Tuesday, 21 July 2015

Woman in Clothes







“I guess, and correct me if I’m wrong, clothes are important to you because of your work?”

The question came up when I was chatting with a friend the other evening. I’d surfaced for a little while from some rather frantic late-night typing and note making, and the talk had turned to what we valued.

“No, not really. Work comes into it, but it’s more about the clothes themselves. About dressing up, knowing I look damn good and deriving confidence from that. About playing around with the image I project, or assembling a persona from what I’ve got on. About looking at the narrative of a garment. Obviously it helps with the blogging and everything, but my work came from the clothes - not the other way round.”

Well, I replied with something along those lines. Possibly not quite as articulate (my brain was feeling a little frazzled after a full day in front of a screen). There were so many other things I could have said beyond that though: acknowledging pure pleasure in wearing a good dress; enjoyment in intelligent analysis of style; the cultural, social and historical role of clothes; that miraculous ability to shape how others perceive you on a daily basis; the room for craftsmanship and verve and serious flights of imagination. A hundred and one different reasons to adore or be intrigued by the contents of a wardrobe.

“I hadn’t really though of it like that. I just have clothes I wear because I need clothes, and nice clothes reserved for occasions.”

His response made total sense. It also made me realize that I have very little distinction between the two, and that the way I think about clothes doesn't always chime with how others view them. For starters, I rarely divide off functional from ‘dressed up’, unless I’m wearing wellies – and even then it’ll usually be with, say, a leather mini-skirt and impractical cardigan. I may wear flats all the time (my height + a bike + general dislike of things that impede striding), and I may plump for vaguely comfortable items (belts and me do not get on), but beyond that, every day is a day for nice clothes – regardless of occasion. Even if I’m not leaving the house. Even if I’m feeling shit – in fact, especially when I’m feeling shit. The powers of a killer outfit on days when it’s all too much are vastly underrated.

I used to say that I’d rather over-dress than under-dress, but I don’t think I necessarily measure my outfits in terms of 'dressiness' now. Much as I do love the occasional bout of incongruity, it’s more what feels right, what works, what aligns with my mood that day. Could be as simple as a shift dress or as fussy as matching my socks to my shirt collar and bag. As low-key as jeans, or high maintenance as this Chloe dress – with a suggestion of liquid gold in every movement.

That snippet of conversation above took up no more than around four minutes before we skipped on to other subjects, the brief mention of clothes strung in among talk of literary theory and summer plans. But I thought about it again the next morning while reading Women in Clothes (I’ve got into the daily routine of reading a portion over breakfast and coffee, savouring each page in turn.) It’s essentially an ethnographic study of women’s relationship to clothing, in all its many permutations. There are survey answers, interviews, written pieces, lists, snippets of conversation, diary entries, photo-series, old snapshots and illustrations. Together they build up an illuminating whole, a kind of shape tailored with innumerable tiny darts and stitches (sorry, was that image inevitable?) 

Along the way it covers every conceivable angle you could apply to clothes: sexuality, gender, confidence, aesthetics, body image, shopping, identity, uniforms, joy in a good outfit, factory production, hand-crafting, family stories, disguises, transformations, the balance of envy and admiration, attraction, intimacy, mistakes, and marvelous encounters. Lots beyond that too.

I think what I value most about this book though, above the delight in some serious sartorial stimulation each day, is the validity it gives to so many experiences – to story after story detailing different relationships with clothes. There is room for every approach, every way of dressing. It also quite amply proves the significant role that clothes have in shaping the way we see ourselves and how others see us.

It still feels like a slight revelation whenever I open its pages. It talks about clothes in a language I understand – one that isn’t couched in fash-mag hyperbole or 'hot new thing' speak. Instead it brings everything down, quite literally, to the fabric of everyday life. Just as it should be. Just as I love it most.

I was thinking about dressing up, dressing down, and everything in between when I rediscovered this Chloe dress (a wonderful birthday present) - previously worn on the blog here and, for the first time, here (in the latter I'm wearing the same shoes as above. Now there's versatility for you!) This time it had the addition of an incredibly sumptuous vintage velvet coat that my mum bought. I had an awful lot of fun strutting around a windy hill-top in it... 

