Yes, yes... I said I would do something about tennis, but instead I have decided to do that during wimbledon (I had originally planned to do it during Roland Garros but never got around to it) and I still cannot gain access to my computer so I cannot post the second half of the Dior Retrospective. And egotistical things of myself will have to wait for the weekend, since my stressed out mind is having an effect on the amount of effort I put into outfits - I just pull things on (Not that I pull on hoodies, t-shirts and jeans or anything, but you know... *winky face*)
Anyway, I am therefore going to share with you, and for your pleasure and degustation, Zac Posen's Resort 2013 collection... and goodness is it beautiful! I thought you might all still be rubbing your eyes after the veritable Marc Jacobs Colour Bomb, so have decided to be kind and visit something a little less vibrant.
This collection appealed to me at once, and very soon items from it were jumping out at me left, right and centre. Maybe, the most impressive thing for me was the sharp tailoring and the hourglass enhancing line of the ensembles. My first thoughts of their place in an eventual real life was, "Imagine how amazing it would be to go to a job interview in one of these dressy skirt suits?" Cue some relevant fantasising of the situation. If you were at a job interview in this lovely ensemble to the left, you would feel unstoppable. However, bear in mind that if you can afford to go to a job interview in this, then you should probably stick with the job you have at the moment - obviously it does you very well in terms of salary.
Here is solid, hardcore proof that the trick to stylish attire is all in the detail: The whole collection, complete as it is with delicious curving pleats on pencil skirts which fit and fall so well that it makes me want to cry - not saying, of course, that not all the things I look at are a testimony to why the creation of glorious clothes is an art form. It makes me sad when people call it frivolous, not angry but deeply sad, because the appreciation of beauty in its every form is one of the things I think everyone should live for. *Aesthete and proud*
Anywho, on the subject of glorious clothes, the cuffs on the arms of this ensemble to the left are absolutely delicious! I do have a penchant for blouses with cuffs which go halfway up the forearm, and this one fits so elegantly, going wonderfully with the black skirt in a very chic way, that being both understated and classy,
The collection did not disappoint my high expectations at any point. This delightful grey piece reduced me to the state of a child who has walked by mistake into an edwardian-style sweetshop with sweets piled high to the ceiling in antique jars. Breathtakingly beautiful in it's fine cut and detail, from the folds around the neckline to the line of the pencil skirt. Wearable high fashion really cannot get much better than this.
However, I cannot continue without a note of thought on this piece on the right. If I were only able to say one word it would be 'Gimme', but as it is, I can afford to be more generous with the amount of writing I accord it. I adore the overall silhouette exhibited by the collection, and this black number is particularly representative of it - I imagine it would be quite flattering and it has a strong air of maturity about it. The way it hugs the body without clinging to it is perfectly glorious. I also like that it is black; I know many people would have considered this style in white (in fact I believe I have seen something quite similar in an off-white creamy colour) but much of the elegance resides in the use of black. There is also something to be said for the cowl-like neckline in terms of making the outfit more versatile, as it can be pulled down over the shoulders to create a more youthful, laid back look.
Another element I liked in this collection was the use of structured bustiers which help give a wonderful shape to the bust which is perfectly in line with the whole tailored, 1940s feel to this collection.
There must be a sidenote on the jewellery in this collection. Below is a close-up on one of the pieces in its full, splendid entirety. Take a close look because it is a feast for the eyes.
The Woman behind the Clothes (Lookbook Shoot): Erin O'Connor is an english model, born on the 9th February 1978. After being spotted at clothes show live, she first modelled for Juergen Teller in a 1996 issue of
i-D. She went on to model for luxury brands, top photographers, always at couture and, in 2007, the revamped Marks & Spencer
Vogue describes her as "Swan-like, porcelain-skinned, hard-working, tall (6ft 4in in heels), nice, rich, whatever - Erin O'Connor is just one of those models who will never age or go out of fashion - her looks are so unique and elegant: a real life Modigliani. " while Jean Paul Gaultier stated that, "She isn't only a model, she is quite art. She is like theatre. She is extraordinary inspiration. I should love to be with her every day." In 2001, she guest stars as herself on 'Absolutely Fabulous' (Ab Fab) and in 2002, makes the cover of British Vogue. By 2006, she is named one of the 40 wealthiest people under 30 in the U.K., being worth about £15 million. In 2007, by this point, semi-retired, she became vice-chairman of London Fashion Week and a panel member of the Model Health Inquiry to investigate the health issues of models on the London catwalk. She writes a column for London Fashion Week paper
The Daily Rubbish, contributes a regular blog to the British
Vogue online, has written for
The Sunday Times and the
Daily Mail, and wrote and presented a documentary on fashion,
Erin's Model World, for BBC Radio 4.
>>> I eventually posted three different sides to this dress, purely because of the sheer luxury of it and the metres upon metres of glorious burgundy tulle.
I do like to see designers indulge in an opulent Aesthetic. Zac Posen took inspiration from Antonio Lopez’s illustrations of bygone American couture, and there was a definite 1940s feeling going on in the background. Especially lovely (this is where we come to my favourite bit) were his glorious ball gowns - his range of eveningwear.
I have so much more to write, about each dress individually, but I doubt anyone would read it all. SO, all that remains for me to say is:
Thank you for reading, do comment and please follow!
I love these four navy ensembles, especially the two dresses directly above (though the top right dress is very chic and elegant, and my comment in no way turns it's nose up and the dress' undeniable beauty, or the tulle bustier worn with flared wide-leg satin trousers which, I felt, gave a more modern touch to the collection ) I love the sumery and slightly... mediterranean (?) feel of the floral element of these dresses. They are perfectly delightful.
I would carry on, attempting to make insightful comments on the clothing, but I do not think I should say much more than you would not be able to gather for yourself (Not a very professional stand, I know) and I could go on forever if I wished to look at each dress individually, naming the models and the fabric used etc. No - much more better to bow my way out of this post now. :)
