Showing posts with label Paris. Show all posts
Showing posts with label Paris. Show all posts

Tuesday, 19 December 2017

A Farewell from one Colette to another: 24 Hours In Paris

"Fuck it. Why not?"

It's been a year of that for me. Saying yes. Living in the moment. Spending my time outside, with friends and family and great people, all the time, instead of at home being a reclusive nerd. It was exhausting at times, I'll admit, but it was endlessly rewarding. I'll likely calm down in the New Year (about damn time) and not plan out every second of my life but I don't regret living that way for a year. I've strengthened bonds and done fun things and been new places and, sometimes, I've been spontaneous in the way that I've always wanted to be. Which is how I ended up booking a 24 hour trip to Paris, simply to say goodbye to a clothing store.

Colette closes its doors for good tomorrow and when I found that out, I was impossibly sad. It was the end of the era. The end of one of the coolest boutiques the world has ever known. I was never going to take another goofy photo underneath the sign, pointing up and grinning over our shared names. I would never again marvel over cool things I couldn't afford in the store or pick out a magazine from the incredibly hip curation of publications or wonder if getting one of the lucky bags was worth it. I wouldn't get to say goodbye.

I briefly entertained flying in for a visit to say my farewells but a browse of the websites of the airlines connecting Paris and Dublin made it apparent that it would be far too expensive. I moved on with my day, gradually coming to think that the whole idea was silly in the first place. Flying into another country for a day to say goodbye to a shop? What kind of madness was that? I forgot about the whole thing.

Then, some weeks later, Ryanair announced a sale on their site and I looked again, out of curiosity. 56 quid return journey. Doable. The price of taking a train to Galway for a night...I contacted a friend to see if he could put me up for the night and, suddenly, an hour later, my mad trip to Paris to say goodbye to a clothing store with the same name as me was happening.

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When I told people, they frowned in confusion or laughed and waved a hand at me like, 'Oh, Colette, you're so silly'. My best and most supportive friend cheered me on for going for it. I didn't really care either way. It was something I wanted to do and I hated the idea of the store being gone forever and my regret at never having seen it again, at not being able to change that if I didn't go for it, at not being brave enough to say, "Fuck it. Why not?" one last time this year.

Cue Thursday last week and landing at Beauvais just before 11. I cursed Beauvais many times over the trip (as I always do, that goddamn shed) and flying there did cause several ordeals, even if it was the only viable option. An hour's bus to Paris, the confusion of trying to remember where the Metro station was at Porte Maillot, being mistaken for a local by several people who tried to ask me for directions in French, shaking my head wildly as I tried to remember what French hasn't melted out my ears over the years, finding the Metro, planning a route, discovering my stop was closed, getting off a the next stop in a panic, being unsure of how to proceed, stumbling across some Brits who turned out to be going the same way and finally ending up at my friend's house.

After all of that panicking, said friend welcomed me with Champagne (he'd gone to an acquaintance's vineyard and stocked up over the summer - as one does), fresh pastries and hours of conversation, despite the fact that we hadn't actually seen each other in years and the fact that he had work in the morning. While the whole trip was a little mad and fun and I got to hang around in Paris instead of going to work on a Friday, it was the people that made it for me.

When we finally went to sleep, I told him to wake me when he was leaving for work so I could say goodbye and thank again but the sweet baby angel that he is, he left me to sleep on until friend number two arrived. Said friend number two then acted as my guide for the day, having lived in the city for several years now. We rounded the corner and breakfasted outside with pastries and coffee (well, tea for me) as French schoolchildren shouted what English they could think of at us. So began one of the few times I've had 8 or more hours of unadulterated catch-up time with a pal as an adult and it was beautiful. It always is. You get to topics normally never broached and ideas you've barely ever even voiced to yourself before. We talked and walked all day so that, by the end of it, we were both hoarse and almost hobbling but it was worth it.

