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A Fluid Progression

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Autumn/Winter 2016

I am not entirely sure why I never paid more attention to Margaret Howell's work in the past, but the last few collections really have gone from strength to strength and her latest show was my favourite from London Fashion Week. Regular readers will know how I love designers who continually refine their own aesthetic, and indeed, without feeling the need to somehow bring a new story to her latest collection, Howell presented a nice continuation of her Spring/Summer 2016 collection. Here however the trousers were unbelted and cropped higher, which to my eye allowed them to fall in a far more pleasing fashion, especially where it was paired with a slightly slouchier top block. To be honest there was something wonderfully awkward about the fit of the trousers that I really enjoyed, and I am looking forward to hopefully trying them on once the collection hits the stores. They look like they should be fun to walk around it and I am curious to see how they feel in movement. I almost always have my trousers rolled up or cuffed, so trying on more cropped pairs, with their streamline ending, should also be interesting.

The styling with the scarves also made me smile because it felt so familiar - I owned so many silk and pashmina shawls and scarves growing up, that tying one over a shirt and cardigan seems perfectly natural. I prefer the deeper, richer tones to the lighter blues and beiges, and it would be a good way of introducing a little more colour into my wardrobe, as I do with most of my accessories. Call it the Haider effect, but I have been wanting to add some deeper jewel tones to pair with my all black for a while now. That being said, I would happily wear any of these looks as is, and do indeed wear variations of them quite regularly. I think I definitely need to try on more of Howell's work and see how it feels. Even from the perspective of the viewer I feel that the clothes look invitingly comfortable, and it is that feeling I primarily tend to look for in clothes. Oh, and call me vain, but I do enjoy seeing curly haired models on the catwalk.  


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The Boy, The Woman, and The Cardinal

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Aganovich & The Colour of Opium
Spring/Summer 2015
Photographer: Erik Madigan Heck
Model: Guinevere Van Seenus

Nana Aganovich and Brooke Taylor's Spring/Summer 2015 collection was based on interpretations, from the religious to the profane, of the word 'icon'. The cardinal reds and burnished golds were at once sacred and luxurious, providing a beautiful addition to the black or white garments that otherwise made up the collection (there were also a few red and silver stippled pattern garments that were stunning). Their tailoring really is second to none, but the catwalk also saw the introduction of drapery, which was taken even further with the layered and tiered looks in their Autumn/Winter 2015 collection. Front-on catwalk images are obviously limited in their ability to show a garment in terms of movement and flow. This is especially the case where drapery is concerned, because it is so inherently connected to the shape of the body and the dynamic between skin and fabric in movement. 

So I always enjoy seeing editorials and photoshoots where the photographer seeks to capture some sense of movement, allowing the clothing to really come to life. I really do love the way Erik Madigan Heck uses colour in his photography, creating bold images that feel almost painterly in their composition (a lazy metaphor I know, but think more acrylic than oil). The strokes of colour are deliberate and the lighting is usually incredibly strong, allowing for a clear separation between planes (especially with his studio work). Even in this outdoor setting where there is natural light to play with, he uses it to create very dramatic shadows and allows the red to really pop against relatively solid backgrounds - black, white or a subtle shaded grey. I love high contrast work...which probably explains the wardrobe full of black and white clothes.


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A Romantic Getaway

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Autumn/Winter 2016










Wishing you all a very happy Easter.
Hope you and your loved ones are having a lovely weekend.

I miss the romanticism of Ann Demeulemeester since Meunier took over, but thankfully Aganovich more than make up for the loss. This collection is beautiful.


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Talking To Myself Podcast - Episode 01

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As the blog enters its eighth year I thought it would be nice to have a slightly more relaxed space in which to talk about fashion and cover a range of topics that I might not otherwise get to cover in writing on the blog. So please allow me to introduce the first episode of a podcast project I have decided to call Talking To Myself. I thought a podcast would be a fun way of expanding the blog, and the format is such that you can listen in any place and at any time. I think that I would like to keep these episodes to under half an hour, just so that it remains focused and you can pick up and play when you have the time. While the first few episodes will be a solo affair, hence the name, I would love to be able to invite guests to collaborate in the future, so if any of you want to get involved and have a fun chat, please do let me know.

I hope you enjoy the first episode, and please do share it if you do!

Love you all,

Syed



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A '90s Revival

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Helmut Lang
Spring/Summer 1998





I often think of fashion as a curious embodiment of mindfulness, in that it is a purely present-focused discipline. It is by definition creating something of the moment by building upon what went before (from the beginning of time until what came just before the immediate past, which is by now passé). The past is a repository for inspiration, with the designer often picking references from a diverse array of periods and locations to form a historical and cultural pastiche framed and presented for the current moment. Everything that came before is fair game to be inspired by, because all that matters is the here and now. The present moment is everything. The past is used as a vehicle to inspire the present, and by extension, the designer hopes to inspire the future as well. As such fashion has always had an odd relationship with time, seeking to exist in the moment, whilst framing itself against a past that exists purely as a memory to be reinterpreted for the present.

I find it interesting to see so many young designers now, who grew up in the '90s, now referencing that decade for their collections. Such is the flow of fashion, that as each generation comes of age, there is an inevitable revival of the decade of their formative years, albeit one thoroughly coloured by the tint of nostalgia and memory. History in general is thought of and written about in defined periods, with icons and iconography of design, or music, or literature, becoming shorthand for each period, whether or not they were actually all that widespread or not. Whether it be miniskirts, mods, flairs, flappers, Cubism or Constructivism, the words and images can conjure up ideas that have come to represent quite a specific time period in our collective memory. Think of any film you have seen set in the past, and they only really need a few select pieces to situate the audience. Fashion is obviously a great visual shorthand for this periodisation in film, because by now audiences have become accustomed to thinking about periods of the past as having been dressed in quite a recognisable, and usually very specific, manner.

