logo
This Pretty Damson Madder Top Looks 10x The Price – And It's Selling Fast

This Pretty Damson Madder Top Looks 10x The Price – And It's Selling Fast

Graziadaily14 hours ago
In case it isn't obvious yet, this summer's sartorial conversations have largely been dominated by one brand in particular: Damson Madder. Thanks to a crop of playful, retro-leaning designs, the British brand has built a loyal following of whimsically well-dressed women. Its dress selection is particularly noteworthy – the Angelina midi and Goldie mini have already reached cult status. However, if like me, you aren't keen on dresses, the good news is that the brand has an excellent array of blouses and tops that are just as cheerfully crafted and add a flirty touch to your favourite jeans, trousers and even skirts.
Case in point, the Tula Wide Strap Smock Cami. Detailed with a frilly trim along the neckline threaded through with a delicate red bow, this seemingly simple top makes for the perfect elevated upgrade to your classic summer camisoles. Crafted from breathable cotton with a relaxed smock fit, it promises comfort during balmy days, especially now that the mercury has reached its peak. 1.
Tula Cami
This effortlessly comfortable yet undeniably charming cami top is a summer wardrobe staple. The butter-yellow base is beautifully contrasted with red detailing for a unique finish.
It's no surprise that this blouse has gained popularity, thanks largely to its on-trend, butter yellow hue. But that's not all. The Tula cami's relaxed silhouette and delicate details add a nightwear-inspired touch, perfectly capturing the growing trend of wearing nightwear out and about in the day. Take style cues from the fashion set by pairing it with the matching Tula Frilly Hem Trousers, or mix and match with other loungewear favourites such as boxer shorts.
Naturally, Damson Madder's blouse lineup doesn't end there. Here at Grazia HQ, we've been pining after the Becca blouse (which also comes in both mini and maxi dress form) all summer, while the nautical-inspired Elise blouse was on top of our spring wishlist earlier this year. There's also the Jade cami, which is available in a similar butter-yellow shade and currently on sale. 2.
Jade Cami
Embroidered detailing on blouses is set to be a key trend this summer, bringing a soft, feminine touch to any outfit. The Jade cami features signature bow detailing and is cinched at the waist for a flattering fit.
All of which to say, no matter what your style is or whatever your plans are, there's a cheerful Damson Madder blouse just waiting to be worn. Much like its internet-famous dresses, Damson Madder's blouses rarely stay in stock for long, with many selling out at record speed or requiring a waitlist just so you catch them on their next restock. Our advice? If you want to snap up a pretty summer top that'll become a staple in your wardrobe rotation, act fast. 3.
Elise Blouse
This sailor-inspired blouse from Damson Madder is a must-have for any wardrobe, pairing effortlessly with baggy jeans and frilly skirts alike. Despite its bold, exaggerated collar, it remains a surprisingly versatile piece. 4.
Becca Blouse, Cherry
This striking red blouse is great if you want to inject a bold colour into your blouse rotation. The Becca blouse is an extremely versatile option as well, as it comes with removable sleeves, essentially making it two tops in one. Absolute win, in our books. 5.
Suri Shirred Blouse
For a particularly comfortable yet flattering fit, consider the Suri blouse, featuring shirred detailing and red polka dots for a playful touch. The peplum hem will sit elegantly over satin skirts and trousers for an evening out. 6.
Clare Blouse
The Clare blouse bears a striking resemblance to Aligne's best-selling longline blazers – structured yet incredibly chic with a waisted silhouette. The difference? You can easily wear this one in the summer, thanks to its lightweight cotton construction. 7.
Caroline Blouse
Scalloped hem, cherry motifs, pin-tuck bodice, and puff sleeves – we're not quite sure which saccharine detail we love most about this pretty blouse, but we're sure we'll be wearing it on repeat this season. 8.
Mansi Blouse
A gingham blouse is a great way to tap into the picnic-blanket trend that has been dominating the fashion discourse this season. Especially when it comes with shirred details and a muted colour palette. 9.
Leilani Blouse
This thick pinstripe blouse makes a strong addition to any wardrobe rotation, finished with delicate frills and a subtly cinched silhouette, thanks to its button-down front.
Image credit: @widyassoraya and @jessicaroselambregts @poppyyjune
Emma Richardson is a fashion commerce writer for Grazia. She was previously a fashion and beauty commerce writer for Heat and Closer , and has contributed digital content for a variety of lifestyle brands. Emma finds much of her inspiration in celebrity style, with Sienna Miller often being a major influence, and loves a pair of ballet pumps and a trusted trench coat.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

The Alfred Hitchcock of British painting
The Alfred Hitchcock of British painting

