Dress Up, Dress Down

Dressing Up on a Friday
Dressing Down on a Saturday

Yes, I sometimes like to wear a suit on the weekends. You should try it. It feels good. And you can never have too many crisp white shirts. My humblest apologies for the harsh shadows, I took both photographs just after dawn, but please do click for larger images to see the detailing. Oh, and I do actually smile in real life.

I truly hope you are having a lovely weekend :)

Currently playing: Happy Industries - Lupe Fiasco & Gorillaz

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Colours on Reflection

Currently playing: Raid The Radio - General Elektriks

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Made To Be Worn

When I first saw this Alexander McQueen oversized knit cardigan in stock at oki-ni I believe that the photograph made me laugh harder than I had in quite in while. In fact if my memory serves me correctly, tears may have actually cascaded uncontrollably down my happily creased face. It worked beautifully on the runway, and yet placed so ungraciously upon the model it...well the photograph speaks for itself. I was somewhat confused as to why somebody would be willing to pay £1,599 (around $2,600 for those of you across the pond) for the pleasure of such a piece.

I suppose that the dangers of theatrics and the balancing of costume and dress upon the runway is something that all designers have to deal with. A designer wants to tell a story during their collection display, and yet at the same time they need these pieces to work once removed from the context of the runway. After all the majority of designers show primarily as a form of advertising, and the economics of fashion are never too far from their minds. A piece ultimately needs to be able to integrate into some form of a closet, even if it be a closet where the wearer may have a particularly avant-garde or specialized taste.

I personally loved how the piece was styled on the runway, and yet the stocked image just did not translate the nature and beauty of the garment for me. It is perhaps one of the better examples of why fashion can never truly be understood when considered in isolation. Context is important to all design, and nowhere is this more important than with fashion. Garments need to convey the designer's meaning, however at the same time they need to be able to be part of a greater meaning - that of the person who wears it.

Velvet Magazine
December 2009
Photographer: Matthew Brookes
Stylist: Nik Piras
Model: Timothée El Kaim

In isolation the garment looks invariably ridiculous, however sumptuous the fabric and patterning may be. As such I was rather excited to see the piece in action in an editorial for the December issue of Velvet. Given a context the garment made sense, and not only did it make sense, it looked beautiful. Regardless of how wearable the piece may be for everyday, it worked in the shoot because it was given a meaning, both by being worn, but also by being seen in movement. It is always hard to understand that which is meant to flow across and move in intimate unison with the human form, when inspected on the hanger, laid flat, or indeed with such a voluminous piece as this, simply swamping a model. The action and movement made the piece, if I may use such a cliche, come to life.

It is also rather interesting to note that the context created for the piece in this editorial lies in such contrast to the McQueen runway show. I have always felt that the wearer gives a garment its full meaning, and that this meaning is fluid and constantly evolving. One can take the original source of inspiration and create from it, building out to almost anywhere the imagination of the wearer could wish to take it. Indeed I was pleased to see the styling of the shoot, where the McQueen piece was placed alongside earthy leathers, denims, flannels and wools. It created a wonderfully classic and romantic scenario, and yet although it was the ostensible dichotomy of the McQueen collection (with its sharp tailoring and smart finish), the piece worked seamlessly. I suppose this editorial goes to show that it really is a matter of wearing a piece the way you want to create your own meaning.

Currently playing: Ballade No. 1 - Chopin

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Super Fun Times
(shot with Nokia 5800)

Currently playing: Break Myself - Something Corporate

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Notions of Childhood

Regression was for Freud a coping mechanism acted out by adults dealing with elevated stress and anxiety, by returning to the comfort of childhood behaviours and memories. Yet there were undeniable negative connotations to this idea, especially where regressive behaviours stepped the line over into actual avoidance. I suppose that deep down the majority of us have warm feelings and nostalgia towards childhood, even if not specifically our own, than to the general concept of childhood. There is a security and comfort not only in terms of being a child protected from the world, but also in the innocence of childhood.

For me it is almost second nature to evoke my inner child, as it were, almost unconsciously as a way both of keeping a smile on my face but also trying to see the world in a different way. What Freud would have to say of this is perhaps interesting, however I think there is always some kind of need for us to go back to that innocent sense of wonder and curiosity. Not to mention the inherent comfort of those memories.

Cosmic Wonder
Fall '09 Collection

I recently came across the latest Fall '09 collection by Cosmic Wonder, entitled 'Light Streams', and could not help but feel a sense of childhood within the collection. What I mean by this, is that there were certain elements which for me evoked the idea of childhood, and in which I took a particular comfort. The most obvious visual factor is perhaps the shoes, which reminded me of those early years of school, albeit having myself worn black versions. I always find it odd how a piece of clothing can trigger memories, and indeed the moment that my eyes feel upon this collection and the shoes, my mind seemed to wonder involuntarily back to days of knee socks and Power Rangers.