And yet for the most parts, we usually get the period rather wrong, or inflate the influence of something we now think of as iconic far beyond anything that existed at the time. That is simply the way our memory works, both on an individual basis and a collective basis - we build icons and stereotypes and use them to convey the entirety of what was obviously a period just as complex as our own. Think back to our childhoods and we are met with a collection of memories that for the most parts ignore the mundane everyday activities that made up the most of that time. Not to mention the continual flux of minor trends in fashion or music or film. But we remember icons, we remember that favourite television show, we remember that favourite candy, we remember that holiday, we remember the smell of that perfume. There is a bricolage of sensory information that we can think back to in order to inspire us. The past existed, but we all experienced it in our own ways, and we all have different memories of it. They are all as true as each other, but there are usually connective threads where we are able to see trends and discern what was popular at the time. As such I always find it interesting to see how fashion treats the past, because it can often look towards a far more recent past than other art forms, and thus is able to find those icons and iconography that so strongly reference our nostalgia and memory.

I grew up in the '90s, but had no understanding of the fashion at that time (I knew Naomi Campbell was from around the corner, and remember her coming to my school once, but did not really know what a supermodel was then, so thought nothing of it). So I am always interested in looking back at '90s collections and comparing them to my memories of the decade. In much the same way I find it interesting to look at current collections that are labelled as '90s inspired, and then look at actual fashion shows from the period. Of course the two rarely align all that much, because current collections inspired by the '90s will be done so from the vantage point of nostalgia and memory, referencing the period at large rather than fashion shows at the time. Even so, I often find myself looking back at old collections and finding myself taken by just how relevant and present they still seem. Take for example the Helmut Lang collection above from Spring/Summer 1998. I have actually been on the hunt for one of the padded "bulletproof" vests from this collection for some time now, and could easily see myself wearing most of this collection right here and now for Spring/Summer 2016. I sometimes find myself wondering what collections from right now I will find myself looking back to in the years to come and feel the same way about. I guess time will tell.


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For The Art

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Aitor Throup
Spring/Summer 2017
(images via WWD)







Spring/Summer 2017
(images via WWD)

Apologies for the delay in getting the next episode of the podcast out, I have been running back and forth to hospital over the past few weeks getting adjusted to a new course of treatment and it has really been giving me a kicking. I am hopeful that things will smooth out soon however, so look out for the podcast - notes are done, I just need to sit down to record and edit!

Given that the men's collections are now over, I thought it might be interesting to look at some of my personal highlights starting with London. Regular readers will no doubt know of my ambivalence towards London Fashion Week, and as much as I think that the majority of the collections are a thorough waste of time, there are usually a few jewels that really are worth celebrating. Right off the bat I might as well say that I was not overly excited by Craig Green this season, it seemed almost lazy. As much as I enjoyed the colour work, I do not think that there was much else new going for the collection, and to be honest it felt almost like a pre-collection you would see in the showroom. That is actually close to how I felt about Aitor Throup's collection, were it not for the amazing theatricality of the show. The puppetry was absolutely spectacular, and I really am impressed by the work that went into getting them made and move so well - the puppeteers did an incredible job for the catwalk. I would highly recommend you watch a video of the show here on YouTube if you get the chance. However I must say that although the catwalk show was undeniably great, the clothes themselves were a little bit of a let down. I guess we might just have to wait for next season or the season after, but part of me was hoping for some newer ideas.  

My personal highlight for London Fashion Week was most definitely Kiko Kostadinov's collection. It spoke elegantly to me of the London I know and grew up in. I have never felt quite comfortable with the sportswear aesthetic promoted by the likes of Nasir Mazhar or Cottweiler, because while it is very much based on the type of clothing I grew up surrounded by, that source material never really had a romantic dimension for us - it was our reality. I grew up surrounded by snapback caps, tracksuits and Air Max 95s. I grew up surrounded by colourful weaves, intricate fake nails and skyscraper heels. It is an aesthetic world I know intimately, it is one that I appreciate fully, and one that I understand better than most. But it is not one that I have ever felt the need to seek out as high fashion. If I want to wear it, I would rather go with the real thing. I can rock it with greater authenticity when using the original pieces and styling that I know, rather than some sanitised version made for the fashion audience.

But there is another style I remember. One that was far more functional and practical, but no less codified with individual quirks and personal styling choices. The uniforms of the adult world and the uniforms of the other kids' parents as they came to pick them up from school. I remember looking at the uniforms of bus drivers, builders, painters, even policemen, and being utterly fascinated. Work wear and uniforms have always held importance for me, because not only did I wear school uniform throughout my childhood, but I remember looking up to adults in uniform - there they were, working hard, taking pride in their work, neat and orderly. Those uniforms meant adulthood to me just as much as owning a car or having a wallet with credit cards in it. There was a secure sense of identity, that I think as a child is always attractive. So I suppose the collection evokes some sense of childhood nostalgia for me that is almost aspirational in quality, and for that reason I think I am drawn to it far more than I am to the London sportswear crowd of designers.

And given the political climate in the UK as it currently is, what with the anxiety and uncertainty of Brexit crushing down on us, I think that this collection takes on an even greater resonance. Kiko described his man as "in his mid or late 20s and working and has a Belgian or French sensibility. These clothes help him dress functionally for the city." With the status of Europeans working in London (and the UK in general) under scrutiny as Britain seeks to enjoy the fruits of the single market unashamedly without free movement, there is something celebratory to such a cosmopolitan inspiration that feels so thoroughly London. The city I know is multicultural and inviting to anyone and everyone, and seeing that engaged with alongside such clean workwear uniforms was a joy. I really am looking forward to trying out the Ventile suiting once it hits Dover Street Market. Considering this was Kiko's first collection after his MA show, I am excited to see what is to come - this collection was a home run as far as I am concerned.

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The Colours of Summer

Al Rehab Perfumes: A Quick Sniff

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Al-Rehab is one of the largest perfume manufacturers in Saudi Arabia and has become a mainstay across the Middle East with their incredibly large range of perfumed products, from solid perfumes to room sprays. They are also incredibly cheap. And by cheap, I mean that you can get 6ml roll-on bottles and 35ml spray bottles for around the same price as, and often cheaper than, a standard perfume sample. Each of these 6ml perfume oil roll-ons cost me £1.99 delivered to my door (check eBay or Amazon), and if you are able to find them at a physical location, usually Islamic bookstores and the like, you can usually find multibuy offers (I have seen 5 for £5). While many may scoff at the ridiculously cheap price and walk away, there are actually quite a number of gems to be found if you have the patience to wade through the rubbish (as with most of life really). To save you some of the hassle I thought that I would give a quick overview of those within my immediate reach, the majority of which are most certainly worth seeking out if you have the time and inclination.

