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Dressing For The World

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Autumn/Winter 2017













Why do we wear clothes? The simplest answer is that we wear clothing for protection from the outside world. More people live in areas of the world without a climate temperate enough to live fully nude throughout the year than those that do. But even in those areas where it is warm enough to dispense with clothing altogether, we still find a rich and varied history of dress and adornment. No matter how far back we go into human history we find evidence of adornment. Indeed we could say that it is human nature to dress ourselves, in whichever form that may happen to take - piercing, scarification, painting, jewellery, tattooing, coverings, clothing. And, as far back as we go to find evidence of this adornment, we actually find that these pieces have, from the very beginning, been invested with psychological meaning. At a basic level, clothing has protected us from the elements, but in truth it has meant so much more.

Clothing has been imbued with spiritual, religious, social and, of course, personal significance. It has been used to honour our ancestors or attract a mate or mark our place in society or, as is often the case today, ostensibly reflect some sense of our personal identity. Indeed there has always been more to it than meets the eye lurking right there beneath the surface, often close enough to be rippling if one cares to look. To varying extents we still have clothing that marks religious affiliation (head coverings are found in a number of religions) and social affiliation (everything from a suit and tie for an office worker to a goth uniform for a subculture), alongside a number of other affiliations, but I think that what is championed most in society today is the idea of personal expression. Advertising suggests that we buy things that will accurately express our sense of self and lifestyle, whether that be through clothing, cars, sofas, breakfast bowls or toothbrushes. Everything you buy and use and consume and wear would seem to be fraught with the question - what does this object say about me?

Personal identity and lifestyle are supposedly packaged into neat little segments for us to purchase and experience. We are told that dress is an avenue for expressing our authentic selves, but who is this self that I dress for? Surely I am me no matter what I wear? What if I am dressing for who I want to be, rather than who I am, and how would I even know the difference? Can anybody tell who I am without actually getting to know me? Are the sweats I wear at home on the weekend the real me, or the shirt and trousers I wear to dinner the real me? If there is a real me deep down somewhere, does that mean that the rest of me is fake? Why can't I just follow the philosophy of choosing to wear what I think look fly as f***? If we have to buy something to tell us who we are, or tell others who we think we are, then perhaps we might want to rethink that concept of self we are holding onto and be more mindful of how we actually feel in the moment.

A helpful analogy I have heard for identity is that of the watch. We call a watch a watch. If I show you a cog from that watch, it is a cog. If I show you the strap from that watch, it is a strap. If I show you the dial from that watch, it is a dial. It is not until we put all the pieces together that we have the watch. In much the same way, there is no singular fixed sense of self to dress for, because our sense of self is made up of all those pieces. All the pieces go together to create my identity, but unlike the watch, they are constantly evolving and developing. I can choose to dress for whichever of those parts of my identity I wish to, or I can dress for none at all. Clothes make the social identity of the man, not the man himself. If I wear a police uniform, then chances are people on the street will assume I am a policeman. But that is a very specific set of clothes that have a long vested history of social meaning and significance. In some places that uniform might be welcomed, in others I might find myself faced with abuse. The clothes we wear for ourselves, for the most parts, do not have such an entrenched set of meanings and codes. We are free to dress as we wish, although we will invariably follow some basic social codes and laws.

So why do we wear the clothes that we wear? Of course there is no simple answer, but I think that one could be found in exploring what we prioritise in the moment when we are dressing ourselves. I am fascinated by that moment because I think, ultimately, that it provides an insight into our perception of self. To speak of my own experience, and to go back to the original question, I would say that these days that I do mostly dress to protect myself from the outside world. I mean that literally and metaphorically, because while clothing obviously serves that functional purpose, I tend to prioritise a sense of psychological and physical comfort. Yohji talks about clothing that protects you like an armour from unwanted eyes, and I would say that is something that I can most certainly recognise. It is not about pushing the world away, but rather, dressing with a confidence that you can tackle anything that comes your way.

For me this encompasses dressing in a way that makes me feel comfortable in myself mentally and physically. While dressing is technically a bodily activity (in that we clothe ourselves to protect our physical well-being), I would say that above all it is a cerebral process enacted through a bodily activity. Just the act of choosing what to wear is proof of that, because we are actively making choices beyond function, and always have. For me that means looking for clothing that makes me feel comfortable, and in that I think that I find beauty through function. If my self is made up of a million different parts, then I would rather dress in such a way as to support those parts rather than single any one out. That is perhaps why I am so attracted to the idea of uniform, because it allows me to express myself through word and action, and enjoy the clothes on a personal level. Anyhow, I suppose that is why I found this collection by Mihara Yasuhiro so interesting, because he sought an answer to how we dress in a time where there is so much uncertainty. How do we feel confident and comfortable? His is but one interpretation, but it is one that I really enjoy, and ultimately that is what I am drawn to with fashion.

Why did you choose to wear what you are wearing today?

xxxx

Talking To Myself Podcast - Episode 04

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[Warning: This episode contains mention of anxiety, depression and suicide]

Dear All,

I hope you are well. This podcast was a difficult one for me to record, but I think that it was important for me to share. In this episode I discuss how mental and physical health issues have impacted my experience of fashion and dress. I explore how I believe that my wardrobe and the clothes I have worn can be used as markers to explore the state of my mind at the time. I also talk about lifting the stigma of mental health issues and how I have myself experienced shame and guilt over being unwell, and how I am slowly learning to overcome those negative feelings and truly find myself in a happier and more healthy frame of mind. Wherever you are in your journey right now, I want to thank you for taking the time to listen. It means more than you can imagine. 

Love you all,

Syed

xxxx

A Black Perfume

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What does the colour black smell like? Whenever I read a book, I usually find myself imagining what the wardrobe of each character looks like (past whatever descriptions the author has given). What shoes are they wearing? What is their favourite piece of clothing? What makes up the majority of their wardrobe? A surprising number of actors say that their character development begins with the shoes - once you know what footwear your character would wear, you are able to quite literally stand in their shoes. This gives you a feel for what their physical presence would be, both when standing and when in movement. The body and the mind are connected, so in understanding how your character feels on their feet, how steady they are, how they are able to move, you also gain some insight into their ways of being. Of course in film or theatre the clothes of the character are there for you see, and indeed, costume design is an incredibly important part of film. It situates us within the narrative and imagined period, and also gives us insight into the roles and positions of each character.

