Ellery Resort 2015

If I ever had to pick from the heavy weights of the Australian fashion industry, I'd pick Ellery five times over.

Kym's latest Resort 2015 collection embodied everything I love about Ellery, it's simplicity, luxe and absolute sophistication. Bell sleeves marked garments of crepe, satin and organza, alongside quintessentially Ellery-style structural tunics and v-necks.

We're talking timeless classics, or in other words- regret-less purchases.

Whilst the shapes contained typical hard lines, there was an understated fluidity to the collection, with  wool being softened by its systematic draping. Pointed crepe hems were met with cropped as well as floor skirting pants, and the styling was impeccable as ever- with the models hands being dusted with the most delicate golden bangles and rings to match.

In particularly, I was in awe by her modest blue linen sleeveless shirt, which was said to be inspired by the colouring of suburban swimming pools. As far as inspirations go, linear stripes were drawn from the works of David Hockney, transformed into a bold brushstroke like print covering a selection of midi skirts and dresses.

Although true to her name, Kym Ellery allowed her simplest and most refined pieces to act as her strongest.

That cream-toned bonded crepe gets me every time. 

with love.

BLOGLOVIN / INSTAGRAM / PINTEREST

When in... Spain

When lounging in the sun-drenched country of Spain, there are a couple of things you can't be without. We're talking necessities like Nars' monoi body glow and a chic Saint Laurent fedora of course.....

a. Alexander Wang "cara"

b. Carven "folded cuff top"

c. Saint Laurent "rabbit-felt fedora"

d. Theory "leather trousers"

e. Roland Mouret "douglas d-frame tortoiseshell sunglasses"

f. NARS "monoi body glow II"

g. Lisa Marie Fernandez "One-Piece Swimsuit"

with love.

Mary Katrantzou Resort 2014

With prints as her signature, Mary Katrantzou tackled Resort wear for the first time. The prints embodied hyper-coloured dreamlike landscape art, with blooming flowers, lakes and rolling hills. Melancholy and sometimes haunting, her prints are the soul of her designs- filled with Mary's own emotions and experiences.

A Japanese bridge, Chinese fisherman and the high-rise apartment towers in Sao Paulo were also pictured, as we can even see a multitude of references within each look. Yet, it all seemed to work. A printed biker jacket opened up to mirror that same picture on the dress underneath, as did many other garments. Sequins were added to her yellow floral print, as well as perspex embellishments making some of the apartment windows within her garments. The airy skirts worked wonders, giving movement and life to Katrantzou's kaleidoscopic travels.

Word also has it that the Mary Katratzou business is also growing, with the recruitment of sixteen members of staff, as well as planning to rightly delve into e-commerce next season. Big things are coming.

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J.W.Anderson

Womenswear Resort 2014

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Menswear Spring/Summer 2014

Discribing his womenswear collection as "disturbed workwear", J.W.Anderson to us, turned those utilitarian pieces into avant garde works of Japanese minimalist goodness.

In an ode to those origami like techniques of the wrapping and folding sort, Anderson deconstructed, re-thought and distorted silhouettes; making for many conversation starters. His rather disregard for the societal gender constraints is both admirable and frankly refreshing. Both collections feature a very clinical palette of black, white, nude, the occasional bursts of red and yellow.

There were countless great knitted pieces, as well as intriguing cut-outs and suspensions which were almost gravity defying. Yet, oversized pants under tunic like tops (all in black) made up most of his works. In the womenswear collection, Anderson crafted micro-pleated woollen skirts with raw edging, which were matched with asymmetric tops.

As mentioned by Matthew Schneier in Style.com's review of the menswear collection, J.W.Anderson's work creates and provokes much dialogue.

Is he taking the piss with those suspended rectangular cut-outs?

Why has he reduced menswear to "column architecture"(Anderson)?

It's all very exciting.

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Christopher Kane Resort 2014

There is no denying that this is some of Christopher Kane's best work. The outstanding collection plucked motif's straight from the early digital age. Mentioning that he "love[d] science", Kane applied much of those computerised special effects to his resort collection.

As unique and beautiful as they were, Kane used his inspiration which came from the linear/wire qualities of computer games straight from the '70's and '80's to create delicate, lacy features. He embellished these lacy flower images to jersey jumpers, shift dresses and finally gowns alike.

Decked in pop-art shades, as well as black and white, the web like lace framed most of the collection, giving it a sensual and delicate look. Yet, there were also body-con dress, wrapped in pop-art coloured tape, and linear images of the human body applied to white-cotton tops. One of our favourite looks was that pictured first, where chambray jean shorts are beautifully paired with an entirely white lace top. Doses of red and yellow were also a large part of the collection, in school-girl like shapes and equipped with large, round, diamonte buttons.

The hybrid web/lace motif is a perfect example of the creative mind of Christopher Kane, as he beautifully ties in an entire collection and aligns with his nerdy-science fetish. How exciting- especially for the resort season.

