Uncategorized – Wears Jenny

Punk: an icon of the trickle-up theory.

*1970’S Punks. Photo courtesy of* *The Londonist.*

In the world of fashion, trends and cycles are what keep businesses moving, what excites the consumers and bubbles up conversations. Within the world of trends there are two main trend cycles that can be identified: trickle up and trickle down. The trickle-down theory is when a garment moves from being a part of a higher socioeconomic background- such as royalty, Princess Diana is a fantastic example of this, to becoming more accessible to the masses and being popular throughout Highstreet stores. The trickle-up theory, however, is quite the opposite and is when a designer finds a small sub-group of individuals dressing in a specific way and markets it to the upper classes. Quite an outdated way of the world, but this is fashion.

One of the most iconic and perhaps revolutionary examples of the trickle-up theory is the epitome of cool: Punk. Whilst in the fashion space today, punk is associated with big designer names, most famously Vivienne Westwood, the roots of punk are quite different. Let us go back in time to 1970’s London, the British economy was in a terrible state, unemployment was at an all-time high: the youth were angry and dissatisfied. Pair this with a love for punk rock music and you will find yourself a group of politically motivated and rebellious youngsters, ready to cultivate what we now look back on as a booming London punk scene. Throw in the newly found popularity of the marshall amp and you will find a generation of music lovers about to make a noise, not just in London, but globally in the fashion world.

Think mohawks, tartan & safety pins: this is punk. From world-renown bands such as Sex Pistols and the clash (whose logos are still used in high street garments today), to feminist icons such as the slits and X-Ray Spex. Punk & Feminism: the two go hand in hand & punk was one of the biggest UK (United Kingdom) based radical feminist movements.

*An Riot grrrl 1991 , image courtesy of* *The Guardian*

Fast forward to the 1990’s and Punk is still growing and booming more than ever, being known all over the world but still seen to be male-dominated. In the early 1990s in Washington, United States, a feminist punk movement broke out in the form of Riot grrrl. Riot grrrl is an underground feminist punk movement that still exists today, mainly in the form of a publication that curates a subcultural movement, combining feminism, punk music, and politics.

*SEX boutique, image courtesy of* *Kids of Dada*

As punk became increasingly popular, the world of fashion noticed and thus it began to trickle up to mainstream fashion. Many think that the first high-end adopter of punk was Vivienne Westwood, however, this is not strictly true. Whilst Westwood was the first high-end designer to embody punk, it was in fact punk that catapulted her into fashion fame. Westwood was not alone in catapulting Punk to fashion fame, she did so working hand in hand with her partner Malcom Mclaren who was a band manager for a variety of punk bands at the time. Westwood and Mclaren opened the clothing shop named “SEX” which created a media frenzy and began a prosperous relationship between music and fashion, in which we see today. The curation of this shop helped the trend of punk to trickle up and become more popular, rather than be adopted by an already renowned designer such as how Jean Paul Gaultier adopted the trend.

*Millie Bobbie Brown, Image courtesy of* *Teen Vogue*

Other designers who have adopted punk stylizing in a trickle-up form include Zandra Rhodes, Thierry Mugler & Jean Paul Gaultier, punk is still seen today, both embodied in the musical subculture, thrown onto H&M’s renowned graphic tee’s and sometimes recircled into high fashion catwalks, adored by celebrities such as Cara Delevingnes & Millie Bobbie Brown.

An ode to tweed: Chanel Fall Ready to Wear 2022.

Wellies, cable knit tights & an ocean of tweed. Somewhat reminiscent of how I imagine life to be should you step into a Scottish postcard. Interestingly, upon reading Virginie Viard’s reflections on the collection I learned that the entire collection was in fact influenced by the heritage of the brand and specifically what Gabrielle Chanel would experience/see on her walks through the Scottish countryside, which allows for us to make better sense of the mishmash of colours, textures, and shapes that were thrown all in during this show.

*Chanel Fall 2022, image courtesy of* *Vogue Runway*

A parade of women in boxy structures cascaded throughout the show, in a variety of contrasting colours, with a palette showcasing cheerful pinks contrasting with moody earthy tones. The collection was if anything, very Chanel and was a-typical of the brand with a heavy reliance on the quintessential tweed blazer that the brand is so renowned for.

*Pink Tweed Blazer, image courtesy of* *Vogue Runway*

The mismatch of tweed blazers and tights did remind me of how I would imagine a Scottish version of St Trinians to look- effortlessly cool and a little bit rebellious. This schoolgirl/masculine edge that the collection presented pays tribute to the new generation of Chanel consumers. Current Creative director, Virgine Viard, looked to the swinging sixties for inspiration, taking the age of youthquake as a main source of influence, this was not only highlighted through the turbulent mismatched garments but also through the show’s settings and a soundtrack by The Beatles.

A particular highlight of the collection for me was the accessories. As well as the classic padded shoulder bags, Chanel followed in the footsteps of Jaquemus and produced several miniature bags which were portrayed as both bags and necklaces, absolutely adorable pieces, sure to be replicated by the high street stores over the course of the next few years.

