More is More is More at Gucci

Wes Anderson would approve.

Photos from Vogue.com, collage made by me.

My Gucci review is here! Unlike how I do my other fashion week reviews, where I select four to seven (ish) shows from each week to review, Milan Fashion Week is a bit different—I'm always only interested in reviewing Gucci. This favoritism started when I did my first ever show review master post, where I selected a few shows from each week in September of 2015 (SS16, if you were curious), but I only chose to review Gucci for the MFW section. Ever since, they've been the only ones who have actually caught my eye during this week. Alessandro Michele is just that talented!!! While it has remained my favorite fashion house since, well, September of 2015, they just keep getting better! It started with more then became more is more and now we're at more is more is more, or you could argue, because Michele has been designing for them for five seasons now, that more is more is more is more is more this season. Does that make sense?

Alessandro Michele won't stop his maximalist attitude with clothes—with each passing collection, he adds more accessories, more prints, more jewelry, more oomph, more wow factor. And he does it so artistically! It's kind of like that challenge where you have to put on all of your clothes at once, but minus the awkward marshmallow vibe that results from 20 sweaters layered together at the same time. 

As for my Wes Anderson comment, I'm not kidding in the slightest bit--Wes wouldn't only appreciate the aesthetics Alessandro played with in his Fall 2017 collection, but the director would file suit for copyright infringement of his infamous characters. Let's start from the beginning of his films (leaving out Bottle Rocket, insert sad face because that movie doesn't get any love):

No khakis or tie were included, but if you replace those pants with velvet pantaloons and that tie with a jewel-encrusted collar and long pussybow, the Gucci'd version of Max Fischer from Rushmore comes to life. May be a bit of a stretch, but that lion emblem on the model's belt definitely matches up with the Rushmore crest on Max's blazer. Even the glasses match! And we all know that Fischer would be one to wear floral socks with pumps (fight gender norms!). Also, doesn't that braided-headband thing (??) sort of resemble Max's coonskin cap?

Richie Tenebaum has always been one of my favorite characters in the Wes Anderson world—I blame it on my secret love for Luke Wilson and his really cool outfit. That '70s-esque camel suit and striped sweat band create a look that only The Royal Tenenbaums fans would immediately recognize, but now Gucci fans will, too, with an almost exact replica of the look, except now Gucci's version has the traditional Gucci Stripe™ embellishing the bland suit and grandpa glasses (these are very in) to replace Richie's full beard. The Gucci model is even wearing sneakers, as if he were ready to play tennis just like Richie! It's like Alessandro literally had to ask Wes to borrow these inspirations; that's how exact the match is. And that leads me to two important questions: a) is this considered stealing or just drawing from inspiration? And b) which came first: the Gucci Stripe™, or the stripes seen on Richie's sweat band?

Look, it's Chaz Tennenbaum from The Royal Tenenbaums. This one's obvious—replace the red Adidas tracksuit with a red zip-up jumpsuit. A.k.a. the Gucci version of a tracksuit, because they would never include this on the runway, unless they're jewel-encrusted track pants peeking out of a long camel coat, shown below:

Although this is a stretch, how could I pass up on the infamous Life Aquatic with Steve Zissou red hat, even if the rest of the Gucci outfit doesn't resemble the crew's outfits? There are some similarities, though—the uniformity of the Gucci jacquard suit is seen in the monochrome blue crew uniform. Replace the Adidas sneakers with half-shin socks and Renaissance style shoes, and now Ned Plimpton works for Gucci instead of his father.

It's Owen Wilson again! But in The Darjeeling Limited, wearing a suit and bandages instead of a hat and ship uniform. Gucci updated the neutral suit and lei the Whitman brothers don on their trip to India by combining the two—you guessed it, a floral-printed suit. Instead of having a Victorian floral print that we usually see in Gucci, this print seems to perfectly match the flowers seen on their trip through India. Those snakeskin boots remind me of the scenes representing some of the barren land of India:

Some food for thought: how cool would this Gucci girl look with a Darjeeling-esque suitcase?

