SHOW REVIEW: VALENTINO HAUTE COUTURE AW16

Exit pursued by.. Maria Grazia Chiuri. 400 years of Shakespeare was celebrated at Maison Valentino this evening as the show opened with music from Prokofiev’s ‘Romeo and Juliet’ - the same music that nowadays is more commonly associated with Lord Alan Sugar’s, The Apprentice. During the second half of the show, a music change was instigated by the silky voice of Leonardo Dicaprio in Baz Luhrmann’s Romeo + Juliet, followed by an instrumental version of the film’s theme tune, ‘Kissing you’ by Des’ree. Whilst Shakespearean aspects were reflected throughout the collection, the story of Romeo and Juliet seemed more present than any other of the famous plays. This was not only apparent in the music choices, but in the bold reds connoting both love and blood. A symbolic play for the changes that await Valentino as this collection will be the last developed under the creative direction of Maria Grazia Chiuri and Pierpaolo Piccioli as a duo. 

Although we await final confirmation - expected this Friday - it was released last week that our so beloved creative duo are to be split, and Maria Grazia to be moved to Dior; filling the large boots of Raf Simons. Whilst we may be excited to see how Dior twists and changes, we cannot help but feel a little sadness after witnessing the last of the pair’s collections together.

From a personal point of view, over the past few years Valentino has become the label I most anticipate on the couture week schedule. It is, in my opinion, the most worthy fashion house of a luxury status. The intricacy of the designs and their abilities to cut you off from the outside world, create a magic that surrounds Valentino. Whether the clothes throw you into greek mythology, the Garden of Eden, or even a Shakespearean romance, their powers to transport never disappoint. 

This evening, Maria Grazia Chiuri’s last collection for Valentino featured femininity in all its forms.  A dress in pink chiffon and tulle titled ‘Grazia’ echoed feelings of gentleness and flirtation - a gown suitable for feature in A Midsummer Night’s Dream. In contrast, the image of a powerful Elizabethan woman was painted in masculine shapes and daunting black boots that loomed underneath delicate chiffon. Each side of the female persona was shown, including lust and sex appeal that was exuded from sheer bodices and glittering, body hugging, gowns.

I have no doubt that Maria Grazia will do very well at Dior, but for now, let us remember the art she and Pierpaolo brought us at Valentino, as one of the greatest duos in fashion’s history. 

Images from VogueRunway.com

SHOW REVIEW: V vs V, VERSACE AND VETEMENTS

August’s edition of British Vogue sees editor-in-chief, Alex Shulman, commenting on modern fashion and the buzz surrounding it: ‘There is more chatter currently surrounding fashion than at almost any other stage in my memory’. She continues by highlighting key topics of conversation including the impact of the digital age, the ‘musical chairs’ of creative directors, and the structure of the fashion calendar. However, what Shulman does not mention is the ongoing war between expression and commercialism. Instagram has brought about a new age of creative direction, where designers such as Olivier Rousteing and Jeremy Scott boast their celebrity allegiance and utilise social media for the purpose of boosting sales. Fashion houses are reliant on commercialism, but when designers are producing clothes purely to sell them can it still be labelled as art? There is a difference between those who create art to please others and those who create art to please no one but themselves - one is an artist one is not. 

When Vetements were invited by the Chambre Syndicale de la Haute Couture to show this season, there was speculation over whether or not Demna Gvasalia would be moulding his style to fit the polished expectations of couture. However, from the first look he sent down the catwalk it was apparent that this was not the case. Whilst I was slightly disheartened not to have been blessed with a glittering, evening-wear style Vetements, I was glad that Demna had not succumbed to designing for the pleasure of others. Through oversized suit jackets and Juicy Couture one-pieces, Gvasalia marked his territory and proved that a brand need not alter itself in order to appeal to consumers. Nothing about the collection leaned toward stereotypical haute couture, yet as with all things Vetements, I believe it will sell very quickly. 