*Mini Bag & Necklaces, image courtesy of* *Vogue Runway*

Further to this, one accessory in particular that caught my eye was the Chanel embellished necklaces that looked as if they were swiss army knives, this idea juxtaposes everything we know the brand to be. In my eyes, Chanel is a powerhouse of fashion, renowned for the curation of elegance with their Tweed suits and historical references of the little black dress. The Army knife-looking necklaces are in fact a mini comb that has been inspired by the pocket knives which could interpret the only thing a Chanel consumer could be afraid of when walking in the Scottish countryside- a bad hair day. The idea of perfect hair was one that was reintroduced by the show, with smooth voluminous blowouts and classic 60’s bobs being a firm feature of the hairstyling throughout.

*Smooth blow-out, image courtesy of* *Vogue Runway*

To conclude this review, this younger rejuvenation of Chanel this season is one I am in full support of, it’s young and a bit risky whilst still being truthful to the heritage of the brand, in keeping with stories of Gabriele Chanel’s past and the persistent use of the classic tweed that Chanel manipulate so well. This newer, repositioning of the brand is the perfect mix of new and old and allows for a gradual redirection of consumers, befitting to the younger customers.

A brief history of the Little Black Dress

The Little Black Dress, also commonly referred to as the LBD, has been a fashion statement piece since 1926. The Little Black Dress is a staple wardrobe piece that has been loved by numerous names throughout history.

Chanel illustration in American Vogue, October 1926.

In 1926, Coco Chanel produced a simple black dress, illustrated with long narrow sleeves and elegantly accompanied by a long string of pearls. This illustration was published by Vogue in 1926 and was referred to as ‘Chanel’s ford’. The namesake references the original ford car, which was famous for ‘coming in any colour, as long as its black’ in order to be simple and accessible to all classes which applies to both the car and the dress. The little black dress was designed to enable all women to have access to a long lasting, affordable and versatile garment which became key after the 1929 economic crash.

Previous to this population of the LBD, the colour black was only worn by women who were mourning, but through the design of the Little Black Dress, Coco Chanel not only popularised the colour but made it fashionable.

Dior’s New Look, modelled by Audrey Hepburn

Fast forward in history to the 1960’s and we see another infamous spin off of the LBD by Christian Dior, who redefined the Little Black dress as ‘The New Look’, created to make women feel sexy and powerful in postwar times.

Two fashion icons throughout history renowned for their presentation of the Little Black Dress are Audrey Hepburn and Princess Diana.

Audrey Hepburn in Breakfast at Tiffanys, wearing Givenchy.

In 1961, during the opening of the infamous film “Breakfast at Tiffanys”, Hepburn can be seen wearing a Little Black Dress, designed by Hubert de Givenchy. The long black, form fitting cocktail dress became the newer and more modern interpretation of Chanel’s original LBD, this is not only reflected through the tailoring and obvious colour of the dress, but also through the styling of Hepburn to include long pearls, taking hint towards the original illustration created by Chanel.

Princess Diana wearing Christina Stambolian

Princess Diana’s Revenge Dress is another celebrity culture phenomena that is embedded within the history of the Little Black Dress. The Little Black Dress worn by Princess Diana at the Vanity Fair party in 1994 has been dubbed by many as the “Revenge dress”, thought to be named so due to the party being on the same night that Prince Charles had admitted to his affair with Camilla, the now Duchess of Cornwall. The dress worn by Diana was designed by Christina Stambolian and was very different to the clothing of which she had been seen wearing in the past, as she was now free from conforming to the royal rules and began to embrace shorter hems and form-fitting tailoring. It is also interesting to note that Diana also paired her LBD with pearls too, could it be argued that the two must go hand in hand?

To conclude, the little black dress is, and always will be, an icon of fashion, and is something I believe that every woman should have in her wardrobe.

What is Haute Couture?

Hosted bi-annually in Paris, Haute Couture fashion week is one of the most renowned events in the calendar of the fashion world. Haute Couture translates from French to English as “High Fashion” and is arguably the most luxurious style of catwalk. The term Haute Couture has actually been protected by the French ministry of industry since 1945. The French Ministry of Industry (also referred to as FHCM) is responsible for holding a tight list of requirements and deciding who is allowed to showcase a Haute Couture collection.

At present, there are 16 French designers holding Haute Couture labels, with 8 correspondent designers (international designers) and a handful of guest designers who are invited to showcase at the bi-annual Haute Couture fashion shows. The full list of members can be found here but includes the likes of Chanel, Giambisti Valli, Elie Saab, and Miu Miu.

According to Vogue, at present there are only 4,000 active Haute Couture customers worldwide, so with such a small clientele base, often people question why the fashion world still insists on keeping Haute Couture alive.

Fashion united define Haute Couture as “a celebration of skills and craft that must be honed, sustained and kept alive”, haute couture is less about generating sales to the masses, and more about the celebration of craftsmanship and the art form we know as fashion. Haute couture promotes a fantasy of fairytale-esque gowns that are often only worn once, perhaps to feature in a magazine. The key to Haute Couture is to promote a fantasy to help sell a product- for example, a model wearing a Haute Couture gown may be used to promote a perfume, which is a more realistic price point for the average consumer.