In both instances, whether literary or visual, my mind then connects clothing to smell. What would each character smell like? What type of perfume would they wear? What are their favourite smells? If I watch a film, or read a book, I like to imagine what the characters smell like. This is something I also carry across to fashion shows, because each and every season the designer is essentially presenting characters for the runway. I think of it like a theatre performance, with characters for each show, and while I can see what they are wearing, my mind then jumps to imagining what perfume they would wear, if any at all. It is not something I think of straight away, but once I have been looking at a collection for a while, I find myself imagining a backstory for each character and comparing that to what the designer says about the collection. It is actually far easier with some collections than other, depending on the theatricality of the designer in the first place, but I think that it is just a fun way for me to think about things from a different perspective.

How does that apply to my own experiences? Well I also happen to link the clothing I wear to perfumes. While I do not have specific pairing rules, I do find myself drawn more to certain perfumes depending on what I happen to be wearing. I got to thinking whether I could actually find the connective thread running through this habit, which arose quite accidentally, and explore the idea further. I do not think that there is any specific rule of correlation to be found, but I did start thinking more broadly about the link between what I wear in terms of garments and what I wear in terms of perfume. It is always best to start simply, and that is exactly what I did. I am usually dressed in black, with some white outfits slowly creeping into my wardrobe, so I thought to myself - what does black smell like? And if I can find a range of what I consider to be black perfumes, then could I pair them with different black outfits? It would be absolutely impossible for anybody else to decipher the relationship, because it would be entirely built upon my subjective experience, but even so, I liked the idea of it.

So where does one start with finding a black perfume? Most popular designer fragrances usually have a black (evening or extreme) version that is supposedly darker and sold in a darker bottle, but I find that all rather meaningless. Adding a loud note of oud or incense to the composition does not automatically make a perfume black, even if it might make it darker for the most parts. In fact when it comes to a deep, thick, rich oud, I actually find myself picturing a velvety gold or a polished dark carnelian red. And when it comes to incense, I think of either a warm grey-brown mortar (think of a Gothic church), or picture myself standing in shade while looking at afternoon sunlight hitting a sandy desert for as far as the eye can see. Even so, I am fascinated by how perfumers interpret the colour black for perfumes they compose. So I thought I might just explore some of the "black" named perfumes I own.

Brand: Bulgari
Perfume: Black

How it smells: A masterpiece in terms of perfume composition. A solid base of leather, vanilla and amber, with a heavy dose of smoky lapsang souchong and that infamous rubber note. The opening is rather brash with burning rubber and a spicy sandalwood blast. However this quickly mellows with a smoky tea that dances lightly above a warm blend of vanilla and leather. There is some manner of clean musk in there as well that some might happen to be anosmic to, which is probably why the amber and vanilla also feature so heavily, but it helps give a nice powdery warmth.

How I picture it: A blue tinted glass cube with grey smoke inside, displayed in the foyer of some glass and metal skyscraper on a sunny Winter's day.

Colour: Gunmetal grey


Brand: By Kilian
Perfume: Back To Black

How it smells: Smooth, dark, sweet and fruity. A rich honey melts into strong pipe tobacco, with a cherry/raspberry accord that cuts through it all quite nicely. There is also some vanilla there in the background that is livened up with ginger and other spices. You would assume that this would enter gourmand territory with all those berries and spices, but the tobacco means that it steers well clear. A comforting and inviting perfume overall. I do not particularly care for gender divisions in perfume, but this has a definite masculine feel for me. I sometimes think I might be too young to be wearing this, but it just works too well to miss.

How I picture it: A beautifully aged, but neatly polished, brown leather and dark wood chair nestled in a living room filled with a diverse mix of twentieth century art.

Colour: Mahogany brown


Brand: Nasomatto
Perfume: Black Afgano

How it smells: This is apparently based on hashish. I have no experience of hashish, but if this is what it smells like, I guess I can understand why people would try to smoke it. Oddly enough, to me it just smells of lavish mosques. It has a rich earthy smell with lots of smoke and incense. The opening is sharp and in your face, with coffee grounds and an almost green wood, but it smooths out relatively quickly and becomes softer and slightly sweeter. The base is apparently built on oud and incense, but I would say that the oud is drier and more resinous than usual. That almost sickly sweetness you get with a proper oud is not there at all, so it smells dry and dark, rather than warm and sweet. Simultaneously inviting and aloof.

How I picture it: A black velvet hanging with golden embroidery hung inside a newly built mosque.

Colour: Black marble


Do you associate certain colours with smells or certain smells with colours?

xxxx

Episode 05 - Supremacist Fashion

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Episode 05
"Supremacist Fashion"

I hope you enjoy the latest episode of my podcast, "Supremacist Fashion". In this episode I talk about the Supreme business model, which I think is the fashion system taken to its absurd conclusion. I also talk about the power and role of Instagram in fashion today, and why attention is the most valuable commodity out there. I also decided to explore ideas of branding and authenticity through the lens of the Supreme x Louis Vuitton collaboration. Please do listen and share with anyone you think might enjoy the podcast. 

Here's to all the hypebeasts. Stay wavy son.

xxxx

Spring Sunshine

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"New Moon"
Vogue Germany(April 2017)
Photographer: Sarah Moon
Model: Sophie Katherine Jones
Editor: Patti Wilson

The Spring sunshine has finally come to London. We have had some nice sunny days as of late, and it has been enjoyable seeing trees and plants coming back to life on my short walks. There seems to be new activity and new blooms almost every time I go out, which makes me smile (and happens to provide material for my daily Instagram posts). I am happy that I can now sit outdoors comfortably for long periods of time and read. In between reading I often find myself taking my glasses off and just sitting there with my eyes closed and face turned towards the sun. My health is improving slowly but surely, and that is a really comforting fact, although I still have a lot of work to do. As busy as things get, always remember to take pleasure in the small things, they are what help bring you back to life.

xxxx

SS18 Favourites: London

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Spring/Summer 2018










Spring/Summer 2018

I thought it would be quite fun to get my gut reactions down to the menswear shows this month - starting right here in London.

My two favourite collections were by Kiko Kostadinov and Matthew Miller. I know a lot of people are raving about Craig Green this season, but while I think that it was beautifully composed, it just did not resonate with me. I find myself hugely informed by emotional reactions, although I can usually reconcile that with a broader appreciation of craft and skill once I am able to see and try pieces on in person. Ultimately when it comes to menswear I cannot help but frame my perspective through the lens of what I would personally like to wear or, even, could imagine myself enjoying were my wardrobe different. These two shows managed to tap into where I find myself lately, with the macabre duality and surgical functionality of Kostadinov's collection, and the stylised rebellion of Miller's. I think that a personal connection is always important for me, and where I think that I enjoy fashion the most, because then it tends to feel like you are almost having some manner of dialogue or understanding with that designer. I suppose like any art form it is about how you happen to experience that work, and so for me, these two were collections that I really enjoyed.

