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 

A GUCCI TIMELINE: 1995 - 2016

In 1995 Tom Ford resurrected a label once buried by the media’s fixation with scandal. Defining 90s fashion, Ford re-established Gucci’s name; bringing to the table sensuous designs that whispered seduction to audiences. Think Destiny’s Child music video, tight fitting female empowerment that set the scene for wardrobes of the decade.

This theme, in its prime, had significant impact on fashion’s culture. However, 10 years later, with new creative direction from Frida Giannini, Gucci was stuck on repeat. Giannini, in ode to Tom Ford, continued the sexy luxury image of the brand - failing to explore new angles. During the 90s sexy was highly desired, however, almost two decades later it's no surprise that fashion was ready for something new. Giannini’s perpetual recycling of Ford’s original visions left Gucci stuck in 1995, unable to move with fellow designers into the 21st century. By 2014 Gucci sales had substantially declined: eventually causing Giannini – and husband / CEO of the company, Patrizio di Marco – to step down from their positions at the label.

Gucci had been forgotten. Lost amongst contemporary fashion houses of whom were opposing ideals of sexuality. Alexander McQueen and Pam Hogg for example, warping perceptions of ‘beautiful’ with their every new collection.

Previously unbeknown to the industry, early this year Alessandro Michele took his place as Gucci’s radical new creative director. Taking influence from the Sicilian culture of Dolce and Gabbana plus the fresh palettes of Valentino, Michele has successfully launched Gucci into the new millennium. His most recent pre fall 16 collection involving bouncing pussy-bows and sheer blue gowns, displays what I believe to be Michele’s best work yet. With each new collection he has showed this year, the following has reshaped any imperfections. Each season has witnessed a further refined body of work to its prior. Michele’s designs are only improving and we may see great things born from new direction of the label.

The associations of Gucci are shifting once again; from murder, to sex, to a freshness sprung from retro reshaping, Alessandro Michele has energised the company’s name with positive symbolism as it fights its way back to the heights of Prada and Dior.

MADEMOISELLE PRIVÉ

There is so much more to exhibitions than what is on show. A good exhibition plays with all the senses. Visually, the setting and arrangement of each room has to be unexpected. Each room should offer a new experience regarding the theme of the work.

Designed by Karl Lagerfeld himself, Mademoiselle Privé indulged us in previously hushed dimensions of Gabrielle's life. Her 'codes' for example: the colour red, black and white, totems, pearls. Each with their own significance. The exhibition felt as if it had been deliberately concocted to highlight Karl's relationship with the late mind of Chanel. As if his intentions were to prove his depth of knowledge within the thought process of Mademoiselle Privé herself. He wished to prove, through revealing secrets oblivious to fans before now, that he has a supernatural link with Coco and his embodiment of her work is unquestionable.

Yet, typical of the Chanel attitude, this theory was quickly contrasted with the screening of a short Lagerfeld production. The film portrayed Geraldine Chaplin as Gabrielle Chanel, returned from the grave to witness how her legacy has been continued. And, in fact, disgusted with the modern label. This confused me, if Karl was so keen to express his sincere knowledge of Chanel's wishes, why then show a film implying that he got it all wrong?

Aside from this, the most part of the exhibition consisted of Karl taking us back to the roots of Gabrielle. How she began, and most significantly, her inspirations - one of which was an 18th century garden, interlocking hedges apparently becoming the story behind the two Cs Chanel logo.

The history and inspiration took over so much of the exhibition that only one room was left to display the clothes. A long, rectangular space on the third floor of the Saatchi gallery, presenting at one end the 19th century wonders by Gabrielle Chanel, and the other, the outfits of the Chanel gamblers - as presented at Paris haute couture A/W 15. Here stood the dresses of Julianne Moore, Vanessa Paradis, Lily-Rose Depp, and Kristen Stewart (Rita Ora also although out of place as ever).

On leaving the exhibition we were directed to the final room, a bubbling bright space resembling a scene from Charlie and the Chocolate Factory. Large brass cauldrons of multi-coloured Chanel No5 opened their lids to engulf the room of the scent. Here we were reminded of the significance of the fragrance, and that Chanel was the first designer to develop an eu de parfum containing her own name.

Sharing a glimmer of who Gabrielle was left us wanting more. However perhaps a glimmer was just enough to remind us that Chanel was – and is – much more than the clothes. Chanel is an attitude and an image, founded to fulfil the needs of and empower women. It is utterly timeless and does not create trends, Chanel creates history.

SAVAGE BEAUTY - ALEXANDER MCQUEEN AT THE V&A

The exhibition consisted of 6 rooms. Each colour palette making you feel a different emotion, a different level of uncomfortable.

Goosebumps enhanced by a powerful air conditioning, every room was haunting in its own way. There were masks, there were scales, skin, even curls from Lee McQueen's own hair pinned onto dresses in the form of a trademark. Aspects from the mind of McQueen were pulled from every collection in between the years of Highland Rape and Plato's Atlantis.

I'm confident in saying that Lee did not make clothes for women to look pretty. A feminist, he aimed to make women look powerful, daunting almost, in his garish creations. He didn't design clothing: he sculpted political statements, controversial catwalks. He made ugly beautiful. He turned controversiality into art. What was known as 'savage', became beauty through the mind of McQueen.

