Tuesday, 26 November 2019

Winter Neutrals with Femme Luxe

Hey lovelies!

I hope all of you are keeping well and didn't miss me too much ;)

This year has been challenging for many personal reasons but also a year filled with a lot of personal growth and self-development. As I've been taking a few trips to Switzerland to clear my mind and relax, I decided as I'm back in London it would be great to get back into the blogging scene. What better way than to start with a collaboration with the amazing Femme Luxe.

I feel like I've been out the blogging game for a little while so I wasn't sure how I'd feel but as soon as I tried these babies on, I just loved the concept of dressing up and it helped that I was genuinely impressed with the clothing I received. Not only do I feel the pieces are good quality but they also are very much on-trend with the neutrals theme this Winter.

Also, being completely honest, I am always a little bit anxious to venture out and try clothing from new brands due to my shape and wondering if the pieces would fit my size 16 frame in a good way. However, I was really surprised that everything fitted me amazingly as I went for both oversized/tight looks.

Ladies, do let me know what you think of the below looks and let me know if you try out any pieces from Femme Luxe yourselves as I would highly recommend if you're looking for affordable, stylish, Instagrammable looks <3

Lovely figure-hugging cream jumper, perfect for teaming with leggings or cycle shorts for a night out.

Gorgeous flowy black satin dress which I felt looked so expensive in person.

Simple but flattering oversized sweat mini-dress.

Comfy, stretchy black loungewear co-ord which hugged my curves perfectly.

Thursday, 31 January 2019

Goodbye London, Hello Switzerland!

For the last couple of weeks I've been exploring Switzerland!

This break really has taught me a lot about myself and the way we have become such a materialistic society - sure it's nice to have nice things but the most important lesson in life is to re-connect with parents and all thanks to the Lord, I have been given this chance to take a break from life and re-charge my batteries.

Sometimes we get so caught up with London life (bills, bills, bills) that we all need time to take a step back and re-evaluate what is important to us in life. This break has taught me more than ever who my best friends are, who I can rely on and what kind of direction I want my life to lead. I am grateful to my father for allowing me to stay with him and whilst on this break, I've been doing more and more writing, reading and going for walks by the jaw-dropping lake.

The fresh air and peaceful way of living here has taught me one of two things: 1) We all should look after our environment more! London has a lot to learn when it comes to sustainability as recycling is taken very seriously here - outside the biggest supermarket chains (Migros, for one) you will see clearly-labelled areas to dispense your plastics. It's so inspiring to see the way people live here - the streets are spotless and everyone is healthy and active. Sometimes London life makes us sluggish but here, I have learnt it's so important to go out and appreciate God's gifts no matter where you are in the world.

Self-care has a different meaning for us all - as an "old soul", I tend to gravitate towards lakes and quite places for meditation and reflection. Sometimes, remembering the basics like having a nice hot bath and listening to your favourite tunes (oh, and for me jotting down my thoughts in my diary) is all we need to re-set.

Here are a few pics...

Dress: Pretty Little Thing (I love PLT for their Shape and Curve sections where I can find items that fit my body shape  well).

The Swiss are known for their watches after all!

Postcard-esque scenery (Weggis).

Local street-art - who knows what this means but I live for it!

Monday, 29 January 2018

The Perfect Valentines Gift! : Personalised Elie Beaumont Watch Review

Disclaimer: Item sent for review purposes. All opinions are truthful.

Hey lovelies!

This is an official warning that there is just two weeks left until Valentines Day! Whether or not you think the day is a load of faff, there's a good chance that your other half is still expecting a gift so unless you're willing to deal with the mood swings, you better get on it now...

Fear not! I have the perfect solution to save you from that last-minute gifting panic.

Personally Presented is an online store which specialises in personalised gifts for all ages. The site is packed with gorgeous gift options and the quick and hassle-free personalisation option means that you can add that special touch for your loved one in just a click. I love the idea of adding a personal message on a gift as it automatically transforms the item into a sentimental keepsake.