Please note that these reviews are all for the 6ml oils, however many do also come in alcohol spray form. Perfume oils tend to have a deeper and richer fragrance, and also lose a lot of the lighter top notes due to their condensed nature, so the spray bottles do have minor differences. My preferred application for these is a dab on each wrist and to the pulse points at my neck. And by dab, I really do mean a dab, the sillage on these is absurd, so you can easily overdo it.

Oh, and just in case - I am not being paid to write this, so all opinions, as always, are my own.

L to R: Aseel, Choco Musk, Cobra & Crystal

L to R: Dakar, Dehn Al Oud & Soft

Aseel - 4/10

Green rose and oud. Aseel holds no punches with the opening, hitting you with a metallic saffron and a very green rose. That green rose is the beating heart of the composition, with the saffron soon dialling down to leave room for a backbone of medicinal oud and a surprisingly nice minty vanilla that helps smooth things over. The oud here is not the dark urinous oud of Dehn Al Oud, but a slightly medicinal and ‘clean’ version that one finds in most Arabian perfumes where oud is not the main focus. Overall this smells clean cut to me, with a nice big green rose, but it never quite shakes that metallic hint that I find a bit too sharp for my liking. Be especially careful with over-applying this one because it is incredibly strong.


Choco Musk - 7.5/10

Do you want to smell like chocolate? Then Choco Musk is for you. I do find the name rather misleading though, because I struggle to detect any musk - I think that Choco Vanilla would be a better title. The opening is a slightly powdery dark cocoa, which is tempered with something akin to white sugar crystals to avoid it becoming too bitter. It quickly mellows into a warming milk chocolate and a vanilla that is reminiscent of heated marshmallows. Think of the comforting smell of hot chocolate, with those tiny white marshmallows bobbing around in the froth, and you get an idea of whether you would enjoy this perfume or not. I use this to unwind - something to enjoy after a hot bath as you curl up at home, but not really an ‘outdoors’ fragrance. I do not even eat chocolate, but I love how this smells.


Cobra - 9/10

A true 80s-style floral powerhouse, and most certainly the most complex scent out of this bunch. The dominant tuberose note in this perfume means that it gets a lot of comparisons made to Dior’s Poison, but think Poison long before its limpid reformulations, because this is a truly rich and seductive blend. The opening for me is a wonderfully spicy combination of clove and anise layered over a citrus zest, rich berries and that beautiful syrupy tuberose from the get go. The clove and anise soon dry down to a reveal a more nuanced blend of spices (cinnamon, cumin, pepper, I get hints of everything), as the fruitier notes give way to a creamy sandalwood, amber and a heavy dose of incense. But running throughout is that glorious tuberose, which is soon met by a rather indolic jasmine, that works wonders with what I am convinced is an animalic musk hiding away in there, and some lighter white florals mixing in nicely with that amber (and maybe some vanilla?). This is an incredibly heady concoction that is a delight to smell unfold and easily lasts all day and well into the night.


Crystal - 9/10

Rich chocolate, red roses, earthy patchouli and a warm musk. Think of this as a smoother and richer version of Mugler’s Angel. This is something I could easily envision people choosing as their signature scent, because it is complex enough to remain interesting throughout the day, works well across the year, and is distinct enough not to be mistaken for something anyone else is wearing. Dark chocolate blends cleverly with rose and a wonderfully earthy and rich patchouli, that helps it avoid entering gourmand ground. Yes it has chocolate, but it never feels edible in the way that Choco Musk does, mainly because of the lack of any vanilla or sugary sweetness. The dry down brings out a woody spiciness that really helps veer this firmly away from dessert territory, and I really do enjoy the complexity of what I had initially thought would be a relatively linear fragrance. I actually find myself reaching for this the most out of all the Al Rehab perfumes I have tried so far because it is so versatile. Definitely worth trying out if you get the chance.


Dakar - 5/10

An interesting enough riff off the original formulation of Drakkar Noir. A herbaceous and slightly soapy oakmoss-based fragrance. The opening is surprisingly dark and spicy with hints of tobacco smoke, resinous woods and oud. Unfortunately for me that darkness is fleeting, slipping away before you really get to enjoy it, to be replaced by a more traditional oakmoss, lavender and pine combination. Anyone who finds contemporary Drakkar Noir lacking in power and depth will enjoy this. I just wish that opening lasted longer.


Dehn Al Oud - 10/10

Dirty, animalic, sweaty, fecal, urinous, and utterly beautiful. Oud is slowly but surely gaining popularity in European fragrances (it is unfortunately still too dirty for the soapy clean arena of American perfumery, which mostly seems to think that humans in their natural state smell of white musk and baby powder), but no one does oud like the Middle East. I was surprised at just how deep and rich this synthetic oud was given its ridiculously cheap price. Bear in mind that actual oud oil, distilled from the resin of the mould-infected heartwood of Aquilaria trees, is one of the priciest raw materials in the world. I have only ever had the privilege of smelling true oud oil a few times in my life, and while my bank balance does not yet stretch far enough for me to wear it when I am in the mood, this will most certainly do for now.

The opening is not for the faint of heart, with a rich urinous streak and a background of stale tobacco smoke, sweat (perhaps cumin?), and a beautifully dirty animalic leather. The heart of the perfume is a luscious honeyed oud, coupled with a slightly lighter medicinal wood that really helps to give the fragrance dimension. Over time the honeyed note turns waxy, which works wonderfully alongside a strong civet-like raunch. I can imagine quite a lot of people not wanting to touch this with a barge pole, but for those daring few, you really are in for a treat.


Soft - 8/10

A creamy lemon sugar musk. The opening is a strong lemon and sugary vanilla, almost like a lemon drizzle cake, which playfully balances tartness and sweetness. The lemon moves from a fresh citrus to a candied peel, that I think works well with the creamier vanilla that develops in the base. That vanilla is joined by a light caramel and clean musk that blooms slowly over time, giving this a beautifully cosy warmth. The spray seems to rely more on white sugar than the creaminess of the perfume oil, so decide accordingly. Overall a very comforting scent and easily something I could wear alone throughout Spring.



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Talking To Myself Podcast - Episode 02

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Start your week off in the best way by listening to the latest episode of my podcast Talking To Myself! With this episode I thought it would be fun to talk about Gosha Rubchinskiy, skateboarding and fashion. As always do feel free to get in touch and let me know what you think or what you would like me to cover in a future episode, I would love to start a discussion with you.

