Christmas- The Season Taste Forgot

As Christmas steadily approaches, I thought it would be a perfect time to dissect some of those Christmas fashion traditions that we all either love or hate.

Now, as the majority of you know, I am not one for a Christmas Jumper- I never have been and I never will be seen sporting one. I 'Why?’ I hear you ask in such uproar, well I shall explain. Firstly, the design of the Christmas jumper is not what aggravates me the most; it is the manner we adopt when donning said item. Truthfully, only the keen Xmas-goers start wearing their Xmas jumpers, Xmas leggings, bauble earrings or any other festive paraphernalia, in mid to late November and somehow they manage to prolong that period until March, that is not ok!

Don't get me wrong, a lovely fairisle jumper or a crisp cable-knit cardigan from Jack Wills will always be a winter staple, but the Christmas jumper? What are we thinking? For example, those gorgeous ones we are seeing in Primark epitomize something else, something non-human. I present to you a jumper like none other, emblazoned with a monstrous print of Santa, yet at the same time bringing another dire dimension of pastel pom-poms stuck at random. I mean we’re all about the Christmas cheer but weren't we doing fine with the spirit of Christmas before these jumpers encapsulated us? Yes yes, we were, it was only down to some celebrities (1D) who decided that one year they wanted to resurrect the foremost 70s trend and from then on everyone seemingly had to get their hands on one.

I know some of you may think I'm the ultimate Scrooge, but I'm just telling the truth. It's not like I'm going to suffer alone on Christmas Day because I refused to partake in the Christmas jumper activity. As a matter of fact, there should be no pressure at all to wear these items just because it's Christmas.
I mean what really radiates Christmas is us wearing something made in a Bangladeshi sweatshop by children. That defines Christmas Spirit.

 

British Fashion Awards 2015

DISCLAIMER: I do apologize if you are offended by my thoughts on some of these celebrities, it's just an expert's opinions.

It seems the Brits came out in full-form for the red-carpet of the British Fashion Awards a couple of weeks ago, in some cases worse than we had expected. It was a night to celebrate everything great about our countries' strongly developing fashion industry including the work produced by British designers, and that was definitely achieved.

Now I am aware that you, my darlings, adore a red-carpet critique- so here goes:

Firstly we have Georgia May Jagger wearing this incredible custom Alessandro Michele creation for Gucci. Why is it so incredible, do I hear you ask? Well let me explain. For Michele is currently using these new modern techniques, including the invoking of trompe l'oeil, which was certainly one of the main focus points in last season's collection and now here in his evening-wear. Trompe l'oeil literally means 'deceives the eye', with this in mind Michele simply takes a normal cut transparent piece of fabric and puts this special print or embellishment over the top of it, appearing to us will be an object in three dimensions, however this is just an optical illusion. Quite clever I think. Not only is it a truly beautiful gown, it also had a giant snake emblazoned on the back of it, certainly quirky.

Even Salma Hayek who wore a trompe l'oeil creation by Gucci, looked outstanding.

Moving onto Rita (wh)Ora. Yes, yes I know, shock horror. I actually like what Rita is wearing for once! Perhaps because she looks far more conservative than usual and also her assets aren't exposed which we all know proves to be the major challenge for Rita. 
Love the utilitarian, military nature of this Chanel gown, downplayed by that midnight blue velvet and gold leaf details. Radiating pure Parisian luxury and elegance.

Next we have Cheryl Versini-Fernandez aka Cole. Here she is wearing this very unusual combination consisting a Topshop Unique floral overlay + bralet and Sergio Rossi thigh-high boots. Firstly, why on earth is she wearing this in the winter may I ask? And what are those boots?! Yes we all like to dream that we can splash out on a pair of embellished suede boots costing £2500, don't we? But unfortunately Chezza, we cannot.
Don't get me wrong, I'm all about the hype associated with Topshop at the moment. I think it is quite remarkable that the clothes giant is expanding so rapidly, whilst producing clothing that is so accessible for the masses and yet bringing such a high level of quality without the worry of the price tag.

