Paris Fashion Week Spring Summer 2019

In a word, the Spring 2019 Paris collections were reflective; serving no shortage of food for thought to the table. Whereas last season shouted for a call to action, proactively taking charge in empowering those with unheard voices (e.g the applauded Undercover collection which featured politically engaged high school teens), this season took a more reactive stance in light of current events. Designers responded to today’s political challenges in an, albeit quieter, more intense approach.  Notably, Rick Owens erected a lit pyre in the centre of the Palais de Tokyo where condemned witches were burned at the stake; an (in)direct MeToo collection featuring torch-bearing models who wore deconstructed denims and apocalyptic silk fringed mini skirts. The stripes of a charred American flag were also featured on various tops and a floor length billowing gown.Rei Kawakubo also unveiled a deeply emotional presentation at Comme Des Garçons which spoke to the “beneath the surface” psychological challenges females face; whether those be doubts of not being good/pretty/smart enough, pressures of a ticking clock, limitations of anatomy, compromising being a boss (at the risk of sounding too “bossy”), the choice of career versus carer.

This was translated through the raw padded bellies poking out from sliced open, glistening black suits- a reference to Kawakubo birthing not children, but instead a multi-million dollar empire. Chains also constricted the body underneath logo-printed second skin dresses. The chains continued to dangle from limp sleeves and past the hem, dragging onto snow white sneakers. Did she escape from her prison? Or are the chains the metaphorical constrictions a woman must deal with? While reflecting on her own journey, the collection resonated with many women whose hidden, heavy shackles are now seeing the light.Another example of a collection stepping back hitting a reflective tone was Christian Dior. Opposed to last season which was inspired by the student protests of 1968, this season Maria Grazia Chiuri focused on the art of ballet. The collection was painted by a whisper of muted colour - nudes, blush, dusty rose- and was poetic simplicity. Focus was placed on the quiet beauty of the human body and its natural curves. The uncomplicated aesthetic allows the wearer to place attention on herself and bask in a moment of tranquility. In a world of too much noise - is it not refreshing to simplify?

The hushed tones of the pieces however failed to leave a major impact due to the theatrical presentation which was accompanied by a conceptual dance piece, choreographed by Sharon Eyal. Eyal and the eight dancers delighted, but similar to the previous Dior Resort collection featuring horse riding escaramuzas, the theatrics of the fashion show outshone the clothing. It was almost that the models were getting in the way of the performance.The theatrics at Balenciaga also risked eclipsing the collection. The show blew all experience marketing endeavours to shreds as 2000 square meters of video screens aligned a digital tunnel. Here models walked on projections of psychedelic colour constellations. Fluid, neon hypnotic shapes melted into one another through a collaboration with Montreal-based artist Jon Rafman. The gargantuan show provided the setting for an equally gargantuan collection. Creative Director Demna Gsvalia, who is credited for logo mania hype and sock shoes proved his expertise in draping and innovative tailoring which would even make the maison’s founder proud. Gsvalia aspires to bring back structured elegance to the street through “neo-tailoring”. Through his technique, suits are ripened with oversized shoulders. 80s revival? NO! Here, is a fresh futuristic silhouette launched for the future.

Other fashion titans also continued to up the ante when it comes to show production. Chanel took us to the beach (well a beach was transported within the Grand Palais; sand, waves and all), Saint Laurent presenting on top a shallow water-covered runway under the lights of the Eiffel Tower, and Gucci opting out of Milan to show in Paris at the legendary nightclub Le Palace. Even with a spectacular location and the legendary Jane Birkin singing “Baby alone in Babylon”, the dazzling bells and whistles didn’t distract from the question of haven’t we seen all of this magpie geek chic glory before? Alessandro Michele is a visionary and since 2015 has successfully revived Gucci as one of the world’s leading fashion brands - it will be exciting to see him continue to push his boundaries further.However, maybe contemporary design is about developing a singular language and relentlessly sticking to those codes.

Through thick and thin - through Dior Homme, Saint Laurent and now… Celine (Céline).Of course I am referring to the polarising Hedi Slimane, who continues to be the talk of the town,  having launched his first collection as Creative Director for Celine. Slimane obliterated the once go-to brand for professional executive women, completely replacing it with his already tried and tested designs of black suits and micro-mini skirts, popularised in the early 2000s. It is unfortunate (?) presenting in the shadow of the Kavanaugh hearings but the full removal of previous creative director Phoebe Philo’s established working-woman codes reads troublesome. Not to mention these codes are now substituted by dazed youth, debauchery, drugs, sex, and rock and roll ect…Knots in our stomachs were also felt at Thom Browne who, although celebrated in blending the beautiful and the terrifying, sent models down the runway wearing Friday the 13th–style face masks, juxtaposing the couture-worthy gowns. It was not the masks which spooked. It was the fact that the models were gagged and bound - arms tightly strapped onto the torso and would thus be unable to brace a fall in sky-high heels. With it being a beach inspired collection, models were surely intended to look as if they’ve been washed ashore in fisherman’s nets, however the perceived message here was tone deaf considering the current climate of silencing women.

