What I Wore

Punk tribute to Diana Vreeland for a final celebration in Chicago before I left for the summer. More kabuki makeup and vintage swede and leather dress from the 1980s. 

Louis Vuitton Resort 2018 Review

     Louis Vuitton's collaboration with David Bowie costume designer Kansi Yamamoto was a triumphant success and soaring representation of modern Japan without being insulting or too gimmicky. Vuitton under Nicolas Ghesquière is all about far-flung collections easy for travel. In fact, that is what Vuitton has always been about since its inception in 1854 as a luggage brand for the adventure seeking wealthy classes of Europe. In today's age, the wealthy class still loves to travel, but the world as a whole is so much more aware of itself and different cultures. The last thing Vuitton would want to do is offend any demographic they are trying to sell to. Thankfully, this Resort collection explored Japan in a non-appropriative way. Kabuki style makeup, sharp tailoring, and fabric blends that signifying the world's cultures all coming together showed Ghesquières respect and coherence while still speaking the Vuitton language. It's easy to go on and on about the otherworldly location on which this collection was placed, as well. Kyoto's Miho Museum and bridge lifted hearts and syncopated the fantastic blend of nature and hyper-modern steel. Though this is not Ghesquière's first big outing for Vuitton, this is certainly the best so far. Unfortunately, Vuitton can tend to look repetitive when presented down a runway. There's little drapery, and usually only two silhouettes: tailored tops with skin tight trousers, or a knee length dress, also skin tight. However, this Resort collection expanded on those two silhouettes, and allowed for more flow to gowns and embellishments that people crave. Most identifiable to the theme of Japan and Yamamoto's work were the beaded gowns shaped into traditional art inserted and sheer ruffles. This is a way forward for Louis Vuitton under Nicolas Ghesquière and it should be able to expand itself technically in order to create more inspirational clothes. 

Prada Resort 2018 Review

     This quintessential Prada collection can be summed up as a curated blend of all the original ideas that Miuccia Prada has been coming up with within the last decade. Japanese-esque folds and tailoring, Art-deco knee high socks, technical black nylon (which made Prada famous), corporate branded belts, and intimidating high heels together repeated throughout the collection. Gray tailored coat-dresses and feathered trims on sheer dresses created modern glamor. The entire feel for the collection was about mixing technicality in synthetic fabrics and glitz by way of embroideries, piette sequins, and strands of beads and chains. Medieval sensibilities came though as well with chain mail inserts and neck pieces. The sneakers, oversized sunglasses, and bulked clutch handbags will be big sellers for Prada's modern clientele.  Though Miuccia Prada denies the fact that this is anything different than her regular runway shows, there was an adjusted flow to this collection. More commodity driven, as most Resort and Pre-fall collections are, allowed Prada to explain exactly what will be in store after the Fall 2017 Ready-to-Wear pieces make their cycle and what their customers should be buying for their summer vacations next year. And speaking of next year, it will be interesting to see what Spring/Summer 2018 will look like from Miuccia Prada's point of view, after the Fall/Winter 2017 bohemian collection and this resort collection were both successful in terms of presentation. 

What I Wore

Photo Credit: Sara Walls

Vintage Jean Paul Gaultier pants, slick black, and dramatic makeup. Nearing the end of my first year in college. Celebrating in the gardens of the Art Institute of Chicago. 

Balenciaga Pre-Fall 2017 Review

     In less than a year, Demna Gvsalia has been able to redefine the Balenciaga trademarks for this age. This Pre-Fall collection solidifies those trademarks by making them last more than one season in this display of mismatching. Rather than throwing out all previous ideas every season and starting from scratch, Balenciaga is now building off of what items are best noticed and what is selling. The glove-like pointy heeled boots, the shapely suiting, ecclesiastical fabrics, bold, two-tone color combinations, and oversized and repurposed leather bags in strange shapes have been seen before and are being seen here. The fetishistic and skin tight-ness of everything tagged with billowing pants that look too long and fall over the twisted kitten heels. Fetish, modernity, architecture, and coldness are all building blocks of understanding the Balenciaga woman. It will be interesting going forward in Balenciaga's ready-to-wear collections, to see whether these themes will continue. Will Gvsalia choose to change everything for Spring/Summer 2018? Or, has he established the codes for the time being and just choose to continue with the things that sell for the rest of his tenure at the house?