A great example of the luxury that Haute Couture fashion week promotes is showcased through the intricacy and delicate nature presented through Elie Saab’s spring 2022 luxury Haute Couture collection. The collection is said to be inspired by the Garden of Eden, consisted of bold bright colours, floral-inspired shapes and textures, and the brand’s signature luxurious hand embroidery.

Elie Saab Spring 2022

Another brand that regularly showcases the beauty of Haute Couture is Jean Paul Gaultier who emphasises the importance of structure and craftsmanship through Haute Couture fashion. Gaultier is infamous for its use of optical illusion prints, and this spring’s collection continued to pay homage to that, with hourglass silhouettes and corsets being used throughout to showcase the brand’s classic style.

Does Pretty Little Thing belong at London Fashion Week?

Fast Fashion brand Pretty Little Thing (PLT) took to the streets of London this week, with their first-ever London Fashion Week show, led by their new influencer creative director, Molly-Mae. Whilst Pretty Little Thing has been showing across the pond at NYFW for a few years now, the time has finally come to bring the show to London.

It’s clear that if there’s one thing PLT does well, it’s make the headlines. From being the first brand to hire an influencer as a creative director, to now becoming the first fast-fashion brand to display at London Fashion Week.

However, the question bears, did Fast Fashion brand PLT belong at London Fashion Week? London Fashion Week defines itself as telling ‘the story of London’s individuals and businesses’ which are ‘rich in creativity and culture’. Further to this, this year London Fashion Week has started to promote ‘Positive Fashion’ in which the organisers and designers discuss taking responsibility for the planet: “From the environment to diversity, supply chains, ethics and responsibility. How are we talking about and acting on some of the biggest issues that affect the industry globally?’.

Whilst the presentation, lighting and stage set up of the show was one which had obviously been well thought out, the show was not a true representation of what London Fashion Week should be, with a lack of innovation in the designs and a continuation of the trends we have already been seeing throughout the last 6-12 months.

The collection mainly ranged from a-typical muted tones to a variety of shirt dresses and the continuation of Pleather garments such as trench coats and blazers. A particular stand-out look from the collection was a two-piece oatmeal plisse shirt and wide leg trouser ensemble, both highlighted by lettuce hems, creating very flowing garments. The colour range seen in the collection featured predominantly muted tones, but also included a small selection of more vibrant oranges and greens. The more vibrant coloured garments directly portrayed the trending 70’s ideas that have been floating around for the last few years, with a focus on flared leggings and power suits.

The contrasting colour schemes were unclear and no real story was told through the show, taking away the artistic element that turn a display into a show. Similarly, the designs showed no innovation and weren’t celebratory of fashion as an art form, which is the main intention of a fashion show- to highlight a designer’s talent. Instead, the show was just a new way to promote a fast fashion collection and another way to boast about their newly appointed ‘creative director’ Molly-Mae.

Whilst the garments themselves were lacking in innovation, the show itself was not, representing a new way for fashion week to work with consumers. In broadcasting live on YouTube for consumers to watch, viewers were then able to shop for the products directly during/after the live show, with them already being readily available on the Pretty Little Thing website, where they are all displayed photographed on the creative director, Molly-Mae. The readily available nature of the products pays tribute to the fast fashion nature of the brand. Fast Fashion is defined by the Oxford English Dictionary as “inexpensive clothing produced rapidly by mass-market retailers in response to the latest trends”, and is renowned for its negative effects, creating pollution and fueling sweat shops. Unsurprisingly, the lack of consideration towards the planet in order to pursue consumer demand attracted many protesters to the show, creating a large amount of PR noise for the fast fashion brand.

*Protestors at the Pretty Little Thing Fashion show, image courtesy of* *The Independent.*

Another core ideal from the debut was the fact that the model choice was extremely inclusive, with the show using the hashtag #everybodyinplt as a unique selling point, and a large variety of models being used throughout the show such as plus-sized models, disabled models, models wearing hijabs and transgender models.

*A diverse range of models at the show, Images courtesy of* *Fashion united.*

It should be noted, however, that the inclusive use of models was exclusive to the show, and the products themselves were featured as modelled solely by the creative director, Molly-Mae on the e-commerce site. For a brand that is making such a bold effort to be inclusive on the runway, it is disappointing to see that the same has not been mirrored on the Pretty Little Thing website.

Could this use of readily available clothing and the inclusivity of models be Pretty Little Thing’s way of making the average consumer feel a part of fashion week, stripping back the exclusivity of the events and making it accessible to the masses? Or is it simply another PR stunt used to increase the brand’s visibility?

For a first debut, Pretty Little Thing did well and made a statement against the high-end designers through their use of inclusivity, however, the lack of innovation within the designs still leaves the fashion world wondering if a fast fashion brand such as Pretty Little Thing really belongs at London Fashion Week.