This point in time: The real reason losing Alexander McQueen is tragic for us all.

By now I imagine you have to be very far removed from not only the fashion world, but also mainstream news outlets and culture in general, to have not heard the tragic news of Lee Alexander McQueen's passing last Thursday.  I have been examining my own feelings and actively absorbing what people have been saying about it--on blogs, in magazines, and most spectacularly, on Twitter.  The outpouring of grief and shock has been great indeed, but I couldn't bring myself to join in because, to be honest, I found some of these sentiments around it being "so sad," "such a waste," "he was so creative and talented," and simply "r.i.p. alexander," to be neither satisfying nor convincing. And so it has taken me some time to process and share what I think is really behind this terrible sense of loss that we feel.

Because I never knew the man, and only knew his work, I cannot write with any conviction or meaning about the unspeakable tragedy of losing Lee McQueen as a human being, especially the untimely way in which he departed.  I can only write about what losing him as an artist means for us, and how his creations continue to inspire and impact the world we live in.

The death of Alexander McQueen is tragic not because he was, and is, my "favorite designer."  That doesn't mean much if you don't appreciate fashion's place in society.  But I contend that even for the philistines among us, there's room to mourn creative genius in any form.  Many of us are overwhelmed with sadness as we stare at this gaping black maw of a McQ-shaped hole before us, and I posit that the reason we feel robbed is really that we have lost one of the greatest storytellers of our time.
  
A storyteller, you say?  Why yes indeed - I believe Alexander McQueen was a masterful storyteller, right up there with the most skillful film directors, novelists, and painters of the era, before he was ever a designer, or even a tailor (of which he was one of the best).  The tales he spun were dark fables and romantic, gothic fairy stories that reached deep into the very underbelly of our cultural consciousness and always left a subtle aftertaste of terror.  His stories were the stuff of Bluebeard's castle, of Jane Eyre's splintered chestnut tree, of Snow White and Rose Red's beloved bear, and of Beauty's faithful Beast.  They comprised a very real part of who we are as a society.

The Contemporary Fashion Archive was one of the few sources I found to accurately describe the full effect of McQueen's work on the fabric of our cultural consciousness: "His 1990s fashion shows became famous for evoking complex narratives and powerful imagery that often seamlessly combined beauty with emotional disturbance, glamour with violence and fragility with aggression."

For his Fall 2008 show, possibly one of his most memorable and magical collections, which Style.com called "a self-imagined fantasy of crinolined princesses and British-colonial romance," McQueen stated, "I've got a 600-year-old elm tree in my garden," he told us, "and I made up this story of a girl who lives in it and comes out of the darkness to meet a prince and become a queen."

And yet, McQueen was always lauded for being forward-thinking, groundbreaking, and evolutionary in his designs.  He was doing exciting things in his collections, things most designers would never have the balls to conceive, let alone execute and display.  One need only behold the bizarre yet undeniable beauty of the now-infamous 10-inch stiletto "armadillo shoes," from his most recent Spring 2010 collection, so unlike anything we've ever seen anyone put on their feet, to understand that McQueen's ability to explore uncharted territory was unparalleled.  And still, the strange new things possess a heartbreaking, breathtaking, extraordinary beauty.


It was his mastery of so many contradictions, including this ability to look ahead at the same time that he reached fervently and reverently into the past, that made McQueen's work so unforgettable, why these silhouettes seeped deeply into the crevices of our imaginations, and why they were always managed to unnerve and disturb us at the same time they lit us ablaze with desire.  For in his stories we found not only where we've been and who we were, but new hope for where we might be going next and how those new places might alter us.  And in McQueen's hands, we willingly relinquished the fears his designs inspired in us, and trusted his guidance completely on this journey into our own aesthetic future.

And so, while I grieve for Lee McQueen, the man, and the many sadnesses and loneliness he endured as he moved within the shallow and concocted world of fashion, the bigger part of me mourns the passing of a true poet and scholar who had so much left to give the world. And yes, that part of me feels robbed of the unwritten stories Alexander McQueen might have had to tell me, the loss of which makes me look forward into the empty space with a real and creeping dread.

Explore images and videos of the last 8 years of Alexander McQueen's collections on the official site.
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It took me a while to uncover these photos, but I finally found them on the Contemporary Fashion Archive website.  This gallery includes designs from Alexander McQueen's earliest collections, starting with his innovative graduate collection (bought in its entirety by the late Isabella Blow in 1994), to the the infamous "Highland Rape" show in 1995, into the latter part of the decade.  It's fascinating to compare these early works with his later, more mature styles.