For that simple journey of thought alone the collection was worth posting, however thankfully the collection was itself of great merit. Keeping with the theme of childhood, if I may, I was fascinated by the outfits where oversized parkas and coats were paired with trousers cuffed so that the hems just grazed the ankles. Whilst this is perhaps a very in vogue fashion style, it actually once again reminds me of my own childhood. I was a rather tall child and my trousers were never really long enough. In contrast my coats were always on the large side, as my parents, along with most parents I suppose, insisted that I would 'grow into' them. I find it odd how such a simple styling choice can make me smile inwardly, not specifically out of appreciation of fashion, but rather due to the connotations of it for me.

As a child with a tiny bit of an obsession with bowties (ok, so I secretly wanted a bowtie, round wired spectacles and tweed jacket) I found the looks based around this accessory quite alluring. The collection in general was wonderfully smart, and yet the choice of fabrics, with wools and flannels had a traditionally casual feel. There was a sense of nostalgia in the looks which reminded me of the type of outfits I used to look up to as a child. I also rather enjoyed the subdued colour palette, which I suppose in my reading works wonderfully with the idea of a hazy memory and recollection of childhood, where the colours wash out a touch and gain a warmth in that process. This warmth was apparent both in the light colours but also once again through the fabric choices.

Of course no childhood is complete without a game of dress up, and I was pleased to see the inclusion of the metallic elements, such as the silver poncho and golden sweater. These provided rather unexpected pops which although highly conspicuous, somehow managed to remain appropriate for the collection. Indeed they were a rather playful addition, which although perhaps not wearable (the brave notwithstanding), helped to create a generally fun and casual feel to the collection.

Although the reading of childhood in this collection may only be a personal one, I really do hope it manages to spark a similar journey through memory and past in others.

Currently playing: Ting-A-Ling - Shabba Ranks

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Rawr

Currently playing: The Saltwater Room - Owl City

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Sunday Viewing: World Builder

This is quite simply beautiful. Please do watch it through until the end.

A tear may have actually escaped my eyes.

Currently playing: Relax, Take It Easy - Mika

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Index

Currently playing: Diary ft. Marsha Ambrosius - Wale

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The Fashion Doll

Tush Magazine
October 2008
Photographer: Marcus Ohlsson
Model: Maria Horst

Currently playing: Reign ft. Ian Brown - UNKLE

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Winter Preparations
(shot with Nokia 5800)

Currently playing: Whispering Wind - Moby

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Flowers Make Everything Better

Diet Butcher Slim Skin
Spring 2010 Collection

My relationship with Diet Butcher Slim Skin started several months back with a longing for their behemoth-sized sneakers (preferably in black with studs or distressed red leather), which oddly enough stemmed from a certain fascination with contemporary motorcycle boots (read - those futuristic looking pieces, not the leather Terminator ones), which is no doubt the topic for another post. Anyhow, whilst DBSS has remained on my radar for their footwear design, their clothing did not particularly make me stop in my tracks to any great degree in order to simply enjoy their design. Admittedly I found their last look book, using bird headed models, quite interesting, but after which the label happened to slip my mind. I am glad to say however that their latest collection and look book surprised me and I found myself rather intrigued.

Spring shall always be about florals for me - it is as intrinsic to the season as snow is to Christmas (sorry Australia). However whilst floral colour palettes and floral patterns are easy to incorporate into women's clothing, the application of such an inspiration into the realm of menswear is perhaps understandably somewhat significantly harder to achieve. Flowers tend for the most parts to have the cultural association with the female sex, unless of course one counts men buying flowers in order to give to women. Yet, I happen to have rather a passion for flowers, not just in the botanical sense (but really, what is better than waking to the smell of fresh flowers?), but also for how they can be interpreted for fashion and clothing. Indeed as such the DBSS collection caught my attention at first for the simple fact that flowers did play such a visually dominant role within their look book, but also playing some part in inspiring their clothing.

Were there an absence of images to accompany this post, I am sure questions would have been asked as to how flowers and men's clothing work together - no doubt retro floral print shirts would come to mind. However in this collection flowers actually play a more conceptual role, as opposed to having been used in the literal sense, which I found quite wonderful. One only need note the soft and worn finishes of the garments such as washed and faded trousers, or else the delicate jersey t-shirts. The subdued colour palette alludes perhaps more to the idea of dried flowers, however there is certainly a charm to the washes of greys with tints of violet and blue, as well as the actual blue and violet pieces themselves.

