Style What Do You Wear to the End of Days?

16:50  18 february  2020
16:50  18 february  2020 Source:   msn.com

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I wore the black velvet blazer because you can only really wear them in the winter. The butterfly bowtie and wingtip shirt were to suit the Black tie event, and the mask was because it was a Masquerade ball. The glitter on the face was to correspond with and add to the sparkle of the glitter theme.”

I want to start my CS Training before the end of this year. I want to take out more time for writing, and start on the book I’ve been wanting to write, since a I want to find all the power in the world there is, within myself, to do anything I set my mind on. I want to taste success before the end of this year, so

a group of people standing in a room: JW Anderson, fall 2020 © Lauren Fleishman for The New York Times JW Anderson, fall 2020

LONDON — In 1139 Archbishop Malachy of Armagh supposedly had a vision of the future that became known as the “prophesy of popes.” In it, the Irish saint predicted the names of 112 pontiffs who would rule until the end of days. Though it was later shown to be a 16th-century forgery, the second to last pope on the list was Benedict, which has suggested to some in the Roman Catholic world that the final pope could be the current pope, and the apocalypse is nigh.

Actually, not just the Catholic world but, apparently, the fashion world, too.

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Lisa Aiken et al. walking on a sidewalk: LFW has come to a close once again and there was flowing ruffles and tulle at Molly Goddard, a list front rows at Burberry and Tommy Hilfiger, and a family affair at Victoria Beckham but the main attraction was on the street where editors, buyers and influencers were out in force battling storm Dennis giving us lots of fashion inspiration. London is known for it's style and creativity and this season the fashion insiders were embracing statement trenches, from high shine to primary colour pops to heritage checks, layers upon layers of neutral knits and shirting and the key to stay chic in the rain? The black stompy boot. Here are our favourite street style looks from London fashion week scroll through and see how the stylish do it...

Over the weekend, Simone Rocha put the idea front and center on a dress. It was lovely — royal purple splashed with a gold scripted rendering of the saint’s name, draped in swathes of black satin — and it was sandwiched between piles of baptismal lace and tulle; watery fisherman knits and oyster satin slithers; elaborately embroidered cross-topped sacred hearts: the semiology of prayer, loss and rebirth. And it was not happenstance.

Brexit has finally been approved. Storm Dennis, officially classified as a “weather bomb,” was lashing Britain as the shows began, flooding roads and wreaking havoc. A designer here could be forgiven for thinking it’s the end of days. It’s definitely the end of something. The issue for everyone is what comes next.

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“Of course I’m worried,” said Molly Goddard after her show of tulle extravaganzas mixed with chunky Fair Isle knits and nerdy-cool tailoring that was an ode to her youth in the late 1990s around London’s Portobello Market. “I’m worried about the people in my factories, most of whom aren’t English, even though the factories are nearby.”

a person standing in front of a building: Simone Rocha, fall 2020 © Andrew Testa for The New York Times Simone Rocha, fall 2020

That’s to be expected. As was the existential questioning of identity that was an underlying current in so many of the clothes here: What does it mean to be British? What content do these symbols we put on our backs contain any more?

What was less predictable was where such thinking led some designers: not to the depths of despair, but somewhere else entirely. To a world after doomsday. To renewal, and reinvention.

Could cynicism be out of fashion? What an idea.

Identity and Its Discontents

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Executives are often super busy towards the beginning of the day /week, but their schedule opens up a little bit towards the end of the day /week. And the reason they didn’t hire you could be anything - you weren’t qualified, you wore the wrong shoes that day , the CEO’s idiot nephew was given the job

But first, there was a lot of black. A lot of big, swaddling volumes. A lot of covert messaging and a lot of wrestling — some good, some weighed down with angst — with the past. For some: a lot of royal sleevage. For others: argyle, houndstooth, tweed.

a man standing in front of a group of people posing for the camera: Burberry, fall 2020 © Lauren Fleishman for The New York Times Burberry, fall 2020

Victoria Beckham belted her curving black sheaths and neatly tailored culotte-suits with hands-across-the-hips silver and cut diamond-shaped holes into her sweater vests like a remembrance of things lost. Emilia Wickstead offered big puffed sleeves and even bigger skirts; Roksanda, a safe space of billowing, shimmering drapes of many colors and chunky, patchwork-nation knits.

At Burberry, the chief creative officer, Riccardo Tisci, named his collection “Memories:” of the brand itself, but also of London, when he was a fashion student, living in the Bethnal Green neighborhood, and of his trips to India, where he started his own label; of the melting pot of the capital and the designer mind. That meant — checks! And trench coats! Lots of them with feathers and faux furs, deconstructed into parts and twisted into sari-like assemblages; mixed and matched and also madras for men and women; leopard and contrasting linings thrown in.

