You've probably seen Isle of Paradise on your Instagram feed recently. By Gemma Cartwright
The new self tan launch has been an instant hit with influencers, partly because the cute pastel packaging looks as cute on the bathroom shelf as it does on your bod. The vegan and cruelty-free brand is the brainchild of Jules von Hep, who's been a big name in the world of tanning for years. I've been spray tanned by Jules in the past, and I loved both him and the golden glow he gave me, so I was excited to try his heavily hyped range for myself.
I started with the product people are really talking about: Isle of Paradise Tanning Water. It comes in three shades, which have colour-correcting properties for the most natural result. Peach gives you a light tan, green a medium tan, and lilac a deep glow. I'm very fair-skinned, but I'm also a bit of a fake tan addict, so I went straight for the green!
This is the first tanning "water" I've tried. It goes on colourless, which is my preference when it comes to fake tan, but it can be scary for a newbie as you can't see where you've applied it. Luckily, the wet formula helps with that. It comes in a pump action bottle, and you literally just spritz it onto prepped skin until it's evenly covered, then blend it with a mitt.
The media could not be loaded, either because the server or network failed or because the format is not supported.The package tells you to spritz until the skin is "totally saturated," which I think is a bit misleading. I totally overestimated how much I needed on the first application, and though there were no streaks as such, I ended up with orange feet and brown knees. For my second attempt, I spritzed sparingly, blended gently with a mitt, and the results were great. This seems to be quite a buildable product, and I prefer the look of a more subtle application. It's even, streak-free, and natural-looking. The first time around, I overdid it because I was expecting the water formula to be really streaky, but it's far more foolproof than you'd expect, and you really don't need as much as I splashed all over myself. An even mist is enough. Here's how it looks applied to just one leg, with my natural skin colour on the left (yep, I tanned one leg, just for you).
This product is definitely best applied in the bath or shower as the spray does get everywhere, but clean-up is quick and as it has no bronzer in it, it doesn't stain. Once I worked out I didn't need as much as I thought, I grew to really love the product and have used it multiple times in the past month or so. The colour looks really great in real life — it's never orange. It fades evenly if you moisturise, and it can be removed easily when it's past its best using a fake tan remover.
However, there are a couple of downsides to be aware of: the first is that it has a real tendency to cling to dry skin (even if you prep knees and ankles with a barrier cream), so you absolutely have to keep your skin in good condition if you want the best results. That means moisturising and exfoliating frequently (including 24 hours before). This is not unusual for fake tan, but this product is less forgiving than a number of others I've tried (especially lotions and gradual tans). I'm also not 100 percent convinced the packaging is quite there yet. It looks so pretty, and I love the idea of a water, but the pump-action spray itself is really stiff and can't really be used at an angle, which makes it hard to reach some areas without help. I ended up spritzing it straight onto the mitt to do some areas of the body, but the results weren't affected.
Overall, I'd give this 4/5. I love the branding, the colour-correcting tints are innovative, the results are lovely and natural, and it doesn't have a strong fake tan smell. It only loses a point because I think it could do with a different bottle; a trigger spray that's easier to manipulate would be amazing, if a bit less Insta-worthy!
From hip-hop prairie girls at Coach to a celebration of Americana at Calvin Klein to Victoria Beckham’s grown up chic to Alexander Wang’s revival of the catsuit… Observer fashion editor Jo Jones picks her 10 highlights from New York fashion week autumn/winter 2017 By Jo Jones
Raf Simons’s debut collection for Calvin Klein is on track to make the label the giant it was in the 1980s. Simons has cleverly embraced Americana, showing both menswear and womenswear, dressing them in almost identical looks. From prairie quilted coats, varsity knitted sleeves on nude sheer bodices to sporty trousers hung from the hip with athletic stripes up the side, worn with buttoned-up western pocket shirts and of course denim. The collection shone with technical craftsmanship and precision tailoring.
