23 June 2018

Interviews by the River: Kiko Kostadinov SS19

Spring/Summer 2019

This collection was easily the best that I have seen from Kiko Kostadinov. 

They say that a person's home has a distinct smell apparent to everyone else except for the people living there. I think that it extends to people as well, in that I can know a person by their smell, even if they change the perfume they are wearing. Perhaps the same can be said for different cultures. Indeed to truly understand the full complexity of our own culture, it requires looking with outside (objective) eyes. But of course this process requires a comparison to be made to alternatives, which is to say that we come to know ourselves and our culture in relation to others. Fashion is perfectly poised to explore this dynamic, because references are often diverse and varied, marrying cultures and subcultures to create a new narrative and suggest new ideas.

With such a connected world as we now find ourselves in, I think that this process is more interesting than ever. This is because the vast majority of us are Internet citizens, which allows us exposure to a greater array of diversity than we may otherwise be able to encounter in the physical world. And yet, at the same time, information overload is a reality, and it is not hard to find designers who simply treat the catwalk like a Tumblr feed. Access to knowledge and access to ideas is easier than ever, and so I think that we are at an exciting juncture in terms of fashion and design, where creators are able to discover and experience a wider array of references and inspirations than ever before. I think that this collection was one such example of that, because it was so varied in inspiration, yet came together in what I thought was a rather beautiful and harmonious way.

Kostadinov was inspired by the German artist Martin Kippenberger, whose work ‘The Happy End of Franz Kafka’s “Amerika”’ (which, as the name suggests was an interpretation of Kafka's work), led him to consider men in an imaginary Bengal town on the River Ganges in different stages of job hunting. This Bengal inspiration was taken primarily from filmmaker Satyajit Ray's Apu trilogy of films, which are some of the most important and iconic films in Indian cinematic history. The narrative of the trilogy, which serves as a coming-of-age story for the character of Apu, was mirrored by Kostadinov's collection with looks displaying various points in the job interview and job interviewee process. What I particularly enjoyed was that, even with an ostensible clash of diverse references, the collection never seemed heavy-handed in its inspiration. Because of my own background I responded primarily to the South Asian references, and yet these played alongside other references and inspirations to create something uniquely suited to the Kostadinov customer, wherever in the world they may happen to be.

I really liked the styling of the trousers in many of the looks, with what seemed to be an interpretation of a kurta pyjama, alongside a version of what was essentially a dhoti worn over trousers. Look in particular at the first look I have posted, where you see that wrapped dhoti-style hem, with the white kurta pyjama-style trousers underneath, or else the check materials that reminded me of the fabric you would see used for a lungi. I enjoyed the fact that the clothes for me looked at once foreign and homely. There were references I responded to strongly, whereas others would no doubt respond to others, such as the use of a motif taken from traditional Bulgarian carpets, with neither overpowering the looks in either direction. I think that fashion these days almost has to cater to a global audience where possible to thrive, and I think that this collection did exactly that. And even though the inspirations were a long way from those of his Autumn/Winter 2018 collection, I thought that the consistency in explorations of cut and construction, allowed for a nice development. Last season was about getting back to hobbies, and in much the same way you see that here with the film references, but married to the idea of work uniforms that Kostadinov has also previously explored.

I was excited to see a continuation of the Asics collaboration, with a new model removing the signature stripes and becoming the first Asics sneaker with a full Gel sole. While I think the clothes were the strong point of the collection, I enjoy the way Kostadinov collaborates with brands such as Asics and Camper to create footwear that compliments each collection, showing a strength of design ability that is highly promising for future collections. Overall as I wrote in the opening of the post, this is my favourite collection from Kostadinov, and I am excited to see the pieces in person when they hit the stores.


