This Is Halloween

The Nightmare Before Christmas

A film for both Halloween and Christmas.

What more could you want?

Hope you have a frightfully fun Halloween!

Currently playing: Fortune Days - The Glitch Mob 

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Pigeons may be a pest, but I still think the way their necks shimmer is beautiful

(now imagine me saying that in a Bela Lugosi voice and cackling afterward)

Currently playing: Wonder - Dan Black

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Taking It Easy

A still from Let The Right One In?  No, not quite.

Endovanera

Spring/Summer 2011

A sense of nonchalance and ease in the clothing one is wearing is often cited as a prerequisite for that most confusing of terms, "good style".  I for one have never been comfortable with such a description, for I believe it is more important to be happy in what you are wearing, regardless of whether it is done so with a visual sense of nonchalance or carefully thought out detail.  Yet the idea of being physically comfortable in your clothing interests me.  The mantra that you need to suffer for fashion, for example, has always puzzled me, for it seems to be directed most often to people who are pushed into discomfort above and beyond what they would normally be willing to endure for the sake of looking good.

I think feeling physically comfortable is important, for the less one is aware of garments pulling here or pinching there, that is to say, the more natural ones clothing feels against the body, the better one tends to look.  Whether it be through wearing a sweater of soft cashmere, or a highly constructed jacket that works well against your body, feeling comfortable is not necessarily translatable into a standardized visual aesthetic.  There is no monolithic design for the creation of comfortable clothing.  However, looking at a collection such as this Spring 2011 collection from Endovanera, the impression I get is one of physical comfort.  It is most certainly an aesthetic which speaks to that physicality, with the soft and worn fabrics, the gentle drapery, and the wide and easy silhouettes.

I think the androgyny of the pieces also lends itself to the feeling of ease and comfort.  It is not a forced or highly structured sense of androgyny, as can often be the case, but rather a highly romantic vision of androgyny, based around women adapting oversize menswear to their bodies.  It is a vision of the couple on the morning after.  This is made all the more fascinating by the fact that although menswear being oversize on a female frame tends to be taken for granted (although I have long since resigned myself to the fact that most women would probably not find my clothing all that baggy...if at all), the clothing is oversize on the men in the first place.  It evokes for me the sense of wrapping up, which as you know, I am so enamored by when it comes to the colder months.

I must say that I am rather keen on the idea of playing the draped and wide silhouette of the upper against, say, a pair of knitted leggings tucked into chunky boots (indeed, as shown in one of the photographs above) - a simple play with proportion, which would make for quite an interesting visual impact.  Although I do find myself rather taken by this collection, I can not quite shake the feeling that it is somewhat disjointed.  There seem to be lots of elements which try to evoke a similar feeling and idea, however it does not seem so coherent in practice.  A variety of ideas is by no means a bad thing, but I do feel like it could have been distilled further to make a stronger statement.   

Now please do excuse me whilst I go borrow a women's oversize chunky knit cardigan to wrap up over my semi-sheer long sleeve and return to bed.  Oh yes, I totally reversed the image.  Once again it is about fragility and protection, that most intriguing of juxtapositions when it comes to dress.

Currently playing: The Show Goes On - Lupe Fiasco 

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Instakop...had I the money

Currently playing: How to be Eaten by a Woman - The Glitch Mob 

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An Envelope of Self

Obscur

Spring 2011

I have only ever had the opportunity to handle but a few pieces by Obscur in person, however each time I was blown away by the attention to detail in their construction.  Indeed I think the superb level of construction is quite clearly evident in these photographs from the Spring 2011 collection.  What struck me in particular was the way the garments have so clearly been designed specifically in relation to the body - that is, their being worn.  Whilst it is perhaps something one takes for granted, to be worn is the very purpose of clothing, in this instance the garments make true sense only when on the body.  On the hanger they look interesting enough, however draped from a rail with barely any form belies the transformation that occurs when on the body.  Indeed I think they are garments you really have to try on in order to fully understand and appreciate.    

