Rory Parnell-Mooney AW16

More and more, it is menswear that captures my attention. My greatest style icons have often been men and the preference for functionality and comfort suits my personal dress sense. Furthermore, the limitations upon menswear are both undeniably frustrating and interesting and lead to interesting results. It can seem like there is nothing that hasn't already been done in some shape or form with womenswear and it is increasingly difficult to truly surprise, titillate, shock or innovate. But the response of menswear to tradition, expectation, roles and the interplay of body and clothes, conceal and reveal, remains exciting and fresh. Even when referencing the past or notions that have long been around.

Take Rory-Parnell Mooney's AW16 collection: Dazed beautifully covered the show and how it was influenced by androgyny and Brian Molko of Placebo - utter poster boy for  pure, naturalistic, unlaboured and uncontrived androgynous dressing. They even quizzed him backstage on why Molko became his muse for this collection with the designer stating, “There’s just something about the confidence with which he wears clothes. I mean he was walking round with bright red lipstick and a cropped mohair jumper, and it was just so easy. He wasn’t contrived or pretentious, it was just how he wanted to dress. There’s something so nice about that.”

And there is something nice about that. About people wearing what they want without being made feel bad about it, about being authentic, about ignoring silly ideas of what is appropriate on one body versus another. This authenticity reads. It's apparent. It made Molko a sex symbol that baffled some and delighted others.

Playing on ideas of androgyny is nothing new in fashion. Musicians dressing androgynously is nothing new. Musicians inspiring designers is nothing new.

What is new here is the essence of Molko's attitude towards dressing. It inspires the look of the clothes, yes, and his re-appropriation of a gay slur in the song, "Nancy Boy" is directly quoted and emblazoned proudly across some of Parnell-Mooney's garments, worn almost as a badge of pride. However, it's that naturalistic way about how he dressed that stands out, that innovates here.

Questioning gender roles and expectations in dress is often loud, experimental. But, while you probably won't be seeing the average Joe popping out to the shops in Parnell-Mooney's clothes, the way they address gender is quieter, more organic. "Masculine" and "feminine" come together seamlessly. It's not overtly contrived.

And then there's the clothes themselves. Can I have everything for me, please? The palette remains in monochrome and navy tones, the silhouettes are elongated but skim over the body in baggy trousers like those my generation knew all too well and boxy, smart jackets and shirts. Practical, weighty knits and key separates are show alongside silky tops and spangles: the practical, the frivolous: the male, the female. And it all comes together as naturally as a woman's wardrobe, as a modern human's personality - it's a melting pot of ideas and influences, needs and desires, moods and moments. This man is sometimes having a bad day, tired and unwilling to dress up, heading to an airport in a luxe hoody and baggy pants or feeling on fire and confident the next, hitting the town in sequins to meet friends for after work drinks. Sometimes he's somewhere between the two. He's a complex human being.

This paves the path for the future of dressing and makes me anxiously await what Parnell-Mooney has for us next.

What do you guys make of the collection?

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The Effeminate Man & Sex Appeal

Pillow-lipped young men with bright eyes trip through Renaissance painting. St John, to emphasise his youth and innocence, is depicted as so feminine that he can be mistaken for Magdalene in Dan Brown's narratives. In 17th century Holland, women are shown with hair covered and modest appearances whereas young men have luxurious curls falling around them. In the French court, men almost rival women in fashion stakes and use make-up, adorning their faces with silk patches and sporting delicate fabrics, colours and prints. Even the more sombre figure cut by the Victorian man in Britain is softened by lace collars and cuffs.

Masculine ideals of beauty shift over time and culture, as do those of women. What is seen as effeminate is defined and redefined, shunned and appropriated. And, in some cases, men have more freedom to be openly beautiful. The limitations of the male body are lesser, it is less controlled. As long as the genitals are covered, the rest is fair game.

Take us, then, to the twentieth century. After two world wars, the Western world begins to recover. Pop and rock music and its icons emerge. The hearthrob is born. He is sometimes rugged and hyper-"masculine". But sometimes he is beautiful.

As fashion and generations react, interact and reject each other, this beautiful hearthrob was born (informed and influenced by many other generations and incarnations) in retaliation to the conformist, capitalist expectations of modern society. He was a hippy. Then he was a rock star. Mick Jagger with his shimmying hips, tight clothes, sheer fabrics, frills, long hair and pout. Punks and Goths with painted nails, lined eyes, lace, skirts. Glam rock with its idols that turned women into frenzied creatures while being more made up than the women themselves. Bowie. Emos. Harry Styles.

Much as we will always have our beefcakes as cultural epitomes of masculinity and attractiveness, we will, likewise, probably always have the effeminate ideal. He is the type of man that many others don't get but that women swoon over. He wears necklines that bare collarbones and vast expanses of chest, he squeezes into dandyishly tight trousers, wears jewellery and make-up, refuses to cut his hair. He picks and chooses from male and female performances and constructs an identity that is something in between - one that allows him to be visibly sexual without the shunning a woman would attract, one that verifies virility, one that embraces that which is softer and "frivolous".

I recently discussed my fondness for these men with a friend. I voiced my opinion that there is something powerfully sexy about a man who dresses and behaves in these ways because it boasts confidence in who they are (always an attractive trait) and their own self-defined identities (an increasingly attractive trait today) and suggests an inclination to be more open-minded about issues to do with equality and society. And then there's just that raw sexuality. The sensuality of fabric and texture choices so outside the realm of most men's colourless and tired wardrobes. The visual hide-and-seek of flesh in more nuanced ways than those who relieve themselves of shirts the moment it's vaguely warm, no matter the time, place or situation. The balance between ruggedness and refinement. Think of Mr Darcy stepping out of the water in his soaked white frill-collared shirt and fitted breeches. Doki, doki, no?

