Trend Watch: The Bomber Jacket

The bomber jacket is everywhere this season. Magazines have been reporting on this for the last few months and now, armed with my new ‘Light After Dark’ olive green bomber, I think it’s only appropriate to write an ode to one of my favourite jacket styles here on the blog.

Go into any high street store and you’ll see that they are literally inescapable; Topshop alone is doing 29 (yes, TWENTY NINE) different versions.

The reason I love a bomber is because they are so god damn versatile. I’ve got a thin, jaquard print navy blue beauty that is my go to summer jacket. It really is ideal for when you need a light even jacket, or better yet, when your jetting off on a summer holiday and you need something for whilst your in dreary Britain, but you also want to shove it in your bag the minute you step off the plane. The beauty of the bomber is that whilst a classic shape, it has been updated in every which way imaginable, from pink sequined to fur-lined and from thick to thin, every shop and designer worth their salt have sold both men’s and women’s versions of this versatile classic.

Secondly, they always seem  to be in style and never look dated. The navy blue one I just mentioned is like, 6 years old, and still looks just as chic as when I bought it. However, fast forward to this season and EVERYONE seems to have remembered how amazing they are.

A quick look at the Daily Mail (research purposes only I swear!) will tell you that everyone from Cara Delevigne to Naomi Cambell have recently been spotted rocking a bomber.

This popularity is evident in the shops, with every brand, from Miss Selfridge to Chloé offering their own take on the bomber, so I’ve compiled an ultimate wish list- for men as well as women- of the very best on offer.

1.
This is the bomber I have recently bought, made by Urban Outfitter‘s own Scandinavian label, Light Before Dark.  It also comes in black, navy and pink.
£59
bomber1
2.
Quilted leather Chloé bomber
£2,535chloe
3.
Tommy Hilfiger Tencel Bomber Jacket (also comes in white with striped arms).
Available from House of Fraser.
£120
tommy
4.
Jaded London Festival Sequin Bomber Jacket
available on ASOS
£100
sequin
5.
ALICE + OLIVIA Felisa Embellished Silk Jacket
available from Selfridges
£660ao
6.
Love Moschino Archive Print Satin Bomber
available via ASOS
£310moschino
7.
Two-In-One Reversible Sateen Bomber Jacket (Inside is blue and silver)
£85topshop
8.
Floral-intarsia stretch-knit bomber jacket
Alexander McQueen
Available via Net-a-porter
£1,585mcqueenjacket
9.
Padded Black Bomber
was £35.00, now £17.00misguided
10.
Dark Blue Flamingo Print Bomber Jacket
H! by Henry Holland
available from Debenhams
£40henry
Now onto menswear, where the bomber seems even more ubiquitous! (To put it into perspective, ASOS currently have 555 styles of bomber for men, compared to ‘only’ 103 for women). Here’s my top 5:
1. Hawaii Print Souvenir Jacket
£,1325valentino
It may be for men, but I want this for myself, desperately! In fact I want all of the Valentino Souvenir jackets, especially the pink one in the featured image of this blog. They are everything anyone could ever hope for in a bomber.

2.
Bryant Jacket (comes in navy/black/green)
Carhartt
was £140 now £70

carhart

Sidenote: I got my bf this for xmas and he loves it! I- and he- would definitely recommend!

3.
Fred Perry Tramline Bomber Jacket
available via House of Fraser
£135fred

4.
Lacoste Live Bomber Jacket in Navy
available via ASOS
£170lacoste

5.
Ecru casual contrast neck bomber jacket
River Island
also comes in green/navy/black/dark green
£30-£48 depending on colourri

Fashion Month Round Up #AW16

Fashion month has finally come to an end, heels will be hung up and editors will be back at their desks.  Now it’s time to look back on all of the collections shown in New York, London, Paris and Milan so as to pick out the very best of what the designers had to offer. I’m going to take you on a whirlwind tour through the very best of what fashion month had to offer, from the ubiquitous trouser suit to a plethora of velvet, to cut through all that fashion noise and present my ultimate personal highlights.