Discussing a fashion collection in the abstract or in terms of the catwalk, as most commentary tends - quite understandably - to do, overlooks two major factors which are inherent to the very dynamic of dress.  The first is that consumers tend to buy individual pieces, rather than an entire look, from a collection.  It is a specific piece from a specific collection which they thought spoke to who they were or evoked an overriding visceral response and emotion (I think consuming a collection is based on that first visceral response, and then a number of considered approaches with some sense of hindsight).  The second factor is that the consumer will then integrate the piece into a pre-configured personal wardrobe.  One buys the expression of an idea, but by doing so transforms that idea into a piece of the puzzle that is the expression of individuality.

The very act of purchasing a garment, the transfer of ownership, changes the meaning of a piece.  Once in my possession I can wear that garment however I want, regardless of the intentions of the designer.  Indeed to take it a step further I can alter that garment, not merely in terms of tailoring the fit, but, if I so wish - to write on it, to paint it, to dye it, to cut it, to even change the entire purpose of it.  Arguably altering a garment in such a dramatic fashion undermines the concept of buying a piece from a collection due to the ideas and aesthetics that the designer expressed therein, however to put it crudely - once you own it, you can do whatever you want with it.  Whilst I am not advocating the destruction of designer garments in the search for personal individuality, if it is something you think will better show what you want to express then I suppose it is to be not only condoned, but encouraged.

The point I am making here however is wearing the garments in a way which perhaps contrasts to their initial presentation.  What I find particularly fascinating about these photographs is the way the garments are conveyed to the viewer.  In such a stark and cold setting they evoke the necessary strength to weather such an environment.  More akin to armour than dress, I find it a curious juxtaposition of sensual fabrics and intimate construction against the body, coupled with a styling that gives it an overwhelming sense of strength.  I suppose that is however inherent to designing any form of dress, for clothing serves the primary purpose of protecting the body.  Of course a designer could equally make a statement by providing clothing no practical functionality whatsoever, however these Obscur pieces certainly do provide a protection.

To then consider the collection with the fact that these garments will firstly be bought by individual consumers, and then added to the vocabulary of their wardrobes, I do wonder how the messages conveyed by the pieces will then differ.  It is the experience and expression of the wearer that I am most interested in here.  Indeed whilst these looks are highly dramatic and convey a sense of strength, I think there is an inherent fragility also apparent that could equally be teased out by a different direction in styling.  Personally I would be drawn to pairing the beautiful outerwear pieces with a draped sheer t-shirt and knitted leggings in order to soften up the look, whilst also letting the garment make a visual statement.  In such a way I suppose it is the idea of wearing one piece that makes a statement, and keeping the rest of your outfit toned down.  I would personally seek to evoke the sensuality of the pieces, especially considering how it plays so wonderfully against the highly precise construction of the garments against the body.

Strength and fragility make rather a beautiful combination.   

Currently playing: Got Your Back ft. Keri Hilson - T.I. 

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BM-ing

Currently playing: I Feel Like Dying - Lil Wayne 

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Pull It Together

Moncler - KZO - Lanvin - Silent by Damir Doma - Maison Martin Margiela - Silent by Damir Doma - Liberty - Clarks Originals - Ann Demeulemeester

functionality - comfort - romanticism - elegance - minimalism - silhouette - colour - subversion - protection

I have long held a fascination with the darker side of dress, however I have never really felt comfortable wearing it.  Rather paradoxically perhaps, I have always felt more at ease with wearing bright colours.  I think it can sometimes be easier to hide behind something loud, rather than truly focus on silhouette and texture where there is an absence of colour (particularly the case where my fluctuations in weight make it hard for me to find clothing that fits).  For the past few months I have had something of an odd new-found confidence and comfort in wearing darker colours.  As I have already stated, it has long been a fascination of mine (my admiration for the likes of Yohji Yamamoto, Ann Demeulemeester and Rick Owens are no secret), so I suppose it is the fruition of a part of my character rather than some newly formed taste. 

