Dressful

1. Reflecting on Projekt Radar at a distance of an exam-ridden week, I'll remember it as a time capsule, so mellow I felt as if it all played out spontaneously one weekend at the crossroads of spring and summer, congregating everyone who belonged in Maribor Art Gallery's stately white rooms and outdoor café partly hidden in the shadow of trees. Slovenian event managers often attempt to emulate resplendent gatherings held in fashion capitals without taking into account the particularities of Slovenian fashion industry (it's not as clearly divided into Spring/Summer and Fall/Winter as Milan or Paris, not all designers plan collections a year in advance, etc.). This event purposefully overlooked trends, presenting Slovenian and foreign fashion in a timeless and contemporary manner. It was precisely not trying too hard, not wanting to be bigger than what it was and squeezing every drop of juice out of the location and exhibited artifacts that ultimately made Projekt Radar on par with events that inspire imitation.

2. The above photo, in which I look unusually like myself, was taken by Ana of Fensišmensi at the opening of Projekt Radar. I wore Maison Martin Margiela mesh boots, Tadashi dress and Marjeta Grošelj bag. The boots salvaged me – or did I salvage them? – after a two-month fruitless search for a pair of leather or suede wedges that was aesthetically pleasing and had an ankle strap (the least demanding set of criteria I've had in my whole life … for anything). Their visual effect is humorous and clever, two highly valued qualities in my closet.

3. Due to early Sunday train departure I only attended two out of four fashion performances. They were a curious mix of runway show and static presentation that allowed for both seeing clothes in motion and paying attention to details as models walked through gallery rooms, standing still on white cubes in between. Regarding the collections, it seemed that the event's timeless approach lifted a burden from our collective shoulders in the sense that it did not impose the transitory newness characteristic of fashion weeks. Instead, novelty was achieved organically. A distinguished example of this was Zoran Garevski – I couldn't connect to his past two collections shown at Philips Fashion Week the way I first embraced his clothes in 2008 and 2009, resulting in a closet bursting with black below-the-knee dresses that I wear approximately 70% of the time in summer. The looks he presented in Maribor were a well-anticipated creative comeback, sublime bordering on dangerous; teal warrior dress baring entire legs, black mini-midi-long skirt, white gown reminiscent of Ancient Greek priestesses, black veil tunic.

Zoran Garevski / Ana Ljubinković

The focal point of Maja Mehle's collection were cream-white blazers and coats with oversized flowing lapels. Models wore pastel flower garlands and bleached Converse that collided with the polished bohemian elegance of the garments. We fawned over Ana Ljubinković's pearl-embroidered dresses and turquoise deer pumps, low-calorie fashion candy.

4. One of my Projekt Radar highlights was meeting Kristin of The Clothes Whisperer, who is every bit as eloquent and intelligent as she conveys through her writing as well as super approachable and sweet. When I read Kristin's second book "Culture to Catwalk" last September after following her blog for months, I was in awe with the body of knowledge she had amassed. I made a mental note to meet her in the future, but I had no idea it would happen so soon (in Maribor of all places). The event weekend, albeit hectic in schedule, was rejuvenating because I spent time with people who, like me, appreciate fashion as art. No pretensions, no holier-than-thou attitudes. On Sunday morning, sitting on the stairs in front of the gallery with my sunglasses-clad friends tired from last night's partying, I realized I haven't felt this relaxed in a long time.

fashion week is the flirtation of clothes with buyers and press

Fashion week is when it becomes crystal clear to you that it is impossible to write properly about collections based on photos. The flirtation takes place on the runway, not through the screen. However, often not even a front row seat will ensure you will be able to see and take in every detail on the garment (this is especially true for haute couture, which is built upon exquisite craftsmanship). I think the ideal way to experience a collection is this: first, you go to the show to see the clothes on models, in motion, to discover how the garments behave. After a day or two, you go to the showroom to take in the details and see how the garments are made (the runway is always about the bigger picture). Buyers work this way, as well as editors and (some) fashion journalists.

Last week I saw a Maison Martin Margiela dress, the defining aspect of which was the sound of velcro straps holding the skirt together being pulled apart. If I saw a photo of the dress, I wouldn't give it a second thought nor realize that due to adjustable velcro straps you can wear the dress in countless ways. It's not just individual garments: many times I've attended a show and the official photos released afterwards didn't look nearly as dashing as the runway. Though photos make clothes immortal, they often don't convey all their magic.

