February 20, 2019

R.I.P. Karl Lagerfeld

Of course, I always knew the world would one day lose Karl Lagerfeld. The cycle of life and death spares no one. But he was such a monumental figure in fashion that I oftentimes pondered what his eventual death would mean for the industry. Without a doubt, I knew it would be a cataclysmic moment, shattering what we would have come to know as comfort in his existence. In my mind, his passing would define our eras in the industry: Before Karl and After Karl. 

Yet no matter how much I knew his death would one day be brought down upon us, Lagerfeld's passing has come far sooner and far more unexpectedly than even I have prepared myself for. Lagerfeld's larger than life character could have fooled us into thinking he possessed otherworldly immorality. His joie de vivre made him ageless, and his indefatigable work ethic made him unstoppable. Even though I knew he would ultimately leave us, I could never truly imagine it. So it was with considerable disbelief that I woke up yesterday to news of his death. I wasn't ready. We weren't ready. A Tuesday morning that would have otherwise been so simple and quotidian, if it weren't for the fact fashion had witnessed a pivotal change that would alter its course from here on out.

The inimitable Lagerfeld headed the helm of Chanel, Fendi and his own eponymous label, churning out up to 20 collections a year. While some may opine he worked tirelessly to produce looks which became quite tiring, there is no doubt he remained as steadfastly relevant as ever. He managed to create memorable experiences for women in his clothing, orchestrate awe-inspiring shows, and persist as one of fashion's most respected voices. Lagerfeld's ability to present a succinct vision for Chanel consistently collection after collection was precisely what made him so successful. After all these years of designing (he started at Fendi 52 years ago), there are still countless collections from past and present I hold up as shining stars of each season. I called him Kaiser because he truly was a king -- and like a king, he was both revered as equally as he was feared. His sharp, unapologetic bon mots served as bountiful inspiration and made him an icon in his own right. At 85, while most others would have been far into their retirement, Lagerfeld refused to take a break, working right up until his death. How could one not deeply admire this devotion to a life of fashion.

Even though Lagerfeld is gone and the world no longer has this extraordinary artist, it does not mean we have lost him. His influence surrounds us, and will continue to for decades to come. Perhaps I wasn't wrong in perceiving Lagerfeld to be immortal. He poured his heart and soul into everything he did, and what he has given us will last an eternity. To the man whose legacy will surely prove to be as relentless as he was, may you R.I.P.

Image Source: The Fashion Law

January 27, 2019

The Modern Socialite

After giving social media influencers a hard time in my previous blog post, I thought it best to even out the playing field. This post was inspired by an incident that occurred back in 2016, but with the still-prevalent ubiquity of social stars today, the fraught battle between old media and new media remains as relevant as before.

In a recap of Spring/Summer 2017 Milan Fashion Week, Vogue.com editors made scathing remarks about the fashion bloggers in attendance:

"Note to bloggers who change head-to-toe, paid-to-wear outfits every hour: Please stop. Find another business. You are heralding the death of style." -- Sally Singer

"...the professional blogger bit, with the added aggression of the street photographer swarm who attend them, is horrible, but most of all, pathetic for these girls, when you watch how many times the desperate troll up and down outside shows, in traffic, risking accidents even, in hopes of being snapped." -- Sarah Mower

"It’s not just sad for the women who preen for the cameras in borrowed clothes, it’s distressing, as well, to watch so many brands participate." -- Nicole Phelps

"...how funny it is that we even still call them 'bloggers,' as so few of them even do that anymore. Rather than a celebration of any actual style, it seems to be all about turning up, looking ridiculous, posing, twitching in your seat as you check your social media feeds, fleeing, changing, repeating...I have to think that soon people will wise up to how particularly gross the whole practice of paid appearances and borrowed outfits looks. Looking for style among a bought-and-paid-for ('blogged out?') front row is like going to a strip club looking for romance." -- Alessandra Codinha

Clearly, the crows were out to feast! Every single editor featured in that article couldn't help but express utter distaste at the swarms of influencers making a living off online profiles. Not surprisingly, Vogue ruffled the feathers of those they called peacocks. Among the many responses to the provoking assertions, the one that inspired me to write this post was published by Fashion Magazine in an interview with Canadian fashion bloggers Sam and Cailli Beckerman:

"Calling anyone pathetic because they like to have fun with fashion is awful. What we do is a legit job. We’re editors and journalists, too—it’s just on our own platform."


