Coco Chanel summed it up perfectly- “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” When we think of fashion, we think of dresses, shoes and purses; we think of Carrie Bradshaw complaining about spending all her money on a pair of Jimmy Choo’s -it’s undoubtedly why fashion gets written off as superficial and shallow. However for those of us who see the necessity in the multi- billion dollar industry, we emphasise the freedom of self and social expression that fashion allows us to have. Many will tell us, not to take something so superficial so seriously- but, alas, I just pity the ignorant. Because what they don’t realise is that fashion exists in all of them and their identity, and even more importantly in their beliefs and values. Fashion has always been a prevalent way to express a message to the masses- it’s just too bad most people don’t realise this.

The most recent example of this is perhaps Beyoncé’s Super Bowl costume. Designed by Zana Bayne, the singer and her back up dancers were dressed in custom-made leather harnesses- all also sporting afros and a black beret. This was a clear nod to the Black Panther Party- an organisation set up in America in the mid-60s, which protested against the oppression of black Americans. Unsurprisingly, due to the radical nature of the organisation, these costumes caused quite the controversy. However, regardless of your opinion on Beyoncé’s costume, the fact still remains that fashion offered the singer the chance of political expression- and it worked. Her performance, particularly Bayne’s harnesses, largely overshadowed both the game and the other performers at the half-time show.

There’s a reason why political undertones of conceptual fashion get spoken about a lot. Fashion is an art, a performance. No one made that clearer, than Kanye West at his NYFW show, where he debuted his Yeezy Season 3 collection. Notably, this collection was more colourful than his previous two- with warm autumnal plums, oranges and browns being matched up with lemon yellow and blue. Despite this, the rapper-turned-fashion designer, remained true to his aesthetic of oversized sweatshirts and hoodies, coupled with nude bodysuits and leggings. Many have perceived the performance, in which hundreds of models stood neutrally throughout the hour-long presentation, as revolution-esque. Whilst this take is yet to be confirmed by West himself, it is a valid one. The collection comes across as a subtle ‘fuck you’ to the norms of fashion- this is supported by the diversity of the models, who included Naomi Campbell dressed head-to-toe in black, as well as the use of street-cast models.

This rebellion demonstrated by West’s collection, is nothing new. In fact it has existed for as long as we can remember. The rise of Vivienne Westwood’s punk aesthetic into the mainstream, during the 70s was a pivotal moment in rebellious fashion. Westwood coupled 17th and 18th century cloth cutting principles, with safety pins, razor blades, and the BDSM inspired ‘look’ of the punk-era- creating, what can only be described as a visual representation of the rebellious anarchy that was the punk youth. More recently, the popularity of the heroin-chic movement, in the mid-90s, controversially subverted the norms of fashion. Out was the curvy and sexy image of Cindy Crawford and Linda Evangelista, replaced by the emaciated and waifish likes of Kate Moss and Jaime King. It was the perfect form of rebellion, for the 90s, grunge-obsessed youth who idolised the likes of Kurt Cobain and River Phoenix. It was their way of telling authority that they were not going to accept their rules and censorship. The late British fashion photographer Corinne Day said it herself- “We were poking fun at fashion.”

Fashion is constantly changing, the rules are continuously being subverted and rebelled against. That is what makes fashion the most socially-conscious industry out there. Fashion is more than a jumper or a dress- it is an art, an expression, a rebellion. And as Coco Chanel said, all those years before, it is “in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.”


One of my favourite films of all time: The Devil Wears Prada, questions Andy Sachs when asking:

"You think this is just a magazine? This is not just a magazine. This is a shining beacon of hope."

For a society consumed by technology, it's safe to say that magazine failure is a likely threat. But should it be? Should we allow digital media to serve as the only way of publicising fashion? Most certainly not.

Unlike their recent digital publications, fashion magazines have been a part of society for decades. Though they have massively evolved in the fashion industry, from the late 19th century, fashion magazines have dictated trends to people all around the world. They began as a mode of dictation on what aristocrats of society wished to wear, therefore serving as the vessels for fashion to become so popular. This idea is now more popularly dictated online. Technology clearly controls us as it is rare to find an individual who goes through the day without checking their phone at least once. If digital publications become the only mode of 'magazines', print will dissolve, and we will lose a crucial aspect of society which has lived through iconic cultures which we as contemporaries honour.

Linking to modern society, one may wonder: do fashion magazines serve the same purpose today? What does physical print provide which online publications do not? Well, exactly that: physicality. Real life presence. Digital publications clearly distribute news and information in a fast and free way, but they do not exist in real life. I, myself, find that purchasing a magazine is like purchasing a book; one is able to engross themselves in the fashion world from a narrative style. Fashion magazines are enchanting narratives that take their readers on a journey, from their opening promotional high fashion advertisements, to their collection of articles, to the current trends, to the build up of their cover story interview. Their narrative journeys connect readers to the journey of which fashion is taking day by day.

