This collection was glamorous and dark, a look Gaultier has perfected in his prolific career.
Look 2's opened and lengthened shoulders gave off a tough and sharp edge. I can imagine the shoulders swinging with each step the model takes. 6 was just perfect. A casual black suit, but with dark blue butterfly wings for a collar! So abstract, yet so subtle. Put together, 8 was edgy and full of attitude, but aside from the cranberry color gloves, the individual pieces weren't that interesting. 10 was fabulous. A lush aquamarine belted top. This is one of the best spring looks I have ever seen. Light and new. The extra fabric in the back gave it that ''couture'' touch. I love how so many designers are turning potentially boring pieces into works of art, just by adding extra fabric in the back or side. Look 12 looked ripped up and sloppy. Couture should never look sloppy. 13.... had....denim. No denim, please! The world could use less denim! I love my Lee bell bottoms, and vintage jeans, but couture is a special place, for spectacular fabrics. It's supposed to have a fantastical, almost imaginary element. If couture reminds you too much of normal clothes, to me at least, it isn't quite doing it's job.
Look 15 was kitschy. Luce Jr.'s outfits from Lucille Ball's later show, The Lucy Show, came to mind. Loud and awkward (and in Luce's case, horrifically too short. But the show was really funny, so I'll assume the outfits were for comedic effect). 16 was an almost literal blaze of fire. The print was fire, and the skirt was trimmed and frilled in the shape of an actual kindling fire. Glamor in it's most ferocious form. I thought 19's metallic and mosaic style print was loud, and the cut made it look like a house robe. 21 was so different from all of these looks. Deep red mesh maxi skirt (meant to be worn over a longer shirt, as shown in the show), that explodes at the very bottom into a huge puff of red and white tulle. The greatest version of the ''mermaid'' look that I have ever seen
Look 23 was basically a costume. No part of it related to actual clothing. 24 also went with the butterfly shape, but had a skirt. I really liked this one. The hot pink was so right, and the dark lace around the edges (along with the frills) made it edgy and gorgeous, not petty and pretty like many a pink outfit. 27 was a favorite. Unbeknownst to me...jackets can actually look this good? It wasn't just a museum piece, and it also wasn't just clothes; in actuality, it's a jacket that directly says something about the wearer, an unabashed individuality. Black mesh, with short sleeves that pop out black puffed out tulle at the bottom. On the collar, a straight, simple bow. 28 unfortunately reminded me of a maggot infestation. After this, it was all pretty garish and exhibitionist until 35. Blue, black, purple, and green top and skirt are swept right up to the sky, in the same direction, as if blown by wind. The shades were perfect together, and it's uniqueness gave that fantastical couture feeling we all love.
Look 38 was wearable art. Metallic black/orange splotches, with a butterfly of the same colors on the right shoulder formed a top with a wrap skirt. 40 was just as rad. Slim, hot pink dress with mesh fabric over the bottom, with more colorful splotches, and an almost camouflaged butterfly on the chest. Very gothic. 41 is in my top five favorite look's of the spring 2014 couture collections. First its a leather motorcycle jacket, and then it slowly morphs into a delicate and fluffy mermaid skirt with the tiniest black dots at the top. 42 was the funnest piece in the couture collections. A dark blue corset with butterfly wings for the skirt, and top wings at the bust. The color was perfect, like an actual butterfly. The small skirt looks so smooth, and this piece was definitely the best one of the collection. It goes completely out of the norm of washed out white and beige that so many designers use now.
I didn't quite understand why 44 was in the collection. A pretty dress, but why do we need a flapper dress in a butterfly themed collection? 45 was another flapper style dress, but went all the way to the ankle and had beautiful strings of pearls draped from every surface. On the hip there was a tiny silver butterfly attached to the pearls. The final look, the bride, wasn't traditional at all, (it wasn't even a dress) but it was fun. The leotard was way too revealing, but I would love to have the wig and veil. This collection was different and fabulous. It didn't try to be stylish, which led it to actually being stylish. Stylish isn't a certain color, or drape. A little provocation and eccentricity doesn't always have to be immature. It usually comes out beautiful, and stays in our hearts forever.
Monday, January 27, 2014
Friday, January 24, 2014
Everything Is So Clear To Me (Christian Dior Spring 2014 Couture)
In case you didn't know, I seriously love Dior. I love my #999 lipstick, the pieces designed by Dior himself, and almost all of what Raf Simons designs for the house. So much of it is just, um, PERFECTION?! This collection is going to be one of my favorites in this season's couture collections.
