There were two parts to this Chanel show. The good part was about beautiful white dresses with jewelry embellishments, and the bad part was a car crash of tube garments, bicycle shorts, strange tufts of feathers and tacky-looking fabrics.
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Aside from a few misses, this show was all about the couture hits: pouffy skirts, breathtaking embellishments, and incredible gowns. Giambattista Valli knows how to make beautiful clothes.
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I’m not sure I can really put a finger onto what Raf Simons does for Dior. There are his bold geometric silhouettes and bright colours present in most collections, but I’ve yet to really grasp what the big story is. The beginning of this show was a clean, modern Dior with period references, but later on it turns into a more casual collection. Althogh there are a lot of beautiful pieces, I feel like there is too much to take in.
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that this could be a tank wedding dress with pockets.
I’ve stopped looking for innovation or excitement at Versace. It feels like the past few seasons have had the usual brand elements (fur, hardware, leg, drama) but without the class that Gianni injected. On top of that, most of this collection does not look like couture.
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tufts of fur mixed with sheer and lace.
All photographs and illustrations are the work of London College of Fashion student Yuliya Kyrpo, www.showtime.arts.ac.uk/YuliyaKyrpo
When I studied fashion in Paris, I was the poor girl. My classmates had parents with pied-a-terres in Paris, they took the Concorde to New York on the weekend, and they had their own one bedroom apartments. It sucked, and I am pretty sure that contributed to the reasons I loathed living in Paris. In London, when I did my MA, it was almost the opposite. While there were a handful of rich kids, I felt privileged because I could afford the bus to school every day, I only had to work 15 hours a week at a bar job (not 40, like most of my classmates) and my parents were able to help me out so I didn’t have to work during the last three months of the course.
Times have changed a lot in the ten plus years I have graduated. Not only in schools, but also in the industry. When I started there were hardly any celebrity designers or daughters of rock stars in charge of big brands – the media was dominated by socialites, but there were still opportunities for people who didn’t come from privileged backgrounds. Nowadays, it is so much harder to break in, and as a result, we are going to miss out on so much great talent. Here are five reasons the fashion industry is becoming a playground for the rich.
1. Fashion school is prohibitively expensive. This article by Alexander Fury in The Independent highlights the potential crisis in education because tuition fees have become so unaffordable. I looked at the fees for the MA at St. Martins, and they gone from £4500 for 18 months (when I studied) to £8500 for 18 months (now.) I’m pretty sure inflation can’t be responsible for that price hike in 12 years. What will fashion be like if only the rich can afford to study it? A great quote by Sarah Mower sums it up: “In fashion, in Britain in particular – I hate to say this – very rarely has privilege produced great designers. It’s always the outsiders and the outcasts.”
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