New York

One of the most talked about shows of the season was undoubtedly Marc Jacobs, not only because he had Lady Gaga walk the runway, but because the clothes themselves really were spectacular. The show had a haunting, gothic feel to it with models made up to look almost like extras from the Addam’s family. That’s not to say they didn’t look fabulous, marcj jacobs nyfwthe dark lips and 20’s style finger-waved hair (with loose ends that gave the look a modern edge) offset the collection beautifully. There were laser cut skirts, oversize jumper dresses and lots of fur. The collection had a distinctly Victorian feel to it, with an abundance of lace doiley style necklines and pussybow blouses, but this nostalgia was paired with something all together more modern, such as the dark denim jacket covered in appliqué and adorned with chains. The resulting look was one that appeared part Miss Havisham, part steam punk princess and part flea-market finds. There were monochrome polka dots, long coats embellished with sequins and coats covered in feathers (as modelled by Kendall Jenner), but the pinnacle of the collection was undoubtedly the fabulous, fear inducing, sky high platform boots worn with everything.

Now onto Calvin Klein, where the collection was expectedly chic, smart and urban. True to form, Calvin Klein produced plenty of masculine silhouettes but also plenty of ultra feminine, seriously sexy looks such as the silky shift dresses, some of which featured fur. A personal favourite of mine is undoubtedly the brand’s latest take on the LBD, this time with a plunging neckline and decorative fluffy shoulder pieces (below left). The camisole featured rather heavily- unsurprising for a brand so synonymous with lingerie- and there was lots and lots of black. The overall feel of the collection was smart and slick but with an ‘undone’ edge, stitching was left purposefully unfinished and threads were left trailing. Another key look worth mentioning is of course, the two piece suit. As you will see, the trouser suit will be everywhere come Autumn, and Calvin Klein’s offering- with slouchy trousers and a tailored oversize jacket- looks set to be one of the most popular.

Whilst going through New York’s highlights, I’d also like to give a quick mention to Edun, the ethical brand that seeks to promote trade in Africa. Creative director Danielle Sherman’s collection included long coats with white blanket stitching, printed silks, a gorgeous pinstriped floor length skirt, pops of yellow knit amongst darker colours and most impressively, the fringed multi coloured dress and coat.

Lastly, let us turn to Ralph Lauren were- unsurprisingly- quintessentially American looks were the order of the day. The start of the show heavily featured neutral colours; there was ralph lauren goldlots of oatmeal, different shades of brown and that generally preppy vibe so synonymous with Lauren that one almost expects the models to pop off to the stables straight from the runway. The conservatism of polo necks and smart trousers and of shirts and ties worn with waistcoats was off set by the abundance of fringing reminiscent of the wild wild west. There was lots and lots of texture, from the light brown suede two piece suit to tweed, tartan, cashmere and velvet blazers. Velvet featured heavily, and one particular favourite was the black dress with lacy capped shoulders and decorative neckline as seen on Taylor Hill. The juxtaposition of the conventional and the more ‘rock and roll’ so clearly present in the show reached its pinnacle with the final look, a jaw-droppingly wonderful combo of billowing gold skit and black polo neck.

London

There were so many wonderful shows in my home town that I’ve been hard pressed to condense my commentary to just a mere few labels. However, some collections were so truly outstanding that they deserve attention, most notably Alexander McQueen. Creative director Sarah Burton really did pull out all of the stops; the numerous floor length sheer gowns were so staggeringly beautiful that they appeared as other-worldly as garments can get. The embroidery, the bead work, the ruffles and the feathers gave the collection an overtly feminine, ethereal tone; even the tailored pieces had a sexy edge. There were butterfly, lipstick and floral motifs adorning pieces that were neutral in tone, which gave the collection an air of late night sophistication, rather than comical excess. The pieces- especially the dresses- were undoubtedly glamorous, completely Gatsby-esque and totally gorgeous. I want them all.