At Sonia Rykiel's Fall/Winter 2012/2013 show in Paris, I experienced the ugly side of the fashion industry for the first time.

I was supposed to attend the Maison Martin Margiela show in the 8th district before Rykiel, but I hadn't received the invitation and the PR people didn't find me on the list either. They told me to wait and once everyone has been let in, they would check again with someone else, but I was afraid that if I stayed, I'd miss Rykiel – for which I did have the invitation – so I decided not to waste time and head directly to the Tuileries by metro.

The show was running standardly late; in the meantime, a giant group of photographers gathered on the side of the venue near the entrance, snapping photos of celebrity attendees, front row, the usual fashion week distractions (do you remember when the press actually focused on, you know, clothes?). The surprise that left a bad taste in my mouth was that in the midst of this superficial paparazzi chaos, Sonia Rykiel's arrival went literally unnoticed. Emerging from backstage, two men supported her as she walked; once she sat down in front row, it was as if she wasn't Sonia Rykiel, one of Paris's most legendary designers, but a completely anonymous woman. Her entrance got approximately as much attention as mine. Nobody bat an eyelash. Nobody took her picture. Nobody interviewed her on camera. Flashes kept flashing and cameras clicking on the other side of the venue, undisturbed by the presence of the woman who had founded the house whose show we were there to see. Some people came to say hi to Rykiel after a few minutes, but you could see they were old friends who have known her forever.

Though Sonia Rykiel has quit designing (last March was when her daughter Nathalie took her bow alone for the first time after the show), this naive ignorance was very bad manners. In fashion, I've been lucky to have been surprised with mostly good things so far. This, however, is the other side that many fashion insiders are happy to keep secret. Why? Because it doesn't make everyone look saintly and appearances are everything.

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The Sonia Rykiel Fall/Winter 2012/2013 collection by Nathalie Rykiel and creative director April Crichton was a big step away from Rykiel's signature playful, bright and sexy Rive Gauche chic towards a mature look that seemed more "global" than "Paris" (even headbands looked serious). This change of vision has been apparent for longer than one season, but it also goes hand in hand with the Rykiel family having recently sold 80 per cent of the label to Hong Kong-based investment company Fung Brands.

It will be interesting to observe how this move will affect the upcoming collections. The new investors are planning Rykiel's expansion to the US and China, therefore it is likely they will encourage further globalization of the label so that new customers worldwide will be able to relate to it (and spend money on it), not only existing Rykiel enthusiasts. If the aesthetic of the label changes majorly, though, the loss of the label's essence will alienate precisely these enthusiasts who have sworn by Sonia Rykiel for years. Much is at stake here, but I do hope Rykiel's identity will be preserved despite the increasing need to sell more, more, more.

2011 was an exciting and fruitful year for me as a fashion blogger.

In February I attended my first major runway show, Emporio Armani F/W 11/12 at Milan Fashion Week. Envisioning myself working in fashion before I started blogging, I thought I would have to spend years interning and assisting at magazines before my boss granted me a privilege to attend shows and write about them. I am my own boss at Dressful so nobody showers me with benefits, but thanks to the "democratization of fashion" we bloggers have become regulars at fashion weeks, be it catching street style photographers' attention with eccentric outfits or reporting from shows.

Concept Korea Spring 2012 presentation at New York Fashion Week.

In September I attended New York Fashion Week, which turned out to be a much bigger deal than I had expected. It's the collections shown in Paris and Milan that get the most international attention, but New York is the most blogger-friendly fashion week (Reuters claims that 40% of the press at NYFW are bloggers) and a great place for networking. As opposed to Milan and Paris, all shows take place under one roof in New York, which means you can hang out with people in-between events instead of wasting your time getting stuck in insane traffic jams.

When I started going to fashion weeks, I quickly realized there would be no way back, i.e. if I attend, I have to return next season to see more shows, meet more people and do better work. Due to unexpected health problems I didn't create as much content as I wanted to at NYFW in September. I will be attending NYFW again in February and I'm tickled pink to have a chance to improve. I haven't seen wintry New York in three years.

