Putting selfies on the shelfies

Whaaatcha!

"Oh, oopsy, did I just face-plant myself into your selfie and totes ruin your ego-tastic moment of self-publicity that actually no one cares about?"




Claws away, let's get serious and talk about the underlying vanity-cum-insecurity that is wiping away the self-respect and propriety of a whole generation of otherwise beautiful, clever and dynamic young people.

When Joey Bloggs from nowheresville wants to feel noticed, all he need do is take out his iPhone, shoot a pout-laden snap and upload to Facebook or Twitter to make himself count - or at least, feel like he counts. Because that's what it's all about isn't it? Fulfilling our desperate need to be someone, to be loved, adored and admired. And, if celebs like the Kardashian clan, Taylor Swift et al are doing it, we should be too.

But when normos, heck, even teenagers start producing made-up, sexualised photographs of themselves and posting them online aren't we getting into dangerous territory? Selfies perpetuate the worn-out myth that good looks equal popularity.

Selfies also hint at something else though. That actually people need to start believing they are as beautiful as Beyoncé, Taylor Swift, Kim Kardashian to accept themselves. Let alone have anyone else accept them.

In my mind, loving ourselves means not needing to display our bodies, however toned, and faces however made-up or botoxed for public consumption. Or am I completely wrong? Are people just so confident in themselves that becoming our own paparazzi and parading our pouts online is normal?

Whatever the reasons behind the phenomenon of selfies, one thing's for sure, they're going to be around for a long, long time yet. While all this ego-snapping's going on, I'll be on the shelf(y), hiding my eyes.

v

When fashion offends religion

American Apparel, the Californian clothing brand well-known for its provocative marketing campaigns has yet again turned heads - for all the wrong reasons - with its latest publicity stunt.

Why? Another half-naked model cavorting on a bed legs akimbo? Yawn, seen it, and no. This time, the attention-seeking brand has this time gone one better and featured not only a topless woman but one emblazoned with the words "Made in Bangladesh".

The problem? The fact that the model in question, called Maks, was bought up as a Muslim. And while the advert is an attempt to showcase American Apparel's altruistic side, drawing attention to its fair working policies, the image of naked Maks and allusion to her previous life in Bangladesh - she moved to the US at the age of four and practised Islam until her teenage years -  hasn't been particularly well received by the world media.  And? Islam doesn't take too kindly to brash, public displays of nudity. Most faiths are generally adverse to nudity + faith + materialism, but Islam's traditions surrounding women wearing the niqab or burka is well documented. 

With more nudity in its collective marketing campaigns than clothing on sale American Apparel is now famous for its highly-sexualised advertisement images. How can one forget Trudy who last season rolled around on a bed in an AA sweater devoid of underwear (modesty marginally intact), which, unsurprisingly didn't go down well with the Advertising Standards Agency who deemed the images 'gratuitous' and demeaning.

It appears it takes an awful lot to shock the modern-day consumer, and sincere and irrepressible anger only seems to rear its ugly head by very extreme and unexpected (see Tom Ford For Men fragrance). That said, there have dozens of moments over the past 15 or so years when the fashion industry has crossed the line of propriety and respect - and inevitably left just a few members of religious communities across the globe seething.

So all of this seemingly offensive fashion material got me thinking about other notoriously controversial ad campaigns fashion has toyed with, and those designers who have cavorted with religious symbols and practices to the point of blasphemy. So here's a run down of the top ten offenders of sacrilegious fashion.

Perhaps most memorably was British-Cypriot designer Hussein Chalayan's Burka 'In Between' collection from 1996 when a line-up of models wore burkas of varying length: floor-length to just the face being covered, exposing the naked model underneath. Chalayan's avant-garde designs have not always been so fundamentalist, but they are always radical and eye catching - they have included a dress made of bubbles, one that transformed into a table and another colour-changing light dress created with the aid of the same animatronics team that worked on Harry Potter and the Prisoner of Azkaban.

John Galliano - ever the flamboyant designer, he has never shied away from making waves. When he isn't offending the entire Jewish people with his drunken, anti-Semitic remarks, he's sending male models down the catwalk in the image of Christ in iridescent, slashed sportswear. Jock-straps and crowns of thorns aplenty.  The former Dior chief designer has also sent models down the catwalk with faces painted shades of turquoise and green dressed in fantastical Hindu deity-inspired ensembles. Some would call that diverse.