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

Love you all,

Syed



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Going Digital

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"It's All About Shapes"
Vogue Italia (March 2016)
Photographer: Sølve Sundsbø
Stylist: Patti Wilson

When trying to explain why I am so drawn to certain pieces of fashion, the answer I most often seem to come up with is that I enjoy truth in design. Now I admit that sounds entirely pretentious, but I struggle to find a more concise summary. What I mean by truth in this case is twofold, in that I enjoy designers who display some understanding of a garment, what I would call its truth - you see this most easily with the basics, because all you have to do is try on a t-shirt or shirt from a designer who understands the body and one who does not, the difference is night and day. But this understanding in itself is not enough, because I also seek a designer who has discovered some sense of truth of their own in design, or to put it another way, their own voice. While I think that you could easily focus on one or the other, I think that finding both is what allows an average designer to become great, because it is that total dedication to the craft that makes it easier to produce something truly unique and beautiful.

For me it is the difference between looking at a later painting by Picasso and the work of someone who simply cannot paint (or is lazy, *cough*Hirst*cough*) - at first glance there might be little discernable difference, but if you actually stop to take a proper look, you begin to appreciate an understanding apparent there in the Picasso that is difficult for many to achieve. So many designers seem to want to jump the gun and start doing “classic with a twist”, without bothering to actually learn how to make “classic”. I think that is why I enjoy the story of Tao Kurihara’s job interview for Comme des Garçons so much. She went in thinking that Rei would ask her to create something fantastical and complicated, but all Rei asked was for her to make a plain white shirt. Always start with the basics, and for me, your basic understanding of a topic or idea becomes your starting truth. It is something you can always play upon and develop, in order to find your own path, but ultimately I think that how we come to relate to that fundamental belief colours all of our work later on. 

I think that anyone who is serious about their art form is seeking their version of a truth (or truths) about that art. Whether it be a musician trying to understand their instrument and allow for it to become an extension of their selves, or a writer who wants to be faithful to the characters and the story they have created, or a painter who wants to really understand what it means to be a painter, I think it is human nature to want to understand our chosen crafts and explore their meaning. It is for this reason that I often find myself at odds with digital photography that seeks to mimic film photography. I most certainly understand the appeal behind it and the fact that much of what we call an “analogue” effect has now become very much part of the digital aesthetic, but there is part of me that is uneasy at what has now become cliched retro nostalgia. I often find myself thinking that if you really want to go for that aesthetic that you might as well learn to do it manually and use film, whereas for digital I think that there is a whole different world of effects and aesthetics to pursue - finding the truth of the medium.

I learnt to develop and print black and white film when I was in school, and I remember being absolutely entranced by the magic of the whole process. And then came the time when I used a digital camera for the first time, and here was the same feeling of magic, but it was decidedly different from film. This was when digital cameras had a floppy disk slot in the side and you could only fit three or four images to a disk. I remember taking those few photographs and then running to upload them onto the computer before taking a few more. You were either tethered to a computer or carrying a box of floppy disks. I remember uploading those images and sometimes they would come up with weird glitches and multicoloured pixelated noise that was so far removed from anything I had ever seen in film photography that it felt incredibly futuristic. These digital images were blurry, grainy and dark, but there was a beauty to them that was all their own. I think that fashion imagery is always imbued with some sense of nostalgia, because so much of fashion itself is built upon the idea, but I sometimes wish there were more editorials that fed into the sense of digital nostalgia I feel. And in doing so, choosing to revel in the medium itself, rather than mimicking an entirely different art.

P.S. Entirely unrelated, but go check out Gracia's blog The Rosenrot if you get the chance, she has been killing it with her writing recently. 


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A Gentle Touch

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"Walrus"
Spring/Summer 2017
(images via Vogue)

I loved everything about this show and collection (...except for the shoes, which reminded me of Dahl's Grand High Witch and her squared feet). The collection was a reminder of why I love Rick Owens. As confrontational as his aesthetic can be, what with glory hole dresses for men and sixty-nineing models coming to mind from recent shows, I always find the softer side of his work more alluring. Indeed it is a side of his work that I think translates far better for his womenswear than it necessarily does with the menswear. Whereas the Grès-inspired draping felt somewhat awkward on the men, it came to life on the women. Rick himself talked of the menswear collection looking as if it could be something unfinished, and I can certainly understand what he meant with that comment. Not to say that the aesthetic was polished as usual or that the clothes were incomplete in any manner, but there was a sense with the heavy draping and those billowing high-waisted wide-cut trousers that the bodies of the models themselves were caught unfinished. He was creating new shapes and new forms that almost seemed at odds with the human forms carrying them, and that tension, while beautiful to watch, is not something that I would personally go for.

However, compared to the menswear, the womenswear was breathtakingly beautiful to my eyes. The draping and casually twisted fabrics played perfectly in harmony with the body in movement. I loved the lightness of the clothing, especially with those fog coats in movement, where hand-knotted ostrich feathers were mounted to gazar silk (a fabric that holds its shape incredibly well and was designed in collaboration with Cristóbal Balenciaga in the 1960s). Rick said that he was inspired by the idea of fragility for this show, with the name being a nod towards anthropological shifts and the fragility of ecological balances. Whereas Walrus for men seemed to be about these strong alien shapes, for the women is was an ephemeral beauty that was transfixing to see in motion (please do watch the video if you get the chance - I must say that the music really was spot on for the show). But as much as we can talk of lightness and the ephemeral, it was reassuring to know that Rick continues to subvert with his material choices - linen tulle, stiff cotton buckram, and even horsehair for the windbreakers. People often talk of decay where Rick's clothes are concerned, but here it definitely felt like he was building monuments to fragility.


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Finding Balance

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I have been thinking a lot about the duality of life lately as I find myself progressing on my slow path back towards good health. There can be no understanding of pain without comfort, no sadness without happiness, no dark without light, no death without life, no man without woman. Just as I find myself now working to learn to dance with the pain, embrace the anxiety, and really apply the patience and flexibility I have learned over the years, so I find myself taking a more open and relaxed approach to my wardrobe. I find that my wardrobe has almost always been an insightful reflection of where I am in my life, to the point that it is only with the benefit of hindsight that I really fully understand what I was going through at the time.

