Tales Of The Future

The idea of a retrofitted future has always been appealing to me.  There is often a romantic nostalgia to the concept, and perhaps it is meant as a take on the future based safely within the framework of the past.  I suppose change is something which evokes anxiety in all of us, so it stands to reason that the unlimited possibilities and the vast unknown, which the future provides, produces an anxiety on a whole new level.  Throughout history humans have attempted to dream of what the future will look like, and as with many of those charming Victorian drawings, it is often a futurism based within tradition and the present, or indeed as we view it, the past.

Fashion design is by its very nature an art which attempts to look to the future.  The fact that the fashion calendar is a year ahead of the calendar you or I live by is perhaps the most obvious example of that.  However fashion must always look to the future, for it is an ephemeral being - fashion must always be in fashion.  It is a curious paradox, for once fashion is no longer in fashion, what do those clothes and collections constitute as?  As much as we look towards the latest collection, the gamut of a designer's canon can still inspire and be fashionable, years or even decades past.  

Whilst it is tempting to say that fashion is cyclical, that would be a far too simplistic reading.  Nostalgia drives much of fashion, however even where trends reemerge or decades come back into the mainstream, it is always a fresh re-imagining.  Fashion designers often yearn with nostalgia for some past which they cannot possibly remember, however are filled with some sense that it was better.  Older designers may then look instead to seek simply the inspiration of youth.  The drive to be modern and relevant requires a reading of the contemporary mood and anticipating the next turn.

However we are by our natures tied to the past, and so a clean break from that past can be jarring and confusing.  Indeed it is often said in retrospect how a designer was "ahead of their time", overstepping the criticism they received from their contemporaries.  To be popular yet fashionable, one needs to carefully find the line between the two and nudge at the boundaries.  A young designer can break free and create something daring and new, however I always find myself intrigued by how a well seasoned designer manages to produce something fresh and exciting every season.  In that respect I think you have two categories of designers: those who design something new every season, and those who create something new within their own aesthetic.  Both have their merits and limitations, and indeed the majority of designers actually belong to the middle ground between the two. 

I think an example of the first would be that of Christian Dior under Yves Saint Laurent.  Dior was famed for showcasing an entirely new shape and signature look for each and every season, and it was something that the young Saint Laurent struggled with.  Indeed whilst his tenure at Dior is now looked back upon as being the foundation for his own work, already breaking away from the shadow of Christian Dior with the beatnik collections, it can also be looked upon as a young Saint Laurent struggling with the need to create something different every time. 

Contrasting to this would perhaps be a designer such as Yohji Yamamoto, whose work has maintained a steady and unwavering aesthetic throughout the years.  That is not to say that is it not fresh and exciting each time, but rather that he does not seek to shock with something dramatically different every time.  It is the confidence of knowing your style and aesthetic, and being able to speak freely in that language.  Experience and confidence in your own design is something that truly does show on the catwalk, however I think it would be foolish to say that it is therefore easy for the experienced designer to create something new.

Versace

Fall 2010

To look towards the Fall 2010 collection from Versace we see a clean break aesthetically from previous collections, however there is still an opulence that has come to define Donatella's collections.  It was an image of the future, decidedly fashionable and current, that was entrancing in its attention to detail and complex construction.  And yet whilst it was very much of its time, that is to say of certain currents within fashion now, there was a certain sense of looking to the past, with everything from 1970s Glam Rock, to 1980s cyberpunk, with films such as Tron and Blade Runner coming to mind.  Whilst the collection, with the metallic finishes and tailored leathers, reminded me of younger designers such as Gareth Pugh, there was a more refined, curiously traditional, element that I think eludes his work.  That is not necessarily a dark reflection on either designer, however I think experience and confidence shows.  Of course having a whole army of pattern cutters and seamstresses also helps.

