Humans are like computer programs. We are raised up to perceive the world around us in binary – things are either a 1 or a 0, male or female, black or white. Anything in between is almost seen as a virus, a threat – an abnormality. Our obsession goes that far to perceive dogs & cats as two separate sides of the same coin, when in fact they are completely separate species. Somewhere along the way of evolution, we decided that everything needed a category, or a box, otherwise it wouldn’t fit. In reality, life isn’t black and white, it’s not even 5000 shades of grey – it’s blue, orange, pink, green, yellow, purple and every other color you can imagine.

  Even in fashion, people and designers are expected to stick to a certain aesthetic, a certain sense of style that becomes their brand. If you’re a minimalist, god forbid you go out in a tie-dyed fringe top and floral shorts, or if you’re into grunge you’re positively forbidden to wear something too upscale. From a business point of view, it makes sense, you want people to come into your store and get what they expect. This has lead to many designers being doomed to producing repetitive collections baring the design influences of people they didn’t even know. When designers change around brands, unless they stick to their true heritage, they’re basically doomed to be slated for the first few years. For instance, take Hedi Slimane and YSL (or should I say Saint Laurent) – the man took an old and basically dying brand and renewed it with an innovative direction that retailed better than anything else had in years. However, his redesign was met with criticism from 90% of the fashion world, with comments ranging from comparisons with forever 21 to flat-out statements he was ruining the brand’s name. Even now, once most of the fashion world has accepted him, Hedi can’t just pick up and change direction; he’s expected to consistently turn out young rock-influenced clothing. 

  Unless it’s a complete overhaul in image, with a new distinct & clear direction, change is seen as a bad thing. Change goes with indecisiveness, and the inability to commit. Whereas, in actuality, change is never a one-stop trip, it’s constant and eternal. Even in history, we’ve never changed overnight, its taken centuries. Why then, do we expect everybody around us to fit themselves in one box or the other? We push for people to think outside of the box but despise if this doesn’t lead to them fitting into another one. In my opinion, there is no box, unless you decide to build one. Setting up limits stifles creativity, and puts us into neatly packaged finished products divided by style on shelves labeled with generalistions. But life isn’t a supermarket, and we aren’t cans of soup – stop labeling yourself and you allow the opportunity to be anything you want, which is the best feeling in the world. 

Coat by H&M
Top from Topman
Jeans from Asos
Platform Sneakers from Asos
Sunglasses from Topman
Bag from H&M


The Importance of a Name

  There is nothing that we take for granted more than our names. The syllables given to us at birth, as an initiation into society, become the word with the most meaning, yet the one we think least about. A name carries along with it your entire being, for all intents and purposes, and is used to transmit the thought of you to other people or even as a symbol of your existence. Your name is something that nobody can truly take away from you; it is your brand and your connection to reality, your factor of differentiation. In the barest form of all, your name is what sets you apart from (almost) every other person on the planet. 

In fashion, and the business of fashion, nothing is more important than a name. Whether it’s Alaia or Armani, the name is the key part of every brand. Unless you’re speaking to a someone with a scholarly knowledge of fashion, you wouldn’t be able to describe any designer, or any collection, without the use of a name. We even go so far as to call the most widely known and celebrated brands “name brands” as a brand with a person’s name is personal, a signifier of luxury and uniqueness. There’s a reason why almost every large luxury brand is named after a person, whereas nothing on the high street is. The reason why we celebrate these people is because attaching your name to something that can be as fickle as fashion is a huge act of bravery, and should be rewarded. What bigger reward than having your name written in the history books, as an icon of style or an artist with fabric, to have your work inspire millions after you for years to come. Becoming famed as a designer is so wonderful because your brand continues long after you have, and your perspective of the world alongside it. 

Personally, I’ve had multiple names, and each one corresponds to a different time in my life. Currently, I have three names – Alex, Alek and Alexander. My real name, the full one, Alexander, is the one that is used the least, and usually in the coldest way, a name with no added frills or endearment. When I see or hear Alexander I know it’s either on my tax return or because someone is genuinely mad at me (usually my grandmother). Alek is my Serbian nickname, and what’s strange is that as soon as I go there, or I hear it, my personality changes. Yes, I’m still on the same behavioral spectrum, but definitely on a slightly different shade. Now that I’ve moved to the UK, Alex is the name I now hear the most, the name I’m most likely to be identified by. The transition from Alex to Alek is one only I really notice, but it’s taught me that understanding my name is, ultimately, understanding my identity.  

