Monday, July 24, 2017
Wearing: Asos tropical dress and wool coat, Loewe elephant purse and Dr Martens boots.
Lately I've just been exhausted. While I would love to say it's because I've been up late writing a book, conducting research or editing visual content for the blog unfortunately it isn't anywhere near as glamorous as that. Work has been absolutely hectic and I've just finished working my sixth day straight, starting in the afternoon and finishing in the evening. Too tired to properly look after myself I had a late supper and eventually retired for the evening, having an early morning shower to shake off the working week. Thankfully I have one more solid week at work before things slowly start to settle down and return to a state of normality. Although it wasn't the best time of day to take photos, I relished in the idea of throwing on this outfit after having done my nails, walking down to the bakery to buy a morning coffee. I'll also happily admit that the evening before I treated myself to a glass of wine while eating leftovers from a work function!
Sunday, July 23, 2017
Behind every great woman is a group of equally incredible and inspiring women. For Elsa Schiaparelli her tribe was incredibly diverse and included the writer Anaïs Nin, photographer Lee Miller and political activist Nancy Cunard. Very often creative directors use themes, an aesthetic, fabric swatches or reference popular culture when constructing a moodboard to help guide the tone and feel of a collection. However, Bertrand Guyon looked to those three women to inspire Schiaparelli many decades later. For Fall 2017 Guyon avoided perfect copies of Elsa’s friend’s wardrobes but was loosely inspired by their rich archive and imbued the couture collection with what was intended as an ode to independence and freedom. Guyon added, “I see their era as the beginning of the liberation of women.” The comment couldn’t come at a more pivotal moment, as the president of the United States signs away the reproductive rights of millions of women in third world countries and is further threatening to destabilise organisations such as Planned Parenthood. I suspect Guyon has totally missed and misunderstood the volatility of the political climate and its implications for women at large.
Following the commercial success of avant-garde pieces from Guyon’s collection in January were nods to Picasso. The very Moschino-esque puzzle piece jacket was more loosely constructed than its Italian predecessor and a little easier on the eye. I’m slightly more inspired by the cubism jacket- and if I had more time and a decent second hand store to pilfer it would be at the top of my list to DIY.
Pieces which underpinned this philosophy of female independence included the unstructured evening dresses, made from tulle and impossibly light and delicate. While they didn’t have the same madness and bravado as a Molly Goddard dress, the addition of crystals dotting the neckline to a pink silk chiffon number could easily be worn by an A-list celebrity for the red carpet. To match the dresses were a series of contrasting tulle elbow length gloves, capes swathed around the shoulder and the occasional long, thin scarves. As interesting as they were, the jewellery was undoubtedly the shining star of accessories. Cinching the waist of a strapless yellow gown was a strass brooch, and many looks were complemented by large chandelier earrings, mismatched and made from blown-glass. A sheer, long sleeve blouse embellished in sequins to create a series of necklaces and bangles, paired with a long pleated black chiffon skirt combined the best of glamorous clothes with show-stealing accessories. Speaking as someone who often neglects to remove her makeup in the evenings and can hardly be bothered with fiddly jewels, integrating clothing with accessories could be the most time-saving and ingenious invention of Fall 2017.
Saturday, July 22, 2017
Thursday, July 20, 2017
Wearing: Romance was Born dress and Asos shoes.
It's the wardrobe staple that I've learned to live without comfortably for the last twenty three years, yes you heard correct I've looked high and low for the perfect little black dress. Obviously as someone drawn to colour and texture not any old little black dress will do, but this ruffled number from Romance was Born makes my heart sing. Just a little something picked up on eBay, a place I shop at as frequently as the local green grocer. It may come as some surprise but there's very little in the way of ruffles in my wardrobe- something I clearly need to rectify. I love the sheer neckline and digitally printed sparkles, it kind of reminds me of the tacky glamor from Muriel's Wedding (1994). Without rhinestones fixed onto the ruffles, the material is still lightweight and breathable and sits beautifully across the body.
Wednesday, July 19, 2017
There are few things more exciting in this world than something which has never been seen or experienced before, including the collections of the first female to take reign as creative director at Christian Dior. Within French culture, the prestigious house has become synonymous with traditional notions of femininity but in 2017 what does a modern approach to traditional feminine ideals look like? Maria Grazia Chiuri’s appointment follows a succession of brilliantly orchestrated collections alongside design partner Pierpaolo Picciolo for Valentino. The premise for Spring 2017 at its very core is diversity and differences among women, with Chiuri noting “The message, really, is that there is not one kind of woman,” she said. There was some shock when the show opened with Ruth Bell, sporting her signature buzzcut and dressed in something which resembled a white fencing jacket, monogrammed trainers and knickerbockers. What soon emerged was a refreshingly widened viewpoint and defiant representation of women, rather than the same old reiteration of the same look over and over again.
Slowly but surely we are seeing changes within society that speak to women of all walks of life, and for Spring 2017 Chiuri has managed to capture a snapshot of the female experience and create pieces which speak to the athletes, as well as those more drawn to a life of leisure. The result? A balance between these two ideals, draws in a new audience of generation of women whether they be attracted to the unattainable and more glamorous dresses, or simple and practical pieces. It’s all there; to be worn by an army of women all connected through the same hardships and ubiquitous experiences we collectively encounter throughout the course of the female experience. Among the mix of hard and soft there were also faded slogan tees, with one reading “We should all be feminists”. Since Sex & The City, and more modern contemporaries such as Girls and Orange is the New Black, young women have been inspired to call themselves feminists (whether they fully understand the political ideologies that are attached).
Maria Grazia and Piccioli are both avid and passionate researchers, however, when working for a house like Christian Dior which carries such a rich history there’s a myriad of motifs, themes and techniques to draw inspiration from. That’s not to say that the new creative director is limiting what she can and can’t do, noting “Monsieur Dior only lives for ten years. It can’t only be about him!”. Chiuri describes her new role as a curator for the house of Christian Dior, borrowing the bee motif from Hedi Slimane which featured front and centre on the knee high boots and sneakers. Whilst not as pretty as the velvet suede shoes at Valentino, this is another runway where flats were the shoe of choice, further entrenching this idea that women more than ever are exercising their choice to dress for comfort, yet fashionably so. The boots were a stark contrast to the tulle dresses with their ruched bustier featuring thin ribbon straps and breath-taking embroidery inspired by Tarot cards. Those dresses, and lacy blouses were purely the work of Chiuri and somewhat reminiscent of the work she did at Valentino.