From a technical viewpoint I was absolutely amazed by the collection, the construction of the pieces was beautiful.  I was particularly taken by the laddered sweater and leather t-shirt, they had a refined elegance missing from those stylized deconstructed and distressed pieces one sees.  I also enjoyed the construction of the trousers, and I do wonder how incredibly skillful the pattern cutters must have been in drafting the pieces up.  I have to admit however that I found the digital print tops, with their colourful swirls and patterns somewhat off-putting, they seemed a little vulgar.  As such I decided not share those images, although they are easily available.  And whilst I did like the slick styling of the catwalk show, I far prefer the casual nonchalance of the campaign photographs shot by Mario Testino.     

Versace Campaign

Fall/Winter 2010

Currently playing: On A Wire ft. Elle J - UNKLE


xxxx

310810

Eclipse

Currently playing: We Own The Sky - Udachi Remix

xxxx

Identity

Yohji Yamamoto

Photograph by Thierry Bouët

"If fashion is clothes, then it is not indispensable.  But if fashion is a way of looking at our daily lives, then it is very important indeed"

- Yohji

The idea of identity has always intrigued me.  Identity is by definition a collective of traits, characteristics and personal aspects that define us.  Yet identity is not merely a set of unequivocal memories and experiences, some singular framework that creates us.  Our identity is fluid, based not solely on the sum of our past, but rather constructed depending on circumstances and based in the present and future.  Who am I?  We create an image of ourselves and work to become that image.  The person I want to be and the person I am are very different things, however by actions and intentions I hope to become that person I see.  The journey we undertake to become the person we wish to be defines us far more than either the start or end point.

When we think of the identity, the me, that we wish to define us, it is not an identity devoid of clothing.  To be the person we want to be in any given situation, we must also look like the person we wish to be.  I think of the different parts of my identity, as evoked in varying positions and circumstances - with family at home, with friends in the park, with co-workers in the office - each must be clothed to become the person I see myself as in those situations.  Clothing helps us to construct an identity, for how we look is often the way we are perceived.  Confidence tricksters rely on this fact - a man with the right uniform, an authority in his voice, and some serious audacity can pretend to be just about anyone and have people believe them.

Even those who care not for fashion, care about how they are clothed in their various identities, for it narrates the way they wish to be presented, especially to the people they want to view them.  A woman who pulls on the first thing out of her cupboard because she does not care about looking fashionable or fitting the stereotype of the prettified female, still makes a conscious decision to do so and thus is still considering and thinking about her clothing, even if indirectly.  Being anti-fashion still requires a knowledge of fashion in order to go consciously against it.  The majority may not fit into either camp, however find themselves choosing clothing on some sort of preference, with an image in their minds of how that garment will improve the way they look and create a better identity.

Clothing can help us fulfill the image of the identity we wish to create for ourselves.  However that identity, that version of ourselves, is not any less true for being a conscious construct - the me that I create is no less real or authentic than the me that is doing the creating.  I realize that is rather a capacious statement, however I think it is important when considering clothing, for clothing is always used to create a version of ourselves removed from the inner me, so to speak.  Clothing is used to give a visualization and materialization of a constructed identity, it is a way of expressing personality, emotion and one's self.  It is creating an image to be consumed by others for any single moment.

We use clothing to express ourselves and the identity we wish to create of ourselves.  Clothing holds dreams and aspirations, and yet clothing is not some ethereal concept, but a real material object we use as a vehicle.  Discussing the notion of style with filmmaker Wim Wenders, Yohji Yamamoto described style as a hall of mirrors.  It can become a prison in which we are trapped, with every way we dress simply reflecting ourselves.  Yamamoto stated that in order to open up that hall of mirrors, to become the guardian of your prison, you must embrace that reflection.  He believes that you have to learn to express yourself in your own voice.

That better version of ourselves we strive to become is often not true to us, but rather a version of us formed by the expectations and desires of others.  In being so, the image of ourselves we wish to look like, therefore becomes a hall of mirrors reflecting back others, rather than our true selves, which Yamamoto believes we need to embrace to then break free.  This relates directly to the way we dress on a day-to-day basis, for you need to find your own voice and sense of self in order to dress in a way that is comfortable and truthful to you.