Snapback from H&M
Sweatshirt from COS
Sunglasses from Topman
Ring from Shri Swaminarayan Mandir
Jeans from Asos
Sneakers by Adidas

- Till next week, Alex


Trends for Spring 2015

  Before I go into my spiel on trends, a big (huge!) thank you goes to my amazing collaborator, illustrator Alex Acid, who self-handedly edited these pics and drew me in Givenchy, Bobby Abley and Topman Design! His work is absolutely amazing and you should check it out here.
  The whole cyclical renewal of clothes one should and should not wear seems a bit off-putting, and honestly the best dressed people in the industry are those that have their own unique style that stays more or less the same, unwavering in the face of change in retail tastes. However, it is undeniable that the runways can have a pretty big influence into what’s cool and what’s not, so I’ve decided to compile a list of my three favorite trends from the men’s Spring 2015 runway, and how I think they’re best worn. 

  All black and white was probably the stand out trend of the season, with, objectively looking, around 70% of all clothing shown this season being Monochrome. Monochrome is a great trend because it’s super easy to pull off and can be worn in 1000 different ways. Whether it’s decidedly goth and dark like at Givenchy, or minimalist-inclined like at Philip Lim, the contrast of monochrome compliments any skin tone or body shape and always stands out. Monochrome is also amazing because of its versatility; it transcends social settings and becomes wearable in any situation. Monochrome works really well when it’s worn in coordination with something sporty, like at Wang or KTZ, but also on a more classic silhouette like Tom Ford. Pro-tips include buying a pair of Adidas superstars before they sell out and finally investing the time in finding the perfect pair of black jeans (you can never have too many pairs of black jeans). 

  Another super-easy trend to pull off is the re-emergence of the graphic sweatshirt. The reason I love graphic sweatshirts is because they’re the easiest way to show off a small part of your personality, whether it’s an overblown picture of your favorite Disney character (Bobby Abley) or just a quote from your an influential figure you identify with. The best of these are nowadays oversize or of a longer length (knee length if you’re brave) and are most complimented by a cool backpack for a fully street-style worthy look. If you like your simplicity, go for something geometric with a simple trouser, like we’ve seen at Christopher Kane, or if you want to go full Russian stylista something eye-catching like Moschino might take your fancy. If you want to be particularly on-trend, take a note from the ladies and buy something in Neoprene, the quintessential fabric of the moment.

  Finally, one of my favorite trends is the use of bold and inspired print. Miranda Priestley references aside, florals had a huge moment on the runway, especially at the 70’s inspired shows like Topman. Print adds loads of depth to an outfit, both on its own and paired with another print, and really helps in standing out from a crowd. If you’re more of a classical dresser, wearing a full print suit is always an amazing look (and a pretty easy way to be the standout dresser at any occasion). Particularly stunning were the full prints at Etro, with bold and colorful full print looks instantly becoming the envy of any fashion-savvy person. Even the most acidic, like those at Dsquared, can look particularly good in the hotter days of the season, paired with a good tan and some coconut-scented suntan lotion. If you’re feeling especially bold, mix and match all-printed tops and bottoms. 

However, anything can go and is cool as long as you wear it with confidence! If you really like what you're wearing and think it's in, so will everyone else - They biggest trend in fashion will always be starting your own!

- Till the next post, Alex


FRU3 : Una Kaludjerovic

  Hello all, welcome to another edition of FRU profiles! This month I’ve decided to feature another one of my Serbian friends, Una Kaludjerovic. Una is a PR Student from Belgrade with an innate sense for all things cool and on-trend. Her personality sits somewhere between that of a BuzzFeed employee and a Style.com editor, combining humor and wit with a knowledge of fashion that exceeds the boundaries of a mere interest and becomes almost obsessive. First and foremost, she’s a city kid with New Yorker-like mannerisms and Parisian flair, but you can tell Belgrade is her hometown from her instinctual knowledge of the location of the nearest wi-fi blessed café.  

  Una’s style is most likened to that of famous Man Repeller - Leandra Medine, often combining the unusual and quirky together with the classic and pretty to create truly unique sartorial choices that definitely prove she’s a stand out.  She’s very versatile in her choice of outfit, switching between fashion cliques almost as quickly as she can memorize the pages of the latest Harper’s Bazaar.  Don’t let that fool you though; there is always a touch of Una in everything she wears, whether it be a name-stamped necklace or a crème-colored beanie. With dreams of becoming a fashion editor in NYC and the shoes to back it, Una is a true Front Row Underdog. 

