DKNY FW16

After Donna Karan stepped down from her eponymous diffusion line DKNY, the fashion world was introduced to a new designing duo- Dao-Yi Chow and Maxwell Osbourne (ex-designers for Public School). For their September debut at the house, they delivered a collection - of course - solely inspired by New York. However, they seemed to avoid the free-spirited eclectic nature of the city’s youth and approached from a different angle, a more corporate slant. The collection was full of modernity, minimalism and sophistication: sartorialized suits, crisp white shirts and over-sized proportions. There is no doubt that they had e-commerce in their minds when creating that collection.

Their second collection, on the other hand, was a tribute to New York’s streetwear culture. 90s’ motifs fluctuated throughout the collection, combined with Japanese cuts and silhouettes. I love how they are revitalizing the house by deconstructing all the wardrobe basics and re-working them into more wearable hybrids of the versions before. Take the DKNY signature, the pinstripe suit, for example. They totally lacerated it, creating a cropped blazer with baggy trousers being held up by giant buckled suspenders.
  

 

Tomboy is a word I would associate with this collection. We had chunky combat boots, the masculinized proportions of a re-shaped shirt dress with asymmetrical lines and a pair of striped tracksuit dungarees held up with huge plastic clips; what more could you wish for?

 

Re-worked shirt dress

90-esque sartorially striped dungarees

I took a particular liking to the velvet blazer which sat loosely above a high-neck lace bodice and also the white shirts with laser-cut details were just sumptuous.  

 

For the finale we were presented to a vast array of neoprene sweatshirts emblazoned with fresh new anagrams of ‘DKNY’ like ‘Designers know nothing yet’ and ‘Don’t knock New York’, definitely a clever way to show us that their legacy has just begun.

Evidently, being their second collection, Chow and Osbourne are still figuring out who their DKNY girl is – however, I think they are certainly heading on the right road for success!
  

 Please Note: I do not own any of these images, courtesy of Vogue.co.uk and theimpression.com
 

Victoria Beckham FW16

I have always admired the work of Victoria Beckham. She may be one of the only celebrities turned designers to actually produce an increasingly successful brand and at the same time own a seamless aesthetic. Minimalist and conceptual are two words that perfectly describe the distinct nature of her modern approach to creating.
Season after season, Victoria tailors her own personal style to her global clientele who adore the house's luxurious refinement. Her flattering proportions and sleek silhouettes are adored by many and it's true to say that she makes clothing that women want to and can wear, despite the seemingly costly price tag.

"This collection is really about the evolution of my personal style," said Victoria when describing her fall/winter 2016 collection. 
The show was more of a retrospective celebration of the brand's modernistic DNA. I felt we saw her take a step up from the minimalism normally associated with VB and accentuate bijou details as seen in the past that were never fully developed. Take the slip dresses for example, keeping the V neck yet spreading the hem-line out below the hip- almost forming a bubble.

Also corsetry made a comeback, (seen on Victoria during the Spice Girls days) re-worked into a series of daytime looks. One being the skin-tight tonal jersey dress with a corset intertwined into the main body of the fabric, perhaps giving off an amplified meaning of sophisticated luxe? The cut-out bustier which sat neatly on top of a bias-cut skirt or high rise trousers also deemed exceedingly popular.

 cut-out bustier

 

My preferred pieces included: the tailored overcoats in heritage tweeds, the disproportioned 'clutch' coat- a go to when you're having a lazy day and lastly, the stripy ribbed knits layered over one another; mirroring the athletic trend which New York Fashion Week is famous for.

 the 'clutch' coat



Overcoats in tweed

Please Note: I do not own any of these images, courtesy of wwd.com & Vogue.co.uk

Yeezy Season 3 NYFW

Earlier this month, to my dismay, I fell prey to the music of Kanye West. Not only have I found myself downloading his album entitled 'Yeezy' off ITunes, I have also found this man to be egotistically challenging to the point that he still baffles me.

I think it would be fair to say that his tweets are enough to give you a brief overlook at his 20 year life plan. From the rekindled feud with dear Mama Swift, to announcing that he's $53 million in debt, it's all very Britney circa 2007.
 

I was surprised to see that Mr West has actually thought about the fact that he is creating clothes and not producing attire that the future slaves will be wearing in his dysfunctional Star Wars-esque kingdom he so desperately wishes would turn out to be real.
Also I'm glad to announce to you small proportion of Kanye lovers that he's finally reducing the prices of his, and I'll say it lightly, monstrous shoe calamities. Putting a £4000 price tag was one of the best things he did because no one in their right mind would spend that amount on something that unattractive. 

