This is the first time a supermodel will be the subject of a V&A retrospective, but that title seems to fall short – historical icon fits Campbell better. She’s expanded from fashion to philanthropy, film production, activism, and art direction, which are all set to be included. We’ll see a different side of picture-perfect Naomi, one that joined the Black Girls Coalition in 1989, campaigns for more diversity on the catwalk, and was heavily inspired by Nelson Mandela.

Retrospective is just as small a label as Supermodel; the mononymous icon still makes headlines with her style, is a runway regular, and just designed a collection for Pretty Little Thing.

With ‘Naomi’, 100 carefully curated looks and a photography installation will take us on a journey through her closet— and fashion history. The garments featured are from Campbell’s personal collection and archive pieces loaned by designers. The exhibition will see an unprecedented close involvement from the subject herself, who said she’s “honoured to be asked by the V&A to share my life in clothes with the world”.

Curator Sonnet Stanfill has said that this overwhelmingly extensive collection is not the main challenge, but rather that they could be adding looks right “up until the day before the exhibition”. But even some stars shine brighter than others, and the looks below? They’re sure to be included. after all, they’re as close to the sun as fashion moments get.

1993

This lilac Chanel suit she wore on the October 1993 runway is one of the only looks confirmed by the V&A. The exhibition will follow the current retrospective dedicated to Gabrielle “Coco” Chanel, so this proves to be a seamless transition.

2019

Her 2019 Met Gala dress by Valentino is the second confirmed look, which makes sense given that it’s the same year Campbell won the Fashion Icon of the Year Award.

1991

The exhibition will give us an insider look at her life, as told from Naomi’s voice. With this deeply personal nature, we expect to see plenty of Azzedine Alaïa, whom she called Papa and had a father-daughter relationship with. This mesh leopard catsuit with ruffle cuffs from Autumn/Winter 1991 was one of her most iconic runway moments; signature smirk included.

1991

A Versace look from the Versace muse will undoubtedly make an appearance. Not only was designer Gianni Versace a dear friend of Naomi but also the creator of the supermodel status. In this spring/summer 1991 dress, she delivered the soon-to-be signature strut that made her one of the 90s original supermodels alongside the likes of Claudia Schiffer and Cindy Crawford. The Big Five remain just as historically significant as they were in their heyday too: Apple TV+ just released a documentary about them, Vogue reunited the girl group for this year’s September issue, and they closed the Vogue World London event hand-in-hand.

1999

One of the most iconic duos of the 90s, Kate Moss and Naomi Campbell’s friendship reigned the decade while becoming the faces of a generation. They loved partying, champagne, and shimmering Versace dresses (‘wagons’ are their self-assigned nicknames for each other because it means drunk in Irish), so this look from the brand’s Diamonds are Forever event will hopefully be included. The mini dress shows off Campbell’s fashion prowess, with her wearing the sparkly butterflies before it became a Y2K trend.

1993

The supermodel’s fall in 12-inch platforms during the Vivienne Westwood 1993 show is one of the most defining moments of her career. Naomi’s self-deprecating smile post-stumble grazed the cover of magazines for weeks after, and the flounce of the boa right after was what enamored the world with her. The supermodel has confessed that some designers even ask her to recreate the fall. In an interview with Westwood, she said: “A couple of people, designers, asked me if I would fall for them. And I was like, ‘Why would you want me to fall unnecessarily?!’ ‘Press! The press that you got!’ But it wasn’t planned!”.

1997

Attending the 1997 MTV Music Video Awards, Naomi wore ’The Paris Hilton Dress’ years before the hotel heiress ever did. This sparkly mini dress belongs to her personal Versace collection, a keepsake that for her represents a fond memory, but for the world? It’s fashion history. Alongside this getup, curator Stanfill has confirmed we should expect a myriad of dresses, including designs from Chanel, Dolce & Gabbana, Jean Paul Gaultier, John Galliano, Karl Lagerfeld, and Virgil Abloh.

1998

In head-to-toe Louis Vuitton, this look shows the more casual style of Naomi (barring the private jet in the background) as she arrived in Paris for the season. From the sunglasses to the massive logomania bags, this look oozes 90s.

1995

Another one of the most significant moments from her runway career, Naomi showcased her feral energy for Thierry Mugler’s autumn/winter 1995 show. This wasn’t just a walk through an elevated platform, it was a performance that showed the difference between model and supermodel.

2023

In her most recent runway moment (for now), Campbell closed Sarah Burton’s last show for Alexander McQueen during the Spring Summer 2024 season in Paris. A longtime collaborator of the brand and dear friend of Burton, this proved to be an emotional moment for not only her but the fashion industry as a whole.

_{Words By Alexia De Las Heras}

The post Scroll For 10 Iconic Naomi Campbell Looks We Hope We Will Be Seeing In Her V&A Exhibition! appeared first on Voir Fashion.