Being one year on from Me Too, the question holds - How do women wish to be perceived? There is a place for sexiness (e.g Jacquemus), but generally speaking there is an overwhelming movement towards modest, unfussy, not silly, let’s get down to business clothes. Clothing with a discreet sense of power with no shame in being feminine - a woman’s power suit does not need to be a masculine cut, as demonstrated by Stella McCartney and at Clare Waight Keller’s Givenchy.Despite a strong wave of genderless dressing (e.g Maison Margiela and Louis Vuitton), women don’t need to adopt masculine qualities or dress like a man to break the glass ceiling or be heard. There is power in femininity. The breathtaking beauty of dramatic, voluminous gowns at Valentino. The hypnotic concoction of rich colour, texture and pattern at Dries Van Noten. The protective armour of chain mail laced with Chantilly lace at Paco Rabane.Upon reflection, one of the most apparent trends of the Paris collections was “dressing up” - a reaction to an overly saturated, often sloppy, streetwear aesthetic.

The new season demands sharp tailoring, putting on a tie, and couture-eque details where an effort to “clean up nicely” is respected. We are living in an ugly moment in history - where victims have somehow become villains; where evidence becomes inconvenient; where hard facts are cast away as simply subjective. It’s time for the people - like you and me- to suit up and be the adults in the room, in contrast to the worse than childish characteristics of many so called leaders. Chaotic times call for decency, order and a sense of precision… cue the laser-cut double-breasted Haider Ackermann jacket.

Trend Report: Spring Summer 2018

It was an exceptionally strong season, on both sides of the Atlantic. Optimism reigned, with designers looking towards a future full of colour, plumage, and glitter. People are in search for escape and are looking to treat themselves to something out of the ordinary - gone are the days of “norm core”. Accompanying our previous fashion week reports, here are our top 10 trends for the spring summer 2018 season.

And like a flash, another month of collections comes to an abrupt end. Over the past weeks we were introduced to hundreds of sartorial renditions for Spring 2018 where we can’t help but imagine our future beings embracing a new season cooly dripping in the latest fashions, fully equipped to conquer any task thrown our way…. and naturally to look fabulous.Although some shout from the rooftops “the trend is dead!”, there was indeed a common narrative on the spotlit runways from New York to Paris clearly reflecting the environment at large. Optimism ran deep, exemplified through bright colours, uplifting motifs, and provocative styling. Perhaps out of resistance to less than satisfactory current events? Perhaps designers offering their loyal clientele escapism from the everyday? Designers delivered with intriguing inspiration and a convincing toolkit for individual expression, encouraging more risk to embrace standing out from the crowd. This common message was translated into daring trends suggesting the start of a new era - I like to call it hyper maximalism.(Remember, we are living during an incredibly turbulent, yet exciting age and in many years in the future curious minds will look back, flipping - more like swiping- through the Vogue archive and analyse what fashion was saying about this decade.) Most distinct on the runway was the unabashed return of glamour and overall pomp. Over the years we have seen a slow ascend towards maximalism, mostly thanks to Alessandro Michele’s cosmic transformation at Gucci in 2015 with his signature magpie chic. Maximalism (rooted within the arts and crafts movement, romanticism, and art nouveau) has come into full force, where even off the runway, the high street is too covered in groovy glitter and exaggerated silhouettes. The twinkling beads and sequence, perfected by for example Halpern, take us back to the disco scene - we are again at a time of letting loose and I dare say motivated to light up the dance floor? I sense a turn away from “Netflix and Chill” and (Maybe? Perhaps?) a return towards embracing the Saturday night fever. (e.g “That dress is a reason to go out”) The millennial generation has never been more active in partaking in protests, demonstrations, and social campaigns - could it be that such communal spirit is also translated to a leisurely context? I think, yes.Along the lines of disco decadence, is plumage and volume. The pairing, most convincing under the lights of the Eiffel Tower at Saint Laurent, suggest playful seduction and a celebration of individuality. Have designers sensed the societal need for us to stand out in our Instagram snaps? Or is it our growing appetite for attention in the offline world? Or perhaps, it is our desire for personal experimentation where in a world of transparency and one ended possibility we are trying to discover who we are? An additional antithesis to the passé aesthetic of “normcore” is the the return of the bold retro print. The favourites of the season were featured in the homage to Gianni Versace, where early 90s prints for jumpsuits, dresses, and coats were adapted for today. With the 80’s in full revival mode (partially thanks to TV shows such as Stranger Things), more brands are leaning on their heritage, celebrating their legacy by staging homage collections and resurrecting pieces and prints of yesteryear. Nostalgia?Building upon last season’s triumphant debut by Raf Simmons for Calvin Klein, who presented the It coat of 2017 in yolk yellow covered in plastic, PVC has risen to become the protagonist of the season. Most used for preservation and packaging, the synthetic material was wrapped generously around stilettos as seen at Off White or transformed into boater hats, gloves, boots, coats and more at Chanel, thus shielding the precious tweeds underneath from the unpredictable atmosphere.Speaking of protection, was the prominence of the trench coat. With news blasts coming at us 24/7 and where at times it seems were are all living in a reality TV show, there is a serious growing desire for security - no matter in what form. (Even last season various collections such as Cèline began to feature blankets in place of handbags!) It was the unique interpretation of the trench which made it so pleasing, most notably by John Galliano for Maison Margiela and at Balenciaga applying deconstruction and abstract layering respectively.  However in contrast, there was also some fantastic feminine touches including the rising trend of “see through” through lavish use of organza, which in particular played a leading role at Fendi. If you ask me, my guess is that see through is an extension to the rise in modest fashion. While the hems remain long, see through offers that whisper of sex appeal if desired.Other Spring Summer 2018 trends include the dominance of plaid (a reference to the UK exiting Europe?), denim on denim (the return of Twin Peaks and it’s classic Americana style?), and the bitter tinge of pastel tones (millennial pink and co. continuing its world domination?)Of course the true beauty of seasonal trends is that each of us interprets them in our own way. We have the freedom to unravel these curated codes and adapt them for our own needs and desires, so we can achieve our fullest potential. Trends are not a set of rules, they are fluctuating inspirations for us to communicate to the world loud and proud who we are and what we stand for.