  If anything, her thoughts on what being a Front Row Underdog is show it fully. She says “For me, being a Front Row Underdog is a lot more than an attitude towards fashion - it's a way of carrying yourself. It's a complete awareness of your own taste, style and individuality. Front Row Underdogs are witty and sprinkled with a bit of sass, but still earnestly enthusiastic about the things they love. They've learnt a lot standing on the sidelines of fashion and once their time comes, rules will be broken in the best way possible.” This is exactly what I wanted from this blog – people being able to recognize areas of it that coincide with their own thoughts and personalities and realizing that just because you’re not there yet doesn’t mean you won’t be. Everybody successful in fashion was a Front Row Underdog at the start, whether it be Grace Coddington or Rumi Neely - it’s the perseverance and love of style that got them where they are. So, if perseverance and stylistic obsession is anything to go by, we’ll be seeing Una at the helms of Vogue before you can say “Taxi!”. 

You can follow and find out more about Una at instagram.com/unasaurus

Una is wearing:

Coat from Zara
Blouse by MaxMara
Culottes from Zara
Shoes from Zara
Una necklace is Model's own
Choker from Topshop
Sunglasses from Camden Market

Photography by Front Row Underdog


Flower Power

  The late 60’s/early 70’s must have been a wonderful time to be alive. If not just for the bell bottoms and copious amounts of fringe (both of which are having a moment on the Summer runway), for the social and political movements that were happening across the world. Flower power was the term used to describe the peaceful protests against the Vietnam War, in which Flower Children handed out flowers, balloons, toys or even candy to policemen, press and politicians. Allen Ginsberg originated the idea and used it to change war protests into peaceful street theater in contrast to the violent actions of the Hells Angels gang, who supported the war. Embroidered with florals and peace signs the flower children became symbols of the counterculture and “hippy” movement, unrestrained by societal norms and expectations. 

  The way the flower children dressed defined their ideals and beliefs, and cemented their status in pop culture history, but can fashion truly be used to make political and social statements? We’ve been experiencing a resurgence in such matters, in line with current events, with feminist protests staged on the runway at Chanel, consumerism commentary at Christopher Shannon, and marriage freedom at Betsey Johnson. Vivienne Westwood is another designer who frequently uses her shows to convey her humanitarian and eco-friendly values. The use of fashion as a symbol of protest can’t be disputed, from the Chanel use of jersey to free women of literal restraints, to trousers becoming one of the primary symbols of the women’s rights movement. What is interesting is the use of fashion to protest itself; Prada regularly mocks the ideas of traditional beauty set by her contemporaries and prefers an ugly chic aesthetic. The unrealistic beauty and youth standards set by Vogue Covers and Victoria’s Secret models were even commented on just last week, at the Undercover show in Paris, where models wore plastic face masks emulating those who had had extensive plastic surgery. The best fashions shows, in my opinion, are those that go beyond the clothing and use imagination and art to provoke thought and emotion. 

  In fact, it is difficult to see any movement without its associated sense of style, the most apparent being punk. Punk politics aside, the movement is mostly associated with individual freedom and anti-establishment rules (in some ways, much like Flower Power). Herein lies an example where the industry was inspired by a movement while also defining it. Originally, punk was all about the DIY aesthetic, the safety pins holding together ripped jeans and spray-painted leather jackets, but from it sprang thousands of collections ranging from McQueen to Westwood, who lauded the style and frequently incorporated it. Even the Metropolitan Museum of Art hosted an exhibit inspired by punk titled “PUNK: Chaos to Couture” that examined the hardware, destruction and re-purposing of clothing. Punk is a defining social movement, but it wouldn’t have had as much of an impression without the clothing, in my opinion. Clothing can be used to define our personalities and opinions, which is what makes it so interesting, and a spectacle within itself. It doesn’t matter if you’re a flower child or a punk rocker, use your style to shout out who you are and you’ll always be on trend. 

Shirt from Uniqlo
Trousers from Topman
Boots from Dr Martens
Sunglasses from Ebay


LFW A/W 2015

  London fashion week holds a special place in my heart. Not only because it's where I currently live, but also because there's always a rebellious spirit in the air. Home to the most experimental, dark and beautiful brands in the world, London truly stands out from the other fashion weeks not only in it's outlandishness, but also in it's ability to celebrate true talent. Here are my favorite shows of the season. 