With Kostadinov's collection I find myself drawn to the night-time uniforms, with his takes on boiler suits, and even the neon pieces, more than the day-time tailoring, although the double-breasted black jacket I have posted looks incredible. His collection, "Funny How Secrets Travel", was inspired by the idea of evil acts and excessive violence having become forms of entertainment, with the most obvious reference in styling being to that of Manhunter's Francis Dolarhyde (1986). I enjoyed the idea of his character taking on a more functional approach to his uniform as night descended and he partook in whatever ultra-violent fodder for our movie screens and Twitter feeds. This collection also apparently marks the first time a designer has collaborated with Asics for an all new shoe (as opposed to simply creating a new colourway), with his GEL-ASKR 1 model, that I am really excited to get my hands on...in black, because I am not quite ready for any neon in my wardrobe yet.

Miller's collection was for me in parts a small reminder of what Helmut Lang could be if they had a stronger design team. It is actually a topic I am hoping to delve into further with the next podcast episode, which will be coming out soon hopefully. Finding the original Helmut bulletproof-style vest in my size for a decent price these days is rather tricky, so I might be tempted to try out one of Miller's pieces and see how that goes. Anyhow I enjoyed that more practical side to the collection once again with the multi-pocket vests and jackets, and the sling detailing. I tend to carry quite a lot with me, so it is always nice to have a practical layout of pockets, although I have recently bought myself a bum bag (I think Americans call them a fanny pack?) to wear across my body. I do think that the collection was missing a sense of rawness that would have helped take it to the next level, but even so it was styled well and overall a strong collection. I may not personally go for that sleeker tailoring, but it worked well and I think that the womenswear offerings really helped to round out the collection. Personally I would be interested to see where he could have taken this collection given another few months, but all the same, some really solid pieces.

What were your favourite shows from London?

xxxx

Episode 06 - Leave the ticket, take the cannoli

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Episode 06
"Leave the ticket, take the cannoli"

In the latest episode of my podcast I discuss some of the issues raised from the explosive Vestoj interview with Lucinda Chambers, who served as Fashion Director at British Vogue for 25 years. The interview was published, pulled the same day, re-uploaded the next day and has now been published in an amended form following legal talk. You can read that amended version here (the original version can still be found online, if you are willing to look - alternatively I have it saved and can send it to anyone who requests). The two main issues I cover are that of the utility of fashion magazines like Vogue, and the problematic relationship between advertisers and publications and why we need greater transparency in fashion journalism and critique.

Hope you enjoy. And please go buy Vestoj.

xxxx

SS18 Favourites: Berluti

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Spring/Summer 2018










I have decided to focus on my individual favourites from the Paris shows rather trying to fit them all into a singular post - starting with Berluti…  

I was actually more interested in Haider Ackermann’s second Berluti collection this season than his own eponymous menswear show. Given free reign I think that he is capable of producing amazingly beautiful clothes, but they do have a very narrow scope that can be difficult to incorporate into everyday life. Unless of course your life includes lots of lounging around artfully in old palaces while someone paints your portrait and exotic cats gambol around at your feet, in which case all power to you. Taken as individual pieces, small luxuries that add a sparkle to your wardrobe, it most certainly works well. However I find it difficult to imagine wearing head-to-toe Haider as daily garb without it veering into the territory of costume rather than dress. Admittedly he has been slowly broadening out his offerings, but even so, I have always liked the idea of a more toned down version of Ackermann’s design language and seeing what he is capable of achieving when given a more focused framework.

I enjoy seeing designers at historic fashion houses who already have their own label, because it is interesting to see how they attempt to translate their skills to interpret the house style. Of course it means a lot more work and pressure for the designer, especially with the larger houses,which can have the unfortunate side effect of their own label suffering. It is a challenge that can burn out a lot of designers, but with a supportive structure it can be incredibly successful (even so, there are reports of conglomerates leaving their star designers’ namesake labels to wither). It seems that with the musical chairs fashion has been experiencing as of late it could go either way, but I hope that Ackermann is able to stick around and really leave his mark on Berluti. I think that I liked this collection more in terms of the potential that it offers - that glimpse of where the house is headed that is quite interesting. While I think that this collection, just like his debut offering, was mature and well rounded, I am excited to see how he develops things further. There was a more relaxed sense of luxury in comparison to the previous designer Sartori’s work (who is now artistic designer across the board for Zegna), that I think was a welcome change.

What did you think of Haider's second outing at Berluti?

xxxx

Supreme FW17: Back With The Fire

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Not so guilty secret: I am a Supreme fan (check out my podcast episode on Supreme and the Louis Vuitton collaboration here). 

After a few less than stellar seasons, it seems like Supreme is thankfully back on form for this Fall/Winter 2017 season, and I actually have my eye on quite a few pieces. 

Sportswear and streetwear are how I first got into thinking about how we invest clothing with social meaning, although I most certainly did not think of it in those terms at the time. As I have said before on the blog I grew up surrounded by sportswear, and my world was one of stark contrasts. School uniform ignited a love of tailoring, but I am equally at home talking to sneakerheads and still actively follow all of the “hypebeast” brands, from A Cold Wall to Palace, even though I doubt I would wear the vast majority of it. I enjoy seeing the resurgence of the 90s sportswear aesthetic that I grew up with, especially when seen through a more multicultural lens. This stands in opposition to the current Post Soviet trend that I actually find alienating due to my own childhood memories and experiences that associate the look with racism.

Supreme is one of those brands, like Stussy, that I think that I will always have a soft spot for, simply because of how diverse their work is and the fact that it crosses so many boundaries. For my own part, I tend to find the quieter pieces more engaging, which I know is hardly surprising, but thankfully they do relatively quite clothing alongside some absolutely batsh*t crazy stuff, which is for me part of the charm. They makes things that make me smile and you do not have to think too hard about, and I really enjoy that. I have spoken about the recent collaboration with Louis Vuitton, which I think was a good move on their part, however I did not find the end result anything worth paying attention to. But it seems that for this season they have really gotten back to doing what they do best, and while we have to wait for each collaboration to come out closer to their drop dates, I think that this is by far the strongest collection in a while. 

So I thought that I would share some of the pieces that have caught my eye...