Dressing has always been a mindful process for me, but often it takes moments of reflection after the fact to really notice trends and habits that build up slowly over time. Indeed this is much of the reason why I take a photograph of myself every single day, document every article of clothing I buy or sell, and keep a daily journal in which I often write about my experience with dress. I think that this approach is also a result of the fact that I have been practicing meditation for the past few years, which I found invaluable in finding a sense of peace in the rapid currents of life. But that delving inwards is only ever healthy when accompanied at some point by an equal expansion, because otherwise we can fall into the trap of getting caught in our own thoughts without a real sense of perspective.

I always find it interesting to think about what I wore and why, but also how it made me feel, because for me dressing starts with that individual experience. There was a time when I wore the most colourful and vibrant clothing I could find in an effort to hide myself. I thought that I could force people to see the clothes I was wearing without actually seeing me. To quote the OG Frank Lucas: “the loudest man in the room is the weakest man in the room”. There was a time when I wore draped black layer after black layer around me in an attempt to disguise the shape of my body because it had been so ravaged by disease. But the more confidence I gained in myself, ultimately stemming from an unconditional acceptance of myself, the more easy and relaxed my wardrobe became.

For the past few years my wardrobe, with the exception of a crisp white shirt and some plain white t-shirts, has been black. For those who know me, my uniform of black means that they can see me clearly, because the clothes look much the same day by day, allowing them to fade into the background. Conversely walking through the streets in full black, or standing in a crowded room wearing full black, means that you most certainly stand out and people see the clothes before they see you. I rather enjoy that dichotomy because it represents so much of life, and it allows me to dress in a fashion that has felt the most natural to me, no longer hiding or obscuring, but simply embracing my own truth.

Black is universal, black is both a beginning and an end, black is where I find myself at ease. But over the past few months I have been thinking about duality, and where I would like to take my wardrobe so that it continues to be a reflection of my personal growth. White has been on the periphery of my wardrobe for a number of years, but over the past three months I have really tried to engage with it as the natural mate to black. I have taken it slowly and allowed it to really take an organic form, without feeling the urge to force anything or rush into anything. I have simply been exploring my options and getting a feel of what I enjoy and feel good wearing. To be honest I have mostly been thinking of getting what I already own in black again in white. It seems to be the most practical way of exploring white without adding further variables that might distract me. As you can probably tell, I tend to go for quiet pieces, but all the same, when wearing all black or all white, they are loud enough.

I have stepped out of the house on a few instances now in head to toe white, and must admit that it feels like a totally natural balance to my all black looks - I am equally comfortable wearing all white, but emotionally it feels different. The best way that I can describe it is that it feels like an outward expression rather than the inward expression that is all black. It is nice to have that balance, and on many days now I find myself mixing black and white, usually by splitting top and bottom e.g. black t-shirt, black sweater, black jacket, white trousers, white socks, white shoes; or white shirt, white sweater, black trousers, black socks, black shoes. Plus the reaction of people who have only ever seen me wearing full black suddenly wear head to toe white is a worthwhile experience in itself.

Life is change, and change feels good.

Uniqlo, Is That U?

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Lambswool ribbed crewneck sweater: I like the heft of this sweater - it is best suited to colder days because it is very warm. The fit is slightly boxy, particularly because of the raglan sleeves, and I like that the neck is not too tight, but gives you that room to breath without revealing your t-shirt underneath. The bottom hem is tighter than I had anticipated though, so when sitting down it can often ride up, which shifts the whole sweater up because of the stiffness of the knit. Even so, this really is a steal for the price.



Oxford long sleeve shirt: I like the hidden buttons under each point of the collar because it gives this shirt a really clean look. The fit is on the larger size, so I think anybody in between sizes would definitely want to size down for a trimmer fit. I am however used to baggier Yohji sizing, so I feel perfectly comfortable with this, with the exception of the sleeves - I wish they were a touch longer. But then I am six foot and have never particularly had luck buying shirts from Uniqlo or Muji because the sleeves are too short for me. Having said that the Lemaire and Jil Sander collaborations did have that slight extra length. I would say that quality wise this is comparable to the older Uniqlo oxfords that I remember, so worth a look.




Cotton twill elasticated trousers: If you have junk in your trunk like yours truly, you may want to size up or avoid these all together. The waist has an integrated belt, but unfortunately no button or hook closure. This means that while the waist has a comfortable amount of space when I am wearing the trousers, I do have to do a little wiggle and hard pull just to get them past my bum. The gusseted crotch means they are comfortable in movement, but really the bother of pulling them up and down means that I am not sold on these. Plus the fabric is a lint magnet, so if you want these, I would avoid the black.


Uniqlo U sweater and trousers
Both size medium
(185cm/71kg)

I used to wear a lot of Uniqlo back in the days when they were collaborating with Jil Sander, and still think that J+ was one of the best collaborations fabric-wise to ever hit the high street. That was some five years ago. In the intervening years my only real experience with Uniqlo has been Heattech leggings for Winter, which seem to get thinner and flimsier year by year. I actually stopped wearing Uniqlo around the time of their aggressive marketing campaign in the UK, because as quickly as they expanded their stores and production, so fell their prices and quality - thinner fabrics, messy stitching, and generally poor quality when compared to the pieces I already owned from them. I remember in particular going to the Oxford Street store to try on sweaters and being rather put off at how much cheaper the new ones felt in comparison to the older version I was wearing at the time.

So I pretty much passed Uniqlo by for a number of years, until news was announced that they would be collaborating with Christophe Lemaire. I already own some mainline Lemaire that I really enjoy, so I thought that it would be interesting to give the collaboration a go. I was curious to see whether it might compare to the Jil Sander collaboration that I so loved, or failing that, hoped that it would at least equal the quality of the old Uniqlo that I remembered. I bought a collarless shirt from the first collection and a loose knit sweater from the second, and must say that I was thoroughly impressed with both. For the price they were very well made and the cut of both was, as expected, a slightly more basic version of mainline Lemaire. I really do hope they continue with the collaboration, because it was really nice for basics and general beater pieces.