  Mother of Pearl, like Delpozo, was one of my favorite collections last season. What’s great about these types of brands, that aren’t household names yet, is that you get to see them grow and flourish before your very eyes. It was therefore especially amazing to see Mother of Pearl complete its first collection without the assistance of an artist, and yet still retain the artistry. The show married sporty silhouettes to grungy floral prints while still retaining an effervescent cool that’s rarely seen in the A/W shows. Particularly interesting was the outerwear, with silhouettes ranging from short bombers to ankle grazing coats. It was a lot to put into one show, but there still existed a clear train of thought connecting each look to the other. Amy Powney showed London that she doesn’t need an artist to help, because she is one. 

  Christopher Kane has finally opened a flagship store in London. As amazing as that may sound it also puts into play the effect of commercialization, which plagues most designers today, and threatens to tame their creativity. So, naturally, I was a bit apprehensive before this show, because I thought Kane would lose his edge. I was proven completely wrong. The collection Kane put out was extremely daring and out there, with blatantly sexual (the words electric orgasm were mentioned) references and starkly different fabrics. The colors alone were to die for, but what was really amazing were the figures sketched out in blue red and white he put on the clothes. The fabric choices were almost fetishistic, with loads of velvet, leather, lace and fur. The collection could have easily gone overboard but Kane smartly utilized a restrained (almost innocent) silhouette, with high necklines, ruffles and flowing skirts.  Kane played on the notion that sex sells, and by the looks of it, he’ll sell well. 

  The mood at Erdem was even more bohemian than usual. Now, I’m not a fan of boho, but when it’s done as glamorously as this, and with an insane woman as a muse, I’m down. Erdem dreamed up a fantastical creature, inspired by the art installation “The Collector” by Helly Nahmad. In this installation, an extravagantly overcluttered apartment is shown, portraying what it looks like when personality spills from inside us into the outside world. Depicting a woman’s fall from grace and sanity never seemed so beautiful, with an ombre coat going from restricted black into a satin pink, almost literally depicting a descent into madness. The frayed edges of the dresses mirrored a frayed personality, bursting at the seams. Feminine and graceful silhouettes were paired with almost utilitarian outerwear and accessories, showing the stark contract of life before and after the fall. Erdem works best when he has a clear figure to design for, and this collection proved particularly strong. 

  Gareth Pugh has come home. After several years of playing the away field, Pugh decided to play home, and return to his roots, both literally and stylistically. With sacrifice on his mind, Pugh showed a dark collection inspired by the brutish side of Great Britain, with face paint mimicking the warriors of days past or perhaps even the football fans of today. Pugh may be singular in his choice of color, but he makes up for it in his choices of fabric and silhouette. Oversized tailoring warped the models bodies into proportions that seemed almost protective. Pugh is unique in the fact that only he can show a collection involving both a Mongolian fur coat and a dress made out of straws and still make it work. The show closed with a literal waving of the flag, as one should when they claim victory.


The Final Frontier

  The past three decades have seen more technological advancement than any era before. The pace has quickened so much that today’s breakthrough gadgets become the junk of tomorrow. Take a look at the difference just in mobile technology; 15 years ago we were impressed to have color, nowadays we’re nonplussed by a phone with a fingerprint scanner. Much like fashion, technology constantly evolves and progresses, building on consumer-feedback and developing into new and exciting spaces. We’re breaking into unchartered territory on a daily basis, both figuratively and literally, with Tech-Giants like Elon Musk even looking into terraforming to build us a new habitat on Mars. 

  Fashion’s interest in the space age began in the 60’s. As the “race to space” began designers made clothing for what they assumed would be our future lifestyle. Enthralled by the endless possibilities they saw before them, Courreges and Cardin churned out white utilitarian clothing paired with bug-eyed sunglasses and plastic knee-high boots, pushing personal style into the sartorial stratosphere. Nowadays, we’ve come back down to earth, but the influence of technology is still there. Where in the 60s it was white plastic and flat boots now its metallic neoprene and platform sneakers. We’re still as amazed by what the cosmos and future hold, we just don’t show it as much. 