As I love fashion, I opted for this stunning Elie Beaumont Modern - Vintage Leather Watch in Black with White Dial. The watch itself is timeless and versatile for wear at work or special occasions. I mean, what doesn't black and rose gold go with, right?

My gift was presented in lovely minimalist packaging with an embossed box and a convenient leather pouch to protect my watch when not in use. Can we say #aesthetic?

The turn-around time from order to delivery was ridiculously quick and in just a few days, I received my stunning new watch. The speed was impressive to me as I expected a personalised gift to take a little longer but the service from Personally Presented was exceptional as they kept me up to date with all the dispatch info.

Duh ;)
Overall, I would definitely recommend Personally Presented if you're looking for a Valentines Day gift for your special someone as the options are affordable and I believe that a personalised gift is incredibly unique and meaningful... you can't go wrong! Plus, I have a special discount for you guys: use therebirthoffashion.net-10 at checkout (don't say I don't treat you!) xoxo 

Friday, 5 January 2018

Know Cosmetics Review: Flawless Makeup Exists!

Disclaimer: Products sent for review purposes. All opinions are truthful.

Hey everyone! 

I hope you lovelies had an awesome Christmas and New Years! (I'm still waiting on someone to arrive to my flat with an IV detox à la The Real Housewives of Beverly Hills). 

I wanted to share these gorgeous products from Know Cosmetics with you guys... 

Previously available in Sephora (when are we getting a London one pls?), you can now purchase their range in the UK. Overall, the concept of the brand = essential, 'universal' products created to offer makeup fixes/hacks.

Sometimes we just need a little extra help when it comes to our makeup. Perhaps we're in a rush and can't be bothered to put in an hour's worth of effort but still want a flawless finish... this is where Know Cosmetics is a lifesaver! The range also offers items that I like to call the 'foundation products' to a quality makeup look. I don't know about you but I've definitely had days where I've woken up and almost heaved at my dark circles so I can appreciate No Dark Shadows, for instance, and we all know how some good under-eye concealer can take you from hungover af to slay all day. 

My favourite out of the range has to be No Bleeding Lips as this works especially well as a lip liner for all shades to give you that cleaned up look. Moreover, it's perfect for when you can't find the right liner shade for that vampy new liquid lipstick you bought. I can definitely see this becoming a cult product in my collection.

No Thin Lips is also good product for adding some volume to your lips. I've used plumpers in the past and thankfully, the sting on this one is very manageable which is a pro. What I love about this product too is that it doesn't leave your lips feeling sticky but rather moisturised and hydrated.

No Bare Brows is a universal brow pencil with two sides - a dark side to fill in and a white side to highlight/clean up. It also comes with a sharpener cap & brush cap. I think this is the product I would use the least as I prefer creams/pomades but nevertheless, it's still a handy duo pencil to carry in your handbag and it's less faffing around.

Have you tried Know Cosmetics? Let me know what you think! xoxo

Thursday, 26 October 2017

DKNY x UK Lingerie Collab

Hey guys!

So the beautiful people at https://www.uklingerie.com sent me this gorgeous nightdress and robe from DKNY and I am absolutely obsessed!

Firstly, as a size 16 I was pleasantly surprised to see that both items fit really nicely and not only that, the nightdress accentuated my curves in all the right places (which I'm sure all women will be able to appreciate!) It's so versatile and can be worn all throughout the year or teamed up with a robe such as this gorgeous, subtle grey one (also from DKNY) which will keep you snug in the Winter months. 

Let me know what you think and be sure to check them out online for a huge selection of lingerie, nightwear and shapewear :) xoxo

Friday, 13 October 2017

Sonnet 130 Revised

* Taken from one of my English degree modules... an amalgam of personal grief, physical insecurities perpetuated by the beauty/fashion industry, as well as literature influences. In dedication to my mother (an excellent poet) on what would have been her 58th birthday today.

