• Skip to main content
  • Skip to footer

Fashion Symbols with Aynura Maye

Bringing together the opposites

  • AQA Series
  • Galosce Zhiguli
    • Qaloş Jiquli
  • Fashion
    • Fashion & Myths
  • The (Un)Conscious
  • About Me
  • Contact
You are here: Home / Archives for fashion symbols

fashion symbols

Couture headpieces – anything from wild to flamboyant, but never a dumb thing!

July 11, 2018 by Aynura Maye

Last week on the couture runway we have seen the most creative headpieces so far – from the sublime veils to the most flamboyant masks of animals, flowers, you name. Actually, this is what has remained with me about this week – a parade of flashy headpieces and masks.

Paris Haute Couture Fall 2018. Schiaparelli. Photo: Internet
Paris Haute Couture Fall 2018. Schiaparelli. Photo: Internet

Even more interesting is the sky-high praises and affirmative reactions the luxury houses garnered for these obviously impractical pieces. In such a paradoxical moment the first thing comes to mind is “well, it is a couture week, no rules, no restrictions to the imagination”. Yes, let’s say that part is clear. But why so much positivity from the connoisseurs of fashion?

This article has originally appeared in Marie Claire Italia in Italian  as “I copricapi della Haute-Couture 2019 sono l’essenza dello sciamanesimo moderno?“

Paris Haute Couture Fall 2018, Vetements. Photo: Internet

Sit close and I’ll give out a secret – no matter how far our imagination goes, it simply can’t go farther than what our mind can produce. Using flashy headpieces have certain power or we are wired to ascribe certain power to them. Let me give an example to make my point clear – who remembers the images of the primitive men from the history books, more precisely, the images of shaman? The shaman who wore bird masks, beaks and feathered wings to enter the trance. Surely, they were not getting ready for a couture runway then. What they meant was to take on a bird life so that their souls could get liberated and fly out of their bodies. And their tribe, including those shamans took this make-believe game seriously. They all were impressed and taken by the power of this ritual.

Read about the secretive nature of the veils here

Paris Haute Couture Fall 2018, Schiaparelli. Photo: Internet
Paris Haute Couture Fall 2018, Schiaparelli. Photo: Internet

Or when we are sad, we describe our life as dark and black, the same color we dress the angel of death in our imagination. It never comes in a colorful garment. When we are in love, we bloom flowers. All these metaphors seem so logical that we do not even bother to ask “how and why?” Yet there is no logical connection in such kind of associations.

Paris Haute Couture Fall 2018, Schiaparelli. Photo: Internet
Paris Haute Couture Fall 2018, Schiaparelli. Photo: Internet

The same thing is happening now. In a sense, those flamboyant pieces are just an exaggerated way of communicating our state of mind. The difference is that we’ve pushed the use of those exaggerated, extravagant headpieces to the runways only. But the reaction they stir inside us is still the same. In the depth of our mind we are not much different than our ancestors. We still use headwear, but in a more subtle manner. Just because we are more conscious of ourselves now. Yet we get overwhelmed and dazed by the power they exert on us. Just think about the headpiece of the Pope or of a judge. We haven’t changed much, have we?

That’s why rather than saying “it is a couture week, no limit to the imagination”, I’d say “it is a couture week, let’s have a blast with everything that our mind can fantasize”.

To sum up – now that we know the secret power of the headpieces, we know how to wear to impress. In the end, the life is runway and we are role-models of our own lives. Let’s jazz it up.

This article has originally appeared in Marie Claire Italia in Italian  as “I copricapi della Haute-Couture 2019 sono l’essenza dello sciamanesimo moderno?“

Read about the secretive nature of the veils here

Filed Under: Fashion & Myths Tagged With: fashion symbols, Haute Couture, headpieces, Paris, Schiaparelli, shamanism

Veil – the secret of secrecy

July 9, 2018 by Aynura Maye

Last week was definitely a week of headpieces in Paris. Besides all the flamboyant masks and headwear, we were not short of the veils either – black and white, structured and freely flowing, tiny detail and statement piece – all types. And we loved them. Every time I returned to go over a certain collection, I unnoticeably clicked on the looks that came with either a headpiece or a veil. They are catchy, really.

Ashi veil, Paris Haute Couture, Fall 2018. Photo: Internet
Ashi veil, Paris Haute Couture, Fall 2018. Photo: Internet

But the veil is not like any other symbolic headpiece that is poised to exert power. It is quite different, more subtle. Not only it looks romantically beautiful, but also gives an air of secrecy, mystery. It is sublime and tenderly suggestive, calling one to look again to see who or what is behind.

Interestingly, we rarely see a man with a veil. At least, I do not see that happening. Still not in fashion. Because our creativity doesn’t go farther than what our mind produces. In the dark depth of our mind the femininity and the veil go hand-in-hand. The veil makes a female present, yet hidden. Not totally hidden, yet not entirely exposed – something mystical, spiritual is there. It is the hidden mood, deep state of mind. The female is the medium – between celestial and terrestrial.

Georges Chakra veils, Paris Haute Couture, Fall 2018. Photo: Internet
Georges Chakra veils, Paris Haute Couture, Fall 2018. Photo: Internet

Related article:
The “A La Gucci” Great Hermaphrodite and Why We Hit Mid-Life Crisis

Who else thought of a bridal veil at this moment? Yes, right, we are now talking about the same concept. The moment a groom unveils his bride and kisses her for the first time, he commits to unite with his other, spiritual half. Across the cultures, throughout the history – the altar may not be there, the color of the veil may not be white, but the veil itself is there doing the same job. Does it explain why we feel that enigma around when we see a veiled feminine figure?

