#which given how few things i have to get excited about these days.... eurgh

[astriiformes]

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[amphtaminedreams]

Spring/Summer & Haute Couture Week 2021: Whoops, I’ve Missed a Loooot

Hi to anyone reading,

Where TF has the time gone!?

After experiencing the longest January of all time (when your birthday is right after New Year, you get that between Boxing Day before NYE slump like a couple of weeks after everyone else), February has gone by in, like, 5 minutes and already we’re well into the throes of the F/W 2021 collection presentations. Meanwhile, I’m here like! Surprise! Here are my reviews of the S/S 2021 collections if anybody still cares! I mean I’m mashing it up with corresponding haute couture week reviews to fool everyone into thinking that doing it so many months later was intentional and it was totally working right up until this sentence, right?

In all fairness, I originally thought that I wasn’t going to bother reviewing S/S21 because it seemed kinda redundant given the circumstances and I wasn’t keen on the idea of collections being showcased via photo sets which is the route so many brands chose to (understandably) go down. Buuuut, the more I saw of what designers had put out there, the more I was tempted to put this post together and now here I am. The fact that designers are even able to churn pieces out during a pandemic when I’m out here like 0__0 no thoughts, head empty...it’s impressive to say the least, especially the way so many used the circumstances to inform their designs. In a way, it would be a disservice not to do a post on the season, and yeah it’s late, but given that it we are actually about to enter spring and the shows are kind of the deciders of what’s going to be “in” and “out”, they’re more relevant than ever. With plans for our way out of lockdown materialising-now is the perfect time to add that I don’t want ANYONE suddenly developing selective amnesia over how our government has failed us now that Boris has announced when the clubs COULD reopen-let this post serve as a roundup of every bit of inspiration available for our spring fits. I also want to use this opportunity to disclose how irritated I am at myself for starting the previous fashion week reviews post by declaring I was going to work through the designers in chronological order when I meant fucking alphabetical because I now can’t go back and change that. So this time, let me start properly. I’m going to be reviewing the collections in ALPHABETICAL order. Now that’s out the way, let’s do it. First, Acne:

It’s so great to start on a high, it really is, and fortunately Acne is reliably good. It’s still got that deconstructed, minimalist feel that the brand is known for but for the summer season; we can see creative director Jonny Johansson and his team moving away from the heavier pieces we saw last time round, away from upcycled bohemian curtains and towards a breezier, more season appropriate aesthetic, boujee kaftans and swimwear rebelliously hacked up and artfully rearranged, and it feels correct. The net pieces, the beachy colour palette, the oil spill-esque print (though this represents an intruder of the marine ecosystem, as a print I loveee it and 100% want more!) and the accessories, reminiscent of shells, coral and anything else you might find on the seabed, give me a hipster mermaid washed ashore vibe which completely fits with that rugged, mysterious sense of Nordic folklore references and adventure the brand has established as its foundation. If it’s a nod to some kind of new age cult that Johansson was going for, which apparently is the case, I’m guessing said cult worship sea goddesses and perform pagan rituals on the beach by moonlight, and though indoctrination doesn’t sound at all inviting, it's a party compared to scientology.

The chiffon trousers here are actually chic and seeing them styled under a blazer makes me realise done right they CAN be more than just a PrettyLittleThing summer sale piece, so I’ll store that away for outfit inspo when the time to get rid of some layers comes around. The glasses, too, are very Gucci. Flip flops with socks I don’t think I can ever come round to but-

Whilst it was a favourite of mine last season and it sticks to that same bohemian vibe with a lot of the elements I love, Ferretti lacks a little oomph this time round; it’s more stripped back, neutral, easy-going, and it is lovely, but for those same reasons it doesn’t grab my attention as much as the past couple of collections have. If you’re an influencer wanting to shoot a Joshua Tree desert lookbook this is sublime, but compared to the flair I saw in their last winter show, for example, there’s something lacking.

I’m very glad to see neutral coloured boiler suits on the runway, however; I snagged myself one off Depop the other week so I might be unintentionally ahead of the curve for once! The crochet detail dresses are nice too but very much remind me of past Zimmerman collections, or an Ermanno Scervino grab for the most high street friendly parts of Erdem SS2020, something along those lines. What I’m trying to say is that it’s definitely been there done that, even by Ferretti themselves and not in a continuity kinda way, in a kinda…this is basic and pretty so we know it will sell kinda way.

Eurgh, I wanna be one of these Alessandra Rich girls so bad.

