Too much work + Me being bored + Photobooth = Quick Halloween Video
Hope you all have a wonderfully scary (and fun) Halloween!
Currently playing: Thriller - Michael Jackson
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Saturday, 31 October 2009
Halloween
Too much work + Me being bored + Photobooth = Quick Halloween Video
Hope you all have a wonderfully scary (and fun) Halloween!
Currently playing: Thriller - Michael Jackson
xxxx
Monday, 26 October 2009
The Mark of a Gentleman
The Man Who Knew Too Much (1956)Alfred Hitchcock
(movie stills taken by me)
It would perhaps seem to the outside observer that elegance in men's attire and style has slowly been diminishing since the 1950s. But to consider the historic evolution of the suit, from the Court dress, to the riding-coat-inspired morning coat, to the lounge suit (a brief overview to say the least), which dominated the 20th Century, there has always been a diminishing in some form.
This is not to say that the movement towards the casual is in any way bad, however I for one lament the passing of days where true gentlemen wore hats and suits even on the weekends. I suppose I am a romantic at heart, and whilst fashion may invariably influence the general clothing and styles of various generations, I often feel that a pull back, such as the traditions still heralded by Savile Row, would have a relevance in today's society.
There are men today who feel uncomfortable in a shirt and tie, let alone a lounge suit, and it truly does make me wonder where the next adoption of casual elements into formal attire will strike. Invitations to Buckingham Palace, where Court dress was the norm, have for the past few decades boldly listed 'morning suits or lounge suits' as the expected attire. I have that romantic notion of dressing up for events, rather than simply wearing what one would wear to the office. I am most probably sounding like a bitter man beyond my years, but generations shall always hark back to the traditions of old, and there is certainly something to be said for looking smart and presentable.
My pondering over this matter actually stems from the fact that I was watching Alfred Hitchcock's Rope this weekend, a film I would definitely recommend to you all. I am particularly fond of the fact that the entire film is situated within a single set, using only 10 takes (!!). The costume design is one that I absolutely adore - the men are for the most parts wearing full thee-piece suits completely furnished with pocket squares. The pocket square, a handkerchief placed in the breast pocket of one's coat (more commonly called the jacket or blazer), is a formal accessory that seems to have fallen to the wayside with the modern evolution of men's formal attire. Indeed even by Hitchcock's 1956 film, The Man Who Knew Too Much, one notes that the only characters to sport them are merely on the periphery of the show.
The pocket square is a trend which actually originates from the end of the First World War, and although perhaps at first a casual element in itself, it was quickly adapted to serve a far more aesthetic and decorative purpose. In the run of things, it is perhaps a short-lived accessory, and yet for me there is an inherent charm to the pocket square. It is an elegant touch, and elegance is something unfortunately far too lacking in men's style these days.
This is not to say that the movement towards the casual is in any way bad, however I for one lament the passing of days where true gentlemen wore hats and suits even on the weekends. I suppose I am a romantic at heart, and whilst fashion may invariably influence the general clothing and styles of various generations, I often feel that a pull back, such as the traditions still heralded by Savile Row, would have a relevance in today's society.
There are men today who feel uncomfortable in a shirt and tie, let alone a lounge suit, and it truly does make me wonder where the next adoption of casual elements into formal attire will strike. Invitations to Buckingham Palace, where Court dress was the norm, have for the past few decades boldly listed 'morning suits or lounge suits' as the expected attire. I have that romantic notion of dressing up for events, rather than simply wearing what one would wear to the office. I am most probably sounding like a bitter man beyond my years, but generations shall always hark back to the traditions of old, and there is certainly something to be said for looking smart and presentable.
My pondering over this matter actually stems from the fact that I was watching Alfred Hitchcock's Rope this weekend, a film I would definitely recommend to you all. I am particularly fond of the fact that the entire film is situated within a single set, using only 10 takes (!!). The costume design is one that I absolutely adore - the men are for the most parts wearing full thee-piece suits completely furnished with pocket squares. The pocket square, a handkerchief placed in the breast pocket of one's coat (more commonly called the jacket or blazer), is a formal accessory that seems to have fallen to the wayside with the modern evolution of men's formal attire. Indeed even by Hitchcock's 1956 film, The Man Who Knew Too Much, one notes that the only characters to sport them are merely on the periphery of the show.