Another high-street brand with a penchant for publicity stunts, Benetton have released many an offensive advert. In 1991 the Milanese-born company released an ad featuring a priest in a rather close embrace with a nun and then went on to upset the Catholic church again in 2012 with an advert depicting the Pope Benedict XVI kissing a Muslim leader. The 'Unhate' campaign posters were later revoked after The Vatican took legal action against the Italian fashion house, who also later apologised for upsetting his holiness.



Diesel’s 2013 denim niqab received mixed reviews. Some liked the diversity implied from using a fashion model, contemporary styling and traditional religious article of clothing. One of Diesel's marketing execs suggested the feedback concerning the ad's inappropriate use of Islamic clothing on a white Russian model, who also happened to be showing a lot of skin underneath the niqab, was a good thing; people were asking questions about what culture, religion and clothing mean. For others, using such a symbolic, meaningful headpiece out of context was downright disrespectful. The girl had some pretty bad-ass tattoos though.

French designer Jean Paul Gaultier's designs have regularly been frowned upon from outside the fashion world for their sexualised and iconoclastic nature. JPG has often appropriated religious imagery including halos, nuns habits and the mother Mary, interweaving them with fetishist masks and sadomasochistic costume. His spring/summer 2007 couture collection saw JPG contrive immaculate conceptions of theatrical halos atop dazzling displays of gowns embed with religious iconography including aspirations of the Mother Mary; not to mention a full-face chained mask, that is a little, well, scary amid the innocence and purity of the Madonna. Although, personally I find its his second muse of the same name far more terrifying.


Versace was forced to remove t-shirts printed with "the devil made me do it" from its shelves in 2003 after receiving numerous complaints. The Italian fashion house in 1997, then headed by founder Gianni again took the now omnipresent crucifix aplenty, vamping it up with knee-length stocking boots and leather. Recently, The Archbishop of Canterbury has criticised fashion's exploitation of the cross saying it has "emptied" the symbol of its meaning.

Dolce & Gabbana have constantly borrowed from the Catholic faith for collection using sacred mosaics of religious figures, rosaries and appropriation of the crucifix. Similarly, the mosaics used in full-translational form for the D&G autumn/winter 2014 collection included the depiction of St. Agatha, a saint predominately known for having her breasts cut off before she was martyred. “I personally would feel very odd wearing any body covering that had St. Agatha on it,” Canadian "culture-vulture" at St. Augustine's Seminary, Toronto, Fr. John-Mark Missio said. Hmmm... me too.


Only recently Swedish retail giant H&M has withdrawn a line of men's vests after it received complaints that one of its new spring lines was anti-Semitic. The - admittedly rather ugly - grubby white vest features a skull smack-bang in the middle of what looks suspiciously like Jewish symbol, the Star of David. The anti-Semitic group Community Security Trust admitted designers may not have meant to cause offence but said the design alluded to anti-Semitism or neo-Nazi clobber.


Let's not forget the true fiends of the fashion world, the editors who propagate cultural appropriation on their pages in the name of art. In spring 2010, Purple Fashion Magazine - shot by Terry Richardson - chose to put none other than Lindsay Lohan on the front cover arms spread with a crown of thorns on her head. AnOther magazine painted Michelle Williams' face red and styled her hair in Pocahontas plaits and feathers for their spring/summer 2013 publication. Members of the Native American community were understandably outraged. And in 2012 for its spring 'Fashion Bible' edition, W magazine put Kate Moss as the Virgin Mary - innocent on the cover, holding a crucifix between her legs on the inside pages.

Sweden's young fashion stars: Lina Michal

The Swedish sky is shining bright with up-and-coming fashion stars as Stockholm's elite design college graduates have increasingly been scooping up awards as well as prized post-graduate places at prestigious international fashion colleges. YLC sought out one of these future trailblazers, Lina Michal to find out how her fashion career has suddenly rocketed.

“I’m feeling a lot of gratitude,” Michal told YLC’s Victoria Hussey of winning the esteemed Vogue Young Vision award 2013.

The Beckman's School of Design graduate claimed the title after receiving a galactic 90,000 votes in the world-wide fashion authority's annual search for “young talent with a clear design vision” (VOGUE.it).  Michal beat out top-notch design competition from fifty-five countries, including ten finalists from prestigious design colleges in Denmark, Italy, Russia and the UK.

"It's fantastic," said Michal.