We have come to the worst dressed of the evening. I present to you Poppy Delevingne wearing this sickly Emilia Wickstead gown. Can we just address the fact that this is wrong on so many levels. Firstly, let us establish that she's wearing flats?! There's a rule against flats on a red-carpet; even Karlie Kloss who stands at 6ft2 was wearing some Manolos. Next we move onto the dress itself which actually resembles a battenburg cake, how unfortunate. Breaking it down I think that the fabric choice was completely incorrect. For we have a rigid satin gown which is totally unflattering for her figure, with the addition of a hefty amount of rouching placed too high up her torso creating what looks like a baby bump alongside a lot of creasing and sagging, not a good look. Lastly, we have that horrendous collar which totally does NOT bring the whole outfit together. This outfit defines tragic.

Rosie Huntington-Whitely shows us what it means to be a celestial vision. She chose this Burberry Prorsum gown complete with a plunging neck-line, simply exquisite in my view.

Can we just establish that Lady Gaga looks NORMAL. Donning this red sequined column Tom Ford with a hexagonal-cut overlay and matching gloves. Totally in love with everything she is doing right now.

 

It's no surprise that Alexa Chung made it onto my best dressed list, she just kills it every time. Here she embodies the Victoriana trend which has been delicately encapsulating the catwalks over the past two seasons. Despite giving off that hessian sac vibe, this dress carries a scruffy classicism that we are all currently craving. I applaud you Alexa.

 

Kate Bosworth was also sporting a pale blue period-inspired Erderm dress. Chiffon, ruffles, pleats, diagonal waterfall layering, buttoned seams, patchwork and a black ribbon- talk about a true romantic.

 

 

 

Next we have Karlie Kloss in this Chanel Couture number. I'm sorry but how flawless is this woman? She epitomizes the All-American supermodel, think Cindy Crawford or Christy Turlington-Burns. I have mixed views about this look- I do admire Lagerfeld's way of transposing 30s Chantilly lace onto tissue-thin laser-cut fabric, but then again I feel like we are prevented from appreciating the full beauty of this dress; simply because of that addition of those heavy embellished rings which sit around her hips and upper torso.

 

 

 

Why is Mollie King here? In my opinion this dress is simply unacceptable. She is wearing a summer gown with a groin-high slit and a severely plunging neck-line, god help us. She is literally baring everything and we all know that no one wants to see that, EVER. Sorry my darlings, but it's a no from me. David Gandy, on the other hand, looks sensational.

 

 

My my, I think Naomi Campbell thinks it's still Halloween. This is positively frightening. Here she wears a Burberry concoction including a baby-doll dress swamped in a lace cape. How very odd, I hear you mumble..

 

I am particularly impressed with everything Victoria Beckham continues to produce for her fashion house. Her aesthetic is minimalist, distinct yet super modern. She makes clothes that are easily wearable for every situation and more importantly she makes clothes that every woman aspires to wear. Here she proves that women can look effortlessly sophisticated yet slightly androgynous in this oversized tuxedo jacket with matching trousers. It's a 10/10 from me.

 

Lastly we have Jourdan Dunn, who won the well-deserved Model Of The Year Award. She concludes my best-dressed list at the number 1 spot. Here she wears a breathtaking Thierry Mugler bi-colour monochrome gown. I literally have nothing bad to say about this look. It's the definition of perfection. 
 

 

 

                                                

 

Please Note: Picture Courtesy of Vogue.co.uk

Chanel Mademoiselle Privé

Going into the Chanel Mademoiselle Privé exhibition at the Saatchi Gallery, I had high expectations. After waiting in a snaking queue for 50 long minutes, I think anyone would have had similar expectations. 

After entering the building we were directed into the first room, consisting of the replica of the famous glass staircase which links the Chanel Rue Cambon flagship store to Coco's apartment. Following on from that was meant to be a re-invention of Mademoiselle Chanel's hat shop in Deauville, which she started at the very beginning of her career. Unfortunately, there was only a room comprised of walls plastered with monochrome prints of a shop window and with the addition of card hats popping out of cardboard boxes. I would have appreciated some colour and not from going on a constantly crashing app to get the full picture.
Afterwards, we entered yet another room which supposedly represented Coco's apartment; however to me it resembled nothing of the sort. We had a continuation of those printed walls. I think it is safe to say that it lacked lustre to the extremist degree.