All of the looks are very dark or white, except for a few blue pieces. Extremely modern, and extremely well made. 2 was so nice. The one shoulder black frilled dress, with a sheer half white/half black circle pattern. The uneven sides actually worked artistically, and you could tell there was a lot of thought into how ''uneven'' they made it look. It was not a last minute lets-make-it-artsy tactic. Look 3 was another beauty, with a white dress and jacket pair. The white gave it a casual look, but the holes made it an outfit sure to receive complements. I loved 4 even more. It was a mini dress version of 3, with a draped and hanged pure white back. 5 was too much like an over sized t shirt. 6 was a classic Dior suit, with an hourglass jacket. The evenly distributed black eyelets on the jacket gave it such a chic touch. Look 7's sleeves were kind of ugly to me. Why should your upper arm be really thin, and then your forearm super wide? Bell bottoms do not work for sleeves!
By 13 we got out of Adidas-like-sportswear and super sized dresses. 13 was another favorite, hole-y and black, with a separate low on the high-low skirt. High low skirts can look typical, but when the part that's low is cut off from the dress, it can look gorgeous. And 14! Is it not perfect? At first I thought the outer, longer skirt with the holes didn't go around the back (which in case your wondering, would be horrible), but thankfully it did go around. It was pure white, and the skirt gave that exaggerated curvy Dior look we all love. <3 DREAM DRESS <3 RIGHT HERE MY FRIENDS!
17 had a weird appendage coming out at the model's right. I'm not really sure how I feel about 20. It definitely isn't ugly, but the extra hole fabric seemed a little too much. I couldn't believe how perfectly spring look 24 was. The bursting pink roses, the light fabric, the one button...it just goes right with those cool yet refreshingly warm days in May and June. 25's floral pattern reminded me of a Victorian upholstery pattern (which is not my favorite kind of upholstery), but the blue/pink rose coat gave the outfit an almost imaginary element. Do blue roses actually naturally happen? Don't get me wrong; I loved the jacket. And I also love imaginary things!
Look 18 gave off a synesthesia -like feeling The light pink, and drape, made you practically feel the fabric, despite only seeing the color. I can imagine it being soft and light, like a rose petal after it rained. But let's hope it's not wet; we don't want our couture goods damaged! 29 was just odd. The peplum (or whatever it was) did not belong that far up. 31 starts as a sleeveless shirt, and then explodes into a thick, textured, and very wide dress. I think there were four leaf clovers on it? Anyway, it was another favorite. 34 was too exposing and casual. Yet another favorite was found in look 35. Like almost all the pieces, it had the airy feel and holes, but this time it was a gray high-low dress with black spikes. Spikes done well on a couture piece are rare and one of my favorite things to see. This piece reminded me of a rare poisonous plant, or insect.
37 was a smooth, wide white dress with the most subtle and well placed embroidery I have seen in a long time. The wide high low skirt made it look like a little couture cocoon. Look 42 made me wonder if I was looking at a cheese burger pattern or a dress. 46 was really odd. Why do I need an extra length of fabric hanging out at the top of my dress? Look 50 was one of my MOST favorites. It had the beautiful, airy white of the collection, and an optical illusion. White satin emerges from the front of the shoulder, goes behind the back, and seems to come right out through the torso and above the hip.
All of these looks fit well with their season, and almost all fantastically. The looks were perfect for spring, modern in a way that doesn't try to look trashy, and the light sheers had a stain glass element. One of my very, very favorites.
All of the looks are very dark or white, except for a few blue pieces. Extremely modern, and extremely well made. 2 was so nice. The one shoulder black frilled dress, with a sheer half white/half black circle pattern. The uneven sides actually worked artistically, and you could tell there was a lot of thought into how ''uneven'' they made it look. It was not a last minute lets-make-it-artsy tactic. Look 3 was another beauty, with a white dress and jacket pair. The white gave it a casual look, but the holes made it an outfit sure to receive complements. I loved 4 even more. It was a mini dress version of 3, with a draped and hanged pure white back. 5 was too much like an over sized t shirt. 6 was a classic Dior suit, with an hourglass jacket. The evenly distributed black eyelets on the jacket gave it such a chic touch. Look 7's sleeves were kind of ugly to me. Why should your upper arm be really thin, and then your forearm super wide? Bell bottoms do not work for sleeves!
By 13 we got out of Adidas-like-sportswear and super sized dresses. 13 was another favorite, hole-y and black, with a separate low on the high-low skirt. High low skirts can look typical, but when the part that's low is cut off from the dress, it can look gorgeous. And 14! Is it not perfect? At first I thought the outer, longer skirt with the holes didn't go around the back (which in case your wondering, would be horrible), but thankfully it did go around. It was pure white, and the skirt gave that exaggerated curvy Dior look we all love. <3 DREAM DRESS <3 RIGHT HERE MY FRIENDS!