Wool overcoat

I am actually in the market for a new smart Winter coat, and this seems to fit the bill nicely. I never particularly used to care about leopard print, but after falling in love with these Yohji leopard print sneakers from the Autumn/Winter 2013 collection, I would love to add a little touch to my wardrobe.

Supreme x Schott Faux Fur Peacoat

Damn snuggly. That is all.

Polartec Harrington Jacket

I have the Polartec fleece sweatshirt from last year and it is such a lovely material. Would be interested in seeing how these jackets feel to wear.

Hooded fleece nylon shirt

Quilted front and fleece - has a nice cosy feel for the upcoming colder months.

Oxford shirt

The sizing for Supreme shirts seem to change from season to season, but I have an overdyed black work shirt that fits spot on and is a really nice quality. So if these oxfords have similar measurements I will have to give them serious consideration.

Leather front polo sweater

I enjoy old school cardigans, and this has a retro appeal to it.

Patchwork hooded sweater

I doubt that I would ever wear these, but I really enjoy the colour blocking - makes me think of my childhood.

Supreme x Everlast satin hooded boxing robe

This has a certain Del Boy appeal to it that makes me smile. Totally tacky, but totally awesome.

Supreme x Andis Envy Li adjustable blade clipper

I cut my own hair, so why not. I am usually a Wahl man, but I hear nothing but good things about Andis.

Supreme x Vanson leather x-ray gloves

I do not ride motorcycles, I have no interest in riding motorcycles, but I still quite like motorcycle gear. These gloves are ridiculous but cool.

Lock box

A thoroughly useful item, with thoroughly unnecessary branding. Silly but fun.

Pledge allegiance keychain

Supremely relevant. See what I did there? Sorry, I'll see myself out. But seriously, f*** Trump.

P.S. I buy all my Supreme at retail price on drop day. The resale prices are insane (and how I make a little extra pocket money 🙊), and they are only clothes - if I miss them, I miss them.

What are your thoughts on this season's drop?

xxxx

Episode 07 - Hair today, gone tomorrow

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Episode 07
"Hair today, gone tomorrow"

In this episode I talk about my hair history (...hairstory?) and my relationship with my hair. I have been blogging for almost a decade now and do not think I have ever really explored the topic of hair and my relationship with it, so this was quite a fun episode to record. I think that it did actually raise a lot of issues that I have never really thought about, so there is still much to discuss at some point in the future. I would love to know more about your own relationship with your hair (or lack thereof) and how you think about your hair.

Hope you enjoy the episode, and please do share it!

xxxx

SS18 Favourites: Y-3

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Spring/Summer 2018










Y-3 have been running an advertising campaign in major cities around the world with the tagline “Uniform of the streets since 2003”. That seems rather presumptuous to me, but I can most certainly understand the thinking behind it. Before the current streetwear trend, before anybody used the ghastly phrase “athleisure”, and before the revival of giant 90s sportswear logos, there was the collaboration between Yohji Yamamoto and Adidas, which sought to provide sportswear for urban living. The collaboration has been a solid one, with a dependable output of more basic branded sportswear pieces, suitable for the gym, alongside more directional pieces that make you pay attention to the catwalk shows. Indeed the most impressive thing about Y-3 to me is how they have been able to carve out a clearly defined and recognisable brand profile and aesthetic. Other fashion designers have collaborated with Adidas since, but they are ordinarily limited to a few sneakers or perhaps updating a pre-existing Adidas tracksuit design.

With Y-3, Yohji and Adidas have been able to create something new most seasons, with Yohji's design language translated through Adidas materials and techniques. I really do think Y-3 has been getting stronger and stronger over the past few years, because they are willing to take more risks and actually diversify their output. The tailoring in particular is surprisingly striking in its design and a breadth of options is available, allowing you to dress for different occasions aside from actual sporting activities. In the past I felt like you often had to wade through a lot of gym fluff and loudly logoed t-shirts and tracksuits to find the more interesting pieces, but thankfully they have come to expand their shows in the past few years, offering far more options to a fashion-conscious crowd who want more than a tracksuit and boxing shoes.

I enjoy the Y-3 shows most seasons and I think this latest Spring/Summer 2018 was a really good collection for them. It was more relaxed and fluid in its design than usual, which I really enjoyed. I find that sometimes the overly technical pieces can come off a little too gimmicky, as if they are just trying to show off what they are technologically capable of, but I understand that there is a market for urban techwear. That side of the brand however now appears to have its own offshoot, so that is something those interested can follow. For my part it is the minimally branded pieces and easy tailoring that really catches my eye. I actually think the womenswear offerings were stronger than those offered for the men this season, but I suppose there is more opportunity to play with different garment types where womenswear is concerned, and so that is perhaps hardly surprising. Oh, and all the slip on sneakers look dope, so I am excited to try them on.

Did you enjoy the Y-3 show, or would you prefer more luxe sportswear?

xxxx

Haider Ackermann: SS18 Details

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Spring/Summer 2018










I am still very much processing the women's Spring/Summer 2018 collections, but wanted to share these detail shots from the Haider Ackermann collection, which I absolutely loved. I know that tailoring is not particularly trendy right now, what with the rise of streetwear and post-Soviet normcore, but I am always a fan of designers who know how to cut complex patterns and make it look so fluid and easy. As for gut reactions? I think Junya Watanabe and Kei Ninomiya had really strong collections, I thought the Anrealage collection was interesting, I did not care for Rick Owens this season but I might be in the minority there, Alessandro's Gucci has gone from shows that made me smile to shows that make me cringe, the Cindy Sherman inspired Undercover collection was cool and I assume will sell well, and of course Yohji Yamamoto smashed it.

What have been your favourite shows so far?

xxxx

The Idle Man: AW17 Review

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Denim jacket: The Idle Man
Reverse weave hoodie: Champion
Relaxed tapered "dad" jeans: The Idle Man
Sneakers: Converse 70s



Padded gilet: The North Face
Oxford shirt: Supreme
T-Shirt: SHIRT Comme des Garçons
Straight leg chinos: The Idle Man
Sneakers: Converse 70s x PLAY Comme des Garçons



Wool coat: Yohji Yamamoto Pour Homme
Cotton corduroy shirt: The Idle Man
T-shirt: SHIRT Comme des Garçons

Disclosure: I was sent some pieces from The Idle Man Autumn/Winter 2017 collection to review. Product links are not affiliate links, but purely for informational purposes.