  

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Louis Vuitton Resort 2014

What better muse than the utterly chic french woman? Relaxed, almost bohemian yet tailored, the Louis Vuitton's resort collection formed an entire womans wardrobe, with outfits suitable for every and any occasion.

In fact, Julie de Libran [Louis Vuitton's women's design director) specified that the collection was for a "sophisticated bohemian...[who] likes to mix and match, and combine comfort and sensuality".

With such versatility on the agenda, there was an air of nonchalance and an eclectic mix which drew to mind those French icons of the '70's. Fittingly, a deep French blue was championed through a double-breasted pantsuit, and there were no shortage of tweed pieces (which are an obvious essential to any French woman). The French blue continued, making for a very maritime esque classic appeal.

Cashmere robe like coats were tied at the waist, alongside boxy tops and miniskirts, and there was even a casual-ish take on the traditional suit. There was also a decent amount of denim pieces embedded within the looks (funnily enough the word denim actually comes from "de Nîmes": the French region where the fabric was first made), with a-line frayed hem skirts, maxi skirts and button downs. Tying into Jacob's last collection with the house, floral frocks mimicked those embroidered tulle wallpaper like vintage prints.

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SHEER DRESSES: it's a resort thing

FROM LEFT TO RIGHT

Elizabeth and James, Zimmermann, Derek Lam, Chanel, Jason Wu, Christian Dior, Zimmermann, Chrisian Dior, Jason Wu, Christian Dior

[Photographed by: Helmut Newton '60s. UK Vogue]

with love.

Alexander Wang Resort 2014

Pink is in. According to the resort collection of Alexander Wang. But not only candied bubblegum pink, but also a deep forest green. In the words of the designer himself, he worked with colours of the "super-saccharine, super-sweet" sought. Having said that, who can ignore the mirage of dark black leathers, alongside camel, and white.

Many of the looks featured a sort of hybrid peplum meets box-pleat, all technically (in a construction sense) extraordinary. The way Alexander took on the leathers, and worked in morphing their shapes to the female body worked a treat, making them the defiant standouts. There were dolman sleeves, leather vests, two-piece skirts and a fair share of tennis (mini) skirts throughout the collection.

Tailored pants were also treated with the same pleating as the skirts and blouses, allowing for a paper-bag pant like appeal... yet a sharper version per se. Strong, precisely cut leathers were also paired with metallic knits, and because only Wang has the power to override decades of 'fashion-dont's'; patent white loafers were worn with black pants (*gasp*).





(Photographs sources via. Style.com)

with love.

BLUE BLUE RESORT

FROM LEFT TO RIGHT

Philosophy, Alberta Feretti, Carven, 3.1 Phillip Lim, Versace, Alexander Wang, Chloe, Louis Vuitton, Reed Krakoff, The Row, Emnuel Ungaro, Thakoon

with love.

1960//1970 resort inspiration

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All Photographs sourced via. Pinterest

with love.

Buttery Yellow for Resort

Having witnessed Resort 2014 to be full of collections of subdued tones and fist-fulls of black and white ensembles, the humble, warm, buttery yellow was a refreshing standout.

Shades ranging from pale to canary yellow's were embraced, with oversized menswear like coats of the Stella McCartney collection decked in the soft hue, to those pleated skirts and technical knits at Pringle of Scotland.

Versace on the other hand featured a double- breasted coat in gingham printed yellow, akin with dainty bag and 'strappy' shoes. At The Row, there were various takes on the shade (which stood out against the pale blue backdrop of the lookbook), with canary yellow soft leather yet sturdy raincoats, alongsdie what resembles silk pants.

...get the look with...

a. Erdem "Jamina printed silk and organza one-shoulder dress" (via. Net-A-Porter)

b. Equipment "short sleeve shirt" (via. The Corner)

c. Boy by Band of Outsiders "shorts" ( via. The Corner)

d. MSGM "3/4 length trousers" (via. The Corner)

with love.

Lanvin Resort 2014: the highlights

ONE

[beautifully constructed full-skirted a-line dress]

TWO

[thick strap rich blue mod shift dress with a mix of geometric and paisley embellishments]

THREE

[python print mustard and grey sleeved, structured top, paired with monochromatic shorts and crocodile skin (by the look of it) tasseled loafers]

with love.

Marc Jacobs Resort 2014

Loungewear and fur that  Miuccia would approve of, made for the concoction that was Marc Jacob's Resort collection. What says resort wear better than nautical stripes and Jacob's infamous silk pyjama sets anyway?

Having had a flick back to Jacob's last Resort collection, this time round is much more demure. "Relaxed, [with a] casual feeling" (Joseph Carter), the collection oozes comfort, and an underlying ode to Chanel's Deuville with it's mariniere stripes. In subtly paying homage to Chanel, this makes us ponder the thought of Jacob's at Chanel (it seems a very fitting thought to us.)