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a person wearing a costume: Tommy Hilfiger, spring 2020 © Henry Nicholls/Reuters Tommy Hilfiger, spring 2020 Also the occasional big star plastered on the front of a shirt, and a festival’s worth of rugby stripes in cinnamon and turmeric, as if for a game of Quidditch in Mumbai. Also some go-go silver fringe, for evening. Also a lot of green (afterward Burberry announced the show had been certified carbon neutral and that it was creating what it called “a regeneration fund” to support carbon insetting in its supply chain).

If that sounds like it is skating across the surface — not the environmental initiatives, which are laudable, but the fashion interpretations of the national totems — that’s also how it looked: polished, easy to wear, but lacking depth and soul. Which is odd, because Mr. Tisci is nothing if not an emotional designer, and it often takes an outsider (he’s Italian) to really grapple with a country’s imagery. It’s as if he is deliberately denaturing himself to appeal to as many people as possible; going not with his gut, but with his market research.

Of Risk and Reward

In any case, it still made more sense than Tommy Hilfiger’s #TommyNow celebration of Americana, inclusivity and his celebrity connections in stars, stripes, anchors aweigh, neon and slogans — “Just Rise;” “Still Human;” “Loyalty” — via collaborations with the singer H.E.R. and the Formula One star Lewis Hamilton. The effect was of a semi-party in a place that isn’t really in the mood to party any more (and that has increasingly mixed feelings about the “special relationship” between itself and its former colony anyway). The message was meaningful, but the medium confused.

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a group of people standing in front of a crowd: Richard Quinn, fall 2020 © Andrew Testa for The New York Times Richard Quinn, fall 2020

Mr. Hilfiger has never been a thinking person’s designer. That is absolutely fine; not all clothes need a philosophical grounding (that would be exhausting). But a little sensitivity to context and timing is no bad thing.

British fashion — London fashion — has always had an identity more rooted in risk-taking creativity than in page-view calculation and hashtags.

In the willingness, for example, of Hussein Chalayan to not just double down on the idea of a suit and turn a pair of trousers into a cardigan for his Chalayan show, so the legs wrap the shoulders and the hips shadow the back, but to dare to write and sing his own songs, live, as an accompaniment (that’s putting yourself out there). In the explosive romance of Richard Quinn’s Buckingham Palace-size florals and empire drapes; the pointed extravagance of his nod to Pearly Kings and Queens, the cockney performers with mother-of-pearl studded costumes. In a sense of history, and the gumption to turn it on its head.

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Historical Revisionism

Which is why it was so striking to see the connections between the 1920s and the 2020s being drawn at Erdem, with his Cecil Beaton-inspired checkerboards and bias frills; his Erté feathers and lamé Wedgewood-print puffers; his flapper dresses dripping loops of pearls. At Christopher Kane, where things took a turn for the sexually subversive (he called his show “Naturotica’) in more Art Deco geometries. Meant, apparently, to reference the love triangle of Adam, Eve and the serpent, and followed by lacy lingerie slips, strait-laced shirt dresses with sheer mesh tops and chain mail apple-red skirts slit to mid-hip on either side.

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  The Complexities Of Wearing Suits When You’re Plus Size The Complexities Of Wearing Suits When You’re Plus SizeConsidering headlines like “Have Millennials Killed The Dress Code?” it’s possible that my distaste for the old houndstooth number was partly rooted in my generation’s general departure from traditional office wear. As Vogue declared in 2018: “The idea of workwear, or specifically, of a woman’s power suit, is becoming less and less relevant in many cases, including the tech and startup sectors, as office culture becomes more progressive and more community-oriented.

a person standing in front of a mirror posing for the camera: Erdem, fall 2020 © Lauren Fleishman for The New York Times Erdem, fall 2020 And at JW Anderson, where in a terrific collection Jonathan Anderson reached across the century to mix the classic with the couture with the sci-fi to create something viscerally, elegantly modern.

“I was thinking about that moment in the ’20s when everything resurged and rebounded,” he said backstage after the show, which he dubbed “nouveau chic.”

a group of people posing for the camera: Christopher Kane, fall 2020 © Lauren Fleishman for The New York Times Christopher Kane, fall 2020 So he took heritage swing coats in camel and wool and blew them up to “optimistic volumes,” adding giant swaddling leather collars; crushed fantasy beer-can-print lamé into shift dresses; crafted sleeveless metallic bubble gowns out of fringed metallic knits to mimic a very glamorous Snuffleupagus; and topped the shoulders of flowing flannel capes, curvaceous tweed coats and silver screen siren gowns with fronds of pearly cellophane that wafted gently in the wind.

It is possible, of course, to question whether the 1920s — the years between the wars — is actually the best harbinger for fashion to embrace. They may have represented a great creative flowering, a burst of energy and social revolution, but they did not exactly end well. On the other hand, you can’t argue with the fact that if, indeed, the four horsemen are coming, at least this way we can greet them with aplomb.

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