Mrs. Fox from Fantastic Mr. Fox was definitely seen on the Gucci runway—this Gucci girl is literally wearing a fox mask, something we haven't seen in fashion, well, ever. Also, Mrs. Fox always had #outfitgoals, and Gucci is just emphasizing that with those super cool sheer floral sleeves (tights for your arms?) and pussybow sateen dress featuring some sort of aquatic creature. The connection between the fox and the aquatic creature? Unknown.

Suzy from Moonrise Kingdom grew up! This seems to be one of the more popular Wes Anderson-themed halloween costumes, next to Margot Tennenbaum, and Gucci finally transformed this costume into reality, switching soft gingham to brocade and embellishing her classic white collar and cuffs with jeweled black swirls. White socks remain a constant, but replace the saddle shoes with grown up heels (Stoker, anyone?) and those binoculars with that peculiar wand-looking-object that makes our most favorite coming-of-age character, well, not in her coming-of-age phase anymore. Very bittersweet. 

No Gucci looks directly represented any characters from Grand Budapest Hotel, the most recent Anderson film, but some represented the scenery that seems to be even more important than those character's #ootds. That model on the left, wearing a pastel pink coat encrusted with jewels and black swirls matches the impossible-to-miss color scheme of the hotel; the model in the middle represents (you guessed it!) the snow on the trees. Too much of a reach? I still bet Wes Anderson would approve. Grown-up Agatha (Saoirse Ronan's character) would definitely wear the pink coat during the winter months in Budapest, and maybe even the monstrous white gown at a ball.

Here are some other looks I loved:

Vogue called Michele an alchemist due to his ability to transform an ordinary girl into a Gucci Girl™, but I also want to call him a Renaissance man (pun intended) due to his ability to practically achieve everything—his collections are far more than fashion collections, they're displays of art, of beauty, of craft. And possibly direct displays of Wes Anderson's films. Now that's talent.

NYFW Fall 2017 reviews | LFW Fall 2017 reviews

See all of my show reviews from previous seasons here.

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Flower Power at LFW

From left to right: Preen by Thornton Bregazzi, Christopher Kane, Simone Rocha, Mulberry 

Photos from Vogue.com

The effects of this past NYFW are still lingering, and part of me feels like it's still going on--the subpar Marc Jacobs collection (at least in my opinion) that was meant to dramatically close the week didn't do the trick, so did fashion week actually end?? I then realized that London Fashion Week already ended, and I then wondered why this happens almost every season. Why does my fashion-oriented mind always skim over this week? Big names like, as I said in my previous post, Marc Jacobs and Alexander Wang aren't included, but that doesn't make any of the clothes less amazing. Or does it? I always feel more underwhelmed with London's shows; maybe this is because it's squeezed between two huge fashion weeks--New York and Milan. But New York was underwhelming last year, except for the fact that pajamas were deemed ~fashion~ in many of the shows. Maybe it's because fashion journalists and bloggers aren't dying to write about LFW, so less articles are produced from this season, except for when Burberry does anything more than ordinary (which is common for the fashion house). Setting this ~strange phenomena~ aside, LFW always slips my mind. When the last model walks down the closing Marc Jacobs show, my first question is where's Gucci, the brand that always opens for Milan. But LFW deserves the love, too! It's home to a ton of emerging designers that are amazing me with their raw talent, and also those classic London houses (think Burberry and Vivienne Westwood) that seem to drive the week. But I went a different route this year, choosing only one designer I've reviewed in the past. I've come to realize that designers I've never been familiar with are so talented!! It's nice to start looking past our favorite designers and appreciating all of them, because you never know which ones will become your favorites later on.

Here's a familiar one:

I've always been attracted to Simone Rocha's delicate form of beauty that always makes an appearance in her collections season after season, and this is probably why I keep going back--it's refreshing to have at least one (female!) designer who knows how to get in touch with her femininity with the clothes she creates. We usually see pink flowing dresses, romantic necklines, and draping layers of tulle and silk producing more-than-beautiful silhouettes, but this season we saw something a bit different. She didn't completely stray away from her normal aesthetic--tulle, intricate floral patterns, and shin-grazing hemlines are still included in the 42-piece collection, but other themes seem to be at play here. A bit of masculinity with the boxier shapes, a bit of utilitarianism with all the coats that act as dresses, and a bit of chaos with the unique layers that range from fur draped over a chiffon dress to a half-coat-half-blouse layered over a white button up and ruffle pants. A bit Victorian, a bit edgy, and even a bit military, which are themes Rocha usually doesn't play with. But she does include that soft femininity we all love! Whether it was fur stoles belting an oversized coat or flowers embroidering a rigid suit, her true intentions of female empowerment still exist in the collection--is this why I keep coming back?