I end up repeating myself every single time because I always love her collections but really, this is what a high fashion novice thinks Chanel is. Alessandra Rich outsold. As much as her dresses have looked amazing on people like Kate Middleton and January Jones, I’m just waiting for one of the modern it-girls to take the nostalgia-tinged femininity of her pieces and put some kind of daring, street-style twist on it; if that doesn’t happen I’ll gladly take 5 minutes of fame so I can do it before fading back into obscurity. Let me fulfil my modern first lady fantasy, reenact the croquet scene from Heathers, drape myself on a chaise lounge whilst smoking with a cigarette holder, and then throw me back into the trash where I belong. I can die happy. Also, can we once again appreciate how much more iconic the Alessandra Rich two piece made the already moment Dakota Johnson singlehandedly brought down the Ellen dynasty?

Dakota knew exactly what she was gonna do and the energy that she was gonna channel when she wore that piece and I admire it. Alessandra Rich, if nothing else, will go down as a key moment in pop culture history, and you know what? It’s what she deserves.

Whilst I do wish she’d branch out a little and try and get back in touch with the dark drama of old McQueen collections now and again, Sarah Burton has made a very recognisable Alexander McQueen silhouette and it’s beautiful; this season is gorgeous as always. A leather biker and tulle affair that’s perfect for a grunge ballet, it’s easy to avoid lamenting the excitement and theatrics of old collections when Sarah creates such consistently sophisticated pieces. Stunning.

Now, a quick haute couture detour with Alexandre Vauthier:

Compared to other haute couture collections, this is pretty toned down and by appearances alone (I know haute couture is more about meeting technical requirements more than anything else but there is a level of grandiose you expect to see) is more like a RTW collection than its counterparts. That being the case, I don’t have a huge amount to say about this one, though I do really like it-the ruched metallic boots especially. The Studio 54 vibes and the glam rock influences are clear and a lot of these pieces could definitely make it into Lady Gaga’s AHS Hotel wardrobe which is a compliment of the highest order, so there ya go. Plus, if a collection IS gonna be presented through stills, a format like this is preferable to some of the others I’m gonna talk about. There may be more exciting ways of doing it but simple allows us to see the clothes properly and at the end of the day, that’s what I care about the most!

Heading back to good ole’ RTW, we have Altuzarra; I wasn’t hugely keen on their last collection but this is definitely a step up for me and justifies keeping them on my radar. Though in some ways this seems like less of a summer collection and more of a late winter/early spring transitional one on the basis it can’t seem to decide which temperature its catering to, there’s a lot to like: a colour palette that reminds me of a Dion Lee collection, harnesses evocative of those sprinkled throughout the last few Alexander McQueen shows, and more of the utility wear trend that I’m still very much into nicely contrasted against lighter, airier pieces for an overall fresh, modern vibe. The interpretive dancewear style pieces are interesting and the woven platform sandals are the shoe of the summer but the white shirt with the cape incorporated is definitely the high point of this show and I absolutely adore it.

Anna Sui was actually pretty cute this time round. Her pieces have always been kooky, but in the past a little too lairy and occasionally cheap-looking for me. This collection, however, is kooky in more of a Melanie Martinez styled baby doll kinda way, as opposed to in an eccentric Bjork loving aunt whose idea of heaven is an all-must-go Primark sale kinda way (I know some people are going to vehemently disagree with my aesthetic preference there) and I love that. There seems to be a lot more creative direction going on, a much clearer vision of what Sui wanted to achieve, and yes a few of the looks went a bit too hard on the cookie cutter vibes but on the whole, they were more edited than usual; it seems Sui actually paid attention to the “take one thing off before you leave the house” rule this time. The staging is the perfect compliment to the doily style bucket hats and the sandals paired with frilly socks, and really adds to the whimsy of the collection, and as a whole, it really reminds me a lot of the way my mum would dress me as a toddler but styled up for a grown adult. Cute AF.

Armani RTW I was pleasantly surprised by, considering I don’t usually rate it. It’s a cool, androgynous take on retro shapes and styles that’s simultaneously fit for the hustle and bustle of the modern world. Strong 2021 Peggy Olsen vibes, and a bit muted Lacoste-I can 100% imagine Elisabeth Moss as Peggy swanning around in one of those huge minimalist houses with the floor to ceiling windows after a long day at work, though we’ll switch the cigarette for a vape because...you know...welcome to the future. And sure, maybe the vision is slightly influenced by THAT scene from Us, but whatever. As for the men’s wear, if I have to look through an endless gallery of straight white men in plain ass suits every time I do some kind of red carpet fashion review, I at least hope they’re wearing Armani. I need me some impeccable tailoring to soften the blow.

I do wonder, however, how the clothes would look on plus size models. I feel like it’s a collection that’s very catered to a person who is straight up and down, and it feels like a bit of an easy cop out not to have any kind of versatility. Say what you want about Christian Siriano but he caters to all body types very well.