Looking at the clothes themselves, over-sized minimalism and waist-high boots seem to be what people are remembering. And for good reason, the Manolo Blahnik X Vetements boots were marched down the catwalk in colours ranging from emerald green to hot pink and were paired deliciously with ankle-length gowns that were sheer enough to reveal a charming amount of nipple. Aside from this look, few stood out as innovative since Vetements have already given us four very similar collections. Demna may have remained loyal to the brand’s image, but could it be argued that a deliberate lack of eccentricity resulted in an overall plain collection? 

At the opposite end of the spectrum, Donatella Versace indulged us in extravagance. Metallic pastels meant garments glowed as they moved down the catwalk, whilst waves of texture made our senses lustful. Bar some stray strips of extra material, Donatella produced a collection I can say that I like - a rare thing since I don’t often get along with Versace’s (arguably) outdated seductiveness. Donatella herself told style.com that she had wanted to avoid being ‘super-sexy’, resulting in a modernised Versace that will be heading straight to the red carpet. 

Nevertheless, this red carpet allure may be a hole in Donatella’s carefully crafted plan. An almost flawless execution, could it be that Versace has become a fashion house designing to sell? Purposefully sculpting red-carpet-ready gowns so to survive as a business rather than an art outlet? 

Whilst Donatella may have won in relation to expectations of Haute Couture, it is Demna who won in not yielding to the pressure of commercialism. Haute Couture is changing, and whether Vetements be invited back or not, they have made a very valid point: art for the satisfaction of others is not art. 

Versace: Haute Couture a/w 16, pictures taken from style.com.

Vetements: Haute Couture a/w 16, pictures taken from style.com.

IS VETEMENTS 'UNCOOL' NOW ?

Vetements, a French fashion house founded by brothers - Demna and Guram Gvasalia – launched its first collection a mere 24 months ago. Two years and four seasons later the label has become known worldwide as one of the most current and exciting retailers of the moment. How is it they’ve so quickly achieved global recognition, and for that matter, respect enough that gained them an invitation to show at this July’s haute couture week?

As of yesterday, Vetements is the most recent brand to have been invited by the Chambre Syndicale de la Haute Couture to produce a collection worthy of couture week and thus the highest scrutiny. Could this be a response to the wave of bloggers that posed the bi-annual question ‘is haute couture dead?’, or perhaps an attempt to modernise and evolve the structure of today's couture? Either way, clothes as edgy and raw as the ones produced by Demna Gvasalia certainly juxtapose the usual ideals of the polished-to-perfection, Elie Saab style couture that we’re used to.

It seems possible to me that the allure of Vetements originates from the house's creative director, Demna Gvasalia - also the current creative director of Balenciaga. During an interview with The Telegraph, Gvasalia emitted an almost rockstar attitude toward the industry with a nonchalance that becomes increasingly respected in today's society, rather than what may be typically known as arrogance. When asked by interviewer, Kate Finnigan, 'what is [Gvasalia] trying to say with Vetements?', the frivolity of his reply only added to his sense of cool: '"Not really much" he shrugs' ( http://www.telegraph.co.uk/fashion/people/demna-gvasalia-on-race-that-dhl-t-shirt-and-why-he-wouldnt-pay-f/ ). 

This carefree nonchalance so clearly seen throughout his collections may work for ready-to-wear, but will the same be said for haute couture aw16, a season reliant on precision and care? Perhaps. Since although Vetements takes pride in its imprecision, Gvasalia was able to prove his intricacy skills with his debut collection for Balenciaga last season. He evidenced that Demna Gvasalia is not only capable of oversized rockstar, but of oversized elegance too. Industry critics raved about the success of the show and in Sarah Mower's, style.com, review she implied Balenciaga would be 'every woman's new label'. 

When a fashion house is as eagerly anticipated and sought after as Vetements, there is no doubt that the public seek out opportunity to poke holes in such success. Whilst many questioned the legality of the now infamous ‘DHL’ logo t-shirt, one mistake was harder to justify: for the two years that Vetements have been producing clothes, only once in their history have they cast a model of non-white origin. The debut collection for Balenciaga may have been a hit with critics, yet it caused controversy by reenforcing stereotypes and failing to show any kind of diversity on the catwalk. When questioned about the issue during Kate Finnigan's interview, the creative director attempted to warrant his decisions with allusions to Donald Trump and his own Georgian background 'where [race] is not even an issue'. A statement that seems to have only puzzled us further. 