Sonnet 130 Revised

My eyes are nothing like the sun;
Poisonberry be the tone of my stained lips;
If tame be yearned, medusoid strands be found.
I am an oyster unshelled, pearl luminescent,
Yet no such effulgence you see in my soulless eyes.
Shell cracked, devil’s weed flows;
Mother’s dead, from cradle to grave I go,
I love to hear her whisper, yet well I know
That voice shall never grow into crescendo.
I grant you never a goddess go;
Well darling, your goddess tramples through grief and strife.
And yet, good heavens, you poke, prod, ridicule,
Unmindful, this dull diamond is a jewel.

In my revision of Shakespeare’s ‘Sonnet 130’ I was inspired to offer the female subject an active voice, disrupting the Petrarchan tradition of presenting the female as a disembodied object. Reclaiming the possession of ‘I’, my speaker overturns the analytical framework that ‘Sonnet 130’ upholds - one that fragments the female body and dissects it, enforcing that beauty is the most important female attribute. With its feminist overtones, ‘Sonnet 130 Revised’ is fearless; the speaker asserts her authority as she confronts the pressures to maintain a beautiful appearance for her lover and to appease society’s expectations in today’s age of oversaturated beauty industries and pressures from celebrity culture. The speaker feels neglected by her partner, one who selfishly ignores her period of grieving for her mother and fails to realise her right to satisfy her own emotional needs rather than his. Inspired by Harryette Mullen’s ‘Dim Lady’ and George Hopkins’ ‘I Wake and Feel’, ‘Sonnet 130 Revised’’s title is ironically clinical and uneventful but the content differs as it displays postmodern elements of poetic intertextuality, linguistic and semantic hybridity as well as unconventional gender roles.
The first line counteracts ‘my mistress’ eyes’ with ‘my eyes’ as the speaker uses the first-person and hints at her rising confidence.[1] The elimination of ‘mistress’’ brings the line to the final iamb before the readers expect and thus, a sense of the speaker’s control is asserted from the offset. Although the speaker complies with Shakespeare’s anti-blazon rhetoric, it is her who voices her inadequacies, and as a result, she refuses to allow a man to define her body. In addition, lines two and three were devised as a sub-commentary on the growing beauty industry and its overwhelming influence on women today. The pressures to maintain a perfect appearance have increased due to the continual intense marketing of makeup and hair products. An online search for the term ‘poisonberry’, for instance, brings up results consisting of a popular lipstick from American makeup line, ‘LimeCrime’ in the shade ‘poisonberry’, as opposed to the plant itself. In ‘Sonnet 130’, ‘red’ is used as the complimentary adjective for a woman’s lips and ‘coral’ describes the mistress’ actual lips. Despite this new comparison, I desired to reject ‘coral’ as I felt it was still too reminiscent of ‘red’. Red shades of lipstick often evoke images of old Hollywood starlets such as Marilyn Monroe and Elizabeth Taylor, as well as modern actresses like Nicole Kidman who frequently play femme-fatale roles and perform for the male gaze. Therefore, the start of my sonnet is intended to be a postfeminist critique. In media and consumer culture postfeminism acknowledges the ‘“empowering” and the “individual choice” of women to enjoy their beauty, femininity, and sexuality; but the diffuse power of heterosexual male control is concealed’.[2] By opting for a dark berry shade, I am rejecting the classic shade of red associated with Hollywood actresses and the ‘heterosexual male control’ exerted on them, instead welcoming a more rich tone that sounds hazardous to the ear. Furthermore, the concept of poisonberry plants bearing fruits that are toxic can relate to the classical view of women as silent images. If the inedible berries are taken to allude to women’s closed mouths, my speaker’s lips are ‘stained’ from their bursting and subsequently, her metamorphosis of being silent to unapologetically expressive. Lines one to three also draw inspiration from the opening of ‘Sonnet 20’: ‘A woman’s face with Nature’s own hand painted Hast thou, the master-mistress of my passion’.[3] Here, Shakespeare praises a woman’s natural beauty as being superior to anything man-made. Linking to my postfeminist critique, I decided to embrace these lines in my sonnet and subvert the modern principle of a woman’s need to wear makeup to maintain decorum. My speaker is accepting of her flawed features due to the physical side effects of her grief: lack of sleep and excess crying. She embraces that her eyes do not reminisce the brightness of the ‘sun’ because though this is also an image of nature, it is not a realistic comparison. ‘Nature’s own hand painted’, on the other hand, accepts a woman’s face as imperfect because it is authentically beautiful and allows for an open definition of beauty, as opposed to one that relies on bright and beaming eyes.  
I accept that ‘Sonnet 130’ can be read progressively in its unconventional metaphors, yet I wished to tackle my doubts in ‘Sonnet 130 Revised’, particularly by developing the image of ‘black wires’. Instead, my speaker has ‘medusoid strands’ for hair. ‘Medusoid’ typically describes an object ‘resembling a medusa or jellyfish in form or function’.[4] Hence, my speaker’s hair is wavy and sprouts outwards unlike the tameness enforced in the beauty industry through the masses of anti-frizz products. She refuses to tame her hair and this is perhaps a commentary on the pressure for women, predominately in the Afro-Caribbean community, to permanently relax or straighten theirs. In relation, I simultaneously embedded ‘medusoid’ because it etymologically alludes to the Greek goddess Medusa (‘Etymology: < Medusa n. 2 + -oid suffix’), known for her wild snakes as hair and ability to turn people to stone.[5] Invoking the image of Medusa adds a sense of exoticness to my speaker and further retreats from the idyllic white as ‘snow’ woman. By using ‘medusoid’, I am opening the possibility of an ethnic speaker, perhaps of brown or black skin, and this new racial profile radicalises the sonnet by reversing the Petrarchan-esque blazon exclusively intended for white women. It is also significant that ‘Medusa stands for balance within nature, and guards the thresholds of the earth, heaven, and the underworld. Her totem is the serpent, as it represents the endless cycle of death and rebirth’.[6] Although my speaker grapples with the death of her mother, she, like Medusa, can also embrace life by re-balancing nature and in this instance, she symbolises the rebirth of beauty standards and female subjectivity.