Beware: Friday the 13th

When considering the latest release of Steven King’s blockbuster thriller It, the revival of David Lynch’s Twin Peaks, and the upcoming premier of Stranger Things 2 on Netflix, it is obvious that our society indeed has an enormous appetite for the surreal, the gruesome, and the deliciously deranged. Within pop-culture, our tolerance for horror is vast, but why is that? Stuart Fischoff, professor at California State University suggests our pleasure in “horror films” derives from our search for thrill and excitement.

“If we have a relatively calm, uneventful lifestyle, we seek out something that’s going to be exciting for us, because our nervous system requires periodic revving, just like a good muscular engine,” states Fischoff. 

Hence, the more mundane and sheltered we live our lives - comfortable in our “bubbles” the higher our need to see psycho-killers sporting chainsaws and hockey slash their way across the screen. Equally, the more we are exposed to constant images of violence, the more immune we become to our tolerance of “horror” and therefore desire even more intensity.  Additionally, when it comes to “gore”, as in blood and guts spewing everywhere, Prof. Deidre Johnson (1995) discovered that keen watchers typically show low levels of empathy, high sensation seeking, and a strong identification with the killer. Yikes. But when exposed to horror scenarios everywhere we look - (both fiction and non-fiction unfortunately)… of course this makes its way to the runway.

Horror film inspiration was woven into multiple collections this season, most notably at Raf Simons’ Calvin Klein. Here Simmons played on the paradox between beauty and destruction - a familiar narrative championed by the late Lee McQueen in the late 90s. Firstly, the show venue at Klein foreshadowed what was to come, causing tension in the crowd running high. Long time artistic collaborator Sterling Ruby decorated the venue with cheerleaders’ pompoms in bright patriotic colours. The RAH! RAH! RAH! was however overshadowed by the axes hanging down from the joyful fringe, swaying over the heads of the audience.

The collection played on classic Americana codes with cheerleader uniforms and cowboy boots, but it was dark. Womenswear silhouettes stemmed from that of 1950s ladylike Hitchcock blondes, no strangers in playing with fire. Prints included images from Warhol’s "Death and Disaster" series reproduced on cotton smocks and denim suits.

Menswear championed the many characters played by Kyle MacLachlan (sitting in the front row) in the cult series Twin Peaks. The contrast between sharp tailoring and rough leisurewear suited the dual personalities of Agent Cooper, which reminded us also of the latest Balenciaga’s menswear collection also referencing the surreal world of David Lynch.

The Grady Twin’s in Kurbick’s The Shining additionally played protagonist roles this spring summer season, mainly at Jun Takahashi’s Undercover. Here, identical twins were shown, both dressed in blue baby doll dresses, however only one with added long fringes of red crystal beading representing blood. As in the Twin Peak’s revival, the Undercover inspiration was based on exploring the two sides of people- an internal struggle of choice. The doomed twins also were featured in Marco De Vincenzo’s latest accessories, specifically stitched onto handbags featuring horror film motifs. These pop- culture references were applauded, most of all the Stranger Things t-shirt worn on the Louis Vuitton runway.

