Sports Luxe: Love It Or Loathe It

Sportswear has always been a rather dominant movement within the fashion industry, especially during the 80s and 90s . However, now it's back and all over the forefront of the Spring/Summer and Fall/Winter 2016 runways. From Balenciaga's business-like cagoule paired with sartorial suit trousers and Versace's Après-ski look consisting of ski pants and clumpy clodhopper boots draped in chains, to Louis Vuitton's luxury body-skimming onesie. I think one can certainly say that the athletic look was out in full form.

Balenciaga's trans-seasonal cagoule

Donatella Versace's Après-ski looks

If I say tracksuit, what do we all think of? Yes, that's right, an iridescent two-piece mess worn by a mass of typically British teenagers brandished as "chavs". However, do we continue to think like that? On the most part, yes. Although, there is now a quite sizeable majority who are embracing leisure-wear not just for practicality and accessibility purposes but also because of the fact that influential fashion powerhouses like Gucci, Louis Vuitton and Chanel have all started embracing said trend, giving the nod to anyone daring enough to wear jade green sweats with floral adornments out in public.

The Gucci tracksuit

Susie Lau of StyleBubble

If we think back to 10 years ago, no one would have dared to step out of the door wearing Reeboks, cuffed trackies, an oversized hoodie and a seemingly solemn looking cap - unless you were a member of a suburban cult group that worshipped Vicky Pollard. However, nowadays this has become the norm. We would now actively encourage people to wear hoop earrings, sweatshirts and Adidas trainers as a means of softening our style sensibilities and making everyone look 'edgy' and 'cool'.

Jourdan Dunn in an Adidas mesh overlay

On the other hand, I still believe that there is a fine line between what the general consensus of our nation considers as formal and informal. I simply refuse to believe that such a thing called the 'formal' jogger exists. Nothing about a pair of sweatpants equates to classy, no matter the fabric choice, brand or whether it's styled correctly. It still remains an item of the greatest informality.
At this point in time I am yet to gravitate into the vicinity of sport luxe, with the one exception of my trusty white Stan Smith's (a wardrobe staple in my view). I am certain that over time with the right amount of creative development and confidence we will all be able to happily pull off a turquoise two-piece and wedged trainers with considerable ease.

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

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

 

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

Chanel Spring/Summer 2016

I used to be the biggest fan of Chanel. I think it is fair to say that I much prefer Chanel show spectacles like the Supermarket from the Fall 2014 collection rather than the actual pieces in the shows.

My general feeling about Lagerfeld at Chanel is that he's lost his touch, completely. Don't get me wrong: we still have a reference to Coco - sharp structured tweed suits in now a multitude of newly developed sporty neoprene fabrics and garish marbled colour palettes; somewhat ruining her pioneering, signature looks, however.
 
Saying all this, Karl seems to have a tendency to push everything out of proportion. In a typical prêt-a-porter show, we normally see a strong 40-50 looks that fit perfectly into a set theme or incentive. However at Chanel, we see a frankly lack-lustre 90 or more looks, most of which are the exact copies of the ensembles we have seen prior to that specific collection. 

 

 

 

To buyers and editors, enthralled would be an understatement; they feed off the giant branding sets which today took the shape of a Chanel Airport. A set which we have seen in the past, to be exact Spring/Summer 2012 Couture- Cara Delevingne's runway debut, was the collection which allegedly showed the future for Chanel's Haute Couture. 

However, I digress. This season's Chanel was all about the jet-setting life of the super-rich (hence the presence of Kendall Jenner who closed the show).

photo 1-1

photo 1-2

The clothes simply did not radiate quintessential Coco or even the basic essence of Chanel for that matter; they emitted a futuristic angle which was more tacky than anything: giant orange mirrored aviators covered the faces of the models paired with flat-formed plastic drawstring boots and bubble-gum PVC coats.

 

 

 

 

In contrast to my rather pessimistic point of view, there were some undoubtedly beautiful pieces- the sour-toned checked tweed jumpsuit which opened and the layering of kick flares underneath full chiffon or leather skirts, dabbled with the ideas of classicism meets the digital era. The branded wheelie luggage bags and petite airplane brooches will definitely get the global e-commerce soaring.

 

 

 Kick flares which sat loosely under full-skirts

 

There was a definite sense of diversity, albeit eclectic, in relation to the overall execution of the show; diversity was shown through the model casting and the new, fluid silhouettes sent down the runway.
At this point in time, it seems that futurism is the only theme that Lagerfeld can bring to the Chanel check-in desk. For example, those trainers he put in one of his Couture shows, or those crushed Camellia flowers which emblazoned a tweed overcoat. I'm sorry to say this, but I do believe it is time for a change. The brand is in need of a new lease of life, Karl has led an incredible legacy, but he's coming to the end of his time.

 

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