The following quatrain introduces the grief that the speaker is undergoing. By firstly declaring that she is an ‘oyster unshelled’, she is attempting to expose her vulnerability as oysters have externally tough matters but soft, squishy insides. I acknowledge that the correct term for removing an oyster’s shell is ‘shucked’. However, I decided to use ‘unshelled’ as it was softer in tone and the prefix, ‘un’ helps to emphasise the gentleness of ‘pearl luminescent’. Noticeably, I have not paralleled the third line in ‘Sonnet 130’ (‘If snow be white, why then her breasts are dun’). In removing the ‘breasts’ from the sonnet, I am allowing the speaker to reclaim her bodily autonomy and prevent a man from obsessing over her intimate areas. Using Renaissance logic, the grotesque body is ‘not separated from the world by clearly defined boundaries’, and we can consider the open body parts such as the ‘mouth, the genital organs, the breasts, the phallus, the potbelly, the nose’ to be grotesque.[7] In opposition, the classical body is demarcated by the mind and human intelligence. The juxtaposition between the spatial realms of the grotesque and classical is also clear: ‘the grotesque body’s favoured space is the marketplace where it can […] speak the language of festive obscenity and abuse’, whereas the classical body is governed by the likes of ‘palaces, churches, institutions, and private homes’.[8] Resisting Renaissance ideals, my sonnet strips the grotesqueness away from the female body and shifts the focus towards the classical body, whereby the speaker desires to be recognised for her mind and emotions rather than her external features. Linking to lines one to three and its commentary on capitalist beauty ideals, I am disallowing the speaker to fall into the trap of the grotesque body in the ‘marketplace’, which in modern society, I equate to mean the media industry’s standards. I am emphasising the speaker’s classical body but departing from the Renaissance idea of it being governed by the likes of ‘private homes’; I am shifting the classical body from the private to public sphere, in the open space of a sonnet where the speaker can write about her emotions with pride unobstructed by institutional or patriarchal boundaries.
I also associate lines four to seven with a religious context. I was inspired by how George Hopkins’ successfully ‘instresses’ his experience with God through his darker sonnets. In other words, Hopkins encapsulates his feelings and vividly projects them in his poetry for the readers to empathise. In particular, I was inspired by ‘I Wake and Feel’, especially its striking trope of ‘dead letters’, whereby the speaker feels neglected by God as his prayers are not acknowledged.[9] Lines four and five of ‘Sonnet 130 Revised’ are a direct response to God as the frustrated speaker receives no comfort in praying. As my speaker resonates with Hopkins’ spiritual dissatisfaction, the following two lines are directly inspired by his distinctive sound patterning (‘Bones built in me, flesh filled, blood brimmed the curse’).[10] Every word is monosyllabic and represents a fragmented, state of mind and broken spirit, as though the speaker is lifeless and loses the energy to speak. In relation to the fourth line, ‘shell cracked’ parallels with ‘unshelled’. Phonetically, ‘unshelled’ is rather euphonic due to the rolling double ‘l’ sound and the iambic stresses. In contrast, ‘cracked’ is cacophonic and harsh to the ear, representing a drastic change in the speaker’s internal state. The speaker hibernates into her shell again because of her rejection from God and/or her lover, yet the shell is now partly exposed, allowing the ‘devil’s weed’ to flow. ‘Devil’s weed’ is slang for the plant ‘datura’: ‘a preparation of any of these plants (esp. of D. stramonium), used as a poison or an intoxicating or hallucinogenic drug’.[11] As an intense strain of marijuana, ‘devil’s weed’ operates as a trance-inducing painkiller for my speaker, numbing her emotions. However, on a figurative level, the phrase indicates that the speaker’s retreat from God has left her vulnerable to the influences of the Devil, paralleling the hellish imagery of Hopkins (‘I am heartburn’/ ‘sweating selves’).[12] Following this line, ‘Mother’s dead’ is hard-hitting and somewhat disturbing as it catches the readers off guard. Here, the speaker transgresses the initial stage of grief (denial) allowing the readers insight into her trauma. ‘From cradle to grave I go’ is, therefore, emblematic of the speaker’s depression and pessimistic outlook as she begins to have suicidal thoughts. The specific choice of ‘cradle’ represents the burdensome lack of the maternal, perhaps personified most vividly through the removal of the breast from this sonnet. Like Hopkins, religion provides little reassurance for my speaker, and consequently, she too writes the sonnet to archive her trauma, usurping the sonnet as a public diary entry to prevent her emotions from becoming obliterated.