Preen by Thornton Bregazzi reminded us that scary can be good! Part of me believes that's the only reason that attracted me to this collection--the clown inspired show filled with ruffle sleeves and smudged red lips immediately grabbed my attention. It's important to know that one of my biggest fears (next to wasps) are clowns, so it's a bit strange that I picked this collection to be deemed one of my favorite four LFW shows. But they made clowns look friendly and impeccably cool at the same time, with lots of bright floral themes clashing with oversized, draping-over-the-shoulder garments and sheer fabrics layered under flashy bustiers. Maybe this is what I needed to get over my fear--being exposed to it in the form of fashion.

I've never been a huge fan of Mulberry--their overly-English and equestrian aesthetic never inspired me, unlike other collections that go over the top; this brand always seemed too simplistic. But this season I decided to embrace their aesthetic! They revamped their look with oversized coats, more-is-more layers, and beautiful floral prints (an LFW theme, perhaps?) displayed on flowing Gucci FW15-esque dresses (the first season with Alessandro!!). Quilted capes and completely-check outfits made the collection true to Mulberry's roots, but the addition of pussybow blouses, asymmetric hemlines, and clashing textures gave it a modern and retro feel that made me finally start liking the fashion house. Props to them for making equestrian finally look appealing!

Christopher Kane's runway was all over the place last week, but it seemed to be the least chaotic of all the shows, which is shown through the sleek silhouettes and conscious craft put into the collection. Inspirations were spontaneous, but execution was not, which makes a beautiful juxtaposition that everyone always loves in a fashion show. UFO prints covered simple tops, skirts, and dresses; Victorian-inspired floral patterns were seen on pencil skirts and suits; asymmetrical dresses and pleated skirts shined with metallic fabrics of every color; even huge sequined flowers were attached to sophisticated midi dresses. This combination of clashing themes makes us think: is it about space? Is it a modern take on the Victorian era? Is it a glimpse into what our future will look like in fashion? And I think that's the entire point--there is no one inspiration; his main inspiration is really just about making clothing that he found beautiful. Fur-lined crocs aside (am I still the only person in fashion who can't get on this trend?), Kane's lack of inspiration made this collection all the more inspiring and probably one of my favorites of this season.

NYFW Fall 2017 reviews

See all of my show reviews from previous seasons here.

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NYFW Fall 2017: Politics and Pantsuits

From left to right: Adam Selman, Mara Hoffman, Tibi, 3.1 Phillip Lim, Creatures of Comfort, Ulla Johnson.

Photos from Vogue.com. Collage made by me.

This season's NYFW was really important, guys. So important that it actually caught my eye on the first day, unlike last season's where I got to researching shows and writing very brief (and subpar) reviews three days after fashion week ended, where I only wrote the post because I felt it was my duty as a fashion blogger to do so (and I didn't even get to the other three fashion weeks!!!). I could just blame the wonder on the new political climate of our country, which forces politically active designers to make anti-Trump statements through their collections, like the finale at Prabal Gurung:

#PGTshirtseries: Dedicated to the women who inspire us. Our Fall 2017 T-Shirts are now available on prabalgurung.com at the link in our bio. For every t-shirt purchased, a portion of the proceeds will be donated to Planned Parenthood, the ACLU, and our foundation, Shikshya Foundation Nepal. Shop now at the link in our bio. Styled by @kaisergrams Casting by Maida Boina. Makeup by @diane.kendal for @maccosmetics Hair by @anthonyturnerhair for @wellaprofessionals with tools by @hottoolspro Skin by @harcourts for @belifusa Nails by @jinsoonchoi for @jinsoon Thank you to @wearcommando and @footpetals for your support. #femininitywithabite #pgmuse #pgnyfw #pgworld  

A post shared by Prabal Gurung (@prabalgurung) on Feb 18, 2017 at 9:08am PST

Yes, this sudden turn to politics that used to not be incorporated in fashion (even though fashion is always more than fashion) may be half the reason why I fell in love with clothes all over again this New York Fashion Week, but the connections dug deeper than the political statements; the love for smaller designers emerging from the shadows grew fonder. I didn't include any big-name designers like Alexander Wang or Marc Jacobs in my biannual show reviews, and maybe it was because the two collections were a bit underwhelming compared to their previous seasons, but it was also because I wanted to include those designers who don't necessarily get the spotlight. They were just that good.