Spectator

timean hour ago

  • Spectator

The Alfred Hitchcock of British painting

Carel Weight, the inimitable painter of London life and landscape, was my godfather. I remember a clownish-faced elderly man with an air of mild quizzical enquiry, who for 16 years held one of the most important teaching jobs in Britain. In charge of painting at the Royal College of Art when David Hockney passed through, Weight taught the 'Pop People' (as he called them) – Peter Blake, Patrick Caulfield and R.B. Kitaj – as well as Bridget Riley, Leon Kossoff, John Bellany and the singer-songwriter Ian Dury. Weight himself never received the critical recognition he deserved. He was overshadowed to a degree by abstract expressionism, which crash-landed from the US in the 1950s. His day may yet come. David Bowie was a collector, as was Kenneth Clark, the Civilisation presenter and National Gallery director. A delightful new memoir, The Worlds of Carel Weight by his close friend Robin Bynoe, exalts an unfairly neglected master. All Weight's artist associates and Royal College alumni are here, from Francis Bacon, John Minton and Olwyn Bowey to the Soho habitué Diana Hills, the long-suffering lover of the kitchen-sink painter John Bratby. Weight's star pupil for a while was my aunt Maret Haugas, a refugee from the Baltic who in 1960 was diagnosed with schizophrenia. Weight sent Maret many letters and postcards enquiring after her welfare: 'I always knew that you had a very great talent which wanted to get out.' He was, as Bynoe says, 'avuncular'. Beneath his bear-like amiability, though, Weight was a troubled man. His imagination was haunted by ghosts. As a child in the early 20th century he was sent to live with a foster mother in World's End at the shabby extremity of Chelsea. He was also an official war artist in post-fascist Italy, where he painted scenes of displaced humanity on fire-blackened streets. When he died in 1997, at the age of 88, the obituarists couldn't quite decide what sort of painter he had been. His work suggests influences – Munch, Turner, German expressionism – yet eludes any glib art-historical category. With Walter Sickert he shared a taste for scenes of jeopardy in dowdy, broken-down locations. 'We are all ultimately alone,' he liked to say. One critic called him 'the Alfred Hitchcock of British painting'. Weight liked women. He appointed Mary Fedden as the Royal College of Art's first female tutor, no doubt because her still lifes were reassuringly figurative, but he was politic enough to tolerate aspects of pop and the new. His urban fantasias with their big dippers and Heath Robinsonian flying machines in some ways foreshadowed the Victorian folk oddity of Peter Blake, who revered him. If Weight was out of sympathy with some of his intransigent pupils (William Green, for example, made giant aggressive abstracts by riding a bicycle over hardboards saturated in paraffin), he nevertheless gave them the freedom and self-confidence to explore, and the respect was mutual. Bynoe was amused to find a copy of Ian Dury's album New Boots and Panties among Weight's collection of Schubert and opera. 'I particularly like the song where he says 'fuck' a lot,' he told Bynoe. The late Queen acquired at least one canvas by Weight. 'Hamlet', 1962, by Carel Weight. © HARRIS MUSEUM AND ART GALLERY / © ESTATE OF CAREL WEIGHT. ALL RIGHTS RESERVED 2025 / BRIDGEMAN IMAGES Weight 'grew up in the shadow of the impressionists', writes Bynoe. His two portraits of Orovida Pissarro, granddaughter of the French impressionist Camille Pissarro, are unquestionably mid-20th century British masterworks, but defiantly representational. Weight was impatient of fashions and 'movements'. Bynoe gives a memorable picture of the rackety Victorian house where he lived in south-west London with his partner Helen Roeder. A practising Catholic, Roeder took pity on a former prostitute called Janey Winifred Hearne, who, says Bynoe, counted Graham Greene among her clients. Janey became a permanent lodger at the 33 Spencer Road house. Visitors found her an unsettling presence. She had a violent streak and on one occasion went for Weight with a carving knife. Weight's 1961 portrait of Janey, 'Jane 1', shows a seated woman in funereal black with a mass of straggly dark hair. The painting suggests that the world is always on edge in Weight. The haunted, contorted figures in his work 'remind one of nothing so much as inmates on day release', writes Bynoe. Weight loved London buses and with Bynoe frequented a Chinese restaurant that he liked in Putney. In his bedroom he slept under a large self-portrait by Bellany (who called Weight 'The Prof'). Bynoe himself appears in three Weight paintings. Weight's chief concern in his last days, says his friend, was how to escape his room in Chelsea and Westminster Hospital. 'Have you got a car?' he asked. 'We'll make a dash for it.'