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The only two celebrity reactions I found remotely interesting, though they may not be the most appropriate responses to the news:

George Forsyth (Lee's former partner): "The truth is, the fashion world is the loneliest place on the face of the planet. It's a shallow world full of party people and party 'friends.'...It's been fashion, fashion, fashion ... but what about him as a person? That's the real loss and the real waste."

Karl Lagerfeld: “I found his work very interesting and never banal. There was always some attraction to death, his designs were sometimes dehumanised. Who knows, perhaps after flirting with death too often, death attracts you.”
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The Best of the Rest: Some favorite picks from McQueen's other shows, like the divine shredded chiffon "oyster dress" from his Spring 2003 collection...

and the exquisite dress he custom-designed for fashion editor/chick-lit "novelist" Plum Sykes:

The Edwardian/Scottish punk aesthetic of his Fall 2006 show:

The abundance of houndstooth during Fall 2009:

And finally, selections from all the other shows:

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In memory of Lee Alexander McQueen (1969 - 2010)

Katy Perry: Her music's only okay, but I HEART her style.

I know, I know.  Where on earth have I been for the past two years, living under a rock?  Because I can't believe it took me so stupidly long to get around to watching a Katy Perry video. The first few times I heard her songs on the radio, I kind of disliked her voice, her themes, her music in general and was just not interested in finding more about her.

It was seeing glimpses of her video for "Hot n Cold" on DJ Earworm's 2009 United State of Pop that got me intrigued by, of all things, her STYLE.  My friends, I've decided Katy Perry has loads of it (style, that is), and I find her totally adorable.

I've rarely seen anyone pull off such a throwback vintage-y look with a straight face and, as they say, "totally rock it."  In the "Hot n Cold" video, I loved everything from the artful white veil pinned in place by an heirloom rhinestone brooch, to the fantastic convertible wedding gown/romper with the giant bow, to her fabulous strappy belt, to her selection of odd-colored eyeshadows.  I started watching her other videos, and it was interesting to see the evolution (and elaboration) of her style.  Whereas she has just one or two outfits in her first hit single, "I Kissed a Girl," by the time she hits "Waking Up in Vegas" she is rocking something like seven outfits in a single 4-minute song, each one more fabulous and fanciful than the other.  I've taken the liberty of painstakingly screen-capping the heck out of these outfits so you can see what I'm talking about.

Checking out her red carpet looks is pretty entertaining too.  I love how the girl goes from dishwater-blonde contemporary Christian teenager to outrageous brunette super-vamp within the span of a few short years. It's enough to give anyone hope for reinvention.  When I saw her in action, the first thing I thought was, "She's like an EVEN MORE fearless, irresistable and effervescent version of Zooey Deschanel!"  

For public events, she seems to favor a) fruits and other food items, b) animal prints, c) ruffles galore, d) heart-shaped sunglasses, and d) a crapton of cleavage.  I love that she so fearlessly right to the edge of what is acceptable or not, from the outrageous carousel and ice cream cone dresses to the dramatic Viktor & Rolf peachy ball-gown concoction with the giant holes cut into it.

The arduous journey of finding the ideal black jacket ends (quite happily) with: Nicholas K.

I am not sure why, but finding the right black jacket is incredibly difficult.  Months of scouring, neck-breaking work, really. And diligently sifting though a WHOLE LOTTA UGLY is not easy, I'm telling you!  Even ModCloth, with their 500+ styles of jackets, coats and assorted outerwear, failed me.

I made it a bit more difficult for myself, I admit, because I had something very specific in mind:

  • Short, hitting just at the top of the hips.  I have to be able to move around in it, you know what I mean? I have had it with long coats, seriously.  They totally get in the way of everything and feel much too formal for anything I ever do.  I have one long black wool coat (I call it my "opera coat") way back from my East Coast days and I can count on my fingers how many times I've worn it.
  • Bomber or motorcycle style.  I decided that the ubiquitous peacoat styles are not for me.  Warm they are, but it's hard for me to wear one without being tempted to wear tennis shoes with it, and thus look frumpy.  Not to mention they have to be impeccably tailored, and most mass-market merchants just aren't that good.
  • Mid-weight. I already have this giant puffer jacket with a huge, dramatic collar from BCBG for the coldest days (and the aforementioned "opera coat."  I actually go to the opera more often than one would expect from a cheapskate like me.  But that, of course, is because one of my good friends used to work at the LA Opera and throw me free tickets so I could act as a "seat filler."  Of course I would show up, in true LA fashion, in my jeans.).  And yet living in the Bay Area means a simple cardigan or cotton jacket simply won't do.  Basically, I need something to replace this natty Patagonia fleece (which I got for free, from work) I've been wearing all the time.  I mean, it's a good jacket, but only if I'm going hiking or doing something equally active.
  • NOT leather.  Prefer wool, cotton, whatever - as long as it's relatively easy to maintain.  Is it too much to ask for a bomber jacket that is NOT made out of leather, or leather substitute?  For real!
  • Some interesting detail.  This is probably the hardest criteria of all.  When it comes to jackets, there is a deplorable wealth of mediocrity out there.  Everything looks the same, that is, b-o-r-i-n-g.  So I kept my eyes open for some interesting thing - a cool collar, an interesting cut, an asymmetrical zipper, artfully arranged buttons.  When it comes to stuff you're going to wear every day, I say go big or go home.
Enter Nicholas K, who I think has made the most perfect collection of outerwear in existence, in his Fall 2009 line.  

His dresses and tops I wasn't such a fan of, but every piece of his outerwear collection is utter perfection, from the shape and silhouette to the slouchy, casual but still luxurious materials.  They are the incarnation of everything I've ever dreamed of in a coat, or a jacket, or a sweater cardigan.  It's like Nicholas K has a direct psychic connection to every whim of my brain.

Check out the rest of the line here. There's a LOT of pieces, each one of them unique and delightful in their beautiful little details, masterful cuts and natural styling.  It's the kind of clothing I could totally live in, if I were rolling around in money.  Because no, they are not cheap.  I first encountered the Kepler jacket, on a chance Gilt Fuse sale where they were going for $115 (down from $300 retail), but one second of hesitation cost me the purchase and they were sold out like that * snap *.  It was everything I was looking for: fabric, short, cool foldover collar, asymmetrical zip, ribbed hem and cuffs.  It was, in a word, perfect.

But of course, having found the perfect jacket, I had to be patient and bide my time.  I found the jacket at exactly one store, a quirky boutique called Petulia's Folly in Philly.  At the time it was on sale, but still too expensive ($229).  So I sat on it for a few weeks and sure enough, tonight I found they slashed the price down to $150.  I knew the time had come and I had to pounce.

And so, this little girl is one lovely black jacket richer.

A philosophical question for fashionistas: At what point does gingham become buffalo plaid?

It was news to me when I discovered I'd been misusing the word 'plaid' (the actual cloth) when I really meant to say 'tartan' (the pattern).  In the same way, when you really think about it, most people use the terms 'gingham,' 'buffalo plaid' and even 'checks' interchangeably. They all sort of refer to this square-ish, plaid-ish pattern consisting of just two colors.  The only distinction I could make was that people seem to use 'gingham' when the pattern of squares is small, as with Dorothy's famous blue gingham dress, and buffalo plaid when the pattern is large, as in a flannel lumberjack's shirt.

Dictionaries and wikipedia are not much help; they say gingham is a type of cloth that's usually woven in a checked pattern, and buffalo plaid is simply defined as "a broad checkered plaid pattern usually of two colors."  Which is to say, they are practically the same thing.  And yet they're not!

But let's get down to the interesting stuff, which is the fact that this pattern, especially in black-and-white, has been popping up everywhere.  

I was only moved to blog about it when I saw the beautiful way designer Christopher Kane applied the pattern in his Spring 2010 collection. The cuts, the silhouettes, the drape of the fabric, they are all gorgeously and daringly executed.  But what really makes Kane's collection interesting to me is that he cut the fabric on a bias, so the pattern falls diagonally instead of up-and-down.  I've never seen buffalo plaid (or gingham, as most people are referring to Kane's dresses) so graceful, so ethereal.  It's an interesting juxtaposition of luxuriously delicate fabric and really down-to-earth practicality.  