As social media yearns for the aesthetics of Quiet Luxury and as celebrities, influenced by the emerging it-girl status of Nicole Richie-Grainge, adapt to this sudden shift, certain brands have remained loyal to their flashy, bold, and statement-making pieces. With a subversive and innovative nature, these brands are renowned trailblazers and unconventional. 

Nothing quiet to see here, the following brands stand out loudly, leaving an indelible mark on the fashion industry due to their daring and avant-garde styles.

Marine Serre

In the realm of contemporary fashion, one designer stands out for her audacious, game-changing approach to aesthetics: Marine Serre. With a vision that seamlessly blends the radical and the disruptive, Serre’s designs encapsulate a fusion of feminine sensibilities, hybrid identities, and cultural inspirations. Blending vividly colourful patterned tapestries, jacquards, and brocades into patchwork outfits, her brand is synonym with revolutionary.

The distinctive Crescent logo, founding leggings, balaclavas, tops, and stockings, is part of the mix and match of colours, textures, and prints that define the brand’s visual language and create a striking visual impact. Each design exudes a spirit of rebellion, imagination, and creativity, contrasting with the minimalist nature of Quiet luxury. 

Rick Owens

 Rick Owens is enigmatic, visionary, and edgy. He defies the stablished with grunge clothing, and an aesthetics that is both daring and glamorous. His design ethos, fuelled by unbridled imagination and unwavering innovation, pulsates with the raw energy of rock ‘n’ roll rebellion. At the heart of his creations an unwavering commitment to pushing boundaries. From his signature platform black leather boots, to sequins, embellishments, and big proportions, his unique vision resonates with his rebellious spirit. 

Rick Owens emerges as a disrupt or/and a provocateur whose aesthetic is an ode to the rule-breakers and the risk-takers. There is nothing quiet about his fashion, instead his loud taste and grunge spirit are epitome of eccentricity and individuality. 

Self-Portrait

Least outrageous than the last, Self-Portrait is sophisticated but innovative and modern. Feminine and glamorous, the brand masters’ embellishments with refinement and class. Intricate details such as fishnet, embroidered with beads and sequins, add an element of luxury and opulence to the designs. Far from being classic, Self-Portrait charm lies in an inherent understanding of the feminine silhouette, creating designs that celebrate confidence and sensuality. 

Colours and textures take the centre stage in the creations. From energetic hues to muted tones, Self-Portrait’s colour choices are deliberate and strategic, contributing to the brand’s ability to create pieces that are timeless and bold. 

Vivienne Westwood

Once a provocateur, always a provocateur. Dame Vivienne Westwood created a brand based on her values: rebellion, wildness, and unapologetic political incorrectness.Today, the brand keeps her legacy of defiance by pushing aesthetic boundaries. With a trailblazing spirit deeply rooted in punk ideology, the textures and silhouettes are provoking and captivating, embodying a spirit of chaos and authenticity.

Checkered fabrics and the emblematic tartan, daring animal prints, mixed with other fun and unusual motifs are testament of the heterogeneous and playful exploration that embodies the punk spirit, and the audacious nature of this brand. A captivating mix of colours, prints, and styles, create an avant-garde wardrobe rooted in its creator’s loud stands. 

Versace

Versace reigns supreme as a beacon of subversive style, celebrated for its audacious embrace of unapologetic seduction. The hallmark of Versace’s aesthetic lies in its unwavering dedication to opulent excess. From golden accessories, such as chains and buttons, to floral embellishments and crystals, Versace crafts a narrative that is at once bold and alluring, embodying a distinctive fusion of Italian elegance and unabashed sensuality.

Its maximalism is sumptuous and daring, elegant and provocative. Since its debut, the brand has remained faithful to its codes, becoming one of the most recognisable in the industry.

_{Written By  By Carolina Benjumea} 

^{Header Image By Mia Washbrook}

The post Far From Quiet: These Are Today’s Bold Innovators In The Fashion Landscape appeared first on Voir Fashion.

This London Fashion Week will be in honour of the late Vivienne Westwood and her incredible contributions to the fashion industry. The British Fashion Council shared in a statement: “LFW February 2023 is dedicated to the late Vivienne Westwood and her incredible legacy.  Her work not only changed the fashion industry, giving birth to and defining punk, but it also drove positive change globally.”

In addition to honouring Vivienne Westwood, the British Fashion Council is also using London Fashion Week as an opportunity to host Ukrainian Fashion Week as a part of the ‘Support Ukrainian Fashion’ initiative. Tuesday 21^st February will see three Ukrainian designers; FROLOV, KSENIASCHNAIDER and PASKAL, presented at the BFC NEWGEN space at The Old Selfridges Hotel. The British Fashion Council shared: “The collections, which were created under the conditions of war, will leave a mark on the fashion industry as evidence of the courage, resilience and resistance of Ukrainian designers.”

Words by Amelia Gregory

_{^{Header Image: Vivienne Westwood}}

The post Here’s What To Expect As LFW’s Dedicates This Week To Vivienne Westwood appeared first on Voir Fashion.