With all such uncertainty and living in such scary times, is there any wonder why at so many collections (Celine, Calvin Klein, Dries Van Noten…) model’s were seen carrying blankets not handbags? Sometimes to fight of the ghouls and the jeepers creepers, bundling up in a blanket in our own bubbles might just seem like the right thing to do. Especially on a spooky October evening like Friday the 13th.

dun, dun, DUNNNNN!

Milan Fashion Week SS18 : Solace Found in the (Fabulous) Familiar

Like London and New York, Milan SS18 soaked us all with a wave of optimism, making way for upbeat and joyful collections. Vibrant colour, overwhelming sequence, sporadic plumage all played seminal roles in lifting next season into an emotional high. Bright colours have been proven to psychologically improve our mood for the better. Case and point: I don't know how anyone could hide a smile from Missoni’s glorious rainbow knitwear! Most notably riding on this surge of excess hues, included Marco De Vincenzo who dedicating his collection to his roots in Sicily, Bottega Veneta which (known for its image of “stealth wealth”) surprisingly was flooded with blingage, and, who I considered the star of the Millan collections, Francesco Risso at Marni who after a shaky start at the creative helm last season, truly impressed in delivering ingenuity and wearability.

Also never shying away from a colourful sensation is Alessandro Michele’s Gucci with a collection of over a whopping 100 looks. While grand in its melange of cultural references and homage to 1980s kitch, was this collection anything different than what we have seen in previous years? Michele truly disrupted Milan with his newfound vision of Gucci in 2015however with each new season, is it all becoming the same narrative and dare I say, predictable? Is a brand’s set unwavering image now everything or do progressive clothes still count? Also, continuing with unchanging narratives was Dolce and Gabbana and Prada who although presented expertly executed pieced, too seemed predictable.

The antithesis of the runway kaleidoscope was the debut collection by Luke and Lucy Meier for Jil Sander. The mostly monochromatic scheme served as a refreshing palate cleanser compared to other shows and injected soul to notoriously sterile minimalism. The collection was varied in style, poetic in taste and served as a worthwhile starting point for the influential brand’s new chapter.

However, the absolute “Fashion Moment” of Milan - heck fashion moment of the season-was Donatella Versace’s tribute to her late brother Gianni, who was tragically killed 20 years ago. The collection paid respect to Gianni’s genius (yes, genius is appropriate in this context) by translating some of his finest work into modern day wear. Fascinating how some pieces - the Trésor de la Mer collection, the Vogue dresses, the Butterfly collection, the Native American feathers, the black and gold baroque prints - now almost 30 years old - seem just as relevant today. This is not a collection to be judged on but to be appreciated - Paying respect to a legend and a different time in fashion. Most obvious in making this point was the supermodel finale featuring Claudia, Naomi, Cindy, Carla, and Helena - strong women with personality. When compared to the often wafer thin, expressionless teenage girls who teetered down the runway before them it showed a drastic difference how the industry changed. From intimate, independent, emotional to disposable, impersonal, and filtered. Of course, that is a much too generalised and gloomy statement but I do think it is fair to state fashion has changed into more replaceable and immediate, attracting a range of consequences.

Overall, there is naturally comfort in doing what we know and it seemed therefore that this is what Milan was emphasising by playing its greatest hits - postmodern counterintuitivism at Prada, magpie maximalism at Gucci, millennial madness at Dolce and Gabbana. But in comparison to what we saw in London and New York, where there is this unprecedented energy to give more chances to younger new talent, this was missing in Milan. Opportunities for the new generation was one of the priorities to the late Franca Sozzani and it would be great for this to play more of a factor in Milan’s future.

New York Fashion Week SS18: Only in the Dark Can you See the Stars

Long before Binx Walton glided down the Tom Ford catwalk in her shocking pink two-tone pointed stilettos, a dark ominous cloud hung low over New York City, casting a threatening shadow over the future of one of the greatest cities in the world. Uncertainty is thriving within tight-knit communities, unsure about their immigration status, their health care plan, their environment, their jobs, their security and this uncertainty is directly reflected upon other industries including fashion.

New York Fashion Week is struggling to hold on to its reputation of being a “fashion capital”. This year it has experienced an exodus of some of America’s most accomplished creative talent with Rodarte, Proenza Schouler, Altuzarra, and Thom Browne all choosing to present their upcoming collections across the pond, in Paris. With New York’s brightest lights now elsewhere, the darkness however provided the opportunity for younger emerging brands to shine. This season New York hosted a vibrant atmosphere which has been previously regarded as a British specialty: promoting an exciting, wide eyed, and raw next generation. Breakthrough shooting-stars of the season included Vaquera and Eckhaus Latta.

