Minimalism has never been my fashion style of choice. In fact, my approach to fashion is ‘More is More’.

At the moment, everyone is going wild over Caroline Bassett Kennedy and her 90s minimalist fashion.

With the recent series ‘Love Story’, fashionistas are clamoring for the clean lined look CBK was known for.

No one did minimalist fashion like Caroline Bessette-Kennedy.

Being a fashion publicist for Calvin Klein, she had an eye for fashion.

Her wardrobe was primarily  Prada, Helmut Lang, Jil Sander and Yohji Yamamoto. 

Most of her coats were Prada.

She was known to wear  Manolo Blahnik shoes, before her polar opposite, the fictional Carrie Bradshaw, made them famous. 

Prada for day, Manolo Blahnik for night. Practical boots, loafers, and sensible kitten heels from Prada were a huge part of her daytime looks, switching to Manolos when the occasion called for something more formal.

She is often associated with the plastic headband. She was frequently seen wearing a thick, tortoiseshell version from  Greenwich Village apothecary C.O. Bigalow.

She always wore oval Aldo shades from Selima Optique.

The brand later named a pair, the Carolyn, in her honor.

CBK primarily carried a black or tan Hermès Birkin 40, a black Prada Spazzolato tote, or a black Prada nylon shoulder bag.

She also carried a black Kelly 25 and sometimes used a black-trim L.L. Bean tote bag.

While I will continue to lean toward my maximalist lifestyle, I can pause for a moment to admire her ‘Old Money’ sleek style.

Sorry to 2016, NYFW threw it back further to 2009 with their recent 7FAM show.

With nostalgic fashion on the rise, social media is reflecting heavily on the previous decade.

7 For All Mankind chose to make its throwback comeback with new creative director, Italian designer Nicola Brognano.

Brognano is revitalizing the Italian label founded in the late ’70s and once again establishing it as a touchstone for Y2K-era ‘It girls’.

He made his debut with the brand this month at NYFW. He hopes to see real people wearing the collection, just like they did the 7FAM of decades past. 

Gen Z thinks they discovered this look. We know better. 

Social media is full of the youngest generation channeling their inner Jenny Humphrey. 

Jenny was in her ‘punk/goth/Barbie/Queen Bee’ era on Gossip Girl.

Models hit the runway sporting skinny jeans(yay,they’re back!), pea coats, and babydoll dresses. 

T-shirts were layered.

Denim and leather jackets were styled with skirts with high-low hemlines. 

The accessories were 100 percent  throwback! 

Messy hair topped with Ray-Ban Wayfarers, tons of costume jewelry, and huge  handbags. 

Some models sported two bags at a time.

Platform stilettos are also back.

I’m not happy about that. I never cared for the way they look and I know better than to risk my life and limb by wearing them lol.

This is actually recently becoming one of my favorite fashion genres. Think Gossip Girl meets Vivienne Westwood.

Ok Little J…we see you!!

I was fortunate to catch the Viktor & Rolf exhibit at The High Museum Of Art in Atlanta last weekend.

It was much larger than I expected.

For more than twenty years, Viktor & Rolf have challenged preconceptions of fashion and bridged the divide between fashion and art.

Room after room was filled with over the top couture.

Viktor & Rolf is a Dutch avant-garde luxury fashion house founded in 1993 by Viktor Horsting and Rolf Snoeren. 

I associate the brand with bright, cheerful florals. However, a huge selection of white on white was shown.

Viktor & Rolf use white as a defining, sculptural, and conceptual tool, often transforming the color into art-focused, avant-garde couture. Key uses include the 2016 “Performance of Sculptures” collection with Picasso-inspired Cubist forms, the 2018 “Immaculate” 25th-anniversary collection, and reinterpreting the classic white shirt with exaggerated shapes and dramatic, structural ruffles

Viktor & Rolf also use text on clothing to blend high-fashion couture with social commentary, irony, and popular culture.

Their iconic 2019 “Fashion Statements” collection featured voluminous tulle gowns with bold, slogans like “No photos please,” “Sorry I’m late,” and “Give a damn.”

There was alot of comments overheard about the creepy doll room.

As a longtime doll collector, I got it. And I loved it.

Their use dolls is a recurring, deeply conceptual, and surreal motif that bridges fashion, art, and childhood fantasy. 

They utilize dolls to miniaturize their archive, mock the fashion system, and explore themes of control and femininity, often replicating iconic garments in one-third scale. 

This isn’t a new concept.

Antique dolls originated as “fashion babies” in the 14th trough the 18th centuries, serving as miniature, 3D mannequins to showcase the latest European trends to affluent clients.

These early dolls, often made of wood or wax, traveled between courts and cities, acting as influential tools for designers to display intricate fabrics, styles, and, later, as toys.

Viktor & Rolf bring that old world concept back with their collection.

Their use of florals blend intense femininity with edgy, rebellious, and avant-garde designs resulting in a Baroque, yet minimal feel.

For more than three decades, Dutch fashion artists Viktor Horsting and Rolf Snoeren have explored the connections between the worlds of haute couture and art.

Dimension and texture are predominate in their couture collection.

These bows had me in a choke hold.

Seeing the pieces in these photos in real life was such a remarkable experience.

Of course there was a nod to their popular fragrance, Flower Bomb.

I’m so thankful to High Museum Of Art for this once in a lifetime opportunity.

The world was rocked last week to learn of the death of actress Catherine O’Hara.

One of my favorite characters she played was Moira Rose from Schitt’s Creek.

Her outlandish behavior and accent were matched only by her outfits.

Debra Hanson is the Emmy-winning costume designer behind the iconic fashion of Moira Rose.

Moira obviously favored black.

She was inspired by crows, as witnessed by her many feathers.

Hanson designed her wardrobe to be “too much is never enough,” featuring bold patterns and statement accessories.

Her hair style and color changed dramatically through the series, as well as the episode. She even named each of them!

Her wig collection was a specific request from actress Catherine O’Hara to define the character.

One of my favorite nonsensical quotes from Moira Rose seems quite fitting with her passing…

“How mercurial is life…we all imagine being carried from the ashes by the goddess Artemis and here I get a balatron from Barnum & Bailey.”