“you did it first. always. incredible style with brilliant and meaningful substance. 

I continue to learn from your words, and, all of your extraordinary creations. I will always remember the night we bonded over our mutual love for Yves Saint Laurent. You never failed to surprise and to shock. I am grateful for the moments I got to share with you and Andreas. 

Rest in Peace dear Vivienne, although, somehow peace seems like the wrong word to use.

my deepest sympathies to Andreas and your family.”

But this heartfelt post, is not where Jacobs’ tribute ended, his latest collection was full of punk influences, highlighting Westwood’s impact on the industry and proved the perfect collection to pay homage to her and her work. The show was aptly titled “Heroes”, with a quote from Westwood featured in the show notes:

“Fashion is life-enhancing, and I think it’s a lovely, generous thing to do for other people.”

Kiki Boots

The show was full of Marc Jacobs’ iconic Kiki Boots. The sky-high platform boots were recently re-issued through Jacobs’ Heaven line and were worn in every look in the collection. The boots are reminiscent of Vivienne Westwood’s iconic Gillie platform shoes from the 1993 ‘Anglomania’ collection (yes, the ones responsible for Naomi Campbell’s famous fall at Paris Fashion Week).

Not only did the Kiki boot pay homage to Vivienne Westwood but it also highlighted her influence on the fashion industry as we were reminded of the role she played in popularising the trend that has dominated red-carpets for the past couple of years. 

^{Image Credits: Marc Jacobs}

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Billowing Silhouttes

One of Vivienne Westwood’s trademarks was her use of billowing silhouettes. Fitted corsets and bustiers were often paired with voluptuous ruched skirts to create elaborate silhouettes full of volume and texture. These designs were replicated by Marc Jacobs through the delicate ruching and folding of fabrics to create flamboyant silhouettes inspired by the punk trend.

^{Image Credits: Marc Jacobs}

“Tit Tops”

In 1981 Vivienne Westwood turned heads when her Pirate collection featured “tit tops”. As the name may give away, these were tops that had twisted fabric on the bust to imitate nipples. Marc Jacobs took inspiration from this in the AW23 collection which featured various looks with heavily structured busts in its tops and dresses. 

_{^{Image Credits: Marc Jacobs}}

Layering

ivienne Westwood may just be the blueprint for successful layering. Her shows always offered an abundance of textures and patterns, proving that more truly is more. Marc Jacobs took this in his stride for the AW23 collection which offered a masterclass in layering. Whether it was a short jacket or floor-length coat, many of the looks in the show advocated for layering, some featured jackets tied around models’ waists, or draped over their arms, but whether they were being worn traditionally or not, the layers were there.

^{Image Credits: Marc Jacobs}

Words By Amelia Gregory

^{Header Image: Marc Jacobs}

The post Marc Jacobs Honours Vivienne Westwood In AW23 Show appeared first on Voir Fashion.

 “I’ve been in the industry for so long,” says Sue Dray, yet her passion for her work remains fresh and current, noticeable through her work ethos and approach to the arts. 

The artistic realm is often described as an interconnected world, where different arts, industries, and professions connect or even interchange, but it is not always easy to find a balance between them… However, the British fashion illustrator has managed to do so, combining her interest in human interpretation and conveyance through both illustration and fashion – as done through her live drawing work at London fashion week.

We had the opportunity to talk to Sue Dray and find out more about her perception of the arts, work throughout the years and plans for the future.

How did you first discover your passion for illustration? And how did you enter the industry of fashion illustration?

“I’ve always liked drawing people and I’ve always been into fashion, even if I didn’t remain in fashion when studying at the London College of fashion – I came out as an illustrator.

But it was only really years later, in 2009, when I was asked to go into London College of fashion as a lecturer…  I remember looking at my profile and thinking, gosh, here I am teaching the next generation of fashion illustrators and I, I really haven’t got a profile that I am a fashion Illustrator. So, I reinvented myself as a fashion Illustrator around 2011. 

I went out and started drawing at London Fashion Week and building up a niche for myself as a fashion Illustrator… I went, okay, I can do it. I’m going to put myself through the same course I’m teaching and I’m going to become a fashion illustrator, per se, that’s kind of how it happened. 

I’ve always loved clothes. I’ve always loved designing, making, and wearing my own clothes. I’ve always liked developing my own style and my own niche, so it felt natural for me to move into fashion illustration because of my love for clothes.”

How do you manage to express your love for clothes and the beauty of fashion through illustration?

“My work is almost the opposite of what fashion is meant to represent for women. Therefore for me, the people came first. I was very lucky, some of my first commissions were to draw from the catwalk, for people like Pam Hogg, and, and Vivienne Westwood. All their models were very unique, so it was very much about marrying the bizarre nature of the clothes too. 

But when I was drawing, it was always drawing from live events. And it was always about drawing really, quickly, so I didn’t have the time to focus on every single detail, and it was just about capturing the essence of that collection, the silhouettes, of the colourway or the textures or the fabric. So, my drawings became more conceptual, it was more an impression of what I saw in that collection. So, they become quite personal to me, which is why I say that I’m a fashion artist, not a hardcore illustrator.”

