Sunday, 20 January 2019

Pepto Pink


So admittedly these photos were taken nearly a year ago, but I've had a busy year! And I like to think my style defies being too time-specific and trend-led. The blouse I bought many years ago, but interestingly does fit into the ruffled, asymmetric, 80's tinged vibe we've seen a lot of recently. I bought if for the glorious pewter damask fabric, but it has languished largely unworn in my wardrobe due to the awkward elasticated neckline and the fact that I was never quite happy with how it sat when tucked into my normal high-waisted skirt/skinny trousers. So I've done the unthinkable (for me) and worn something untucked. Paired with a Pepto Bismol pink roll-neck, sparkly pink socks, and green jewellery, this look has reignited my love for the blouse. 



ASOS blouse, Benetton trousers, KG shoes, self-made and antique jewellery.  





Sunday, 16 September 2018

Tulle-bi-telli Time-jump


Ah, remember when the tree was up and frost glittered the landscape? Ok...so it was nine months ago, and I haven't posted since late last year, but I've had some time off work and finally am getting round to posting again. My excuse? It's been a busy year: new flat; dreamy new job; kicking poor mental health in the butt; saying goodbye to my childhood home of 25+ years as my parents moved out and relocated to an actual different country (the trauma is real). So here is Christmas 2017, when I took the opportunity to wear my 1920s assuit tunic for the first time (I toyed with wearing it to a friends wedding but felt it a little dark, and perhaps a touch too dramatic). I believe the figural pattern indicates a Coptic rather than Muslim design? Any experts please chime in.  


As it is a tunic with mostly open sides, you can really play around with how you wear it. I belted the front section and left the back loose to create a cape effect. I also wore it pulled up higher at the front so the v-neck didn't interfere with the neckline of my top underneath, thus creating a deep V at the back as well as a longer length. Festive red tights to contrast the tulle, and black lace-up sandals finished the look off. It was a dream to wear, though I was perpetually frightened I'd rip it! 


1920s assuit tunic, ASOS shoes




Wednesday, 27 December 2017

Marbled Mood



A rather disco-tinged silhouette here, weirdly 1970's for me; I guess its indicative of me trying to loosen up and try new styles. This blouse was so unusual in its pattern that I managed to overlook the ugly colour-way, and embrace its bishop-sleeved, pussy-bowed glory. The pattern recreates those fantastic, feathery, marbled papers you find in antique books, in shades of muted taupe, brown, beige... from a distance it just looks a shiny pewter though. Worn with burgundy accessories and purple nails for a jolt of colour.     





Vintage blouse, M&S shoes, ASOS trousers, self-made bag, vintage and handmade jewellery.




Tuesday, 7 November 2017

Ancient Summer


Summers over, so here's a quick flashback to a couple of outfits I never got round to posting- both with an Ancient Greek tinge and a rust/black/white colour palette. including literally the only t-shirt I own ­čśĆ First up is my unashamedly over-worn pleated skirt, which I like to pair with monochromatic elements. The t-shirt is Fausto Puglisi who is a rather flashy designer not immediately identifiable as someone I would typically be drawn to, but I love the t-shirts clash of antiquity and neoclassicism, transposing a photo-realist depiction of the ancient Greek statue of Discobolus upon modern iterations of the Greek key and other border ornaments. Secondly, is the most amazing shirt by Vivetta, which I treated myself to whilst studying last year. I was actually writing an essay on Fortuny at the time, and reading the autobiography of Isadora Duncan who famously dressed in free-flowing Grecian clothing, so I felt utterly drawn to the neoclassical theme of the shirts embroidery.    



ASOS Skirt, Fausto Puglisi, Vivienne Westwood bag, SixtySeven shoes.  


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ASOS skirt and shoes, Vivetta shirt, vintage bag.




Friday, 22 September 2017

Roksanda's Reform

Anyone else swept away by Roksanda's latest offering, a gorgeous, softened up vision of femininity? Shirring and smocking were used to create volume and definition, in a muted colour palette modernised with jolts of yellow, cobalt and fuchsia. Maybe it's because I've just finished reading Heath, Art, and Reason, but I got major Pre-Raphaelite/Artistic/Aesthetic Dress vibes, most notably due to the generous sleeves, relaxed, languid silhouette, and of course the shirring/smocking. The girl in the pink dress above surely just walked out of Liberty's circa 1897, or out of a Walter Crane illustration? There was an earthy, crafty naivety to the collection, with touches of raffia and rope. Embellishment was spare, and when used remained within that realm of subdued, natural beauty so favoured by early Aesthetes. Print was also largely absent, and when it did appear, took the form of simple, abstracted floral, just as Aesthetic dress would avoid the gaudy, ornate patterns of fashionable Victorian dress (and interiors). Naturally, this being a designer collection of elevated quality, the fabrication is perhaps a little luxurious for our original Aesthetic dress proponents, whose mission early on was as much a political statement on democracy and women's rights than mere aesthetics.      

Of course, Aesthetic Dress, off the back of Rational Dress, was one of the first examples of sub-cultural style to attempt subversion of the fashionable and societal norm- in this case of the habitual encasement of Victorian women's bodies within restrictive, uncomfortable, and unhygienic clothing. Fashion has relaxed within the current decade, and there is evidence of the pin-thin ideal losing its grip. Here, Roksanda caters to those less interested in flashing a figure attainable by very few, but offers a view of fashion that is both comfortable and beautiful (without turning to the athleisure trope that has at this point been done to death and clearly never appealed to me). Those exaggerated sleeves may not be for everyone, but her gowns offered the flattering option of gathered natural waists, or the looser empire line. Wear over trousers with heels, or with sandals and hair-undone, the effect is the same- relaxed and elegant. So would I wear any of it? Absolutely. But of course, I'd probably ruin the simplicity with a plethora of jewels, as is my wont; and what is more, the pic'n'mix nature of fashion these days would allow me to do so. Unlike the era of the Aesthetes, Fashion is no longer based on a single narrative, but takes multiple forms. Roksanda is by no means an anti-fashion label (I'm not sure those exist in any capacity), yet clearly she has more than just an aesthetic to thank the Aesthetes for.         








































All catwalk images from vogue.com. 
Other images, from top-bottom: Liberty catalogue, 1905; 1890's velvet dress; 1895 tea dress; Julia Margaret Cameron, Pre Raphaelite study 1870; Walter Crane, The Tempest; Liberty catalogue, 1908; James Abbott McNeill Whistler, Symphony in Flesh Colour and Pink: Portrait of Mrs France Leyland, 1872-3; Dante Gabriel Rossetti, Monna Rossi, 1867; Jane Morris and daughter, 1874.




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