Of course, I don't expect to afford the real thing so I went off in search of some suitable plaid/gingham dresses that could substitute.  Here's what I found, though I have to say only a couple of them even come close to Christopher Kane's frocks (Scottish designer Zoe Watt's Brass Label being one of them- discovered on fashion-stylist.net). Also included some fun accessories featuring the buffalo plaid pattern, from a blanket to slippers to an adorable dog vest.

Clothing: 1. Brass Label collection 2. 80spurple.com 3. Forever 21 4. ModCloth 5. Small Earth Vintage 6. Oasis 7. Philip Lim 8. Tambukiki on eBay 9. Urban Outfitters 10. Marks & Spencer 11. kensiegirl 12. American Eagle 13. Forever 21 14. Gap 15. Paul Smith 16. Hot Topic hoodie 17. PixieMarket coat 18. Plastic Island sweater cardigan

Accessories: 1. Old Navy umbrella2. Urban Outfitters throw blanket. 3-4. Aeropostale bikini top and bottom 5. Anthropologie bra 6. Etsy dog vest 7. Forever 21 hi-tops  8. Forever 21 slippers

Lessons from the movies: Game-changing dresses.

Sorry for the very long absence, friends!  Life happens, I guess.  

I've been reading this excellent book, Audrey Style by Pamela Clarke Keogh, which is not a straightforward biography of America's most beloved silver screen star.  Rather, it's about the life-changing events, relationships, and personal convictions that went into creating Audrey Hepburn's innovative, singular and influential way of dressing--most notably her lifelong 'style' partnership with the designer Givenchy.

So far I've learned some interesting things that make me respect Audrey more as an individual, even though I haven't really been a fan of most of her movies (I know--gasp.).  Like the fact that from ages 12-16, during WWII, she practically starved and even tried to make bread out of grass.  Or that she spent her entire life yearning for warmth and affection from her rigid mother.

Anyway, I specifically wanted to discuss the one film that really put Audrey on the style map, and made every woman in America want to dress like her.  Most people assume that this film was Breakfast at Tiffany's (1961), when in fact, Audrey's moment came much earlier, in 1954, in the original Sabrina.

It was a barely-known Audrey Hepburn that boldly made an appointment with Givenchy and dazzled him with the way she brought his designs to life, then proceeded to select three simple costumes from his 1953 Spring/Summer collection that would change everything:

1) The Glen Cove Suit: Audrey wore this with a simple white turban while waiting at the train station with her luggage and mini poodle.  Dark gray, double-breasted, cinch-waisted, scoop-neck jacket and a simple slim, calf-length skirt.

2) The White Ball Gown (pictured below): For her first party back at the Larrabee mansion, Audrey's character donned a magnificent concoction of silk and embroidery that stunned the Larrabee brothers, and the world.

3) The Denouement Date Dress (pictured below): The truly original Little Black Dress, a good 7 years before the one she wore in Breakfast.  Simple tea-length with boat neck and two sweet bows on her shoulders, it suited her gamine figure perfectly.
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Interesting stuff, but what really got me fascinated was thinking of other game-changing style moments in cinematic history, when things changed very tangibly for the character because of what she wore, within the context of the film, or when what she wore changed the way the world, and especially women, viewed themselves and their potential.

I'm thinking specifically about dresses worn at pivotal moments in film, dresses we still think and talk and dream about, to this day.  Dresses that capture our imagination with their own breathless possibility.  Here are some of my favorites...can you think of any others?

1 Sabrina's white Givenchy ball gown. 2 Sabrina's little black dress.  3-4 The gorgeous green silk dress Keira Knightley wore in Atonement. 5-7 Drew Barrymore's Renaissance-style dress and wings in Ever After. 8 The climactic flamenco ball gown in Strictly Ballroom. 9 Anastasia's lovely dark blue opera dress and white gloves. 10 Kate Winslet in beaded finery in Titanic. 11-12 Princess Leia's slave girl chic vs. chaste white gown in Star Wars. 13 Penelope's wedding dress - corset and shredded skirt.  14 Nicole Kidman's satin confection in Moulin Rouge. 15-17 All of Maggie Cheung's gorgeous cheongsam-style dresses in In the Mood for Love. 18 I always had a thing for Maria's lovely, light-as-air frock in The Sound of Music. 19-20 Jennifer Connelly in an over-the-top concoction for Labyrinth. 21-22 Grace Kelly's opening scene dress in Rear Window. 23 Zhang Ziyi's debut in Memoirs of a Geisha. 24 Marilyn Monroe's classic halter in Seven Year Itch. 25-26 Kate Hudson in How to Lose a Guy in 10 Days - love the unusual yellow color.  27 Kim Basinger's cloak in LA Confidential. 28 All of Jennifer Lopez's crazy get-ups in The cell. 29 Dustin Hoffman's sequined wonder in Tootsie. 30 Renee Zelleweger in a super simple little black dress for her first date in Jerry Maguire. 31 THe gloriously over-the-top wedding gown in Coming to America. 32-33 Julia Stiles' simple, striking blue prom dress + red flower in 10 Things I Hate About You. 34 And finally, the magnificent Lauren Bacall.