Them vs. us; you vs. me is a disappointing mindset to have, and one which I believe powers much of the world's conflict, intolerance and antagonism. So if you've already pitched your tent in support of one side of the quarrel, I ask that you erase such notions and proceed with me, because we've got some exploring to do.

The fashion editors...they had a point. There are undoubtedly bloggers out there who are paid to wear outfits they probably wouldn't promote if it weren't for the dollars they received just to slide those pieces over their bodies and arrange themselves flatteringly in front of the cameras. Vogue's criticism is not unwarranted. Authenticity has become a precious rarity. Around the time blogging became monetized and bloggers became celebrities, we lost the bona fide feeling of closeness to those whose words and images we scrolled through. And the extent to which some influencers will go to be snapped -- blocking traffic, posturing, grasping for attention -- can be quite unfortunate to see. The show is not about them; it's about the designer. Paid-to-wear outfits can perpetuate superficial style, so I don't blame Vogue editors for their disparaging comments. At least they had the guts to speak up with crushing honesty about what they saw as undignified behaviour.

But of course, not all bloggers in borrowed clothes lack substance to their style. We can't just assume influencers dress up for the money. I'm sure many bloggers genuinely love the garments they get paid to wear, and if they're like me, probably welcome any opportunity to experiment with different styles, brands and attitudes. A sincere love for fashion can manifest itself as a willingness to wear absolutely anything. And to preen and prance is arguably what these bloggers are paid to do. It is their job to be seen. Did Vogue editors have to attack bloggers with such venomous language? Probably not. They erroneously allowed the actions of a few to impair their perception of the many.

And the Beckerman twins make a good point: many bloggers have worked hard to get to where they are. Whether a fashion editor or a fashion blogger, we're all just trying to build a career out of pursuing our passions. I would discourage against partitioning out the industry and assuming one group is more elite than the other. Fashion editors cannot boast to have uttermost integrity either. They march to the beat of advertising dollars, and no one reads a fashion publication believing all of its content is unadulterated by commercialism, corporate motivations and obligatory praise. Our modern, self-made socialites have managed to carve a portion of the industry for themselves, and I think we should be proud of that. Fashion is becoming more accessible and interactive. Social media mavens have inspired countless everyday youth to embrace creativity and believe that dreams can be within reach.

So after all this, whose side am I on? I started off on nobody's side, and I will end on nobody's side. Because ultimately, I am on everybody's side. I respect the calibre of our editors, while still admiring the entrepreneurship of our influencers. Let us recognize our common goal of making a difference in the world by doing what we love -- and support each other in doing so. We are a team, and together, we make up this wonderful thing called fashion.

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Image Source: I Am Schick, INM, Vogue, Marie Claire

December 16, 2018

The Source of Paying More

Get ready for a rant because I am peeved.

You know how much I adore shoes. They will forever be one of the greatest loves of my life. So when I heard Payless ShoeSource released a commercial where they opened up a fake luxury shoe store and successfully pranked shoppers into believing their shoes were worth up to $640, my inner footwear diva was instantly offended. Yes, I have a bias for high-end footwear. Yes, I sometimes display immediate displeasure at certain shoes without so much as a second glance. But I also like to think of my bias as a heartfelt respect for the art of well-designed, well-made shoes.

And in reality, your home girl shops at ALDO, which is far closer on the scale to Payless than any luxury brand. I may be a snob, but I am not delusional. I am fully supportive of affordable footwear, and have said before that fashion which appears to be of high quality does not have to break the bank. I strongly believe in clever ways of faking it 'till you make it, baby.