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After exploring for an hour, we headed to Colette. It was abuzz with people though it has only just opened for the day but I expected as much. This was always the case, even when it wasn't days from closing permanently. We dashed around and I picked up a limited edition tee and a Glossier Cloud Paint (in Haze) and a small present for my blog wife. We marvelled at the Saint Laurent roller-skate heels and the courtyard full of Christmas trees and the cool books and wildly expensive things that we couldn't even identify. I got my last picture in front, though the name had been removed from over the door so I had to pose with the word "Colette" painted low on the window, between my legs. That, in of itself, was gas though and we laughed as people looked on, confused. I have few photos of myself where I'm genuinely laughing that I don't hate and while this one is definitely goofy, I quite like it.

After visiting the store, we went to the Medieval quarter of the city, Le Marais, strolling past the Pompidou, and had falafel in the place across the road from the "best in the world", as it didn't have a line, is apparently just as good (my friend had tried both) and the people inside weren't being as damn pushy. Then we wandered some more shops and the area more before heading to the Louvre. I really wanted to go to the Dior exhibition there but there was a two hour line and we were running short on time so, instead, we just went to the gallery proper. I had never been before and was pretty excited but we were exhausted by this point and each kept whining about our feet being tired. Despite this, it was fun to wander around, discuss art (and my favourite debate topic of the moment: Can memes be art?), and see the Venus de Milo, Da Vinci's "Virgin of the Rocks" (my favourite) and Raphael's "Baldassare Castiglione" IRL.

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Then, sadly, time had well and truly run away from us and it was time to say goodbye so I got some food, headed back to Beauvais (ugh), stocked up on some Champagne in duty-free (yay) and embarrassed myself by trying to use my very poor Korean to tell the girl queueing in front of me that her bag was super cute (double ugh) and began the long-ass trip home.

Over in the blink of an eye but well worth it! I said my goodbye to a beautiful store that I loved, sure, and that was the reason for the trip but I got a lot more from it. Fondest memories were made and I was the kind of spontaneous that I normally only see in the (far too many) movies I have watched growing up. Life can actually be quite grand and magical in its own little ways sometimes, as long as you embrace it and just say, "Fuck it. Why not?"


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Tuesday, 31 January 2017

Orange Vibrations - How To Recreate the Makeup Look from Giorgio Armani Prive Spring/Summer 2017

I often get emails from the high end beauty brands I work with, outlining how they did the makeup look for this or that starlet on the red carpet or, more excitingly, looks that are fresh off the runway. Show makeup is always my favourite. Particularly when it treads a careful and thin line between wearable and fantastical.

Giorgio Armani Prive SS17 was exactly that; a peachy pretty look that is not dissimilar to a marriage between the Igari makeup trend and something plucked from a sci-fi film. The dewy skin, rose-petal lips and light brows are all important but the key element is the orangey-pink blush tones carried around the eye and over the tops of the cheeks. For Spring/Summer, it is an incredibly light, sweet, suitable and somewhat fairy-like look.

Best of all? It's actually pretty wearable (IMHO). In fact, I followed the steps and wore it out to a friend's birthday dinner the other night.

Linda Cantello, International Makeup Artist at Giorgio Armani describes it as "A new take on orange" and goes on to say that it offers "a fresh vibrant Summer face."

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@ Kevin Tachman for Armani Beauty

Here are her steps to recreate it for yourself.

1. Prepare and massage skin with the Armani Prima Glow-On Moisturizing Balm (or any rich moisturiser you have on hand), ensuring the cream is absorbed before adding the base.

2. Use a concealer and foundation to correct natural skin tone, matching it to the color of the neck. Cantello suggests pairing their High Precision Retouch and new Power Fabric foundation.

3. For the main action, apply some Lip Maestro Notorious (In the shade #301) or any peachy cream blush widely on  cheeks & eyelid, making sure the angle from the brow bone down to the cheek is clearly defined. If needed, redefine the shape with a concealer.