Truth is an interesting concept where identity and style are concerned.  Which is the truthful me?  The me at home in private, the me in front of family, the me in front of friends, the me in front of strangers?  Which is my truthful style?  What I wear to do the gardening, what I wear to go out for dinner, what I wear to run to the supermarket in?  I believe they are all truthful, for identity is, as is personal style, a multifaceted concept.  Note that I say multifaceted, for I believe they belong to the same whole, which is our self, however they are different sides of that self.  I do not believe that one can truly have two different identities or senses of style, which are entirely removed from one another, even if they are in total contrast.  This is as somewhere between them must be the notion of me, which unifies those different sides.  That different me may be playing a role, or a character, but underneath it is still me.

I had a rather odd experience the other day that I think expresses part of what I am trying to convey.  I had been feeling unwell for a number of days and had been at home dressed in jeans, single colour t-shirts and matching coloured socks.  It was by no means a drab or dull expression of my self, however on this certain day I pulled on a shirt, knitted tie, double breasted jacket with pocket square, cuffed trousers and bright socks.  I saw myself in the mirror and said aloud "I feel like me again".  It was a curious statement and yet I think an important one.  That style of dress holds memories and emotions for me, for dressing is I believe primarily an emotive experience.  We dress according to how we feel, and if we feel comfortable in our clothing, we look better than when we feel uncomfortable.

We have an image of who we are and who we want to be, and clothing helps us get closer to that ideal image.  However it is not simply an image to be seen, but rather an identity which needs to be felt - I put on a piece of clothing and I feel.  Note that when somebody puts on a beautiful garment, they do not tend to look into the mirror and say "I look wonderful", rather they will immediately say that "I feel wonderful".  Clothing is about the experience of wearing and how it makes us feel.  As such it is alive, in the sense that the way we feel is based in the moment even if the factors influencing it are based in the past or future.  Emotion mixing with material culture can be a volatile combination, however emotion is part of the very basis of our contemporary material culture.

It is not just the feel of emotion, but also the feel of the physical garment.  The design process for Yohji Yamamoto begins with the fabric.  He feels the fabric in his hands before deciding how to drape and cut that fabric into a garment.  For to Yamamoto the most important aspect of clothing is the feel and experience.  Indeed whereas Rei Kawakubo designs clothing for Comme des Garçons based very much on how it looks, the final product, I find that Yamamoto designs clothing based on how it feels, and in particular, the way it interacts with the body. 

Like any fashion designer, Yamamoto designs in a dialectic with the body.  Clothing exists only in relation to the body and as such the experience of the body whilst wearing any design is of the utmost importance.  He says that he likes primarily using black for his designs because black fabric forces the focus onto the form of the garment and its shape on the body.  He says that colour carries meaning, and by using black he tries to rid his clothing of that additional meaning, allowing him to focus on the truth of the garment.  In that way one brings there own meaning to the garment, using it as a part of the identity they wish to create for themselves.

It is interesting to note that when designing Yamamoto tends to look back to the past with a real sense of nostalgia.  He particularly looks back to eras where clothing and identity were intimately bound.  He likes looking at old photographs of real men and women, who are wearing real clothing rather than fashion.  What he loves about those old photographs is that the people wear their identity, they are dressed according to their status and profession, or his words "wearing their reality".  Indeed he has expressed that his wishes people would wear his clothing in this way.

I think the idea of "their reality" is very important, for he is essentially saying that their clothing was truly expressive of them, admittedly out of circumstance and lack of choice, however in that way they are, to go back to the previous analogy, guardian of their own hall of mirrors.  Designers often look towards a past before fashion really existed, for at those times clothing had a real impact on identity.  With the existence of sumptuary laws and strict class boundaries, clothing was a visual identifier, and to cross the boundaries set for you was unthinkable.  Whilst that sounds restrictive, in a way I see it as liberating, for within those boundaries one is given a true freedom.  Too much choice can be suffocating, whilst strict rules allow for more true expression, even if it be through necessity.     