 

Moving on into the next area, we were presented to a birdcage which held a colossal copy of one of Chanel's diamond star necklaces from the exclusive Comète Collection. However, this just seemed to be a rotating plastic beaded sculpture.

 

We then walked into a room which was entitled 'Totems', I am sorry my dear readership but has anyone ever heard of Chanel Totems? No, we have not. They were the most unusual things. Firstly, we had a tower of strings of pearls encapsulated by what only could be described as a giant fish bowl with even more pearls. The next was called 'Lucky Numbers', essentially some dominoes placed into the shape of a robot, apparently carrying the meaning that all those numbers were lucky, despite the fact we saw every number. Lastly, there was one constructed out of wheat. Like wheat, what did that symbolize? I, personally, did not have the faintest clue. I simply didn't understand how those representations translated into fashion or art for that matter. 

The last two rooms on the ground floor I can deem faintly interesting. For example, one included a selection of hanging white sheet fabrics which you could touch. The last room on the ground floor was meant to be the Chanel No5 scent room - where these big electronic canisters filled with the individual notes which make up the timeless scent of Chanel No5 opened, revealing an array of garishly-toned brews. However, after standing over the jasmine pool for a lengthy amount of time, I smelt no jasmine. In fact, there was no overall smell of Chanel No5. It was more about the installation than the purpose.

 

 

Ascending the stairs we entered the room which showcased Chanel's finest jewels- Bijoux De Dimants, and thank goodness we actually saw clothes. Although they were not just clothes, no no no, they were evidently Karl Lagerfeld clothes. This is what I simply cannot comprehend. In this exhibition Lagerfeld is paying homage to Coco Chanel, shouldn’t they have displayed some of the archived pieces from Coco's time. For example, we had that really chic cropped blazer, paired with the full A-line chiffon skirt which was undoubtedly one of my favourites, until I looked at the shoe. The couture trainer.
They also did not think through the layout of the exhibit either. Everyone was forced to inch round the walls of the tight room by fierce looking security guards who shouted at us if we even dared to bend our necks forward to be in the 1 metre radius of viewing an emerald green velvet dress with the intricate diamond clasp. I do, however, have to say that some of that jewellery was divine.

What was also quite interesting to me was that there was hardly any written information. Yes, there was the faint Voiceover of an actress playing Coco Chanel but no indication as to what anything was. Similarly, I did not like the idea of having to turn to that interactive app for extra information; it was not as easily accessible as Chanel probably would have wanted. Nevertheless, I do not consider that an exhibition, having to seek information on your phone, instead of actually looking at the physical presentation, is a good idea. 

Overall, I felt that the exhibition did not know what it wanted to be. It was neither an aesthetic appreciation of the finest things we usually associate with the house of Chanel, nor did it offer a comprehensive history.

                Picture Courtesy of me and Vogue.co.uk

Alexander McQueen: Savage Beauty

Last week I was fortunate enough to attend one of the most highly anticipated fashion exhibitions of all time- Alexander McQueen's Savage Beauty at London's Victoria & Albert museum.

Savage Beauty is the first and largest retrospective of McQueen's work, comprising of over 600 pieces from his 1992 MA graduate show, to the incompleted Fall 2010 collection. Without a doubt a deeply immersive experience.

 

Before witnessing the pieces up close, my preconceptions of the exhibition were limited. Of course I had seen pictures of his work and viewed the shows, but I think it is 100% safe to say that none of those images do the exhibition justice. The reality of the enthralling production is like nothing else I've ever seen for an exhibit before. Absolutely incredible. 

As you enter the exhibit, you are immediately plunged into the mind of the genius that is McQueen. Starting with the seemingly ordinary pieces from McQueen's graduation in '92 transitioning into his Savile Row days. Complex tailoring which consolidated the back-bone techniques for his later creations, and of course the low-slung 'bumster' trousers which became his signature.

Romanticism, the word which portrayed the raw and the disturbing mind of McQueen. It became evident that every creation you stood in front of came to life in such a way that made you realise how the exhibition is reimagining the way we see and engage with fashion on display today. 