 

Yeezy Season 3 (FW16) did entangle me, however not for the right reasons. Yes, the clothes were far more wearable in comparison to other seasons- shown with a greater array of colour; less conforming nude, black and khaki and more sandy hues of taupe and ochre, not forgetting the chocolate browns and ivory. Elements of colour-blocking also came into play, featured through the athletic lurex sweaters and leg warmer socks. However, of course being a Yeezy show, there was a genuine lack of taste and character. We had all the same odd combinations: bodycon morph suits with sports bras layered over the top, ripped oversized hoodies and ludicrously layered proportions that I simple cannot comprehend. Unfortunately it seems that the nude legging will eternally remain a Yeezy staple. 

 

 

The clothes, shocking to some, were not the focal point of the evening. Oh no, it was the people in attendance.. the Kardashians of course! I was mostly excited about seeing Kim Kardashian as she had not made a public appearance since the birth of Saint West. The entire Kardashian clan came out on full form, including attention hungry momager, Kris Jenner. They all wore these marvellously glamplified garments created by Yeezy and Olivier Rousteing at Balmain consisting of: white furs, pearl embellished swing dresses and ripped ribbed knits. Kim also debuted her peroxide blonde hair that we could've sworn was a wig. 

 

 

I was very glad to see a very strong diverse model casting, made up of industry icons like Naomi Campbell, (who closed) Alek Wek and Liya Kebede. In fact, one of the main trends sited at New York Fashion Week Fall 2016 has been model diversity and that is a monumental breakthrough!

As the show closes, West riffs on his future. Telling the audience that he informed Anna Wintour of American Vogue that he dreams to be creative director at Hermes. Hmmm I wonder what she thought about that imposition?


Please note: I do not own any of these images, courtesy of Getty, celebuzz.com
 

Diversity In The Creative Industries

As the majority of you know, I have already shed light on the problem of racial diversity in the fashion industry, however now I feel like I should expand on some of the points raised and address the recent issues in not only the fashion industry but also the film industry as well.

It was only the other night when I was reading the latest issue of British Vogue that I came across the Valentino Spring/Summer 2016 campaign. I love how Valentino are trying to run away from the racial diversity problems they forced onto themselves last season, casting predominantly Caucasian models despite producing a collection solely ‘inspired by Africa’. They made use of entirely white models in cornrows and tribalized prints, showing an intense lack of respect towards the African communities and instead generalising their countries to fit in with Valentino’s seemingly profane aesthetic. And now for their campaign they have decided to shoot an array of white models in African-inspired garments whilst surrounded by a Kenyan tribe, what’s the logic behind that? I think it’s exceedingly important that brands should stop adopting a blind-eye to the issue in hand and start taking responsibility for the severe nature of this problem.

 

 

However, this is not all: a couple of years ago, London-born black model Jourdan Dunn spoke out about the racism she experienced when working backstage at some shows during fashion week. She said that she was turned away from model castings because the client didn't want 'anymore black models' and also she described the time when a white makeup artist said she didn't want to work on her face because she was black - this was not because of the makeup artist's lack of skills, it was a blatant example of racism. Despite working in an industry which we can now say is struggling to fight against diversity injustices, Jourdan Dunn is recognized as a pioneer or inspiration to the emerging models of colour to come into the industry like Malaika Firth and Neelam Gill, for example. Jourdan was the first black model to walk for Prada in over a decade and also featured on the cover of Vogue Italia's iconic All Black Issue shot by Steven Meisel. Now, she has joined forces with industry legends such as Naomi Campbell, Iman and Bethann Hardison (fashion activist) to campaign against the lack of balanced diversity in fashion and that is exactly what we need to propel this industry out of this hole.

                                                         

 

      Vogue Italia's All Black Issue- Naomi Campbell and Jourdan Dunn (Right and above)


In recent months, another issue relating to diversity has been made prominent, this time involving the film industry. It began when the Academy Award's nominations were released revealing that not a single black actor was nominated in any of the categories this year. Interestingly, in the history of the Oscars, only 31 out of more than 2900 Oscars awarded have gone to black winners. That's a staggering statistic!
The only year where black actors took dominance was 2013 when the Academy awarded 12 Years A Slave Best Picture with Lupita Nyong'o taking the statuette for Best Supporting Actress. However, since then we have seen a decrease in mixed background recognition and that's a shame.

Lupita Nyong'o at the Academy Awards 2013

As renowned fashion photographer Nick Knight once said, "To find a solution we need to see that there is a problem. The business people who ultimately control fashion (and art industries) have a moral responsibility that they must not ignore. Profit cannot be a justification for bigotry and racism." 
I think we must continue to encourage the use of minorities within the creative industries; this is the only way we will conquer the face of discrimination. So, it's my opinion that if we keep voicing our concerns and present an even-handed awareness of the issues, the industries will start taking drastic action and fight seriously this iniquitous injustice.

 

Please note: I do not own any of these images.