A latter-day exercise in Dada: Nature Theater of Oklahoma reviewed
A latter-day exercise in Dada: Nature Theater of Oklahoma reviewed

Spectator

timean hour ago

  • Spectator

A latter-day exercise in Dada: Nature Theater of Oklahoma reviewed

What to make of the Nature Theater of Oklahoma, which this week made its British debut at the Queen Elizabeth Hall? The bare facts indicate that it's a 'crazy shit' performance group of some repute, the brainchild of Pavol Liska and Kelly Copper, established 19 years ago, based in New York, its weird name taken from Kafka's unfinished novel Amerika. Beyond that, it's an enigma. The title of its current show, No President, could suggest that satire of Donald Trump is intended, but if so, quite what is being implied remains obscure to me. All I can tell you is that to the accompaniment of recordings of The Nutcracker and Adele's 'Someone Like You', a deadpan narrator with a florid vocabulary relates the story of Mikey, a hapless security guard who, like Candide, undergoes a picaresque succession of trials and misadventures in search of love, happiness and success, pursued by demons and haunted by his venal lusts. This tale is enacted by a troupe of a dozen or so mute dancers in gym kit, on top of which they adopt dressing-up-box disguises. Prancing and jogging through parodied balletic manoeuvres, they convey their emotions through exaggerated cartoon gurning. Limp phallic prostheses and dry humping enhance some descents into sophomoric obscenity, and mysterious references are made as to what lies behind the red velvet curtain at the back of the stage. The show is probably best categorised as a latter-day exercise in Dada: wilfully silly, momentarily funny and rather too pleased with itself. The excessive length – two-and-a-half uninterrupted hours – may be part of the joke, but it's not a very good joke; there's so much repetition and the plot takes so many pointless shaggy-dog turns that I was on the verge of screaming for it to stop. The cast, to be fair, deliver it all with flair, and although a fair percentage of the audience walked out, those who persevered gave it an enthusiastic reception. With a sigh of relief, I turn to the less esoteric pleasures afforded by the Royal Ballet School's annual matinée at Covent Garden. This is always an important occasion: the future of classical dance is on show and at stake here, as controversy over the curriculum and teaching methods constantly agitate the profession. How can one justify putting children through a training so arduous and perilous? And what happens to the rest of their academic education? On the evidence of this performance I think we can rest assured. Nobody, at least, is wasting their time. In an exemplary programme embracing several genres, the school's 200-odd pupils between the ages of 11 and 19 did themselves proud – a tribute to expert coaching and perhaps some fresh air introduced by the new artistic director Iain Mackay. It seems invidious to pick out individuals when the overall standard is so high, but I'll be surprised if we don't hear more of Aurora Chinchilla, Tristan-Ian Massa and Wendel Vieira Teles Dos Santos. Opening the show was 'Aurora's Wedding', a conflation of the prologue and final scene of Petipa's The Sleeping Beauty. One can't expect teenagers to dazzle in this repertory, but I would mark their collective effort as cautious and scrupulous, with nice attention paid to the plastic movement of head, neck and shoulders, and the right ideas about precise footwork, clean body line and elegant partnering. Much more fun followed with Ashton's early masterpiece Les Patineurs, an adorably witty and choreographically ingenious picture of Victorian skaters, danced here with bags of charm A third section brought opportunities to let rip in five shorter works in jazz, modern and ethnic idioms, seized with style and gusto. Finally came the grand parade or défilé in which all the school's pupils assemble, year by school year, culminating in a magnificent kaleidoscopic tableau – a cue for wild cheers and moist eyes.

A cross between Peter Rabbit and Queen Victoria: Bliss: The Composer Conducts reviewed
A cross between Peter Rabbit and Queen Victoria: Bliss: The Composer Conducts reviewed

Spectator

timean hour ago

  • Spectator

A cross between Peter Rabbit and Queen Victoria: Bliss: The Composer Conducts reviewed

Grade: A– There's a classic trajectory for British composers: a five-decade evolution from Angry Young Man to Pillar of the Establishment. Right now, you can watch it happening in real time to Thomas Adès and Mark-Anthony Turnage – inevitably, unwittingly, falling unto the pattern established by Sir Arthur Bliss, who shocked critics in the 1920s but died in 1975 as a KCVO, CH and Master of the Queen's Music. I knew musicians who played under him at the end of his life. One described him as 'a cross between Peter Rabbit and Queen Victoria'. Bliss was a very capable conductor and this collection of live broadcasts of his own music gives us back the firebrand behind the national treasure. The tapes have been cleaned up by the enterprising indie label Somm, and include fierce accounts of his Colour Symphony and the volcanic Piano Concerto of 1939, with John Ogdon as soloist. In the 1960s, when these pieces were recorded, British orchestras didn't really do lushness, but this is music that demands urgency, and these wiry, sometimes jagged performances convey an authentic inter-war restlessness and bite. And then there's Morning Heroes, the haunted choral symphony in which Bliss threw everything he had – orchestral laments, explosive choruses and great chunks of the Iliad (declaimed here by the actor Donald Douglas) – into a doomed attempt to find meaning in the first world war. Imagine Britten's War Requiem without the slickness (Bliss was gassed at Cambrai and his brother Kennard died on the Somme). In this live Proms performance from 1968, it makes questions of musical fashion feel very small indeed.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store