4. Fill in the eyebrows creating a straight line.

5. Intensify the eye by adding a slight shadow from the inner corner to the brow with a taupe-coloured brown gel product such as the Armani Eye & Brow Maestro in 02 “Wenge Wood”. Then add a thin line of black eyeliner as close as possible to top lashes. Use finger to extend outer corner.
Apply a mascara such as the Eccentrico mascara in “Obsidian Black” to the top lashes only.

6. Mix lip shades in peach and rose tones such as the Lip Maestro Notorious shades 301 and 515 and gently dab onto lips.

7. Finally, powder at the end using a product such as the Luminous Silk Compact for a matte finish.


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@ Kevin Tachman for Armani Beauty


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@ Kevin Tachman for Armani Beauty



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Sunday, 29 January 2017

Vetements AW17 - I'm okay with being the butt of the joke.

I've always had a bit of trepidation about Vetements. While I'm one for poking fun at yourself or your surroundings, at calling out hierarchies and questioning established ideas, I was always cautious of the moment where Demna would turn around and slap us with the words, "No, I really was just fucking with you all and chancing my arm completely." I was afraid of defending something so passionately (which I've had to), only to be the butt of the joke. I mean, who likes feeling silly?

I was also afraid I was merely being caught up in the hype. That I just wanted to be one of the people in the know. That I had so long felt alienated as a young adult amongst my peers that I was quick to blindly jump head first into the legions of fashion "insiders" - really just another parade of people wanting to be accepted and ready to nod along in agreement, even when they aren't really sure.

Show the latest Vetements collection and the skeptics you faced so far are sure to smile in triumph. It seems rather indefensible. Like things dragged out of charity shops and presented up to people with too much money or too much of a desire to seem cool and who are willing to throw stupid amounts of cash at it. People who will grin as they are being swindled.

At first glance, it does seem like a bit of a joke. And not even a subtle one, at that. Vetements AW17 presented fashion stereotypes, "tribes", if you will. Parading down the runway was a cast of models that were diverse in size, gender and ethnicity and amongst them were bouncers, brokers, Parisiennes, tourists, hooligans, bros, Texans, emos, punks, metal heads, pensioners and, even, a sexy secretary. Many of the looks veered perilously close to costumes and much looked like something I wouldn't accept as a freebie, let alone pay for. "Wouldn't be caught dead in" comes to mind.

At first glance, it seems all very dystopian and morbid. A mish-mash of ideas that have circulated over the years and that have been resurrected and presented to us again.

And, of course, that is one way to look at it. And, perhaps, I give the brand too much credit when I say, "What then of Modern Art?"

It is hard to imagine now but Monet had his critics. Van Gogh was basically a life-long loser. And Duchamp was very much considered a chancer - still probably is by many, tbh. While I'm not outright saying Vetements will stand the test of time the same way (we could very well look back two years from now and shake our heads at it, label it all madness), I've decided to allow myself freely give them the benefit of the doubt instead of being cynical. We could all do with a little more hope these days, could we not?

I've decided to just enjoy Vetements. To watch them with curiosity. I won't be buying the awful tweed jackets or denim with the brand name emblazoned across the crotch but I appreciate the ideas and messages at hand. The discourse about fitting in, dress codes, elevating and celebrating the ordinary, and, always, how they imbue everything with their signature satirical approach. Even if you argue that some are reading more into elements than was ever intended, giving it all more depth than was originally there...well, that's kind of how all art works, isn't it? And Vetements have always been shown during couture week, not alongside RTW shows, so it isn't too much of a stretch to think them a little more artistic and conceptual than most.

Also, in my quest to be fair, I cannot help but point out that taste plays an important role here. Were we to look at many other shows, we would find much is often not to our own tastes, even if we like the overall vibe, and, certainly, much is not wearable (by most people) as presented in the actual show. The styling and presentation at fashion shows is the last time the designers hold their original ideas close to their chests before they are broken up and sold and restyled and absorbed into existing wardrobes all over the world.