Also, talking of clothes and stories, the tale of my grandma's Doctor Who dress went up on Worn Stories recently. 

Wednesday, 15 July 2015

Witchy Vibes







Type ‘witchy vibes’ into google, and about 143,000 results come up. Admittedly some of them seem to be related to a racehorse of that moniker (what a name). However, a fair few are also devoted to the specific ‘vibes’ associated with all things pagan, magical and vaguely subversive: whether it’s hazy-grained images of tarot cards on Tumblr, or cackling girls dressed in floaty fabrics. I still find it a kind of funny phrase though. Why do those two words nestle alongside each other so often? Why is it 'vibes' rather than 'looks' or 'aesthetic' or anything else similar? 

Especially when it comes to fashion too, ‘the witch’ seems a kind of popular figurehead who pops up (or should that be swoops in?) every few seasons. I still recall with a particular clarity Luella’s AW08 collection, with crimped hair aplenty and the odd pointy hat in sight. It stuck out to me hugely, perhaps tapping in to my own childhood inclinations – harking back to a point where every Halloween I faithfully dressed as an ever-more elaborate witch, with swathes of lace and plenty of purple lipstick. I’d cast spells, hang fake spiders' webs everywhere and go trick-or-treating with friends.

Of course the fashion version of ‘the witch’ is often little more than shorthand for velvet, tulle, dark satin, and the odd scrawled symbol (one which the designer may or, as is often the case, may not have researched to any great length). Perhaps some crazy hair too. The odd nod to Kate Bush. Black layers. All the black layers. Maybe a Gothic outdoor location, all crumbling stones and windswept scenery. The witch is transformed into something sexy and gorgeous and usually all slender and young – perhaps vaguely threatening, but only within certain boundaries. More often than not, this is a conventionally attractive incarnation of the witch. No warts or straggly grey locks here. Arguably little of the outspokenness and independence that originally made ‘the witch’ such a figure of mistrust throughout much of history.  

If you want a far more comprehensive overview of pop culture, sex appeal, and the threat of ‘the witch’ though, go and read Zoe Coleman’s fabulous article here. It’s enviably good, and pretty much includes everything you’d want to know, moving from the Salem witch trials to Disney villains to Buffy the Vampire Slayer. Incidentally, it’s published on a website called The Coven – an ever-so-ace website with the tagline ‘must be the season of the witch.’ All the articles are whip-smart great, their ethos being this:

‘The coven has long been a sacred space for women to do and say thing outside of the norm, and we’re not particularly interested in the norm… We want to look at serious things without being dour and to look at frothy things without being insubstantial; to publish fashion, beauty, travel and food writing as much as criticism or a meaty interview.’

I love any kind of space setting out to be embracing, challenging, funny and thoughtful all at the same time – a space where as you’re browsing you can excitedly agree with one article, disagree with the next, and be jealous you didn't write the third. They’re tip-top. Go have a look. Also talking sexuality and gender, I recently read Margaret Atwood’s NY Timeessay on John Updike’s The Witches of Eastwick. As with many of her essays, it’s a great mix of witty and insightful. To give a small taste:

‘Mr. Updike takes ''sisterhood is powerful'' at its word and imagines it literally. What if sisterhood really is powerful? What will the sisters use their ''powers'' for? And what - given human nature, of which Mr. Updike takes not too bright a view - what then? Luckily these witches are only interested in the ''personal,'' rather than the ''political''; otherwise they might have done something unfrivolous, like inventing the hydrogen bomb.’

This been a hop, skip and skim across the first few things that came to mind when I thought of witches – little more than a list of the odd thing recently remembered or stumbled across. There's so much else to explore and think about and comment on. But that’s partly because the history, symbolism and cultural significance of the witch is one of those MASSIVE subjects that takes up book after book. I think I need to go and read a few more of them, maybe appropriately dressed in this ever-so-witchy, wide-sleeved black dress…

These photos were taken by Paulina Choh, who is a whizz with her camera - previously taking these images of me scampering around in a silver dress. The black dress worn here was bought from Oxfam. I snapped it up the minute I saw it. The combination of crocheted bodice and wide sleeves was too delicious, despite its entire impracticality for anything other than photo-shoots. All the jewellery is vintage. 