mcqueen 4

 

As the pioneer of the digital print revolution, Mary Katranzou had big expectations to live up to for aw16 and her collection most certainly did not marydisappoint. There was a lot of embellishment and a lot of embroidery, much of which featured star, horse and heart motifs, in which the show’s inspiration- ‘love’s young dream’- was evident. There was a joyful abundance of colour, from multi coloured furs to heavily patterned coats and skirts. As with many of the other collections shown in fashion month, there was more than just a int of Americana and there were also A LOT of pleats.The resulting aura was one that was romance meets rodeo, encapsulated in the final look- a full length embroidered dress. Butterflies featured heavily, indeed my personal favourite has to be the sheer dress with full skirt and large butterfly motif. Here, and elsewhere there was a lot of sheer fabric, lots of lace inserts and let us not forget the fabulous ballet flats- some plain, some striped, some star patterned- all covetable.

Another of my favourite London shows was Topshop Unique (obvs) which had editors and ordinary folk alike salivating at the mouth. There was lots of clever layering, quite a bit of peter pillotoleapord print and once again, a surplus of black velvet. One of the particular highlights was the gorgeous black velvet dress worn by Taylor Hill, as were the coats and jackets.  The Peter Pillotto collection was similarly impressive as- in embracing a kind of nordic romanticism- it appeared at once ethereal and  practical. One of the designers- and namesake of the brand- Peter spoke of this Viking influence, saying that “we translated these poetic motifs into chenille embroidery”. The detail present in this collection is just mind blowing, from fabulous delicate embroidery around the toggles on a fur coat to swirling patterns intricately woven into tops and skirts (see left).It looked almost hand drawn, and complemented the pale, wintery colour palette perfectly.

Milan

The Gucci show has been one of the most talked about of the season, and given that colour gucci starsand eccentricity were order of the day, it certainly isn’t hard to see why. As with the Dolce & Gabanna collection, the ‘princess’ ideal took centre stage. The ultra feminine collection was largely made up of ice-cream colours; a pink fur coat was paired with pink tights and a pink bag, the lady-like button down dress in a pastel shade of turquoise was worn with a hat, tights, bag and strappy heels to match, the crazy yellow ‘big bird’ style coat paired with yellow headscarf, bag, shoes and tights . Creative director Alessandro Michele- who has been at the helm for a year- revels in juxtaposition and this was obvious in many of the pieces. The pink and green of the brocade coat with furry lower arms was paired with a shocking turquoise double breasted collar and fabulous red accessories. The funky unexpectedness of it all stopped it from appearing sacharine, as did the geek glasses paired with looks such as the tweed jacket and checked trousers. There was, of course, the obligatory trouser suit, but this time in a bold red with black detailing. There was of course some more sombre looks featuring lots of tailoring that appear more wearable, such as the grey two piece with slouchy bottoms  (baggier trousers are de rigueur this season). However it was the wacky, girlish elements of the show that won me over, with my absolutely favourite dress (right)- featuring billowing skirt, pastel colours and star applique over the boobs- summing up the feel of the collection nicely.

The Emporio Armani show- called ‘New Pop’- was notable largely because of the way it
totally embraced modernity. The collection was rife with allusions to technology; digital designs featured pixelated prints and geometric appliques, and futuristic looking fabrics such as PVC were everywhere. Also present were tailored jackets, metallic pumps, black velvet and pink and black stripes. There was a laid back athletic feel to some of the pieces, especially to the hoodies as seen as part of the menswear. the line felt incredibly youthful and served to remind audiences of the integral part the digital revolution has played in shaping our current fashion industry (need I even mention the word Instagram?!).

