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Currently based in London Marie-Louise Haselberg originally carved a niche for herself designing window displays for Tiffany & Co, Garrards and Stewart Weitzman in New York. Film and TV soon beckoned where she worked on sets and costumes for various productions ranging from Channel 4 films to the Welsh National Opera.

However, fashion was always her first love and she has forged ahead in this field. She has shot for publications such as V magazine, Italian Amica, French Gloss, Vision China, Oyster, Sunday Times Style, The Saturday Times, 125 magazine, Arise, Drama , Glass magazine and Vanity Fair to her credit and spent two years at The Financial Times ‘How to Spend It’ magazine.

She was Editor-in Chief of theglassmagazine.com from November 2009-May 2012.

@ marie(at)mlvh.co.uk

☎ +44(0)7976763033

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Twinkle Toes

Twinkle Toes

Glass trips through the light fantastic with Miu Miu's enchanting sparkle

Sparkle reminds us of the stars – whether it the twinkly kind in the sky or the even brighter ones gracing our screens. We were seduced at an early age, the powers that be behind MGM and RKO produced movies big on shine and high on glamour. No wonder they called it the Golden Era.  Ginger Rogers and Fred Astaire in a satin whirl, gliding across the floor in the movie Top Hat; an aerial view of dazzling showgirls in a Busby Berkeley vehicle; a young, but incredibly engaging, Judy Garland lost in the land of Oz and suddenly in possession of some very sparkly shoes; the glimpse of light on a garment has always guaranteed a sure and steady rise into the firmament.

Our passion for the sparkly stuff continues unabated – this season being no exception. High-octane shine was all over the Autumn/Winter 2011 catwalks. Sparkly Teddy Boy sequined coats at Dolce & Gabbana;  Glam-rock glitter at Balmain; 60s shiny plastic scales at Prada  and rubber look sequins at Marc Jacobs. It was wonderful and engaging and very of the moment.

However the screen siren in us all longs for a little attention, so how do we get a soupçon of that sparkle and old school Hollywood glamour into our lives?

First seen on the  catwalk back in Paris in the spring, the Miu Miu glitterboot was an instant success – building a loyal following of modern day starlets from Kirsten Dunst to Alexa Chung (via wardrobe mistress Anna Della Russo) – ensuring that they would become one of the most covetable items for our winter wardrobe.

Criss-crossed with contrasting fabric, stopped short at the ankle with trompe l’oeil straps and a banana heel – this isn’t a mere shoe, it’s a headlining act. A diva. It requires its own trailer.

So whether you’re dreaming of seeing your name up in lights, wishing to be elegantly twirled around a dancefloor, or simply a friend of Dorothy, like the wicked witch of the East you will find these boots irresistible. For once you put themon, they’ll never come off. Why? Because even when you’re looking down, you’ll always be seeing stars.

-This post originally appeared on glassmagazine

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Issa Spring summer 2013 show

Issa Spring summer 2013 show

Saturday evening brought a touch of Brazilian glamour to Somerset House with Daniella Issa Helayel’s Spring summer 2013 show for London Fashion week.

A sensual ‘garden of earthly delights’ was the inspiration behind the collection, with Amazonian, Garden of Eden inspired prints wrapping themselves around models evocative of Roxy Music’s iconic Country Life cover.

70s sophistication married digital prints with caftans, tiered full-length smocks, draped over one should gowns and and halterneck jumpsuits, perfect for hosting an equatorial soirée.

This  seductive vision of womanly allure is an Issa  trademark –she is Brazilian after all, high-octane glamour is in the blood – and the collection never strays far from this point. It may all be about the party, but what a fabulous party it is.

-This post originally appeared on glassmagazine

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Mr & Mrs

Mr & Mrs

Design duo Antoni & Alison celebrate their 25th anniversary at the launch of London Fashion Week

A 25-year partnership deserves celebration – not in the least when it is held subject to the vagaries  of fashion – so designers Antoni Burakowski and Alison Roberts hired a 10-piece brass band to open their spring summer 2012 show and mark their silver anniversary.

Before the band could clash a cymbal or trumpet a horn, a voiceover by the designers reflecting on their milestone rang through the show space. They took us from their inception (“it was the winter of 1987. It was a recession”) through their many collections (“some good, some stupid”)and firmly laid down their aesthetic (“we are chic and beautiful and arty, and not at all kitsch and quirky”). History for the uninitiated? Perhaps a valiant try at pre-empting the many questions that follow the show? Some felt it may have been a tad lengthy, the show photographers – never backwards in coming forwards – certainly let out audible groans. Whatever the reasoning behind the speech, 25 years in this business earns you the right to say what you like.

When the voices died down and the band began to play, the clothes, as ever, did the talking.

The collection was entitled New Work – perhaps the speech was the retrospective and once that was out of the way the designers could get on with business – and we were treated a selection of silk dresses printed in a myriad of hand rendered artworks inspired by previously unheard music (the brass band now starts to make more sense).

The artworks, comprised of painted brush marks, glitter, ink and spray can marks amongst others, were created separately by each designer  and then collaged into one print for each dress. The silhouettes, shifts, voluminous backs–my personal favourites were the columns – were then designed to compliment the prints. A perfect mix of Antoni and Alison.

The process of this design was interesting but the result was trompe l’oeil delight. These designers are specialists in this technique but the inherent wit behind these tricks of the eye keep their collections interesting. This seasons highlights were a twisted dish-cloth bow that was printed flat onto the garment a long dress with two thigh –one real and one an illusion – and pile of photographed glitter that were in fact buttons on a dress.

Glitter and spray paint? Does this all sound like a rather haphazard art lesson? Antoni and Alison are arty and experimental, but they are also polished and above all assured. they have refined their techniques and held fast to their aesthetic for a quarter of a century and I would imagine have the conviction to carry on for many years more.

Now if that doesn’t deserve a celebration, I don’t know what does.

-This post originally appeared on glassmagazine

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