But legal matters and catwalk diversity are not the company's only troubles. It is often the case that when something classed 'cool', becomes popular in society it loses its respected title: resulting in the most talked about clothes of the year being labelled with the dreaded 'mainstream' tag. It's ironic that if everyone is wearing it, it's no longer considered fashionable. Similar to when you find an edgy musician with only 6000 twitter followers but before you know it they've had three number 1s and are a judge on The Voice. 

This week, Lorde decided via Twitter that 'Vetements is uncool now'. We can assume this was a response to the brand's apparent lack of diversity, however, Lorde could've have been saying what we've been thinking: that with the more people becoming aware of Vetements, the more it loses its cool and gains a whole new audience. 

- IVD

CENTRAL SAINT MARTINS: THE 800 WORDS THAT GOT ME A PLACE

With London's Central Saint Martins being the top university in the world for fashion, I was thrilled even to know I had made it through the first of three application hurdles. My personal statement had passed the CSM test and I received an email that gave me five days to produce an 800 word article; 'A modern viewpoint on today's fashion'. A few weeks later I was informed that I had made it to the third stage of application, the dreaded and infamous Saint Martins interview - renown for being particularly tough. Questions such as 'what is your preferred type of stitch?'; 'If you were a dead fashion journalist which would you be?'; and 'recite a famous quote from Diana Vreeland', caused me to lose the little hope I had of obtaining a place at the prestigious art school. However, yesterday morning, I awoke to that heart-stopping 'track@ucas.ac.uk' notification, and I am so pleased to say that I have been offered a place to study fashion journalism at Central Saint Martins. I can smugly say that I am one of 20 they chose from 400 applicants! (And apologies to Kanye West who was turned away last year). I am ecstatic to have the opportunity to study at the university that produced the likes of Alexander McQueen, Phoebe Philo, John Galliano, Riccardo Tisci and Stella McCartney. And so I have decided to share with you the 800 words that got me my interview. 

Is Fashion Insignificant?

Last November witnessed Paris suffer a destabilising horror. Still raw, the shock of the attacks spun the world into mourning. A city rich with passion and culture, run with panic and grief. An evening embedded into history; we shall never forget the blanket of fear that fell upon the world, we shall never forget those whose lives were taken from them. 

On that day, the city we know as the beating heart of high fashion reengaged us with its vulnerability. More than a skyline, we were reminded that Paris is a home, a culture, and is alive - but for a bleak moment, was silenced. 

As in many aspects of our lives, this silence is remembered on the catwalk. Haute couture speaks softly this season, yet the elephant in the room continues to grow: fashion needs indulgence. An unsteady foundation in today’s society. 

During July last year, Karl Lagerfeld introduced us to the Chanel gamblers. An elite band of Hollywood’s most treasured misfits; they came dressed in velvet and gold, poker chips to hand. Superfluous wealth was not only projected from clothing of the highest prestige, but inferred inevitably from Lagerfeld’s casino vision. Couture is not known for its subtlety, and so Chanel did not hesitate to parade a scene of lavish nonchalance. 

From one height to the other, an absence of eccentricity during couture, spring 16, pays respect to its host city. Attesting that these sufferings do not go unnoticed. Karl’s direction this season contrasted his last, opposing the affluence of gambling with nature - a theme implying realism. It is easy to conclude that fashion is a reflection of our times, the more difficult task is being conscious to when and why it is so. 

Fashion needs society to be self-indulgent because ultimately, it must be bought. Although a narrow way to view an art form, brands unfortunately would not survive without consumerism. This being said, it is many people’s opinion that couture is becoming exceedingly inappropriate. Ever worsening global crises have rendered the fashion industry insignificant when compared to our daily headlines. The distress of middle-eastern communities amongst issues such as radicalisation, climate change and refugees, leads to fashion being branded with a new perspective. Understandably, it is this that weaves the finest of embroidery with threads of guilt. 

