Bidding a peaceful adieu

BREAKING NEWS: Earlier today, Raf Simons hands in his resignation as Creative Director of Christian Dior

When you hear this news, multiple questions flood the mind; ‘What drove Simons to make such a rash decision?’ , ‘Who could possibly be the successor?’ & ‘How would this affect the future of fashion?’ Could it have been the stress that Raf just couldn’t handle or was it due to company relationships?

Raf Simons

Sourced photograph: David Sims/

Some suggest his move to focus on his own label, whilst others suggest he just couldn’t handle the pressure. Due to what was stated in an interview conducted by Cathy Horyn for System Magazine, Simons discusses that he doesn’t have the physical time to allow for his creative flow he that he so eagerly craves.

“When you do six shows a year, there’s not enough time for the whole process. Technically, yes — the people who make the samples, do the stitching, they can do it. But you have no incubation time for ideas, and incubation time is very important. When you try an idea, you look at it and think, Hmm, let’s put it away for a week and think about it later. But that’s never possible when you have only one team working on all the collections.” – Raf Simons

A quick history: Raf Simons, born 12 January 1968, began his creative career with an education in furniture design and later in 1995, established his own menswear label. June 2005 Simons was appointed creative director of J.Sander, where, in my opinion, is where his creative flow really took growth. After the dismissal of Galliano in his role of creative director at Christian Dior, Simons was quickly appointed as his successor (Womenswear only). He kept to the traditional elements of the brand whilst simaltaneously allowing popular culture and modern society to ever so slightly influence his creations.


While only designing for Dior of just three and a half years, Raf Simons has not gone unnoticed.

.The classic silhouette (originated from Dior’s 1947 collection ‘New Look’) with a modern twist:

BeFunky Collage

Jennifer Lawrence at the Oscars 2013. Wore a couture Dior gown. The Classic silhouette of the small waist and wide hip was honoured by Raf in is designs. The modern twist is apparent in the layering of the trail and tight fitting derrière, a modern day phenomenon, which creates a sight of feminism and sexuality, something which the public lust over – especially in todays society where celebrities are considered ‘role models’.

. Groundbreaking accessory designs 

From previous education in furniture design, Simons designs jewellery and shoes as if they were furniture for the body.

BeFunky Collag4e

From Left to Right: 1.RTW.FW13/Pascal Le Segretain-Getty Images 2. RTW.SS14/Agence France-Presse -Getty Images. 3. RTW.FW13/

Very structural and captivating. Simons manages to incorporate modern technologies and use of materials to design structural and futuristic accessories. By juxtaposing futuristic designs with classic silhouettes enables Simons to let the brand grow.

So what is next?

Raf’s statement of resignation holds a few indicators:

 “It is a decision based entirely and equally on my desire to focus on other interests in my life, including my own brand, and the passions that drive me outside my work. Christian Dior is an extraordinary company, and it has been an immense privilege to write a few pages of this magnificent book”

Although Raf Simons designs may hint towards the future, he does not hold facts of the future. The future of the brand, its next creative director and Simons next move is ambiguous to all. But what would the fashion industry be without a little mystery and excitement?

Ella Elysia x


The Louis Vuitton, Series 3 Exhibition. 

Last week I attended a private viewing of the “Louis Vuitton Series 3” Exhibition at 180 Strand. The event was hosted by Susie Forbes , principle of The Condé Nast College of Fashion and Design. As part of the Condé Nast alumni, I was privileged enough to be invited. Wearing a handmade Chinese embellished coat (vintage) as a dress paired with a modern heeled biker boot, I travelled in style with blogger, Joesphine Vermilye (Click here) .


                My Invitation

The Series 3 Exhibition is a chance for the public to experience the deep and imitate mind of Nicolas Ghesquière. The exhibition itself is a maze, entwining rooms of multi-sensory installations that will only exhilarate the viewers mind. The most Intricate train of thought is exposed through diverging mediums. Exhibiting the inspiration, craftsmanship and creative activity from all aspects of the brand. One is allowed to fully submerge themselves into this futurist province.

From the very first room, a geodesic dome – an odyssey in time and space. As you travelled through this silent space, the viewers own mind is loud with thought; as if the audience themselves were in a mind – visually being able to distinguish the structural element of ones mind, explaining the connotations and connections a conscious makes. The first step to being a creative genesis.

Personally, two rooms of this mesmerising exhibition really stood out to me – in which I thought were curated in a way to physically control the viewers mind. The Master Mind and The Accessories Gallery.

The Master Mind further exhibited Nicolas Ghesquiere’s creative process and inspiration. In the Centre of this domed room hovered an open trunk – creating an impression that his ideas and thoughts were spilling out and being projected on the surrounding walls. By doing this it emotionally connected with the audience as one felt involved in this process, a thought which was carried through in every part of the exhibition. Giving such a strong impact, almost claustrophobic, I felt dazed, as if there was not any room for my own thoughts. The viewers mind is being completely controlled. The Louis Vuitton ethos is so strong, there is no other alternative one can experience.