Anyhow, after two seasons of collaborating, it was announced that Lemaire would be joining Uniqlo as artistic director. In this new role he worked with Uniqlo to launch a line called 'Uniqlo U', which hit stores last month. I curious to try Uniqlo U, because while I was impressed by the collaboration pieces, I was not sure what a non-collaboration line might entail. I assumed that that cuts and fabrics would be closer to standard Uniqlo, rather than those featured in Lemaire's collaboration collection, and thought that it might be a good way to reassess my view of Uniqlo. So once the line was launched I ordered three pieces that I was interested in - the ribbed lambswool crewneck in black, the white hidden-button oxford shirt in white, and the elasticated waist cotton twill trousers in black, all in size medium - to get a decent feel for the collection. Most opinions on the outerwear were rather underwhelming, so I avoided that entirely, but would be interested to hear whether anybody has any outerwear piece from the line that they enjoy.

Overall I think this collection was a nice reminder of what I used to enjoy about Uniqlo, but now what was once their standard quality is being packaged and sold as premium quality. Having said that, the price is still decent given the increases in materials and manufacturing costs over the years, so I would definitely pick up something from this line before looking towards the rest of Uniqlo's offerings. I am hoping that Christophe Lemaire has a hand in the wider design scheme at Uniqlo, because it would be great to see them making improvements across the board. I think that this collection was a nice start though given the constraints within which he no doubt had to work, as opposed to a full Lemaire brand collaboration, so I will be interested to see what the next drop brings. A half decent lambswool v-neck cardigan please, the basic Uniqlo ones could do with an upgrade.


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A Classic Shave

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Edwin Jagger DE89 knurled-handle safety razor and a selection of double edge blades.


Synthetic hair Omega S-Brush and Proraso shaving soaps - sandalwood (red) and eucalyptus & menthol (green).


The EJ DE89 is a three piece razor, with the handle screwing into the top plate, sandwiching the safety bar and blade between. Shown here with a Personna Platinum blade.


Here you can see the amount of blade that shows between the curved top plate and safety bar. As a double edge razor, it is the same on both sides. The blade actually curves when the razor is tightened fully.

Growing a beard is easy - you stop shaving (give it three months so you know what sort of growth you have to work with). Keeping a beard is a little more complicated - washing, conditioning, trimming and grooming. I have never actually shaved my entire face...except for when all I could grow was a mousy moustache I guess, because that definitely had to go. I have always had some manner of facial hair, and for the past few years that has been a trimmed beard (with a curly moustached interlude). All the men in my family have beards, so it is something that I grew up with seeing as a natural part of grooming. I trim my beard down with clippers to a slight taper, I neaten the moustache with a comb and scissors, and I clean my upper cheeks and neckline with a razor. My facial hair is not particularly dense, but thanks to my genetics I grow hair from just under my eyes all the way down to my Adam's apple, so regular shaving is a necessity to keep me looking well groomed.

For years I used disposable razors with generic shaving foam. It is a costly endeavour and a process I never particularly enjoyed because of the frequency with which I would end up with razor burn and nicks. Indeed this was even more so the case with those fancy multi-bladed cartridge razors, which seemed to irritate the heck out of my skin. So I kept it simple with a disposable two blade razor with one of those moisturising strips. I would use it for a few shaves, then chuck it as it got dull and started nicking my skin. I started looking for a better alternative and that is when I discovered the world of safety razors and their benefits. Benefits not just for my wallet, but also for my skin, because safety razors give a smoother, less irritating, shave. There is only one blade in contact with the skin, which helps in preventing tugging and reduces the likelihood of ingrown hairs.

The safety razor is a pretty simple piece of kit. Instead of replacing the entire razor as you would with a disposable, or the head of the razor as you would with the cartridge, you simply replace the blade inside. The razor itself is usually a metal body that you twist open (most commonly into three pieces like mine, but you also get two piece or butterfly opening razors) in order to place the double edge safety razor blade inside. Unlike modern razors there are no proprietary fittings or sizes - you can use any brand of double edge blade inside your razor. There are an incredible number of blades to choose from and the blades are cheap as chips - you can get a pack of 100 blades of most brands for under £10 shipped. Bearing in mind that each blade usually lasts around three or four shaves, and you get some idea of the savings you can make.

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I decided to buy the Edwin Jagger DE89, with a knurled handle for grip, which is widely recommended for beginners. The gently curved shape of the head, and the amount of blade it shows (referred to as the aggressiveness of the razor), are such that it makes for a mild and smooth experience. To go with the razor I also bought a synthetic brush, because I try to avoid animal products where possible, along with two different Proraso shaving cream bowls (again in order to avoid the animal-based tallow soaps). Where blades are concerned, I got some free with the razor, but also ordered a sampler pack of blades, just so that I can take my time to figure out which blade works best for my skin and hair. Thus far I have used three different blades, using each around three or four times, and replacing once they felt dull. I erred on the conservative side however, especially given that I do not shave my entire face, so I am sure that I could have gotten another shave or two out of each.

Derby Extra: This was the first blade I tried because it is reputed to be the mildest. I found it to be smooth, but not particularly sharp, so they were not the closest shaves. Having said that I thought this was a good blade for learning the basics with, or if you want a milder shave I suppose, but it was nothing special.

Personna Platinum: I did not enjoy this blade too much. It was sharp, but I found it rather rough to use. I actually got a little razor burn on my neck from this on two occasions because I found that it dragged slightly. Fine to use in a pinch, but not my first choice.

Astra Superior Platinum: This blade is incredibly popular and I can most certainly see why. Smooth and sharp, this gave me some very nice shaves. From my very limited experience so far it is my favourite. The only thing I did not like about these is that the wax paper that covers each blade is glued on, rather than simply folded on like the previous two, which left residue inside my razor that I had to clean up.

It has only been a short time that I have been using the safety razor, but I am already a convert. It actually makes shaving a far more enjoyable experience, and there really is something to be said about taking the time out of your day to have a nice shave (it is pretty much a mini pamper session). I was actually surprised at how easy I have found it getting adjusted to the safety razor. I had been fully expecting to cut or nick myself the first few times I shaved, but have actually not had any issues except for some razor burn with the Personna blade. I would definitely recommend anyone interested to take the plunge, it is quite fun.

(This post was not sponsored, endorsed, or affiliated with them in any way, but for anyone UK-based, I have had really good experiences with Shave Lounge - free postage, well packaged deliveries, and cheap prices). 