Friday, 3 July 2015

Tables and Chairs







I like unusual objects in incongruous places. That’s probably why I adore Tim Walker so much – entranced by the beds in the woods, the aeroplanes in stately homes, the tents in libraries. Many fashion photographers play around with these kinds of juxtapositions, making the ordinary slightly more bizarre or brilliant by introducing unlikely clashes of prop and location. Tim Walker just happens to do it with a particularly vivid, striking type of flourish. He’s made it his trademark, encompassing everything from a living room with a stream running through the middle to Lily Cole dangling on a huge fishhook above a river.

That kind of use of location – of making it new and odd – is also what I found so appealing about Punch Drunk’s The Drowned Man. Set over several floors in an abandoned warehouse, each level was transformed into something different: ballrooms, film sets, forests and deserts among them. You could wander between each in turn, stumbling across rooms full of sand and desks and birdcages, or locating the secret passage at the back of the wardrobe. It was my favourite kind of interactive theatre, the audience turned voyeurs as we craned forward to follow a lover’s argument or watched the doctor at work. It was less an unusual juxtaposition, more a suspending of usual boundaries - space made strange.

Perhaps my favourite example of incongruity though isn’t something I ever saw, but only heard about recently. Back when my dad was 25 and living in Bristol, he and a friend decided to do breakfast with a twist. Rather than your average dining table/ kitchen set-up, they took their morning meal to a nearby city centre roundabout - setting up a table and chairs complete with tablecloth, food, teapot and cutlery on this small patch of grey concrete. Both wore dressing gowns and read newspapers. You can see pictorial evidence here. A local radio station got involved, asking whether it was “political?” The police stopped to ask what on earth they were doing. My dad’s answer? “We wanted to cheer up the commuters.” This is what I appreciate most. It was street performance, for sure, but there was no intent beyond the two of them doing it because they could, because they were young and playful and thought it would be funny.

I’ve never managed anything on that scale. I’ve taken tables and bookshelves into fields. I’ve hung dresses in trees. I’ve got friends to wander along with picture-frames over their shoulders. These feel like tame offerings though, usually solitary – surprising only the odd dog walker or enthusiastic hiker. Maybe I need to up my offerings, do things on a grander scale. Or maybe I can just appreciate what others have achieved, and occasionally do my bit by wafting around crumbling Welsh cottages in lace wedding dresses, just for kicks…

Here's me in the slightly more prosaic setting of our garden, wearing all second-hand - including a vintage sixties suede pea-coat I nicked from my mum. I'm now off to go sit out there again with a glass of wine in one hand, and a poetry book in the other. Not really incongruous, but ever so delightful.  

Wednesday, 24 June 2015

'Vintage Style', and Other Minor Sartorial Conundrums








There’s been something of a recent pattern in my charity shop visits – an interesting, retro-looking fabric glimpsed, a hand reached out to disentangle the item from the surrounding coat-hangers, and then the moment of disappointment. It’s the moment of realizing that this is no hidden vintage gem, but an irritatingly good high street reproduction. The pattern or shape may resemble anything from a 60s baby-doll dress to a fifties fitted skirt, yet hold it up to light and the differences in fabric and construction quality become visible.

Maybe this is snobby of me. In fact, I know it probably is. I am a clothes snob (although only in relation to what I choose to wear myself, rather than in judging others). If I’m going for vintage, I don’t want pale imitations, but the real deal – proper seams, darts and all. Good fabrics. Possible backstories and previous lives. That’s not to say I’m overly selective with the labels sewn into the necks of the clothes I buy in charity shops. I can and do purchase plenty of second hand high street garments – although they don’t exactly dominate my wardrobe.