Predominately, ‘Sonnet 130 Revised’ embraces new linguistic and semantic choices in order to push the boundaries of gender roles. In particular, my integration of ‘goddess’ extends beyond Shakespeare’s appreciation for his mistress. A ‘sex goddess’, for example, is ‘a woman who is exceptionally sexually attractive or is regarded as a sex symbol’.[13] Despite her lover’s resistance in viewing her as a goddess of any kind, she defiantly asserts her identity as one in line twelve (‘your goddess’). In unison, there is also a heavy tone of sarcasm that could indicate a direct confrontation with Shakespeare and his disembodying of women, hence explaining the need to foreground her complex life issues (‘grief and strife’). ‘Goddess’ is fluid in its meanings yet ‘tramples’ was chosen specifically to draw inspiration from BDSM culture. In particular, I was inspired by the final lines of the ‘Dim Lady’ sonnet: ‘My ball and chain is plain from head to toe. And yet, by gosh, my scrumptious Twinkie has as much sex appeal for me as any lanky model or platinum movie idol who’s hyped beyond belief’.[14] Here, the ‘ball and chain’ likely refer to the props used in fetishistic bondage acts. The speaker is willingly dominated by his lover and accepts her as his sex goddess, despite her curvier size (‘Twinkie’). In my sonnet, the lover is imagined to show reluctance in being submissive but the speaker nevertheless assumes the role of a dominatrix. ‘Grief’ and ‘strife’ contain fricative ‘f’ sounds and this harshness on the tongue lends to an image of the speaker venomously shouting at her lover, perhaps humiliatingly spitting on him as she does so. Jeff Hilson comments on the traditional sonnet form as ‘a room, another male constraint fantasy’ and a ‘form of incarceration’.[15] Hilson’s intense wording encouraged me to equate my sonnet to a cramped room where the speaker’s lover has no choice but to remain, forced to listen to her wounded self. In my version, there is a sadistic tone conveyed in the final quatrain that I embedded in honour of Hilson who feels frustrated with the sonnet’s historical inadequacy in representing the female voice. In my scenario, however, the lover holds a mere fantasy of gaining back the big ‘I’ but is instead humiliated. ‘You poke, prod, ridicule’ is a comment on the speaker’s mistreatment, but I also envision her sadistically poking and prodding at her lover as she speaks. Just as earlier parts of the sonnet make reference to contemporary culture, I wanted to reflect the recent popularity of works such as Fifty Shades of Grey and Rihanna’s ‘SNM’ music video, which have promoted BDSM culture to the masses, and I would argue, normalised the openness of female sexuality. This newfound empowerment is entirely progressive as it repels against female oppression, as was once seen in Shakespeare’s era. In my sonnet, therefore, I am de-Othering the woman and showcasing her multifaceted nature: she can be emotional, vulnerable, dominant and erotic as a sex goddess but these traits are not mutually exclusive.
By simultaneously embracing and rejecting vital sonnet traditions, I have consciously oscillated between the reader’s expectations and reality. I have purposely embraced an abundance of punctuation with the many commas and semicolons to create an illusion of formality and to visually replicate the artificial style of ‘Sonnet 130’. The excess punctuation may appear contradictory to my goal in radicalising the sonnet form (especially as it counters the likes of ‘Dim Lady’ and its prose-style) but it ironically works to support my sonnet’s theme of distorted beauty. Furthermore, because the readers would likely expect me to finish the sonnet without resorting to traditional iambic pentameter, I decided to conform and ironically play on the tidy, epigrammatic endings that Shakespearean sonnets provide us, which seemingly undo the complexities set up beforehand. ‘Sonnet 130’’s couplet sees the speaker realising his true affections for his lover, despite all the shortcomings he has outlined. ‘False compare’ is an extravagant trope that sounds ethereal and pleasing, yet to modern readers I feel that it is archaic and surrealist. Unlike this dramatic atmosphere, lines eleven and twelve foreground the speaker’s rising self-worth that is set up in the prior three lines, hence the couplet is not intended to shock the reader in any way. ‘Sonnet 130 Revised’ refrains from a clear division between octave and sestet as there is no volta to be found in the eight line, rather it is explored in the tenth as the tone turns authoritative and sarcastic. The volta is withheld a further two lines to allow the speaker her time to grieve. In the Hopkins-esque lines, the readers are transfixed by the depressive tone and the building anticipation for the speaker’s empowerment is destroyed. Disappointed, the readers are startled by the sudden boldness in attitude, and because this has been strategically withheld, it furthers the impact when I finally gift them with vicarious pleasure. To compensate for deceiving the readers, the final line ends in a declarative fashion (‘is a jewel’) and the iambic pentameter stresses the noun ‘jewel’ and underlines it as the speaker’s newfound identity. Furthermore, the line is end-stopped to assure the reader that this definition of the speaker cannot be reversed or undone - it is eternally affixed within the sonnet.
‘Sonnet 130 Revised’ is a refreshingly experimental sonnet that boldly confronts issues of self-worth, emotional abuse, and grief. I have grappled with a constrained form and attempted to break free from Shakespeare’s conventions with my postfeminist messages, yet I also demonstrate some appreciation of the original form as I retain the rhyming couplet, excessive punctuation, and certain lexical choices. Ultimately, ‘Sonnet 130 Revised’ is a partly biographical piece; I have attempted to ‘instress’ my feelings of hurt and anguish, as well as the burning desire to conquer my grief and retaliate against ideas that the externalisation of emotions equates to weakness. My sonnet explicates that a woman should never feel pressured to appear as a doll-like figure for the male gaze, especially whilst battling an emotionally traumatic period. The embedding of grief into my sonnet may appear ambiguous, but it essentially works to stress the nonsensical nature of society’s endless expectations of women. My poem is the antagonist to ‘Sonnet 130’, defying its disembodiment of women, and my aim in writing it was to follow in the footsteps of the new-wave female poets (e.g. Mullen) that do the unthinkable and rewrite one of the most masculinised high-art forms ever created - the sonnet.  

