Tuesday, 29 September 2015

JW Anderson - An Upgrade from Androgyny: LFW S/S16


JW Anderson’s Spring/Summer 2016 collection was presented as ‘odyssey oscillating between intergalactic Olympics and empowered femininity’ – an ambitiously broad scope to cover a sixteen minute show. Andy Warhol (the man who correctly predicted that ‘in the future, everyone will be world-famous for 15 minutes’) droned over a tannoy from Martin Scorcese’s Public Speaking soundtrack. But how far has society come since Campbell Soup Cans? Acid brights had found us again, unquestionably, and oversized shoulders also recalled the eighties. Waist-clinchers with raised tracksuit-like trousers chanced vivaciously sharp prints; the explicitness residing in the vivacious squiggle prints that we recall from the era, paired with knitted jackets, taperering, and slim silhouettes. Though, the finer elements were in the details that bookended this sense of exuberance well, like layered frills and cufflink turned up sleeves. Anderson wanted to create a ‘tension between the pop cultural with the sinister’, and he did exactly that. Most evidently so was the mismatch of lace with plastic, an ominous collaboration of textures indeed. Anderson showed to control volume and structure, but emphasised the sleek and willowy too, layering bras and bralets over frills, and cross-harnessing bags over other pieces, alluding to the sensuality of the spaghetti strap much more adorned in the nineties. Colour was fragmented and under command of the consistent doodle prints, which took centre stage. Anderson, who also stands as creative director at Loewe demonstrated the kitsch co-operating with the ethereal here: his collection was not modest, nor was it meant to be. Femininity was presented as resilient and perky, a pleasant change to his search for the meaning of the androgynous. Whereas Burberry brought the charisma and glamour, and Mary Katrantou showed off a space age, JW Anderson sought to demonstrate the power of the sixties through allusion to sportswear and underwear, and did so wittily, and the label exemplifies itself once again as one of the most elite fashion houses since its birth five years ago.

Thursday, 17 September 2015

Nicholas K: NYFW S/S16

For their S/S16 collection at the opening of New York fashion week ready-to-wear collection, the brother and sister duo Nicholas K reiterate their self-proclaimed ‘nomad’ style to present a utilitarian style. Today, texture was shown to be a strong focus, whilst structure was not. His models were draped in layered shapes with largely neutral, flat shades of warm beiges and tans swathed with rope accessories – a nautical feel. The earlier part of his collection used super lightweight textiles like nylon to complement his super lightweight parachute inspirations, buckled down by rope that was effected consistently throughout.  Later on, shawls oozed into trench coats; hoods into ponchos. Lavish silk met suede bronze. The notion of elegance was worked into floor length leather-look dresses; distressed denim gathered flatteringly at the waist for other looks. Later on, the dip-dye hair hysteria of the naughties had been redrafted to mesh with this gathered layer style: draped fabrics synthesized with appearance of layers, as inky blacks washed suddenly into cool whites. 

Nicholas K used thick black outlines to make his pieces as if two-dimensional, juxtaposing this flatness with sweeping silhouettes. The collection was complemented by Casio G-Shock accessories: silver, copper and cobalt blue in robust metalwear, echoing the nautical theme. Wide police style sunglasses, deliberately over-framing faces, heightened that maritime flavour – and boy, did it quench the fashion-thirsty audience. Their (womens only) collection demonstrated the ever-evolving woman through masculine sub-genres associated with hardness and labour – hence the ropes and maritime, but without losing her femininity, as she blazed down the catwalk.

Givenchy: NYFW S/S16

Givenchy’s presentation was one to remember in lieu of Ricardo Tisci’s impressive ten years with the label as creative director.  When questioned about his choice to show in New York as opposed to Paris this season, he simply responds: ‘America was the first country to really believe in me. The big step for Givenchy in the ‘50s was America’. (We remember Tisci making Disney’s Bambi haute couture for A/W13). This time round, Tisci, along with his close friend Marina Abramović, commemorated the sombre anniversary of 9/11, which coincided that day, demonstrating this kind of tenderness for America. His show is aptly named “A Celebration of Love”. Seating and catwalk structures were manipulated from debris whilst a rhythmical gong persisted in the background. Monochromatic staples were the backbone for Givenchy’s show. Wedding-wear was clearly thematic in the opening; and luxury textures were paired with subtle creams and sensual inky blacks. Androgyny was back: the womenswear collection presented the tuxedo reformed in cut-out and long, sweeping sillhoutes. Victorian lace, akin to undergarments, was employed asymmetrically in a robe-like way for some. The groomsman as a woman; wedding night lingerie outward and catwalk convenient. Layers of netting was translucent and sensual. Two falls from Candice Swanepoel and Malaika Firth deterred little, besides. Towards the middle part of Tisci's show, an adornment of fused jewels appeared on outerwear in the most regal manner, as well as the models’ faces – make-up was courtesy of maestro Pat McGrath. This was paired with the most extravagant of eveningwear, with remarkable structure, including the traditional fishtail. Tailoring was strong, a bridge between marital charm and as sense of masculinity. Menswear dared to reveal ankles today in the face of Victorian women, bearing silk tunics and cut off tuxedos. It had the richness of early twentieth century glamour, indubitably, and reminded Tisci’s audience of the charisma of such an era.

Bourjois Couture: A Lash Tale

Fanned out, luscious lashes have been adorned in the beauty world since Twiggy exploded onto the scene in the sixties. “A doll lash, but not a dolly look” says Mary Katrantzou for her bold makeup approach at F/W15 – a trickling trend resurrected. Pursuing the perfect mascara is undoubtedley the holy grail of make-up. Until recently, Yves Saint Laurent Faux Cils Volume Effet Mascara was my handbag’s soulmate. There was something about that sweet-honey Yves smell of expensive formula that I somehow couldn’t stay away from (oh, the lure of designer product…)  

But if you can pry yourself away from the enticement of couture mascara, head down to your local drugstore and pick up Bourjois Volumizer Mascara, £10.99.

The results:

The product promises you a two-wand action, the first for everyday lash definition with up to two times more volume, and the second wand for dramatic lashes with up to eleven times more volume for ultimate show-stopping lashes. In reality, it is only one wand that filters through to either give you less mascara on the wand or more with a different kind of filter. The thinner wand lifts your lashes as well as creating volume. Wait a few seconds before layering a build-up with the second wand! To build up lush lashes, it’s great to choose either/both.

This product is a bargain and really promises what it says on the tin – plumps up your eyelashes, making them appear thicker and fuller, and yes, longer.
A definite 10/10 recommend.