I discovered The Idle Man online store at the start of last year while looking for somewhere to buy a pair of Dickies 874 trousers from, because at the time all I could seem to find elsewhere were the slimmer cuts. Since then I have shopped from there a few times because they stock a good array of menswear brands and I find the customer service pleasant and efficient (which sounds like a small detail, but you would be surprised at how many retailers fall short). However I had never really had any great amount of experience with their affordable own label until recently. I bought a fluffy teddy bear hoodie (that some of you may have seen on my Instagram), which I absolutely love. So when I got an email from the team soon thereafter asking me whether I would like to review some of the clothes from their current Autumn/Winter 2017 collection, I thought it would be fun to see what other clothes they offer and whether they could actually work with the clothes in my wardrobe.

I tried to get pieces that would allow me to create quite a few different looks, just to see what sort of diversity was possible in terms of styling. Indeed I liked the fact that their lookbook for the season, while small, was varied enough to show what routes one could go down or find in terms of dressing. So I have been wearing the various pieces in my own daily outfits to get used to how they feel, how they move, and overall to get a good idea of what I like about them, and what could do with some improvement. I have broken down the review into sections, which hopefully cover my key impressions and findings. Overall, I have to say I was pleasantly surprised.

Design

The collection as a whole has a pretty diverse array of options to choose from, with a decent offering for basics and layering pieces, meaning that it caters nicely to a wider audience. I think that all of the pieces that I chose were solid in terms of design. I tried to stick to more foundational pieces so that I could use them as a spring board for different styles - a very casual look, a more refined casual, and then a relatively smart look. I thought that the corduroy shirt was interesting in terms of material choice, because it was a very fine corduroy, meaning that in person it looks almost like velour. I enjoy wearing different textures of black, so that was nice. In terms of materials, I think that the fabrics chosen lay well, flowed well and felt comfortable. I do wish the denim was a heavier weight, but that is personal preference I suppose.

Fit

I thought that the shirt would be a hard sell, because I usually have difficulty in finding sleeves long enough, but this one fit surprisingly well. I could have done with an extra half inch of cuff and perhaps a slightly longer collar, but otherwise it was fine. I went with two different pairs of trousers just to get an idea of the cuts. The straight leg chinos fit comfortably, with a good amount of space around the seat, which was nice, because I really dislike anything tight up top (I usually size up because although I have a small waist, my bum is relatively large, and this was no exception). The relaxed tapered "dad" jeans were something I was curious to try because I have been seeing them everywhere lately. I went with the long leg, rather than the standard, because I am quite tall and did not particularly want three-quarter length jeans (I have made that mistake with cropped trousers before!). They fit as intended in that longer length, and overall were roomy and comfortable, although I wish they had a sharper taper.

Construction

For such an affordable offering I was not actually sure what to expect, but thankfully everything seemed solidly built and up to daily wear without any issue. The stitching was a bit hit and miss in terms of tidiness though, so I did spend a few minutes before wearing things for the first time just taking some scissors to them to clean things up. The chinos were finished nicely and well made though, so that was nice to see. Given more time I would be interested to see how they hold up after multiple washes, but I might edit this post later on down the line with an update.

Value

I have said it already, but I was pleasantly surprised. The label is on the affordable end of the spectrum, and as such I do think it is worthy of consideration at that price point. I also think that it would be a good way of experimenting, for those wishing to explore different styles or looks without necessarily spending so much. One small note though - I paid for next day delivery on these, well before the cut off time, and it ended up taking two days to arrive. This was more to do with the fact that Hermes delivery is rubbish in my area, but even so, something I have to mention.

Conclusion

Overall I think that The Idle Man's own label is a solid affordable option for those wishing to add some nice basics into their wardrobes, or simply experiment with their style without investing so heavily, monetarily speaking, into the process. I enjoyed the fact that the pieces I had worked relatively seamlessly with the rest of my wardrobe, and felt natural in terms of styling.

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The Idle Man, a menswear based retailer, catering to the style conscious man. Hosting brands such as Herschel, Dr. Martens and Laboratory Perfumes, The Idle Man is a go-to destination for men. Alongside the online shop, The Idle Man Manual is a blog dedicated to offering style advice as well as stories and guides about music, grooming and lifestyle.

The team over at The Idle Man were also kind enough to offer readers 10% off their orders with code DAPPERKID10

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SS18 Favourites: Undercover

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Spring/Summer 2018












This was by far my favourite collection of the season.

Jun Takahashi had his eyes set on the future of youth culture with his Spring/Summer 2018 collection. But he was not thinking of next year, or a few years from now - instead, think band merch commemorating records released in 2075. It was a collection inspired by his own experiences and memories of 1980s Tokyo, where he was studying as a fashion student towards the tail end of that decade. However he also reached back even further with references to Masayuki Yamazaki’s Cream Soda clothing label.

Yamazaki founded the rock and roll Kaijin Niju Menso bar (named after the mysterious Fiend with Twenty Faces in Edogawa Ranpo's Kogoro Akechi series of novels) in the Shinjuku district in 1968. It was decorated with Yamazaki’s impression of a cool 1960s America, attracting bikers, rock kids, and even designers such as Kansai Yamamoto. In 1976 Yamazaki would go on to launch his Cream Soda label, inspired by 1950s American style, albeit as seen through the lens of London youth subcultures. So think of the Americana elements that were adopted by the Mods and Rockers at the time.

Jun then took these references as part of his imagined future, placing it alongside fictional band merchandise and punk styling, to imagine what kids of the future would wear. I appreciated the fact that there was German text (including some stylised to look like Arabic text), allowing for an interesting musical direction in his imagined future. What with street culture and youth culture being so popular right now, it was nice to see Jun show us just what is possible within that realm - looking to the future and being creative with the ideas and pieces, rather than adding to the instantly forgettable cookie cutter pieces we see so much of right now.

I thought that the casting and styling was on point, but then it is always interesting to see how Jun puts his collections together to create a “lived in” narrative, in that these look like organic outfits to me. I also find it interesting to see how he created fictional bands, working on music merchandising as an aesthetic component inherent to the style, and purely as a creative concept. Given that artifice and fantasy are a given in fashion, I always like it when designers come up with such a strong story and narrative to accompany their collections. Indeed for me the clothes really did feel like they would be fitting for a cyberpunk future. If that is what kids will be wearing several decades from now, I just hope I am around long enough to see it.

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Daniel Arsham: Colour & Blueprint

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Crystal ToysExhibition
Daniel Arsham
(Galerie Perrotin, Seoul, May-July 2017)

I really enjoy Daniel Arsham's cast works and sculptures. There are so many pieces that I would love to be able to see in person and touch. I find his use of colour really impressive, employing natural sources such as the volcanic ash, amethyst, selenite gypsum and quartz in the Future Relic teddy bears above, but also super saturated pigments for his solidly coloured pieces. This is given an extra dimension given the fact that Arsham is actually colourblind. As such I thought it would be interesting to share the first video on his perception of colour, and experience with Enchroma glasses (which many of you may have seen in those videos where colourblind people see additional hues and colours for the first time).