27 May 2018

10 Years Later

I would like to think that I have earned the right to call myself an old school fashion blogger, even though I am another decade or two away from being an OG. I started this blog as a teenager with next to no knowledge of fashion and dress. What I did have was a burning curiosity to learn about anything and everything connected to what we wear and why we wear it. It has been ten long years, and in that time life has taken me down paths that I would never have expected, but I am grateful for every single moment. Throughout it all my love of fashion and dress has continued to grow to a point where I decided that it was an avenue that I wanted to pursue academically. And not just studying for a few years, but something that I could dedicate my life to. I have been in hospital beds, barely able to move, reading books on fashion theory. I have been snowed under with deadlines and family issues, and escaped into a book on fashion history. It is something that I have barely scratched the surface of, even if I have been rubbish at sharing that passion fully here on the blog.

To use Rosie Findlay’s classifications, I most certainly consider myself a First Wave fashion blogger. She places the transition between First and Second Wave in the period between late 2008 and mid-2010, which I agree with, having experienced it first hand. Indeed it was towards the end of that period that I found myself in talks with a few companies, who seemed at the time to be signing up bloggers left, right and centre, as the shift began for blogging to become more industry. In a way blogging became the exact thing it had originally intended to provide an alternative to, but that was inevitable I suppose. Thankfully there are bloggers who made the transition successfully, and continue to provide a voice worth listening to, as well as exciting new blogs and websites that are well worth the time. For me monetisation and advertising is not something I have ever been comfortable with, and so I have always considered this blog more of a side project I do purely for the enjoyment. I always said that I would continue blogging for as long as I found it fun, and thankfully it is still somewhere I like to escape to so that I can simply share what I find interesting.

To pick up where Findlay left off, I think that we are currently in the middle of a Third Wave. The shift has occurred from personal style blogging to lifestyle blogging, with platforms such as Instagram and YouTube becoming the main avenues for promotion. Fashion is a visual medium, so it is perhaps unsurprising that such platforms would come to the forefront. In these spaces it is often not the individual voice that is the focus, it is not even the clothing, but it is the brand that is the focus. The way the individual and their lifestyle is portrayed online becomes the product and the brand being sold. It is what has allowed us to enter a world where influencers play such a major role in shifting the culture. Now arguably this has always happened in blogging, but I find that the shift from being able to identify with a blogger and seeing them as an actual person, to a finished glossy product that we aspire to become or live like, is the inevitability of the commodification that has occurred over the past several years. It is a fascinating evolution to watch, and while it is not one that I have actively taken part in, I nevertheless feel the tug.

I do actually think that it is an exciting time to be a blogger, or a podcaster, or simply post things you find interesting on Instagram. There are so many platforms for us to share what we love that I think that we all have the ability to express our own ideas and creativity more easily than ever. And while I do think that there is now a huge space for more personal voices and informed opinions to re-emerge, there are thankfully always voices out there worth listening to. I am not sure what this blog will read like in another ten years, but I know that this past ten years would have never been possible without each and every one of you. Thank you all from the bottom of my heart, I really cannot express what it means to me for someone to take even a few seconds out of their day to scroll through what I share with the world. I am excited to see what the next ten years of blogging brings.



14 May 2018

Pokemon Trainer: Sunnei AW18

Autumn/Winter 2018

What does a Pokemon trainer's wardrobe look like?

I know that is a weird question, but what can I say, I think about these things. I have a habit when watching a film or playing a game to try and guess what the rest of a character's wardrobe looks like. It is something I tend to do in real life as well. When I am watching people on the street I try to imagine what it would feel like to wear their clothes, but also what other clothes they might own. Can I guess a wardrobe based on one outfit? How did that person feel buying those clothes and how do they feel wearing them? I am fascinated by the choices we make on a daily basis when it comes to our style and dress. This extends to fictional characters too. I know that quite a few film actors say they start with a pair of shoes they think that their character would wear and take it from there. When you know how the character walks, then other things tend to fall into place I suppose. Even as a child I remember watching cartoons and imagining what the rest of each character's wardrobe would look like (pour one out for The Weekenders, one of the few cartoons in which characters actually changed their clothes).