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Vaquera impressed with its thoughtful non-conforming ideals, while Eckhaus Latta offered its most accomplished collection yet, through a refined, causal display executed with precise tailoring and complimenting embellishment. Moreover, it promoted model diversity through different ethnicities, ages, and sizes including a very pregnant Maia Ruth Lee.  It was brilliant how emerging brands filled the #NYFW void with confidence, fresh ideas and most importantly a sense of hope.

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Hope is essential in an unsettling political climate, and this climate was represented in a multitude of ways. Firstly, collections offered a sense of protection where for example at Tory Burch and Calvin Klein, blankets were held instead of handbags and shoulder pads structured oversized blazers in case of any rough and tumble. Also, the overarching aesthetic of deconstruction and reconstruction, where designers mix and matched, crafted together torn scraps here and there, almost like “this is what we have, let’s make do and create something spectacular”. Tom Ford even went so far and splashed the tips of frayed stilettos himself to give a more real and authentic touch. The “imperfect” interpretation reflected the Breaking News headlines, and destruction we read about almost everyday, but underneath the surface there was a flair of optimism thanks to a forgiving colour palette - predominantly pastel. Sunshine yellow too played an important role this season bringing positivity to the concrete streets.

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Optimism, also took form of bittersweet nostalgia where Raf Simmons for Calvin Klein, Stuart Vevers for Coach, and Johnathan Sauders for DVF - three non-American designers I might add- focused on traditional Americana. Raf Simmons was inspired by classic American codes of the 1950’s such as cheerleader uniforms, cowboy boots, and references to pop artist Andy Warhol. Simmons interested in risk taking additionally wove in a perverse element which he described as part American Dream/ American Horror, with partial inspiration from The Shining and the Twin Peaks revival. Agent Dale Cooper, Mr. C and Dougie Jones would all find something in this collection. On the other hand, Stuart Vevers for Coach went Way Out West, drenching the saddle with sparkle. Or Johnathan Sauders who has pushed DVF into a new era marrying glamorous Studio 54 codes with innovative fabrics.

And the overall feeling in New York? 

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A low-key existential crisis. The questions of “why are we here? What is this for? Does it all matter?” Were at the tips of everyone’s tongue. How can we march on debating hemlines when the possibility of a Nuclear winter is becoming an actual threat? Well, I think the best way to answer is what we saw at Marc Jacobs - the clear show of the season. In a context of overwhelming noise- in the news, on the subway, on Twitter, on Instagram, on Facebook, on the streets - Jacobs presented a demi-couture collection in total silence, only the subtle brushing of beads to be heard when the models gracefully walked on. He crafted a moment - of beauty, of inspiration, of awe without the bells and whistles which often drown out what is real. Without appreciating moments like these of truly stunning human accomplishment, nothing matters and we cannot let that happen.

In the dark there is light, and on the light we must focus on.

Paris Fashion Week AW17: A Recap

Paris, the city of lights and l’amour, concluded a gargantuan fashion month with a dramatic feast for all the senses. Paris fashion week was an optimistic reminder to those within the industry, those sleep deprived souls floating from hotel to hotel, country to county on why fashion matters - no, not looking at the deep stuff like politics and the economy -let’s take a break from all of that for a moment- but fashion:  the sheer beauty and the pure magic of bringing clothing to life.

The Paris collections were defined by their memorable moments spanning much deeper than the display on our smartphones, but moments which seeped straight into our hearts. For example, there was Dries Van Noten’s 100th show which was a powerful retrospective of exactly why Dries has independently paved a name for himself thanks to genius colour experiments and unlikely patterns. His collection was worn by original 90s supermodels including Nadia Auerman and Amber Valleta who even decades after the pinnacle of their careers, look just as incredible as they did starting out.

Ending her tenure at Chloe after 6 years is Clare Waight Keller who presented a triumphant show focusing on sharp tailoring, a strong shoulder and a dropped waist in regards to the silhouette. Like Phoebe Philo and Stella McCartney, she too is a British female success story who added a worthwhile chapter to the maison. Her final bow was met with a standing ovation, after the finale of models strutting down the runway to the Human League’s “Don’t you Want Me?” A final sting. A moment representing the constant musical chairs like manner of designers being swapped from one house to another, designers coming and going like the ebb and flood. It is now Natacha Ramsay Levi up to bat.

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Stability however was brought back at Balenciaga, where star designer and l’infant terrible Demna Gvasalia delivered his best show to date which celebrated it’s 100th anniversary. To celebrate the centurion year, the house reinstated its couture offering  inspired directly from vintage Balenciaga. A glorious composition of heritage adapted to the present. Gvasalia, although aesthetically has pushed some buttons within and outside the industry with his ironic twist on street style, he has indeed changed the way we dress, making him a great designer. Designer of the year nonetheless and what we saw here was a creative who transformed traditional referencing into cutting edge design innovation - relevant to 2017. Commercially and creatively speaking, best show of the season if you ask me.