The V & A could not have produced a more terrifyingly breathtaking portrayal of McQueen's work. I was lucky enough to witness it in its final hours (thank you to the V & A for releasing 24 hour tickets) yet I could never have anticipated what I saw. Alexander McQueen has always been among my favourite fashion houses; it was the campaign I'd always skip to when looking through Vogue. But actually seeing the collections up close - as well as a floating projection of Kate Moss - it moved me. And I believe it would move anyone, follower of fashion or not.

FASHION: INFLUENTIAL PEOPLE

(To all of my readers that have not yet decoded the pun in the blog name 'Wintour Wonderland': you are in need of this post.)

To many people's disbelief, knowing fashion is not the same as being able to identify an LV suitcase or a logo printed Gucci hat. Knowing fashion is knowing how it became possible for you to do so. How these logos came to be imprinted in your memory. Who sparked that? Who persuaded our subconscious to gravitate toward certain prints, textures, lengths? People who will have had impact on the very clothes you're wearing. People who, through this post, I aim to acquaint you with.
  

'It's sort of comical how you think that you've made a choice that exempts you from the fashion industry when, in fact, you're wearing the sweater that was selected for you by the people in this room.'

- Meryl Streep, The Devil Wears Prada

1. ANNA WINTOUR

For those of you who've read / watched The Devil Wears Prada, you'll hopefully be as excited as I was to discover that it is based on a true story. Yes, the cold Miranda Priestly (Meryl Streep's character), actually exists. And the writer, Lauren Weisberger, genuinely worked a year at Vogue as her assistant.

Anna Wintour - nicknamed 'The Ice Queen' - is arguably the most significant face in fashion of this era. As editor-in-chief of American Vogue, Ms Wintour selects what is seen in Vogue and what doesn't make the cut. Literally deciding what is in fashion, and what is not.

She owns the most powerful seat in fashion, hence the name 'Wintour Wonderland'.

2. KARL LAGERFELD

Coupled with Ms Wintour, Karl and Anna have become one of fashion's most famous friendships - possibly since both are equally terrifying. However, terrifying due to the masses of power they hold in their judgement; making careers with phone calls.

Karl is creative director to the most iconic of all the fashion houses: Chanel. Whilst acting as creative director to Fendi also, his collections inspire a multitude of other designers in warping their ideas and perceptions of fashion. He may even have touched your life without your noticing - take last year's monochromatic colour palette, that wasn't started at topshop, it came from Karl. And before that, Gabrielle Chanel herself. *

Echoing my earlier point, never dismiss your association with the industry.  

*More on Karl in this post from last year:

http://wintour-wonderland.blogspot.co.uk/2014/11/back-to-black-and-white.html

3. GRACE CODDINGTON

'Karl Lagerfeld called her a genius. Wintour agrees.'

Working closely with Anna, Coddington plays the role of creative director at American Vogue. The Guardian called her the second most influential face in fashion; 'she is the stylist responsible for Vogue's visual identity', selecting the clothing for Vogue photo shoots, and therefor concocting a ripple of trends - high end as well as high street.

What's more, Grace is a strong woman that has been faced with many challenges throughout her life. Intimidating she may be, but inspirational nonetheless.

(Lucinda Chambers is the British Vogue equivalent of Grace - also a name to remember)

4. PATRICK DEMARCHELIER

'Being a photographer is like being an athlete, you must practice every day' 

Along with the other great fashion photographers - Mario Testino, Steven Meisel, Annie Leibovitz, etc - Demarchelier has worked closely with Vogue for many years, photographing everything from cover shoots to Chanel campaigns. 

Photographers, since being behind the camera, are barely credited enough. They capture pieces of art, set up political statements, launch models' careers, yet it's often only what's within the shot that gets credited.

5. SUZY MENKES

Hopefully you will have noticed a pattern in that so far more than half of this list has been made up of journalists. It would seem that the people who comment on fashion have more control over the industry than those who create fashion. Bringing us to Suzy Menkes, the Cambridge educated fashion critic whose opinion is never one to be ignored.

After writing as fashion editor for newspapers such as The Herald Tribune and The New York Times, Menkes surprised fashion week last March with the announcement that she was moving to Condé Nast, where she now works as international fashion editor for 19 editions of vogue.com. 

Menkes, just like Anna and Grace, is known for her cut throat, no nonsense, attitude. Her opinion can make or break a designer; an intimidating, yet brilliant force to be reckoned with.

6. MIUCCIA PRADA

For me, the next handful of names on this list all fall close to the same level of hierarchy. All have huge impact on both the runway and the red carpet, so trying to order them has proven difficult.

Granddaughter of founder Mario Prada, Miuccia is creative director of Prada and MiuMiu - named after her own nickname. Prada, along with the following fashion houses, is one of the most popular brands on the red carpet. Because of this, and because of the celebrities who wear Prada, its prints are echoed throughout the high street and effect many other designers.

Miuccia is also mentioned in this post from last year...

http://wintour-wonderland.blogspot.co.uk/2014/08/language.html

7. Hedi Slimane

8. Raf Simons

9. Christopher Bailey

There are multiple designers I could list here. Yet, thinking of the most influential in the current fashion era leaves me with these three. These men are each creative director to the some of the most well respected fashion houses in the world: YSL, Dior, Burberry. Leaving their mark during awards season as they pattern the red carpet, the same three names being repeated among bursts of celebrities - effecting fashion for many seasons to follow.

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