At Versace Donatella once again embraced female strength and sexuality with an ultra wearable, versatile collection that celebrated the super model. Versace were at the centre versace blue suitof the ‘supermodel’ trend in the 1990’s, and Dontella has brought this legacy up to date by having top models from Kendall to Jourdan to Gigi all walk in the show. The collection was suitably sexy and featured abstract baroque prints, silk shirts, leather and mini dresses. Dresses with uneven hemlines featuring yellow and blues were paired with fabulous grey boots, and the gorgeous wet look grey coat lined with pink fur paired with a mint green slip dress. One stand out look was the leather jacket and skirt in cornflower blue modelled by Jourdan Dunn, as was the fabulous two piece suit in the same colour worn over a cropped polo neck. Another highlight was the sexy nineties style spaghetti strap pink slip with a cowl neck, which literally screamed Carrie Bradshaw. Beyond pastels there were several navy coats with leather detailing that really would look as chic in the streets as they did on the catwalk.

bottega venetaThe Bottega Veneta collection was similarly impressive, but it embraced a totally different ethos than most of the other designers. Creative director Tomas Maier said his collection was about “personal luxury” and the clothes are indeed all very wearable and would fit seamlessly into the stylish working woman’s wardrobe. The collection was very simple- a far cry from the excesses of the other shows- and featured slim fit trousers, cashmere, pleated skirts and leopard print outerwear. Wool featured heavily, and the clothes came to take centre stage as the handbags so synonymous with the brand were shrunk down considerably. The stand out pieces were the dresses with sheer long sleeves, built in bralets and beautiful pleated skirts. These came in navy, pale lilac, caramel and nude and at once evoke both sensuality and practicality.

Paris

There was so many wonderful collections shown in Paris that I’ve had an incredibly difficult time picking out my highlights. The Valentino show was undoubtedly special.valentino Inspired by today’s industry and by the figure of the dancer, the collection featured magnificent ballet dresses, sequins, ballet shoes and a heavily adorned sheer dress that can only be described as a masterpiece (right). The Louis Vuitton show also harnessed the fast pace of the fashion world by encouraging retrospection. Creative director Nicolas Ghesquière modernised old pieces and made them seem relevant to today’s changing tastes; vintage scarf prints became little dresses and leather and mohair featured heavily. Whilst this collection was deemed relatively wearable, coming from experimental Ghesquière, there were still a few stand out pieces that would most certainly not be for the faint hearted. I especially love the shiny trousers in bright red, but admittedly, I’m not sure if it’s a look I’d be able to pull off.

The Stella McCartney collection was, like Valentino, typically feminine. The shapes, stella mccartneywhilst wide, were womanly and the printed silk trousers, pleated gold skirt, and jumper with a ‘woman power’ slogan on it were every bit the kind of pieces we have come to expect from Stella. Faux fur and faux leather were featured heavily, as were beautiful lacey slip dresses which, like so many of the other designer’s offerings, featured sheer fabric and pleats. The quilted over-sized puffer jackets- in rust, black and navy-  proved very popular as they are at once stylish and utilitarian, perfect for the busy urban woman. Stella managed to combine two of the hottest trends to emerge from fashion month by showcasing a black velvet trouser suit, which is sure to be on the ‘most desired’ list of every woman in fashion. The cropped bomber jacket was also a stand out piece, given that every fashionista worth his or her salt knows how big they are set to be over the coming year.

As much as I loved the emoji’s that featured heavily throughout the Chanel collection,  my favourite show had to be Balmain, and not only because of the all-star line up, but because gigi balmainone again Olivier Rousteing has produced the most fabulously opulent, intricate collection this world has ever seen. In a particularly clever marketing coup, the models wore wigs- Kendall Jenner was blonde, Gigi Hadid and Rosie Huntington-Whitely were transformed into raven haired goddesses- which ensured that the collection was plastered across magazines and newspapers globally the following day. Unusually for Balmain, pastel shades figured strongly, and both Kendall and Gigi were clothed in a soft powder blue. As always, it was all in the detail at Balmain. Shoulders were pointy, frills and other decorative features ubiquitous and peplums rigid. Many of the pieces were clearly influenced by lingerie, Karlie Kloss modelled a gorgeous baby pink bodice with sheer lace frilly trousers. The dressing gown style long striped coats as seen on many of the models were worn over the shoulder a la Kardashian, and the more conventionally ‘Balmain’ pieces featured the signature black and gold colours, as well as heavy pearl embellishments. The whole collection was so feminine, so regal and downright baroque in its aesthetic, this time Rousteing managed to out-Balmain himself.