We'll start with a newer face:

Fairly new (and female!) designer Ulla Johnson eased the transition into Trump's presidency not with blatant mottos of feminism, but with lush fabrics, heavy knits, and loads of pants and shin-grazing hemlines. Politics weren't obvious in the clothes, but the designer is obviously political, where she designed shirts with We Are All Immigrants sprawled across the top. Knowing this allows us to realize her collection still fit in with this activism in the subtlest of ways. A rose color scheme combined with frilly silhouettes and pink roses, of all flowers, surrounding the runway created a 21st century Eden that instead praises femininity and women. Fight for feminism with femininity. Try saying that ten times fast. 

More obvious collections strutted down the runway, one of them including Creatures of Comfort, a brand I fell in love with last season but wish I had years before. We Are All Human Beings printed on a few tops make the obvious even more obvious, but the rest of the collection still carried a sense of flashy glamping--glitter turtlenecks, utility overalls, layers that seem more than necessary, and hemlines that don't creep above the shin, coming in the forms of frocks, relaxed trousers, and a-line midi skirts. Those velvet slides paired with glitter socks make camping seem strangely exciting.

Business professional was all the rage on Tibi's runway (another new name on Fractured Aesthetic!), where suits took several different forms and make a 9-5 job look, well, cool. This could be an indirect shoutout to #pantsuitnation, but if these weren't the designer's intentions, I still would love to hop on the blazer train. Velvet pantsuits, plaid blazer and skirt sets (Dana Scully, anyone?), and modest hemlines (are we seeing a recurring trend?) filled the runway, and Amy Smilovic knew just how to make these timeless pieces not boring--neon shoes in lush fabrics, ruffles to make those midi and maxi dresses more fun, and neck protectors not connected to the rest of the bodice, kind of like those convertible turtlenecks from Madewell. What a cool way to make your day job look like an actually fun 40+ hour week!!!

3.1 Phillip Lim created a collection just in time for Valentine's day, or maybe the excessive amount of pink was meant to represent girl power in light of recent events. Either way, the collection represented a sort of romance, similar to Ulla Johnson's, but in a flashier manner with asymmetric hemlines, chunky knits seen here and there, and fishnet tops layered underneath t-shirts and leather bodices. This kind of romance definitely took a feminist approach, with baggy pantsuits (a trend this season, perhaps?) replacing thigh-grazing skirts. So maybe the collection was meant to represent empowerment, because who doesn't feel a massive amount of female agency when oversized pants can still be fashionable?

This is the third time (in a row) that I've included Adam Selman on my NYFW show reviews, so does this mean he's officially my favorite New York-based designer? His Fall collection could definitely make that statement a fact. This is also the third time in this collection of reviews that romanticism was played with in a show, similar to Ulla Johnson and 3.1 Phillip Lim, but done in a completely different manner--not rosy, not flashy, but in a feminist goth way, where sheer fabrics met floral embroidery and leather and denim were common materials seen on the runway. The rose motif softened the biker-chic theme that Selman was working with, but the thorns on the roses were revealed through the somewhat gritty collection that included Chucks, denim jumpsuits, and an actual bouquet of roses acting as a top that was more grotesque than romantic. Selman always knows how to make a statement, with '90s grunge driving his Fall 2016 collection, disco driving his Spring 2017 collection, and the ugly side of romanticism (Edgar Allen Poe, anyone?) driving his newest collection. This load of contradictions is actually sort of beautiful, no?