Let us turn our attention to the 'cabinet of curiosities', the centre of the exhibition. Filled with all the fragments that made up McQueen's madly magnificent mind, however focusing on the fetishistic angle of his accessories. From the 10-inch Armadillo shoes (Platos Atlantis), the spinning centrepiece of Shalom Harlow's spray painted dress ( No.13 '99) and his chain-mail armours. (The Horn Of Plenty)

One of my favourite rooms was 'Romantic Primitivism', showcasing McQueen's inspiration from the natural world. Collections shown included, ' It's a Jungle Out There '97'- leather bodysuits featuring taxidermied baby crocodile heads, which mimicked epaulettes. Or a pony skin jacket which ejected impala horns out the shoulders.  The collection showed the relationship between predator and prey- the dynamics of power.

'Romantic Exoticism' was, by far the most exciting room to see. First and foremost because it displayed VOSS 2001. The show which was staged in a mirrored box. Meaning the audience could see in, but the models couldn't see out. The piece I had most wanted to see in forever was the red ombré purple dress that Erin O'Connor had worn. Seeing it in person was so overwhelmingly beautiful, the dress itself is so much more than you originally think: dyed ostrich feathers and hand-painted red microscope slides. Incredible! 

To all my readers, I would recommend you go a buy tickets for this exhibition. Personally, I found this exhibit to be so unbelievably beautiful, it made me speechless. It was an emotional experience, you feel like you're in his creative mind. Long may his legacy go on!

 

Balmain Fall 2015 PFW

I have always admired Olivier Rousteing's work for Balmain. He knows how to dress women and make them look young, edgy yet totally glamorous. Glamour was the main theme at Balmain today, a long side the hype which surrounded Queen Kim Kardashian and her new platinum locks.

It is safe to say that every piece in the collection, Kim would wear or has already worn in some incarnation. From the billowing pleated skirts to the tight-fitting bandeau tops submerged under a sheer chiffon day dress. She was the muse for the entire collection and we all knew that.

We had a sense of opulence; perhaps the vintage-toned riche colour palette, consisting of the most luxurious colours- metallic mustard, a bronzey orange, forest green and fiery fuchsia.
The iridescent fabrics were a marvel, especially in pleats. We had the most volumizing balloon trousers which sat below a tailored blazer.

It was out with the 80s (last season) and in with the 70s- well,  as much as possible. Flares were still a big feature throughout: saw in lace, pleats and with 10x added volume.  In the last half of the collection, lighter than light chiffon jumpsuits in all manner of prints (florals in particular) graced the scene- contrasting to the fierce, strong and seductive woman as seen in the first segment.

The casting for the show screamed sass. Victoria Secret Angels left right and centre: Alessandra Ambrosio, Adriana Lima, Karlie Kloss; combined with the model greats of the moment, Jourdan Dunn, Lily Donaldson, Kendall Jenner and Gigi Hadid. It was evident why he chose these girls to convey his sexy, glamorous Balmain goddess.

We had less of the skin and more of the cover up. Less sex appeal but more business.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Picture courtesy of Style.com 

Burberry Prorsum Fall 2015: British Bohemian

Burberry is always one of the most anticipated shows at LFW, yet Christopher Bailey consistently proves himself endlessly unpredictable.
Last season we had plisse chiffon and tulle dresses in natural ombre, the signature trench coat covered in abstract prints and bold slogans and flat sandals in graphic tri-toned colours.
This season however, Bailey transformed the Burberry girl into an exotic yet bookish bohemian. It was all about the materials: from a delightful patchwork, floral trench and suede Macs to an army of heavily fringed ponchos plastered in the most beautiful prints and patterns. Empire-lines took precedency(also seen at Prada). The craftsmanship is always strong at Burberry. The use of heritage methods are applied to create that quintessentially British look.

Gypsy motifs fluctuated through the collection - for instance, the flowing folk dresses layered under edgy waistcoats in a rich yet subdued colour palette, giving a sense of a luxury antique feel. However, we saw the contrast presented by the modernity of some of the vintage looking pieces- shown through the grosgrain panelling over the whimsical folk dresses, which added a modern structure.

Colours were muted yet darker-toned: teal, olive, tan and maroon, giving the collection an added sense of romanticism.
My favourite pieces were the last gypsy'esque dresses with the most intricate embellishments- mirrored paisleys and sequined florals. Also the suede, patchwork knee-high boots which perfectly complemented the autumnal palette.

 

Picture Courtesy Style.com