What is your perception of the current fashion industry? Is it directed towards a positive change? And is this present in your illustrations?

“I think that obviously yes, we’re all becoming aware of all the issues that are out there. We are becoming aware of the importance of the representation of all the different types of people, cultures, and genders and, you know, worse and the fashion industry obviously, is, is super sensitive to that. And the fashion industry is starting to reflect it. 

I’m being represented in the world of fashion; I can actually see people who are a bit similar to myself. So, I think the fashion industry is doing their best, and they have to because we are the communicators to younger generations. There is a big responsibility to engage in that.”

Out of all the artists, brands, and publications you have collaborated with or worked for, which one would you say was the most rewarding one? And why?

“I think that what was most thrilling for me, obviously, was being backstage at Vivienne Westwood drawing. That was like tingling because I’ve always admired Vivienne Westwood. I used to pass her shop back in the 80s in Kings Road and I used to be so intimidated by going in because I wasn’t punk. But her clothes are beautiful yet so brave. When you wear them, you know that you’re wearing something important and it gives you so much power and confidence, just like her shows.

But I think that the other most humbling experience I’ve ever had, and one of the most memorable, was working for Karen Millen. I went out to South Africa, Pietermaritzburg, and I worked to set up a school there for young people who have been affected by HIV – in collaboration with hope HIV.   We set up a school to teach a selected hand full of young people fashion skills.  The school was giving them skills to be able to make clothes and now some students are getting scholarships to go off to Johannesburg into the art college. Those kids were like nobody else I had ever taught.”

How do you manage to keep a balance between the different areas of your job? Alternating between commissions, live events and teaching? 

“I don’t know, really. I’m a bit of a workaholic, I can’t sit still. Even when I’m watching television, I can’t sit there and watch television it will drive me crazy. So you know,  I constantly have to be doing something. I like to be kept busy. And I like to be inspired. And so for me, my downtime is actually doing things. When I was a solid illustrator and I wasn’t teaching at all, back in the 80s after 10 solid years of illustrating,  if I didn’t have any commissions in and there was no work coming in, which actually wasn’t very often but it sometimes happened,  I would think, right, I have to do my own work and I’m going to start getting work together for an exhibition. So I just sort of set myself goals, I decide what I want to do and I make a list of all the things that I want to achieve and then I set the time to time tick them off.

So it’s mostly by reaching deadlines, setting yourself agendas, making myself lists, and really disciplining myself to be in that particular space at that particular time. That’s how I do it,  I don’t have any golden tips. I think it’s just passion, and it’s the passion for what I do and wanting to do the best I possibly can.”

What advice would you give to young creators, graphic illustrators, especially to creatives that are trying to get their work out there?

“ You’ve got to find out who is the art director or art buyer of all the publications you would like to be featured in is and make direct contact with them. Also, Instagram has to be professional. Try not to put anything else on there. I mean yes, you can put your pictures on there if you’re out somewhere fabulous and look great, but it has to present yourself as professional or have a  separate Instagram and Facebook for your professional work. And constantly keep working at your craft, whatever that is, let’s say that you’re a fashion illustrator, you’re constantly drawing, you’re constantly keeping up with the trends, with the designers and what they’re doing, with their collections, keep yourself really current.

I think you’ve got to stay active and keep in mind that networking is great. You also want to know who’s out there and who’s doing what and make connections with them. Because it is a little bit of that as well. A lot of making connections and keeping the connections alive and be genuine. Be yourself. Be genuine. Be honest. I think that’s what has worked for me.”

Words By Chiara Ferrari

_{Photo Credit: Sue Dray Instagram}

The post An Interview With Sue Dray; The London Based Illustrator Who Brought Live Drawing To London Fashion Week appeared first on Voir Fashion.

The Fashion Industry is full to the brim of incredible innovators, creators and boundary breakers. Celebrating International Women’s Day, Voir Fashion pays homage to the fresh, bold, daring women that are powerfully leading the industry. The catalysts of progression, these women are making great strides, raising the standards and breaking through ceilings. From the architects of punk fashion to the authors of a new, re-defined femininity, there’s a lot to be celebrated.

Marine Serre

Blurring the lines between sportswear and high fashion, enter Marine Serre. In 2017, Serre became the youngest designer at the time to pick up an LVMH Award. Serre debuted at Paris Fashion Week in 2018, consistently appearing since and often using recycled fabrics for her silhouettes. This is really an embodiment of Serre’s futuristic vision, as the forward-thinking, environmentally conscious designs in Serre’s ‘Green Line’ collection were comprised of 50% recycled materials including bedsheets and jeans. In addition, Serre’s work is never shy of making a social or political statement. Serre’s ‘emblem’, the crescent moon, was featured in her winning LVMH collection (titled ‘Radical Call for Love’), and is a commentary on a fast-metamorphosing Europe, migration, immigration, and national identity – the crescent moon is drawn from the Turkish and old Soviet flags. Notable designs from Serre’s past collections include a key fob embellished black opera coat (Spring 2019), and the frayed hem dress constructed of Byzantine floral patterns, paired with a crescent brooch atop a black headband (Spring 2018), and, of course, the celestial patterned nude bodysuit featured in the 2021 Fall Collection. 