In the past, I've always closed my reviews with my favorite show of the week, and this has usually been about the clothes--I closed Fall 2016's PFW with Valentino because the ballet-inspired collection spoke to me on a completely new level. But with Mara Hoffman, it was hardly about the clothes, and her show proved the statement I made earlier in this post, that fashion is always more than fashion. This fashion week has allowed designers to speak up about the current political situation going on in America because NYFW attracts so many important viewers, so what an amazing way to spread the word! Hoffman jumped in on this activism and went all out, having the national co-chairs of the Women's March on Washington give a tear-jerking speech right before the clothes were revealed. Then the actual show began, showcasing a mix of models and contemporary dancers (representing all races, ethnicities, ages, and gender identities!) wearing Hoffman's overly simplistic and comfortable collection that can actually breathe, something I've wanted to see in a fashion ever since Spring 2017 of NYFW happened. The combination of walking and dancing of the models (which you can watch here to get the real experience) told us that these clothes are clothes we can move in, can dance in, can be activists in. Comfy layering combined with shapeless dresses, knits in every form, and pants we can do extensions in filled the runway, and dancers proved that these clothes could actually move by moving their bodies to feminist anthems and chants of spoken word that gives a shoutout to female empowerment. There's been an argument floating around that fashion shows including models walking in the clothes is necessary to show how the clothes move on our bodies, but dancing in them is even more effective--maybe this should be a new requirement for fashion week (remember Opening Ceremony from Spring 2016?).

Check back in the next few weeks for reviews from LFW, MFW, and PFW.

LFW Fall 2017 reviews

See all of my show reviews from previous seasons here.

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NYFW Through the Eyes of a College Student

Pajamas are not just meant for sleeping anymore.

From left to right: Adam Selman, Creatures of Comfort, Alexander Wang, Tome, and Proenza Schouler.

Photos from Vogue. Collage made by me. 

An extended title: NYFW Through the Eyes of a College Student (Who Does Not Reside in NYC).

My new location of D.C. has made things tricky. A two hour plane ride to New York has transformed into a three hour train ride, so technically NYFW should now be a piece of cake. Skip classes, Natalie! Go live your dream!!! Unfortunately, my four and a half hour long photo class makes dreams die. Last NYFW, I spent the entire week researching shows and even being in the city to take street style photos. This year, my perspective went 360 and instead I spent ten minutes everyday attempting to take slight glimpses of the shows through Snapchat and Instagram which only resulted in my newfound contempt for Marc Jacobs. This failure then led me to frantically scrolling through Vogue and Man Repeller (she always reviews the best shows!!), desperately seeking for the best collections. This was a hard task. I'm not sure if it was my unfortunate situation of not being able to actually admire NYFW as a whole or if it was NYFW's fault -- am I the only one who thought it was underwhelming this season? Through my disappointment, I still found five shows that are worth [briefly] talking about. 

Familiarity is key when time is limited, so I immediately went to Alexander Wang for comfort. It didn't match with the excellence that was SS16 and AW16, but the idea that pajamas are in (this idea will be a recurring one) spoke to me in a certain way that only college students can understand. Lace embellishments and button downs with pinstripe pajama shorts opened the collection that showed off Wang's true intentions in fashion: simplicity. But his implications are far more complex than the look of the show, drawing from his California roots and sex (as always) through the rash guards shown off in the middle of the show and the revealing of a lot of skin. It may have been an underwhelming collection due to the lack of a shock factor, but maybe uncomplicated is good -- no fuss fashion seems like the perfect way to stay in style when effort is hard to find.

Knowing how inspiring Adam Selman's collection was last season, my second step in researching shows was instantly typing his name into the search bar on Vogue. Immediate gratification was delivered. Selman followed a similar path as Wang and wanted to make pajamas cool again, but instead of creating a deconstructed look, Selman went a different route and had bold and even vulgar themes. He drew from pop culture and the past, as per usual, by connecting to disco and the '70s, but he did so with subtle undertones that don't take away from the simplicity of the collection. The progression from morning wear (literally) to evening created a collection that only whispers practicality, and anything that has a touch of that description seems so appealing at the moment. Where would fashion be without refreshing collections like this?