Completing my list of top 3 shows of the season include Undercover and Alexander McQueen. Both in very opposite ways brought a narrative to life, making us visualise more than just clothes. In the case of Undercover, we witnessed a utopian performance piece accompanied by a soundtrack created by Thom Yorke. Undercover designer Jun Takahashi Takahashi’s divided his collection into 10 segments. Segments separated by aristocrats, monarchy, soldiers, young rebels, and the clergy. The wearable art made you realise the uniforms of each social group and emphasised the act of ceremony, an idea also explored the day before by Rick Owens.

Sarah Burton for Alexander McQueen on the other hand invited us to the traditions of Cornwall, the southernmost tip of the UK. Burton played on the medieval traditions of paganism and witchcraft, which still linger ever so subtly out in those ancient seaside towns, and directly referenced a Clootie tree, where passer-byers tie ribbons on it for wishes and mementoes. The whimsical Cornish influences providing an excellent contrast to an increasingly sterile and pixilated world.

Other powerful moments included the finale at Stella McCartney with the models dancing together and singing “FAITH!” for a joyous tribute to the late George Micheal. How nice to see a show again which was just feel good fun! Why should we take ourselves so seriously- life’s too short! A goosebumps catalyst was the actual location of Louis Vuitton, where Nicolas Ghesquiere secured the Louvre as the collection’s setting - a gig previously thought of as impossible. Unfortunately, the magnificent spellbinding sculptures seemed to overshadow a rather incoherent collection.

Of course one cant forget the moment when Anna Cleveland pattered around with twinkletoes at Comme de Garçons who made sense of non-fashion materials and redefined silhouettes. The show foreshadowed the occasion of the Met Ball, which will unveil and exhibition dedicated to Rei Kawakubo. And if a singular moment were to define the AW collections, it would surely be Chanel, where Karl Lagerfeld presented a collection truly out of this world: The collection was presented around a space rocket which for the grand finale was partially launched within the Grand Palais spewing sparks and all.

If there was something Paris told us, it was that fashion in 2017 is no longer dictated by trends.

Fashion today is about storytelling, building a clear brand identity and sticking to it. And how do you do that? By building a memorable fashion show letting your global audience experience your brand whether next to a launching rocket or on Snapchat. Each show was so different with no red thread linking together any form of unison. Editors today understand that it is no longer the trend which matters but it is the individual interpretation of a brand as well as how a creative director can tell communicate his or her message to their loyal followings by connecting through an emotional level.

In other words, no trend no problem, however if you have to pick up something as a “must- have” for next season it would surely include 1) Silver Glitter riding boots: a must we saw at Saint Laurent and Chanel 2) Leggings as trousers: Giambattista Valli made the impossible possible, combining our love of athleisure into high fashion and pairing a ruffled Parisian blouse with basic Nike leggings and for those risk takers out there 3) Carry-on luggage as Headwear: Why not follow a note from Maison Margiela and use that carry on bag as a hat? It might just get you through check in without those pesky additional fees ;)

Milan Fashion Week AW17: A Recap

Like on the streets of New York, Milan Fashion Week took advantage of its unique position on the global front page to exhibit subtle protest calling for resistance, female power, and the importance of unity.

Miuccia Prada, known otherwise as “the Queen of Milano”, presented a powerful collection influenced by the Federico Fellini film City of Women. Influenced not so much by the plot, but it was the title which sparked a collection merging femininity with masculinity with Italian 1970’s psychedelic styling. At the surface, we saw raw delicacy. Bubbly intelligent girls -dreamers - perhaps naive on real world demands and struggles of the everyday, but girls who viewed life with fresh youthful idealism.

Their uncompromising inner strength was the meeting of multi-coloured ostrich plumes, crystal fringes and swaying hemlines paired with coats of strong masculine tailoring and prints often found on a man's business suit. Together, irresistible glamour provided a feminist message of resistance and a calling to speak out against inequalities.

The models strutted down a mock college dorm room with illustrated posters of ’50s and ’60s femmes fatales tacked to the walls. Beautiful Barberellas with guns implying- "No funny business here!" Prada AW17 was a plea for girls growing up in an uncertain world, where more and more “Common Sense is not That Common” (A reference from the Gucci show), to celebrate strength and femininity.

Emerging from the seeds of Miuccia is the new head-designer at Marni, Francesco Risso who also presented a collection of ‘70s flair. While too early to judge his efforts and the overall direction for the house, Risso presented a confident collection in line with the overarching feeling of Milan - over the top maximalism and modesty.