I actually quite liked Armani’s haute couture collection too; the pops of colour and the intricate embroidery give me what I’ll later talk about missing from Valentino haute couture. There were still some of the frumpier pieces that I usually associate Armani with but also a lot of Great Gatsby-esque looks that I really enjoyed.

Returning to RTW, Ashish was amazing. I LOVE that there’s always some kind of unique print (this time round, kitschy illustrations) and whilst a whole maxi swan print dress may not be the most wearable for the majority of us, Ashish Gupta does bold and innovative really well. There were a few boring striped pieces in there but I adore the one shouldered butterfly print dress and I NEED that Hail Satan jumper; it reminds me a lot of something by sustainable fashion brand Minga, which is one of my absolute fave websites to buy from when I’m treating myself to some new clothes.

Azarro’s haute couture collection is full of supreme awards show afterparty fits, and I was shook to find out that Olivier Theyskens is the brand’s creative director! My newfound obsession with his pieces really had me like :O when I realised he was behind Azarro too. I loved their collection last time round, though this I’m finding a bit harder to give much analysis on because of the way it’s shot; whilst it could be a YSL perfume Vogue ad, which is obviously far from a bad thing, it comes at the cost of lacking visual clarity. That being said, from what I can see, Theyskens once again masterfully channels the wardrobe of the effortlessly cool, messy haired, smudged eye make up rock ‘n roll girl, and I think that’s someone we all want to be.

Balenciaga RTW was an interesting one for me-on first inspection, I was kinda disappointed. Without the usual drama of the bold, exaggerated silhouettes and the theatrical production of their shows, I felt it was missing a bit of the magic I’ve come to expect from them. The streetwear elements infused throughout, a departure from their typical pieces, was very hit and miss; the shearling slip-ons in particular were not my thing at all. I’d be admiring some beautiful gothic dress and then my eyes would slide down and see those monstrosities and it would bring the whole thing down a notch or two, despite bad shoes being something I can typically overlook if I otherwise enjoy the rest of the outfit. My initial conclusion: that the Balenciaga Myrtle Snow would choose as her last words this collection.

However, upon re-evaluation when typing this post up properly and knowing what to expect, I like the collection a lot. I’m getting a bit of a Seoul streetwear vibe from it, and I can appreciate that although it is a lot more trend focussed, it’s got an edgy, daring quality to it, with a lot of androgynous, utility wear elements on show. I loveee the Balenciaga chokers too and in my wildest dreams would get my hands on one before it goes the way of the Gucci belt and gets overdone and flaunted by social media influencers as a show of wealth to the point of tackiness.

At Balmain the sculpted body armour made a comeback but on this occasion, not in a way that I liked, and there war far too many neons for my taste too. No matter how many times it rears its ugly head, I find it hard to get on board because as a colour palette I can’t help but associate with Claire’s Accessories circa 2007-it has to be SO well done to avoid looking cheap, imo, and these Balmain pieces weren’t good enough for me to go against that gut aversion. A collection with 100+ looks isn’t usually a good sign and expecting Olivier Rousteing to achieve the impossible and manage to do both quality and quantity is a recipe for disaster; it’s a shame because his last collection was so original and yet this one feels like a cheaper looking rip off of other brands. It was just a bawdy display of 80s overkill IMO and if I can only find 8 outfits to include out of 100 that’s clearly not a good sign.

Bottega Veneta is a brand that the high fashion side of the internet loves that I can never 100% get on board with; I get it, they’re behind the gorgeous square toed heels, but other than that none of their collections have ever really wowed me. The chunky knitted pieces are very Miu Miu style futuristic grandma chic and as someone on the cusp of being either a millennial or gen Z (depending on which website you visit) it’s got me outfit planning for my retirement years. Utilising so much wool for a summer collection, however, seems like a choice because can you IMAGINE wearing a heavy knit in blazing sun; I almost didn’t include the collection to be honest but then every so often something really cute came long, and one of the signature crisp, classic BV pieces would be done well and so I felt I had to. Am I missing something given all the hype here? IDK tbh.

Burberry? Meh. You could also call this collection how many ways can I do a trench coat, with results of differing quality; occasionally the mix match of styles worked and I saw the deconstructed outerwear concept that Ricardo Tisci was presumably trying to go for, though it can’t come as much of a surprise that the combination of a trench, denim and leather jacket was mostly just messy and came off as a last ditch attempt to make the classic coat more interesting by just chucking other fabrics at it and seeing what stuck.