Rooms of darkness. Illuminated objects and videos guide the way to each room and give a focal point. Then came The Accessories Gallery. 

“I’ve always loved designing accessories. For me, accessories never stand alone, there has to be a common thread between them. They’re am integral part of each outfit, either clashing or complementing it. They share the same sentiment and movement as the garment. A silhouette is a complete make-up of all these elements” – Nicolas Ghesquière.

Bright white. A blinding sensation of pureness. White figures standing alone. Accessories possessing all the power and energy. A brand originally known for luxury trunks and leather goods taking control of an entire room. The deep colours and cuts of the accessories stand alone against the white structures which they are placed. It truly gives the audience a chance to examine what the brand built its name upon.

BeFunky Collage

If you haven’t already popped in to 180 Strand, I strongly recommend that you do. The exhibition is like no other.

It is a true performance.

Ella Elysia x


Karl Lagerfeld has done it again, the classic Chanel collection transformed and exhibited into a sight of brilliance.

With the sense of urgency tampering with your heart rate, the music enforces a beat imitating the rush and chaos of a check-in we all have experienced at an airport. The models counteracting this extremity with the causal strolls towards and around the desk, something which highly reflects away from the reality of check ins. The repetitive sound gave a chance for the audience to really view and examine the collection. A collection of elegance and self worth. A collection allowing for comfort and conforming to a first class etiquette. A collection, I can confidently say, the audience dream about wearing.

Travelling to various destinations has become somewhat fashionable, making one cultured and experienced with life. Karl takes it upon himself to draw the attention to the act of travelling and the etiquette one is expected to contain whilst participating in this act of character building.

Featuring SS16 collection's Sunglasses. All images sourced from

Featuring SS16 collection’s Sunglasses.
All images sourced from

Paparazzi capture celebrities life on a daily basis, including how and where they travel, evaluating how they look before and after a flight. The use of parading the collection’s sunglasses exemplify this, as if to shield the light from photography flashes from the eyes. I feel Lagerfeld scrutinises this to an extent where it is almost gives a slight comical feel. The act of vanity as one dresses to travel between destinations. The airport has become the new location to exhibit fashion.

As models strutted to the gate, No.5, it gave the audience the impression that they themselves, were also in the first class departure gate. By integrating the audience within this showcase allows for the viewers to become completely involved and almost take on a role or character that would be waiting for their flight with Chanel Airways. Giving the audience a chance to emotionally connect with the environment they are in and therefore the connect to the collection itself.

Casual yet Classic - Photos sourced from

Casual yet Classic – Photos sourced from

Stripes have been present on many of the high end designers collection this season. So watch out, the vertices and horizontals juxtapose to create a vision of interest, captivating, a confusion to guide the eye around the body. Personally, I love the stripe trend, however, one has to understand their body before they can truly understand what type of stripe is flattering to them – Fortunately, for Karl’s models, they would look good regardless.

Every fashion week, I look forward to Chanel. We are promised, whether we approve or not, to receive not just a showcase of a collection, but a show. It is one of the most highly talked about show of every season. It provides the audience with a comment to what is important in todays society as well as being classically classic. Only a genius could achieve this every season. This genius is named Karl Lagerfeld.

I’d love to know what you thought.

Ella Elysia x

Strong, Modern and In Control – Emilio de la Morena

Emilio de la Morena is a luxury womenswear brand created in 2005. Within just ten years, the brand has built an increasingly commercial customer base resulting in the brand being sold worldwide.

Having just attended the Emilio de la Morena catwalk at London Fashion Week A/W15 (#FROW), I have had the urge to write about this Spanish genius. The cut and silhouette of many garments exemplifies the designers previous studies in sculpture as the garments fall as if they understood the shape of a woman’s body. Truly brilliant.

The A/W’15 Collection had pieces I could only wear in my dreams. The use of material was a pleasure to the eye. The fluidity of the velvet forms juxtaposed with the sharp and clean cut hem lines and silhouette, thus creating a balance and harmony between fluid and solid. During the Renaissance, wearing fabrics, such as velvet, gave a suggestion of power and wealth, accordingly giving a valuable reputation to whoever may be wearing it. Emilio describes his ideal client to be…

IMG_0679“first and foremost strong, modern and in control. She knows her own mind and is not afraid to stand out; nor is she scared of expressing herself in a vibrant and bold way. She loves playing with her personality and uses dress to express the many layers of her character, always managing to strike the right balance between elegantly refined and provokingly sexy. This woman is in control of her life both emotionally and economically, she lives in or close to a major metropolis, spending most if not all her time in the city. It is important that the work she does stimulates her. Whatever her chosen field, it will be one that she can really commit to. She will be at the centre of the work that she does whatever the industry and whatever the level. Don’t mess with this woman; she will have you wrapped around her little finger in no time.”