Aurora James

Even ‘progressive’ or ‘influential’ doesn’t quite cover the impact made by Aurora James yet. James is the founder and creative director of Brother Vellies, which handcrafts handbags and shoes in Ethiopia, South Africa, Morocco and Kenya. The label was founded in 2013, and strives to retain and maintain traditional African crafting techniques in each beautiful collection. James founded the 15 Percent Pledge, which encourages companies to dedicate at least 15% of their shelf space to Black-owned businesses, given that 15% of the US’s population is made up of Black people. This was a hugely progressive step, as Sephora became the first publicly announced company to join the pledge. For James, Brother Vellies was based on taking the ‘Vellie’ shoe, which is a traditional African shoe, (described by James as the ‘prototypical desert boot’) and to add a contemporary twist. This vision of James’ has, however, vastly grown, as Brother Vellies has expanded into creating heels and sandals, loafers, mules, and even a Bodega of home and lifestyle products. James’ designs make use of natural materials to create fanciful flourishes such as madras bows and pompoms. Brother Vellies’ designs are often adorned in bright pinks, yellows, oranges, and silvers, an artistic celebration of James’ crafters. Favourites from Brother Vellies designs include the 2020 Boots featuring a dark brown and cream shearing which display a Yin Yang symbol – a reminder of the good still yet to come despite the bad in 2020. Another favourite, Brother Vellies’ signature billfold bag, the Lijadu Billfold, named after the Lijadu sisters.

Natasha Zinko

Free-spirited femininity composed of deadstock fabrics, tartan, tulle, and leathers is Natasha Zinko’s brand, and it works. The eclectic collections of Zinko have made waves in the industry. From the ragtag brightly coloured Spring 2020 collections to the Marie Antoinette-derived Fall 2021 collection, Zinko’s designs are hard to define and yet addictive to look at. A previous law student turned Jewellery maker turned Fashion designer, Zinko’s collections often take inspiration from her home country, Ukraine as well as Pretty Woman, Lady Diana, and a make-do-and-mend attitude. Zinko’s fashion inspiration comes from Rei Kawakubo, Lady Diana, and Azzedine Alaia. This blend of hugely alternative styles really defines Zinko’s collections. Minimalism is non-existent in Zinko’s designs, as folkloric patterns, bold silhouettes, and historical periods all blend into one. The Spring 2020 collection featured multi-coloured vintage bandanas and explored gender fluidity alongside sustainability (the collection was partially made up of recycled materials). Ever the progressive, Zinko has even worked with local authorities in her hometown of Odessa to create and distribute recycling facilities. Though all of Zinko’s designs deserve a thorough gaze and analysis, highlights include the patchwork ruffled denim suit from the Fall 2021 collection and the asymmetric ruffled vintage handkerchief dress from Spring 2020. 

Simone Rocha

Victorian romance, Perspex furniture, and femininity all come to mind when discussing Simone Rocha. The Irish International designer made waves in the industry as early as her graduation.  Rocha launched her graduate collection at the Tate Modern and in London Fashion Week in 2010. Since then, Rocha’s journey has been anything but quiet. Rocha’s designs, in all their amorous and eldritch femininity have consistently walked in Fashion Week and have on multiple occasions attracted awards and accolades for Rocha. The collections have caught the eye of renowned retailers, such as the Dover Street Market, Matchesfashion, Ikram, I.T, Bergdorf Goodman, and Saks Fifth Avenue. In addition, Rocha has picked up various awards such as the British Fashion Awards ‘Emerging Talent, Ready-to-Wear’ in 2013 and the Fashion Award’s ‘British Womenswear Designer Award’ in 2016 –  to name a few. It is unsurprising that Simone Rocha has caught the attention of many in the industry, however. Rocha’s designs are often influenced by literature (among many other things), nature, and history. For us, a creation by Rocha that effortlessly captures the essence of Rocha’s brand – a window display in Rocha’s Mount Street London store in 2015 named ‘Flowers and Cars’. The display featured a car completely filled with flowers – a perfect allegory of the manufactured meets mother nature trope that Rocha’s designs so heavily exude.