  Another way technology is influencing fashion is in the construction itself. The word of the day is now laser cut rather than handcrafted, and machines are mass-producing bags that emulate what was once seen as luxury. 3D-printing is making waves in the accessory department, with customizable jewelry becoming freely available online, and we may even be making it in our own homes a few years from now. Wearable technology that scans our biometrics or allows easier access to the internet is also a reality; and by looking at the Apple Watch, the “chic” factor that’s held it back so far may finally be coming into play. Who knows, in 2020 the newest trend-setting piece could be an Alexander Wang health-monitoring dermal implant. We are addicted to technology, as much as we joke about it. To give a basic example: smoking an e-cig means you are literally addicted to technology. It is however a double-edged blade, and as we come closer to integrating with technology completely we also become non-functional without it. The actual final frontier isn’t space, its humanity. 

Sweater from Topman
Jeans from Topman
Backpack from New Look
Shoes from Asos
Sunglasses from Camden Market

Dedicated to Leonard Nimoy R.I.P


NYFW A/W 2015

  I swear it was only yesterday we were talking about S/S and lo and behold the Autumn/Winter season for 2015 is already here! It’s amazing how designers constantly churn out new collections, each unique, in the space of a few months, and thank god they do because it keeps things interesting for someone with a 9-to-5 (ok, 8-to-6) job like myself. As always we start in New York, and here are my favorite collections. 

  You all witnessed my stanning for Delpozo last season, and I can tell you that this collection has made me fall further in love with the brand. It’s rare nowadays to see brands present shows that are ambiguously both couture and prêt-a-porter, a mindset the lines designer Josep Font seems to be all about. As per usual, the colors integrated into the show were bright and crisp, inspired by the work of Rhys Lee. The cut was also sharp, and served as an illusion of different body shapes, rather than following a classic silhouette. What was new to this collection was a dark softness, mostly seen in the embellishment and use of chiffon. Particularly spectacular was a pail blue jumper, woven in such a way that it seemed flowers were erupting from the knit. The only mishaps, in my opinion, were the two final looks, which lacked the cool and collected vibe of Delpozo, but sort of seemed to weigh down the models. Nonetheless, Font remains one of my favorite designers, and I can only hope we shall see him in couture as well at some point in the future.

  Jason Wu is one of the few designers I can actually remember making it into the big leagues. With the Wintour stamp-of-approval and Obama wardrobe access he quickly shot to the top of the fashion elite, and has stayed there ever since. What was interesting about this collection is that Wu seemed to abandon his usual glamour for a more refined sophistication. A very intellectual and pared-down color palette assisted him in showing off the choices of fabric and silhouette. The merger between minimalist and exuberant served Wu well with precise trims accented with luscious fur. If that sounds a bit like a chocolate syrup commercial, it’s a good thing, because if anything this collection was rich. 

  I’m going to admit a major faux pas here; I’ve never really been a fan of Michael Kors. Don’t get me wrong, the man is a living legend, but the All-American brand thing has never really done it for me, it seems a bit too played out and dull. Over and over, Kors seems to churn out modern Daisy Buchanan’s, in a never-ending circle of autumnal colors. But, this show was something special. Fur has been everywhere this season, but none executed it quite like Kors in his sleeve accents and navy shades. Particularly interesting where the exaggerated white collars protruding from cashmere (I’m assuming its cashmere) jumpers. In general the oversized aesthetic works quite well for Michael, so here’s hoping for a lot more of it in coming shows. A/W lends itself well to the designer, obvious in the glam but cool clothing. Kors may march to the drum of the consumer of today, but is that always a bad thing? I mean, what is fashion if it doesn’t sell well? And today Mr. Kors, I’m sold. 

  The complete opposite of Kors, Hernandez and McCollough design their clothes with a story in mind rather than a store. Drawing from a clash of Abstract art and 1940’s glamour, Proenza exhibited a collection many other brands would never have the guts to, and there experiment seems to have succeeded. Geometric cutouts contrasted flowing silhouettes and fur fringes. The girl they had in mind was a mix between warrior princess and Vegas showgirl, but somehow it seemed to work. To some this collection is as difficult to understand as the pronounciation of the brands own name (Pro-end-za S-koo-ler), but to some it was perfectly out-there, creative and rebellious. The show was polarizing to say the least, but it had me flushed red and excited for their future work. 

- Till London, Alex


Star Power

  Kim Kardashian. With the mention of that one name your interest in this post has probably gone from a solid 6 to a 10. Why? Do you know Kim? No. At least not personally, although you probably know some very intimate details about her life, whether you want to or not. Whereas we once focused on the work of celebrities, today their own lives have become a form of entertainment, like a never-ending movie. Instagram filter obsessed and makeup contoured, we mimic the lives of these celebrities, but do we really aspire to be them? Or do we aspire to be as adored as them? Do we all wish we could have our every outfit doted on, our every appearance documented and our every word discussed? Judging by the fact that there are over 235,000,000 #selfies on instagram, we just may. 