Most likely, even the most ardent fans won't be rocking up to parties or down the street in full-on bouncer or sexy secretary cosplay. Instead, the ideas and pieces will be taken and used and diffused and transformed. It'll all be made a little more palatable. Perhaps the G-Dragons of the world will be able to stick closer to the original and make it work but the rest of us mere mortals cannot expect to do the same so readily.





















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Monday, 9 March 2015

Clothing Chats: My Parisian Correspondent digs Yohji Yamamoto

Continuing this series of chatting recent shows with people outside the fashion world or target demographic, I go to Paris, during PFW, to my Parisian correspondent. Gaz (or Gary in France, as they find "Gaz" too funny) is one of my close circle of friends from a society we both ran in college. He currently lives and teaches in Paris and generally has the life and sends me photo responses of him in front of Notre Dame sometimes. Bastard.

Ah, no, he's actually the best - to be fair.

So much so, that he agreed to talk about clothes in detail with me for a few hours. Later on, we were joined by his lovely girlfriend Adele, meaning our analysis of the show had another set of eyes - someone used to reporting on fashion in detail, an uninitiated (but open-minded) Irish male and a Frenchwoman.

This is the conversation that ensued when we chatted about the Yohji Yamamoto AW15 show.


COLETTE (CF): First impressions?

GAZ (GL): I guess somewhere between a Goth, Amish and Marilyn Manson. I don't really know what to say here or how to describe fashion...

CF: Well, there's no right or wrong here. It's all about what you think. Do you know the brand at all, have you heard of it?

GL: No, I don't know it at all, actually. It's kind of between avant garde and something you could actually wear casually without it being passed off as a crazy costume.

CF: Yeah, em, it is a ready-to-wear collection so it is made to be worn in daily life. It's not haute couture -

< Skype cuts out >

CF: - Goddammit, internet!

< A few seconds go by >

CF: Hey.

GL: Hey. We're back. So, it's ready-to-wear. You can buy it in stores.

CF: Exactly. Right, let's check out another image.


GL: I like it, it's like an avant garde take on some older styles. Like I said about the first one, the top part is like Amish to me (mixed with the hair), but is combined in a cool almost Charlie Chaplin pants and shoe combo. Oooh, I like the sleeves too - a really interesting mix of what feels like three different styles. With an anime-style facial art.

CF: Cool. How about the next one?


GL: I really like this one, living in Paris, especially. It feels like a cross between a Western dress with a conservative Eastern-style one. The kinda half veil/burka mixed with the hat is to me, more artistic than "wearable", but I like the aesthetics of it. There is a real sense of elegance. I like how it hints at the human shape, without fully revealing it.

CF: It's cool that you picked up on other vibes too. I'm noting a bit of his Japanese heritage in the skirt and sandals.

GL: Ah, I can totally see that now - it's a nice mixture of styles and cultures.

CF: Neeexxxt.


GL: I think this dress is far more Western than the last one. The shape reminds me of some sort of medieval style, or from Game of Thrones but with the raised part at the bottom (A/N: i.e. hem), showing a nice modern twist with the sneakers.

CF: I'd say Renaissance but I see what you mean, a little Cersei, I think. You mentioned the play of reveal and cover. Don't you think with the amount of flesh covered, the little baring of the shoulders and neck by widening the neckline, is sexier/more sexualised than it would be if this was the neckline on a tee paired with jeans?

GL: Mmm, I'd back up to say Renaissance, my sense of historic eras is awful. I think the covering I've seen so far is far less sexualised that stuff you see on billboards. It feels far more artistic (perhaps the wrong word as art can be sexualised also), or perhaps is more focused on beauty rather than sexiness...

CF: What I mean to say is, I feel like sexy is a louder thing now (as you note with the billboards) but this expresses a play on the human body that has very much been lost. Where it's less about what is being shown off and more about the hinting of more?

GL: Ah, playing on the imagination rather than showing all?