Before we start peeling apart the situation, let us first take a look at the commercial:


Initial Thoughts

No way. There is NO WAY you can mistake Payless shoes for something worth anything more than $100. I have been in Payless multiple times before, and based on my knowledge of their merchandise, I am adamant there are no shoes in there which can remotely pass as high-end. As soon as I heard about this campaign, I was absolutely certain there was more to the story than what the headlines led us to believe. Which is why I am going to start breaking it down and showing exactly why Payless managed to pull this commercial off (sort of).


The Intent Behind Using Influencers

Payless used social media influencers in their commercial. That statement alone pretty much explains the entire situation. I had a difficult time imagining everyone who browsed through Palessi -- whether they be fashion industry folk, affluent shoppers familiar with high-end wares, or even random passersby from the public who wandered into the store -- all being fooled by the façade. But once I learned only social media influencers were invited to peruse the shoes, everything made sense because...well, influencers are a special breed.

The very nature of being a social media maven is to promote merchandise, and we all know how the allure of sponsorships and paid promotions can propagate inauthentic words of praise. So just imagine you have a bunch of (probably) D-list social media influencers who are invited to a swanky, glamorous party, and you shove a microphone in their face on camera to ask what they think of the shoes. I'm pretty sure no one would dare criticize the shoes, even if simply to be polite. In fact, in order to leave the door open for future opportunities with you, they might actually compliment and rave about your shoes. And heck, if nothing else, they would put on a face to show their followers they're having a fantastic time at this oh-so-luxe event.

And let me clarify one thing: social media influencers are not necessarily experts in fashion. They are experts in influencing. Many social stars may enjoy nice clothes and looking good, but their understanding of fashion may not go beyond the superficial. Their true skill sets lie, after all, in how to create and promote engaging content -- that's their bread and butter. One particularly pointed, yet not altogether unjustified, comment on Instagram opined, "Great job Payless for exposing the fraud that this 'influencer' movement represents." Ouch. But really, Payless does not stock any footwear that is made from real leather, so basically you're telling me these influencers couldn't even distinguish between synthetic and genuine leather...?

Payless was deliberate in who they set up. You think the corporate minds at Payless didn't sit around a conference table discussing exactly what kind of individuals to invite? They made a clearly conscious decision to not bring in actual fashion experts, and didn't even run the risk of having random members of the public blow their cover.


A Shameful Social Media

I feel bad for harping on influencers so much, but they really did paint a bulls eye on themselves here. Being social media influencers, I imagine the first thing they would do upon receiving an invite from Palessi is to...check out the company's social media pages! And yet if they really did, then how could they not have been suspicious from the start?

Look at Palessi's Instagram page. What kind of luxury company would post these grainy, low resolution photos? And isn't it odd how they posted a total of 24 photos on October 25 -- half of which don't even contain shoes?

And their website is laughable. Granted, the site has been edited since the campaign so I'm not aware of what it looked like before, but the shoes currently showcased on the landing page are dead giveaways. The rubber sole, man-made material, and bumbling shape of the stilettos would have been obvious from miles away. Yet hilariously, Palessi has blown up and magnified the images to the point it should have been impossible to miss these details.

The problem is, the social media influencers probably didn't look too deeply into what Palessi was, or if they did, chose to ignore what they found. There are countless influencers on the Internet who knowingly advertise for (Chinese) clothing companies which have abysmal quality and deplorable customer service, and YouTube was rife with recent drama over high profile content creators who just didn't do enough research on what they promoted. Ignorance is bliss.


Auctioned Away

Although Payless has not confirmed outright, it does appear some shoes were sold through an auction format, giving Payless that sweet, sweet opportunity to drive home the fact their shoes fetched up to $640.

This move too is entirely deliberate. An auction allowed Payless to capture inflated dollar figures for their campaign. If you attach an outrageous price tag to an item that can't live up to the figure, shoppers might not bite. But if you pit influencers against each other in a friendly game of bidding, you can possibly get them in the right mood to spend more. The auction was yet another strategic decision that granted Payless the perfect little media snippet.


