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Not the best wardrobe for backpacking…

When it comes to fashion, I think the 1950s were the best time for travelling. How on earth they managed to so perfectly pack those huge Grace Kelly skirts without completely ruining them, I’ll never know… how they managed to find the space to pack anything other than those space-hogging petticoats and skirts, I have no idea. As I’ve mentioned before, I’ve tried in the past to be ‘sensible’ in what I pack for my travels. Jeans were banned (in the summer, anyway), my love for big midi-skirts was ignored, and I’d stick to a boho, mix and match, Free People-esque capsule wardrobe; lightweight, fold-resistant fabrics that take up minimal suitcase space . You’re mocked if you’re a girl with a big suitcase (especially one like these), full of the latest trends, which is definitely flared or pencil midi skirts right now. People – guys especially – roll their eyes out if they catch you applying lippy, or straightening your hair (though that last ‘backpacking offence, I am entirely innocent of, despite the cowlicks). You’re supposed to wander around with a grubby backpack (been there) – something ‘serious‘ (aka, ugly), or if you’re fashion conscience, vintage and canvas, which therefore feels like a bag of bricks hanging from your shoulder blades (done that).

I prefer to step off every plane, train and bus like this:

Minus the pin-perfect curls. I really don’t care that certain people who I meet on my travels openly presume that I am a) rich b) spoilt c) a bimbo and/or d) ignorant to the reality of backpacking. I’m not about to climb mountains in a pair of stilettos! Especially as I can barely walk down a perfectly flat and even pavement in stilettos without falling flat on my face… needless to say, while stilettos are pretty to look at, I never take anything higher than kittens abroad.

Fashion and travel don’t always work well together, of course… take the second Sex and The City movie. There were some great outfits in that film – I love the Dior tshirt-and-big-skirt combo. But equally, sometimes it was like a car crash headfirst into the wardrobe department. For example:

Personally, I think people have become lazy when it comes to fashion when travelling. I get that when travelling, people don’t want to spend hours and hours getting ready each morning. It takes me half an hour. Bam.

I think this is an expansion on my RSS… my fashion style is definitely ‘settled and working in the big city’, while my passion is to keep on moving, moving, moving. I’m molding the two tough, into something that works well for me.

Now days, besides making sure that I have one or two practical outfits for things like rock climbing, long, long, long walks or anything else that can’t be done in ballet pumps and kitten heels, I pack whatever I want, and just keep my fingers crossed that it will all fall naturally into a perfect capsule wardrobe. I seem to repeat the same go-to fashion habits again and again when it comes to colours and patterns, so generally, my entire wardrobe works well together. I guess in a way, I’m not particularly imaginative.

Dior

Bottega Vetena

Rochas

Fashion week still fresh in my mind, I’ve been thinking about my packing wardrobe of the season… Yes, the skirts are staying, along with tuxedo jackets – buttoned and bra-less… or maybe a cute lace bustier…hmm…), big petticoats beneath midi-skirts, patterned pencil skirts and amazing shoes.

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Look One: BlazerPetticoatSkirt. Shoes. Bag.

Look Two: BustierTrouser. Bag. Shoes. Belt. Necklace.

Look Three: Top. Skirt. Shoes. Bag.

Look Four: TopSkirt. Shoes. Bag.

Basically, I travel Audrey and Grace style.

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Alfred Hitchcock. Undoubtedly one of my favourite directors, quavering on the top-spot with the equally amazing visual genius, Joe Wright. I feel its safe to say that Hitchcock bags the top spot for himself through reputation alone. If ever a Hitchcock appears on the TV schedule, you will find me, sat inches from the screen in a child-like awe, sucked into the colours, the shadows, the beautifully dense suspense that only he could master so well. My mind, you can guarantee, will be racing, nails digging into the carpet as I pick apart his use of each colour; the symbolism of the green light in Vertigo, the alternating red and green in Rope, the fireworks illuminating the darkened room in To Catch a Thief. I am aware of the general ‘Hitchcock colour theories’, but I can’t help but conjure up my own, as if its a code that only I can crack. I pick apart his lighting set ups, absorb every item that builds the carefully crafted sets, drool over the beautiful designs of Edith Head, envious of Grace Kelly or the various other Hitchcock blondes. Let’s face it, it’s generally Grace who ruffles my envious feathers more than anyone.

Frankly, if there’s a Hitchcock on TV, leave me be. (Rhyme not intended).

I am as enraptured as Hitchcock always intended for his audience to be, and before I know it, the notebook is in my lap, a pen in hand. Every creative needs a moleskine whenever they watch a Hitchcock, in my opinion. Regardless as to whether you’re a photographer, writer, graphic designer, stylist, artist… that man is gold, a portly ball of imagination-inducing energy. Caffeine is my usual go-to stimulant when I’m in my daily ‘idea development’ session, but Hitchcock is much more effective. Even if my ideas do need to at times wander a little further from the standard ‘blonde model’, ‘dramatic lighting’, ‘bold colours’ trio. Duly noted.

I’m not the only photographer who finds themselves constantly inspired by the great director, of course. I can spot a Hitchcock-esque editorial a mile away. They’re becoming something of a must-have for most young fashion photographers, a transition point between the mimicking and the inspired. However, just because Hitchcock’s lighting styles, dramatic shadows, bold colours and trademark locations (think motels, showers and trains), are so on-trend, doesn’t mean that I can’t have a go too, right?

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Model: Jessica Bailey

MUA & Hair: Emma Grant

Styling: Emma Styles

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Hitchcock Blonde

My mind, you can guarantee, will be racing, nails digging into the carpet as I pick apart his use of each colour; the symbolism of the green light in Vertigo, the alternating red and green in Rope, the fireworks illuminating the darkened room in To Catch a Thief. I am aware of the general 'Hitchcock colour theories', but I can't help but conjure up my own, as if its a code that only I can crack. I pick apart his lighting set ups, absorb every item that builds the carefully crafted sets, drool over the beautiful designs of Edith Head, envious of Grace Kelly or the various other Hitchcock blondes.

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