Thursday, 6 October 2016

A Gentle Touch

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.


Wednesday, 14 September 2016

Going Digital

"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. 


Monday, 15 August 2016

Talking To Myself Podcast - Episode 02

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,



Sunday, 31 July 2016

Al Rehab Perfumes: A Quick Sniff

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.


Friday, 15 July 2016

The Colours of Summer

No Photos Please (Volume 01)
Photography by Erik Madigan Heck

At this time of year the world is colourful enough without my wardrobe having to be.
I do love Summer.
Still sorting out hospital stuff.