[1] William Shakespeare, ‘Sonnet 130’ in The Penguin Book of the Sonnet, ed. by Phillis Levin (London: Penguin, 2001), p. 34.
[2] Meeta Jha, The Global Beauty Industry: Colorism, Racism, and the National Body (London: Routledge, 2015), p. 102.
[3] Shakespeare, ‘Sonnet 20’, The Penguin Book of the Sonnet, p. 27.
[4] ‘Medusoid, a.’, OED,  <http://www.oed.com/view/Entry/115818?redirectedFrom=medusoid#eid> [accessed 8 January 2017].
[5] ‘Medusoid, a.’, OED.
[6] Brandi Auset, The Goddess Guide: Exploring the Attributes and Correspondences of the Divine Feminine (Minnesota: Llewellyn Worldwide, 2009), p. 54.
[7] Mikhail Bakhtin, Rabelais and His World, trans. by Richard Nice (Cambridge: Cambridge University Press, 1977), p. 26.
[8] Bakhtin, p. 154.
[9] Gerard Manley Hopkins, ‘I Wake and Feel the Fell of Dark, Not Day’, The Penguin Book of the Sonnet, p. 96.
[10] Hopkins, ‘I Wake and Feel’.
[11] ‘Datura, n.’, OED, <http://www.oed.com/view/Entry/47435?redirectedFrom=datura#eid> [accessed 8 January 2017].
[12] Hopkins, ‘I Wake and Feel’.
[13] ‘Sex goddess, n.’, OED, <http://www.oed.com/view/Entry/176989?redirectedFrom=sex+goddess#eid123463809> [accessed 8 January 2017].
[14] Harryette Mullen, ‘Dim Lady’ in The Sonnets: Translating and Rewriting Shakespeare, ed. by Sharmila Cohen and Paul Legault (New York: Nightboat/Telephone Books, 2012), p. 204.
[15] Jeff Hilson, The Reality Street Book of Sonnets (Hastings: Reality Street Editions, 2008), p. 12.