In the past people did not consume clothing, they lived their life with their clothing, and it is that relationship that Yamamoto has always sought to create.  Indeed he thinks of clothing as being alive, as changing over time.  It changes as we change, and it goes through our changes in identity.  For Yamamoto designing clothing is designing time, it is a garment to age in.  As such although his clothing is classic, it can never be timeless.  I find that dichotomy, of being avant garde and yet classic, highly fascinating, for even in the creation of our own identities, it is a contemporary and avant garde me we seek to make, yet still one that is still formed in the current of history, even if only the tradition of our own personal past.

I am a fan of Yohji Yamamoto because I love his design philosophy.  Whether creating clothing, furniture, interiors, I like the idea that he is trying to find the truth of self.  He creates clothing that is not meant to change us, but rather lets us look in the mirror and accept ourselves for who we are.  His clothing is for us to wear and grow old in.  It is not something to simply consume, but rather something living that we interact with and allow to become part of the identity we wish to create for ourselves.  In that way his designs are not merely ephemeral fashions.  Indeed as he himself comments "sometimes in my head I scream - I am a dressmaker, I am not a fashion designer".

Yohji Yamamoto

Spring 2011

Currently playing: This Sweet Love - James Yuill


xxxx

280810

Sleepy head

Currently playing: 50 Ways To Make A Record - Kid Cudi


xxxx

"Well, it makes me feel comfortable"

Edward D. Wood Jr. is widely recognized as one of the worst directors of all time.  His films were patched together with little more than a childish aspiration, lacking plausible plots, coherent scripts, filming permits, or even the most basic of film-making techniques.  The finished reels were laughed out of the studios, if they were lucky enough to even be watched, to which they were submitted.  And yet since his death in 1978 his skill and determination to even try to make a film out of a few random reels of stock footage and just the money in his pocket has served as an aspiration to generation after generation of young filmmakers.  

Ed Wood, as he was more well known, would write about his films as if they were the most highly artistic cinematic wonders, despite the fact that everyone around him laughed at their awfulness.  It was this blind optimism and devotion to film that piqued the interest of Tim Burton and made him decide to direct the comedy biopic of Ed Wood.  Rather than focusing on the derision that Wood faced, Tim Burton decided to make a film celebrating his own admiration of the filmmaker.  For anybody with misconceptions of Burton as producing only dark fantasies this film is a nice departure, and in my opinion it is far more successful as an artistic expression than some of his more obvious, if one may use that term, recent productions.

The film was initially in development with Columbia Pictures, however the executives there disagreed with Burton's wish to make the film in black-and-white.  Burton stated that the film had to be made in black-and-white, and he wished to create a film that actually looked like a low budget 1950s production.  Having been shunted by Columbia, the film was shopped around until Disney stepped in and chose to distribute the film under their own Touchstone Pictures, having worked with Burton in The Nightmare Before Christmas.

Released in 1994 the film stars Johnny Depp as Ed Wood, Sarah Jessica Parker as Dolores Fuller, and Martin Landau as Bela Lugosi.  The script clearly bears Burton's desire to celebrate the early life and works of Wood, creating a rather childlike and innocent Wood who the audience can not help but sympathize with.  Indeed Depp said of his performance as Ed Wood that he based it on the blind optimism of Ronald Reagan, and the enthusiasm of both the Tin Man from The Wizard of Oz and Casey Kasem.

