Thursday, 7 February 2013
The sex motif was speculated only a fair few months ago regarding a sly undercurrent in last season's trends. In a previous piece titled 'Lets talk about sex baby' the notion of the birds and the bees was evidently the topic of the season, yet with a certain misconception. Last year fashion hit hypocrisy leading to an accidental covert gesture in its attempt of opposing sexy.
Introducing the delicate debutante of the season, the sartorial statements of Spring/Summer 2012 symbolised an ingenue embellished in innocent materials of chiffon and cellophane composed into fragile pieces from a feather adorned empire lined dress seen on the chimerical carousel of Louis Vuitton to the bedroom inspired pieces of Stella McCartney seeking a sleeping beauty slipped into a elegant androgyny draped in button up blouses and paisley print elasticated trousers.
The sexual connotations were transparent with fashions attempts of suggesting purity proving unsuccessful. Whilst the exposure of a midriff amid a flower-print bralette and a flared midi skirt revealing dainty ankles - watch out Victorians - sent the senses flaring, the notion of the Dolce & Gabanna 1950s house wife indicated that of role play. Fabricating an alternative to underwear, the pyjama inspired slouchy silhouettes of the models of Stella Mccartney and JW Anderson sought a laid-back luxury. A Hugh Hefner-esque inspiration culling silk in sorbet shades composing a bedroom-inspired look - and if the terms 'bedroom' and 'playboy' are customary, the purity statement had succeedingly broken it's fashion hymen.
From various print fads including the digital flower print courtesy of Mary Katrantzou and the paisley print sported by various fashion followers including Alexa Chung and Miranda Kerr to diverse structures including the cocooned coat from Jil Sanders AW12 collection and the waist accentuating peplum exhibited on the catwalks of Peter Pilotto and Jason Wu, the temperamental nature of mother fashion has led to a whimsical outburst of trends. However this season the fashion climate has delivered a cleansed January air to the catwalk.
Stripped to a minimum, this season is what Vogue have described as a quiet revolution. Clean-cut origami folds in clerical cottons whispers a refined intellectual figure. Vacant of adornments and prints, the neutral designs of this seasons trends murmurs a muliebrous undertone, with no need to prove audacity this woman knows who she is. Alber Elbaz, creative director of Lanvin states this spring's mode is all about 'comfort and liberation', evidentially a Coco Chanel tactic.
Delicately draped upon aligned shoulders in materials of organza and satin a sophisticated serenity serenaded the silhouettes of the lithe models striding the runways of Givenchy and Lanvin. The pieces were tranquil in their designs where simple aesthetics composed a more reserved glamour. Whilst Givenchy applied celestial accents with angel-like winged ruffles to collars of elementary ensembles, Lanvins androgynous emphasis saw tailored suits fitted in a feminine manner from nipped in waistcoats to flared trousers.
Waving farewell to the surreptitious sex-symbol of previous seasons, the unnecessary appliques and the incessant amount of sheer, the pure precision of the designs of 2013 have created a neutral, meaning no nonsense necessary approach. The simplicity of the collections of Givenchy and Lanvin has delivered a soft spoken understatement affirming 'woman'.
Thursday, 16 August 2012
Although the term 'printed' automatically forms a brain response imagining a younger self formally known as a 'scene kid' adopting a trend resembling that of an animal i.e. zebra print stuck-to-the-skin skinny jeans, a neon leopard print t-shirt and a haircut one can only refer to as a lions mane, it seems I have adopted the trend yet again, heading in a slightly more fashionable approach. Note yet another 'P' to your wardrobe, adorned on fashionista's around the world, the paisley motif has finally hit the high-street rails.
Paying homage to the psychedelic era, the sixties, think the Beatles on their pilgrimage to India: intricate, baroque detailing creating a bohemian-esque sartorial statement, the paisley print is the alternative to florals this season. Incooporated into various designers work including Stella McCartney, JW Anderson and this summers trend setter Jil Sander, the ethnic-inspired print has been implanted into various designs from silk shirts to pyjama-esque attire suggesting a boyish yet bold proposal.
Sported on various style icons including Florence Welch donning a head-to-toe paisley printed silk tailored pant suit and Alexa Chung in a pair of white swirling sixties slacks at London Fashion Week, the resurgence of this versatile print has led to a fashion frenzy. From the ethnical scarf prints of Dolce and Gabanna to the ikat injected print of Burberry, a Persian pickle sprouted set to grow within the fashion industry.