I found it interesting that so many of the comments on YouTube took umbrage with his reaction to them, but I can understand how overwhelming such a sensory change would be. Indeed it would require years of relearning to adapt to the newly perceptible hue changes, and even then, because it is so late in life, it would never feel quite 'natural'. I think studies have shown that generally you would have to be under the age of seven to be able to fully adapt to such dramatic sensory (and resulting cognitive) changes without any issue. And so it is even more fascinating hearing the experience of a visual artist with something that many of us will never have firsthand experience with.  

The second video is from the Blueprint series on Complex. I always enjoy hearing artists talk about their processes, and so I think that it is a fun little interview for those unfamiliar with Arsham. And given that it is a Complex interview, I might as well add that his first Adidas sneaker was not particularly to my taste, but the second current New York model is actually right up my alley. I even think that the Boost soles work, and usually I hate all these polystyrene looking soles.  

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The Truth About Streetwear: My Thoughts

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(The dress history nerd in me loves the fact that he used Hebdige's book cover for the banner art)


"Streetwear has prioritized commerce over community".

My love of fashion began when I discovered the work of Yohji Yamamoto. I thought to myself, wow, so this is what fashion can mean. My love of dress was however ignited by two things: (school) uniform and streetwear. I grew up surrounded and influenced by both, as I have spoken about before, both here on the blog and on my podcast. Growing up in what was then an impoverished area of London, primarily populated by ethnic minorities and immigrants, streetwear was literally the uniform of the streets. It provided an accessible alternative to mainstream dress codes, which was empowering in terms of the social recognition by peers that it could provide. If you wore the right trainers, it did not matter what you did or where you lived - you were the man. Yet surrounded by this, I spent the majority of my childhood and adolescence in school uniform, which is to say, a suit. I suppose my dressed identity since has been a sort of ongoing negotiation between these two ostensibly polar opposites. I still find it enjoyable trying to resolve both within my wardrobe without it fracturing, particularly as I like having as small and functional a wardrobe as possible.

I actually still follow streetwear and sneaker news with closer regularity than I generally do high fashion, although given its proliferation that is perhaps to be expected. I believe that sneaker culture, and the sneaker market, being so strongly based on exclusivity and novelty, can be viewed as the epitome of the fashion system in action. Yuniya Kawamura actually wrote a book on sneakers as a subculture, which I heartily recommend. I actually hope I can write an academic book on sneakers one day to expand the field further...which, as it currently stands, is populated solely by that one book. She lays a vital groundwork, but I feel that her lack of insider experience does lead to some rather sweeping statements and erroneous conclusions. I like that though, because it fires me up. But I will save that for another time.

Anyhow, I really have watched with interest as streetwear and sneaker culture has become a mainstream fashion trend. Admittedly they have both been pervasive in mainstream culture since the mid 1980s, but they have enjoyed a particularly fashionable Renaissance in the past few seasons. Fashion only really becomes readable in hindsight, but I think that streetwear will most certainly be viewed as having come on the heels of the death of #menswear and normcore. Only a cursory glance of hyped fashion on social media these days bombards the senses with Balenciaga Triple S's and "How much is your outfit worth?" posts. I find it utterly fascinating to see how streetwear has been stripped of its original values to the subculture, or if not fully stripped, then made palatable and accessible to a wider, more mainstream, audience.

As much as I have been influenced by and partaken in streetwear, I have never personally felt that it was fully "my" culture. That is to say, that it was merely a part of the puzzle, rather than my sole focus. Thus I have not viewed this mass adoption of streetwear, and praise for who can spend the most, with anger as many others deeply embedded in the culture have. To be sure I get exasperated at the excess (unknowing fashionable excess being the sign of the fashion victim), but that is something that has always happened with whatever happens to be trendy at the given moment. However, Bobby Hundreds (Bobby Kim) is a designer who is smack bang in the middle of the streetwear culture, and one of the major influences for the culture as it exists today. As such I was really engaged by his essay on the "truth" of streetwear as he sees it today. I found myself nodding along to a lot of his observations, and think that he really does describe a lot of issues concerning the culture today.

I heartily recommend you click through and have a full read of his essay. I actually think that it is a fascinating example of what happens when a subculture is commodified and hyped to such a meteoric extreme (as streetwear has been over the past few seasons). The remark that really made me think was his observation that there is "less sense of culture now, only clothing and capital". I think that that is actually a necessity for a subculture to become part of mainstream fashion - it has to be stripped of those cultural values to allow for wearers to 'read' their own broader meanings into the clothing. These meanings are invariably removed from what those within the subculture subscribe to. The majority of fashion is a bricolage of elements from various cultures and subcultures (most often mined from the past). While some designers show a sensitivity and understanding of these sources, for the overwhelming majority of brands trying to maximise profits, their understanding is skin deep. That is to say, the reference it aesthetically, or at least, an approximation of it.

Hundreds notes that high fashion will soon tire of streetwear, and I personally hope that this comes soon, because there is far too much lazy design at the moment. I think that it is easy for a designer to print random text and images haphazardly on sweats and call it streetwear. Or, as seems to be more popular for some reason, print their brand name repeatedly on tape and add a buckle to make a belt. All of these textual elements make the wearer seem to me like a computer image made real, where instead of hovering over pieces to find out more, it is already printed there for you to read. I also think that there is something interesting to be said there about the experience of the wearer in relation to wearing these textual elements, but I think that I might save that for a podcast episode. Overall I think that there is very little innovation, and without innovation, without novelty, fashion ceases to exist.

His assertion that the objects of streetwear, that is to say the clothing, has been reduced down to simple transactions is one that I think that many of us recognise. You only have to see Instagram posts that show outfits with price tags written next to them, or YouTube videos celebrating the ever-increasing price of various outfits. It is as if to say that the best outfit is the most expensive outfit, which would seem to remove any sense of taste or style from the process of fashion. This has always frustrated me, and it is admittedly not solely a streetwear concern. It is actually something that I believe has grown concurrently with the use of social media, wherein our virtual selves have become an exaggerated caricature of our offline selves (albeit no less real for they simply reveal a part of us).