I think the role of Ed Wood makes a nice addition to Depp's oeuvre - Wood has a childish optimism that makes it hard to envisage many other actor's being able to tackle such a role.  Yet in a way I find myself comparing Depp's performance of the role to that of his role as John DeMarco in Don Juan DeMarco.  Ed Wood's characterisation within the film has the same type of ostensible misguided belief as John DeMarco, however as in Don Juan DeMarco, as the plot progresses, the audience find themselves opting for that misguided belief, or optimism as it becomes, rather than the more pessimistic view of a harsh reality. 

Parker's performance garnered some criticism from commentators at the time, however if one views it with regards to the production of Burton's film, it is the perfect parody to the naïve housewife of the 1950s silver screen.  Landau was, as expected, fantastic in his role as the past-his-prime and drug addicted Bela Lugosi.  He was able to switch from a vulnerable and elderly addict, to a prima donna actor as quickly as the needle was meant to have pierced his skin.  If you have actually read this far, thank you, I would call you over for a tea party and film night if I could.  I make seriously good masala chai if I may say so myself.

The cinematography as one would expect from a Burton film is nothing short of exquisite.  The decision to film in black-and-white was an interesting choice and Burton utilized the lack of colour to conceive shots that were beautifully painted in light and shadow.  Stefan Czapsky, who worked as director of photography with Burton and Depp in Edward Scissorhands, created scenes which immediately evoked 1950s Hollywood in their framing and camera perspectives.  The film had a rather curious underlying feel of the theatre stage, with sets designs that felt real only for the limits of the scene.  The sensation one feels towards the set design is rather difficult to describe, however it is one of the more unique productions I have seen.  

The costume design in the film was an aspect that I really enjoyed, consisting of very understated yet elegant 1950s attire.  The designer for the film was Colleen Atwood who has created costumes for films as varied as Edward Scissorhands, Sleepy Hollow, Memoirs of a Geisha, Public Enemies and Alice in Wonderland.  I have huge respect for a costume designer who can produce such incredibly varied and complex wardrobes.  Indeed I often find myself wishing that more actual fashion designers would collaborate in film, just to see how their vision as directed by a film would be manifested.   The most interesting example for me in that respect would have to be Jean-Paul Gaultier's work in The Fifth Element, being able to create fashions based upon such a select inspiration and story.

To give one an insight into the work involved in creating the costumes for a film such as Ed Wood it is interesting to note that the first costumes Atwood worked on were that of the clothing Depp would wear in drag.  Ed Wood was to proclaim to the world in his film Glen or Glenda his heterosexual transvestism and predilection for angora.  When Wood was young, his mother, having wanted a girl, used to dress him in skirts and dresses, something that he took with him into adulthood, finding comfort in the practice.  Indeed he even alleged that, during his service in World War Two, he would wear a brassiere and panties beneath his army uniform.

I loved the dresses and hairstyles of the women within the film, although that may just be more of a fascination with 1950s fashion than Atwood's work specifically.  It was interesting to see the opposition of Parker and Juliet Landau's characters, not only in terms of their personalities, but also in terms of hair colour and style.  The two characters have something of a rivalry within the film, and whilst on the one hand is the blonde Dolores Fuller with her understated and classic dress, on the other is the brunette Loretta King with her more glamorous attire.

One of the casting decisions that I really admired was the choice to pair Depp and Parker for the characters of Ed Wood and Dolores Fuller.  Whilst in women's clothing it is curious to see how Depp's softer facial features makes him seem so much more feminine than Parker.  Indeed the styling of Depp in the angora sweater further softened his look, so that in one scene where Parker has her shoulders and arms revealed, her frame and dominant facial features make her seem the more masculine of the two.  Such play on gender performances was integral to the film and it was fascinating to see how Burton chose to depict it.

The costumes for Depp's character were seriously, and I realize this is a fluid term but I can think of no other word, stylish.  Early on in the film he mostly wears a simple black lounge suit with a white shirt and white pocket square - classic and understated.  However his tie is relatively wide with a jeweled tie pin that really stands out in black-and-white.  I think such a detail is meant to serve as a nod to his transvestism, along with the two rather large and feminine rings that he wears, especially when placed alongside the flamboyant dress of the character played by Bill Murray, who wishes to undergo surgery to become a woman.