Personally, I prefer everything about physical magazines rather than online ones. Printed magazines give each of us a sensory experience unlike those online, triggering many senses from sight to touch to smell. It has been made apparent that most people absorb information more when reading from a physical object, as opposed to through a screen. The death of print would therefore threaten our understanding of fashion and cultural development across the world. It would be a true travesty to live in a society that is completely controlled by online updates rather than literal representations of evolving cultures.

One feature of physical print which can never be as effective online is its cover. Over the decades, there has been a growing interest in the covers of fashion magazines. Anna Wintour once stated: "I'm always looking for a cover subject that reflects the magazine, an interest in fashion, in culture, in society. We're trying to bring the world into the pages of Vogue." A cover thus acts as a mode of indication for the narrative contained inside a magazine, a glossy print which serves as a statement of society. Print therefore reflects our changing cultures yet, as a concrete object, serves to also capture history.

I understand that you're reading this online, on some form of modern technology. I'm not against the idea of the digital world, because it does serve to offer opportunities for individuals like me to present their beliefs on fashion. Digital publications are an undoubtedly important way of showcasing fashion as, after all, technology is an important part of our society. But should we allow it to take over and eliminate a physical tradition of the fashion world? A tradition which has long been a form of presenting the ways in which different cultures and periods are defined? Of course not; it would be like eliminating history. So quite simply, I do not wish for print to die. Why should anyone? Digital fashion publications are an important way of constantly maintaining a cycle of live news and updates in relation to fashion, but literal print transforms these key fashion events and trends into a marvellous object that is concrete and everlasting: the magazine.

So, reverting back to Nigel's claim in The Devil Wears Prada, let us respect the beacon of hope that print gives to us, and maintain some sense of tradition in a world encrusted with modernisation. Don't let print die.

Faye .x

(As a side note, I'm wearing:
Top: Zara
Jeans: Dr Denim
Handbag: Urban Outfitters
Boots: Asos
Coat: Urban Outfitters

My Little Diaries 2: Best Brunch spots in London

Eleonore-Thaïs Laurent

Brunch is, by far, the best meal of the weekend - a meal that justifies a cocktail before 12pm or to spend a lazy Sunday. Indeed, Saturday and Sunday mornings in London are now all about scoffing runny yolks, pancakes and avocado on toast — washed down with a Bloody Mary or three, naturally. But with quantity comes varying quality, and no one wants to waste their weekend on a hard yolk, so I decided to choose you the best brunch spot of the capital.

Fitzrovia - Barnyard
Brunch in Barnyard starts in Saturday to Sunday at 11am to 2pm. Here you can fin typica l and full English breakfast - smoked salmon and scrambled eggs on toasted brioche or Avocado on toast with mint, lovage and spring onion - with affordable prices (drinks included around 15 pounds)

Plus: They also do delivery 
Adress: 18 Charlotte St, London W1T 2LY
Tube Station: Goodge Street 

King’s Cross - Caravan
Brunch in Caravan starts every Saturday to Sunday at 11am to 4pm (so, you have plenty of time and not in a hurry). Caravan restaurant is very sophisticated and is designed as a converted factory. There is a massive terrace where you can enjoy the wether (or not). Prices are also very affordable (around 15 pounds, drinks included).

Address: Granary Building, 1 Granary Square, N1C 4AA 
Tube Station: King’s Cross Saint Pancras

King’s Cross, Clerkenwell, Notting Hill - Granger and Co 
The food offered is of high quality and organic, and for girls who like to keep an eye on their waistline this is best spot to go to brunch ! You can find a wide range of juices and smoothies (I highly recommend the bill’s greens - green apple, cucumber, ginger, silver beet, chia and coconut water) and food based on fruit and grains.

Advice: Book in advance 
Address: Clerkenwell (I was on this one): 50 Sekforde St, London EC1R 0HA,
King’s Cross: Stanley Building, 7 Pancras Square, N1C 4AG
Notting Hill: 175 Westbourne Grove, W11 2SB

Clerkenwell - Bourne and Hollingsworth Building
This is my favorite place in London ever! Here you can find an amazing place with an exotic atmosphere where you can drink/eat/brunch. Two Fireplaces, a retro bar, verandah etc. everything is done to enjoy you sunday brunch.

Advice: Book in advance
Tube Station: Russell Square

Peckham, South London - No67
You have in No67 plenty of choices - waffle, eggs royal, Spanish breakfast and (even for vegan) a vegan breakfast! Prices are also very affordable - around 10 pounds. No67 is just close to the South London Gallery, you can therefore enjoy a brunch after visiting an exhibition. 

Address: 67 Peckham Rd, London SE5 8UH
Tube Station: Oval

Chelsea - The Ivy Garden
One of my favourite too, here you can enjoy the a brunch in a garden with a fireplace in the middle of it. The atmosphere is very cosy and calm. This brunch maybe the most fancy of all these brunch, and therefore prices go with it… However, you can also enjoy an afternoon tea or a drink in the Ivy Garden. 

Advice: Book a table 
Address: 197 King’s Road, London SW3 5ED 
Tube Station: Sloane Square

Coming next: Try new experiences - Where going out?