Body Diversity: Will The Fashion Industry Embrace It?

Body image has always been a rather taboo subject within the fashion industry. However, due to recent events, the issue has finally been addressed. Designers are taking the steps necessary to try to diminish the gap between the abnormal size 0 and plus-size and that is a monumental breakthrough not just in fashion but art, culture and our modern society.

It was only this February during the fall/winter 2016 presentations that we actually started to see glimpses of change. A handful of different designers took the word diversity and explored it from another angle. Racial diversity still remains a prominent issue in ethical fashion; however, we now have had the spotlight reverted back onto body diversity - an issue that would seem so loud but, in actuality, is so quiet.

With designers such as Olivier Rousteing at Balmain introducing collections solely created for the more curvaceous woman, one would only begin to assume that the industry is going through a body shape revolution. Balmain is only one out of a select group of brands embracing the fuller forms; take H&M Studio (the high-fashion diffusion line of H&M) or rather Miu Miu, who, this season cast an all-star array of models with much more realistic and resplendent body shapes, a definite contrast to the lack of diversity seen by the house throughout the years.

Gigi Hadid & Lara Stone backstage at Miu Miu

Another poignant moment from this season's fashion week was the H&M Studio fashion show. H&M chose plus-size model Ashley Graham to walk for their show just days after her seemingly controversial Sports Illustrated cover was released. Unfortunately she was body-shamed for said cover due to the fact that people were close-minded to the idea of having a model of a bigger size grace the front of a swimsuit magazine. In fact she was the first plus-size model in 52 years to be the cover star of SI and now that is a historical statement.
Interestingly, nowadays plus-sized models are considered to range from a size 8-16 which is just ridiculous because that means - based on these measurements - we are all 'plus-sized'. There is no doubt that a size 8 or 10 is the norm, however according to the industry's unrealistic standards we are unfairly made to think that it's 'big' and it's not at all.

Ashley Graham at H&M

It is not just the designers who are taking a stand for body diversity, but also the models themselves. Take Gigi Hadid, who made her thoughts about body diversity clear after being targeted by body-shaming trolls. She said in an Instagram post, "No, I don't have the same body type as the other models in shows... I represent a body image that wasn't accepted in high-fashion before, and I'm very lucky to be supported by the designers, stylists, and editors that I have: ones that know this is fashion, it's art; it can never stay the same." With this in mind, more and more models of different shapes and colours are being welcomed into the business and it's owing to these powerful creative voices like Gigi's being heard. Over time I feel like fashion will converge and become more accepting to these new ideals.

Fashion will never be a healthy creative outlet as long as we stop simultaneously shaming people for their appearance.

Gigi Hadid at Versace

Please note: I do not own any of these images, courtesy of Vogue.co.uk & Getty images

Balmain FW16

As many of you have probably realized, I have been a bit slow with show reviews for this season. I have decided to spread them through March and April, so please do bare with.

Today's Balmain show caused yet again a social media frenzy. As soon as Kendall Jenner appeared in a blonde wig, followed by Gigi Hadid and Jourdan Dunn, we all knew there would be a dramatic influx in both sales and popularity.
This season marked a new change in Olivier Rousteing's seemingly modernistic aesthetic. Instead of producing a collection solely oozing with raw sexuality, he created something that one could consider as 'minimal' for the house of Balmain. He approached softly, with a Baroque reference point held in mind.

Of course being Balmain we still had seductive, however it was mitigated by a pretty pastel colour palette- from subdued lilacs and mint green to baby pinks and dove greys. This colour palette perfectly complimented the new silhouettes introduced to us today. For example those pouf skirts and suede corsets amplified rich opulence, as well as the reprisal of those jewel embellished mini dresses with silk tassels we saw in the pre-fall collection.

 

Gigi Hadid in a suede corset

Jourdan Dunn ft. pouf skirt

Hints of previous seasons were also made dominant by Rousteing. Take the brocade dresses with cinched in waists, the tiered ruffles which lay on the sides of lace jumpsuits (Spring 2016) and lastly the oversized musketeer jackets in the softest of fabrics.



Karlie Kloss in lace ruffled jumpsuit

 



Oversized musketeer coat

 



I love the regalia element that fluctuated through the collection. My favourite pieces included: the gold and black encrusted bodice which exemplified the fine artistry of the house's DNA, the thigh- high suede boots and also the closing botanical dress with an interior corset structure.(Worn by Kendall).

Regalia details

Thigh-highs

 

 

Kendall in the closing look

PLEASE NOTE: I do not own any of these images, courtesy of Vogue.co.uk

What's The Future For Dior?

With the sudden departure of Raf Simons at Christian Dior late last year, questions are swirling around the media concerning who will take over the post of creative director for the house. As the LVMH have already announced, the atelier design team will be taking the reigns for next season's couture and pret-a-porter FW16 collections, but that still doesn't prevent us budding fashionistas from pondering about who Dior will select for said role.