As the film progresses and we see Wood working on his films, as opposed to visiting studios, his attire is far more relaxed yet equally classic in its styling.  I was particularly fond of the plain black wayfarers on the open collar white shirt and black v-neck sweater.  His working attire of the sweater vest and slightly high waisted, wider leg, wool trousers was also really nice.  Even his at-home attire of the white vest and houndstooth gown was interesting to see.  I suppose it was refreshing to see such classic dress as opposed to the casual styling of so many films today.   

Despite the small nods in the early parts of the film where Wood wears the jeweled tie pin and two rather feminine rings, his attire is decidedly masculine.  However as we find out, Wood often feels far more comfortable when wearing women's clothing, in particular angora sweaters.  Indeed in one scene, overcome by pressure, he walks off the set of the film he is directing in order to change into an angora sweater, blonde wig, large earrings, black skirt, tights and high heels.  His transvestism is however centered mainly around angora within the film, with him finding comfort in its fluffy tactility.

The real Ed Wood

Whilst cross-dressing is not really my thing, I have to admit that the angora sweater was rather alluring.  Soft and cosy, it seems the perfect fabric for those late Autumnal days.  In fact I may need to try a find a long sleeve crew neck angora sweater in a duck egg blue or a dusty pink... 

Currently playing: Hello Good Morning ft. T.I. - Dirty Money

xxxx

260810

The Fuzz

Currently playing: The Worst Taste In Music - The Radio Dept.


xxxx

Dr Martens: Bank Holiday Sale

For anybody looking to pick up some boots for Autumn, this Bank Holiday weekend Dr. Martens are having their Summer warehouse sale.  Here are just a few of my favourite pieces from their latest collection to get you going...

Technically speaking this boot is from the women's collection, but I would happily wear it were I to find my size.  I like the idea of being dressed rather conservatively and low key, perhaps a white cotton shirt, knitted brown woolen tie, navy blue cashmere sweater, grey pleated wool trousers, and then the rose print Dr. Martens to really set the outfit off.  Then again, I am just ever so slightly obsessed with florals, but I do love these boots.

I have been looking towards traditional outdoors equipment more and more as of late.  I am rather enamoured with the Fjällräven Kånken bag, as well as their Greenland jacket, and these boots would be the perfect accompaniment.  I was rather taken by the Fracap mountaineering boots, however the pricing was a little too dear, so these Dr. Martens are a very welcome alternative option.  They immediately make me think of cable knit wool sweaters and tartan flannels.  Given the approach of Autumn, I guess that can only be a good thing.

Brogues are a classic footwear piece that are always worth the investment.  However as is usually the case I find myself seeking out a piece that is somewhat more on the unusual side, and whilst these shoes are certainly conservative, the grey-blue suede is a nice finish.  I am particularly fond of the all-black soles, removing the iconic Dr. Martens yellow stitches, as they make for quite the strong and interesting profile.

Currently playing: Ghetto Techno - Jay-Z


xxxx

Gaiters and Spats

The evolution of the modern lounge suit and its method of wear can be charted historically from the courts of the seventeenth century.  It is a history of aristocracy and all the pursuits such a lifestyle entailed, most notably where the suit is concerned with the sport and need for riding.  Indeed one can find many features of menswear today influenced from historical requirements now long defunct.

Consider if you will the fact that buttons on a man's jacket are traditionally placed on the right hand side, whilst that of a lady are placed upon the left.  It seems an inconsequential detail in passing, however when one realizes that this was done to allow the wearer, when the jacket was fully fastened, a swift movement to their sword, which would have been worn on the left side, one takes on a whole new understanding of the button placement.  Small functional details remain long after their practical use - take for example, the button on the left lapel of a typical suit jacket, or the buttons on cuffs which seldom actually undo.  

