Thursday, October 20, 2016

Rainbow stars

If I was a rich girl, I'd have all the money in the world and spend it on everything with rainbow stars. At the top of the list is this fur coat by Gucci and the 'Young Americans' clutch from Poppy Lissiman. I'm drooling just thinking about wearing the two together.

Friday, October 14, 2016

Black Swan

Wearing: Thrifted shirt and headscarf, Ksubi sunglasses, skirt from Source Vintage and Asos ballet flats.

It's starting to heat up which means more daylight hours and less opportunity to wear black. It's not all bad, and there will be some very colourful outfit posts coming very soon! I had so much fun shooting outside, just a few minutes out of town. The beauty of the natural landscape continues to mesmerize me every single day, and it's great to see everything looking so green and lush. Today's look was inspired by Miu Miu's Spring 2016 collection, minus the sheer dresses and knitted coats. Kind of like Black Swan on a summer holiday to the African savanna without the lions. This skirt is my new favourite piece of vintage, with the print reminiscent of Where the Wild Things Are but pretty much made for summer. It was sent to me by Source Vintage! They promote body positivity and remove gender stereotypes and stigma from shopping for vintage clothing online. They also have a great sale section, full of amazing vintage pieces with updates on new stock on their Instagram.

Wednesday, October 12, 2016

Sadie Williams Fall 2016

An entire collection built around a memory, and sparked by a photograph of her parents on holiday. For Fall 2016 Sadie Williams takes vintage skiwear and transforms it into something wonderful, combining the metallic fabrics synonymous with her name and blending those with rich references to the past. The show was nestled within a winter wonderland complete with a snow-topped mountain in the background and decorated ski gates in the foreground. It’s a far cry from the high-tech fashion seen on today’s ski slopes, but a reminder of the technicolour explosion which once graced steep-sided hills. Entitled Off Piste the fall collection was an opportunity for the young Brit to create a multi-textural landscape and infuse a certain sense of nostalgia into each look. Models were enveloped in a sea of fabrics, including skirts inspired by traditional Scottish kilts reimagined in lurex and wrapped in puffer skirts. These were worn with statement knits and the shiniest silver trousers. The latter proving that high visibility can be fashion forward, with show-stopping leather pants (a nod to those worn by her father in his youth) festooned in metallic geometric patches.

Fueled by her family’s not-too-distant past, William’s fabric-led approach to design combines strong silhouettes and 80s slalom style. Her most impressive pieces were without a doubt the gargantuan puffer skirts which parallel the three dimensional pieces produced by the legendary Rei Kawakubo, with the added warmth of feathery down. Continuing the alpine theme, carabiners and rope were used as accessories, styled with hair and inspired the oversized handles for each of the purses. Each bag was intensively color coordinated with their corresponding skirt, emphasizing the amount of thought and effort surrounding each outfit. The dazzling lurex and bold colors beautifully demonstrate the ease with which Sadie is able to mix different fabrics while creating something with a true sense of cohesion. It’s difficult to pinpoint a favorite look from the collection, but I have always had a soft spot for silver and the presentation as a whole is testament to the phrase “all that glitters is not gold”.

*Images courtesy of Sadie Williams

Saturday, October 8, 2016

Mary Katrantzou Spring 2017

Mary Katrantzou is perhaps, one of the most hotly anticipated fashion designers on the London Fashion Week fixture. Without fail, she delivers some of the most innovative designs, combining a penchant for intricate designs splashed on flattering silhouettes coupled with accessories inspired by conventional materials. For Spring 2017, Katrantzou's runway more closely resembled 21st century warrior princesses going into battle wearing plexiglass dresses as chain-mail armor. The show is a glimpse into the future of the fashion industry, slowly creeping towards the utopian society depicted in the Hunger Games. Or perhaps I have that suggestion planted in my brain because I'm in love with the Australian model Fernanda Ly's signature pink hair. 

Despite their futuristic aesthetic, the clothes were inspired by the archaeology and mythology of ancient Greece. Classical tableaus were restored to their former glory in print, reimaigned in bold colors and featuring prominently on long sleeve shirts and dresses alike. Not only does it reinvigorate Greece's history, it celebrates Katrantzou's cultural heritage and more importantly, brings diversity to the runway. She's not the only one who looked to the past for inspiration this season, with Ashish Gupta combining Indian culture with sequins, embellishments and a bold statement in the wake of England's exit from the European Union. There were some in uproar over Ashish, with unsubstantiated claims over cultural appropriation. What naysayers failed to recognise is that Gupta was in fact born in Delhi before immigrating to England. Technically speaking, and by definition it's impossible to appropriate one's own culture. Katrantzou, like Gupta are championing cultural appreciation and such creativity should really be celebrated

Since the brand's inception, Katrantzou has continued to push herself creatively and incorporate new techniques into her designs. It started with her Spring 2013 collection, taking inspiration from postage stamps and bank notes which featured on jeans, tops and dresses through digital prints. This season is a transition from the two-dimensional to the third dimension with the most celebrated piece a dress made from plexiglass and shaped to fit the female figure. The design is somewhat reminiscent of a psychedelic daisy dress created by Californian artist Marina Fini, but unlike the American each piece was part of a much bigger puzzle. In many ways, these pieces have become the modern day equivalent to Emilio Pucci in the 1960s, demonstrating the same penchant for colour and bold psychedelic prints. Unlike Pucci, Katrantzou continues to innovate and engineer new designs, able to create new identities. In that sense, she's not limited by the heritage of a fashion house and is better for it artistically.