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Future is Now

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"Glitch"
Y-3 Autumn/Winter 2016
Shot for Hypebae
Photographer: Kara Chung
Model: Yana V
Stylist: Rebecca Lam
Make Up: Kidd Sun

Y-3 enables Yohji to expand a vision that occupies the space between fashion and sportswear, which is actually the very essence of sneakerhead culture. The clothing and shoes give the promise of technological advancement and perfomance enhancement that are inherent in the marketing of most sneakers. But rather than focusing this implied benefit towards sporting activity, it is aimed quite squarely at lifestyle. Yes, you can wear Y-3 at the gym and to participate in any number of sports, but the truth is that the line is primarily sold and bought as a streetwear label. I enjoyed this editorial because it focuses on what I consider the natural home of Y-3 - not on the track, but on the city streets. Warm concrete, cold metal, these photographs can be read to represent just about any city on Earth. The urban environment is one that engenders an ever-changing sense of identity, so perhaps sportswear becomes the armour that is the easiest to employ in the face of this instability. Always ready to move. And of course it has to be black.


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Brand Supremacy

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Brand synergy. It is a term you hear from time to time on fashion forums and threads online, usually followed by a heated debate. The concept is simple - wearing brands that share a design philosophy and aesthetic direction is perceived as superior to an outfit where brands are conceptually disparate. For example, pairing an Acronym jacket with Arc’teryx Veilance trousers is seen as superior, both visually and conceptually, to pairing that same Acronym jacket with a pair of Dior jeans (usually regardless of how either look). While I can most certainly understand the original thinking behind such a suggestion, in the online sphere suggestions can quickly turn into ardent rules. Crossing the streams seems to have a curious effect on a small minority of those who think of themselves as 'true’ supporters and fans of a designer, versus those who are perceived as newer, and thus inauthentic, in their enjoyment of the same clothes.

I think that the term brand synergy can often be thrown around in a rather pretentious manner, simply because of the fact that it values brand name over aesthetic reality. It may seem like a semantic quibble, but I think that if someone speaks of aesthetic synergy, then they are making a point which can be discussed, but blind branded tribalism smacks of snobbery and a desire to mark one’s self out as a ‘true’ follower. To value brand synergy over aesthetic synergy seems to suggest that some manner of philosophical or conceptual similarity is more important that how the clothes actually look. I find that a rather odd perspective, because clothing is primarily a visual medium, especially when limited to photographs online or seen in passing on the street. Indeed once again I think that it becomes a way of displaying (and boasting) one’s insider knowledge.

You see instances where people will post an image of their full outfit, and simply list one of the pieces as “unbranded” or “no brand”, because they feel that it would be perceived by others as an unsuitable piece were they to list its provenance. I find that a rather sad state of affairs, because it then becomes an exercise of trying to fit in more than simply enjoying wearing your clothes and what you think looks good. I think some manner of brand synergy is a natural step for most, simply because we tend to be attracted to similar styles and brands, wherein there is usually some manner of overlap in terms of aesthetics anyway. If you happen to be into a skater aesthetic, you find that the brands that cater to you tend to have a similar background, so brand synergy tends to be a natural outcome rather than some particularly conscious decision. But to say that this synergy is more important than how something looks is not something that I agree with.

The comparison I would make is to people who walk into a museum and read the caption before looking at the art itself. Or else, coming across photographs and finding out what camera, lens and settings were used before looking at the image itself. It is as if you are afraid of saying whether or not you like something without first finding out whether it passes some basic (or, more often, quite complex and rigid) groupthink level of acceptability. I think that it can often be an incredibly narrow view of fashion, wherein stylistic creativity is stifled in favour of common uniforms - these are the clothes we wear, and these are the ways in which you must style them. Yes, you can dress according to the codes of your group and for the eyes of those few others in the know, but ultimately I think we all strive to dress in a manner we think looks good, and some manner of aesthetic coherence is a generally understood part of looking good.

I think that the idea of brand synergy can confine people in their outlook, and does rather gloss over the complexity of the self. You can own a whale foreskin wallet and still enjoy wearing Nike Dunks. People have varied tastes and varied interests, but can find a sense of kinship in the enjoyment of one brand, or select group of brands, whilst still enjoying a stylistic diversity among them. However I do not think that brand synergy is entirely useless as a concept, because I do understand the thinking behind the suggestion. For those starting out in developing their aesthetic direction, or those changing their aesthetic direction, it is an easy way of navigating the myriad of choices that make up the fashion market. It does make your job far simpler in terms of finding clothes that work together. If I like wearing brand x, then I know that l can try brand y and z safe in the knowledge that they will mostly work together visually. But to say that one is automatically poorly dressed for wearing brand x with brand c is too simplistic a view.

It can be a helpful suggestion to help navigate buying and dressing, but when it becomes an inflexible rule and demand, I think that brand synergy stifles creativity and encourages snobbery. I understand that the vision of the designer is part and parcel of the design, but ultimately the runway show is a very specific vision that simply gives you an idea of how to wear the clothing if you are wearing nothing but clothes from that collection for that season. Yes you can style the clothing with other pieces from the same designer and take inspiration from the catwalk, but to become a facsimile of the runway is not something I particularly strive for. I think that it is but one interpretation, and once you buy the clothing, you can wear it how you want and style it how you want (including altering the garments how you want to make it work better for your body or modes of wearing). While I respect the ideas produced by the designer, I also want to approach each and every garment individually, because they have to have merit of their own beyond the label attached to them.

All that to say - yeah, I wear Supreme with Yohji Yamamoto...and I look damn good. Wear what makes you happy, because life is too short to worry about whether this designer and that designer share philosophical perspectives, musical tastes and drink the same brand of tea. Once they sell them, the clothes belong to us, so wear it how you want.
 

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Talking To Myself Podcast - Episode 03

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Dear All,

I thought that it would be nice to get another episode of Talking To Myselfup before the year ended. In this episode I take to the defence of school uniform and why I think that it can have a positive impact on child development. I talk about my own upbringing and experiences with school uniform, making this one of the more personal episodes. Hope you enjoy it, and as always, please do feel free to get in touch and to share with anyone who you think might find it interesting.