Of course the most visually dominant reminder of flowers within the collection is undoubtedly the printed shorts suit. I found the cut of the jacket to be quite androgynous in truth, and quite enjoyed the play between the masculine and feminine. Cut just above the hips, yet slightly taken in at the waist and with rolled shoulders, I certainly found the shape fascinating. I was also particularly taken by the decision to have the revers extended fully towards the bottom of the jacket and the apparent absence of buttons. The jacket appears to have been designed to be worn open, and this lends a sense of casual comfort, which combined with the decision to pair them with shorts works well for Spring. I was pleased to see that the shorts were actually layered, giving them quite a sportswear inspired feel.

My favourite outfit is however perhaps the most simple and comfortable looking of the collection, that of the grey jersey top, black sweats and white trainer boots. The absence of colour, not taking into account the scarf, works well, and although the look is perhaps simple in concept, the finish of the garments more than makes up for it. I suppose one would call it yet another feminine influence, however I liked the ruched detail along the front of the soft jersey raglan top. I also liked the simple but visually interesting composition with the pockets of the trousers. The fact that they are given a prominent position in the design, rather than being hidden into the trousers with simple jet pockets, makes for a nice touch. Oh, and totally diggin' the flower gloves.

Please do bear with me with regards to getting around to all of your wonderful blogs and comments!

Currently playing: Heart Full Of Soul - Graham Gouldman

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Warp and Weft

(shot with Nokia 5800)

Currently playing: Already Home ft. Kid Cudi - Jay Z

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Conjuring History

Dress Codes: New Victorians
The New York Times
David Sokosh
Tintype Photographs

One of the main popular debates over Time as a concept is whether its progression is of a linear or cyclical fashion (or indeed another variation), however I think that it is also interesting to think of History in this same way. In the simplest sense History is perhaps linear, indeed it is arguably so when studied, for there is seen a progression from the early centuries to the 21st. Of course that is arguably too simple, for even in the study of History, there is the notion of historiography which questions this concept.

Where fashion is concerned, it is simple to see the notion of cyclical history at work, although obviously not in the strictest sense, for innovation is after all inherent in fashion. History has always provided a wealth of ideas and inspiration, where designers will continually take notes from the past and translate them into the contemporary. Of course there shall always be those who balance the precarious line between costume and dress, where costume refers to historical dress taken out of context, however this in itself is a fascinating visual art.

The cliche statement of fashion being temporary and style being timeless has always intrigued me. For although a style may be in some way timeless, it is taken for granted that the style will still have to fit to the construct of contemporary tastes. Indeed one only need to look at an ostensibly timeless garment such as the man's white shirt. How this would have been worn one hundred years ago contrasts to how it would be worn today, even if the conscious thought of the modern wearing was to emulate that of the past. I believe that context is important because it allows one to understand why the idea of style, and more specifically timeless style, has evolved in the way it has.

I decided to share this editorial from The New York Times, which accompanied this article on the resurgence of a Victorian mood. As my brother would well attest I happen to have a particular fondness for the Victorian period. It is a certain idealised nostalgia, which I feel generations shall always have for the times past even if the everyday realities of those times would not be particularly kind.

I think that being able to hark back to some idea of the past is interesting in itself, for it is more the creation of a past than the actuality of it. Although to some it may appear that looking back is an attempt to mimic, I feel that it is in the fashion world, as in many others, rather a way of creating a new. The literal displacement is not the sought after effect for most, but rather a new understanding and imagining. Indeed I found that these wet plate photographs, created using the authentic tintype process, created a wonderful story and example of the construction of something new from old.

It is arguably impossible to create anything truly new, but for me, a recreation, although it may nod to a past or an older idea, is still essentially something new. Although these images seem to be a mimicking of the past, it is rather a surface illusion, a way of creating an aura of the past rather than the past itself. What I mean by this is that the outfits work in a contemporary context, although the images and the very process of its photography, create the visual illusion of the past. It is the fusion of past and present that makes these images so appealing to me.

The clothing is more accessible than any authentic Victorian portrait photography, however it is the nostalgia of them that allows some type of timeless, historically based quality. By rooting in the past, it creates a mythologized notion of it, which is in itself a new creation. What could be costume, certainly becomes dress, and I can not help but feel a certain desire for a renewal in the idea of Victorian standards of dress - that of comfortable formality and elegance, rather than of complete Victorian dress itself.

Currently playing: World Tour ft. Jazmine Sullivan - Wale

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