But I am glad to see that he ends with a hope. That once the party moves on, many might stay and create something new and better. Fashion and dress for me has always been about communities, and so I think that the most exciting expressions result from the most vibrant and engaged of those communities. I do rather hope that streetwear returns to the underground, because while there are still so many exciting things going on under the radar, the conversation is better with less noise.

xxxx

Winter Hats: Larose x Missoni

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Autumn/Winter 2017











I only really started wearing hats for the first time earlier this year. It turns out that a buzz cut leaves your head feeling pretty cold, so hats are quite a good idea. I had bouncy curls for years, and so wearing a hat for any amount of time meant that when I took it off, it looked like someone had taken a hedge trimmer to my hair and sculpted a perfect helmet around my scalp. That does not sound too bad, until you realise that the bottom area where the hat did not reach was still bouncy and curly, so it all looked rather bizarre. And that is not to even mention the frizz. My hair frizzes just from lightly brushing my fingers over it, so you can imagine what a hat would do.

But now with shorter hair, hats are both functional and fun to wear. It is probably the first time since I was a child that I have worn hats just for the fun of wearing one. In truth it has been like finding a whole new world of accessories and styling opportunities that I barely knew existed. It has been quite a fun learning experience, because I had no real idea of what sort of hats I liked, what suited me, and indeed, what most even felt like to wear and use on a daily basis. I still have no firm idea, and have been trying a few different things out. I have been playing around with different beanies and caps. Turns out that I prefer unstructured 6 panel caps ('dad hats' I suppose), over 5 panels or structured 6 panels, because it creates a softer shape. I also like a curved brim to a cap more than a flat brim, just because it seems to suit my face shape better. In terms of beanies, it has been a process of figuring out the folding and rolling to get a decent shape on my head. I also seem to prefer a tighter knit and a softer material, such as a lambswool or cashmere over a basic acrylic.

In my current rotation is a pink cotton cashmere beanie, a black lambswool beanie, a maroon acrylic beanie, and a black unstructured 6 panel. These are all solid colours and relatively plain, but I have been thinking that it could be a nice way of introducing some colour and patterning into my wardrobe. If I think about it, colours and patterns currently only feature in my accessories - socks and handkerchiefs to be specific. I love my collection of Liberty print handkerchiefs, and I like having patterned socks. I actually have a really nice pair of Missoni socks that I love, so I thought I could think about their other accessories. I absolutely love the recent Missoni collections because the patterned knitwear has been so spectacular, but I doubt that it is something that I would wear anytime soon. And so accessories seem to be a nice way to get into things again.

For their current Autumn/Winter 2017 collection Missoni collaborated with Parisian hat makers Larose, to produce the beautiful hats you see above. I really do love how they look - the colours, the patterns, the materials. They look supremely cosy, and colourful without being too loud. They have a price tag to match though, and so I doubt that I would be able to pick these up at retail. But hopefully they go on sale, because one of the folded brim hats has my name on it (or at least I would like it to!).

xxxx

Nike Air Jordan 1: My Story

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Nike Air Jordan 1 
Retro High OG
(with a Peanuts x Kaws Snoopy plush)

I just bought my first ever pair of Jordans.

During his rookie 1984-85 season, Michael Jordan debuted the Nike Air Jordan 1 on the basketball court. He had actually worn Nikes before, with the custom Airships, but everyone forgets about those. It was the Air Jordan 1 that started everything. It was commercially released in 1985, with advertising gold being struck when the NBA tried to ban him from wearing them in the original colourway due to uniform regulations. It is without a doubt one of the most important shoes in sneaker history. It took an underground subculture mainstream, to the point that sneakers are now the largest single share of the footwear market worldwide. I actually wrote an essay over Christmas on the Air Jordan 1, purely because it is seen as a given in academic writing that it was an influential sneaker, without actually exploring why or how. I might share that at some point in the future, but that is not the focus of this post. Instead I want to talk about my experience.

Over Christmas I was re-evaluating my wardrobe and personal dress. Recovering from illness is never easy, especially from a psychological standpoint. For my part I can recognise that I most certainly retreated, and that was clear even from my choice of dress. I think that I lost my way a little when my health was at its worst. I was still fascinated with everything related to fashion, but I really did not think too much about what I was personally buying and wearing, which was highly unusual for me. I am still recovering, but I am finally starting to feel ready to re-engage with the world. A part of that process for me will always be about considering my personal dress. And so in the past two or three months I have really been trying to reconnect with what it is that makes me so excited about my own wardrobe and what that wardrobe could be.

It took me a while to realise, but what I think I want to explore are all the clothes and ideas that drew me in when I was growing up. All the things that influenced my tastes as they stand today. I want to think about what I thought was cool before I really knew what was popular and what was fashionable. When it comes to high fashion, I had that light switch moment with Yohji's work, but that was years away from the initial experiences that first got me interested in dress. So that is something that I would like to explore.

I was six when Space Jam came out, and that was probably the first time I saw Michael Jordan on screen. Basketball was not something that came on television here in the UK at that time, and so I never really thought of him as a professional sportsman. For me he was this larger than life character from film, almost on the same level as Bugs Bunny who stood next to him on the movie poster. In much the same way I remember watching The Fresh Prince of Bel-Air on the television, and seeing all the clothes that Will wore, especially the shoes. Sneakers for me never had anything to do with sports, or indeed did basketball sneakers have anything to do with basketball. They had to do with characters on screen. And that was their initial appeal for me - they were something from a world of imagination on the other side of a screen.

I remember what the popular sneakers were in my neighbourhood at that time. Or at least I remember the most popular - the Air Max 95. It was in a class of its own. The older brothers of my classmates would rock them, and the teenagers who sold drugs in the area would rock them (although they would later move onto the black Pradas). For me and my classmates, anyone who wore them was a superstar. They were bold, they were flashy, they were something that people turned their heads at. To be honest I was never actually the biggest fan of how they looked, but even at that age I understood the power that they held.

Jordans were however another story altogether. The only way you could get them at the time was if you had family in America who could send them over. I had seen them on television and on the cinema screen, but never in real life. That is until one day when a kid in my class came back from the Christmas holidays. His father had sent him a gift from New York. He came in that first day of term with his brand new Jordans, and I remember all of us crowding around him to have a look. I still remember that feeling of awe and amazement. They were unreal to us. They were something that existed on the screen, we never thought that they were something that one of us could actually wear. The funny thing is, I cannot even remember which model they were, only that they were Jordans. And so it was not even so much the particular shoe, the brand name alone was mythical. For me the brand represented something futuristic. This was what we will all be wearing one day.