Vivienne Westwood

It would be hard to compile a list of influential women designers in the industry and not mention Vivienne Westwood. A designer whose work remains just as impactful today as it was in the 70s, the punk fashion architect has always produced collections that are an artistic expression of her own values. In the late ‘60s, Westwood and Malcolm McLaren were fascinated by ‘50s clothing and culture and combining it with youth rebellion. It’s fair to say that this element has always had a quiet presence in Westwood’s designs. In the ‘70s, Westwood turned her attention to leather, zips, studs, and biker style designs. Westwood’s inspiration and creations continued to evolve, summarised with the transition from the iconic ‘80s ‘Pirate Collection’ with all of its romantic undertones to the late ‘80s early ‘90s Harris Tweed collections inspired by the ‘Tatler’ girls, and finally to the 2000s collections which focused on the dimensions of the fabric itself, rather than historicism. Westwood’s political and social activism has always been prevalent in both her designs and personal life, from an ambassador for clean energy for Trillion Fund to PETA ad campaigns to Tatler front covers emblazoned ‘This Woman was once a Punk’ whilst dressed as Margaret Thatcher. Whilst there are too many highlights to cover, the cheesecloth t-shirt with ‘Destroy’ printed across the front that Westwood herself sported in the ‘70s during the punk renaissance will forever be engrained in our minds.

Words By Megan Selway, Graphics By Victoria Zhao

The post International Women’s Day: Our Homage To The Influential Female Designers Of The Moment appeared first on Voir Fashion.

With the majority of one’s face covered by a face mask—and practically unrecognizable if you opt to wear a pair of sunglasses—hair has become one of the best, and only, ways to personalise your style and be recognised in a world that is becoming more and more unrecognisable. Unsurprisingly, hair has played a huge part in London Fashion Week this year. Here are our top four styles from the runway.

Poodle Curls

Natural texture and shape were undoubtedly an influence on the styles created for many of the looks this year. Raw finishes and matte textures were at the forefront of the runway, with very little sleek and polished looks on the stage. Natural curls were not only embraced but teased and manipulated to result in puffy cloud-like haloes surrounding your silhouette. Vivienne Westwood gave a campy twist to this look by styling the curls in bunches on long hair, and a softer & more sophisticated version on shorter hair.

Vivienne Westwood SS21 Collection images via Vogue Runway,

Effortlessly Undone

Many designers took a more minimal approach when making a hair statement this season. A slightly tousled and windswept style is a huge look for SS21. The key with this style is knowing the fine line between ‘undone’ and simple messy. When styling this look, you want to avoid the end result looking too frizzy, but also to stay clear of it looking overly styled or polished. Preen by Thornton Bregazzi nailed this look by giving the models an ‘almost straight’ result. Sportmax took a more editorial approach by finishing the look with wet-look gel.

Sportmax SS21 Collection images via Sportmax official site

Bring It All Back

A clear trend used by a shocking number of designers was all the hair being pulled back off the face—usually in a sleek or textured bun. For countless seasons hair has constantly been styled in cascading waves that were pushed forward, giving a beachy textured finish. This is how so many of us have styled our hair for decades. The curtain-like waves acted as a security blanket; However, it’s a different time for hair. With the pandemic playing a huge roll in how we dress, it’s time to reclaim our faces.

Water Waves

Wet Look hair was hugely popular this season. This is a really abstract way to achieve a glossy result without having freshly blow-dried shiny hair. Gareth Pugh’s version of this look had matte lengths and ends contrasting with a wet and glossy root. Mithdrate embellished their sleek buns with large diamond-encrusted hair clips and Yuhan Wang created strong, animated finger waves on long hair by gelling the swirls to the scalp.

With so much of our personality being covered up, it’s really encouraging to see designers emphasise what we have to work with. Hair is the ultimate accessory and it’s an exciting time to absorb some inspiration. SS21 was a giant mood-board of ideas and our hair is the canvas.

Yuhan Wang SS21 Collection

Words by Luke Nolan

Graphics by Frances Scott

The post Effortless Hair Looks Fresh off the Runway that will Inspire Your SS21 Locks appeared first on Voir Fashion.

Captured by Louis Simonon, Dame Vivienne Westwood’s punk-inspired film, narrated by Brian Nasty, showcases the designer’s spring/summer 2021 collection; expressed through a new wave and generation of activists.

Showcased by a wide cast of activists, models, and artists, including Kai-Isaiah Jamal, Georgia Palmer and Isamaya Ffrench, Vivienne’s latest collection is a testimony to recognizing the current climate and the hardship that we have all endured over the last few months. Reflecting her “buy less, choose well, make it last” spirit, her end goal is to only show one collection a year contributing to her motivation for an eco-friendly mindset and lifestyle. In recognition of her collection and the powerful message injected behind it, here are 5 key moments to take from her SS21 collection.

Vivienne Westwood Spring-Summer 2021

1. The collection is designed and crafted by an abundance of eco-friendly and environmentally friendly fabrics.

Environmental principles have lied at the heart of the Westwood brand for decades. Speaking up and advocating the importance of protecting the environment through her collections has been evident throughout her iconic career. In her SS21 collection, organic cottons, linens, silks; recycled polyester; eco-friendly acetate and viscose have been used to create a punk-infused collection.