Yet the high street’s rather creeping embrace of vintage designs is something I find as fascinating as it is frustrating. It's been inevitable. Whatever appears on the catwalk eventually filters down to chain stores. The last few years have been a hotbed of references to each previous decade. About once every year and a half the sixties is trumpeted as “being back”, the nineties has been doing its damn best to infiltrate all areas of life with crop tops, mini-backpacks and pastel colours a-plenty, while the seventies seem to have returned in full suede-y, denim-y force.

It’s natural to raid the past for inspiration. I have no problem with referencing 30s high glamour or 70s louche layers – the 20th Century (in particular) is awash with all sorts of silhouettes, colour palettes and textiles ripe to use for inspiration. It would be incredibly sad if no-one plundered the archives or used pictures from the past to influence their designs – especially because at various points, it seems, designers actually knew how to cut clothes for a range of different figures and body types. Lots of modern day brands could learn from that. Plus, looking backwards is something creatives (across a range of industries) have always done, and will always do. 

So I still can’t quite put my finger on why the high street’s facsimiles of vintage designs occasionally rankle. I think it’s maybe because the end result is that ‘vintage style’ becomes just another trend – another search term on eBay, another possible look among the pick’n’mix selection of other keywords like grunge, hipster, normcore, boyfriend, girly or festival-chic (am sure you can easily think of other even more nauseating terms). It often seems to be a market response to the resurgence of vintage, rather than genuine celebration of a particular decade – which in turn means you have to be extra-careful when perusing the labels in vintage shops, for occasionally the odd thing from Topshop slips through.

There are other strands to this, many linking back to my self-acknowledged snobbery. Do I react more strongly if the label is high street rather than high end? Does my response change if I genuinely like the garment - especially if it seems like an inventive update of or homage to something classic? Am I merely perpetuating an attitude of exclusivism or style elitism? Am I being a hypocrite, as I definitely own a number of high street twists on vintage designs? Am I basically a tad irritated by something that doesn’t really matter at all? Probably 'yes' to every question. 

I do wonder though if it’s partly to do with that first fleeting instance of being disappointed that something which felt special to me – a particular style of a vintage top, shirt, or tea dress – has then become ubiquitous when one brand or another decided to make it their ‘look’ of the season, before discarding again. Suddenly certain sartorial decisions fit a trend, rather than looking like they were actively selected. But maybe my attitude should be ‘the more, the merrier’, rather than a whole lot of muttering and wittering here. And even in writing this, I'm aware of all the shades and nuances and alternative arguments I haven't even touched on... More consideration needed. 

These photos were taken by the lovely Monica several months back when we were in Bologna. I'm wearing a bona-fide fifties dress (and eighties belt), but accompanied by modern ASOS shoes. 

Wednesday, 17 June 2015

Treasure, Trinkets and the Occasional Diamond





When I think of jewellery, I think of family: of the big green, glittery necklace passed down to me from my paternal grandmother; the strings of faux-pearls and dangling pendants from my late maternal great-grandma; the various brooches from distant cousins and Great-Aunts: all cameos and flowers and sparkly paste echoes of diamonds; the rings from my late maternal grandma. The latter remain especially significant, having been the ones my mum’s mum had made for her - after the end of a particularly awful relationship, she took jewellery from that period to be melted down and the stones re-set in newly designed beautiful silver rings. I wear them all the time now, the loops and whorls of metal contrasting with moonstones and turquoise. I have other rings too, like the two gold bows, one of which belonged to my Great-Aunt Eva – who died of leukemia aged nineteen (read more here). I relish these stories, as I do with all family garments and cast-offs.

I’ve always viewed jewellery as a part of dress-up, to a certain extent – badges and lengths of beads infiltrating childhood play from an early age. My brother and I used to play something called ‘the treasure game’, involving a motley array of trinkets, often broken or rescued from being discarded. We’d pretend to be pirates divvying up our wares, carefully choosing them, one at a time, from a pile in the middle until we each had our stash. Then the bargains began. Was that iridescent bracelet with the broken clasp worth giving up in exchange for a mother of pearl pendant and a hat-pin? What would it take to secure the single mushroom-sized, multi-coloured clip-on earring with its red, purple, green and blue stones?