Glamour Shot

Let's be honest with ourselves and not deny that the atmosphere of a store can most certainly affect our perception of quality. No matter how much we may try to judge the inherent value of a fashion item, a lot of what we think (and how much $$$ we shell out) is impacted by brand value. Brands in favour have the freedom to demand more in exchange for their promised fantasy. By simply setting up shop in a former Armani store in LA alongside other luxury giants, Palessi gave themselves some leverage against even the more discerning influencers. A poorly made shoe might just seem decently bearable perched on a gleaming glass shelf. Add to that scores of beautiful people at a glamorous party by invitation only, and you have a stunt that is one step closer to believable.


Take To The Streets

I aim, if nothing else, to be fair. So before I gave myself the liberty to knock on Payless, I did actually go out and try it. I was a girl on a mission as I visited two separate Payless stores to confirm: (1) Could I find the shoes presented in the commercial? (2) Was the quality actually impressive enough to deceive?

First of all, yes, I was successful in finding most of the shoes filmed in the campaign, with the exception of the gold and leopard print sneakers which appeared to be Palessi's pride and glory (though I found many similar styles). The majority of shoes used were, not surprisingly, from the Christian Siriano line, but I do give Payless credit for keeping the stunt honest.

In terms of quality, Payless was far better than expected, though still hardly exceptional. While some shoes veered towards trendy, the designs were overall basic and banal, lacking the originality of luxury footwear. I was disappointed to see a rubber underside on every shoe (instead of leather soles), and was put off by all the fake leather and textile uppers. However, I will say some of the synthetic leather was smooth enough as to almost pass for the real thing at first brush of the hand, unlike the nauseating polyurethane normally used by bargain stores. And I didn't see as many exaggerated toe springs (often seen on poorly made shoes which need to roll forward in order to compensate for lack of flexibility in the sole) and sloppy stitching as I had anticipated. Yet despite the reasonable craftsmanship, the devil is in the details. Payless pumps all came with -- in addition to a seam in the back -- a second seam along the arch of the foot, a surefire sign that more than one piece of material was used to construct the shoe. A high quality pump will possess only one seam along the back of the heel. Upon inspection of their ankle boots, I found one particular design with braided straps which were cut bluntly near the zipper, leaving a distasteful number of unfinished ends. Any luxury shoemaker would close the loop on such details.

After my evaluation of the shoes, I pegged their worth at around $40 (not $640!), which turned out to be exactly what most of the price tags asked for. I am happy to say Payless is at least principled in their pricing.


Final Thoughts

The news headlines surrounding this campaign were almost farcical:

"Payless pranks customers by getting them to buy its discount shoes at designer prices."
"Payless shoes fools fashion snobs, sells discount shoes at luxury prices."
"Payless opens fake luxury store, dupes influencers into paying hundreds for shoes."

In some ways, Payless did manage to dupe a bunch of shoppers -- but not because of how great their shoes were. This campaign was a carefully constructed scenario that took full advantage of the behaviours and motivations of those who were invited. This is not a prank that would have succeeded if a single foot stepped outside of those meticulously drawn parameters. My conclusion? The real dupes are those who think this experiment said anything about the quality of Payless shoes.


Image Source: PYMNTS, Adweek, Ad to Date, Bustle, Rouse Hill Town Centre, Forbes

December 2, 2018

Heavenly Bodies

I've been very upfront about my relationship with Versace. Never have I tried to hide the special place Versace has in my heart as the brand that ignited my lifelong passion back in 2007. Though it dawned on me there is one thing about this Italian house I have not yet talked about: Atelier Versace. So here I am today, ready to fully come clean to you about mon amour.

While the core Versace prêt-à-porter collections can at times come across as flashy and tacky, the haute couture arm of the brand, Atelier Versace, is consistently flawless. I first discovered Donatella Versace's brilliance in haute couture when I began to notice time and time again she was behind some of the most splendid red carpet moments over the years. Angelina Jolie is clearly a fan. Her statuesque emerald column at the Golden Globes? Her swipe of red the year after? Her iconic thigh high slit at the Oscars? All were thanks to Atelier Versace. And it's not just Jolie who looks jolie draped in DonatellaSelena Gomez deserved applause for her brazen gown with fluorescent accents, while Gigi Hadid struck a winning pose swathed in what looked like painterly strokes. Atelier Versace is like the Sia of fashion: it is the silent, underappreciated genius who makes other people look good.

