Calvin Klein Fall/Winter 2013

I have come to the conclusion that Calvin Klein’s work is to be reserved for women standing at over six feet tall and/or for confident career women over the age of twenty seven.

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Every time my birthday rolls around, I make a point of seeing if the time has come for me to relate to Calvin Klein’s Ready-to-Wear. At 19, I’m yet to reach that point, and have come to the conclusion that the iconic house’s work is to be reserved for women standing at over six feet tall and/or for confident career women over the age of twenty seven. Carolyn Bessette Kennedy was both of these, and to say that I aspire to be so poised some day would be a wild understatement.

This is not to say, however, that I wasn’t absolutely taken by this season’s sculptural excellence. Ladies (and I suppose it would interest Gentlemen): the cinched waist is back. To offset 1980 shoulders and calf-skimming midi lengths, to draw favourable attention to a severe and plunging neckline, and to be a healthy companion to the most elegant parts of a woman’s body – the back and neck, obviously.

While I often wonder why designers don’t have a little more structural creativity with entire teams of hair and makeup artists at their disposal, this season’s show was so well cast that I didn’t even take the time to notice bare their faces and pre-adolescent side parts. In hindsight, I suppose the intention was for me to admire them – needless to say, all present were taken by Caroline Murphy’s competitive glow. And, of course, all hail The Kloss.

But you can see what I mean when I say that any such collection piece would actually make the youthful look younger. The A-line dresses would translate to school pinafore dresses on a smaller frame, and the impeccably tailored and belted coats would swamp a woman without the worldy age or stature behind or below her. The separates, perhaps, I could grow into. Or perhaps makeup is the answer.

Regardless, I’ll wait another decade.

And then we can talk, dear Calvin.

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About

Margaret Zhang is a Chinese-Australian photographer, director, stylist and writer based in New York. Since her digital beginnings in the fashion industry in 2009, Margaret has worked with global brands including Chanel, UNIQLO, Swarovski, YEEZY, Clinique, Lexus, Dior, Gucci, Matches and Louis Vuitton in a wide range of capacities both in front of and behind the camera, while completing her Bachelor of Commerce/Bachelor of Laws at The University of Sydney.
Though regularly featured in print and digital media as a model and personality alike, Margaret’s pho tography, styling, and creative direction has been employed by the likes of Vogue, L’Officiel, Harper’s BAZAAR, NYLON, Marie Claire, Buro24/7, and ELLE internationally. She has been listed in Forbes Asia’s 30Under30 and TimeOut’s 40Under40 lists, and her work has been recognised as shaping the international fashion industry by the Business of Fashion BoF500 Index, and ELLE Magazine’s Best Digital Influencer of The Year Award.

 

 

 

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