Vivienne Westwood SS21

2. All of the designs are Unisex

Mirroring a current movement in fashion, clothes are no longer defined by gender. The rise of anti-gender collections that aren’t dedicated to ‘male’ and ‘female’ designs are empowering a movement of inclusive clothing and unisex fashion. As Vivienne said: “Fine-knit twinset and pearls for men… or better still just the button up cardigan- bare chest” the designer is not allowing gender to restrict creativity.

Vivienne Westwood SS21

3. The collection is in support of Farms Not Factories and Ahimsa Milk.

In line with her environmental ethos injected through this collection- and in fact her career- Vivienne has donated to two charities who are petitioners and advocates for the wrongdoing of factory farming and inhumane treatment of animals. While all materials are eco-friendly, specifically the wool is mulesing-free.

Vivienne Westwood SS21

4. The film is captured by Louis Simonon

It would only be appropriate. As the son of Paul Simonon, Clash bassist, the punk movement is in Louis’ blood.

Vivienne Westwood SS21

5. The collection is a mirror for change

To pay attention and recognise the trauma and hardship of 2020, the collection is worn by activists who have all personally vocalized their worries and words towards these issues. Racism, social injustice, pandemics, and climate change, the ambassadors for this collection are modeling the clothes for a wider purpose and bigger message.

Words by Clare Stephenson

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If you’ve recently found yourself struck by a desire to regularly swathe yourself in lashings of pearls, velvet and brocade, or with a healthy appreciation for puff sleeves, romantic necklines and jacquard ballgowns, then you’re not alone – Renaissance-era dressing is having a moment right now. Thanks to the preponderance of that giant-collared Ganni shirt, it’s safe to say that we’re experiencing a period of white-blouse mania, whereby fanciful iterations of Shakespearean-inspired blouses and lacy, ruffled confections are firmly entrenched in the season’s repertoire of must-have wardrobe items. The runways, too, in recent seasons have witnessed an inundation of 16th-century-inspired attire, with designers presenting collections in ode to all things Renaissance.

Brock SS20 and AW20

Sometimes when present happenings and goings on feel unsettling – say, amidst a period of political, social or environmental uncertainty – we, as a society, have a collective desire to look to the past as a way of resisting or escaping the realities of the present. Nowhere is this tendency more pervasive than in fashion, where trends and collections are defined by the decades or eras that they mirror, where designers use clothes as a means of transportation to carry us back to the past. Myriad designers have offered a reflection on this cultural zeitgeist of nostalgia, harking back to times past and decades, or centuries, gone by, serving up skirtfuls of whimsical escapism in a bid to ease the bitterness of the present. Not a season goes by without a sartorial reference to ‘90s grunge or ‘70s boho-chic, as nostalgia for not-so-distant decades spills out from celebrity throwback photos and vintage relics from previous generations’ wardrobes.

Khaite AW20 and SS20, Marc Jacobs SS20 and Paco Rabanne AW20

But there’s a certain joie de vivre that comes from celebrating a historical aesthetic that extends back far beyond any of our memories, one constructed of fragments of history – art, stories, fairytales, history books – intertwined with our own imagination, offering a distant escape from the quotidian. The exaggerated aesthetic of Renaissance-era dressing fits neatly into the criteria required for trends to take off in an age when fashion is constructed with the intention to orchestrate a social media moment – it offers a theatricality far removed from the stripped-back normcore and athleisure aesthetics that continue to dominate the fashion landscape, instead peppered with decadent jolts of appeal for sartorial maximalists. The simultaneous collective infatuation for cinematic period pieces seems too coincidental not to address – Greta Gerwig’s Little Women addresses the prairie-meets-Renaissance aesthetic with aplomb (thanks to Academy Award-winning costume designer Jacqueline Durran). Autumn de Wilde’s Emma continues to fan the flames of the trend through its fantastical Regency-era costuming, bursting with bell-skirt ballgowns awash in pastel colourways, imbued with a playful frivolity equally found in Renaissance-era dressing.

Prada SS19

On the runways, many designers have also reached into the capacious bag of Renaissance-era style tricks. At Prada’s Spring/Summer 2019 show, models were sent down the runway in looks complete with opulent headwear worthy of a spot of cushioning Anne Boleyn’s head, ushering in a season of ubiquitous regal padded headbands. (A discussion of Renaissance style would not be complete without paying due respect to Anne Boleyn, the 16th-century’s biggest influencer and fashion’s latest muse – the iconic oil painting in the National Portrait Gallery in London has us musing over her pearl-lined neck, swathed in inky velvet and proudly holding a sky-high embellished veil on her head.)

Simone Rocha AW20 and SS20

Simone Rocha’s aesthetic has long been an ode to the eerie romance of Renaissance-era dressing – for her Spring/Summer 2020 collection, sheer leg-o’mutton sleeves belled out of china-print gowns and pearl-encrusted jewels appeared in copious quantities, grazing the collars of intricate tulle silhouettes or adorning jewel-studded headbands. Brock’s 2020 collections also offered visual feasts of romantic silhouettes that almost look like they were pulled from 16th-century oil paintings – billowing jacquard gowns adorned with intricate embroidery and Juliet sleeves, square-neck brocade dresses and floor-grazing florals rendered in tulle and lace.