Meet: tambukiki (or, I'm pretty sure I've found a new addiction)

So there I was, minding my own business, doing a search on "purple coats" on eBay for a possible Halloween costume when I saw, at the bottom of the listings, a sponsored listing (read: AD!) for this other eBay seller who apparently had nothing to do with purple coats, tambukiki.  I was intrigued by the dress in the picture and clicked through.

I found myself in a veritable treasure trove of dazzlingly cute, pretty, wearable, and--best of all--totally affordable clothing!  Actually, what struck me first were the product photos.  They are certainly done with an expensive camera against a simple gray backdrop, and the seller includes no less than nine high-quality photos for each item.  By far the best product photos I've ever seen on eBay.  I don't understand why more people don't do this--it makes your stuff look so much better!

But beyond the photos, the styles themselves are so very cute, and so very unique, and the stuff seems to be decent quality for the price (I'd place it somewhere around Urban Outfitters or the nicer stuff at Forever 21).  I am dizzy with the vast selection tambukiki offers - probably around 1500 listings at any given time, so there's always something new and fabulous to discover.  It's taking a lot of self control for me to refrain from buying up her whole store.  For you, dear readers, I picked through almost all 1500 listings and bring you the best of my favorites list.

You can find tambukiki's eBay store here.  Happy shopping--I'll probably see you at the auction block =)

(Happy Friday!) Why Harper's Bazaar subscribers have it better.

Besides the fact that the newsstand price is about $4/issue, and I pay just $10 flat for a whole year's worth of magazines. No, what I'm talking about is a fact little-known outside this special club of people who subscribe to the magazine on a regular basis: we get different covers.  Better covers, I must say.  

Harper's Bazaar newsstand covers don't really stand out from every other magazine out there--huge faces with loud words graffittied all over them.  "Fabulous at Every Age!" is a popular Bazaar saying.  "Bags! SHOES! 437 New Looks! Beauty STEALS!"  I really hate how these kinds of covers treat us like we're stupid.

But oh, the subscriber covers! I'm not sure if other magazines do this, but I prefer Harper's Bazaar to most other fashion magazines because of it (the only other one I love is W, with its awesome photography in that fabulous large format).  Every month I look forward to receiving that delicious piece of artwork in the mail, showcasing that issue's lovely celebrity in some sweeping, epic gown, striking a whimsical, gestural pose against a cinematic backdrop.  Oh, how I love it.  So much that I painstakingly collected some of the most striking covers from the past couple of years and created diptychs so you can compare the subscriber covers to the regular newsstand covers.  You're welcome.

Posted simultaneously to stephanie.posterous.com.

My Personal Fall Trend: Waistcoats for Women

I can't say I understand the nuances of seasonal trends--all I've gathered so far is that over-the-knee boots and red lipstick are supposed to be tres "in" this fall. So I have no idea where menswear-inspired pieces fall in the spectrum of "trendy - dowdy," but something tells me it's the sort of thing that never goes out of style.  And so friends, I give you: waistcoats for women.

Now, I am not talking mere vests, that foul Americanization of the word.  Though people might assume that vests and waistcoats are interchangeable, I beg to differ.  While a vest, to me, is any old thing with no sleeves worn over something else, waistcoats involve some must-haves:

  1. Tailoring: Lapels, darts, seams, interfacing. This means that a waistcoat must never be made of any shapeless sweater-like knit material!
  2. Buttons or some other closure of some kind. Again, it is not something you can just pull over your head like any common vest.  It requires patience!  Class! Preferably of the double-breasted sort!
  3. Some interesting detail: Okay, this is just my personal opinion, but it's one thing to wear something that looks like it belongs as part of a three-piece suit.  It's another thing to wear a stand-alone waistcoat that makes a statement all on its own!
Vests/waistcoats were the kind of accessory that never crossed my mind as a legitimate investment, when I was growing up.  If you had given me a vest in high school I would hardly have known what to do with it.  It just seemed so extraneous, so unnecessary!  But now they're growing on me for that very reason.  So what if they don't keep you warm, or hold something up, or cover up something that needs to be covered?  It sort of hit me the other day when I was at my friend's wedding and saw a (very cute) female server with a a simple, well-tailored black waistcoat over her white uniform, and thought, "I should totally rock that look!"