Towards the end of the eighteenth century, formal wear, that is to say court wear, for a man consisted of the jacket, waistcoat and breeches.  Primarily these garments would have been made of silks and embroidered velvets.  The jackets would have had rather prominent revers, allowing the jacket to be fully buttoned across whilst riding.  This feature can be seen as the basis for the lapels of the double breasted jacket of today.  Indeed it is within the riding jacket and breeches that one finds the ancestry of the modern lounge suit.

However what I would like to focus on is a secondary feature which arises from the history of the formal riding jacket and breeches of court wear.  For everyday wear high leather boots were the footwear of the gentleman.  The functionality of country wear was highly influential, from the riding coat, to the riding boot, to the use of gaiters and spats.  Originally made from leather, spats were often coupled with gaiters, when worn with breeches and boots, allowing for a covering to the top of the boot and the lower leg.  They served to protect the lower leg and top of the boot from mud and dirt.

When one considers that even until the Belle Époque that men would often only have the one pair of boots serving as their footwear, looking after such pieces was highly important.  Once shoes were looked down upon by the gentleman, and one finds traces of this disregard today, where traditional shoe designs are actually intended to look like boots cut down.  A simple pair of lace-up oxford shoes or brogues find their construction based upon that of a boot, and indeed most lace-up shoes are essentially cut down boots in their design and construction. 

Spats swiftly found their way into court wear, being paired with breeches in a cream or white silk, thus serving a decorative purpose almost diametrically opposed to their original function.  However with the introduction of trousers, as opposed to breeches, the wearing of spats soon declined, even more so with the preference for shoes over boots.  Indeed it is quite rare, outside of military uniforms and fancy dress affairs, for one to see spats, or even gaiters, being worn today, which I have always felt is rather a shame.  Whilst they are not needed for functional reasons, they can serve, akin to a pocketsquare, as a delightful decorative piece.

Etro

Fall 2010 Collection

As such it was exciting to see a contemporary take on spats in the Etro collection for this upcoming Autumn/Winter.  Taking the inspiration of spats, and indeed gaiters, and their place in country-turned-court wear, the collection took on a luxurious twist to traditional sportswear.  In the typical, yet always welcome, flair of Etro, rich colours and patterns were used to provide a nice depth and interest to the looks.  Indeed I found myself taken by the wardrobe of the Etro man for this Winter, in particular the spats, and the rich velvets (as many of you can no doubt tell there is something about soft and tactile fabrics that I find irresistible for the colder months).

I loved the idea of formal, yet patterned, spats worn over patterned trousers.  It provided a streamlined and slim silhouette that was very much of the moment, whilst being unique in its approach of that ideal.  It was interesting to see that they were not paired with full suits, allowing for a more everyday feel to their use and wear.  Indeed when coupled with the purple velvet coat and pocket watch necklace, above, they seemed perfect for a blustery Autumnal day around London. 

Alongside the use of spats were also trousers with elasticated cuffs.  Whilst there seem to be a plethora of smart-ish joggers and carrot fit chinos with elasticated cuffs in the high street at the moment, it was nice to see more formal trousers with this detailing.  They worked particularly well given the sheen and texture of the fabrics used for the trousers within the collection.  Indeed to be honest I have yet to be sold on those elasticated cuff chinos - I have only seen them worn in, shall we say, a very Topman way, which is not particularly my taste.  These trousers however I would happily sport, especially with the equally funky Etro socks.

I also rather liked the coats within the collection, which were for the most parts traditional double breasted pieces.  The slim cuts, coupled with interesting fabric and lining choices, however provided them a far more unique position in terms of design.  I was particularly taken by the styling choice of the coat worn with a silk pochette in the breast pocket.  