Comfort is key in the collection by Creatures of Comfort (how shocking!!). This is a brand I've been eyeing for the past few seasons but never got into until now, when pajamas (yep, once again) and waistless, draping shapes made an appearance. What makes the collection as a whole so captivating is not the clothes itself, but the meaning behind the clothes, which is all on inspirations from Frida Kahlo -- just look at the embroidery and ruffles! The combination of comforting colors and slides in different shapes and forms makes me want to do one of two things: either hop on a plane to Mexico or stay in my bed all day. Both sound equally appealing.

Here's another newcomer to my fashion repertoire! Similar to C of C, Proenza Schouler  has been on my radar for a few seasons after Leandra Medine said it was one of her favorite brands a couple years back. After making a lot of bold decisions, they made the cut. I'm not sure if it's because it's so different than the above reviews (or really anything I've ever seen before), or if it's the geometric focus in both design and shape of the garments, but this collection spoke to me, loud and clear, with its daring patterns, unique silhouettes, and flatforms. This collection seems the most artistic out of all of NYFW's shows, and this could either be from the risks the designers took with color or the actual Greek art displayed on a few pieces. Where Adam Selman brought refreshment and Creatures of Comfort brought, well, comfort, Proenza Schouler brought awe, and maybe this is the one show that could wake us up from the first three. We can only stay in our PJs for so long.

And finally, we end with a younger brand that really knows how to experiment. Notice how I didn't end with Marchesa or Marc Jacobs or Rodarte, a.k.a. the ones every fashion blogger and her mother are obsessing over (don't get me wrong -- the collections of Marchesa and Rodarte were stunning). College has made me have a limited attention span and an inability to be captivated by even the most awe-striking clothes, so I had to search for something that turned my gaze the opposite direction. Tome  played with fabrics and shapes and textures of all formats, creating a collection that's, in one word, different. This different isn't too much, however, because the experimentation blended together so perfectly to create a show of beauty. At the end of the day, this is why I love fashion. A brand that's just reaching the age of five can evoke emotion and wonder just as much as any big name brand. Also, the paint on the models' faces is so cool!!!

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Adieu to Fall/Winter 2016

collage created by me, with photos from Vogue Runway

My favorite month of the entire year (yes, even greater than December that brings Christmas and New Year's Eve festivities) is over. I am miserable, jaded, devastated that I can't continue to refresh Vogue every hour to see the latest collection from fashion week or that I can no longer spend hours scrolling through street style photos from Paris and constantly ask myself, "How do they do it?". The not-so-fabulous life of my self-diagnosed Z-list blogger, maybe, but at least it was something. I miss being amazed at how designers are able to practically pull off magic through their shows, and then this magic makes me not as sad anymore. Yes, fashion month is over (insert multiple crying emojis)!! But then I think of how Paris Fashion Week ended such a beautiful month with the most inspiring and magnificent collections, even greater than NYFW's and LFW's and even MFW's, and I look back at the très bien fashion we saw in the French city, and I only see the opportunities for next season. Layering with delicate and masculine pieces. Oversized coats paired with patent leather. Accessories on everything (especially the neck), and sheer fabrics that create loose silhouettes. Puffer jackets, finally, and ballerina-inspired tulle gowns.  I always say how PFW is the perfect way to end fashion month, but this season, j'adore. I've never taken a single French lesson and I probably know only four terms, but this past week makes me want to learn the language (and definitely move to Paris). So grab your berets and croissants (that's how the French do it, right?) and take a stroll down PFW memory lane with me.

The oversized trend appears, once again, at Rochas, but instead of following a masculine, utilitarian path, this collection followed a playful, adolescent, wearing your mom's clothes kind of look. But this time, the kids picked out the most out-there pieces, filled with floral and shimmery frocks with sleeves too long for their arms, multi-colored stockings too baggy for their legs, and platforms too high for their youthful gaits. The kids grow up through the show, however, by showing some skin, adding sophisticated fabrics such as velvet and silk, and wearing sheer evening gowns. Themes of femininity and lightness play throughout the entire show with the repetition of ruffles and complex prints, and it made us realize that fashion is so much better when it's not taken too seriously.