Included in my list of predictions are the likes of; Riccardo Tisci (creative director at Givenchy), Marc Jacobs (ex creative director at Louis Vuitton) and Olivier Rousteing (creative director at Balmain). In terms of their individual aesthetics, I think they each have something very unique yet intrinsically classical embedded into their DNA. This, perhaps, mirrors how well-suited they are in possibly designing for Dior.
 For example, Riccardo Tisci brings a poignant dark romanticism and Gothicism to all of his collections, alongside nuances of his signature streetwear look. For me, what is so incredible about his work is that he uses a perpetual array of reference points like the neo-gothic religious imagery he morphs into disproportioned t-shirts and the seemingly natural scattering of Victorian motifs on the most simplest of garments. I believe he could re-work the classicism and romanticism which we already associate with the house of Dior and drive it into a more diverse and modernized dimension.

 Neo-gothic imagery at Givenchy Fall 2015

 

American Vogue's 'Forces of Fashion' with Beyoncé (in Givenchy) and Riccardo Tisci

My second choice would be Olivier Rousteing. He is a strong contender for the role because he is able to bring that hype and attention from social media needed to bring clothing alive. As we all know, Balmain is, in no way, shape or form, at all traditional; in fact, Rousteing has completely gone against his brand's DNA but instead made up for it with this new appeal of luxury and opulence. Not only has he created a brand with incredibly successful profit margins but he has also made a brand which is adored by everyone (the celebrity cult especially). Perhaps this is what Dior needs, a refresh, a digital awakening?

 Balmain Spring/Summer 2016 campaign ft. Naomi Campbell, Cindy Crawford, Claudia Schiffer and Olivier Rousteing

Lastly, I had toyed with the idea of bringing in Marc Jacobs. He is without a doubt a legend in fashion. Throughout his 16 remarkable years at Louis Vuitton, it was noticeable that his design style and aesthetic grew immensely. I think it is fair to say that he 100% transformed the house of Vuitton from once being a tired, old independent fashion brand to a multi-million label with a net income of around $500 billion.  The real trick of his trade was that he used his imagination, he was a fantasist. Every single one of his shows he produced either for Vuitton or for his own brand told a story or rather a fairytale. The clothes themselves spoke depth and character, you could be transported into any time or place when you put them on. For example, Vuitton's Fall/Winter 2011 collection (one of my favourites) of 40s arch provocateurs- patent trench coats, sheer capri pants and leather corsets in rich tones of burgundy, brown and bottle green.

 

Louis Vuitton Fall 2011 by Marc Jacobs

 

Jourdan Dunn in a patent snakeskin trench coat with a cinched in waist

 

 Leather corsetry and volumized proportions

 

 Kate Moss

 

I for one do hope they appoint a female designer, simply because I feel like the industry as a whole lacks female presence. Don't get me wrong, we do have some exceptional female designers such as: Phoebe Philo at Celine, Claire Waight Keller at Chloe, Stella McCartney and Mary Katrantzou, who could all potentially step up to the plate. However, at this point in time, the industry is very much one of the only businesses which is so extremely male dominated.


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

Spring/Summer 2016 Trends

Forgive me, for I know we are still embracing the last of those wintry months, however it has come to my attention that we must begin to address the fast approaching Spring/Summer season.

Although this post very much focuses on the trends for next season, trends on some level are dying out. There is such a huge desire within the fashion industry to be original and individual that people withdraw themselves from any of the trends and choose clothing which is either: really comfortable and cheap or unique (investment buys), for example, the 'urbanista', as we now call it. This is a person who believes only in a non-mainstream and alternative way of dressing, someone who can adapt their style to their surroundings, as it were. 

Don't get me wrong, the trend is still very much prominent, yet I think we must choose to focus more on purchasing those timeless pieces which will last in our wardrobe eternally. So, without further a do, I present to you, my dear readership, some of the key trends for Spring/Summer 2016:

• Soft, subdued shades of buttermilk, shortbread, biscuity browns and chalky pinstripes plastered onto layers of new proportioned linen speak Spring/Summer simplicity. Take Balmain's voluminous toffee suedes or chocolate browns transposed onto tiered ruffles and jewelled lattice work, definitely amplifying the connotation of glamour.

Balmain

• Sleep no more? Silk, satin and lace- along with lots of skin- were all over the Spring/Summer 2016 runways as lingerie-inspired slip-dresses, laced-up negligees and sheer nightshirts went from in the bedroom to sartorially sharp.

We saw brands such as Celine, Givenchy and Dior all embrace the day-into-night inspired looks with open arms. One must-have is the camisole top from La Perla, retailing at £300. Envision that paired with a YSL Le Smoking jacket, low slung tapered trousers and a pair of Louboutins. Undoubtedly pure Parisian perfection.

YSL Le Smoking Tuxedo

• There seems to be a rather strong movement of New Romanticism for Spring/Summer. The Victoriana trend has been dousing the catwalks throughout the last few seasons. However, now, designers are filling the catwalks with an ultramodern take on traditional femininity- hence the powder pink hues, flouncy frills, fanciful florals and pie-crust necklines. Seen at McQueen, Fendi, Vetements and JW Anderson.