CF: Exactly. From a time where people were a little more innocent (or meant to be) so even holding hands and looking at someone had people giggling. It's like these clothes reference a time before we were so desensitised.

GL: Ah yes, I would agree with that now, within the context. I almost feel like this is further expressed with the interesting facial art - taking the attention to the face also.

CF: Oh, interesting. I didn't even consider that! Right, let's skip to look 7. And maybe consider it with 8.

7

8

GL: I'm going back to the word elegant with 7 and 8. I really like them, in fact. Both kinda hint at her body's shape, though hide it's size above the shins. The ankle being shown is actually beautiful, it feels like it supports the rest of the ensemble, as it really highlights that the feet are supporting the body. Again, I love the combination of the cultural styles of Japan with the West (the Western hat in both cases).

CF: You mentioned Chaplin earlier. are you getting the nod to the mid 20th century and menswear a bit again?

GL: Ah, with the headgear this time - yes, I see it now. I really love image 8, the slight touches of red seem to act as a seductive factor also.

CF: It's kinda like a geisha mixed with a mobster...

GL: Mmm, I do feel like she could kill me - in the coolest of ninja/mobster fashions..

CF: And then 9 is a bit of a departure...

9

GL: Yeah, somewhat. The hat reminds me of a chimney sweep and the dress of Ursula from The Little Mermaid. I feel it lacks elegance, actually. It's big, cumbersome and hides all of the body's shape. Not really a fan of this one. The upper body robes also seem to remind me of some sort of clergy.

CF: Probably difficult to move in too. It's kinda like another way women have been covered and controlled over history, skirts and hoops in the 17th to 19th centuries impeded movement, A way to be controlled. Or restricted.

GL: Mmm, I can imagine it's quite easy to "drive" a persons movements while in that dress. I can see that now.

<  Adele (AH) joins the conversation >

CF: Whenever you're ready, I'd like to hear your thoughts on 10-14 as they kinda represent another section of the collection that's similar in vein.

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10-14

GL: Well, for me, it's like a combination of Western and Asian (Japanese?) fashion. More skin is revealed in this one, from the Western suit jacket of the upper body...would you say it's more "risqué" than the other ones?

CF: Yeah. It's interesting as well that the pieces inspired by men's tailoring are the more risqué. Like, there's more freedom there?

GL: 13 and 14 aren't so much revealing, but feel...I dunno, sloppier.

AH: There's nothing particularly feminine about 13.

CF: I see what you guys mean. It's more casual as well...very much like a young dude walking around with hands in pockets.

AH: Maybe more androgynous.

CF: Ah, I get that. There's a lot of playing with gender in his clothes in general.

GL: 14 = Johnny Depp.

CF: Heh.

18

GL: 18 feels completely different - the trousers mixed with the long Asian robe is a mix of masculine and feminine to me.

CF: The pose is interesting too, no?

GL: I can't decide if it's a power pose or submission pose, in fact.

AH: The sums of the outfit are masculine but together are feminine.

CF: Perhaps because of the pose?

GL: Mmm, it's really feminine, I'm thinking Mulan, the matchmaker song.

CF: Yeah, very elegant. Huge nod to Asian culture. How about 23-32?

23

GL: 23 feels sharp and aggressive. I imagine it's harking back to the times of oppressive fashion upon women.

CF: Same as the hoops earlier?

GL: Exactly.



GL: So, from there on, we see Eastern and African influences, And towards the end, ancient Greek/Roman fashion.

AH: I see late 40/50s fashion in 32.

32

GL: They've taken different styles and periods and put them in new contexts.


39

40

GL: Wow, I like these ones a lot. The military theme is evident in all, but mixing the cultural contexts, like Japanese, Roman (39), old school Roman with 40 (REALLY powerful pose in this one)
The theme seems to suggest power.

CF: And reference the 40s again.,,

GL: Yea, military fashion from different eras. 40 really is fascinating though. I can't put my finger on what makes it so powerful...the long sleeves seem to remind me of birds of prey..and just power.