At secondary school I went through a big Claire’s Accessories phase – buying the kinds of cheap stuff that left your skin green beneath the metal. The goody bags were the best, an unknown pic n’mix delight of possibilities for a fiver – no idea what you’d find when you dug into the plastic. It was all about the small details then – the ear studs you could get away with in school that somehow might still convey some tiny aspect of personality, along with a carefully chosen bag (mine was a Roxy backpack).

I’ve since taken my ‘treasure game’ a little more seriously though, securing plenty of the desirable jewellery, some of it from that early 'pirate' hoard. I mainly wear necklaces and rings (though am planning to get my ears re-pierced soon so that all sorts of marvelous things can then dangle from them once more). Currently I have a line of cocktail glasses in my room, all spilling over with my spoils, nothing new among them other than a charm bracelet from my mum (charms choicely including books, a coffee cup and a champagne bucket) and a few beautiful Bill Skinner items that I got in return for some modeling. Even the old stuff that didn’t belong to family members is also second-hand. One of my most-complimented pendants, usually worn on a silver torc, was from the local charity shop for 50p. Bar one or two precious things (including a very special locket) the collection is not worth much - but imbued with so many resonances and stories and places. 

Usually I’m content with this set-up, eyeing up my vaguely rag-tag assembly of chains, beads and stones, plucking things up according to colour and the day’s/ outfit’s mood. But then I got to wear Pippa Small’s jewellery for an afternoon during this set of portraits, and I felt like a magpie – entirely entranced by all those ammolites and opals and diamonds and tourmalines and amethysts and rubies and so many other stones that are so very satisfying to name. I sat as Susannah Baker-Smith chose each new combination, content to lounge in the afternoon light as my skin was adorned with all these turquoises and golds and greys and rainbow-scattered shades. Some of them seemed to transform when on, while others seemed to transform me. We worked carefully with angles and poses (jewellery is surprisingly tricky to photograph), Susannah moving around and directing my limbs, me holding my breath while I waited for the shutter-click. The shoot was a small, suspended interlude in an otherwise frantic week.

That afternoon also reminded me of the possibilities of modern craftsmanship (especially apt for Pippa – read all about her ethical projects and work with communities here) as well as the sheer, aesthetic pleasure of wearing truly gorgeous jewellery. It does something to you. Not sure exactly what, but it's quietly special. And although it's beyond my price range for now, a girl can idly dream…

Susannah is a marvellous photographer and even more marvellous friend. It always feels like a vague honour to work with her - as I have done twice before. I feel like she captures something of me that's very natural and relaxed. And you can see Pippa's website here.

In other news, I wrote something for Yahoo Beauty on Oxford, outside perceptions, and going my own way. You can read it here



Wednesday, 10 June 2015

Why Living in the Moment is a Trite Phrase for an Important Thing








The week before last I went to Hay-on-Wye, dropping in for an afternoon interlude at the literary festival. It was much too short an immersion, time only for a coffee, some book browsing, a single event, and a smattering of aimless wandering. The town was a-buzz; pavements crowded and queues everywhere. There’s something intriguing in observing a place you know well - briefly transformed, quiet streets suddenly full of racket.

I also had chance to meet the completely wonderful Louise O’Neill, author of Only Ever Yours (see my review here). We sat down for a quick talk, ranging over areas from Instagram to books to beauty standards. We both commented on how we already felt like we knew each other – Twitter providing a platform for conversation long before any face-to-face chats. She’s about the fifth amazing woman I’ve met through social media within the last month. The modern world is wonderful, isn’t it? Weird and odd and great, all at the same time.

I left Hay that evening feeling so utterly content. It did what so many exciting things do, whether it’s an event, a lecture, a two-way conversation, or a collection of poems. I relish anything that heightens my enthusiasm – reinvigorating and stimulating an idea, perhaps, or an ongoing piece of work, or a thought still buzzing with potential. There’s a sense that one could go and do anything: write something, create/make/ work and craft, or think and learn. We need those touchstone moments. They’re not so much grounding as elevating, a necessary form of uplift occasionally required when things are feeling bogged down. Hay also felt like a temporary shrugging off of responsibility, real life ebbing for half a day.