But how to wear such a prominent print? If you're too apprehensive regarding the overload of swirls seek a printed cropped trouser and a plain shirt or tee keeping to a minimalistic tone yet with an added edge. If an audacious attitude is more your groove team together an androgynous gesture culling a Hugh Hefner-esque pyjama attire pairing a silk button up printed shirt with a silk palazzo pant (even foot-accessorise with a velvet slipper.) Subservient to our ambiguous weather unaware of mother natures temperament, I'll let you into a little secret: when warm opt for bright hues of oranges and yellows in cotton whilst as the cold days return, wear darker shades of blues and greens in silk material.
Beating Zara to it, these pair, pictured above, acquired from Topshop for £40.00, available in hot pants (which I can't deny: I also bought) are set for this upcoming fall combining the plucky print with the distinguished colour of Autumn, purple. Worn with a black velvet slipper shoe, the opulent theme is in full swing.
Here are my top 10 crazy paisley buys:
Monday, 13 August 2012
From minimalism to embellishments, boyish silhouettes to feminine curves, our perception of fashion today is different to that of the 1920s. The 1920s saw the emergence of one key statement trend of classy minimalism; women started to dress for themselves refusing to be sexualized in their search for individualism, contrasting so strikingly to previous decades. In doing so, the 1920s laid down its foundations for fashion today. Contemporary fashion has made it its own by modifying existing styles creating up to date key trends whilst maintaining the original influences. The era still continues to strongly influence modern fashion today.
In 1923 The Equal Rights Amendment was first introduced: the foundation of individualism and inspiration for innovation. Women began to surpass men in their expression of individuality, substituting curvaceous silhouettes for shapeless fittings; broader shoulders and straighter hips.
The 1920s was the introduction of androgyny; short hair and a masculine silhouette. The short slicked ‘Eton Crop’ and the kinked ‘Marcel wave’ was the forthcoming hairstyle whilst elaborated up-dos and tight curls were passé. Female wear became shapeless and loose; narrow boy hips and suppressed busts. Society was changing rapidly after the war; no longer was the waist defining corset needed for the modern woman nor the excessive use of fabric. The new woman smoked Camel cigarettes and danced freely to the Charleston in her loose fitting flapper dress; an audacious yet sexual female. The secret was not the end of sexy, but the reinvention.
Coco Chanel was one of the first women to wear trousers, cut her hair short and rejected the corset. The most influential woman in fashion, she furthered the autonomy of women’s style. Whilst the hourglass silhouette faded, self-styled Coco, working in tones of beiges and creams, helped redefine a woman’s figure. In Chanel’s famous words she “let go of the waistline” creating a symbol of emancipation. A bold, independent thinker was born resisting the stereotypical house-wife and conforming to Chanel’s previously unknown designs, stripped of excessiveness and intricate detail, wearing minimalist fashion. Inspired by male wear including sailor outfits and labourers’ dungarees, Chanel’s masculine influence was the inspiration for her distinguished flapper dress. The term flapper, defined as an ‘ungainly adolescent woman who had not yet reached maturity’ related vaguely to Chanel’s androgynous approach towards clothing. This statement dress was straight and loose, dropping the waistline at the hips creating a sexual representation of women who pushed the boundaries of gender identity.
As the simple minimalist modern clothing set sail, the need to contrast instead of conform was assisted by beautiful statement accessories, particularly necklaces designed by Coco. Described as ‘gaudy’ the cutting edge necklaces made of beads and stones and sequins draped over the chest dangling to 60 inches in length embellishing women’s necks visualising the modern woman with a need to be noted. Hemlines gradually shortened as the expression of anarchy set in, originally skirt lengths only appearing shorter due to scallop cuts in the fabric however by 1925 skirts rose from 14 to 16 inches of the ground, unforeseen until the 1920s era. As expressiveness increased, a hat became a fashionable accessory which almost all females of the 1920s wore. Inspired by countries including Egypt (after the discovery of Tutankhamen), China and Russia, headdresses including tiaras, turbans and cloches were reinvented creating a stand out accessory contrasting with the minimalist clothing.
Whilst the embellishments and accessories gained popularity, ready to wear garments weren’t available until the 1930s whilst only two collections were available on an annual basis- an autumn and a spring collection. If a woman wanted a piece of clothing the process would take a time-consuming length of a few weeks up to a month replicating and altering the fabric; the reason as to why the designs of the 1920s were so simplistic- time and money.
We have adopted so many styles across all eras. Last winter the 70s ‘shaggy’ style was introduced; picture a glamour version of Daphne from Scooby doo: colour block oranges, purples and bright blues, knee high suede boots, trilby hats and faux fur either around our necks or clipped to a purse or bag whilst the 50s came back this spring with midi dresses cut just beyond the knee with fruit prints sewn in. This winter introduced the comeback of androgyny (to the extreme): down-to-the-knee ‘cocoon’ coats, bow ties, Chelsea boots, all teamed with pixie crops seen on both Agyness Dyen and Emma Watson.