17 had a weird appendage coming out at the model's right. I'm not really sure how I feel about 20. It definitely isn't ugly, but the extra hole fabric seemed a little too much. I couldn't believe how perfectly spring look 24 was. The bursting pink roses, the light fabric, the one button...it just goes right with those cool yet refreshingly warm days in May and June. 25's floral pattern reminded me of a Victorian upholstery pattern (which is not my favorite kind of upholstery), but the blue/pink rose coat gave the outfit an almost imaginary element. Do blue roses actually naturally happen? Don't get me wrong; I loved the jacket. And I also love imaginary things!
Look 18 gave off a synesthesia -like feeling The light pink, and drape, made you practically feel the fabric, despite only seeing the color. I can imagine it being soft and light, like a rose petal after it rained. But let's hope it's not wet; we don't want our couture goods damaged! 29 was just odd. The peplum (or whatever it was) did not belong that far up. 31 starts as a sleeveless shirt, and then explodes into a thick, textured, and very wide dress. I think there were four leaf clovers on it? Anyway, it was another favorite. 34 was too exposing and casual. Yet another favorite was found in look 35. Like almost all the pieces, it had the airy feel and holes, but this time it was a gray high-low dress with black spikes. Spikes done well on a couture piece are rare and one of my favorite things to see. This piece reminded me of a rare poisonous plant, or insect.
37 was a smooth, wide white dress with the most subtle and well placed embroidery I have seen in a long time. The wide high low skirt made it look like a little couture cocoon. Look 42 made me wonder if I was looking at a cheese burger pattern or a dress. 46 was really odd. Why do I need an extra length of fabric hanging out at the top of my dress? Look 50 was one of my MOST favorites. It had the beautiful, airy white of the collection, and an optical illusion. White satin emerges from the front of the shoulder, goes behind the back, and seems to come right out through the torso and above the hip.
All of these looks fit well with their season, and almost all fantastically. The looks were perfect for spring, modern in a way that doesn't try to look trashy, and the light sheers had a stain glass element. One of my very, very favorites.
Thursday, January 23, 2014
Valentino Spring 2014 Haute Couture
I have been excitedly waiting for the couture shows for so long, it literally pains me. Schiaparelli has been revived, and couture is usually, in general, gorgeously fantastic. The bold colors, rare fabrics, lush bridal gowns....SIMPLY FABULOUS is all I can say to describe it. \
Look 1 was a very light, white semi sheer dress with musical notes on the skirt, and a soft train. The puffs at the sleeves looked misplaced. 2 was dark black/sheer, with elegant black feathers down the sleeves and back. A very sheer top, yes, but we always have a slip. 3 was one of of my favorites. The tops was a bit too just enough to cover up, but the skirt was incredible. Adam and Eve were embroidered on the skirt, with beautiful blossoms and a deer and horse. The gray/blue skirt was a perfect back drop. Look 4 was one of my least favorite. The jacket looked like a night robe, and the lion was so immature. 5 was another favorite; I just wish they didn't have to present it that sheer. The subtle brown and white shades perfectly complemented the fluffy white feathers wrapped around the bodice. Look 6 was a sort of red version of five. The red wine shade with the tulle was so pretty, and the snake wrapped around the bodice was so eccentric.
8 did the absurd jungle drawings (which in case you didn't notice, I do not like). Look 9 seemed to plain to me to be couture. 10 had pretty colors, but the 3-D butterflies were garish. Like a military/deer hunter camouflage suit. 12 was very sloppy and makeshift. 13 was very subtle, which as I mentioned usually doesn't do well on couture, but the fringed cape and and slim dress were very stylish. 14 was kind of a suit version of 13, except very ugly with horribly placed fringe. Yuck.
Up until 21, it was all weird fringe and ''tribal'' prints. We've dumbed down so many cultures, that now they just combine into one word, tribal? 21 looked like diseased skin. The lace was yellowed in a not preserved well way. This is one of the most boring collections I've ever seen. The same types of looks kept coming, and the drapes/dresses were so un-flattering. 37 was an improvement, with subtle lace, not garish and loud. Look 38 was another nice outfit, with the brown background and scattered floral pattern that gathered at the bust. Delightfully detailed. 40 was lingerie with a cape.
Look 41 had to be my favorite. A dark black, long tulle ballet skirt, with small 3-D black butterflies placed around the collar. One of those pieces you dream of having. Look 42 on the other hand was one of the most hideous coats I have ever seen. It was basically brown and black garbage bags folded into flowers, with yes, more fringe. 45 was a curtain.
The rest of the collection was more ''tribal'' prints, metallic curtains, and table cloth lace. Some of the pieces, like 3 and 41, were so beautiful, that they could inspire anyone, in any medium, to realize what an art fashion can be. But Valentino, both when he himself was at the label and now with Maria Grazia Chiuri and Pierpaolo Piccioli, have made so many gorgeous pieces. You expect something fantastic every time. This was quite a disappointment.