Who to point the finger to regarding Milan’s maximalism? Surely Alessandro Michele and his geek-chic vintage fantasia of Gucci. However, the trend is regarded as more of a backlash from norm-core and austere design reflecting the troublesome financial environment post 2008. What do we have today? Now the DOW Jones index has hit a record breaking +20,000 placing confidence and optimism in the financial markets. The distant sounds of Cha-CHING! encourages  the flashy, the glitzy, and the more is more.

Consequently, brands are pushing out more product to satisfy rising demand. Therefore, it is almost impossible to discern trends anymore as each collection is extreme in its brand’s styling. Styling efforts are starting to overshadow actual design in an effort to morph new identities and communicate the marketing message but that somehow generates chaos even if out of uncensored/unedited creativity. The more is more mantra is not only in styling, but also in textile usage.

The trend of modest fashion is on the rise, covering up the body head to toe - maybe showing a bit of skin at the ankles- but also the introduction of a Hijab on the Max Mara runway. While some may argue this is an antithesis of women’s liberation, these efforts do promote choice, inclusion and acceptance. A woman with choice in itself leads to equality.

Equality played a huge role in Donatella Versace’s collection which focused on ultra glam female power. Top models including Kendall Jenner, Gigi Hadid and Bella Hadid meant business with fire in their soul and determination in their eyes. Eyes painted in punk rock cat-eye makeup and hair sword straight with streaks of neon coloured hair extensions. Down the runway they glided with a forceful march. Sadly rumoured to be Donatella’s Swan Song for her house she would never go out without a bang. Her statement was loud and clear reflected in a press release calling for “unity and the strength that comes from positivity and hope.” Like Miuccia, her refusal to sit back quietly with a safe, pretty collection reminded me of the frustration and drive captured in the viral image of an older woman at a Woman's March in October.

La resistenza continued with Missoni, which implemented the brand’s signature zigzag into pink pussy hats - placed on every seat in the house  and worn by the models during the finale. Obviously, the accessories of the season are all political statements:

I have to ask - is today’s resistance and protest simply en vogue or are these fashionable items actual tools for change?

The Missoni finale also brought out the entire family of multiple generations with Angela Missoni voicing a heartfelt speech:

“In a time of uncertainty, there is a bond between us that can keep us strong and safe: the bond that unites those that respect the human rights of all. Let’s show the world that the fashion community is united and fearless.”

Milan Fashion Week could not have ended on a more unified note. Firstly, thanks to Dolce and Gabbana the runway was filled with real people, diverse people celebrating women and men of all shapes, sizes and backgrounds. It was happy, fun and dedicated to the dazed and confused Millennial generation #blessed. Secondly, and most importantly the farewell to Franca Sozzani at the Duomo unified an entire industry and a city. People coming together to pay tribute to one spectacular individual.

Phoebe English AW17

Tyranny Oppresses, 

Fear divides, 

Apathy Rests, 

Voice Calls, 

Courage Braves, 

Unity Binds, 

Repair Cures, 

Hope Reigns.

  *All photos by Nina Van Volkinburg, please reference credit

Phoebe English AW16

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Valentino Couture: Fall 2015

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A sun setting over the glorious rooftops of Rome. The summer breeze through your hair. Silence. iPhones at the ready. A choir of heavenly voices are heard as a long black silhouette emerges through those heavy, iconic wooden doors of the Valentino atelier in the Piazza Mignanelli. Reaching the almost empire waist of the first black tulle dress was a petite golden eagle, the symbol of imperial Rome, clutching a red ribbon. It was this image which was remarkably found on the ceiling of the house’s atelier during its recent renovation.

Let the symbolism commence!

(Goosebumps all around. The Valentino Couture show has begun and is already exceeding our over the top expectations based on the pre-show activities all around Rome including: witnessing previous Valentino couture f in locations such as the Biblioteca Casanatense, a third-century AD Mithraic grotto, and Giorgio de Chirico's apartment-turned-museum. Not too shabby. (?!)

Grazia Chiuri and Pierpaolo Piccioli brought the Italian heritage brand back to its roots in the most idyllic, graceful, and not at all cliché way which is sometimes expected when being patriotic. No - Rome was captured symbolically, poetically where the Roman history and what it means to be Roman is not seen on the surface - but felt deep beneath the skin and that is the power of extraordinary fashion and talent. )

The girls moved with grace and serenity, golden filigree diadems upon their heads - an angelic appearance with a fearless attitude of modern-day aristocracy. Black was the predominant palette of the evening which was for some a disappointment but wait! Black is not only black. We've seen its transparent delicacy through whispered tulles and laces sometimes brushing the floor. We've seen black bold and full of drama slowing in heavy velvet and silks. Two opposite directions in one color - solemn, yet nobel.

Piccioli states “We also wanted to show the darkness we feel in this city.”

