Wishing I had some Me Time

Me Time by lea281

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Creative breaks

I don't like putting off projects... but I guess school has to come first.  Unfinished work makes me itchy though.

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The future is now

Although I haven't taken a fashion history class or anything, all the mainstream trends as of the past decade have seemed recycled from previous eras - peplums (50's), crop tops and chunky shoes (90's), flowy maxi skirts and jumpsuits (70's), Peter Pan collars (1900's), and even my favorite baggy top and skinny legs silhouette from the 80's (although now it's more flattering, IMO).  On the other side of the spectrum, however, a lot of avant-garde designers push the envelope way out there so that their looks are a lot less accessible, thus aren't as able to change the greater population's wardrobes.  Now I love all the innovative, creative collections that designers dream up every season, but I'm not sure if there have necessarily been any iconic, perpetuating shapes that can be added to the textbooks.  I don't want to wait for my generation's "look" when it's already been 20 years past.

Future talk always turns space age-y, a preparation for harsh environmental changes and the need to re-locate to Mars within the next 15 years.  Then I saw the two looks below and was excited by their "current modern" vibe.  This is what a woman, with a foot in the new millennium, should dress towards. The shapes aren't outlandish, but they're still new and unexpected and hard to describe with old definitions.    They contain elements that we're well acquainted with, but are as much for visual interest as for function.  Nothing's confined to a major reference or pinpointed to an obvious culture.  There are twists to the details - extra panels in the hood and leather mixed with knits in the first, and a semi-caped top with matching pants and low-strap v-cut heels in the second.  Their beauty choices (hair and makeup) were also new but not trendy.

What's more, these women are still very beautiful and feminine.  The female form is neither hidden nor on display.  Without needing to be masculine, there's a vulnerability to the strength and confidence that they possess.  Lastly, the edginess still feels very organic.  It's not in shiny plastics and metals like an astronaut - it's earthy materials and inspirations, reminding us that we can't get further away from nature if we're to survive in the long run.

credit: The Sartorialist

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TC Charton Asian Eyewear - Ana frames review

After a long personal debate, I finally gave in to looking for Asian-fit glasses because the a) transitions lenses and b) the unflattering look and fit of my old frames were preventing me from wearing them outside the house.  That's a huge problem when contacts run out, or get dry, or if your eyes are just plain tired.

In general, eye frames in the West are designed for Caucasian faces.  That poses a problem for Asians, who typically have lower nose bridges and wider temples, so these glasses need to always be readjusted.  Even if a frame fits "well enough," it can really impact eye sight and even give unnecessary headaches if worn for a long time.  Also, if you want a plastic frame (which I did), it's nearly impossible to find one with those attachable nose pads that they put on metal frames.

A quick Google search led me to TC Charton, the only American-based company that makes Asian-fit eyewear.  Now, perhaps the Western market shies away from this niche because it might seem racist to create an ethnically specific product, but I think just like African-American haircare, which has been pretty uncharted territory until recently (as far as I know), there is a clear difference in consumer needs that should be addressed.

I ended up going with the Ana frames in midnight blue (Domo-kun not included.)

Below is a comparison of my old Juicy Couture frames and my new TC Charton frames.  My old ones would always slide down and cut across the middle of my eye, which you can imagine isn't too flattering, and also made vision a little annoying in certain situations.  I think they were not quite wide enough, so the springy arms had a pushed out look.  Plus, the metal just made me feel really serious.

If you look on the inside of the arm, you will see a series of numbers.  The first number (53) refers to the width of the eyepiece.  The second (16) is the bridge size.  With Asians, smaller bridge numbers tend to be better.  The last number (135mm) is the length of the arms.  My old frames were only slightly off, but the change made a huge difference in fit.

I think the biggest factor is the nose pads, however.  They're much more raised than Western plastic frame nose pads.  Because they're part of the actual plastic mould, they have to be custom designed and poured - which companies here just don't do.

As for the color, it looks anything from black to blue-ish purple, depending on lighting.  The inside has a subtle marbling/tortoise-like pattern, which I really like.  These frames fit my personality a lot better - smart, but slightly edgy.  When I'm too lazy to put on contacts, these glasses to the dressing up for me.

(Wearing speckled bubble sleeve boucle sweater from Victoria's Secret)

Tips:  The TC Charton website gives you a list of ophthalmologists that carry the brand in their shops.  I called ahead to the one near my house to a) Confirm that they would accept my insurance, and b) If they had a specific frame in stock.  Although they didn't have the one I had been considering, they were able to order it directly from the company since they're already partnered.  If I wanted to choose another frame after trying them on, they'd just keep the one they'd ordered in store to sell to someone else.  After some back-ordering, I finally got my frames!