McQueen

Fendi

J.W Anderson

• As I mentioned previously, there has been an introduction to new proportions. Take Phoebe Philo for Céline's masculine vs feminine idea. Moving away from minimalist shapes and diluted colours, into more accentuated silhouettes and voluminous dimensions- crepe trousers, puffed up shoulders and cinched in waists. Unquestionably a clever way to add a bit more fun and freedom to your wardrobe necessities.

Celine

• It's just one of those well known facts that everyone adores a white button-up. It's the go-to piece which can, without a doubt, tszuj up your wardrobe with a single blast of formality. This season, designers haven't just taken the basic white shirt but given it a complete re-model. We have now seen a complete deconstruction take place of one of the classic staples. We now have tops, skirts and bustiers all fashioned out of the garment - albeit keeping to modern standards of vast layering and futuristic lines and cuts. Seen at Margaret Howell, Delpozo and Jacquemus.

Delpozo

Jacquemus

• Forget your flats, it's all about the flatform now! Yes that's correct, it's time to say au revoir to ballet pumps and Yeezy Boosts (if you do so dare to own some) and welcome in a new addition- the hybrid flatform Greek sandal. Seen at Chanel, Burberry and Giambattista Valli.

Chanel

I hope this provides you, my darlings, with some help for next season's shopping sensibilities. Now I shall depart and wish you all a happy New Year!

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

 

Racial Diversity On The Runway

What do we mean by 'diversity'? Owing to the fact that one of the most crucial movements in fashion is diversity, one would think it was a good sign that the current trend for Spring/Summer 2016 is 'diversity'. However this is not just diversity through model castings; this is diversity shown through shapes and silhouettes. With Olivier Rousteing at Balmain celebrating curves and the Paris Fashion Week Board officially banning super-skinny models, it seems like there has been rather a re-definition of the word. Perhaps this is a cunning diversion away from the serious issue of ethnic diversity that the industry fails to take responsibility for at present.

According to The Business of Fashion's Spring/Summer 2016 diversity report, an astonishing 79% of runway models used this season were white. Why not more models of colour?
Designers such as Victoria Beckham and Francisco Costa at Calvin Klein have been criticised season after season for casting an array of very angry super-skinny looking models, and even more surprisingly they are all white. Probably the most disparagement went to the house of Valentino. Despite producing a collection solely inspired by Africa, Valentino 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 country to fit in with Valentino's now seemingly profane aesthetic.

Saying this, there are a minority of designers who are encouraging the influx of more diverse model selections. For example: Tom Ford, Riccardo Tisci and Christopher Bailey for Burberry. Supermodels such as Naomi Campbell, Iman and Jourdan Dunn have all been campaigning on the issue and thanks to them, in recent years, we have seen a fairly modest surge in racial diversity across the industry.

Jourdan Dunn and Naomi Campbell for Burberry

I believe that it is vital that the industry does not dismiss the austere nature of this problem. As much as we continue to encourage the use of other minorities throughout the industry, it still does not seem to conquer the face of discrimination from employers. In my opinion, I think that if we continue to voice our opinions perhaps the fashion industry will stop turning a blind-eye to the real problems and face the situation head-on.  

Picture Courtesy: www.Dazeddigital.com  & www.style.com

Balmain Spring/Summer 2016

With the Paris Fashion Week Board banning super-skinny models from the catwalks and designers diminishing the infamous 'sample sizes', it would only seem right that Olivier Rousteing would celebrate women and curves in his latest Spring/Summer collection for Balmain.  

Of course being Balmain we saw an extremely opulent colour palette- from warm toffee suedes and chocolate browns to crisp whites and bewitching beiges.
This colour palette also represented a new richer, textural dimension that we were yet to see in Balmain clothing. For example those cut-out skirts layered over harnessed bodysuits reminded me of last season's heavily metallic deluge of crimped lamé bondage dresses, instead these were just a mitigated version of those. Perhaps this muted palette and fabric choice was Rousteing's way of slowly introducing his newly changing silhouettes to us.

 

We were presented to an array of cut-outs, jewelled lattice work and figure-hugging spandex on models of all different body shapes. (Kendall Jenner, Gigi Hadid and Alessandra Ambrosio, to name a few)

                                  Alessandra Ambrosio

                                   Kendall Jenner

                                     Gigi Hadid

My personal favourites were the tiered ruffle trousers (clown pants), the voluminous suede which perfectly complimented the darker skin-tones, as worn by Jourdan Dunn and the weaved macramé which coated the floor-length gowns.
The pieces themselves had lightness and fluidity, accompanied by this fierce sexiness which Balmain will always continue to radiate.

Doutzen Kroes in a white cropped blazer and cascading ruffles

 

 

Jourdan Dunn

                                        
                                detailed macramé work

I have to say that this collection was not my favourite. I felt it lacked that electrifying glamorous nature of which we usually associate with Balmain. However, I do understand that Rousteing has been focussing solely on the much anticipated H&M X Balmain collaboration which will be out next month.

   Please note: I do not own any of these images, picture courtesy of Vogue.com

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