Part of the Vogue Young Vision prize is the chance to design and sell an eponymous fashion collection with top online fashion retailer MUUSE. Michal has been designing and redesigning her MUUSE collection since winning the title back in October.

“It's based on the collection I entered into the competition which was supposed to be for fall/winter but we looked at it and thought it would work so much better as a spring/summer collection."

Apt, as Michal's winning collection was actually her final graduation project shown at Beckmans right at the start of summer 2013, in May.

"We’re working to interpret the collection into ready-to-wear and to distill the core of it into something that can be more easily worn.”

With the title Heathen Hearts, Michal's last catwalk presentation before graduating from the Stockholm design school - one of raw, organic romance - was tinged with the kind of mood only a nation that spends its winters cloaked primarily in darkness and bitter cold would understand.

“I wanted to make something with a Scandinavian point of view but that was also about something other than functional minimalism,” Michal explained to YLC.

“I wanted to convey the feeling of something joyful and organic with just a notion of something dark and raw.”

At times, the collection was so in tune with sweetness and romance it would have been easy to get swept away with feeling and forget to appreciate the exquisite craftsmanship and design skill on display.

After digging into her Swedish heritage and exploring important traditional festivities such as Midsummer, bound in nature, Michal created something outdoorsy and Scandinavian in a far more organic sense than the click-and-fit Ikea practicality synonymous with Swedish design and favoured by so many Swedish fashion designers.

Lina Michal Heathen Hearts collection / Beckmans

Michal used clusters of beads resembling fruits of the forest to adorn voluminous gowns while swathes of fabric in overgrown shapes and mounds of petals were testament to a Swedish designer not afraid of spending time, crafting ideas and labouring for an industry she is clearly excited to now be a part of.

"I'm currently interning with Opening Ceremony in New York; I’ll be there until April," Michal explains.

"Leaving school definitely means a new chapter and I’m taking it a little bit as it comes. I'm eager to explore different aspects of the industry - and I’m having fun.”

Lina Michal's Heathen Hearts inspired collection will be available to purchase on MUUSE.com in 2015.

Victoria Hussey

Master's degree work 2012

issuu.com/vicsotc/docs/churchs?e=9055376/4395794

Blooming beautiful

Ahhh the Chelsea flower show. One of my favourite world events of the year. That and London Fashion Week and World's Strongest Man. I have an eclectic bunch of interests.

Whilst I'm not sure what I could post as fashion-related to World's Strongest Man - muscle vests and knee strapping perhaps - I do know exactly what to write about when Chelsea is on.

Flowers.

I've never been lucky enough to visit the world's best flower show that is The Chelsea Flower Show, but I did recently visit the wonderul Keukenhof in Holland. Unfortunately, although it was early April, the blooms were not out in full splendour as they should have been because of the silly cold weather. Not that I blame the buds, I don't come into bloom unless it's at least 17ºc.

The wonderful indoor displays in Keukenhof of tulips, lillies and orchids amongst hundreds of other species made up for the lack of colour outside. Not to mention the fabulous fashion and London-themed displays.

An indoor tulip display at Keunkenhof

Hats and flowers make the best of talking pieces

If I could, I would wear a dress entirely made of blooms. Imagine the fresh and sweet scent for one thing. Alas, it's probably not that practical. 

Hello pretty

Sitting on the bus would be problematic for one thing. In fact moving, would probably not work period. I'd shed petals faster than you can say 'walking pollenator'.

Never mind, the designers have floral fashion covered.

Givenchy 1956

Christian Dior s/s 13

Christian Dior s/s 13 Haute Couture

Be inspired and bloom.

Holly Fulton s/s 13

Prada s/s 13

v

Let's keep things short.

Please excuse my tardiness in writing another post. 

I’ve just made the leap over to Sweden from the UK, and journeyed through seven countries in two weeks before setting up camp here in beautiful Stockholm. I’ve therefore been rather too busy to indulge in any writing whatsoever mores the pity. My fingers have grown chubbier and less agile in the interim, my brain is rather stodgy and both limbs and organs are in drastic need of creative stimulation.

So, here I am; sitting in my new bedroom next to a window looking out on a park where birds are chirping, children are playing and thank the heavens, the sun is shining. Thoughts of sunshine and happy summer days has lead me to ponder what we shall be wearing this summer should the temperature rise (as it rightly should).