That is one of the earliest memories I have of being awed by a pair of shoes (except for a petrol blue pair when I was four, but that is a story for another time). I remember that feeling so clearly, and so I thought that it was finally time to do something about it. Fast forward to some two decades later and I thought I would buy myself a pair of Jordans. I am not really sure why I have never bought a pair before, but I think it was one of those cases where the time was not right. Maybe I would not have appreciated them as much before, maybe they would not have had such an impact on me before, and maybe I just needed to grow to truly understand what they could mean. But here and now, the time seems right. Yes, they are only a pair of shoes, but clothes are never just clothes for me - they contain that little hope of who we wish to become.

So I thought to myself: where better to start than at the very beginning? I picked up this pair of black Air Jordan 1 Retro High OGs. Of course I went with black, because no matter how strong the nostalgia, I want to make to sure I actually wear them and that they go with my wardrobe. I got the box in the post this week, and when I opened them up I had that child-like sense of awe again. I could not stop smiling as I laced them up and put them on for the first time. It is that feeling that I really want to explore this year where my own wardrobe is concerned. And so, as Yohji would say - with an eye to the past, I walk backwards into the future. Sometimes it's about the small pleasures in life, and I plan on wearing these into the ground.

xxxx

E. Tautz AW18: First Impression

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Autumn/Winter 2018








Good proportions, nice styling, a solid collection overall.

E. Tautz is one of those brands that I immediately check out once the images drop during London Fashion Week. However I am rather embarrassed to admit that I usually seem to forget that it exists outside of that, which is a real shame. Patrick Grant has developed the brand aesthetic in a very considered and organic fashion over the past few seasons. But I guess for me, even though the clothing is made to a fantastic standard, and there are always individual pieces I like, the collections as a whole tend to get overshadowed. But with his most recent collection I have to say that I was pleasantly surprised. It has been a very energetic season in London overall (aren't they always I suppose), and so what actually caught my eye was how relatively understated this was in comparison. I had a similar sort of feeling with Hussein Chalayan's collection, which is currently my favourite from the London men's collections.

The term dadcore has been applied to this collection by reviewers thus far. I always wonder whose dad they are talking about with that term, but maybe that is just me. I actually have the same reaction to people talking about geography teachers, because I am still not sure what a geography teacher is meant to dress like. The only geography teacher I remember having wore cheap shiny suits and square-toe loafers, so not exactly the chicest of inspirations. I can imagine Rei doing something with that for Comme, but then she could make just about anything work, so I had better not tempt fate.

But yes, the dadcore aesthetic has been everywhere the past few seasons. I think that Demna may have taken it a bit too far (to put it delicately) with his Spring/Summer 2018 collection for Balenciaga, but I thought that this collection got it totally right. The proportions looked back to the 1980s without being too extreme, and the looks flowed really well. I think the styling really sold it to me, even though I would love to grab some of pieces and throw them together with some workwear boots and chunky knitwear. I was particularly taken by the jeans - they seemed to be thoroughly in line with the current zeitgeist in terms of cut, but had a nice nostalgia to the colour and detailing. I also thought the outerwear was really good, especially the belted jacket I have posted as the last photograph - if it comes in black, you can sign me up right now for a pre-order.

xxxx

Clothing As Protection

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Autumn/Winter 2018










What does it mean to feel protected by your clothing? 

At a basic level dress serves to protect our bodies from the outside world. In Winter we wear thick jumpers to keep us warm and jackets to protect us from the wind and rain; while in Summer we may wear a hat and sunglasses to protect us from the sun. But then one need only look to the streets on a Friday night in the dead of Winter to see that sometimes practicality goes straight out of the window. We often choose to wear clothes that seemingly do the very opposite of protect us, because we think that it looks good, and often simply because we can. Whether it be shoes that are impractical for the amount of walking we intend to do (say dress shoes with leather soles over a more casual rubber-soled pair), or leaving behind that warmer top because it does not quite go with our outfit (a thinner wool versus a fleece, for example), we make compromises without thinking about it.

But then when I think of protection, I do not particularly think of it in terms of technical function, but rather in psychological and emotional terms. You might feel protected in a sharp suit, you might feel protected in any clothing as long as it is red, you might feel protected wearing silk. Here I think that ideas of protection and confidence most certainly overlap, and even have something of a symbiotic relationship. I think that ultimately is about feeling a sense of security and stability in our dressed identity. It is not only what you are wearing, but also perhaps what you think that wearing those clothes says about you. The way in which we choose to present ourselves forms the visual component of our social identity. And at a cursory glance, it is the way in which others perceive and catalogue us.

But, more importantly, I think that it is about how we perceive and conceive of ourselves. In a way I think that dress is about the narratives we tell ourselves, and those we hope we convey to others. Through these constantly shifting narratives we form and reform our sense of identity through dress. Think of the wardrobe as a container of possible meanings, of the vocabulary if you will, where dress is the expression. In such a way I think that most of us are drawn to what we believe to be a stable display of our self in that moment, even if it changes from day to day. Whether it be a matter of fitting in at work but still choosing a colourful accessory to stand out, to looking like we are fashionable and knowledgeable of current trends, or to simply wanting to be comfortable and not being seen as "trying too hard" when hanging out with friends. The sense of unease arises when we feel the expression is not secure, and thus our sense of self is unstable. For example, turning up to a black tie event in smart casual dress because you did not realise the dress code.

For me the feeling of protection comes out of a sense of confidence in what you are wearing. It is an embodied experience made manifest through the interaction of body and dress. In a very practical way, for me it is about comfort and cover. I am a fan of long sleeves and covering up in general. It is not an explicit attempt to obscure or hide the body. Rather I think that there is a certain elegance to the play of fabric and small reveal of skin or muscle. I have never been the type to go out wearing shorts and a tank top in the height of Summer. I would rather wear some baggy trousers with rolled hems, and a long sleeve with the sleeves folded up. I like that little flash of skin, whether it be an exposed ankle or the forearm (not to mention the issue of sun damage).

I enjoy seeing the movement of the body through the fabric, because it is a reminder of what is unseen. There is a mystery to it. We all have bodies, but our nakedness is ordinarily hidden in day-to-day life, and so there is something about seeing the outline of the body in movement that is fascinating. But then to take it a completely different direction, I do wonder whether that preference where my own dressing habits are concerned stem from the fact that I felt ashamed of my body for so many years. And yet, even as my body has grown stronger, I still find that small reveal more interesting than anything else. As always I find myself continually re-examining my relationship with dress, trying to understand why it is that we wear what we wear, and collections like the one above are the springboard.

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