The pocket square is a trend which actually originates from the end of the First World War, and although perhaps at first a casual element in itself, it was quickly adapted to serve a far more aesthetic and decorative purpose. In the run of things, it is perhaps a short-lived accessory, and yet for me there is an inherent charm to the pocket square. It is an elegant touch, and elegance is something unfortunately far too lacking in men's style these days.
Portrait of Alexis ffrench(Cover detail)
The Englishman's Suit
Hardy Amies
I believe that the mistake most men make when wearing a suit in general is that they do not take the time to get comfortable in it, and as such, comfortable and confident with themselves. It becomes obvious to those around us when we are not comfortable in our clothing, or indeed with our own bodies. Insecurities of this nature are a personal thing, and yet when it comes to the suit it is easily overcome.
I personally spent my entire schooling career within the constraints of uniform, and as such am perfectly at ease in a suit (indeed I often feel more so than when in casual attire), however there is one trick which always worked for a new suit. If you intend to wear the suit the next day or in the evening, simply wear it around the house beforehand. Spend a day in the suit just going about your general activities at home and get used to the feel and cut of your particular suit. Whilst it may sound odd, if you know before the event how the suit feels, once at the event you are able to carry it off with a natural elegance and charm. Indeed you will look positively at home in your dashing attire, in contrast to those who may look ill at ease and stiff.
'There are rules. The most important one is that it must look as if you use it; and you must'
I believe that this reasoning can easily be applied to the pocket square, in that one must be comfortable with the pocket square in order to wear it well. Hardy Amies, the couturier and Court dressmaker wrote in his book, The Englishman's Suit, that it should look as if you use it, and that you probably actually should. A suit is as much about looking good as it is functional. If you are stiff in a suit, it means that you are not wearing it correctly, or to put it into context of Amies's view on the pocket square, you are not using it properly. As such, your way of wearing the pocket square ought also to have a certain nonchalance to it. If it is merely a fashionable detail that you obsess over making look perfect, it becomes unnatural and your lack of confidence and comfort with the detail becomes problematic.
The pocket square ought to look as if it is used, having a very casual fold and display that fits seamlessly into your finished look. Indeed fussing over a single detail of your outfit too much makes the outfit feel forced in general, and I personally believe that those forced aspects not only detract from your look, but are also apparent to others who see you. Style is about confidence and being comfortable with yourself, and this is no where more needed than with formal attire.
'The second rule is that the handkerchief must not match the tie but merely tone with it in colour'
Whilst this is not a set rule, it is a good place to start. I personally find the exact matching of a tie and pocket square feels far too forced. A simple play with colour adds a dynamic flair to any outfit, and even more so with the suit. The suit is by its very nature traditional and demure, so to play with colour, even if it be subtle, has a wonderful impact. Matching tone is the easiest option, but a whole plethora of patterns and colours exist. Just as one can express personality through choice of tie, the pocket square provides innumerable chances to play around.
'Of course it's extravagant to blow one's nose in a silk handkerchief, but we are talking about style not economics'
Several basic attempts to display the options available. Some are obviously more domineering than others in style, however it is up to the wearer to find what works best for them and their outfit. Please do excuse the poor quality white cotton and sewn hem. I am slowly but surely working on a collection of proper silk handkerchiefs with rolled hems.
I am but a mere amateur in the art of using a pocket square, however feel free to check out Barima's blog to see how a true connoisseur does it.
Just remember that, as with all dressing, you should try to have fun with it!
Currently playing: I Can't Explain - The Who
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261009
"The good about University? Well, it's pretty by night"
(shot with Blackberry)
(shot with Blackberry)
Currently playing: Welcome To Heartbreak ft. Kid Cudi - Kanye West
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Sunday, 25 October 2009
251009
"Do you ever get that feeling that the buildings are dancing when you're not looking?"
Currently playing: La Camisa Negra - Juanes
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Saturday, 17 October 2009
171009
"Look up to the skies and never come down"
Currently playing: The Instrumental ft. Jonah Matranga - Lupe Fiasco
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Weekend Reading: Stephen Sprouse
Sometimes on a grey day, you need a little touch of colour to inspire you...