Causing quite a stir both on and off the catwalk is the crop top. That little piece of insignificant fabric you wore without worry as a child, much like the bikini or (ahem) cycling shorts, but in adulthood, an item of clothing that stirs up body image issues and thoughts of unwanted chills around the midriff.

That said, I rather like the idea of the cropped or crop top; one need only look at the very recent Coachella festival to form an image in our minds of an item of clothing that in its very form is wonderfully free-spirited, bohemian, cute perhaps? A little daring? 

Left to right: Alexander Wang s/s 13, Balenciaga s/s 13, a Coachella 2013 sun-worshipper

Of course, done right and the crop top can also be elegant and chic. Karlie Kloss and Diane Kruger have both recently managed this to perfection by coordinating top and bottom, showing only the narrowest and daintiest of gaps in between. A delicate tease of skin.

The crop top is not a classic, it’s not practical or even easy to wear (unless you're Alessandra Ambrosio). But this season's crop top is far more refined than its predecessors: in delicate matchy-matchy prints, geometric cuts and sophisticated cloudy tones of white, grey or blue.

But no matter how it is dressed, the crop top will always be a little cheeky, ever-so nonchalant and a trifle playful.

And just as before, the crop top will come and go and it is its frivolity that makes us fall so easily in love with it every time Summer rolls round. Crop tops allow us freedom, the kind we enjoyed as a child or teenager before we lost out and became adults.

I remember as a teenager quite often showing off my midriff, my grandmother telling me I would catch a cold by doing so and ever so concernedly, shuffling my t-shirt down a cm or two before the fabric reaffirmed its rightful place just above my naval.

And surely, that is the very essence of the crop top: care-free clothes that are meant for frolicking in the sunshine and show we don't give two hoots whether we get a little chilly or not. 

And heck, if we are lucky enough to bathe in sunshine this summer, there will be no stopping us. Our daring, laisez-faire teenage spirit will be out in full-flow and who knows, we might just have fun.

Mr Sunshine, don’t let us down.

v

It's time we sat down and I confessed something to you... something about shoes.

The fact I have developed a gouging hole in the left shoe of my go-to flats got me thinking about my attitude to my shoes. In fact, my attitude to all shoes.

If I could, and believe me I would try were it not for the copious amounts of rain and snow we get in this country, not to mention the uncleanliness of doing so, I would clothe myself in swathes of beautiful fabric and not even bother with shoes.

When I can eventually inhabit the luscious, always-spring-like meadow world of my daydreams, I won't even need shoes. No, I shall dance and laugh with bare feet gleefully exposed and not have a care in the world. This will happen. I'm determined.

But back in the oh-so dreary real world, of course shoes, boots, trainers etc. etc. do serve a purpose. Shoes protect our feet from the elements and from that God awful pain when you stand on something sharp, pain second only to stubbing a toe; shoes keep our tootsies warm, and when chosen correctly, our shoes tell others a great deal about ourselves. That we are smart, sophisticated, girly, boyish, sporty, even rich or poor.

And it is this realisation that has caused me great concern. What are my shoes saying about me and more importantly, how has my relationship with shoes come to such dire straits? 

Not only do my most used shoes contain holes the size of moon craters, but after a full-on tussle with the shoe cupboard the other morning, I realised I'm actually rather villainous with my shoes. I shun them to the dark, disorganised cupboard under the stairs alongside the vacuum cleaner, my other half's dirty work boots and with not a drop of light or comfort. Goodness, my shoes are like Harry Potter. How shameful.

To make things worse, I'm actually from a town in the UK that is famous for its shoe-making past; Northampton is home to Church's, Crockett and Jones, Dr. Martens. What is my problem?

Perhaps I favour the freedom of unconfined feet or I'm just too wrapped up in the softness and movement of clothes to really bother with rather spiritless accessories, because as it goes, I'm not too concerned with handbags either. Are shoes spiritless because they don't move in the same way as clothes do? 

I'm not sure, leather, once aged is characterful and there is something rather charming about a ballet flat. They just don't have that same sense of liberation to me. 

Or maybe I just haven't met that many great shoes (or just can't afford the good ones)?

I do, however, have shoes that I take care of and couldn't be without. My weekend biker boots are irreplaceable and I have a pair of Victorian lace ankle booties that I've never worn because they are far too pretty and life will only taint them.