Invitation to the Emporio Armani Spring/Summer 2012 show
Celebrating Halloween with a Chanel pumpkin carved by my dad

Dressful has gained many new readers in 2011. I receive charming, encouraging emails from those of you who find it inspiring and I wish such perceptive and intelligent readers will accompany me in 2012 too. Constantly working on ways to reach more fashion enthusiasts, I'm satisfied with the direction Dressful is developing in. I've discovered that in my case, sharing original and quality content is the way to go. People like words and images they won't find elsewhere and I feel good expressing myself in different creative ways.

In 2011 I rejected various proposals that would have brought me money but didn't align with Dressful. I've been hesitant with monetization because I find some methods largely inefficient and because this blog is my personal space where I only recommend what I absolutely love and know well.

I have seen bloggers rush into monetization without thinking it through; in the end, they were not compensated fairly, the brand or product they promoted didn't fit their blog, the banner ads looked out of place … If done wrong, such deals can do more harm than good to the blogger, despite the money they earned. That being said, there are several types of collaborations I am interested in; I will soon create a separate page to outline them more precisely.

Sens(n)ation Maison Martin Margiela exhibition in Ljubljana.

I would like to thank everyone who takes time to comment on my posts; your comments are not of the "nice shoes check out my blog" variety; rather, they contribute valuably to the post and discussion. I truly appreciate it when you share my posts on Facebook, Twitter and other platforms – this is the easiest way to help me reach more people. Next to providing quality content, expanding my audience is my number one goal for 2012.

Though the world is far from perfect, the opportunities I've had in 2011 make me grateful to live here and now. Five years ago it would have been impossible to jumpstart my fashion career with a blog.

The blog is just the beginning.

I wish you happy holidays and lots of health, love, creativity and success in 2012.

This morning I had the honor to be among the first guests of the Sens(n)ation exhibition showcasing a historic overview of Maison Martin Margiela's first line (défilé) collection from 1989 to 2011 (23 looks), as well as garments and accessories by renowned Slovenian designers. The exhibition, a joint effort of multibrand designer store Wolfova 5 and Projekt27, is curated absolutely comme il faut; fashion-wise, this is the event that finally put Ljubljana on a global scale.

There's quite a Margiela cult in Slovenian fashion circles, making Sens(n)ation even more sens(n)ational. In a way – though if you asked people in the street who Margiela was, I don't think you'd get many sensible replies – this exhibition will cater to the widest of tastes. Fashion people will love it (or at least appreciate it as usually you'd have to go to another country to see an exhibition on this level), passers-by (i.e. the uninitiated into the Noble Art of Conceptual Fashion) will be provoked by what fashion can be – fashion that is not stripped to strict functionality, fashion beyond trends.

I should note that the historic overview is actually very general public-friendly. There are no covered faces and other more or less bizarre facets that often alienate people from the complex world of Margiela; it's more about playing with sizes, materials, inspirations and humor. When you see the exhibition, I suggest you pick up the little booklet with details about each look so you won't miss out on Margiela's clever tricks.

1. Polka dot print dress, S/S 2006
2. Setup
3. Shirt with front made out of leather gloves, S/S 2001
4. Theater costume-inspired jacket, S/S 1993
5. Sleeveless "tailor dummy" jacket, S/S 1997
6. Setup
7. Size 78 coat and jeans, F/W 2000
8. Pink shouldered jacket, "destroyed" jeans, S/S 2008
9. Velvet dress, mohair cardigan, F/W 1995
10. Double-breasted sleeveless jacket, S/S 2004

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Regarding the second part of the exhibition, I cannot help but wonder how (Slovenian) designers feel about their work being displayed in the same space as Margiela's; it's an enormous challenge, yet the selection is careful enough that the Slovenian designers' part feels like a logical continuation of the Margiela part. Each designer has contributed two looks, the dominant color being black. Three accessories collections have been designed especially for Sens(n)ation: bags-sculptures by Marjeta Grošelj, jewelry by Srečko Molk and glass hats by Ana Lazovski.

1. Dress by JSP Jelena and Svetlana Proković
2. Dresses by Sanija Reja
3. Bag by Marjeta Grošelj
4. Sweater and dress by Dajana Ljubičić

Most of the designers are part of the younger generation; I miss humor in their otherwise beautiful, well-constructed garments, the same humor Margiela has in his little finger. On the other hand, I understand that creative insouciance can only be achieved after you have fallen and risen again a thousand times. A quality of the masters.

The exhibition will be open from November 25 to December 4. Free admission.
Galerija Jakopič, Slovenska 9, Ljubljana.