However, the relevance of clothing surpasses the law of indecent exposure. Suggesting that apparel is required only to cover-up is a flawed statement. Fashion, necessary for more than the function of keeping warm, is needed to challenge. It has no fear, and in particular, likes to challenge ideals of beauty. The industry likes to comment on preconceptions by undermining them and gnawing at the base foundations of stereotypes. Vivienne Westwood’s fall 16 menswear collection, not only embraced bright makeup, but men in floor length gowns. Or for that matter, Yves Saint Laurent’s 1966 ‘Le Smoking’, notorious as the movement that introduced women to suits. We need fashion, because by challenging the system, it is slowly evolving society.  

We need fashion because of the light it sheds on our history, because of how it enriches and brings together cultures, and because of the confidence that accompanies a striking outfit. It is a text that goes beyond aesthetic surfaces.

We need fashion because it is an expression; a glint of who we are as individuals; and above all, art. Just as our survival is dependent on food and water, life would prove insufferable without art’s demand to exceed limitations. A life without art would be a life confined. The same is applied to fashion. Those who hold fashion dear to them feel the same intensity as other artists might. Like the industry’s children, we feel protective of this which has given us life and liberty. Lee McQueen said, ‘fashion should be a form of escapism, and not a form of imprisonment’, a quote fulfilled when a person ignores societal wishes, focusing independently on the desires of oneself. When reliant on the views of others we are only able to progress as a follower. Fashion is not following, but appreciating, whilst simultaneously being aware of your own palate. There is no higher freedom than being able to express opinion. And to me, there is no better voice than that of clothes. 

Fashion is significant now more than ever, and just like Paris, it is alive, and will continue to thrive even when threatened. We remember those lost to the attacks in the flowers that line the city; in the red, white and blue that united continents; and in the work of artists, paying their respects with what they do best. 

Image: central saint martins aw16 collection

ALEXANDER WANG - REVIEW

This collection cannot go unnoticed. Taking place in a church, Alexander Wang will have prepared himself for controversy. After Alessandro Michele announced that his Gucci, 17, cruise show is to be held in Westminster Abbey in June, the church spoke up in opposition. The concept of mixing fashion and religion was thought inappropriate and out of place to reverend Peter Owen-Jones who spoke to the Independent about his strong concerns - valid since this ultimately is using a place of worship for predominantly commercial purpose. However, this didn't stop Alexander Wang from mixing the two. And for that matter, almost insulting the church in the process. 

Rebellion seemed the theme of this body of work. Stereotypical teenage revolt portrayed through parents' worst nightmares: harsh pointed studs, chain chokers, pole-dancers on jumpers and marijuana printed jackets created what seemed a punk take on Chanel. Yet Wang may have intended an ulterior motive. 

Although a youthful take of rebellion, we sense a more mature political statement - the historic battle against religion. The main source of global conflict, Wang may have been addressing this with his insulting of traditional views. Promoting marijuana printed clothing in the house of God is certainly a controversial move to make. 

This collection may have focused more on the message than the clothing since the apparel was nothing much out of the ordinary. However the outspokenness could be read clearly, and for that, Alexander Wang, we salute you. 

FENTY X PUMA - REVIEW

Rihanna's debut collection for Puma did not disappoint. No need for months of promotion, no purposefully controversial stunts to gain attention; yet a pristine line of clothing, quietly reminding us of its presence without full scale publicity. Rihanna left the clothes to speak for themselves, which they did, and further caused ripples of respect throughout the industry. Puma's new creative director took the subtle, professional root. Or at least it seemed that way in comparison to Yeezy season 3. It is possible that the success of this collection is down to good timing. The overpowering nature of Kanye's show, paired with his shouting social media persona, rendered the Puma show less publicly anticipated and therefor made more of an impact when released to the world.

However, regardless of good timing, it's obvious that this was a collection Rihanna had thoroughly considered. It's a difficult thing to make sportswear chic, although Rihanna achieved it with occasional tastes of fur and lace. Referencing the Addam's family - 'if the Addam's family went to the gym, this is what they would wear' - allowed for a gothic take on sportswear, with the relentless attitude of Wednesday echoed throughout.

This collection has become the epitome of street style and will be the benchmark for those whose designs embrace a similar mood. Fenty X Puma has brought us a clean and polished collection that we respect. There was substance to the clothing, and by that I mean a certain richness. Even if not to our personal tastes, it is undeniable that these clothes will have a knock-on effect, influencing much of what we see on the high street.