Change in life and character reflects deeply in dress, because it is always an expression by virtue of being a result of a conscious decision (even where uniform is concerned, the method of wearing it becomes the decision).  I feel that this selection reflects a meeting point of two or more different aspects of my own personal tastes.  Although, I would like to think it suggests that they are possibly not as polarised as one may initially be tempted to consider.  I suppose dress at any one moment is a way of reconciling the differences within to produce a coherent sense of personal identity, regardless of how that notion varies from day to day.

Some days I want to wear colourful patterns and prints executed on cosy flannels, soft cashmeres and warm wools.  Some days I want to pull on a sharply cut suit decorated with pocket square and lapel pin, crisp white shirt, bow tie and polished leather shoes.  And some days I just want to conjure up a swirling mass of black jersey, dyed mohair, boiled wool, raw linen and blistered leather, to protect me from the world.  However it is not an act of hiding, but rather an act of embracing.

That being said, for now - just give me a staff to support my weight and a cloak to keep the chills away.

Currently playing: Ever Rest ft. Joel Cadbury - UNKLE

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An intimate moment

Currently playing: La Goualante Du Pauvre Jean - Edith Piaf 

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A Note

Number (N)ine
Fall 2009 Collection
Video by Pierre Debusschere
Music by Jackson C. Frank


Dear Readers,

As you will have no doubt noticed my posting has been rather sporadic as of late.  This is to inform you that as I am currently going through a particularly rough patch, especially where my health is concerned, I intend to take a step back with blogging for a while.  Although I do not intend to stop blogging, please do expect fewer posts for the near foreseeable future.

Make sure you go outside, do something fun, and tell someone that you love them.

Syed

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P.S.

Think of something beautiful

Nothing to do with fashion, but everything to do with life.

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Photography by Diana Luganski

A brief moment of stillness makes everything after seem so much more alive.

Currently playing: Vide Cor Meum - Patrick Cassidy

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I do rather hope it snows for a day or two this year.

Anything longer than that and I remember how annoying snow actually is.

Currently playing: Rescue Me - Skepta

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The Forgotten Hedi

 
"Three of the strongest fashion design talents—Hedi Slimane, Helmut Lang, Martin Margiela—are currently pursuing other interests. Is that a coincidence or does it say something about the current state of the system?

I cannot really speak for them. I guess we all have enough time to experiment with different things. That said, fashion, what you call the system, has become quite used and abused with conflicts of interest.

The advertising game between the media and fashion houses might have gone too far. The meltdown did not help, to say the least.

As far as design is concerned, scaling down would help a lot. The global economy meant partnerships, and partnerships in the last decade came with some risks.

But there is something ironic, an absurd ending, a justice after all. What became of Helmut Lang or Martin Margiela without them? The irrelevance of buying young brands, [that are] ten to 20 years [old], without their original designers is quite striking. I always assumed, after all, it was about authenticity. Buying those houses ends up a conceptual and costly gift with nothing left inside but a few recipes."

(Excerpt from interview with Hedi Slimane - The Future Of Fashion, Style.com, February 2010)

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History is granted the magnanimous gift of hindsight, for it is inherently a study of the past.  The passing of time allows for the natural shifting of perspectives, which allow one to view the not-so-recent past in a fresher light as the years pass.  A truly critical view is perhaps only really allowed once enough time has passed, one being thus able to grasp the full implications leading up to, and caused as a result of, a specific event.  And yet with that passing of time one is perhaps encouraged to sideline contemporary perspectives and thoughts in favour of the perceived wisdom of the current methods of review.  A newer method or perspective of study is continually developed and applied, building on that which has passed, so that the very history of the history of an event is as interesting and complex as the history of the object itself.

A fashion collection is a curious thing to consider historically speaking, for it is not merely a snapshot of a designer's thoughts and ideas during a particular period, but rather any specific collection is actually intended as a projection for the then-upcoming season.  That is to entirely ignore the idea of fashion as a mirror of society, and the issues that idea raises (quite frankly I find the idea of fashion as merely a mirror an entirely ignorant reading, but it is one that is sadly often cited - fashion and society are implicitly linked, but it is a far more complex relationship).

