Veronica Beard Fall 2020 Ready-to-Wear
Angel flinched as he heard that familiar voice. Though, this time it wasn’t a nightmare…was it?
The spider got up from his vanity and faced his boss.
“Y-yeah, Val? Did'ja need me ta’ run some errands or somethin’?” He asked, trying not to seem nervous.
Valentino grabs Crafie quickly. “Oh, I don’t think so~” He smiles. “Did you really think you could get away with that without me reacting quickly?”
“If ya think using a lamp on me is going to work, you are monumentally mistaken. And most importantly, I’ll break that lamp over your head; ya better think about that next time ya do it!”
Naomi Campbell for Valentino (2019)
Veronica Beard Fall 2020 Ready-to-Wear
Hi to anyone reading,
First of all, thank you! I have never had a post do as well as the part 1 of my haute couture week review did and I am so overwhelmed with the positive feedback. This is probably funny to read for those of you getting thousands of reblogs on your posts, me acting like I won an academy award because I got a couple of hundred, but honestly I don’t expect any traction when I write on here (it’s basically just me word vomiting everything I’m thinking as if people want to hear it aka. mouthing off into what I thought was the void) so if you did read it, thank you! I do spend a long-ass time on these so it means a lot:-)
I’ll leave the self-indulgent ramble there though as it’s probably not what you came for and jump straight into part 2 of my thoughts, starting with Jacquemus. Yeah, I knew what I was doing when I tagged that in my last post. Simon Porte Jacquemus is the man of the *fashion* people right now; I’ve even found myself coming round to the Le Chiquito bag despite my original thought being “well, that’s fucking useless”. I know, I know, technically it’s not haute couture; it was part of Men’s Fashion Week, but it happened around the same time and everyone was talking about it on Twitter, so I feel like I have to include it.
In a way, it kind of reminds me of Bottega Veneta’s last RTW show, in that, especially with the women’s outfits, we seem to be sticking with simple, fitted garments and chunky, more statement jewellery. I’ve got to say I like the styling here a lot more though, and in general I’m a fan of this collection. The collared tops with cut outs underneath blazers are cool and I can’t wait until it gets warm enough for me to not feel dumb wearing my headscarfs like this; there’s a LOT of summer outfit inspiration. It’s not a mind-blowing collection or anything but it is effortlessly sexy and that’s something I wish I could say about myself. Most of us can only hope to look half as good as these models do whilst making the effort but at least Jacquemus is aspirational, lol.
I also fucking adore this colour palette. I’m sick of neutrals literally just meaning brown and white; the navy, sand and muted khaki is a fresh edition to what is usually interpreted as the colours you’d seen worn by Disney’s Riverboat Cruise staff and only Disney’s Riverboat Cruise staff. And I mean, come on-what is more neutral than typical English school carpet blue.
Next for the whole reason I had to make this haute couture week review 2 separate posts: Jean Paul Gaultier’s final show.
In the best way possible, it’s a lot. I don’t even really know where to start, except to say that I guess this is a fitting last show; a celebration of everything campy, messy, weird, performative, and punk is the perfect send off for a brand whose best known perfume of the last few years is called Scandal. More than anything, the final show represented the range of characters and cultures that have influenced JPG throughout his half-a-decade-long career, the lines that supposedly separate what is “masculine” and “feminine”, “old” and “young” and ultimately art and fashion blurred in the most exaggerated way possible. Sure, there are some looks which are individually a bit messy here but the way they were grouped into almost chapter-like segments meant that when you see them all together, they work. Nods to the patterns and structures that recurred from season to season were sprinkled throughout, from sailor stripes to corsets to the expected whirlwinds of colour. I’ll even allow the wellies in that one outfit; if I can get over bucket hats in Peter fucking Pilotto’s last RTW show, I can get over some questionable shoes here. Middle aged fishermen and boys who liked to pose with monster carp in their Tinder pictures as some weird display of masculinity everywhere rejoice.
Now onto a show that I personally found slightly disappointing: Margiela.
I think this one is a bit TOO weird for me. Like if you’re gonna go avant-garde, go all out. Chiffon gimp masks (I don’t know if that’s the intention here but that’s what I’m getting, sorry Maison) are something I’m not particularly fond of and I’ve never been a fan of the Tabi boots in the first place, let alone when they’ve seemingly been blown up to Michelin man style proportions. I didn’t find the show to be a total lost cause-I enjoyed the colour palette and I’ve always liked that contrast stitching detail, plus the bowler hats are interesting-but on the whole considering how much I liked the last RTW show, this is a bit of a let down.
The looks I included are salvageable but (I feel mean saying this) there were genuinely a lot of pieces that did just resemble bits of fabric draped over each over with no discernible rhyme or reason, so much so that they reminded me of some of the monstrosities I saw at a Drag Race pub quiz this one time where we had 5 mins to make some garms out of loo roll and then have a team member model them for points down a makeshift runway.
Ralph and Russo was alright. There were a few pieces that I really liked but again, I can’t help but compare this collection to the last, where it felt like the fussy details of bows and sequins and feathers and the Barbie Dreamhouse palette were utilised with a direction in mind. Here, I don’t get that. As ever, the gowns are gorgeous and I’d pay good money just to try one on for five minutes but as an overall collection I’d say there was a lack of higher vision, which is probably the snobbiest sentence I’ve ever written so forgive me.