But, of course, the red carpet alone cannot do justice exhibiting what Atelier Versace is truly capable of. For that, we must look to the collections themselves. Some of my personal highlights include...

Spring 2012 Couture: Gold metal splicing through with razor precision for maximum extraterrestrial glamour.


Spring 2016 Couture: Colour geometry and texture play pave the way for youthful yet thoughtful urban couture.


Fall 2016 Couture: This elegant dishabille, pleasantly reminiscent of Vionnet demi couture, encourages us to slip deeply into the folds.


Spring 2017 Couture: Deliberate use of mythology as a muse: the incarnation of Artemis through meticulous pleating and angular layering.


Fall 2017 Couture: Whether you see liquefied precious metals which harken back to Prabal Gurung, or a bronzed up Mystique in mid-transformation, this look is dripping with intrigue.


Fall 2017 Couture: A collection so strong I had to show it twice. With this embodiment of a winged crusader, Atelier Versace proves that perfection does exist.


Fall 2018 Couture: Natasha Poly serving up lewks which showcase the incredible workmanship behind the earnest art of embellishment.


What I see from years of couture is Donatella Versace has an acute awareness of shape and placement. She is able to gently trace intersecting lines across the canvas of the body in ways breathtakingly unexpected. She has honed her ability to carry out elaborate adornment by ensuring each and every bead serves a purpose. Wearing Atelier Versace is like indulging in that split second sensation after emerging from a dream where fantasy and reality are still lusciously intertwined. When it comes to haute couture confections, Elie Saab may be king but Atelier Versace is divine, blessing us with pieces crafted by the hands of angels in what may as well be the house of heaven.

Back when Versace was founded, Gianni Versace chose Medusa as the subject of his logo because it was believed the serpentine sister had the power to make people fall hopelessly in love with her. Turns out Versace had the foresight of a prophet, because boy, am I ever in love.

Image Source: Dutch Girl Chronicle, Vogue

October 3, 2018

Meme Review

Here I am again, in what has unintentionally become my third installment in a series of blog posts about the current state of fashion (click for Part 1 and Part 2). I feel like a peasant version of beloved YouTuber Shane Dawson, who has been killing it lately with his docuseries (love you, Shane!).

Speaking of YouTube, you may be surprised to learn I watch the video platform's most subscribed channel, PewDiePie. I actually don't watch fashion influencers, beauty gurus, or lifestyle vloggers...I watch comedy personalities. As someone who vehemently dislikes the comedy genre outside of YouTube (and Mr. Bean!), I realize this is an odd quirk of mine.

Earlier this month, PewDiePie posted a video about fashion.



In his video, PewDiePie speaks to what he considers the intersection of fashion and memes. He brings up various examples to support his claim, but as someone who is not immersed in meme culture, I'm left wondering, what makes a meme and how is fashion a meme?

I first went to trusty ol' Wikipedia for the definition of a meme:

A meme is an idea, behavior, or style that spreads from person to person within a culture.

In essence, pretty abstract. Memes do not have to be through a certain medium, they can convey any sort of concept, and they are not always very obviously a meme because only those who understand or have an awareness of the idea will understand the meme. One could say, however, that memes are most oftentimes humorous and flourish best on the Internet. With that definition in mind, I wanted to determine for myself whether fashion has become a meme.

Memes are...

...an idea, behaviour, or style.


Fashion could clearly check off this definition. What we wear is a form of expression representing the ideas and beliefs of the time. So then, has fashion simply always been a meme throughout history, or is there something in particular about our current time that makes fashion a meme? PewDiePie seems to believe the latter. He points to how the loud, colourful clothing we have been witnessing lately is akin to the obnoxious style of memes. He shows us images of older Gucci and Louis Vuitton menswear collections where styling was more pared down and clean cut. While I appreciate his observation, I don't think being "loud, colourful and obnoxious" is necessarily what makes modern day fashion a meme. Fashion has always run along a spectrum of style, and elaborate dressing bordering on the unhinged has shown up countless times in the past. As I have written about before, what is different now is our anti-fashion attitude. I believe PewDiePie does actually get the same sense, and was trying to capture that point when he said fashion nowadays "doesn't take itself seriously. What used to be a parody is now reality." And that brings me to my next point...