Currently playing: Six Days - DJ Shadow
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Thursday, 15 October 2009
State of Grace
GQ Style
(Fall/Winter '09)
Model: Scott Barnhill
Photographer: Guzman
Stylist: Jo Levin
(Fall/Winter '09)
Model: Scott Barnhill
Photographer: Guzman
Stylist: Jo Levin
(images courtesy of TFS)
Fashion illustration serves the purpose of depicting a look in its rawest form. It is the whimsical image of fashion from the point of view of the designer or the informed observer. It is by its very nature a fantasy, where the fluid lines and fluid colourings show more the concept and idea of a dress, rather than the dress itself in all of its practicalities and living form.
Juxtaposed to this idea is fashion photography, specifically the concept of the editorial shoot. Photography allows for a story to be told, for the fashion is given a context and situation in which it may then function. I am always drawn to shoots which have a strong sense of story for although that story may not show certain garments in the context of which they were conceived, it is the translation of those garments to the specific artistic context of an editorial that is so alluring. In certain cases story is constructed around fashion, whereas in others it is more a case of fashion constructed around a story. Both have their merits and indeed at times the two can merge, where certain pieces are given pride of place. Fashion obviously always expresses the story for it is indeed the point of the editorial, but it is a matter of whether it compliments or dominates.
I love the strong sense of story within this shoot, for the photography has a very expressive charm. The scene and photograph as a whole is just as important as the fashion contained therein, making a very strong photograph, let alone a strong fashion photograph. Although fashion photography can often seem a whole aside from other types of photograph, I truly believe that regardless of whether it be landscape, portraiture, fashion or any other type, they must first and foremost be good photographs.
I was particularly appreciative of the choice to shoot in black and white, for I find that this draws out the emotion of the shoot. I have always considered the black and white format as more emotional and expressive than colour, for with the absence of colour the main consideration becomes that rawest component of photography, that of light. This raw quality is especially powerful in portraiture for it truly can compliment the emotion of the model, as it does here. I suppose it can sometimes be the case that photographers make the mistake of choosing black and white without really using the format to its potential, or indeed using it as they would colour. Thankfully however I feel that this shoot really does help to convey one of the many reasons that I love the black and white format.
Currently playing: Flashback ft. Lupe Fiasco - Jack Splash
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151009
"Pugh-dle"
Technically more in reference to the video of Pugh as a poodle. But it is what I shall be calling him from now, thanks Natalie!
(shot with Blackberry)
Technically more in reference to the video of Pugh as a poodle. But it is what I shall be calling him from now, thanks Natalie!
(shot with Blackberry)
Currently playing: The Golden Age - The Asteroids Galaxy Tour
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Wednesday, 14 October 2009
A Translation of Identity
I have always been intrigued by the construction of visual identity within fashion. The visual identity of a brand is arguably the first contact that we, as consumers, have with a label. Visual identity is used as a means of easily conveying the complexities of what a brand stands for, from the design concept to the lifestyle it chooses to relate.
Yet is not within the industry for a designer to truly build any one visual identity. Indeed there are the inevitable and welcomed changes and developments of individual artistic creativity as the seasons pass. General style, in some form or another, is however possibly one of the few constants for both designer or label. Indeed the very fact that one can say that a piece looks "very McQueen" or "Yohji-esque", for example, stands in testament to this.
The seasonally-enforced artistic development of the fashion designer means that visual identities across the fashion landscape are ever changing. Within the world of clothing brands however, those removed from the cycle of fashions displayed within the context of the catwalk show, the creation of an easily recognisable and coherent visual identity becomes highly important. In order to gain favour with the increasingly fickle tastes and short-lived memories of the consumer, the creation of a constant, albeit with contemporary stylistic developments, becomes necessary.
What I find so interesting about this Bedwin editorial in the November 2009 issue of FUDGE Magazine is the presentation of the brand's visual identity through the piece entitled 'Traveling of Stranger'. As a Japanese brand, Bedwin's aesthetic and style is oddly most easily classified as being American. Indeed I have always been intrigued by the fact that the Japanese appear in my uninvolved eyes (meaning that I am as a fashion observer neither from Japan or America), to do traditional American style better than the Americans. I suppose that living outside of the US, the Japanese vision appeals to me for it is a highly idealised translation of the traditional style.