When have I had similar feelings since? At a barbecue in the park where we waited to watch the sun set over the buttercups. While drinking cold white wine in the burning heat, sitting on a sofa in a friend’s garden. During the weekend just gone, full of books, conversation, and bouts of slipping in and out of the river in my bikini - stretching and kicking and breathing (and avoiding the odd boat). Each morning as I make breakfast, brew coffee and spend half an hour reading Women in Clothes. An equal mix of social encounters and solitude.

Various things have been a struggle recently, requiring me to acknowledge my own vulnerabilities and limitations. But when anything feels less manageable, I always try to bring myself back into these small, significant experiences and ways of treating myself well. They are what remain important.

So much of the time we focus on work and achievement, forgetting the necessity of all the good stuff - of friends, family, lovers, food, long phone calls, whisky, a coffee in a café, reading a book because it’s enriching, writing something for oneself because it’s stimulating and full of possibility, listening to someone who needs an open ear.

Of going for a day trip, taking a walk, dancing until knees ache, listening to fantastic music, having fizzy conversations that make you dizzily content, sleeping in when the sun is reaching through the curtains, getting up early and cycling through near-empty streets, beginning a new project just because you can.

Of wearing a damn good outfit and several layers of red lipstick, buying things you don’t need at car boot sales because they’re simply too pretty, trawling charity shops all afternoon, talking to strangers on occasion, or enjoying your lonesomeness at others.  

Then there’s the pursuing of thrilling opportunities and new quests and intellectual challenges – perhaps pursuing in the knowledge that it will not necessarily be easy, but will certainly be satisfying in the end. You just have to recognize that as you work through things from hour to hour, day to day, some of those hours and days will be glorious and glittering, while others may prove really quite tough. I guess it has to be a specific kind of pursuing too, one tempered by the recognition that you are not solely the worth of your GCSE grades, your A-level results, your university degree, your inbox, your income, your work-life, your online image, your looks, your desirability, your status.

You can absolutely and utterly be bloody proud of any of those things, if you so wish. I am, with various things on that list. But for years some of those achievements were the only way I defined my worth – becoming a singular measure, rather than a set of contributing factors to an overall sense of self. Hopefully the equilibrium is a little more balanced now.

I spent this evening cooking a curry for myself, drinking red wine, and working out what I needed to complete before the end of the week. I took it moment by moment. Now I’m off to dig my nose into a book before bed. It’s taking time, but I’m getting there with each little anchor back in the present, each instance that lifts the day.

While in Hay I wore the most fabulous vintage tartan shorts I'd picked up the previous day in a charity shop for £4 - here combined with a second hand polo neck, a cardigan that belonged to my great grandma, and shoes from a charity shop. The notebook was bought on the day, and has now become the place for all my poetry scribblings and general notes. 

Friday, 5 June 2015

Denim and Velvet







I’m not a jeans girl. I’m a miniskirt and thick tights girl. I’m a shorts-and-bare-legs-even-though-it’s-grey-and-cloudy girl. I’m a maxi-dress girl. I’m a black velvet trousers rolled up at the ankle girl. I’m not a denim aficionado. I couldn't wax lyrical about the best places to find skinnies or tell you what type of Levi’s I love. I am instead the kind of girl (or should that be woman now?) who wears jeans so infrequently that people tend to comment on it whenever I do.

But maybe, just maybe, that’s less about taste and more about height. Being an inch or so off six foot, finding jeans that both fit and flatter can be something of a (hyperbolic and frivolous) nightmare. The pairs I do own are all second-hand, usually plucked up because they’re noticeably longer in the leg.

