The magic of Margot
Wes Anderson and Gwyneth Paltrow’s neat inversion of the all-american blonde into the chain-smoking, endearingly awkward and perfectly unimpressed Margot Tenenbaum has been leapt on by fashion types eager to make a kooky intellectual point since her unveiling in the 2001 film The Royal Tenenbaums (above, with Luke Wilson).
But this winter, with mad-nana styling running through myriad shows, her aesthetic presence is everywhere. Margot’s clear predilection for mixing striped Lacoste tops and tennis dresses with her (Fendi) mink coat could be cited as the pioneering spirit behind the sports-luxe era we have been weathering (why your silk trousers have elasticated cuffs and your trainers cost hundreds of pounds). But this we can forgive. Hers is a look that never wanes in our affections; and clearly we are not alone.
Gucci’s shiny new creative director, Alessandro Michele, set out his stall for a more intellectual, less obviously glamorous era for the house by championing Margot’s gauche chic. He was awarded Instagram-flooding whoops, likes and cheers from an enamoured fashion press.
At Lacoste, Felipe Oliveira Baptista went the whole hog and seemed to imagine the entire family as part of his collection – headbands, 1970s font, headto-toe red sportswear and all – while Bally and Miu Miu’s mashed-up retro channelled Margot’s nonchalant spirit. If you balk at the idea of real fur, then nip to Whistles, which has done a rather fine faux version of her teddy-bear coat.
Now pull out the hair straighteners for that ironed-down look, smear kohl around your eyes and accessorise with a bored expression and a dysfunctional family.