The knitwear pieces were very strong, with long scarves in beautiful Autumnal colours finished with colourful contrasting braided trim.  Indeed colour play has always made Etro alluring, and with this collection that fact was still thankfully apparent.  Whilst colour tends to be toned down during the colder months, it is always nice to see rich colours so well styled and used.  (As an aside more towards the casting and styling decisions, I must say that they paired the colours worn by the red-haired model very well to play against his hair).

Currently playing: Go To Sleep - Lupe Fiasco


xxxx

240810

Well isn't that rather Oddish?

Currently playing: Burn My Shadow ft. Ian Astbury - UNKLE


xxxx

Learning To Quilt

A while back I posted my intentions to make my first ever patchwork quilt out of a plethora of floral Liberty print fabrics that I had managed to get my hands on.  As my first ever patchwork quilt (let alone my first large hand-sewn project) it was quite the daunting task.  Having not had any experience in making a quilt, or indeed any real hands-on experience with a completed patchwork quilt in general it was a process of discovery.  However having seen a number of stunning quilts at the Quilts Exhibition at the V&A, I really wanted to give it a go.

For an introduction to the process of patchwork quilting I browsed Linda Seward's invaluable work The Complete Book of Patchwork, Quilting and Applique.  The book has guides for both hand sewing and machine work, covering everything from drafting patterns to getting creative with quilting stitch designs.  I would highly recommend it to anyone who is interested in getting into patchwork quilting, as it covers all the basics, as well as some rather more creative topics for the more confident quilter. 

My first task was drafting up my patchwork pattern.  Whilst it sounds like quite a basic task, it was not simply the decision of block sizes and configurations.  More importantly you have make decisions with regards to the fabric you are using.  Different print sizes, designs and colours all had to be taken into account, and I tried to figure out what would look good together, and in what size block.

I ended up drawing up a plan for a relatively basic design, incorporating blocks using small, medium and large sized prints, as well as a number of the same prints in varying colours.  Whilst I wanted to have some sense of coherence and pattern, I think one of the charms about patchwork quilts is the somewhat haphazard nature of certain designs.  I wanted something more crazy than conservative.

However, seeing as it is my first quilt, much of the process has actually just been guesswork and experimentation...

The first step was to measure out the patchwork block on the reverse side of the fabric, including a seam allowance.  Cutting out a card template and using a quilting ruler helped to mark out accurate sized blocks.  A slightly more generous seam allowance was important given that I was hand sewing.

The first pieces I cut out where the for the basic frame.  You may actually recognize the purple print fabric from a certain collaboration with Nike (I still want a pair of Liberty print Nike Dunks in man sizes so that I can wear them).

The design quickly came together (actually it took quite a long time, but saying quicker gives a better flow to the visual story).  To be honest I was still figuring out where to place everything at this point in the process.

Measuring and cutting out the patchwork pieces was probably the lengthiest part of the procedure thus far.  I used rotary cutters and a quilting ruler, instead of tailoring scissors, as it was a far quicker and more accurate process given all the straight lines and edges.

I started by sewing pieces across by row.  It was easier to then sew those completed rows together, rather than working from a small square and working outwards.  Sewing pieces was relatively simple, the only really tricky part was marking sure I was properly matching up the seams.  Just a few millimeters off and it soon adds up to quite a drastic change in size! 

Lots of tea, pins and my finger getting repeatedly pricked were involved (I think I should probably invest in a thimble, but if I do I want to make sure it is a pretty one).  As you can see I have yet to press out the seams on the reverse.  By pressing them all in the same direction it allows for a smoother finish and better gripping to the padding.

This is the patchwork as it currently stands.  I still have quite a bit of work to do for the border, which will involve more fabric, more blocks, and hopefully some appliqué work.  Please do excuse the slightly uneven sizing of the patchwork in these photographs, as the seams still need to be pressed it looks slightly askew in places.

Once the patchwork is complete, the hard part of the process really begins - cutting and hand sewing the padding and backing layers to the patchwork layer to make the actual quilt!

Currently playing: There Will Be Tears - Mr Hudson 

xxxx