shod, Well Imformed

THERE WILL BE BLOOD

Logging onto the information super highway this morning, Imelda was greeted by news so diabolical, Yum Yum - sensing what was about to go down – committed seppuku.

Correction, she ‘attempted’ seppeuku.

In her defence, aside from Imelda’s merciless tongue of tyranny, the sharpest object within reach was a heavily gnarled-on cob of corn (what bitches? Don’t be judging me for eatin’ corn in mah crypt…I know you’ve eaten worse things in your beds).

Whilst the sight of Yum Yum, attempting disembowelment, was a jovial distraction, it couldn’t erase the diabolical news that Nicolas Ghesquière, for the very first season, dishonoured the Despotic Queen of Shoes by not presenting a single heel.

QUELLE HORREUR!

Instead, the only man (aside from the Beloved) to hold an 'Access All Areas’ pass to the Despotic Queen’s touchstone of tyranny presented an ENTIRE collection of FLATS!

I’ll be heavily self-medicated for the remainder of Paris Fashion Week.

And Ghesquière, consider your access restricted!

 

BALENCIAGA TRAVELS BACK TO THE FUTURE

Imelda says, "It’s never too early for the smelling salts!"

Like the great (and oft referenced) André Perugia, Nicolas Ghesquiere is a visionary virtuoso - a talent so immense, one questions whether the Parisian is of this world. And with the passing of Lee McQueen,Ghesquiere has been left to shoulder the burden of being the last of contemporary fashions’ great supreme sovereigns.

Whilst Ghesquiere’s A/W 10/11 collection was nothing short of genius, it was also a considered study of contrasts and technical innovations.

Ghesquiere brilliantly juxtaposed traditional 1960's penny loafers, shoe-boots and double mock strap silhouettes with contrasting components that Imelda notes, were mildly reminiscent of the designers critically acclaimed ‘Lego’ shoe.

The moulded heel counter trims, clip-on platforms, cubed heel covers and the marbled heel in-lays have elevated Balenciaga’s classic constructions from being merely on-trend to this seasons hautest footwear collection.

The Despotic Queen prostrates herself before no man except El Diablo, the Sweet baby Jesus in his Christmas crib (my insurance policy) and… Nicolas Ghesquiere!

A MIXED BAG OF S/S 10 TREATS

Over the weekend I was raging about the diabolical state of S/S10 footwear to anyone who’d listen (read house serfs) and fired off threatening correspondence to all the leading design houses ranting about how all this austerity is so unnecessary. I know, so bloshie!

I realize Imelda’s already trotted out her caustic thoughts on the aforementioned subject and that we’ve also discussed my thoughts on why now is the best time to get your indie (designer) on.

With that in mind, over the next two days I wanted to present you with a snap shot of brands that I wouldn’t normally cover with assistance from Style.com’s Candy Pratts Price and her seminal Accessories Report.

Most note-worthy was Price’s inclusion of not one, but two, of the Despotic Queen’s favourite footwear designers, The Great Dane (aka Camilla Skovgaard) and the Beloved (Nicholas Kirkwood) who is making his second appearance.

Whilst Skovgaard and Kirkwood’s inclusion isn’t the ‘great leap forward’ for independent designers, it is testament that both designers are now bonefide playa-playa’s in the US market. Holla.

What’s also interesting (and reason enough for me to start self mutilating Yum Yum again) is when you view ALL the brands grouped, just how lite on the razzle-dazzle the forthcoming season will be for my US Imeldettes.

Naturally there’s bound to be a few surprises and Imelda couldn’t have been more surprised that I took a shine to Manolo Blahnik’s (notice it’s not Blah-nik) S/S10 collection. Not one to underestimate, Blahnik appears to be making a return to form of sorts with his bull-nose slingbacks, squared-off lasts and tequila sunrise colour palette.

Unfortunately Blahnik is the only surprise with most designers mirroring the key catwalk trend for exotic skins and platforms.

ALEJANDRO INGELMO

APERLAI 

BALENCIAGA

 

BALMAIN

 

BRIAN ATWOOD

 

BRUNO FRISONI

 

CHRISTIAN LOUBOUTIN

 

JIMMY CHOO

 

LOEFFE RANDALL

 

LOEWE

 

MANOLO BLAHNIK

BALENCIAGA BOUNCES BACK!

The only man Imelda would like to sex, more than the Beloved, is Balenciaga’s Nicolas Ghesquière. But after last seasons Housefrau Haute Mess, I did question the yearning in my loins.

However, I’m happy to report that Ghesquière has stepped out of the dark and once again, is the star of Imelda’s (creepy) sadomasochistic fantasies.

While I mentally tie him to a rusty bed frame and violate him (with my merciless tongue of tyranny), lets talk shoes.

Contrary to last nights tweet, “obsessing over Balenciaga's over-sized studded ankle cuffs which may or may not be attached to cylindrical heeled sandals.” There was not a stud to be seen at Balenciaga and I was most surprised the venerable Suzie Menkes, made reference to this in her ‘special report’ Balmain vs. Balenciaga “down to its ankle-stud boots with cylinder heels”.

Tapered cylindrical heels yes…studs, no!

Ghesquière’s open toe boots felt less futuristic and more tribal. Contrasting prints and fabrications dominated Ghesquière’s footwear aesthetic. Thick vamp strapping and t-bar silhouettes contrasted the heavily fabricated shafts. Chunky extended rands were combined with exposed footbeds which gave the boots the appearance of being platforms.

image credit - Vogue UK

BALENCIAGA'S HAUSFRAU HAUTE MESS!

It’s not like Nicolas Ghesquière to disappoint The Despotic Queen but after yesterday’s polarizing collection of draped pantsuits and harem pants, Imelda has been left wondering if I’d mistakenly teleported myself onto a table of bourgeoisie Hausfraus catching the midnight show at Le Lido circa 1983.

As for the shoes, Ghesquière’s platform foreparts bore a striking resemblance to last season’s futuristic stunners. For A/W Ghesquière appears to have updated the organic SS09 bubble shaped forepart with aggressive angular gum componentry. Yes, the cigarette shaped heels were elegant but I found the macramé vamps and rouched suede sash trims frustratingly off trend. Cue Imelda’s raised fists and shrill cry to the heavens “MERDE”. 

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