  Like the it-girls and it-boys of the moment, items of clothing have their fleeting moments of celebrity. In fact, it-clothing and it-people have risen at more or less the same rate. As we become more obsessed with the coolest kid on the block, we also become obsessed with having the coolest kicks on the block. Recent examples include everything Kenzo has put out since the tiger sweater, the return of the sneaker (in varying brand waves) and even the Birkin or Céline bag.  But these two have become almost synonomous – major celebrities wear major brands. In the fashion world, it’s even more evident, the major style stars will, without doubt, wear the standout pieces of each season. The main question being whether the bag makes the person or the person makes the bag? It seems to be that, in many cases, neither can exist without the other. 

  Warhol prophetically said that in the future, everybody would be world-famous for 15 minutes. What most think he meant by that is that one day the social hierarchy of people deemed relevant will be abolished – meaning anyone, regardless of talent, wealth or appearance can and/or will be famous. But such a thing can’t exist without everybody being fame-hungry, and as we begin to value each other on the basis of instagram likes, youtube views and website hits we become just that. We’re slowly creating a world where everybody, and nobody, is a celebrity. Because, realistically, what prevents any one of us from becoming the next starlet than a stroke of luck, a transparent lifestyle, and a few million more followers? Nothing. 

Sunglasses from Ebay
Sweater from Topman
Jeans from Topman
Clutch from Camden Market
Shoes are Adidas Superstar
Wallet from Gucci
Keys from Casa de L'Aleque


McQueen : 5 Years Post-Apocalypse

  To many, the 17th March 1969 means nothing as a date. To many others, it is the birth date of the most unique persons to ever walk this planet – Alexander (Lee) McQueen. Lee was never a designer, he was an artist. The fact that the medium he chose to portray his art turned out to be clothing was nothing but a lucky circumstance for all of us, as his vision and imagination would have been genius in any form. Like many artists, and indeed those that are most celebrated, Lee used his art as his own psychotherapy, frequently baring his deepest, darkest thoughts onto the runway. Today, the 11th of February 2015, is the 5th anniversary of his death, so today I have chosen to showcase some of his runway shows. To say one McQueen show is lovelier than the other is like comparing diamonds, impossible; each one is unique and beautiful in its own right. The shows I have chosen are those that are most impactful to me, and nothing more. 

  McQueen’s Dante show in 1996 cemented him as Fashions enfant terrible, and even more so than that, as one of the most talented designers of the last century. Staged at Christ Church in London’s Spitalfields, the show started with a sinister flicker of light, gunfire and hip hop. The models walked the runway in the most ingeniously cut silhouettes of the decade, bathed in chiffon and lace. McQueen’s days at Savile Row served him well and the tailoring of each piece was impeccable to the smallest detail, an element that became present in each subsequent McQueen show. Street and Punk fashion collided with High Couture fabrics, in a dizzying whirlwind that seemed so appropriate it made you wonder why it hadn’t been done before. The show may have been inspired by Dante’s Hell, but it took everyone in the venue to Heaven. 

  VOSS is possibly McQueen’s most critically acclaimed show. A theatre piece as much as a runway, the show was staged in a dimly lit room with a mirrored cube in the middle. Deliberately starting late, McQueen forced the fashion crowd to look at themselves for almost two hours before starting, critiquing themselves as they had his previous designs. When the show began the cube illuminated and showcased a room made to resemble an asylum, with white padded walls and mirrors on the sides. What was interesting was that the cube was mirrored on the inside as well, so the models couldn’t see the patrons, in essence forcing them to ultimate consciousness, and freeing their inhibitions from the fashion crowd. Resembling the delusional and disassociated, some pressed their faces against their walls, one laughed at her own reflection and in an iconic moment, one of the models began tearing white clam shells from her dress, as if freeing her insanity from the confines society had wrought upon her. McQueen was forcing the world around him to look at themselves as he looked upon himself.