Whilst Balmain in all its grandiose was my favourite show, one of the pieces I love best- for all it’s simplicity- is a jacket by Vetements. The  anti-authority, youthful collection produced by Vetements embraced the casual and the world has not been able to stop AW16CG-Vetements-047-xlarge_trans++-gaKsLgbA6-uokDv4MbJV2o9fJk1VK1SIba-RpWNnOUtalking about it since. The show embraced irreverence; swear-words and ironic outrageous slogans (“You Fuck’n Asshole”, “Justin4ever”, “UltraSkinny” ) featured heavily, as did uniforms, some ‘naughty school girl’ style, others made up of plaid suits with slouchy bottoms.There were plenty of references to goth culture and to heavy metal, and the oversized silhouettes and baggy hoodies synonymous with the brand made several appearances. THE jacket (right) ticks both of those boxes, and in red and orange- worn slouchily off the shoulder on one side-  is just so fucking.cool in that it is at once high fashion and also extremely practical. The designers played with proportion; a key look was a shrunken purple hoody worn over a maxi skirt. All in all the line is so different precisely because in a world of high fashion, the label has embraced sweats and street wear, and by showing men’s and women’s wear together, celebrates modern androgyny. Velvet made yet another appearance, this time in the form of a gold coat, but beyond this Vetements- as a tough, unorthodox cult brand- certainly did operate under the rules of subversion.

So there you have it, a quick fire round of all of my fashion month highlights, from my favourite shows to my most desired pieces. One thing’s for sure, everyone will have at least one piece of velvet in their Autumn wardrobe, and we can definitely expect heavy adornment, sequins, appliqué and embellishment to hit the high street later this year. Whether I’ll be embracing the feminine gothic aesthetic, the tough street style vibe, the super girly lingerie inspired look or the busy working woman’s wardrobe remains to be decided.

 

 

 

 

 

FENTY x PUMA: Rude Gyal Grunge

Six days ago, during the craziness of New York Fashion Week, Rihanna debuted her first full winter/fall collection for Puma since signing as creative director of the brand in 2014. This follows on from her first hugely successful venture with Puma, the creeper shoe, which sold out swiftly in September 2015. I for one was desperate to get my hands on a pair, but one missed alarm later and my chance was up in smoke. I was seriously excited to see what was going to be on offer this time, and luckily the original bad gal’s urban-goth game is as strong as ever.

The showcase most certainly did not disappoint, but it also did not particularly shock, as the collection literally screamed ‘Rihanna’. Firstly, there was A LOT of black. Pretty much all of the looks were monochrome and the models were transformed into black lipped, icy haired sports-chic queens.

Speaking of the models, the line up included the most Instagram-able models of the models-stella-maxwell-l-and-bella-hadid-pose-backstage-at-the-fenty-puma-by-rihanna-aw16-collectionmoment, from Gigi and Bella Hadid to Stella Maxwell and Ruth Bell of Ruth and May. Bella Hadid wore one of my favourite looks, the lace up, skin tight flared body suit that somehow looks sleek and sexy whilst at the same time seriously sporty. It’s this mixing of very different looks that set the tone for the whole collection; the grungy-sporty-street wear vibe was offset by sheer fabrics, lace and a lot of bare skin. Rihanna herself said of the collection, that ‘if the Addams Family went to the gym, this is what they would wear’ and this melding of Rihanna’s signature urban- gothic style is evident in all aspects of design.

