>> The world is officially small when via an editor from Indonesia who I met in New York, I somehow receive some nuggets of the Indonesian fashion industry and in particular, make another connection to Nina Karina Nikicio who is one of the more prominent ones that has been carving out several strands to her ever-burgeoning brand.  There's a femme and homme line, a nn:02 basics-based line and then there's her series of projects where she 're' juvenates, 're' vives or 're'configures a clothing concept.  For her fourth 're' project, she looked at that old chestnut; the paper dress.  Explored, flashed up in the 60s and then condemened to the sin bin since, save for the loose relations of paper pulp-based fabrics in organic clothing endeavours, the paper dress has never really had its proper outing.  Perhaps it won't ever be a conceivable mainstream mode of attire. Even Nina's project here is as I said… a project and nothing more. 

Still, I love that she has tried to use a more solid paper base to create these zippered shifts printed with works by five photographers from Indonesia and Singapore.  The ones that arrived through the aforementioned roundabout way are the 'Re-sident' and 'Re-turn' dress, featuring a close-up knarly shot of a tree by Evelyn Pritt and a Phi Phi sunset shot by Noran Bakrie, both from Jakarta.  Seeing as these fully-functional, fully-comfortable and fully-waterproof zippered shifts are in my possession, tempering them to have these paper dress get proper outings isn't too difficult.  May just have to work in a scenario where should a rip-based accident happen whilst out and about, I would have to shed the layer to reveal another one which counts as an outfit change on the go…

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(With cut-up vintage trench, old Topshop dress, black tights, Atalanta Weller wedges)

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(With ASOS White coat, MiH jeans, Heavy Machine heels)

>> I'm waiting for more pictures to write this up fully, but just to warn you people that come next summer, a big expanse of flesh will be coming at you from yours truly.  I will try and fit in some bums n' tums toning, not eat like a teenager (surviving on McDs and Haribos at the mo…) and be fit and ready for this stunner of a GREY JERSEY (now how did you NOT think this would be getting a sole post…) dress that has this gravity defying constructed and controlled draped worked into it via some clever internal metal structuring.  It's from Anthony Vaccarello's S/S 11 collection which was presented yesterday and you can get the official blah here but of course on the blog, I'll tell it as it comes flooding from the heart (shit, I think that awful Another Level song from the Notting Hill soundtrack just crept in there…).  I'm having heart palpitations about the mere prospect of trying it on – what will my unpredictable cleavage DO in it, will I in fact have a squishy thigh situation, what will all that oozing silk grey jersey feel like in structured form?  Sometimes it's good to have such trivial giddy hopes and fears about a dress…

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>> I'm not sure whether to be really happy or angry with COS for putting pre-meditated thumb holes into this cashmere top that I picked up as err… an overindulgent pyjama top.  I've recounted many times on the blog the inaugural act of getting a new school jumper and then proceeding to gradually wreck it through the terms as I push my thumbs through to make some lovely shredded holes.  Was it purely a means of keeping my fingers busy?   Was it an act born out of pent up teenage frustration and all that jazz?  Was I just into scraggy holes in jumpers?  This surely needs to be psych-analysed at one point.

So am I REALLY mad at COS for taking out the gradual process of the hole-making and neatening them up into perfectly formed thumb-vestibules?  Or like the old fogey that I've become, perhaps I'm SUPER happy that the holes have been yuppified and are there, ripe for the taking.  I slip this piece of cashmere on and thumbs slot right in with an ease that is supposedly befitting for someone who can swan into COS and pick up a cashmere pyjama top (though I really thought it was just a plain cotton tee…)…  

You know fashion week has got too heady when I'm analysing an afterthought of a design detail…  

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It's very hard to give Pamela Love even more love than she gets yet at the same time, it's particularly hard not to.  Is it the pun-possibility driven last name, her infectiously likeable personality or in fact her jewellery niche which she has carved for herself and for others to get onboard for some healthy competition.  I also have no excuse for not giving some 2-in-1 bumper love when I a) went to her S/S 11 presentation in New York which surprisingly featured models and b) her pop-up store event in Browns Focus (sadly I'm also dead slow in posting these days so the store has popped off and gone…). 

So here it is… the love that you expect for a jeweller named Love.  It struck me there were few jewellery designers with an aesthetic that is so far established that they could adorn a pop-up shop with their own personal choice of artefacts and vintage pieces and for it to be entirely recognisable as their own.  Take away the dream catcher and the scattering of her own jewellery and I might still hazard a semi-educated (Hah!  Me?  Educated in anything?  Pah…) guess and point out the Pamela Love-isms.  All the Tex-Mex references also together curated with her jewellery creates the sort of environment where one could well imagine Love owning her own vintage-led, artefact-filled store serving up margheritas and chips/dips every Friday. 

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More… interesting…applications of velvet I say… as seen in these pumps which after three more drinks would have gone home with me…

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Very nearly nabbed this beaded cardigan where teensy pearls look anything but grandma-ish…

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Rewinding back to Love's S/S 11 presentation I forgot to mention at the glad that I was mighty glad models were present to bring her jewellery alive.  The dresses that Love dyed with vegetable dyes and burnt to distressed imperfection also worked as the perfect backdrop for a new collection that moves away from the slightly religious or animalia-inspired pieces of her past work – instead astrology and motifs from Indian/African tribes are mined instead to make pieces such as a star-pointed bracelet is welcome weaponry indeed.  Hopefully this isn't another blanket expression of devotion along the lines of "That's rad!"  or "I die!" but I do wonder how it is she has cleverly muscled in on a niche that produces said terms of devotion… one to ponder amongst all the Love-lovin'…

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