One thing I will say is that there were some really sick prints going on-the snakes in particular-and it was those prints that were really the saving grace of the collection; as I said with regards to Ashish, I like it when you can tell a brand has gone out of their way to experiment with patterns and actually incorporate illustration and graphic design into their pieces. Prints notwithstanding, though, it wasn’t a memorable collection and I really can’t wait for the day we put this whole multiple denim jean waistband trend to bed once and for all; in the wise words of Regina George “stop drying to make multiple waist bands happen. They’re not going to happen.”.

Carolina Herrera was just as I expected. Whilst Wes Gordon was a little more daring with the structure of the pieces than usual, you can still he’s still committed to designing for the wealthy, modestly dressed socialite (yes I’m talking about Tinsley Mortimer and yes, I have recently become obsessed with Real Housewives) and her insatiable need to collect more charity gala gowns than she’ll ever possibly have opportunities to wear in her time on this earth. Sounds like a great life, sure, but it’s not like it gets my heart racing when I see the looks on the runway. The most memorable piece for sure was double breasted blazer w the asymmetric ruffle; I haven’t seen anything like it in a RTW collection in recent memory.

Now onto the fucking train wreck that was Celine RTW.

It’s not even bad for a runway fashion show, it’s just like…straight-up bad. Like Hedi Slimane went back in time to 2013, took a bunch of models into my local Topshop (and I have to clarify my local Topshop rather than the flagship Oxford Circus store-RIP-because to do the same in the latter would produce far better results), picked up some cheap basics, switched the lights off, and then, finally, dressed them in the dark. There’s very few positive comments I can make so I’m just going to move on.

Chanel RTW I actually didn’t hate as much this season; maybe it’s because coming from Celine, my standards are like, on the floor, but it’s slightly better than usual. Whilst most of it was same old same old, the opening 10 or so looks and then from 40 onwards were alright. The colour contrast pieces were classic Chanel in a good way, that is to say somewhat modernised and appealing to a younger clientele as opposed to the elderly women who still see a boucle jacket as the height of fashion. The mini chiffon capes were also cute, and if it weren’t for COVID putting pause on everything I can see the Chanel headband being duped ad infinitum.

The worst part of the collection was without a doubt the pieces with the neon logo print, which I wish I could erase from my mind. At this point, with Virginie Viard seemingly refusing to make any attempt to reinvent the brand, Chanel is best when it’s subtle; that way it appeals to those regular customers who rely on the prestige of the garment and the new generation of consumers who are further branching out into experimenting with their personal style and want a quality base. But who I ask are these tacky ass pieces aimed at? Because though it appears to be an attempt to infuse a kind of youthful spirit into Chanel, it is very out of touch with what gen Z actually like, and I can’t imagine any rich old white ladies buying them either. Big shoulder shrug.

Whilst I tend to find Chanel’s haute couture collections a bit better than their RTW, this is probably on par. Still rather meh and frumpy at times, but there were some pretty, whimsical pieces in there that were definitely elevated by the staging which, I must say, was very dreamy. I’ve enjoyed the last couple of haute couture shows a lot more (the one with the library set was v cool), which were comparatively restrained with the frivolous details and the chintz, so this seems a step back. The dresses with the 50s Audrey Hepburn for Miss Dior style silhouette are lovely but obviously, as per the reference, nothing new.

Onto something much more exciting, we have Charlotte Knowles’ RTW collection, whose work has made her one to watch. I’m not as huge a fan of this as her last instalment, but Knowles’ (who I recently found out only just graduated from Central Saint Martins, making her achievements all the more impressive) continues to create clothes for a girl far cooler than myself; I know, that wouldn’t be hard, but we’re talking like, miles cooler. One of those women who can literally pull anything off and immediately make you want to try it yourself even though 9 times out of 10 that would be a bad idea-I could probably take, like, one piece and make it work but anything more would most likely just be me embarrassing myself. You wouldn’t think San Fransisco psychedelic summer of love motifs would mesh with futuristic Mad Max style biker vibes but Charlotte and her partner Alexandre Arsenault make it sexy AF, like a combo that was always meant to be. They are a dream team.