...humorous.


People sometimes only see stone-faced models parading down the runways, the snobby air of the glamorous industry, and clothing that seems straight up cuckoo...and they fail to see the underlying humour. Us fashion folk like to have fun. We don't always take ourselves so seriously. I will gleefully snicker while wearing a cardigan that looks oddly similar to a burlap sack (hear ye, my potato brethren!), deliberately donning tasteless logos, and topping off with a free baseball cap my dad probably obtained at some random event. Tongue in cheek fashion has always existed (I'm lookin' at you, Vera Wang), but you could say it has reached a fever pitch in recent years. Ironic fashion has become a thing. Just look at the rise of hideous dad sneakers (the chunkier and more contorted the better, ladies!), Balenciaga's ongoing luxury parody of 99 cent items, and the plethora of weird and wacky "ugly" clothing. If memes are humorous, then fashion has memeing down pat.


...part of an inside joke.


While humorous, memes also gain value from jokes with obscure origins. You're only cool if you get the reference, hence the "random" humour of today's youth. Inside jokes in fashion are obviously harder to spot, but an example that sticks out to me is Prada's Flame Shoe bag. Back in Spring/Summer 2012, Prada released an It shoe: wedges with flames coming out the back. They were so iconic that after all these years, I still consider them one of Prada's most successful shoes. Lo and behold, for Fall/Winter 2018, Prada pasted its Flame shoe onto a handbag. If you didn't happen to be familiar with the shoe, you may have thought of it as just some arbitrary print -- but for those who were around in 2012, we remember. Another recent example we could consider an inside joke is Christian Dior's new J'adior moniker. Well, new-ish. It is of course a clever play on words with Dior's famed J'adore fragrance. 


...shared among many people or replicated in many ways.


Memes are meant to be shared. Sharing is arguably what the Internet was designed for: to link, to share, to connect. We have seen fashion shedding its elitist exterior and becoming more accessible in the past few years, but I have never seen luxury fashion as popular among the younger crowd as it is now. Suddenly, we have all these 20-somethings on social media coveting high-end labels. While I'm still shopping at H&M, my fellow Millennials on Instagram are flexing their Gucci slides, Gucci backpacks, Gucci loafers, Gucci tracksuits, Gucci belts, Gucci crossbodies... Luxury fashion has managed to go mainstream, making it more prevalent than ever before. Yet keep in mind there is a tipping point where memes are replicated so much they become stale and die. Not everyone can make a good meme in the same way not everyone can make a good fashion statement. I fear we will soon reach that tipping point where wildly popular high-end items will become so widespread they eventually lose their cool factor.


So after this assessment, have we decided whether fashion is a meme? I buy it. But I guess I still can't nail down with absolute certainty what makes fashion a meme -- though maybe that's the point. I'm not supposed to get it. In fact, I only make a jest of myself by trying to explain the meme and have probably already been ostracized from the exclusive community of people who simply just get the joke.


Edit: Following his initial video, PewDiePie posted another one listing out his Top 10 fashion memes. You can watch it here.

Image Source: Fashionista, Popsugar, Browns Fashion, Ryland Adams 

September 11, 2018

The Remaster Artist

These have been a surreal 10 days. I took time away from the office to volunteer for and attend an international piano competition hosted here in my city. Even though I stayed squarely within the borders of local soil, it felt like an escape -- an escape to a life where I could fulfill my romantic visions of being a woman of grace and refined tastes. Every day (and oftentimes twice a day), I dressed up, made my way to the concert hall, and observed some incredible talent perform on stage. I felt so content surrounded by the music community and its exciting creative energy, and it was a pleasure seeing how each of the semifinalist pianists added their own unique artistry to time-honoured classical compositions.