Veil, Giambattista Valli, Paris Haute Couture, Fall 2018. Photo: Internet
Veil, Giambattista Valli, Paris Haute Couture, Fall 2018. Photo: Internet

So, no matter in what shape a veil comes. They all come with the same story. We do not wear that as an everyday accessory any more. But that doesn’t matter. When we see it, we have that same emotions – let it be on the runway or over a graveyard. It emits that enigma. As it happens, the fashion critics are the ones to experience that moment on the front rows, in an arm distance from the runway with all the mystery, charm and glam of the couture masterpieces. Does it explain, why the more creative the veils get, the higher flying praises come from the fashion critics?

To sum up, want to look secretive? – Get your veil on. Want to be even more enigmatic? – add some dark color.

Filed Under: Fashion & Myths Tagged With: couture, Fall/Winter, fashion, fashion symbols, Haute Couture, high fashion, Iris van Herpen, Paris, veil, veils

Instabeautiful vs humarespectful – Couture a la Ronald van der Kemp

July 7, 2018 by Aynura Maye

The Paris Haute Couture Fall Winter’18 kicks off with RVDK, the label of the couturier of the modern times – Ronald van der Kemp, who I guess, I can comfortably call the King of Leftover Fabrics. As usual, his looks bear details from the period that is his “inextinguishable fountain of inspiration” – the 60s-90s. But to me, in this collection the looks are more romantic, the lines are softer, loose, flare and whimsical. The creations again sport bold colors and combinations are playful. As usual, the focus is on empowering models with garments and fabrics, not on the set.

RVDK, Paris Haute Couture, Fall-Winter 18
RVDK, Paris Haute Couture, Fall-Winter 18, Photo: Internet

All in all, I must confess that not all pieces are to my taste in this “wardrobe” as I am a retro-type person. I love to have fun with peaked shoulders, accented waist etc. that were the staples of the previous wardrobes. However, in general, these pieces of RVDK are quite strong and sure to boost confidence.

Yet I choose to write about this label for another reason – its “humarespectful” couture of RVDK versus “instabeautiful” craze of our days. Because its founder is somehow capable of avoiding all the distractions and cacophony in the fashion world and doing things his way consistently.

RVDK, Paris Haute Couture, Fall-Winter 18
RVDK, Paris Haute Couture, Fall-Winter 18, Photo: Internet

It doesn’t mean that his pieces are not worthy of instahype, in fact, totally opposite. He is very instaworthy. Yet, I guess, the below reasons will make one feel more awesome in his pieces because of the values he sticks to:

The approach to couture:

RVDK couture is usually not “inspiration” or “theme” based. His way of creating couture is relaxed, experimental, spontaneous thus playful and more relatable.

RVDK, Paris Haute Couture, Fall-Winter 18
RVDK, Paris Haute Couture, Fall-Winter 18, Photo: Internet

The approach to fashion:

He calls his collections “wardrobe”. Because, one may pull up a piece of some good years from her wardrobe to wear. It is not about being seasonal. It is about mindful consumption. It is about building a wardrobe that has both – old and new.

RVDK, Paris Haute Couture, Fall-Winter 18
RVDK, Paris Haute Couture, Fall-Winter 18, Photo: Internet

The guts:

In our times it is hard to resist the mainstream and not get pushed into the “acceptable frame” of the time. Somehow he is capable of doing it. While the leviathans and behemoths of the fashion world roar on Instagram and elsewhere, he is whispering his values through his work and commitments. He takes stance, just like any other successful label. But not by creating a public stir, by going out and giving his contribution without noise.

Respect for resources:

In the first paragraph I called him the King of leftover fabrics and it was for a reason. He is notoriously known for his use of leftover and vintage fabrics. Besides being a very responsible and “couture” way of doing it, to me, the results are eccentric with sometimes remarkable and colorful patches.

Empathy:

For the wardrobe of the last year he employed refugee labor. Attention, we are talking about it in a time when Europe probably lives the darkest days of refugee crisis so far.

Preference for nature-given looks

The label vehemently bashes the Instagram filters. And I agree. We use filters to a point, when I lift my head out of my excessively filtered virtual world, I find the colors in the real world quite boring. And this is no good. It makes me depressed.

Well, in a short while, I guess I’ve complied quite a list of reasons for those who choose to create deeper bond with their garments, rather than use them to create another personality.

Again, do not worry, the label is as much instabeautiful as it is humarespectful.

Filed Under: Fashion Tagged With: couture, fashion, fashion symbols, high fashion, recycled fashion

  • « Go to Previous Page
  • Page 1
  • Page 2
  • Page 3

Footer

Aynura Maye

Currently exploring the know how of Made in Italy through the stories of those who create it. Individuals.

Also, tracking fellow youth from my land Azerbaijan who built themselves in Italy.

Enjoy xx

Aynura

More

Subscribe

For Exciting Discoveries

info@fashionsymbols.com

  • Email
  • Facebook
  • Instagram
  • LinkedIn
  • Twitter
  • YouTube

From the Blog

Co.Ro. Jewels – Wearable Architecture

By Aynura Maye

Invisible Shades of Success. Artist Designer Fidan (Ilqar) Abdullazade

By Aynura Maye

Uğurun görünməyən tonları. Rəssam dizayner Fidan (İlqar) Abdullazadə

By Aynura Maye

Copyright © 2025 · Infinity Pro on Genesis Framework · WordPress · Log in