Love you all,

Syed



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Every Man Dies

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"Every Man Dies"
Autumn/Winter 2016
Photography: Ollie Adegboye
Styling: Rav Matharu
Art direction: Felipe Guimaraes

I grew up surrounded by sportswear and streetwear, and no matter how far I may stray from it, I always find myself coming back. In a weird way I suppose it is home for me. It was what I saw growing up and what I aspired to before I knew what fashion was. To this day it is something that I follow with interest. The sneakerhead in me can still name every trainer I see on the road, follows all the newest drops, and could easily rock a peach Anti Social Social Club hoodie with some Reebok Instapumps if I suddenly woke up all hypebeast (thankfully unlikely for now, besides, peach does my complexion no favours). I still feel more comfortable in a suit and tie than in a hoodie, but I am a child of both worlds, and could happily wear either with confidence. There is that paradox in my personal dress history, in that I grew up on school uniform and going to a very prim and proper school, but then returned home each and every day to see people on the street in tracksuits and Air Max 95s that I wanted to wear. I loved that contrast though, and I suppose it is for this reason that I really enjoyed this editorial showing the latest collection by Clothsurgeon.

Tailoring meets sportswear, but not that "athleisure" mishmash that is popular these days and always strikes me as rather insincere. I find that the thoughtful construction and coherent aesthetic of this collection feels far more alluring. Whereas the athleisure direction feels like costume to me, with a piece of sportswear thrown in for contrast and a knowing wink, I find that streetwear brands that have that formal side are able to more confidently elevate sportswear to a place where its function is less in opposition to where the clothing will actually be worn. I have never felt particularly comfortable with streetwear from British designers such as Nasir Mazhar, because it often feels like a caricature (and fetishization) of the aesthetic. I suppose it is because it hits so close to home for me, but I always see it as a way of selling a look you could wear "authentically" for less money. But here I see pieces of that same source material treated with respect and combined with traditional tailoring techniques to create something I find far more interesting. I may not trade my black Yohji blazer for a pink wool coat tomorrow, but who knows, perhaps one day I might own both.  


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Merry Christmas

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Louise Brooks, c. 1927

Wishing you and your family a beautiful Christmas.

Lots of love,

Syed

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New Additions

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Converse All Star Hi 70s

COS roll neck merino wool sweater

Issey Miyake Homme Plisse trousers

Happy New Year! I hope your 2017 has gotten off to a great start and that you were able to have a restful period with your family and friends.

For today’s post I thought I would share my pick ups from over the holiday period. Well, the sales after Christmas...although sale season seemed to start before Christmas this time (pre-Brexit market worries and all that). I do not actually enjoy sale shopping that much, because it tends to be a little too frantic for my tastes. I prefer a more relaxed and slow approach to buying pieces for my wardrobe, because nothing I buy seems to sell out before I have the chance to buy it. If for whatever reason it does, then I am perfectly happy to look for something else, or if I am particularly smitten, then look for it on the second hand market. Thankfully I have a wardrobe now where I can buy pretty much any Yohji piece from the past 20 years, or select basics from whichever current season collection or store, and it works well together. I guess the fact that my wardrobe is so small means that I operate with a uniform by default, so shopping is never really a challenge, it is simply a matter of finding what feels right when I try it on.

I tend to keep a running list on my phone of pieces that I would like to buy at some point to round out my wardrobe (nothing fancy, I prefer Google Keep - Evernote is overkill for me). While most of the time the top of the list is populated by underwear and socks, I do get the chance now and then to buy something from further down the list. I do enjoy the random frivolous purchase too when I really love something, so the list is just a reminder of where to prioritise. But I buy things so infrequently, that when I do it is usually from that list anyway. Anyhow, all that to say that I was able to pick up three things from my list recently. To give you an idea of what my list is actually like the three things I checked off were - “Summer trousers”, “white trainers” and “polo neck”. I leave things purposefully vague, so that when I start looking it gives me that scope to really just have those options of which avenue I go down. I think the organic framework is already there though, so I know what I am looking for before I even start. I know that I will likely buy things in black or white. I know that whatever I buy will have to work with the rest of my wardrobe, because it is too small to really go for anything that stands alone. And I usually have a visual image of the fit and fabric I am after.

The first piece I purchased were the black Issey Miyake Homme Plisse trousers. For Summer I already have a pair of linen Yohji trousers that I absolutely adore, but I wanted another option so that I do not wear those Yohji trousers into the ground sooner than necessary. If I love an item of clothing, I make sure to wear them until I am unable to repair them any longer, otherwise they are donated or sold. I really do not have the desire to have pieces in my wardrobe that I am not happy with, so I would rather they be worn by someone who actually loves them. It is weird though, because as much as I love my clothes, and many of them contain memories for me, I could quite happily sell or donate everything I own tomorrow and start from scratch. I am more attached to people and memories than I am to material objects, which is odd, because I think that I have the personality of a collector, but make sure to hold back from collecting where possible (a collection for me is where things go to be recorded, classified and forgotten about).

Anyhow it was the shape of these trousers that sold me on them, and after reductions, they were surprisingly affordable. Expect an outfit post once the weather warms up, because I think that these will be getting a lot of wear this year. Perhaps even with leggings underneath so I have more of an opportunity to wear them, because they are incredibly comfortable and lightweight. To be honest everything I bought seems to be more suited to warmer weather, but I guess the point of having a list that I keep updated year round means I can buy things during whichever season. Indeed the merino wool polo neck I picked up from COS would seem to be something you pick up for Winter, but it is actually incredibly fine, so more suited to being a transitional piece, which is what I wanted. I have to say that for me COS really have stepped up their game in the last year or two, so I think I might have to start paying more attention to them. I have actually only started wearing polo necks again very recently, because I am at a healthier body weight, and that means I can wear one without my neck swimming in it.

And I may be a sneakerhead at heart, but you would not know it from seeing the footwear in my wardrobe. While part of me would love to pick up the original Rick Owens Geobaskets with the crepe soles (the staples can suck it though), or finally get around to the wide lace Kris Van Assche trainers, the truth is that I tend to go for simpler footwear. So I picked up some mono white Converse 70s hi tops that were going for half price. Standard Converse do not seem to agree with my feet, but the 70s models for whatever reason are super comfortable for me. I was thinking of picking up the white Comme des Garçons pair, to compliment my black pair, but they are actually more of a cream colour, so I just went for these instead. Good all round beater shoes, so no doubt they will be scuffed up and roughed up by the end of the year.

Did you manage to pick up anything nice in the sales?

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