Markarian AW20 and SS20

 NYC-based brand Markarian’s whimsical collections possess a certain romantic sensibility that translates into a cocktail of corsetry-inspired silhouettes, sumptuous brocades, and floral print silks, perfectly complemented by evening shawls or scarves that elevate the elegance of any ensemble.”

For his Autumn/Winter 2020 collection at Paco Rabanne, Julien Dossenna unveiled an homage to 16th-century Elizabethan-era style in the form of elaborate ruffle necks and Juliet sleeves, with billowing florals ballooning out from shoulder hems and lace-finished cuffs.

Bella Hadid and FKA Twiggs in Vivienne Westwood AW90

If the ubiquity of Renaissance-inspired looks on the runway isn’t enough to convince you to plunge into the trend, it’s also celebrity-approved, with A-listers from Bella Hadid to FKA Twigs exhibiting a predilection for all things celestial, spotted sporting Vivienne Westwood’s iconic vintage AW90 corset from her oil-painting-inspired Portrait collection. Besides, there’s never been a better time to escape back a few centuries and get dressed as if you were 16th-century royalty.

Words by Ruby McAuliffe

Graphics by Katie Janes

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Paris fashion week ends on a high with Louis Vuitton closing the runway for the season, and that’s a wrap on all things AW20 fashion and beauty. As promised, New York gave us an effortless glow, London provided eccentricity at its finest, Milan oozed godly classics and Paris wished us bon voyage with sultry tones that stun. What’s evident is that skin and base makeup is absolutely taking the backseat this winter because the only purchases worth making to stay on trend is a precision liquid liner and your trusty dark autumn lip shade.

Here is a roundup of beauty trends to follow for high-end style in your high street setting.

Lining The Eyes

Did we mention that overlooking the crumbly unpredictable kohl and heading straight for the sharp liquid eyeliner is your best bet to achieve geometric greatness? At NYFW, Vera Wang’s gothic eye look was exaggerated and haunting and not alone. Gucci and Moschino are examples of a wide range of designers who used liner prominently on the catwalk. Of course, in Paris Dior made it sweet and sexy focusing on the outer corners to create intensity and draw attention. Makeup artist for the show, Peter Phillips was said to have ‘emphasized the eye taking each model’s personality, style and look, as well as her eye shape, into consideration.’ Taking it back to London, Ashish took it one step further to a floating eyeliner matched with a fabulous cut crease. The use of vivid pinks and purples to match the outrageous and expressionist designs was not noted anywhere else on the runway. Joy of joys, our multi-coloured Morphe palettes still awaiting full use of its colour range shall sit dusty no more. Insta-glam has met reality and it’s time to get experimental with shapes and shades.

Subtle Neon – Can it Exist?

Where New York was serving coral lids at the Self Portrait show, Vivienne Westwood brought blue to Paris. Seemingly different to the evident powder shadows featured at Ashish paired with floating liners, these matte coral and blue sweeps are liquid matte shadows. Easy and efficient, turning to a liquid pen to provide a flash of colour across the lid proved to be popular at fashion weeks. With more brands newly releasing such products – Glossier Skywash sheer lid tints I’m looking at you – could we be looking at an easier and probably more affordable way of getting a high-end eye look? It is also important to note that this neon trend is not just applicable to shadow. Off-White met new boundaries with neon orange mascara. Although maybe unwearable, it does show that colour boundaries are being experimented and maybe neon is the new black.

Nails – The Ultimate Shapeshifters

Nail looks from the Ashish and Vivienne Westwood AW20 shows

Vivienne Westwood’s London presentation showed models sporting alternate nail paints in mostly primary colours. In typical Westwood style they were not elegant or subdued but daring and garish, and by no means neat. In contrast to that, Ashish’s flamboyant catwalk brought back the acrylic nail that we were so afraid was dying out and brought it back better than ever. Channelling Cardi B vibes for certain, the nails were elongated, pointed and embellished too. Either way, nails are definitely one to watch this upcoming autumn/winter season and it seems being different is the go-to. Is there such a thing as nail jewellery one wonders?

Glossy Like Glass

If there was one trend to tie all the designers together and to scream AW20 in unison it is glass skin. Not one hint of foundation was given, let alone a scrap of contour or bronzer. The focus was on eyes and lips and even brows were long lost and forgotten it seemed. Blush was used sparingly, although not at the Dolce and Gabbana show in Milan, where a classical rosy cheek and rouge lip was chosen. Once again Vivienne Westwood did go the extra mile with a glossy lip, though a sheer one at that. This no-makeup-makeup look might be effortless and therefore lacking effort, but one thing that is for sure is the transition into acceptance, a representation of real skin and as Dior’s Peter Phillips mentioned, dressing your face to your shape, so to speak. Surely, this can only be a good thing.

Words by Amy Arfi

Graphics by Katie Janes

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