As for Ronald Van Der Kemp, I could’ve done without including it to be honest, if it weren’t for the few pieces I’m in love with: the velvet cape, fur trimmed jacket and blue satin dress are probably my favourite pieces here.
So onto a collection I liked a lot more: Schiaparelli.
The influence of nature from flowers in bloom to insects to the organic structure of the human skeleton is as present as ever, though this collection includes a lot more delicate symbolism than usual. Honestly, the details make it for me; the brooches, earrings and facial jewellery are other-worldly touches to outfits that could otherwise be simple fashion magazine editor on-the-go. That’s not in itself a bad thing! The suits are gorgeous. I mean, I’m talking fashion editor in New York in a power suit yelling orders down the phone while she rushes along with a coffee. A Miranda Priestley in the making type woman. THAT’S a modern take on the divine feminine that Maria Grazia should’ve been going for; our goddesses aren’t women who sit around looking pretty (though that helps too) and place curses on mere mortals anymore, they’re women who get shit done.
With regards to Valentino, which was also a delight, let me start by saying this colour palette is EVERYTHING. It’s ugly sisters in Cinderella fantastic, and we know those 2 were the real fashion icons really. Other than that, I adore the Old Hollywood silhouettes from the gloves to the Liz Taylor-in-Cleopatra-level-dramatic earrings. Everything is opulent and expensive-looking and pretty much what we’ve all come to expect from Valentino. A strong 8/10.
For me personally, Viktor and Rolf was a standout and one of my favourite collections of haute couture week. It’s not going to be everyone’s cup of tea and I know it’s at the complete opposite end of the spectrum to what was probably my other favourite collection, Elie Saab, but this is just my style down to a T, the perfect balance of grungy and cutesy that I want to achieve.
There’s probably going to be a lot of objections to the temporary face tattoos and I get that, but I think they’re fucking sick. I obviously wouldn’t get a permanent one lest my mother murder me in cold blood however if I did, you bet I would be pairing them with frilly-ass babydoll dresses that you could pick up in Camden Market like this.
And last but not least (that would be Dior), there’s Zuhair Murad.
IDK, man. Seeing Zuhair Murad dresses on Tumblr and WeHeartIt (remember that site? It still exists!) as a 14 year old was one of the things that got me into fashion, so it sucks that almost every time a new collection comes around, I feel underwhelmed. Disappointingly, the brand hasn’t really progressed all that much since 2013. It goes without saying that the stoning and the embroidery and sequins are stunning and would make anyone feel like a princess but from a critical point of view, I’m just not seeing anything new here. Whereas I feel like Elie Saab, for example, reflected the growing fascination with East Asian fashion and recognition of the supremacy of the region’s street style in his haute couture last collection, Zuhair Murad seems to be stuck designing the same dresses he was 6 years ago.
To pick one example, the rounded stoned necklines are so outdated that they’ve been making their way onto department store prom dresses for years. I get that it’s supposed to be a reference to Ancient Egyptian style and I respect that, I was one of those 8 year old that was obsessed with mummies and the “Curse of Tutankhamun”, but couldn’t it be done in a more interesting way? It’s Maria Grazia’s spin on Ancient Greece all over again. Now I get how how the I imagine very niche subsection of people who are into fashion and Julius Caesar (okay, so I don’t even know if they still believed in mythology and all that malarky at that point in history but just roll with my comparison here) might’ve felt going through Vogue Runway. Anyway, I hate to end on a critical note and so be clear, these are still absolutely magnificent dresses. If we ignore those ugly round necklines, that is.
So that’s it for this post! If you read part 1 and 2, I hope you enjoyed it! As always, let me know your opinions and feel free to disagree. I’m literally just about to start trawling through all the A/W 2020 RTW collections though I imagine that’s gonna take me way longer to do than this, so I wouldn’t expect that for a month or two. In the meantime, I’m trying to fit shooting a Euphoria-inspired lookbook into my days off work which is looking atm like it’s going to be the end of March, so look out for that, and also a review of the red carpet fashion from this season’s award shows.
As ever, thank you so much for reading and again, thank you for the reception on part 1 if you were one of the people that read it. It makes staying up til 3am with the jitters seem worthwhile, lol!
WOMEN’S PLATFORM SHOES
The ‘70s invented retro/vintage. Designers like Ferragamo and Valentino revived and updated platforms shoes and wedges of the 1940s with a vengeance. Mainstream, wearable versions by Kork Eaze quickly became staples. Because platforms made one taller without the perilous downhill grade of stiletto heels, shorter women loved them (see Bette Midler’s “crystal” platforms, bottom right). When the trend peaked in 1973, stacked soles and heels were seen—and heard like a herd of Clydesdales—everywhere. Like bell bottom jeans, by 1974, it was over, unless you were a member of Kiss. Contrary to popular belief, platform shoes were no longer in style during the disco era.
i don’t want a valentine
i just want 𝓥𝓪𝓵𝓮𝓷𝓽𝓲𝓷𝓸
(do not repost)