In 2007, McQueen’s biggest supporter and discoverer: Isabella Blow, committed suicide. The loss of one of his closest friends must have wreaked havoc on McQueen’s psyche, and instead of retreating further into the dark, where he was comfortable, McQueen paraded into the light. Many of these pieces, alongside the Pegasus which started the show (made of neon lights) were shown at the Isabella Blow: Fashion Galore exhibit at Somerset House. The exhibit was as much of a celebration of Blow’s life as was the show, and also mostly featured the works of Treacy and McQueen. The exhibition was truly the most amazing I’ve ever seen, which is why this show is one of my favorites. Another reason is that it showcased all of McQueen’s skills and career highlights sewn together using Birds (particularly symbolic of Blow) as an inspiration. Their friendship may have been dark, but this collection showed that McQueen could never have expressed enough gratitude to Isabella (Issy) for all she had done for him, which showed in the newly present femininity in the clothes.

  Plato’s Atlantis was the first show I had ever tried to live stream. How ironic that it was also the first fashion show live stream that crashed mere minutes before being announced. However, more importantly, Plato’s Atlantis was the last show McQueen ever saw to runway. Plato’s Atlantis was McQueen’s vision of a post-apocalyptic earth where we had all retreated back to the oceans Digital prints of butterflies and reptiles showed the designer was well ahead of his time, further proven by the fantastical shoes which to this day fill the dreams of every fashionista that walks the planet. This is the show that took McQueen from his fashion-icon status and made him a household name. To this day, I have never seen a better executed and more beautiful runway than this, and I doubt that will change in many years to come.

  A few months later, and exactly 9 days after the death of his mother, Alexander Lee McQueen committed suicide. He left a note to look after his dogs, and hung himself using his favorite brown belt. The event was an apocalypse in itself, the death of one of fashions most unique artists and beloved designers. May we remember McQueen by his artistic merit, not his personal troubles; may we remember him until our return to Atlantis. 

Long Live McQueen
(1969 - 2010)


Coachella Culture

  There’s one thing that most people don’t know about me: I grew up on rave and house. My Dad having once been a DJ, and my Mom having been a party animal, both listened to electronic music in the late 80’s and early 90’s, when it was just beginning to take off. In fact, dance and electronic music was so popular at the clubs back then that people never said they were going to a party or a club, they said they were going to a rave. So, I thought, what better time to talk about “EDM” than after taking these pictures before going to a Steve Aoki concert at Brixton Acedmy? EDM seems to be the new term we’ve invented for this genre of music, but guess what: all Dance music is electronic. Saying Electronic Dance Music is like saying Guitar Rock.

  Electronic music in general is a very European genre. While America was rocking out to Kid Rock, Europe was discovering Ministry of Sound. Only in recent times, and with the approach of festival culture has Electronic music really taken off in the US. Festivals, like Coachella, have now spurned their own culture and become a part of young life. Festivals and electronic music in general are both all about being happy and carefree, and seem to have come about as a sort of antecedent to the economic depression etc. In turn this festival obsession has created a new dress code, mastered by Kate Moss in wellies and Kylie Jenner in bindis, which in turn has poured out into street fashion. 

  Todays’ festival culture isn’t the only example of music influencing fashion and vice-versa. No Burberry show would be complete without Bailey’s latest Soundcloud discovery, just as no David Bowie throwback would be complete without a glittery leotard. Fashion shaped the icons of the 80’s much in the way the icons of today shape fashion. Would leather trousers really be a thing without Kanye? Would Kanye even be a thing if he hadn’t worn a Louis vuitton backpack back in the day? Music, Fashion and Celebrity Culture have become so tightly intertwined that it’s hard to see where one starts and the other ends. In any case, just like a good festival, as long as you’re having fun, it doesn’t really matter. Till Wednesday, peace out <3. 

Jacket by Alpha Industries
T-Shirt from Zara
Sunglasses, Bindi and Contacts from Camden Market
Socks from Topman
Custom All Stars from Converse


FRU2 : Vuk Vukovic

  In the last FRU Profile you met Little Red Riding Hood, now it’s time to meet the Big Bad Wolf. That’s not just a clever turn of phrase, the literal translation of our subjects name (Vuk, pronounced Vook) from Serbian is Wolf. Although he may be a wolf by nature, Vuk has the perseverance and uniqueness of a true Underdog. 

  In the grand scheme of things, I haven’t known Vuk for long, but we’ve become very close friends very quickly. He’s one of those people you truly expect to be a forever friend. He has a Masters degree in IT, and a doctorate in being an IT boy, but his future, as he sees it, lies in fashion journalism.  We’re very different in many aspects, but what we do have in common is an outspoken personality and a love of fashion. A true Montenegrin, Vuk is charismatic and confident, which means he can basically carry off any look he likes.  