I have always believed that removing a fashion from its context and trying to apply it directly into another context quickly risks the danger of being misconstrued as costume. Here however this is clearly not the case. For it is the adaptation and translation of the style which allows it to remain relevant and contextually appropriate. The styling of the shoot alludes to the context of the inspiration, and yet the garments stand in their own right as being appropriately (I hesitate to use that word) fashion and not costume.
Depicting the idealised notion of the 'quintessentially American' road-trip, this editorial manages to portray a very romantic and almost nostalgic image. It is Bedwin's adaptation of the Japanese adaptation of what was already an idealised adaption of the traditional American style. This complex construction of identity and image for me is therefore highly fascinating, not purely from the perspective of brand identity, but also in terms of the international relationship within fashion. I have always been in awe of how style and inspiration within fashion can so quickly and seamlessly cross international and social barriers. It is not necessarily a democratisation, but more the creation of another type of audience to appreciate another type of interpretation of a style.
Besides, the clothing is beautiful to boot!
My sincerest apologies to you all for the delay in replying to comments and emails, as well as the rather sporadic postings as of late. To be honest I am still adjusting to the routine of being back at University, although I am trying hard to quickly find that welcome balance. Please do bear with me.
Kthnxbaiiii!
Currently playing: The Last Waltz - OldBoy OST
xxxx
Yet is not within the industry for a designer to truly build any one visual identity. Indeed there are the inevitable and welcomed changes and developments of individual artistic creativity as the seasons pass. General style, in some form or another, is however possibly one of the few constants for both designer or label. Indeed the very fact that one can say that a piece looks "very McQueen" or "Yohji-esque", for example, stands in testament to this.
The seasonally-enforced artistic development of the fashion designer means that visual identities across the fashion landscape are ever changing. Within the world of clothing brands however, those removed from the cycle of fashions displayed within the context of the catwalk show, the creation of an easily recognisable and coherent visual identity becomes highly important. In order to gain favour with the increasingly fickle tastes and short-lived memories of the consumer, the creation of a constant, albeit with contemporary stylistic developments, becomes necessary.
FUDGE Magazine
November 2009
Photography by Ishida Syohei
Styling by Taniguchi Shinyta
November 2009
Photography by Ishida Syohei
Styling by Taniguchi Shinyta
What I find so interesting about this Bedwin editorial in the November 2009 issue of FUDGE Magazine is the presentation of the brand's visual identity through the piece entitled 'Traveling of Stranger'. As a Japanese brand, Bedwin's aesthetic and style is oddly most easily classified as being American. Indeed I have always been intrigued by the fact that the Japanese appear in my uninvolved eyes (meaning that I am as a fashion observer neither from Japan or America), to do traditional American style better than the Americans. I suppose that living outside of the US, the Japanese vision appeals to me for it is a highly idealised translation of the traditional style.
I have always believed that removing a fashion from its context and trying to apply it directly into another context quickly risks the danger of being misconstrued as costume. Here however this is clearly not the case. For it is the adaptation and translation of the style which allows it to remain relevant and contextually appropriate. The styling of the shoot alludes to the context of the inspiration, and yet the garments stand in their own right as being appropriately (I hesitate to use that word) fashion and not costume.
Depicting the idealised notion of the 'quintessentially American' road-trip, this editorial manages to portray a very romantic and almost nostalgic image. It is Bedwin's adaptation of the Japanese adaptation of what was already an idealised adaption of the traditional American style. This complex construction of identity and image for me is therefore highly fascinating, not purely from the perspective of brand identity, but also in terms of the international relationship within fashion. I have always been in awe of how style and inspiration within fashion can so quickly and seamlessly cross international and social barriers. It is not necessarily a democratisation, but more the creation of another type of audience to appreciate another type of interpretation of a style.
Besides, the clothing is beautiful to boot!
My sincerest apologies to you all for the delay in replying to comments and emails, as well as the rather sporadic postings as of late. To be honest I am still adjusting to the routine of being back at University, although I am trying hard to quickly find that welcome balance. Please do bear with me.
Kthnxbaiiii!
Currently playing: The Last Waltz - OldBoy OST
xxxx
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