Jacob's thrives in the compilation of nostalgic eras, with 30's (drop waist dresses) meeting '70's and the '60's meet '90's (crop tops), and it all works incredibly well.

Jamie Bochert is the standout in this cookbook, modelling alongside Charlotte Tomaszewska & Zlata Mangafic with tousled locks. Sprawled on the incredibly comfortable looking (fluffly as hell) striped pillows and throw, each of the model's look glamorously undone (resembling the Miu Miu S/S 2013 Campaign SO MUCH). Oddly-pleated skirts, satin bralets and sequin jackets tied with silk ribbons make up much of the lookbook. Alongside short fur coats, striped t-shirts, silk dresses and Birkenstock esque thick-buckled sandals.

From the man who dresses his muses in silk pyjamas, Jacob's has truly brought back the luxury which is silk pyjamas. Yet surely, surely Marc has had enough of pyjamas as day-wear for now.

with love.

Theyskens' Theory Resort 2014

Alright so Olivier Theyskens admits that he is "kind of obsessed with cool girls". Surprised? We're not.

This (resort) semi-season, Theyskens' Theory gave us their usual monochromatic neutrals mixed with sharp tailoring, whilst as per usual delving into the world of crazy unknown textures. We can't get enough of the collection's '90's esque sportswear, with the re-introduction of the good ol' crop top and the bomber jacket. And who can miss the showcasing of the new and improved Theysken style bermuda short.

In opening our eyes to new textures, Olivier shows us glimpses of technical materials, in the form of dense 3-D mesh and a silk embossed striped multi-purpose fabric. Hint's of skin are layered with tailored pieces such as a narrow tailored french blue (as well as patterned) pant. Whilst full-skirted silhouettes are draped with fur and tattered denim jackets.

As for the colour palette, tones of not-quite-black are meshed with stark white, stone grey and denim blue. Creating an overall very versatile collection, Olivier focused on the "real essentials" with the strongly edited look book focussing on those quintessential wardrobe basics (of the chic Theyskens' woman... of course).

(Photographs sources via. Style.com)

with love.

Fendi Resort 2014

Fendi and fur are inseparable, and knowing Karl, although it may look fake at times, it's real, it's all real. Unofficially referred to as 'Italy's leading house in designer fur and every other sort of reptile skin' [by us], references to the animal kingdom were countless (be they leather...or the occasional sequinned python dress.) Despite it being only a Resort collection, the sheer workmanship within each of the garments is awe inspiring. On one hand, the sport-luxe vibe gave way to striped track pants, then you had intricately beaded shift dresses, lengthy skirts patch-worked with texture; and a collection which now brings the jungle to thought.

Punches of blues, reds and soft yellows amped up the presentation which was largely madeup of textured neutrals. There was also a very Phoebe Philo-esque mix of both tan and black leather, which reminded of this look from the Celine Fall 2011 Collection. Overall, it was a very linear focused collection, with biker jackets, and skirt hems alike outlined with leather strips.

Yet, one of the most well-crafter pieces was the mink capelet, which in itself encapsulated the entire essence of Fendi. What is a Fendi collection without a touch of Mink?

(photographs sourced via. Style.com)

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with love.

Christian Dior Resort 2014

Raf Simon's took to the challenge of merging his new Dior to the world of Resort collections for the first time. Set in [not so sunny] Monaco, Simons was forced to pitch a plastic covered, white box-like structure next to a murky and grey raging Mediterranean. Of course, this make-shift construction was in place of what was meant to be a Hitchcockian like seaside venue. Word has it that Simon's even hoped that seagulls would visit. Never the less, Simon's still managed to put on the show that he hoped for.

So he began with "the clichés of what we all think about when we think about cruise", whilst "also want[ing] to bring a new materialization and work with fabrics that [he is] not used to". This exploration led to the embrace of lace, which Simons admitted to having shunned in the past for it's "old, [overtly] romantic and fragile" ways. This propelled him to take on the challenge of turning a 'stuffy' fabric into something "modern, edgy and kind of futuristic" (Simons). The lace allowed him to create a great contrast and interest (for lack of a better word) within each look.

Dynamic and futuristic was the collection, as the historic "Bar" jacket was painted bright red, and even the "New Look" esque skirts were cut down the middle and left flowing. Bright colours were painted in racing stripes and curved panels across the body, alongside metallic foils and other obscure materials. Lace was made to not appear feminine per say, but instead was merely embraced as another texture to the Dior quilt.

Even the idea of a conventional tailored pantsuit was deconstructed, paired with geometric printed crop tops. Azure and bright orange headscarves also featured, in an overall rather impressionist take on Dior, where asymmetry and dynamism was put at the forefront, with "a lot of freedom" (Simons).



Five things we can take from this collection

1. Metallic 50's style bikini bottom's

2. Middle split! (and sleek middle part)

3. That monochromatic pantsuit

4. Sheer dresses

5. COLOUR

(photographs sourced via. Style.com & WWD)

with love.