However this spring, we see an adopted and changed revival of the true 1920s fashion: feminine, classy and elegant yet comfortable. You’ll find it all –dropped waist flapper-style frocks with added sequins for glamour purposes, loose silk pyjama trousers for masculine comfort, embellishment clutches for a touch of audacious-ness and those Zara velvet slippers. From Ralph Lauren to Gucci, Mark Jacobs to Celine, this season’s trend are an overriding sense of fun and frivolity.
This season’s Chanel runway saw comfortable wear transformed into comfortable fashion. Recognizable traits were still on the catwalk, keeping to the theme of minimalism with a ‘white’ theme yet still in touch with it’s daring side swapping the pearl necklaces for pearl spines (yes- pearls literally glued onto the models back). Gucci took the word ‘glamour’to a whole new level introducing the reinvented flapper dress with an embellished drop waist which would make any designers mouth drop whilst Etro, who’s collection was entitled ‘The New Jazz Age’ focused on simple silhouettes highlighted with sequins, beads and sprinkled crystals for that added oomph.
The revival of the 1920s fashion has made for an exciting new aspect to this summers trends. Whilst the 1920s era was the introduction of individualism, this years style in terms of individuality has spread wide open from Chanel’s minimalist approach to Gucci’s overload of sequin embellishments. Comfortableness to quirkiness, silk trousers to a crystal coated clutch, 2012 is here with a bang.
Monday, 2 July 2012
Friday, 15 June 2012
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Wednesday, 13 June 2012
Monday, 4 June 2012
I realise the notion of the birds and the bee's has appeared- through it's use of innuendo's and what-nots, to become a trait of confessingfashion, perhaps more than I expected. Maybe it's me, maybe it's the weather. I also realise quoting lyrics has become a current occurrence. Either way, a specific Salt-n-Pepa song quoted in the title is enough to get your fashion minds speculating the sex motif.
Reverse the fashion clock to the catwalk shows of Autumn/Winter 2011 where hues of black were evident, as was the unambiguous flesh of bare skin. A fashionable brothel home to designs of Givency, Louis Vuitton and Alexander McQueen models. Latex, rubber and leather; bondage was not just for the indoors for this provocative fashionista. Now precede to the catwalk of Spring/Summer 2012 offering a hyperbolic ultra-feminine yet ingénue figure. A debutante styled in ice cream shades replete in lace, feather and flower embellishments connoting a sugary sweet-lipped sentiment. It seems contradiction has set sail again in a space of a few months; fashion followers have replaced their leather for feather and cigarettes for lollipops.
Fashions perspective is perhaps more distorted in comparison to a male's definition of sexy. Whilst a bonerfied sartorial statement will including the following: a. flesh, b. boobs, c. leg and d. all of the above placed with a dress referred to only as 'skimpy', fashions attitude towards the concept last year led the term to be amplified into what can only be described as an erotic matrix. However, with the introduction to the pastel hued honey, the sexual approach seems to be at a point virgin, with the term as relatable to the innocent gesture as chilli is chocolate. HOLD UP.
Inspect closely and it appears there is a sly undercurrent in this seasons covert designs. Back to my first post regarding the 'P' words - consider pyjamas: a masculine comfort: slouchy silhouettes yet silky and seductive. Stepped straight out of the bedroom and onto the catwalk, the androgynous gesture symbolises an autonomous female ready to kick fashion-ass. Take a Stella McCartney ensemble for instance: a stretch silk-satin playsuit, offering a multi-functional female, whether worn in bed or worn at Bed (you remember that swanky new place where Carrie and the girls went, right?), laid back is the new fashion luxury.
Back to another P word, seek perspex: the material of Summer. The ability to wear a material only to reveal what is underneath. Point? None, fashion points? One. Surely the ultimate purpose of the perspex is to expose skin through an excuse quoted 'it's in fashion mum'. Donned on catwalks including Phillip Lim and Prada this material is Cinderella chic with the added cheeky.
Paying homage to Prada, the 50s house wife has become something of an icon within the fashion household. Cat eye sunglasses, flower prints, fruit prints, mid length hems and yes - bared midriffs, the reinvented 50s woman now reveals skin amid an elasticated bralette and a high waisted pleated skirt. If a glimpse of flesh isn't enough for your man to swoon then blame the burgers- stomach crunches are a necessity.
Fashions attempt at opposing sexy has led to an accidental innocence gesture suggesting virgin, note: this isn't a bad thing. Wear lace and think vulnerable, wear lace and appear voluptuous. Wouldn't you agree the innocent motif represent sex preferably more than the outdaring bondage wear? After all, bikini waxes are the 'now' of fashion and I can only state the obvious: hair equals old, whereas appearing as a baby would (baby-wax?!) we have (or porn has) taken the idea of innocent to a whole different level.