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Wishing I were at PFW

Wishing I were at PFW by lea281

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Fashion vocab: Peacocking

 

Image credit: Wear and Why

When fashion week(s) rolls around, the stylish elite come out to play.  Haute couture and the game of pushing limits in art have always brought about clothes that are questionable to the general public.  But especially since the area of streetstyle and blogging has boomed, many of those that attend fashion shows will don the craziest outfits for which photographers will swarm around to get shots.  Termed "peacocking," this way of dressing becomes a competition of who can get the biggest exposure with images circulating throughout the internet realm.  And in reality, it can really become a stepping stone - or even a means for a career - in the industry.  For example, bloggers such as Susie Bubble and Man Repeller were first known for their wacky looks.  But exhibit A is definitely Anna Dello Russo, editor-at-large for Vogue Japan.

Image credit: Marquis of Fashion

(The first picture with the orange coat and big hat is also a look of hers)

ADR as she's referred to is known for her over the top, elaborated outfits (or costumes??) that often involve fascinators, huge sunglasses, and provocative cuts.  And every single day of fashion week/month she will appear in a new ensemble.  Although some of her looks are definitely cool while still being wacky (such as this bird suit below,) a lot of the time I'm just like "No, please... no."  While she's not alone in the game, she definitely takes the cake.

And you know what peacocking reminds me of?  When I first saw Hunger Games and the citizens from the Capital, my mind immediately clicked back to these elaborate outfits.  Words such as excess, frivolity, hierarchy, all come to mind.  Not the best association.  I would not at all be surprised to see any of these looks on the streets at fashion week.

Image credit: Sweet World of Fashion

Now, I understand that half of fashion is all about having fun, taking risks, appreciating it as an art form and all that... but I think peacocking takes it past that point to a sheer show of how much money you can spend to have a one-time-only ensemble.  It takes away the humanity and turns people into mannequins.  I think there's at least a 2-3 inch wide line between dressing up and ostentation.  Instead of looking into the styling as a reflection of who you are, it's just about being bigger and weirder, getting attention, the spectacle without refinement.  Or perhaps I just have untrained eyes.

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Love Rain (Ep. 19-20) Fashion Summary (caution: image heavy!)

Previous episode summaries: 5-9, 10-14, and 15-18.

Episode 19:

Ever since their parents called off their engagement, Joon and Hana still have to fight against the disapproval of Joon's mother (seriously, she is one of the worst characters I've watched in awhile.)

This was a lovely detail shot of the textures and patterns of their clothing.  Joon's window pane blazer was fresh against different tones of grey, and Hana's soft chiffons and nubby knit work for her because she's young.

Love the flutter sleeves, lace and dainty jewelry.

A bit of a departure for Hana.  The high, Victorian-like neck is sophisticated, and her floral skirt is more streamlined and structured.

Mi Ho's tiny braids and charm necklace here are very cute.  Her oversized blazer is still flattering because the lapels join further down to create a slim triangle shape, and the sharp shoulders balance out the volume on the bottom.  Love the pattern underneath as well.  I just can't criticize Mi Ho, ever.

Sun Ho is looking a lot sharper too!  We've seen this double-wool, raised collar blazer on Joon before, but I think Sun Ho pulls it off just as well.

Episode 20:

The finale, where pretty much every outfit was spot on.

The outfit that Hana is wearing here is actually a dress with a pretty scallop skirt tromp l'oeil effect.  The skinny leather belt ties it together, and coordinates with Joon's belted and pastel look. 

Their styles are becoming more and more similar (though Hana's is the most changed, in my opinion.)  She stays away from those busy textures from before, and chooses voluminous but more figure flattering, womanly looks.  I like how the button placket of this striped top cuts vertically and offsets the horizontal line.  She pairs it with a polka dot skirt, a subtle mixing of prints.  Joon's looks have become a little more masculine, perhaps a reflection of his growing responsibilities and commitments in their relationship.

Hana went to America for two months to take care of her mother, who had to have eye surgery (a side effect of the TB treatment she underwent in the 70's at the very beginning of the story.)  That short stint in America sure changed her.  Personality wise, she's a little more outwardly sassy and confident, and challenges Joon in his place (though gently.)  And style wise, she's a TON more fashionable I don't even know what happened.  It's all still very "her" with the florals and collars and whatnot, but updated and mature and classier.

I loved the layers of scalloped edges of her black-collared shell, and the slim floral blazer.  Black skinny jeans, on-trend bags and arm candy equal cool girl.

Even her overalls are slimmer and flattering, and her sweater is fitted and graphic.  I admit her voluptuous hair adds a lot to how she pulls off the look, but that is a reality with anyone.

Sun Ho is back to his khakis and a little happier, even though he still has some lingering feelings left for Hana. T__T

Our last glimpse of Mi Ho, because she is leaving to model in Paris on her own volition, showing that she's grown up a lot too.  The handkerchief dress here is lovely but still cut very well to emphasize the lines in the print.  A+ style award for Mi Ho.

Of course some things don't change, and Hana tires out from shopping faster than Joon.  Her bag here is gorgeous.  We don't see a lot of black with her.