And lastly for this post, we have another collection I really liked: Chloe. Sadly Natacha Ramsay-Levi’s last collection for the brand, she truly went out on a high note, with a reliably gorgeous iteration of her sophisticated take on bohemian style. Who now, will we look to when we want to cosplay as one of the Jessas from Girls of the world? When we want to pretend we’re a rich, party girl socialite backpacking across Western Europe (along the foothills of Mount Tibidabo…) on a commissioned trip to “find herself” for the fashion magazine column she’s writing, whilst we’re actually on a budget family holiday in Spain? When we can’t decide if we’re dressing like a modern day Rachel Green or Phoebe Buffay and say fuck it, I’m gonna do both? I mean sure, I could never afford Chloe anyway and sure, I’m interested to see what Gabriela Hearst can do with the brand, which despite its loveliness is quite predictable, but it’s definitely sad to see Ramsay-Levi go when she has become a reliable source of elegance and class each season. She brings a quietly confident brand of femininity to the fashion world where the high profile design houses are increasingly dominated by men who are sometimes too focussed on being bold and brash enough to be hailed as the newest design visionary, and I have huge respect for that. She will be missed.

Now it feels right to end the post here, given that I just finished with a kind of dramatic memoriam for a woman who is very much still alive and given that I would really be playing with fire by trying to push Tumblr’s edit post feature any further, so I’ll wrap it up for now. In part 2, which will hopefully be out over the next couple of weeks, we’ll be looking at a surprisingly strong haute couture collection from (can’t believe I’m about to say this) Maria Grazia as well as some of my faves, Etro, Dion Lee, Gucci, and of course Iris Van Herpen’s haute couture. In the meantime, I’m hoping to get a post out on my favourite sustainable clothing brands and to shoot my take on the “what I would wear sat front row at X” video trend that’s been going around lately on TikTok and Instagram reels, which I know I am kinda late to the party with.

I’m also looking at starting “photo dump” posts where I basically just substitute what I would be putting on my Instagram feed as photo posts on here, all the way back to when I first started my fashion Instagram account. I know this is hardly a hot take, but Instagram has really gone to shit, and once I’ve moved all my photos from there to here, I’m probably going to be deleting my account and just keep my private personal one. I’m sick of the endless scrolling past photos of people edited to the point of being unrecognisable and of seeing faces that all conform to that exact same Eurocentric beauty standard with the exact same surgical procedures to the point that even I, as a thin, white cis girl feel disgusting (so god knows how others without my privilege feel) because I don’t have a fucking fox eye lift or whatever it is that internet famous surgeons are telling us we need for our faces to fit the “golden ratio” at the moment. I am OVERRR all the promoted posts from people who preach social awareness and equality and authenticity and kindness making money off promoting companies that rely on slave labour rather than those who make me feel uplifted and inspired. And I am VERY MUCH done with scrolling through share for share and like for like pages because I am embarrassed by the fact that my likes don’t match up to my follower count since that must mean that NOBODY LIKES ME AND EVERYONE HATES MY FACE, right!? Even though I’d like to think that mentality was something I grew out of a long time ago. Instagram, much like Facebook before it (which is no surprise since the latter now owns the former), has just become another cesspit of an app which exists solely to convince you to buy new clothes and follow the latest filler trend and blow money on holidays you can’t afford to convince everyone you’re living the good life. Like many others, I have finally come to the conclusion that the way Instagram operates now is nothing but detrimental to my wellbeing. So, all that being said, I’m moving my feed over here, to a place where I can just arrange my silly little photos into silly little collages and not care if I’m shouting into the void by doing so because they’re just a screenshot of my life that I can look back on in however many years time and think Oh, Cool! That’s What I Was Interested In Back Then! That Outfit is Timeless! Or That One Was a HUGE FUCKING MISTAKE! Because I do love the creative element of Instagram, turning your feed into a collage, picking out which colours compliment each other, posting your favourite art and your outfits and the makeup looks you’re proud of, the beautiful sights you’ve seen-I just hate how unbridled capitalism and unrealistic social expectations have once again destroyed a good thing, and caused it to stray so far from its original vision of connecting people. Here, I don’t care if I get 0 interactions on those kinds of posts, because I am putting stuff out there I am proud of that expresses who I am and that interests me, and when I put a lot of hard ass work into something that’s actually important or that benefits others in some way as opposed to indulging my own vanity, it does get some circulation and I hope that it does make a positive difference, regardless of how small. I hope it doesn’t bother anyone too much seeing my initial photo dump posts on their dashboard as I try and catch up to where I am now; you’ll probs see a mini influx of 2015 fashion and I’m sorry about that! But I don’t *think* it will be too long until I’m up to date and then the photo dump posts will be much less regular.

Anyway, sorry about the Instagram rant there at the end! If you read all the way til the end, this is a  huuuuge thank you! I hope you enjoyed the post and I will get the next one out ASAP, potentially with a few posts in between. As always, feel free to inbox me if there’s anything you wanted to talk about or suggest and make sure you stay safe. There may finally be some light at the end of the tunnel:D

With a cautious dose of optimism, and the acknowledgement that I will most likely regret saying this: bring on June the 21st UK gals!

Lauren x