Look 1 was a very light, white semi sheer dress with musical notes on the skirt, and a soft train. The puffs at the sleeves looked misplaced. 2 was dark black/sheer, with elegant black feathers down the sleeves and back. A very sheer top, yes, but we always have a slip. 3 was one of of my favorites. The tops was a bit too just enough to cover up, but the skirt was incredible. Adam and Eve were embroidered on the skirt, with beautiful blossoms and a deer and horse. The gray/blue skirt was a perfect back drop. Look 4 was one of my least favorite. The jacket looked like a night robe, and the lion was so immature. 5 was another favorite; I just wish they didn't have to present it that sheer. The subtle brown and white shades perfectly complemented the fluffy white feathers wrapped around the bodice. Look 6 was a sort of red version of five. The red wine shade with the tulle was so pretty, and the snake wrapped around the bodice was so eccentric.
8 did the absurd jungle drawings (which in case you didn't notice, I do not like). Look 9 seemed to plain to me to be couture. 10 had pretty colors, but the 3-D butterflies were garish. Like a military/deer hunter camouflage suit. 12 was very sloppy and makeshift. 13 was very subtle, which as I mentioned usually doesn't do well on couture, but the fringed cape and and slim dress were very stylish. 14 was kind of a suit version of 13, except very ugly with horribly placed fringe. Yuck.
Up until 21, it was all weird fringe and ''tribal'' prints. We've dumbed down so many cultures, that now they just combine into one word, tribal? 21 looked like diseased skin. The lace was yellowed in a not preserved well way. This is one of the most boring collections I've ever seen. The same types of looks kept coming, and the drapes/dresses were so un-flattering. 37 was an improvement, with subtle lace, not garish and loud. Look 38 was another nice outfit, with the brown background and scattered floral pattern that gathered at the bust. Delightfully detailed. 40 was lingerie with a cape.
Look 41 had to be my favorite. A dark black, long tulle ballet skirt, with small 3-D black butterflies placed around the collar. One of those pieces you dream of having. Look 42 on the other hand was one of the most hideous coats I have ever seen. It was basically brown and black garbage bags folded into flowers, with yes, more fringe. 45 was a curtain.
The rest of the collection was more ''tribal'' prints, metallic curtains, and table cloth lace. Some of the pieces, like 3 and 41, were so beautiful, that they could inspire anyone, in any medium, to realize what an art fashion can be. But Valentino, both when he himself was at the label and now with Maria Grazia Chiuri and Pierpaolo Piccioli, have made so many gorgeous pieces. You expect something fantastic every time. This was quite a disappointment.
Saturday, January 11, 2014
Ever Fantabulous Makeup Classics
Hello! I am, fortunately, having a pretty good day. I got my flash cards all ready for studying for my exams (my home study school does finals after Christmas and New Years. I'm guessing so you don't spend the whole break paranoid about your grades), my W Magazine ''The Movie Issue'' came in (along with my finals ELLE. Time to renew my subscription!), and I actually got to doing a post I promised! But of course it was late. Well, I'm no miracle worker.
I am wearing Dior #999, which when Christian Dior introduced it was simply #9, but Dior has reintroduced the same shade, just with a different number. Natalie Portman is wearing the shade in the Dior makeup adds this season.
This picture gives you a better look at the blush. It's from the NARS Guy Bourdin collection. Before the collection I had never heard of Bourdin's photography, but now I have! His elegant and very pastel photos are given a fantastic tribute through this blush. Like, no matter how much gentle you put it on, IT IS BRIGHT! Bourdin's photos were done mostly in the 70's, so the makeup is also inspired by the disco era.
The beautiful blush surrounded by flowers:
Dior #999
Another classic makeup revival: In 1978, Yves Saint Laurent started a makeup line, and his main thing was unusual mascara colors, like this one, in maroon. W magazine, in this article, gives a better look at how it looks on a person. The key to making the maroon really show is try your best not to layer too much.
I am wearing Dior #999, which when Christian Dior introduced it was simply #9, but Dior has reintroduced the same shade, just with a different number. Natalie Portman is wearing the shade in the Dior makeup adds this season.
The beautiful blush surrounded by flowers:
Sunday, January 5, 2014
Brocade Garden
This gorgeous brocade jacket was a Christmas gift from dad, from one of my favorite vintage shops (i also got my sister a mouse bank from the Ed Sullivan show). The first pose is one of my favorite classic fashion poses. It's not flashy, but wondrously elegant. Tomorrow a super cold snap is coming, so I'll have plenty of time to do a makeup post. My mom got me a Sephora gift card, and yesterday I bought a bunch of fun, classic pieces. Dior #999 (the likes of Marlene Dietrich and Josephine Baker wore this shade), Yves Saint Laurent mascara in plum (Over 30 years ago Laurent introduced him makeup line, and with that his famous plum shade), and a super pink blush from the Nars Guy Bourdin collection.
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