Perhaps I am missing out on something and need to expel this rather nonchalant attitude to shoes. Heavens, the rest of womankind supposedly have gazillions of them in their wardrobes and who wouldn't wish for the collection of Carrie Bradshaw, Victoria Beckham or Imelda Marcos?


I should start a shoe fund and save up for a beautiful and ridiculously expensive pair of shoes. I will revel in the feeling of wearing them for the very first time and look after them as if they were puppies. I will stroke them, gaze lovingly at them, place them on a special shelf and take pictures of myself with them.

Maybe not.

v

How the boys do.

So in the process of thinking of another blog post I found myself asking my other half what I should write about. Of course, the inevitable... "Write about me." Said he.

Of course, I laughed off the proposal. Not that I wouldn't love to tell you all about my beloved; his funny little ways and lovable nature, but that's not really the purpose or intention of this blog. "Hmmmm, I don't really write about men's fashion." I replied, dotingly.

Which got me thinking. Why don't I write about men's fashion? Is it because I'm a woman? Is it because it's just not as interesting as women's fashion? Am I close-minded? Never.

Women's fashion is itself never-ending, an engulfing black hole of astounding creation; do I have time for men's fashion? My brain constantly whirs with fashion's transient images and starry names. Isn't the draw of women's fashion already too much to fathom? 
 
The answer to that is yes. But, that said, it is in my very nature to find out more; to immerse myself in new wonders of creativity and style.

So, I took delve into a world of testosterone, quiffs and chiselled bone structures. And what with the men's collections in London taking place just last week, what an apt time to embark on such an astute and exciting learning curve.

I started with the London Collections: Men. Autumn/Winter 7th to 9th January 2013. Here's a little of what I found, stay tuned for more:

I thought I'd start with familiar territory (you know, because new things can be scary, so best to stick with what you know) and perused Christopher Kane's A/W offering for our friends with extra body parts.

Putting a bloke in a skinny jean or aristocratic smoking slipper can be problematic... a dash too girly, or a tad too gaudy. However, Mr Kane has totally rebuffed any notion of over-feminising the collection with gothic colours of sewer grey and bat black, not to mention the use of classically scary Frankenstein and Dracula amid animalistic prints.

Nicely done too, because the collection, as Christopher Kane manages so wonderfully with women’s clothing, is wearable. A little geeky, dark and gothic perhaps, but casual and toned down enough to transfer to the high street. Topman will be jam-packed with literary horror references come Autumn 2013 without question.

Scary monsters at Christopher Kane London Mens Collection AW 13/14

And me, I'll be secretly hoping the other half buys his very own snake-skin clutch and monster-print hoody, so I can borrow them. And wear black lipstick. And totally rock.


And if like me, you need to know more about how the other half dress, watch this video from the London Collections. Interesting and David Gandy makes a cameo. Nuff said.

http://www.londoncollections.co.uk/men
v

Black or white; good or bad; day or night. Who's best?

For spring/summer 2013, the great battle between dark and light is again to be at the forefront of all our fashion brains (FYI, I know this isn't actually true but I watched Lord of the Rings last night and I'm all caught up in light/dark, good vs evil kind of stuff). 

For next season, the two opposing forces combine in a fresh and unifying fashion moment that is every inch the epitome of chic but is also electric and positively charming.

Black is moody, stirring, demanding, sophisticated, understated; white is angelic, pure, stark, sanitary and innocent.

The dynamic trend for contrast has been seen in sequin weaves at Marc Jacobs; enchanting dottiness at Chanel; laser-cut leather slices at Alexander Wang and soft, sumptuous silk knots at Céline.

Drawing on age old simplistic romanticism; Fifties Hollywood glamour and of course reminiscent of Sixties pop playfulness of geometric shapes, the tones are the same, however 2013's spring/summer has the freshness of being soft or mathematical, subtle or bold, but always easy über sophistication.

Black and white have that wonderful ability to create silhouettes; just think of the nostalgic and evocative quality of those simple 18th century profile images. Even when cliced and cut into amalgamations (Alexander Wang, Narcisco Rodriguez), we see the overall shape created; we're drawn to the idea of shapes through contrast.

Of course, Marc Jacobs also gave us white with claret and white with the nudest of nudes. Contrasts can be more than just black and white; the effect a little sportier or a trice more feminine. Because let's face it, we don't often think of black and white as spring/summer colours - navy and white, yes - black and white? Isn't that a bit, well not summery?

