I've moved on...
...to a different domain. Why, what were you thinking? The truth is, I just woke up one day and decided it's time for a change—a metamorphosis, if you will; or, in layman's terms, if Britney can shave her head, then maybe so can I? Nevertheless, it's been a rather handsome 10 years of talking to you, and thank you for putting up with all my moodswings and terrible dad jokes. Fear not! The hormonal imbalance and jokes are more terrible on CUBICLE, see you there.

Kinder Aggugini

Lacrimosa of Mozart’s Requiem Mass opened Kinder Aggugini’s AW10 with a gothic vibe; with the catwalk decorated like an 18th Century court palace, the military coats and soot-black, hand drawn hairlines set the mood of resistance and rebellion. In fact, the collection is said to have been inspired by the heroine Juliette Recamier (Dame who stood in political opposition to Napoleon in the early 19th Century) – the pieces were powerful yet lyrical, borderline androgynous yet the hints of light fabric under a tough coat (and heels with spats!) acutely underlined femininity.

This show was probably my personal favourite, admiring especially how Aggugini was faithful to his inspiration and how he elaborated on it with a contemporary flair that made every item, well, ready-to-wear. And of course, the military thing always does it for a history nerd like myself.

Watch this catwalk at his official website.

*All LFW photos are produced by moi unless otherwise noted, I’d appreciate it if you could notify me or link back to this blog if you intend to take it anywhere else. Or else I’ll copyright lecture you and you really don’t want that.

Caroline Charles

Prim and proper, perhaps too mature for my underdeveloped self, but I imagine perfect for middle aged women or ladies in the royal family to be personally dressed by granny the Queen. One thing I noticed was that the models were gorgeous, and it looked as though they were made to smile on the catwalk, rare and surprisingly refreshing. (Well, I believe those pretty faces were made for smiling!)


Susie at work on front row, I is such a paparazzi.

Freemasons’ Hall; 14:15 Friday 19th

David Koma

Zig zags across the body and sharp tailoring throughout. Last season I remember him doing a lot of embellishments onto a plain canvas (LBD), this time he seems to have played with the canvas itself. (Although I do love the zip fastener embellishments swirling and creating sharp angles…)

Sorry for the half photos, this was the show where we waited so long and when I barely got in the models were already spilled out onto the runway. Thank God for zoom-lens or else there would’ve been a forest of heads, and then the catwalk, maybe. There were still so many people behind me if I remember correctly and they closed their doors right after I’d gone in. Can’t imagine what kind of a disappointment that’d have been for those behind me. Calling for better organization please.


Jena Theo

Something about the starting piece set the mood of a 1950s silent film for the entire show… then the pieces seemed to become more contemporary towards the end. Particularly loved the fluid draping and the layering of patterns on top of the drapes (4th photo).

BLA. I’m so knackered, spent the entire day on heels running back and forth shows; post about the crowd & scene tomorrow!

Screenshot from SHOWstudio Rodarte On-demand footage, Catwalk photos from Style.com

Florals? For Spring? Groundbreaking.” – Miranda Priestly (The Devil Wears Prada 2006)

But this is florals for winter, it’s definitely rebellious, if not groundbreaking. And sheer white leggings and dresses, all weighed down of course by heavy yarn collages and sheepskin jackets. Oh set aside whatever inspired this ethereal collection (sleepwalking), the bravery to bring out SS fabrics onto an AW runway, and making it work so agreeably, is so admirable. They all say this collection lacked the usual badass factor of Rodarte, but in my opinion this rebellion is their best form of badass yet.

Black? For Winter? Groundbreaking, I’d like to just say.