I realize that shoes haven't really taken the center stage with most of the characters' outfits until this scene.  These strappy, stacked heels are gorgeous and Earth toned, so they still fit Hana's aesthetic.

Joon proposes!  The candles, projection with pictures of their journey, and string lights at the very end were simply but thoughtfully done.  Plus he held it in Hana's beloved garden, which shows that he knows her well.

These are some of the simplest looks to date, but this reflects that they love each other even as their very basic, unadorned selves.

A lovely sheer long top that she half-tucks into her shorts.  The stripes deliberately stand out.

Very similar formulas here - jacket color matches the accent color of the white layer underneath.  At this point, things are pretty much settled for them as one unit.

Then finally... the wedding!  I love the flower appliques on the bodice and her flower crown.  But she keeps it from being too ethereal by choosing deep ruffles and a high-low hemline.  A dress that few people could pull off, I'd say.  Her chunky braid is lovely and balances the strapless bodice.

And Joon's look is kind of retro, but of course we would expect him to take a risk on the biggest day of his life.  I think if he had chosen a normal black tux, it would have clashed too much with Hana's goddess look anyway.

 

A happy ending to a short but sweet drama, with lots of fashion looks to inspire.

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Love Rain (Ep. 15-18) Fashion Summary (caution: image heavy!)

Previous fashion summaries of : episodes 5-9 and 10-14!  As the series went on, I was more and more pleased with the fashion choices, so this post only contains 3 episodes because there was so much to capture.

Episode 15:

At the news of Joon and Hana's parents' engagement, things get more painful for the two leads.  Hana wants to "act like family" for their parents' sake, while Joon can't bear the charade.

Here, Mi Ho's jacquard skirt is gorgeous.  There's a slight metallic shimmer to it.  I like Joon's cleaner look and his big glasses.  Instead of 50/50 black and white (which can look too basic and uniform-like) he goes for 50% black, 40% beige and 10% white.

At a gathering for his father's birthday with "the family," Joon picks a bold red trench.  He certainly doesn't hold back with his fiery words at the meal.

And underneath, he wears this shirt, a hybrid between tie dye and cosmic print.  It works though - the color choice was not messy.  It's a wonder what a difference rolled up sleeves can make.

Episode 16:

It's a continual struggle trying to stay apart.  Eventually Joon and Hana text each other, saying that they miss each other.

Even though Joon's layers here are very simple (no texture or print), he chooses instead to add an interesting cut of ruffles.  Questionable to some, but it's wearable in army green.

Below is one of my favorite looks for Joon in the entire series, hands down.  His paint-splattered trench coat speaks for itself.  The colors are rich and opal-inspired (not simply primary colors.)  I could throw paint at a coat and give it a splotchy effect, but this is designed to create clean vertical lines.  There are small details that I love - a hidden hood, as seen by the zipper on the collar, and epaulets.  Lastly, the jacket is an homage to his father's life as a painter and artist.  Joon himself says that when he met Hana, he understood how his father's love could have been that unforgettable.

The eyelet of Hana's little jacket is lovely as well, and the mandarin neck denim dress counterbalance the preciousness.  Love this back shot.

Episode 17:

Not sure why there are so many modeling scenes with Mi Ho, but I don't mind because they always show gorgeous clothes.  I LOVED this high-low, structured top/tunic.  I wouldn't have thought she could pull it off, but she does amazingly.  The pairing with leather leggings and edgy heeled booties are a nice touch too.

Her hair and makeup - a slicked back ponytail and smokey eyes - were a nice change from her norm.  The grey diamond necklace was an elegant sci-fi inspired addition.

Mi Ho is crying after hearing that Joon and Hana are back together.  Jeon Seol tries to talk some sense into her (and unsuccessfully convince her to set her sights on him instead.)

Like Joon, Mi Ho always pulls off unexpected color combinations - in this case, pale yellow and deep purple.  The floral details in her top and skirt are a nice take on the mixed prints trend.  Jeon Seol goes punk as expected in plaid pants and a distressed denim vest.

Thought the animal print of Joon's sweater was kind of cute, but in an urban pop way.  Reminds me of a certain Clazziquai Project album cover.

As they become more confident in their relationship, their outfits lighten up as well.  Hana is the second to get a hairstyle change.  It's now straightened and more mature.

This is a more obvious shot of Mi Ho's hair change.  It used to be tinted red with blunt bangs.  I think this style is much more elegant.  The sheer pattern of her top and her layered necklace are gorgeous, as always, but still casual.

Sun Ho is the third to change his hair into a sleek asymmetrical cut.  I think it looks good, although he's always rather depressed now...  I laughed out loud at this line:

Joon goes for another take on black and white with this ombre shirt.  Quite cool; it looks like a smoke effect.  Hana is a big fan of Peter Pan collars and is doing a better job at coordinating.

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