Marc Jacobs spring/summer 2013

Which is perhaps the genius of this trend.  

2012 was a year of dynamically changing contrasting seasons; weather of polar opposites that rained when it should have shined and was friggin' cold when it should have been sweltering. 

The contrast trend is surely an emphatic nod to exploring the power of opposites in unexpected, unpredictable times which is ultimately what makes it so super exciting.

v 

Milano

Ciao! I'm back in the UK after a two-week trip to Milan (for research purposes I'll have you know).

So what of this fashion capital?

Now, please understand I am a poor masters student and consequently, my trip did not involve ANY shopping. How boring.

 

This did not stop me however from soaking up the splendour of Gucci and Prada window displays and the super shininess of Rinascente (the city's uber fabulous department store on 8 floors). Actually, I much preferred the Gallerias for shopping spaces. It's that mix of the old and new; the drama and spectacle of the architecture against contemporary print, fabric and sparkly accessories.

Galleria Vittorio Emauelle II is worth a visit for its sheer immense size, mosaic floor and hypnotically high domed roof. And sitting proudly, as it does no doubt, in its prominent location, adjacent to the mesmerising Duomo cathedral, this is the place to be.

The problem with the Duomo area? Tourists. I had to literally hunt around the camera wielding bunch (of which I was one of course) for the super stylish, glamourous types I inadvertently associated with Milan. As such, I left the city quite underwhelmed. Don't get me wrong, glamour, shininess and fashion certainly exist in the city's numerous gallerias. But no one place which wowed me with representations of my preconceived notions of Italian grace and beauty.

Which makes me think... is fashion a myth? Or at least, are the fashion capitals: Milan, Paris, London and New York, mythological in their fashion status? Or am I being too quick to judge?

Think another trip to the Italian 'fashion haven' is needed. Luckily, that can be arranged. I'm heading back in June for some fashion conferences as part of my journey into Italian fashion. I'll let you know what I find.

V

Milan Fashion Week - day 3

I'm off to Milan in two months time for 3-months of maxed-up stress for my MA final project. Two months late for Milan fashion week. 

Bummer.

However, I am enjoying perusing from afar this week's offerings. 

Blumarine. Thank you. Autumn/winter 2012/13 and there shall be colour. The Italian label's collection for the solemn winter months began with a cascade of bright fluffy coats over virginal white trousers and stark polo necks.

We as a nation, nay, as lovers of fashion, seem only too keen to shun colour as soon as the first leaves begin to fall. This is silly. 

Now who knows how I'm to feel when summer has ended and the winter months start to draw in. But I can bet I shall be thankful for the small glimmer of sugar-coated, e-number filled colours Bluemarine have just shown as part of their autumn/winter collection 2012/13.

Screw black. Forget khaki, grey and brown. If it would be hideous as an interior paint choice, I'm wearing it.

Oh and don't forget about trusty old metallics. They're still around in a big way it seems for next autumn/winter. Blumarine, Anya Hindmarch, Maria Grachvogel, Matthew Williamson have all shown metallics during the recent big four fws.

So, zesty colour for unzesty autumn and winter... yep, I'm with the Italians on this one.

TREND UPDATE: Dreamy pastels...

Oh I'm so pleased about the pastel trend and no more so because at the time of writing this I'm standing, peering through the window at a snow-covered garden. 

Pastels - ok, so its definitely a spring trend and obviously winter still has its icy white hold on us, yet pastels would look so divine in the snow:

Pale orchid purples, the creamiest of milky whites, mellow hibiscus yellows and blush pinks - the pastel trend is so dreamy.

Remember the Louis Vuitton spring/summer show? Heavens, it made me melt.

Pastels at Louis Vuitton Paris Fashion Week 2011

Philip Lim - pastels done simply

LV showed the uptmost ladylike of shapes in boxy jackets and full midi-skirts with delicate cut-out collars and princess up-dos. For an extra flounce, the French fashion house also showed full-fifties skirts made of dandelion-light marabou feathers. 

If, like me, you prefer wearing trends a little understated, take some inspiration from Philip Lim. In his spring/summer 2012 collection, pastels were boxed into soft shapes; a no-nonsense, divine in its simplicity, alternative to Louis Vuitton's fairytale yet everybit as dreamy. 

My tip - let the pastels do the talking. Mix them up but keep it simple. Like pearls, pastels are so feminine that adornment and embellishment just aren't necessary.

Lovely.