I'm all for this type of dressing. For these attitudes. So, check out my styling below. Consider these things and let me know what you think!

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Wedding Outfit

Over the weekend, my cousin married her long-time boyfriend and my family and I attended. The setting in Rathsallagh was picturesque and charming, the food was great, there was plenty of craic and I got to catch up with relatives I hadn't seen in ages!

The only outfit photos from the day come from late that night and the chaos of the lights hints at a certain amount of...giddiness...at the time. Not your typical wedding attire, I went for something less obvious that I would be comfortable in. I knew teetering in heels and worrying about flashing people in a skirt were too much for someone as uncoordinated as I, so I played on my love of androgyny and simplicity instead. The palette is limited to black and white and, for anything bar a wedding I would have gone all white instead. But I do bow to some social convention and didn't want to upset anyone or create any drama (no matter how minor) by wearing white. So, instead of donning my white blazer, I threw this black Lennon Courtney coat over a sheer Topshop cami and a pair of white brocade D.E.C.K. by Decollage pants. The Deena and Ozzy boots from Urban Outfitters stressed me out a tad as I thought they were too non-weddingy. But the heel is height-giving and walkable! How could I say no? And it turned out that it all came together as urban, modern, clean and androgynous with just enough and just a touch of bite. Minimalist silver COS earrings were my only jewellery and a vintage wicker bag completed the look, nodding to the season. Hair and makeup was kept easy, natural and fuss free.

The bride, I should mention, looked radiant in a simple figure-skimming Sharon Hoey gown with detachable sheer sleeves and a low back. Her hair was set in soft waves and tumbled over shoulder. Congrats, Niamh and Paul - may your lives together be long and full of every joy.

Preparations, libations and failed nail transformations from the night before

Car selfie.

Actual nails - only colour in le outfit.

JW Resort 2015

Poetry in clothes is kinda what JW Anderson does. His garments are always captivatingly lovely and interesting. They speak volumes about gender dynamics and our world while managing to still look good. They avoid being trite and come across as his genuine understanding and perspective of the world.

The Resort 2015 collection deconstructs and reforms shirts, trousers and coats. Classic pieces and tailoring are given new life. We're used to seeing these clothes but not in this way. They've been reborn for a new generation of girls. But they're also chic enough to include any other generations that might take a fancy to them.

Anderson's girl is cool. When she walks into the room, people look, and not because she's obvious or sexy, but because she intrigues you and it takes time to analyse what she's wearing and really see it. There's a depth to what she's wearing but it's easy and nonchalant. She doesn't have to try too hard.

Once again, I cannot sing the praises of a JW collection loudly enough. LOVE.

(vogue.co.uk)

Streetstyle - Dublin Castle

So, I was at Milk and Cookies tonight at Dublin Castle (this is an awesome monthly event in Dublin that involves listening to people spin a yarn, laughing lots, drinking too much tea and eating cake) and waiting for friends to arrive when I spotted Meng doing the same. After minutes of awkwardly debating whether or not to bother her, I approached her and (as per) was pleasantly surprised by how lovely she was! She modestly insisted that she was just wearing work clothes but that made it all the better in my eyes! Good workwear is a rare and wonderful beast. Here's how to do it right!

I'm loving the mixing of masculine elements such as the classic striped shirt and mannish coat with a simple skirt and a statement necklace. The balance here is great - masculine and feminine, dressy and casual.

I'm also into that rolled sleeve - those proportions.

Winona Forever.

I'm having such a Winona moment.

It began (all over again) on New Year's Eve. Daniel and I were stressed trying to make plans so we ultimately decided to be alone and make cocktails and watch movies. The movie was Heathers and the only agreement on it that we had was that Winona is and was a babe.

And then I, of course, started googling her streetstyle. Hooooo, boy. That's the clincher. Per-fection.

Winona is the epitome of ease, cool and boyishness. And her varying hair is always so ON. Very very. Things I love and aspire to. These are, perhaps, some of the most blogged pictures ever but what can you do?

Not streetstyle but it's just so pretty. That hair!

My excitement for the new KARA album is in Full Bloom!

I'm majorly excited for the sound and look of KARA's upcoming album "Full Bloom". So much amazingness in one preview! I mean, the androgynous suiting? DYING. And the Dolce (actually Dolce or no? I can't find any info online!) looks? Perfect. The contrast between friggin' princess attire and white dresses and sharp suits makes for an interesting look for the album. The wardrobe and its more cohesive nature seem to match the snippets of the sounds we've been getting. KARA have always been great but these songs seem to up the ante. It's all very sharp, put together and on point.

Girls, you're looking and sounding hot.

Also: can you say SPARKLY?

And a song from the album!

Harper's Bazaar - I'm liking your taste in...well, everything.

Grimes + Angel Haze + Lagerfeld + Roitfeld = a singularly perfect combination of fashion and It-Girl elements in order to produce a spread entitled "Singular Beauty - An Homage to the Diversity of Women" for the September 2013 issue of Harper's.

The two musicians were among a host of amazing women from various industries that came together to make the piece. And, no offence, to the others but they were the figures of most interest to me. Aside from the fact that I'm a major fan of the music of both, I also love the styling going down for both - especially Angel Haze. That is some awesome androgyny right there. Sharp.

However, I do think the baseball cap with the Saint Laurent look on Grimes is rather inspired. Who would have guessed that it would work so well?