Speaking of artist interpretations, is that not what fashion is nowadays? Trends can cycle as plainly as the economic cycle. They boom, they bust, they boom again -- but each time they boom, they flourish in a different environment, politically and culturally. In my previous post, I wrote about my belief there is a new order in fashion. However, if you read carefully, you will note I don't believe this newness to be revolutionary. What has changed is the attitude we share -- not the actual clothing. The trends we wear today continue to draw on decades of fashion; what is different is our mainstream embrace of subculture and the unorthodox. As Nick Remsen so accurately describes in "Remixed and Remastered" for Vogue July 2018, "Newness in fashion, then, is becoming less about some notion of the never-seen-before and more about seeing something familiar in a new and unexpected context."

With that in mind, I present you with this blog post. I was scrolling through my long list of unpublished drafts, and came across an editorial photoshoot I had wanted to share many years ago, titled "Lady in Waiting", from the Winter 2014 issue of Fashion Magazine. What drew me to the images initially was the sumptuous glamour punctuated against the archetypal musty, mobster motel. Each outfit was flawlessly composed and gorgeously executed. Yet, in our days of immediacy and evanescence, so many years have passed since this editorial was published that most people would consider it no longer relevant to speak to -- which is why I have come up with a way to make it more pertinent. I trawled the latest collections from the past year to show you how each of the looks displayed in "Lady in Waiting" continue to inform our sense of style today.


THEN

NOW

Vivetta Spring/Summer 2018 RTW

A feathered top and skirt paired in colour blocked fashion appear almost sensible next to the spectrum of colour we pile onto our bodies now (#pride). Why limit yourself to one, or even two, when you can have three. The more the merrier.


THEN
NOW

Fenty x Puma Spring/Summer 2018 RTW

Lacy underthings peeking out from the opening of a mannish coat make for one sultry come hither. Yet the modern woman waits for no man; she's too busy getting from A to B. A utilitarian wind breaker may be formless, but a sporty boudoir dress that clings tight means you can move and groove without sacrificing sexiness.


THEN

NOW

Max Mara Fall/Winter 2018 RTW

A bold blush topper is just as apropos today as it was back then. Border on the saccharine with pink in the texture of sheepskin, alpaca, or shearling. The more disarmingly dimensional, the better to eat you with.


THEN

NOW

Chanel Cruise 2018

It's a Roman holiday! The drapes of a goddess gown are timeless, as is the pairing of gold and white. Update the look to MMXVIII with palazzo pants instead of a pencil taper for ease and breeze while on the yacht. Get ready for your odyssey.


THEN


NOW

Alberta Ferretti Spring/Summer 2018 RTW

Believe it or not, a full ostrich feather dress has staying power. The latest renditions might be more flyaway and feminine, but any woman who wears this statement piece remains one who roams wild and free. Catch me, you can't.


THEN

NOW

Tom Ford Spring/Summer 2018 RTW

Girlish sequins toughen up with a metallic sheen worthy of the bravest dame. Show you mean business by replacing the clutch coat with a sharp blazer that brings down the gavel. You don't have time for games, but that doesn't mean you aren't fun.


THEN
NOW

Alexander McQueen Spring/Summer 2018 RTW

Sheer genius comes in many forms. Steampunk edits allude to the vampy glamour of yesteryear, while exhibiting a far more complicated interplay of characters. In present day, we acknowledge the complexity of human nature and expression, realizing that one who enjoys sheer frills can still get a thrill from rugged companions. Dissonance is not disturbing. It is sign we are whole and complete.

August 12, 2018

Time's Up

I have been following the fashion industry for ten years, yet it has only been in the past few years I have truly sensed a seismic shift in our attitude towards fashion. Trends have come and gone...and come back, and technology has been a persistently disruptive force shaking the industry to its core (a topic I touched on back in 2010), but I believe what we are witnessing now is different. We are in the midst of a cultural change. Fashion tends to have a distinct characteristic every decade, and I wouldn't be surprised if we are right on the cusp of defining our current conviction. The present-day zeitgeist might not be revolutionary, but I would consider it revelationary -- an aha! moment where we realize, yes, fashion can be like this.