The fantasy of the designer for that season, the way the designer's fantasy is thought of that season, the way the designer's fantasy is worn that season, the way the designer's fantasy is interpreted by others that season, the reality of fashion that season - amongst all of these exists some notion of the collection.  Once the relevant season of a specific collection has passed, that is to say the imagined future season has come to pass in reality, the projected concepts of that collection come to exist in some alternative temporality.  The no longer current collection thus becomes a document of an imagined future, yet one that is clearly settled in the past. 

The designer moves onto the next concept of what the new season will look like, and the old ideas are left to history.  Note that even current season garments can be classified as old, for the new applies to next season for the designer.  Of course a designer may return to their canon to rethink or renew an old idea for a new collection, however the original idea remains solidly in the past.  However paradoxically, this is not necessarily the case for the wearer, provided they decide to wear that original piece.   A garment from an old collection is exactly that, a piece of fashion history, embodying the ideas and fantasies that the designer expressed for that collection.  Whilst the designer constantly strives for something new (although as many point out maybe they actually strive for something old within their own past), the wardrobe of the individual consumer is a collection of old garments.  I feel that clothing is about memory.

Recycling fashion, in terms of actual physical pieces rather than simply an aesthetic or trend, adds to the constantly evolving stream of history that constitutes the history of a specific collection.  Fashion which is no longer new can not truly be considered fashion, for fashion by definition must always be new, and yet the lifespan of an individual garment as worn by an owner may pass into many years, and even decades.  In such a way, although the idea behind that garment, from a certain collection, is not new, it is, through wear, still relevant in the now.  Being relevant now arguably makes the idea new, for by choosing to wear that garment again and again, the wearer provides an additional layer of meaning and new thought to that garment with each wearing.  Whilst it is easy to think of collections in isolation, within specific frames of time, the wearer is as much a part of the history of a collection as the designer.

Dior Homme

Fall 2003 Collection

The Fall 2003 collection by Hedi Slimane for Dior Homme is most certainly not a new collection, and yet its relevance is such that I consider it as being part of now, rather than consigned to history and the realm of costume.  Being able to track down individual pieces from the collection would inevitably be difficult some several years down the line, and yet I do wonder about the people who are lucky enough to own pieces from this collection.  Standing as one of Slimane's more unique collections, I wonder how they view the pieces in terms of Dior Homme under Slimane's heading, let alone Dior Homme since, under Kris Van Assche.  I am absolutely fascinated by the subsequent history of such pieces and how the wardrobes around them, that is to say the wardrobes of the people who bought a piece from this collection and still wear it, have evolved since this collection was shown.

Considered within Slimane's oeuvre, and here hindsight is a luxury, the collection is very interesting.  The now commonplace, (arguably aged?), skinny rocker look that Slimane so strongly boasted season after season is here lost to a darker, more edgier aesthetic.  From the black skinny ties and white shirts of the Fall 2002 collection, to the blazers and skinny jeans of the Spring 2005 collection, Slimane's work can be described in passing as rather clean cut.  Yet here the draping, the stacked leathers, and the play on textures, stand in stark contrast to his otherwise repetitive efforts to define his silhouette and aesthetic.  Considered along Van Assche's work it takes on a whole new meaning. 

The collection prior to this, that is to say the Spring 2003 collection, featured long draped scarves, whilst the Spring 2004 collection had a certain dark glam appeal to it.  This collection settled right between the two combined both elements in what I feel was a very successful manner.  Considering the collections from a purely visual perspective, one would perhaps be forgiven for thinking that the Fall 2003 collection actually came after the Spring 2004, however I suppose it better reflects the individuality of Slimane's designs and inspirations.

I look at these photographs and think of Robert Geller or Ann Demeulemeester, and it is a turn in Dior Homme's history that I rather wish would be reimagined for the now.  Yet I do wonder how I will come to view this collection within the history of Dior Homme in years to come.  Perhaps once Kris Van Assche is also long gone the visual evolution of the Dior Homme man will be even more fascinating to trace.

Currently playing: Free Chilly - Gemstones 

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