The collection featured both women’s and men’s wear, but a key aspect of the line as a whole is androgyny. Many of the pieces are unisex and clearly defy any binary notion of gendered fashion. This ambiguity can be felt in the very cut of the clothes, Rihanna has played around with a variety of shapes, sizes and silhouettes in a striking way. The juxtaposition of massively baggy, oversize clothing and then the skin tight- a signature RiRi look- was everywhere, from figure hugging dresses to roomy tracksuits.

I love all of the criss- cross and lace- up detailing, which is sexy and suggestive whilst evocative of Puma’s sporty essence. Different sports are alluded to in different looks, one particular favourite of mine looks like it had been designed for the world’s most stylish female boxer. The crop top with the cross over bottom is at the top of my must-have list, it feels very Alexander Wang, the epitome of sporty chic. crop top

Sports might be a defining feature, but the collection has also clearly been inspired by Japan. From sheer dresses featuring Japanese calligraphy (another highlight for me) to tracksuits emblazoned with the Japanese flag, the influence is palpable.

Aside from the clothes, there was of the course shoes. The new Fenty trainer was unveiled and new creepers were added. Many of the models were dressed in a trainer- stiletto hybrid (some in white, some in yellow as below right) that, I have to be honest, is definitely not for me. They feel very tacky, 90’s pop star and look like the type of shoe that will only ever really have novelty value. But hey, maybe that’s the look Rihanna and Puma were going for!  I do however LOVE LOVE LOVE the chunky white platform boots. They looked banging paired with bare legs, both with the oversized jumper mini dress and the longer dresses (as below). I could imagine wearing them in almost any scenario, from work to nightclubs to the shops to festivals,  and to me they perfectly encapsulate the collection’s sexy rude gyal grunge aesthetic.

All in all, it was a pretty great collection, and Rihanna delivered exactly what we would expect her to. Unfortunately the collection won’t be available to the masses via retailers until Feb 2016, so until then we’ll simply have to channel the Fenty x Puma vibes by stomping around to Rihanna’s new album and wearing a lot of black lipstick.

Where are Fashion’s Females?

Feminism was most definitely one of 2015’s ‘buzz’ words. From Emma Watson’s heforshe campaign, to the tabloid frenzy that surrounded Charlotte Proudman, to the release of Suffragette in October, everyone’s been talking about the fight for gender equality and the status of women today.

One particular area of concern for a lot of people is the inequality right at the top of our society. The equal pay portal notes how at the top-level of earners, the gender pay gap is 54.95%! But it’s not just in pay that disproportion is clear… there are, quite simply, far less women in top jobs than there are men. From the House of Commons (think the rise of the Women’s Equality Party) to the hills of Hollywood (only 7% of the top 250 films of 2014 were directed by women), the lack of women in high powered positions has taken centre stage in the public conversation on gender equality. The shockingly low number of women working in STEM (link) in the UK has, amongst other things, been attributed to a kind of gender bias in that Science, Technology and Engineering etc. are simply not ‘girly’ subjects. Yet, when considering the underrepresentation of women it is also worth remembering that this phenomenon is not confined to more traditionally masculine industries.

As we embark upon a new year I want to consider the lack of women in top jobs in arguably one of the most ‘feminine’ industries of all, fashion. People might well assume that women rule the world of fashion. Thanks to the media, it’s easy to assume that most senior fashion jobs are filled with terrifying Meryl-Streep-in-The-Devil-Wears-Prada-eque ladies. And yet, if you take a look back at the goings on at the top end of the fashion industry over the previous year, a picture starts to form. And one thing’s for sure, there ain’t many women in it.

There were 91 brands showing at Paris Fashion week last year and less than 20% of those had female creative directors. A quick glance at all the major fashion houses will tell you how few women are actually making the executive decisions about what trends the women of the world will pour over online and in magazines, follow, buy into, recreate. These big fashion houses make a sizable majority of their profits from their women’s wear and yet by and large, they have men at the helm.