  Vuk’s style, in his words, is a mix, match and work in progress. However, what he sees as a work in progress is nothing more than the simple style changes we all constantly undergo as we grow up. Truly, he has a defined palate and sense of style, the changes are just seasonal. However, and perhaps due to my own influence, Vuk has recently joined the dark side (literally), and nowadays most of his wardrobe is filled with dark and muted colours. His fashion influences are Scott Disick, Kanye West and Joannes Huebl, meaning he stands somewhere between being a gentleman and being A$AP Rocky (no offense A$AP)

  Vuk’s style helps him stand out in the pack, another reason he can be considered an underdog. Living in Eastern Europe isn’t easy when you have the style sense of Scott Disick and the sass to match, but Vuk has persevered and proven himself as a survivor. I’m especially happy to be a part of his life during this period, as I get to see him going from ripped jeans to wearing the trousers in his life. He may be an Underdog at the moment, but he’s an Alpha at heart. 

Sunglasses by Ray Ban
Sweatshirt from Pull & Bear
Leather Trousers from Zara
Shoes from Camden Market
Watch by Emporio Armani

You can follow and find out more about him at: instagram.com/TheBigBadVuk

photography by Moi


Spring 2015 Couture

  There is nothing as magical as couture. Exclusive and exuberant, the designers who can pull off couture are few and far between. It would be difficult, and crass, to say that any couture show is better than the other, as each and every one has it's own beauty to it. Therefore, I can't describe this list as the "Best of Couture", just as a compilation of my favorites for Spring 2015. 

  I love Elie Saab, and love is not a word I use lightly. There is not one designer who can create clothing like his, so exceptional, effervescent and elegant that it could bring a tear to a bloggers eye. Some may say Saab is slightly predictable, but why change something perfect? He infused freshness into his brand by adorning the dresses with dramatic ostrich feather, and shimmering floral paillettes. It may be glamour at its highest point, but Saab’s collection also drew deep personal roots, with prints taken from a tulip dress his mother wore as a child. If anything, these pieces served as an alternative to those who want to wear Saab but aren’t fans of the sheer. All in all, Saab does it again, and if I had it my way, Saab would be all we would ever wear. 

  You should know by now that I’m a slave to pairings of the unconventional. Hence, it’s not suprising that I was set up to love the Giambattista Vali show, which paired the aesthetics of Coco Chanel and Janis Joplin. Although it may seem like an impossible pairing, let us not forget that Chanel was none less of an aesthetic ground-breaker than Janis. In her time, she was seen as a style rebel, and frequently broke the norms to create new styles for the IT woman to wear. Giamba took the styles of these two icons and veiled them with a thin layer of spring, where pastels meet acidic tones and dainty flowers spring from the seams. The wide-legged trousers overlaid by a flowing dress were particularly literal interpretations of Joplin, with tweed blazers serving as the Coco counterpart. This was what couture is meant to be; intricate, inspired and iridescent. 

  It could’ve been a sad show at Gaultier today. His first show since terminating his ready to wear line last September, the show could have been a post-battle wound lick. That is, unless you’re Jean-Paul Gaultier and title your show “61 ways to say Yes”. Gaultier doesn’t do sad, and this show proved that point. Instead, he brings fun to what was an otherwise very serious week of Couture. I mean, the man closed his show with Naomi Campbell representing a bridal bouquet. The brides walked down the runway in hybrid creations blurring the masculine and the feminine, in combinations of both the strict and the reckless. Particularly outrageous was Lindsey Wixson in a beekeepers outfit and hair done to resemble a wedding cake. Gaultier puts the Show in Fashion Show, and couture is no exception. In conclusion: Was it camp? Yes. Was it utterly fabulous? Absolutely. 

  Being an Eastern European, I was born with a love of Russian romanticism. Also, as an Eastern European, I can understand the narcissism behind the Ulyana Sergeenko brand. Looking at the clothes, the message is clear, Ulyana is her own muse. Hourglass silhouettes with sharply tailored fits mimic the clothes she herself has worn since being thrust in the spotlight. Her collections are celebrations of Russian culture, and experiments into how far you can really go with detailing and embellishment. Hers is a Russian Dolce & Gabbana world, less Italian but even more feminine. This collection was particularly stunning; with so many intricate details one could stare at each garment for hours. It was the type of clothing you’d expect Audrey Hepburn to wear if she had played Anna Karenina. Ulyana may be selling herself as a brand, but who wouldn’t want to be part of the Russian Princesses world?