Rihanna has gelled beautifully with Puma; tailoring her creativity to suit the brand whilst bringing with her an attitude that puts Puma back on the map.

YEEZY SEASON 3 - REVIEW

Shakespeare’s, The Tempest, is thought of by many critics as a clear example of style over substance. This was his last solo play and he wanted to exit with spectacle; paying little attention to the storyline that was thus left dry.

Kanye West’s, Yeezy season 3, was certainly a spectacle. An audience of 18,000 piled into Madison Square Garden for the reveal of not just season 3, but for the unveiling of Kanye’s new album.

‘Happy Kanye West Day’ was the greeting attendees were using as they entered the building, soon to be fixated by the self-indulgent world of West that waited inside the arena. Spectacle after spectacle was unleashed on Madison Square Garden; a white, fur cloud of Kardashian / Jenner’s exhibiting the Yeezy X Balmain, surprise collaboration; the announcement of Kanye’s new video game ‘Only One’; and of course, shocking misogynistic lyrics thrown at Taylor Swift.

Such drama however, has distracted from the clothes - which aside from being slightly different in shade, were almost replicas of what we have already seen in season 1 and 2. It's proven that Kanye likes to think himself an innovator –“I’m a creative genius and there’s no other way to word it” – yet his designs are stuck echoing that of season 1. It’s understandable a new creative director wanting to put his stamp on the brand image, however Yeezy collections are becoming increasingly bland. We cannot help but feel Kanye has a lot going on right now, he has fully expressed it in his tweets, leading us to believe that the lack of dazzle from this collection is most likely due to him being busy with a thousand other projects. So why not focus all his efforts on one project and create a true spectacle? Because he’s Kanye West. And this event was ultimately about nothing other than Kanye himself.

Just as Shakespeare wanted to be remembered with his extravagant display of The Tempest, West’s blur of events could be seen as being for the sole purpose of self-promotion.

Some dedication to fashion was communicated through his worshipping Anna Wintour – the vogue editor-in-chief renown for pairing brands with creative directors – after earlier telling her that he would love to be made the creative director of Hermès. A tactic if ever we saw one, yet also a stunt that allowed him further publicity.

With there being no such thing as bad publicity, this blog post in itself is giving Kanye the attention he craves. The dig at Taylor, the argument with Wiz Khalifa, the 3x album name change, all working in his favour and further selling himself to the world. His attempt at a political message, having models stood atop refugee tents, seems to have been already dismissed. Although I’m not sure it should’ve been since is it really ok to promote oneself through global crises?

Who knows what the next few days will bring as we await Kanye’s ‘best album of all time’. There is no doubt he is a showman, but whether he’s the creative genius he believes, that’s a different story.

HAUTE COUTURE: A GUILTY PLEASURE

In the opinion of many, the glow of couture week is becoming exceedingly inappropriate. Three days dedicated to the parading of glitz and wealth seems obtrusive amongst today's crippling economies. The juxtaposition of haute couture and the current middle-eastern crisis renders fashion insignificant; an unnecessary opportunity to smear money across the screens of millions. Untouchable riches. 

This being said, the bi-annual event remains a personal guilty pleasure. Although a sinful presence underlies my indulgence, laced between my mixed emotions lingers waves of thrill. We cannot explain the excitement that is tickled by Maria Grazia Chiuri and Pier Paolo Piccioli. Or for that matter, justify our needs for the silks of Saint Laurent. Perhaps our desires are set alight from the knowing that these objects are out of our reach; like a forbidden love - forget Romeo, we'll take Elie Saab. 

As ridiculous as the need for the Chambre Syndicale de la Haute Couture may be in comparison to the shocking societal crises of today, I find the coming days to be the most thrilling of the industry calendar. We may well be dancing with the devil, for the temptation of couture is often too otherworldly for us to ignore. Angelic creative direction, embroidery and detail, cohesively blossoming in each individual piece. This is Haute Couture. An incomparable luxury. Often inappropriate.. never overlooked. 

IVD