I cant speak for every woman out there, but I strive to be this woman that is described.

Incorporating velvet and other materials with the same motif puts Emilio’s psychological desires into physical existence. Referring back to his previous studies of sculpture, again, if you look at the renaissance, sculptures such as Michelangelo’s Pieta has draping that resembles the same fluidity as that of velvet.

draping velvet

Michelangelo’s “Pieta” in comparison to draping velvet.

Pieta is classed to be highly respected as it contains themes of religion and therefore linking the importance of flowing and soft material to be of a higher class. Mary is also associated with colours of blue and red. In Emilio de la Morena’s collection, the velvet material contains deep colours, again, associating the garments with high power and importance. The show as a whole was very simplistic and understated with very dominating music, giving the viewers a chance to only focus on the garments and not an overwhelming scenery or performance.

Personally, I think that by the brand displaying this subtle hint to power within their garments, ties in with the current issue of feminism, which is so prominent in todays culture, suggesting this brand supports this movement, thus providing it with a culturally aware and respected forefront.

Emilio de la Morena manages to manufacture clothing that is sensual and sexy, yet giving it a degree of innocence. This balance is hard to achieve, yet is shown to be so effortless.

I recommend watching the finale video on full screen. I apologise for the poor photography and filming skills.

Ella Elysia x

<a href=””>Follow my blog with Bloglovin</a>

Alexander McQueen – VOSS

Alexander McQueen’s, 2001 Spring/Summer collection, VOSS, offers a commentary on the relationship between the beautiful and the grotesque. McQueen states that his “collections have always been autobiographical…They were to do with [his] childhood, the way [he] think[s] about life and the way [he] was brought up to think.” With the perception that McQueen’s collections reveal truths about his own personal life, one can examine his collection to learn and define the designer.
Voss is a municipality of Norway, which is renowned for its host of species, particularly its bird-life. This closely links with the materials used in many of Alexander McQueen’s garments therefore suggesting reasoning behind the collection’s name.
“One of McQueen’s greatest legacies was how he would challenge your expectations of beauty” . Through this statement, one can make the presumption that, VOSS, was in fact, all about beauty. Alexander McQueen presented the catwalk as a theatrical piece, where elements were included to distract the viewer away from the attention of the model, but rather upon self-reflection. The first model on the catwalk was Kate Moss, who wore a beige dress, with cascading feathers starting from the shoulder and white fabric wrapped around her head, symbolising bandages.


Kate Moss

Michelle Olley

Michelle Olley

Alexander McQueen described the dressings as a representation of surgery – surgery to change ones appearance. Due to the first garment presented as being a direct reference to beauty and appearance, McQueen is able to achieve a focal point for the collection. At the end of the show, McQueen’s desired message of acceptance was exposed through the dramatic revelation of Michelle Olley, whom lounged across a lace sofa, whilst surrounded by moths.


Witkin’s photograph, ‘Sanatorium’

This was inspired by Witkin’s photograph, ‘Sanatorium’. From my perspective, moths represent vulnerability, as they are a creature of the night and therefore are highly influenced by the power of the moon. The moon is a symbol of femininity but also madness. This could refer back to the meaning of McQueen’s collection, suggesting that females can reach stages of mental illness in their search to perfection. This collection also prefigures his own battles with mental health, (mixed anxiety and depressive disorder), consequently leading to his suicide in 2010.

Alexander McQueen took inspiration from many mediums. The 1963, Alfred Hitchcock film, ‘The Birds’, influenced a garment where taxidermy eagles were plunging down onto a petrified female.


The eagles could have many symbolic meanings, which McQueen allowed the viewer to establish themselves. I took this garment to represent entrapment and the lack of control an individual holds over themselves. Eagles represent freedom and power. By giving the sight that the eagles are in control of a human, could signify the lack of freedom one feels, (linking in with the location of a psychiatric unit) consequently leading to a lack of control they have over themselves. By having such a strong symbolic garment, may possibly be an expression of McQueen’s own personal feelings of anxiety and depression, from which he feels lack of control in his own mind.

One of the most famous garments within the collection, is the scarlet feathered evening gown,) worn by Erin O’Connor. This garment consists of an ostrich feathered skirt, dyed red and black, with each feather individual sewn together by hand. The bodice is made from 2,000 microscope slides, signifying how one puts the models body under a microscope (close examination and scrutiny). They are painted red, representing blood. McQueen states that “there’s blood beneath every layer of skin” suggesting that humans have multiple layers, physically, but also emotionally.

In view of above, McQueen’s designs for this collection foreshadow his own battles with mental health, whilst simultaneously giving the critics an inquisitorial outlook of what they consider beautiful.

Hope you found this helpful.

Ella Elysia x