In addition to having impressive racial diversity on the runways lately, we have seen a move towards a new kind of look: one that is comfortable, casual, and even crazy. Labels which specialize in skate and hip-hop streetwear, such as Yeezy, Off-White c/o Virgil Abloh, Supreme, Vetements, and Fenty x Puma, have experienced meteoric rise. Our growing focus on health and wellness has brought activewear to the forefront, with Nike and Adidas actually rivalling the major fashion brands in footwear. Moreover, there is a deepening acceptance of 'anything goes' fashion, evoking crazy cat ladies, eccentric vagabonds, and hippie activists. Led by powerhouses Gucci, Balenciaga and Maison Margiela, layers and layers of clothing are thrown together to hide and obscure the lines of the body -- avant-garde style with urban sensibility. At what point in earlier years could we have thought to send such ugly clothing down the runway and still have people lap it up? Let's face it, the cool kids nowadays are wearing oversized hoodies, slip-on mules, laidback culottes, chunky runners, fanny packs, embellished slides, patched-up denim, socks with Birkenstocks, micro shades perched low on their noses, and yes, even platform Crocs (thank you, Balenciaga).


It is no coincidence this new aesthetic coincides with today's volatile sociopolitical landscape, where on the regular we encounter actions and speech crawling with undertones of intolerance, disrespect, and hate. What we are seeing is a response to our current reality with clothing that can become a canvas to bear our manifesto. A battle cry for diversity in the face of adversity. We climb up high with our megaphones but before we even have to speak up, what we wear declares: We don't have to look good. We just have to feel good -- about ourselves, about others, and about the world we live in.


To illustrate this modern mentality, let me take you for a walk down memory lane and chronicle the ascent of athleisure.

Our story starts off with American sportswear in the late 20th and early 21st century, fronted by designers such as Ralph Lauren, Calvin Klein, Perry Ellis, Tommy Hilfiger and Michael Kors. This approach was exemplified by relaxed, unfussy separates which -- although influenced by the ease of sportswear -- were still appropriately dressy enough for social occasions. There had not yet been much focus on actual athletic gear...until 2005. That year, Adidas released Adidas by Stella McCartney, a collaboration I believe to this day remains highly underrated. McCartney was truly ahead of the times. She achieved the unfathomable: she changed my perception of gymwear and convinced me it was possible to exercise both my body and sense of style at the same time.


Shortly after, Lululemon began to gain traction with its derrière-defining yoga pants and zip-up hoodies with a distinguishing omega, and the brand became famous (or infamous) for making it socially acceptable to sport activewear casually outside of the gym. Perhaps, too acceptable. Being decked out in head-to-toe Lulu eventually became an object of ridicule. The way I see it, our obsession with athleisure sincerely started when Karl Lagerfeld outfitted his models in sneakers for Chanel Spring Couture 2014. At that time, who in their right mind would have ever thought to combine runners with the runway?! For Chanel, no less. And for haute couture, no less. Yet when the Kaiser speaks, we listen. The moment became a movement, and the movement became our #currentmood. Cool kicks started cropping up everywhere on both the streets and the runway, and soon enough, they stole the title for most pervasive trend. Even I caught the bug. I initially swore off rubber soles in high school (I did choose to identify with red soles, after all)...but now I own nine pairs of sneakers, most of which were acquired within the past year or so.


In 2018, sneakers are our stilettos, sports bras are our lingerie, and putting Ariana Grande's "God is a Woman" on repeat with a chia bowl and fresh pressed green juice in hand, a healthy mind and body are our mantra. One day, there will of course be a return to classic fashion. Elegance is eternal. But right now, we really need this new order. We really need the world to take notice. In our baggy logo-ed sweaters, our sleeves may be long, but our hearts are loud. The fire burns brightly within us and to those who think they can weaken our flame, you better listen up: times are changing, both in fashion and beyond.

Image Source: Team Kanye Daily, Something About, The AustralianTrend Hunter, AOL