CF: And it is the last look, the last statement of the collection.

GL: The pose is somewhat assured in their own power.

CF: So this look makes you see it definitively as a pose of power rather than submissiveness?

GL: Yeah...it's the sleeves combined with the stern look that makes me feel this way. I can imagine Maleficent from Disney striking that pose.

CF: Cool. So what do both of you guys take from the collection overall?

GL: Lots of mixing of not only cultures, but eras and masculine and feminine fashions. Lots of play on power - especially of hiding most of the body and revealing a little.

AH: I like the evolution of the collection - how they're all different but are going in the same direction. Like you can tell he did all of this consciously and he had a strong vision.

CF: And as a chic Frenchwoman, what do you make of it as wearable clothes? Is it something you or people you know would wear? (obvs styled less dramatically)

AH: Some of them - definitely less dramatically. We can both totally see the Johnny Depp one.

GL: I think some of the early ones, and from 24-32 are quite wearable, in a less dramatic way perhaps, but even sometimes as they are.

CF: Thanks for chatting with me, guys! It was really interesting!

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What I found interesting was how much they both picked up from the collection that I would have discussed in a typical show review. Which goes to show that fashion is not as inaccessible as people might think and also how rewarding a closer look at things really is!

They also pointed out things I hadn't thought of which underlines how useful discussion and debate really is. Particularly in areas like fashion that can be so isolated from the rest of world and outside points of view.

Less comical than the Marc Jacobs piece with my bro but no less interesting! I must thank them both for lending me their eyes and ears. 

Peace out. 
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(Images via vogue.co.uk/Indigital)

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Sunday, 28 December 2014

Spring 2015 Looks

At the start of the AW season, I did a wee post where I put together some examples of the types of looks I was feeling for the season. I liked how that turned out so I thought I'd do another for Spring 2015 - especially as for most of Spring around my neck of the woods (Ireland) there's a lot of awkward in-between season dressing where the weather is still frightfully cold and miserable. Partly inspired by actual trends, partly inspired by my life and infused with my own twist on things - there's a touch of Saint Laurent SS15 and seventies vibes, there's an outfit inspired by how my mother used to dress me as a kid and another all-white number that comes from my love for Danielle Romeril SS15 and what Cos showed in their preview for next season.

Spring 2015 Looks

What will you be wearing this season?

Friday, 10 October 2014

Undercover SS15

Fairy tales, fallen angels, Hieronymus Bosch, ballerinas, unexpected frills....Undercover kinda had it all in their SS15 show. It was almost like it was perfectly designed to make me squee and sigh...almost exactly like that...suspicious.

Established by designer Jun Takahashi in 2003 and described by the man himself as "cute but scary, beautiful but ugly", it's comprised by all the combinations, parallels, contrasts and contradictions that I personally love but that also enrich any outfit and give it depth. There's a romance to his clothes, and a darkness that speaks to the women who wear them, long for them. That reflect real women -complex combinations of traits, 3D characters. 

Also, I've got major hallowe'en costume inspo from the latest showing.

From big dresses with demure collars and cut-outs that don't reveal too much but ooze sexuality paired with dramatic eye makeup and black wings, to the sheers of wood nymphs, to uber-wearable outerwear and separates, to wearing art, to princess garb, to fantastical creatures and ending in a motorcycle gang of dark angels - there were a lot of different looks and themes present. Yet Takahashi's hand, and his girl, was obvious throughout. Cohesion was present through bookending of the angels, through the swells and falls of a show more like a story than most. The hairpieces, makeup and frills were further uniting strands. 

As undeniably wantable and gorgeous the individual looks and pieces were, however, it was the showmanship that impressed me most. A true show. That had me gasping, leaning forward in my seat, eager to see what came next. 

Hello, my newest and greatest brand crush. 

This time, it's true love.





















(Images via vogue.co.uk)

What do you guys think? As obsessed as moi?