If you’re anything above about 5’8”, and even bother to look at the trousers rail, your eyes will be firmly stuck on the hems, searching for any that protrude below the others. Usually this is followed by disappointment in the fitting room when either you can’t pull them past your thighs, or the waistline is so voluminous that they immediately slip back down to your knees. Occasionally, very, very occasionally, you might get lucky. This has happened to me perhaps three times in the last two years. Admittedly that’s also because I’m more likely to be found shimmying my way into cotton sun-frocks than skinny jeans. Regardless, there was a genuine thrill in these acquisitions. Perhaps it’s all about scarcity – the harder it is to find something, the more they’re appreciated when located.

I feel like I need to clarify that opening statement further. I’m not a jeans girl, but I do enjoy wearing them. It’s just a sporadic pleasure rather than integral part of my wardrobe. There’s a kind of easy power to be found in jeans, whether we’re talking tight, high-waisted ones worn with a vintage yellow button-up halter-top (my best friend and I have decided we want to revive and occasionally embody the phrase “fifties sexpot”), green jeans with a fancy evening coat, or these seventies-esque flared beauties pictured above which work so well with prints, waistcoats and curly hair. I feel like I can stride in jeans. I can do practical things. I can jump about and cycle and climb trees  - all activities that, in my usual skirts/dresses, mean I inadvertently end up flashing unsuspecting strangers.

Maybe it’s more about conformity then? As someone who, more than she’d like to admit, kind of hates looking like other people, perhaps I find jeans just a bit too ubiquitous. I’m not big on ‘staples’ or ‘must-haves’ or ‘basics’ (unless that ‘basic’ is a sixties shift). The last time jeans were a proper staple for me was aged thirteen or fourteen, when I wore my grey pair until they were more holes than denim – see evidence of them in better days here and here. In the former I claimed, somewhat hyperbolically, that “I couldn’t live without skinny jeans.” Well, six years on I’m still surviving… 

Like any item though, I guess it’s what you do with it. Jeans can and do look brilliant in all sorts of circumstances – whether accompanied by a tailored silk shirt or the comfiest of comfy jumpers. They can be as pragmatic or as dressed up as required. To me they now just require some sort of special ‘something’ to give oomph to the outfit – crushed blue velvet perhaps, or an interesting neckline, or a sharply cut blazer.

So, I began this post by saying I’m not a jeans girl - though mostly due to a desire to wear other things, rather than any kind of denim vendetta. Yet still… sitting down to write this has kind of reinvigorated my interest. I suddenly remembered these Tommy Hilfiger jeans I nicked from my mum, and these ridiculous Jean-Paul Gaultier patterned ones that I still swing between viewing as marvelous and vaguely monstrous. Thus I’ll add to that opening sentence one last time – I’m not a jeans girl, but I may yet become one...

These second-hand jeans are here worn with a mix of vintage things from various charity shops - this shirt is a particular favourite of mine, while the velvet waistcoat was one of those 'whim' buys that proved incredibly satisfying. My trusty old Russell & Bromley men's boots proved great for stomping around the woods while my dad took photos. 

Thursday, 28 May 2015

Creative Collaborations










A few weeks ago I found myself crouching, somewhat precariously, on a branch many metres above the ground. I was wearing a silver ballgown, naturally. (What else does one wear to scale fallen trees?) We’d caught the last gasps of sunset. I was calm and elated and shaking slightly in the chilly breeze. Over the river the odd jogger and couple were reduced to blobs of colour. I was more focused on the lens below, smoothing my shivers into static poses.

It was sitting up there, grass below and sky above, that I had a moment of utter joy: joy in modeling, in collaborating, in doing vaguely ridiculous things to secure a good photo. Joy in how incongruous I was, but also how natural it felt to be scrabbling for footholds whilst ensuring the thirties bias-cut fabric sat just right. Joy in the adrenaline hit of wind, skin, fabric and a great(ish) height.

To me that enclosed moment points to all the best aspects of shoots. They are first and foremost a collaboration. One in front of the camera, one behind, both working together to produce something exciting. (Obviously there are also those shoots involving a whole team. Different dynamic, just as interesting). More than that though, there’s a sense of working together for the sake of adventure. Take a rough idea, a location, a hastily assembled set of clothes, perhaps throw in a set of interesting weather conditions, and you’ve got some proper fun.