Like most people my age I was absolutely obsessed with Pokemon when it first burst onto the scene here in the UK. I remember watching the cartoon, playing and collecting the cards, and clocking in a hefty amount of hours (as well as working my way through a ton of batteries) on my Gameboy Pocket playing Pokemon Red. As with many others I was filled with nostalgia when Pokemon Go came out, because it was all the original Pokemon. I never quite caught up with all the new generations of Pokemon, but I still remember lovingly levelling up the waste of space that was flailing Magikarp to get a Gyrados, and how much time I spent reading each and every sign, and talking to each and every NPC in the game. I miss that level dedication to games if I am honest, I have never really gotten into any game in my adult life the way I did as a child.

Anyhow, a Pokemon obsession also meant that I naturally thought about what Pokemon trainers would wear. We saw what Ash, Misty and Brock wore in the cartoons, but that was usually only ever one standard outfit. Things were however somewhat expanded with the artwork on Pokemon cards, and the artwork that came with the Gameboy games. Nowadays it would seem that they wear very sleek sportswear, looking like bike messengers more than anything else. Although given how expensive bikes were in the games, perhaps it is a status symbol akin to wearing head-to-toe Gucci or something. Trainers are competitive by nature, after all the opening line to the theme tune was "I wanna be the very best", so some manner of impression management through clothing would be hardly surprising. But if we take a sportswear uniform for granted when it comes to attending Pokemon gyms and battling it out, then what would the rest of their wardrobe look like?

I have always assumed that Pokemon trainers would hardly be the type to shy away from bold colours, but then, they also would not be able to get away with wearing a bright red tracksuit for all occasions. And if we assume that most trainers are relatively young, then how would their wardrobe evolve over time? Say they retire from being a trainer and want to settle down, or else they head up their own gym and are no longer roaming the wilds for new Pokemon. The wardrobe would no doubt mature along with those changes in life, and so I have always assumed that there would have to be a relatively formal section to their wardrobes. When looking at a character, or indeed a person on the street in real life, I often find myself imagining two extremes - what their most formal outfit looks like, and what their most relaxed outfit looks like.

Thus we come to this Autumn/Winter 2018 collection by Sunnei, which was one that made me think of the Pokemon trainer's wardrobe away from the gym or dark cave in search of Zubats. The hats made me think of Jamiroquai doing a music video about Dr Seuss, and so they were quite a fun stylistic element for me. I enjoyed the bold colours and laid back ease of the looks I have posted here, although there were other looks with fringing and other overworked details that I have left out because they did not convince me. It almost seemed at little gimmicky at times. My favourite look is actually the pyjama blue suit, which actually made me imagine the model walking down the catwalk holding a Pokeball (if for no other reason than I wanted to see a pop of red somewhere on that look). Overall I think that the jackets and outerwear were my personal highlight from the collection, and so I am looking forward to hopefully being able to check those out in stores next season.


21 April 2018

Feel First

The Science of Feel - Dr Tom Waller
Business of Fashion

How do the clothes on your body feel right now? I am fascinated by the sensory experience of dress, and so hearing someone talk about designing from "feel" as a starting point definitely has me interested. Approaching the topic from the perspective of performance clothing, I think that Dr Waller raises ideas surrounding our everyday experience of dress that are worth thinking about. He uses the example of people having a pair of lucky socks, or an equivalent in their wardrobe, and how that feeling of confidence may actually stem from the physical sensations and sensory experience of that garment. Lately I have really been thinking about the balance between clothing that hugs the body and clothing that flows around the body, and how I can best combine both in an outfit in such a way that feels comfortable but functional. I like having a full range of movement while clothed, and while I do enjoy interior garments fitting closely and feeling soft against the body, I like when exterior garments flow around the body in movement. At the same time I have been wearing some more fitted garments in general lately, and it provides an interesting contrast to the baggier clothing I wore throughout the majority of Winter. There is a certain elegance to the sleekness that I enjoy. However I am always tempted to disrupt the silhouette with something wider for a contrast, not just because of how it looks, but also because of how the outfit feels in movement. There is something interesting in having a loose top and tighter trousers, or vice versa, because that dynamic from a sensory perspective provides an enjoyable contrast.