Future Classics

As opposed to my post yesterday, every once in a while I come upon a designer whose work makes me wish I could push a rewind button and go back a couple of years. Because often, if I see a name in close succession on two or more blogs that I frequent, I think that they must be well known, and so I don't want to bother looking closer at them for lack of want of getting caught up in the broken record that is often the fashion blogosphere. Such is the case with a London-based designer Julie Wilkins' label called Future Classics, which I've seen mentioned multiple times on all my big three daily reads, being Kingdom of Style, Style Bubble, and Fashion156. But today's Fashion156 FC mention made me think, 'okay, let's see what all the hullabaloo is about'. And my goodness, what a hullabaloo Future Classics deserves. First off, the problem may have been that I wasn't too keen on the presentation/styling of the pieces themselves in the lookbooks or runway photos, because I instantly loved all the pieces in the FC online shop, which are simply photographed on a dress form. Somehow presenting them in only two dimensions (especially when paired with their line drawings) properly showcases the essentialness of the basic knit pieces (above), and how the dresses in particular blend what I love most about Gary Graham's romantic/vintage-inspired looks and soft tailoring sensibilities with complexgeometries' effortless draping and convertible nature (below). Really, I never gathered from the lookbooks or runway photos that Future Classics is basically the British poster child for deconstructed and convertible clothing. 

Secondly (umm, I think I was counting hullabaloo-worthy reasons), maybe my mind knew that the FC pieces were way beyond my budget, as the regular prices are rather cruel for both lines (being the main FC line, and the FC Dress line). However, upon finally looking into the label, I found that the previous collection (A/W 10, which is what you see in this post, and which I love more than the current collection) is on sale at over 50% off the regular price. Sure, I still can't afford anything, especially given that I'm wanting to return to school about a year sooner than planned AND I need to prepare for the inevitable reoccurrence of this past Friday, where I spilled coffee all over my laptop and almost lost it if it were not for my man and a fan. But I digress (as I do). In short, I need to get working on those new listings for my shop, as the boiled fine wool FC Abstract Pod Soft Jacket (below; make sure you scroll down to see the drawing for the full effect) is calling my name. Loudly.

P.S. Please excuse me if this post looks wonky on your screen. I really wanted to include the drawings, but the sizing difference between them and the photos wouldn't allow for proper formatting. You should see the drawing plus two images of the same piece in one line.

fjöll í austri fagurblá

Posting this will probably make me late for work, but I just discovered that one of my favorite songs is online (via Pitchfork). This was previously only available on a tour-only EP (entitled "Rímur EP", rímur being the type of traditional Icelandic poetry that makes up the lyrics on the EP) from Sigur Rós and Icelandic chanter/singer, Steindór Andersen, which I got (a couple of copies of) through eBay. I consider this one of the greatest songs ever recorded. Enjoy.

fjöll í austri fagurblá by sigur rós

Fig with a Bellyache

Every once in a while, I come across a designer whose work makes me feel really angry and makes me wish I could push a fast-forward button to go ahead say 25-50 years. With the push for environmental awareness in general, the increased attention towards how animals are truly being treated in human industries in particular, and the desire of labels (and fashion weeks) to ruffle less feathers (at least figuratively speaking), I truly believe that one day leather will not be a prominent material used in fashion (or will at the very least have to be proven to be a bi-product or recycled, and tanned/dyed using only eco-friendly methods), just as fur will not be seen on the runway within the next couple of years. And so when I come upon someone like Canadian-born and London-based designer Todd Lynn, who creates these perfectly tailored goth- and rock star- inspired collections chock-full of pieces I would wear if I could switch out the fabric, I can't help but sigh and think, 'Really? Is all that leather necessary?' And I get upset from finding designers such as Todd Lynn not only because I can't/won't wear the clothes that I want to, but because I can't even post pictures of the clothes that I can't/won't wear, as I try not to feature fashion that I can't get behind. So, Mr. Lynn, how about a green collection next season? Then I could at least have a decently illustrated blog post that includes photos of my favorite pieces, not just the odd non-leather ones I can pick out...

(Photos via Style.com, from various seasons)

bARBARA Í gONGINI, A/W 11 (Part II)

Though we've already seen the bARBARA Í gONGINI A/W 11 collection, the near perfection of the collection, coupled with the fact that the lookbook just dropped into my inbox, calls for a second post on the matter. The lookbook also included an explanation on the difference between the bÍg main line (above) and the bÍg black line (below). The main line is the label's high-end collection, sticking to a black palette and using avant garde principles to use the square as the starting form for each piece. While the pieces are rather androgynous, they are mainly conceived of as being worn by us girls. The main line is given a rating of '80% sustainable', with the use of organic cotton, organic wool, rubber, metal, artificial silk, and bi-product usage of fur and leather. 

The black line, which I am more partial to, is considered bÍg's basic line. While it also uses avant garde principles and the square as the main form, the pieces are more functional and convertible, and are geared towards both women and men. The colour palette is also a little more variable, including some greys and olive with the requisite black. This line, which is also given an '80% sustainable' rating, is made of organic cotton, nylon, and wool. Really, based on the black line, I don't see why bÍg feels the need to use any fur or leather at all. I mean, just look at this brilliant jacket below, which could also be worn short, thanks to the buttons/snaps. You, jacket, are going in My Top 3 Want List.

And because I couldn't find a good place to insert a link above, click here to go to the bÍg site (though you should already have it bookmarked anyway).