Sunday, 25 June 2017

Yalla Habibi: Marrakesh Lookbook!

Hey everyone!

This week I took a short break to Marrakesh... it went super quickly and I wish I could've stayed longer but nevertheless, it was all worth it.

Morocco is a place I've always wanted to explore and I'm so glad I got the opportunity to finally go. Generally, it is a welcoming place with a lot of culture and scenery. Aside from the constant haggling and the odd men who will serenade you with Bollywood songs on the street (or quite simply, 'I want to have sex with you' if you're less lucky), it is a beautiful area to see. 

For the trip, I tried to keep my clothing quite loose and airy due to the climate. I also wanted to be respectful of the customs but when at our hotel rooftop bar, I broke out the bodycon as it was more acceptable. 

Our hotel was situated in Hivernage - a wealthy area full of the best bars, clubs and luxury hotels. Literally, there was a Louis Vuitton store right next to us. I'd often stare in awe at the fashions as I sat and ate breakfast. A lot of women were carrying designer handbags - usually Michael Kors or Louis Vuitton. The fashion was definitely more Western and revealing in our area compared to the Old Town which, expectedly, was more conservative. 

My biggest fashion tip for dressing in Marrakesh is to dress colourfully! It felt so refreshing to wear vivid colours as in London, I'm usually in black or neutrals. 

So without further adieu, here are the pics! 

Embellished Maxi: New Look

Kaftan: Primark

Bodycon: PrettyLittleThing Shape
Choker: Bronzais
Clutch: Boutique in Mykonos
Heels: Carvela, Kurt Geiger