2015 saw three of the biggest names in fashion depart from their positions; Alexander Wang announced his resignation from the helm of Balenciaga in July and in October Raf Simmons left Dior’s Women’s Collection and Alber Ebaz left Lanvin after fourteen years.

This exodus of creative directors has left space at the top, but whether women will fill these roles is another matter all together. The established, old-school couture houses are run predominantly by men, there has never even been a woman designing at Dior. Interestingly, some of fashion’s most successful female designers have chosen to work under their own names- Vivienne Westwood, Stella McCartney- rather than at one of the top luxury brands.

celineThe common perception is that women design clothes they would want to wear whereas men design clothes they would want their fantasy woman to wear; herein lies a telltale sign into the success of certain brands. The modern woman wants to look exceedingly stylish, but they also want comfort and practicality. Phoebe Philo’s work at Celine has been a huge success both critically and commercially for precisely this reason. Philo’s designs are beautiful and chic but also useful. Her understated pieces are especially popular with the ‘workingwoman’- a savvy business move when you consider which type of modern women generally have the money to spend on high end designer goods- because they have a utilitarian feel. Celine offers clothes that are wearable and translate from catwalk to everyday life seamlessly (see Celine SS2015 on the right).

That’s not to say that Philo operates in a vacuum, hugely successful female creative directors include Sarah Burton at Alexander McQueen, Rei Kawakubo at Comme des Garçons and Carol Lim at Kenzo. However the success of these women are a rarity rather than a norm in the industry and all things considered, to readdress the gender imbalance could only be a good thing. As I previously mentioned, there’s a surplus of women in lower industry jobs, from the vast number of seamstresses working in the ateliers to the women working in ‘in-house’ marketing positions.

Yet it is only the creative director who can truly shape a brand’s aesthetic, and if there were more women designing clothes for women, then logic would have it that that there would be even more on the market that genuinely responds to female needs and desires. Designers that do exceptionally well are often credited with truly understanding women (think Roland Mouret’s Galaxy dress) in a way that other fashion houses do not. Yet I am not trying to suggest that there should only be women designing women’s wear, on the contrary, I want to suggest that the egalitarian nature of fashion should be embraced by those who ultimately decide which creative directors to instate.

Fashion has always been one of the most fundamental ways in which society expresses its most revolutionary aspects, from the mini skirts of the sixties to the sexy excesses of 90’s Versace, the fashion industry revels in zeitgeist. In an increasingly varied, melange, integrated and open world, would it not be best to have as many different influences as possible? Women and minorities are finally being embraced in every aspect of Western life and yet it is becoming increasingly apparent that the fashion industry needs to catch up if it wants to maintain its innovative reputation.

Fashion has always been a forward thinking, liberal industry that refuses restriction of every kind and yet this lack of female creative direction itself imposes limitations upon what is conceivably possible. Creative genius knows no bounds and if more women were given the chance to shape the future of a giant historical fashion house then who knows what other doors could be opened. The more varied the ‘type’ of person making executive decisions are, the more diverse the results will become. The boundaries the fashion industry always revelled in testing can be re-imagined, pushed even further, and results beyond our wildest dreams subsequently come into fruition. The clothes of the millennium have become increasingly androgynous; fashion today explodes gender norms and is constantly in the process of ‘re-writing’ the rules. Having a more equal balance of input from both genders makes for a multifarious industry all together.

jaden-lv-woman-010415sp Jaden Smith has become the poster boy for a new, genderless kind of fashion and just this month he has been announced as the brand new face of Louis Vuitton’s women’s wear campaign- shot by creative director Nicholas Ghesquiere- where he is pictured wearing a skirt and posing with female models (see left).

Whilst one might rejoice in this this apparent industry move even further towards an androgynous conception of fashion, such public declarations need to have affect on the inside of the fashion business too. Fashion is all about smashing up conventions and in 2016 it’s now time to throw the tradition of appointing predominantly male creative directors out with the old, so that we might make way for the new.