However, there were also deep red gowns, of course a color a tribute to Valentino Garavani (sitting proudly in the front row) but also the historical Roman reference to the cardinals of Vatican city, and the ancient Roman cults who would sacrifice cattle aka oxblood - Too much information? Sorry! Gold were not only the the necklaces and bracelets designed by Alessandro Gaggio, but into it was the color of Roman gladiator like minidresses, tulle ball gowns, and a remarkable 3D golden entwined rope dress.

There has never been a more beautiful tribute to the Eternal City and it was impossible not to understand the unbreakable bond between Rome and its couturiers. The standing ovation was well deserved.

Pictures by Umberto Fratini / indigitalimages.com

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Chanel Couture: Fall 2015

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Cha, Ching!! Following last season’s mechanical flower garden, yesterday the Grand Palais transformed into an Art Deco revived Casino à la Chanel. The kind where a gentleman in a crisp suit and his lady, strung with pearls, would arrive in style by Rolls Royce Casino de Monte-Carlo and would bump into F. Scott and Zelda, on their way to the gambling table champagne in hand. But that was yesteryear… Today the Cercle Privé was attended by the likes of Kristen Stewart, Lara Stone, Julian Moore, Rita Ora and Hollywood offspring such as Lily- Rose Depp (the current face of Chanel Eye wear). The celebrities wore Chanel Haute Joaillerie and custom made gowns, playing their parts exquisitely rolling the dice and setting their bets: all under the nose of editors, buyers, and bloggers.

While the setting may have reminded us of a old pre-world war glamor, Karl Lagerfeld turned this nostalgic setting ironically into the scene of a technological fashion breakthrough. Sci-fi futuristic methods are no longer visions for the future. The game of Haute Couture has been forever altered by a cutting edge technique (literally) called “laser sintering”.

Not familiar with the concept? Laser sintering is responsible for removing the seams from the iconic tailoring. The show featured work of chiffon laser cut ribbons and 3D printing - both techniques setting a mechanical pace of the show. While last season’s show was romantic, dreamy, and full of Parisian prettiness, the Cercle Privé collection felt calculated, geometric, obviously technologically advanced, in other words very Germanic- an ode to Lagerfeld’s roots.

The Chanel aesthetic of course satisfied us all with its clean tailoring here equating to angular shaping with a soft fit,  as seen on coats and jackets, some equipped with military epaulettes to sharpen the shoulders or as seen as the final bridal look in all white. Then there were those careful details of black and silver sequins or meadows of tiny flowers and feathers balancing a rather strict collection with a breeze of softness - once again impeccable work of les petite mains.

Overall, I would say the show was in one word: eery. No! Don’t misunderstand- I don't disagree the collection was not breathtakingly beautiful and I would bet my money that it will be a commercial success- but in the air lingered the unknown, something alien, and something unsettling. The models looked like robots, very Ex-Machina, with angular black wigs, blood red lips and a sharp streak of magenta blush - very non- human- and I couldn't help but ask myself: is it not a tragedy that we have entered a period where robots and machines are beginning to replace the delicate, human handwork which defined the art of ancient couture? Or is this an inevitable evolution transporting the jacket of the 20th century into the 21st?

The last word deservedly comes from Karl who is relentless in never looking back: ”When you fight against the future, you are lost. You have to adapt. Time doesn't adapt to us. I'm a healthy opportunist for that.”

Images courtesy of Chanel

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...Itsy Bitsy KIINI Bikini

Guys. We are almost there! Summer is almost here! Just a few more exams, a few more essays, a few more work hours to push through and we’ve made it! The sun is already shining into the late hours and the espadrilles and sandals are lined up at my front door ready for a stroll.  For me, one of the best parts of summer is heading to the beach. The sand between your toes and rhythmic eternal hymn of the sea, the soft breeze through your hair. At the beach you just feel so free and at one with nature and you can just recharge and reboot your own personal battery! Of course the beach is also the best opportunity to sport your finest swimwear (opposed to the University pool I am used to - chlorine and tile simply isn't as glamorous…) 

So allow me to introduce: KIINI! Officially, they are my absolute favorite bikini brand- they claim to “unleash superpowers such as extreme positivity”. How can one really say no? These crocheted pieces are not only chic and lively, they are handmade and thus support artisans and quality craftsmanship (YAY!) ! The shaping flatters the body without the complete annoyance of “push up cushions” and wearing it you can feel a surge of youth and a free spirit (you may have the uncanny urge to engage in cartwheeling, water balloon fights, sand castle building, and hula hooping…)

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KIINI bikinis are ideal for the modern bohemian as each piece is unique and has its own personality, and they have already graced the pages of Vogue and Harper’s Bazaar so I think we can be assured of the credibility.

Just a warning: If you want to wear one of these bad boys before summer vacation, be sure to pre-order NOW for them to be ready by mid-July!

*All images found on Kiini.com