That interlude of perching, standing, lying down and scrambling around also reminded me of the spontaneity I had as a young teen – where, on a weekend, I’d shove some items in a rucksack and head outdoors with a friend and a camera. I had the time to be imaginative and silly, to jump across streams in very impractical heels or hang out in bluebell woods. I dressed up in vintage swimsuits to traverse fields of flowers, skulked among trees at twilight, and jumped across waves wearing chiffon. Those last three were all thanks to Flo, back when we lived in close proximity and had the hours to spare.

During adolescence I sometimes took the pictures, sometimes was in them. Now it errs more towards the latter (though I hope the balance isn’t permanently skewed), and even that is a rare treat now. Although something similar is achieved in most shoots with one of my parents wielding the camera, they’re usually done in quick succession during the holidays – a morning of sun yielding three different outfits to sustain my blog over several weeks. Wonderful in their own way, but less immersive.

What I guess I adore most is the play: playing outdoors, playing dress up, playing with imaginative concepts, playing at being someone else. More sophisticated storylines, maybe. Definitely a better application of red lipstick than I could achieve aged five. But similar principles.

Models are often denigrated, as though their role involves nothing more than standing around and pouting. That’s definitely the case on occasion, but if the shoot is dynamic, it will require skill - plus a willingness to be open and experiment and respond to what’s in front of you.

These are the types of creative collaboration I want to return to more – working on things like this where it’s two-way, whether that’s professionally or just for the thrill of hanging out in the park in ridiculous garments. That reciprocity between subject and photographer can be exhilarating. You may get so cold your fingers go numb. You may have to put up with people slowing to stare or comment as they wander past. But these are minor inconveniences – and besides, at times I really quite enjoy causing a stir.

I'm wearing a thirties dress that belonged to a relative of mine's-friend's-mother, named Moonyeen (see the first outing on the blog, complete with scoliosis scar, here). These photos were taken by the fabulous Paulina Choh. We first got talking after she spotted me leaping around while a friend took a snap of me for Instagram (I am vaguely shameless about these things) - and she recognised me from my blog! It's the biggest/ oddest/ best thrill whenever this happens, and I'm so pleased in this instance that it led to such an exciting creative opportunity. Watch this space for more from her... 

Thursday, 21 May 2015

A Birthday Note







Keeping this quick, sweet and to the point as the afternoon is short and the sunshine plentiful. I turned twenty today. Kind of exciting, really. It’ll take a little bit of getting used to, this whole business of no longer being able to refer to myself as a teenager. But my, how marvelous too…

When I was younger, I spent plenty of time daydreaming about my twenties – seeing that as a highpoint of the future, floating somewhere beyond school and challenging friend groups and exams. Funny to be finally alighting here. But despite those years spent being frustrated by the limitations of adolescence, I still packed in so much that I remain proud of: from the most thrilling opportunities to the biggest difficulties I managed to move through (no matter how painful).

Things kind of feel normal right now, albeit with slightly more in the way of presents, picnics-for- breakfast and promises of cava than usual. Any excuse for celebration and slight decadence, that’s me - birthday or no birthday. But there are still emails to send, deadlines to hit, work to do. I’ve been running around and working hard and jumping between Oxford and London for the last week, too occupied with other things to give today much thought.

For that reason, I didn’t really attribute any significance to the age change until I sat down to put up a blog post. Maybe that’s because we often construct significance for ourselves, shaping these kinds of markers and moments to be as big or as small as we want. Maybe it’s also that I rarely wish to define myself by my number of years, preferring to dwell on experiences and people and achievements and memories instead.

I am a little exhilarated at the thought of the decade ahead though. I don’t know what it’ll contain, but I hope it will be interesting – if not always easy. Regardless, so long as it involves creativity, curiosity, great company, glasses of wine, the odd kiss, and a healthy dose of the unexpected, I’ll be content.

Thought some summery images were especially apt for today. I'm wearing a vintage dress, some pretty delectable Orla Kiely for Clarks t-bar Bibi shoes, vintage accessories and my much-loved suede jacket from a jumble sale.