I think we're on to something here.

List of items above: 1. Heimstone Gilet for acrimony. 2-3. Boy by Band of Outsiders. 4. Candy and Caviar for 80spurple.com. 5. Citizens of Elysium on etsy.com. 6. 17th-century woman's waistcoat. 7. Erik Hart for revolveclothing.com. 8. 17th-century floral embroidered waistcoat.  9-10. Forever 21. 11. Generra at bluefly.com.  12. Heimstone Gilet, in black.  13. MBH Saddlery show halter waistcoat. 14.  Paper Denim Cloth.  15. Play the Odds. 16. Yellow quilted Provencal waistcoat. 17. Roberto Rodriguez at bluefly.com.  18-19. Silence and Noise for urbanoutfitters.com. 20. Vintage textile waistcoat. 21. Alice + Olivia.

We interrupt our regularly scheduled program to bring you: the most unrealistic, yet kickass, shoes. Only from Report Signature.

I think the title of the post says it all.  I totally love Report's regular shoes because they are so deliciously cute and wearable, but lately I find my imagination held hostage by their higher-end line, Report Signature, which are probably the most UNwearable shoes I've ever seen in my life.  I couldn't wear them in a million years, because I would break my ankles in about five different places and dislocate both my knees trying to toddle down the stairs from my apartment.  


The shoes average a 4.5" - 5" heel.  Geez Louise, who can wear such an absurdly tall heel?  And yet, maybe the fact that they are so unattainable for the average gal makes them that much more awesome.  Is it even possible to make outstanding shoes like these but with, say, a 2" or 3" heel?  Sounds like a potential business plan...

From left to right: Madera platform, Howell bootie, Dita pump, Pamona platform, Rockwell platform, Tocai platform, Loring bootie, Durant bootie (in beige and leopard), Corinne sandal, Downey platform (in black and white), and Ziska sandal

Images taken from (in case you are crazy enough to want to buy them):

Frye boots: Homage to the legendary, the rare, and the otherwise extraordinary

Thanks Robyn for inspiring this post!

It's no secret that Frye makes the best boots around - beyond the pedigree, vintage, and historical "street cred," they are simply beautiful to behold.  My heart thrills to the supple, slightly shiny heft of the leather, the painstaking attention to detail, the patient craftsmanship (over 190 steps for each pair according to their website), the longevity, and the androgyny.  It makes me glad that such a shoemaker exists, and that they have been around for so long (since 1863--they shod soldiers on both sides of the Civil War!).

If there's an addiction worth having, I think it's gotta be Frye.  If I had $1,000 lying around, I wouldn't buy 4-5 pairs of designer jeans, like many girls do.  I wouldn't buy a purse.  (Well, maybe I would buy a purse...but only if it were Alexander McQueen, and if it were on sale).  No, I'd buy 3 pairs of Frye boots.  No matter that it rarely gets cold enough in California to wear them, or that I in no way resemble an engineer, or that I don't do any work strenuous enough to require a work boot.  This, my friends, is what I call luxury.

What I really wanted to write about here is about the sense of longing, and even loss, I feel for some of the most gorgeous examples of the Frye company's workmanship.  Many of these styles are no longer available, not available in my size, impossible to find through the usual discount or secondhand channels (you can forget about finding the Owen boot on eBay) or just prohibitively expensive.  Maybe some are lost forever.  But they are still beautiful, still classic, and I love them.

  • Adrienne tall button boot
  • Allie softie pump
  • Andrea mid boot in black
  • Billy western boot in cream
  • Daisy Dukes - classic with double-F detail, perforated, and studded
  • Engineer 12R boot in dark brown
  • Faith boot in 'denim'
  • Owen lace work boot
  • Adrienne oxford in snakeskin and Adrienne stitch oxford in brown, and olive
  • Classic Campus boot in dark brown
  • Paige buckle boot
  • Villager lace boot