The McCartneys are a talented bunch. My first favorite musician (and concert at the early age of 10) is the father figure in all of this, so it's not surprising that Stella McCartney would fall into her father's shoes, just with a fashion line instead of a '60s pop band. "Bitch, I'm a vegan" and "get yo tofu on" rang through our ears as we saw an animal friendly collection that stayed true to Stella's vegetarian ways and the fitting lyrics of the songs. A juxtaposition of sporty, feather-free puffer jackets and metallic pleated details strutted down the runway, and icons of swans graced just about every type of clothing, whether it was a practical cotton blouse or an oversized maxi. It's pretty obvious that the McCartney daughter supports animal rights, and I'm not even a vegetarian, but seeing the mix of feminine details and gowns with relaxed knits and boxy pants makes the idea seem a lot more appealing.

The '70s are gone, the '80s are back. That's what Isabel Marant is trying to tell us, and patent leather and edgy silhouettes never looked better. This is a collection fit for Heathers and the British punk scene of the '80s. Shiny minis paired with ankle-length trenches (J.D. would come back to life just for that coat), frilly tops tucked under skin-tight leather pants, and even those tacky hairpieces worn at prom circa 1983 finished looks with plaid/leopard print jackets and zebra-print shoes. Sounds like a nightmare, but looks like a dream, if your dreams have The Cure playing on repeat. Start wrapping your dresses with huge belts, adding pins to your oversized coats, and wearing fishnets non-ironically because the '80s are back, baby.

Now that the new Chloé girl is inspired by Anne-France Dautheville, the woman that traveled through Europe and the Middle East on a motorbike, I would like to become a traveling-biker-girl ASAP, especially if wearing flowing frocks with leather pants and neck scarves is part of the deal. When inspirations as unique as this are so clearly stated, it truly shows through the clothing. That free-spirited nature of Dautheville emanated off of the practical leather boots and the structure of those gorgeous multicolored dresses. Masculine pants and zip-up jumpsuits can totally be feminine, because #girlpower (plus yesterday was International Women's day. How fitting). Chloé definitely made a statement, and it may have been the empowering female version of Kerouac's On the Road or a request to immediately leave our jobs and travel the world. Next time I travel, layering my dad's oversized pullovers over ruffled dresses and buying bandanas in bulk will be on my fashion to-do list, if I even have enough responsibility to create a list like that. That's what Dautheville's philosophy was all about, right? Live in the moment, or something of that nature.

There's a unique beauty and grace that comes from the purest forms of fashion, and Valentino perfectly captured that essence, unlike their last distasteful collection that attempted to culturally appreciate but unfortunately culturally appropriated (with 90% white models, of course). I've been angry at the brand ever since, until this new collection, where the ballerina in me (you learn something new about me everyday) is fan girling, internally squealing, physically crying at the pieces Valentino brought this season. In ballet, there's a certain type of poise and artistry that cannot be recreated in any other form, but of course Valentino recreated it with an impressive collection of 81 pieces filled with tulle inspired from tutus and the looks of a dancer that go on before, during, and after a rehearsal or performance. Dreamy gowns that look like they were pulled out of Swan Lake or The Nutcracker blended with looks that incorporate the simplicities of layering when it comes to a dancer, whether it's layering a velvet wrap dress over a thin turtleneck or throwing on a sweater over ballet tights and flats. A live pianist played melodies that allowed the ballet-bun clad models to dance across the runway, and at times it was perfect for an adagio (slow, graceful movements) or even a petit allegro (a series of small, staccato jumps). These movements strangely correlated with the clothing because there was a combination of gentle, delicate pieces with opposing looks filled with layered, intricate details. Unfortunately for Alessandro Michele I think Valentino won fashion month with this collection. I could go on for hours about how wonderful the show was, just like I could go on for hours about my love for ballet, but PFW must end somewhere and it ends on this note:

Fashion may just be clothing, but when clear inspirations are shown through the looks, an extra dimension is added, a layer of reason and beauty that gives the designs meaning and truth. This is obvious through all the shows from Paris, whether I reviewed them or not, and I guess this is the reason this week was so, well, inspiring. Ask me why I love fashion, and I'll simply give you my top five shows from PFW Fall/Winter 2016. So here's my farewell, my adieu, to this season's fashion month. Au revoir, my dear friend. Until September.

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