There’s a point in a woman’s life when she eases into her wardrobe and feels comfortable with her style. This season Victoria Beckham has realised this for her customer. Think masculine tailoring in heritage fabrics mixed with the frivolity of a midi-length chiffon georgette dress layered underneath the comfort of a roll neck. Beckham’s colour palette with inspired by the recent Paul Nash exhibition at the Tate.
This show felt like a parting gift to the New York fashion scene, as Jack McCollough and Lazaro Hernandez have decided to leave NYFW to show during Paris Haute Couture to enhance their sales. The duo’s latest collection was full of ideas and exquisite constructions, like their collage dresses, oversized coats with zip detailing on the inside of sleeves and monochrome shearling coats. If building sales is key, then it was a smart move to promote their logo on extra-long zipper pulls of jackets and handbags. Photograph: Jimmy Bae/WWD/REX/Shutterstock
At Coach it was a nostalgic look at the great American landscape and prairie, referencing Terrence Malick – Days of Heaven, Badlands and Sissy Spacek mashed up with New York city hip-hop circa 1980. A ditsy floral print puffer jacket joined the growing repertoire of Coach outerwear, and the ever popular shearling coats and biker jackets were softened with floral and songbird appliqué and worn over midi-length dresses. The Coach girl plays between the masculine and the feminine. Hence the shearling-lined sneakers, fuzzy baseball caps and accessories.Photograph: WWD/REX/Shutterstock
DIANE VON FURSTENBERG
Jonathan Saunders’s second season at DVF has hit its stride. Saunders knows his eggs or rather, his prints. Translating graphic patterns into embroidery and 3D textiles in a playful colour palette, coupled with, as Saunders says, “the importance of sensuality and the movement in his dresses.” These are clothes to live and party in. Wind machine any one?Photograph: Billy Farrell/BFA.com
Joseph Altuzarra took inspiration from Renaissance portraiture and Lady Macbeth to deliver a strong and ultra sharp collection. Inspired by the stern- faced Renaissance lady this resonated in the mood of the models storming the runway. Exquisite pearl-encrusted coats plus capes and sleek tailored suits finished with a lavish collar. The corset lacing over an argyle sweater and red peplum sweater over biker pants gave a strength to the collection, while jacquard and heavily embroidered dresses were given a tougher edge when worn with knee-high combat boots and leather opera gloves.
With a diverse casting of models including plus size model Ashley Graham and veteran Amber Valletta, sent out the message, the Michael Kors woman is sensual and strong and ageless. Showing softly draped dresses, skirts and blouses off set against sharp tailoring, trousers hung from the hip and jackets and coats were cinched at the waist with a wide belt. Cocktail dresses followed in liquid gold and silver lamé and revealed a leg through a split or slash detail. The key bag was a crushable soft leather, gripped close to the body.Photograph: JP Yim/Getty Images for Michael Kors
Assoulin’s show space was scattered with vintage sofas and chaise longues, covered in plastic as if for protection. Persian rugs and coffee tables set with tiered trays of pastries and tea created a cosy atmosphere. The collection itself had the same warmth. The models wore dresses cut from what appeared to be upholstery fabric. Two standout pieces were a floral puffer jacket with buttons on the back, resembling a Chesterfield couch, and a beautiful multicoloured patchwork embroidered silk robe perfect to add a little glam to jeans.
The girl next door had something to teach me
about what to air: On the linesome
body’s business gets told
then recounted; it’s best to thread a tale
for the neighbors, an orchestration
of sorts. But I am far from modest
in my telling of lies. There are three references
I put forward: each a past lover
who liked a different kind of underling
to his genius. You wouldn’t know it
from the delicates I rollin
to the yard. It’s all the same peek-a-boo lace
and stunted imagination.
Of course, all of this is scanty
truth. Who hangs anything out to dry
anymore, when invention
has halved the work?
By Rosa Alcalá