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How to Wear Crop Tops

Crop tops are not going to lose their ground in the next season. Runways of ready-to-wear Spring 2015 fashion weeks are the best proof of that.

From New York to Tokyo this ultimately popular piece is presented in great variety of cuts from revealing bralets and miniature bandeaus from Moschino and Diesel Black Gold to modest tops from Carolina Herrera.

In this post I summarize the way designers suggest to wear crop tops for the upcoming season.

First, let’s have a look what cuts and styles of crop tops are in trend and also pay attention to colour and prints.

Colour and cut

Trend 1. Keep it simple and modest.
Plain colours and clean cut – are keywords for styling crop tops.

Look for box shaped tops either with short, ¾ sleeves or sleeveless. Colours: white, black, pastels, rich jewellery or deep earthy tones.

On the picture below flats of catwalk models can give you a hint what to look for. There are also some similar models from selected retailers just to illustrate the idea.

Crop top trend, clear cut and plain colours.
Zalora Jacquard Tee— LIFEwithBIRD EllenaTop — Luxury Fashion Top — Emma Cook Top

Trend 2. For those who prefer more skimpy clothing and convinced that crop tops are made for revealing not hiding buzz words are cut outs and bralets.


By the way, despite of apparent simplisity bralets possess more intricate cut than crop tops. Darts and reliefs here are used far beyond utilitarian reasons and make statement on their own. It is fascinating how intricate the cut could became with 3D modelling and advanced manufacturing technologies.

Crop top trend, cut outs and bralets.
Bad Girl top — Josh Goot Cut-Out Harness — Talulah Crop Top — Bardot Spotted Crop Top

Trend 3. In between of extremes of two said trends lies more subtle approach – transparency. Sheer fabrics and laces neither hide nor reveal giving full play to the sartorial manoeuvres.

Crop top trend, transparent and lace cropped top
Three of Something Top — Love Libra Top — Atmos&Here Crop top — Angel Biba Seduce Top

Well, we have sorted out what kind of crop tops are in trend now and finally came to the main question – How to wear them in the upcoming season?

Though ready-to-wear catwalks had shown crop tops with quite variety of bottoms, skirts are far more often the choice rather than, say, shorts or pants.

Crop tops with skirts

Waist line. Natural or high waist line.
Length. Popular lengths are mini, over and under the knee and maxi.
Style. A-line, pencil skirt, flared, pleated. The last two generally teamed with fitted tops to balance proportions.

Crop tops with pants

Waist line. For pants waist line rise is more democratic and varies from low through natural to high waist line.
Length. Length of pants for crop tops depends greatly on cut and silhouette. It could be ankle, 7/8 or full length.
Style. Culottes, tapered, flared, straight.

Here it is the quintessence of the above.

Crop top trend, how to wear crop top with skirt, how to wear cropped top with pants, shorts
1.Paul Smith pants — 2.Backstage Pants — 3.Nicholas Skirt — 4.White Suede Pencil Skirt — 5.Alexander Wang Skirt — 6.Nina Ricci Skirt

It is all coming together now, isn’t it? Surprising or not, but there a logic in what retalers are stocking up for the next season and with a little breakdown world of fashion is not that random any more.

For the complete collection of crop tops from Spring 2015 Ready-to-Wear shows check my Pinterest board



You may also like to read about:
Basic Principles of an Outfit Layout: Focal Point
Connecting Dots. The Importance of Intermediary in an Outfit


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5 Best Free Apps to Organize Your Wardrobe

“I have nothing to wear!”
Every woman

While looking for a way to organize and logically structure my own wardrobe I came across different approaches. It was quite a mix from colour priority method where all your items are put in a line of rainbow colours (or Pantone palette) to “grab and go” style where items hanged together formed a ready to wear outfit.

The problem is neither of these methods is optimized for viewing. To put an outfit together you need to pull everything out in order to see what you have, that takes too much time sometimes.

For me organized wardrobe is not only of a tidy appearance, but also allows to create looks easy and fast, to keep track of items I have, and to see if my new purchase will match any of it.

The solution comes from Google play – the wardrobe organizer apps.

I really like the concept of having the entire wardrobe on a palm of my hand. I downloaded and tried most of closet sorting apps. Here is my pick of the best 5.

Continue reading “5 Best Free Apps to Organize Your Wardrobe”

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Connecting Dots. The Importance of Intermediary in an Outfit

One of the most frequent problems in creating contrast in an outfit is putting together garments with no obvious connections. Items with opposite characteristics placed next to each other often produce excessive contrast which can not only be bold and unflattering but also disintegrate the outfit’s composition. For example, neon-green chiffon skirt and lemon yellow bulky jumper quite seldom will be a part of a balanced look on their own.

When an outfit consists of unrelated and disjoint colours, textures or patterns, to unify them it’s essential to make a “bridge”, create an intermediary. Its purpose is to strengthen the connection between garments and create a complete story. It’s predictable that to be effective this “bridge” item requires similarity with the elements which are meant to be linked.

Where to use?

Areas of intermediary’s use are usually identical with fields of contrast. Thus, if we use two unrelated colours to create a contrast it will be logical to balance it out by another element of colour. The same is true to patterns or textures. Let’s go into details for each of them.

Colour

Colour is the most usual area for applying an intermediary.

  • Colour temperature. It is a popular opinion mentioned on many style blogs that warm and cold hues should not be used together. While I agree this is a good general rule to avoid imbalance, the dots can still be connected.

    The harmony of two different colour temperatures could be created with an intermediate that will tie the opposites.

    A brief example can be seen in the sketch below. The top and the skirt are from different colour families – cold and warm. Together they look discordant and even conflicting. It is obvious that a link is needed. By bringing in shoes that support the pattern of the top and skirt’s hue the puzzle is solved and outfit regains its lost harmony.

    Dress shirt in cold hues paired with warm red skirt.

    Shoes as an intermediary for blouse and skirt
  • Hue. In the case of hue, the contrast is usually created by complementary colours. They are opposite on the colour wheel, therefore have nothing in common. Placed next to each other, they produce maximum vibrancy and contrast.
    colour wheel showing complementary colours

    Adding the intermediary softens the contrast and creates a perceptual bridge between two colours. For example, red and green could be linked by brown-red or brown-green as they are the exact colours that will come out if red and green are mixed.

    Complementary red and green linked by brown-green

    Red skirt and green blouse could be linked by brown-green clutch
  • Colour brightness. Too much difference in brightness can cause undesirable dramatic contrast. Employing in-between shades can help soften the look.

    In the picture below the top and the skirt on the left create sharp dramatic contrast which overbalances girl’s gentle complexion. Following the same trail that helped us to unite hues before, we rely on the intermediary item. Here we introduce a jacket which adds third tonal characteristic and brings the look closer to perfection.

    Jacket in in-between shades acts as intermediary for contrasting top and skirt

    Sharp contrast of top and skirt is softened with in-between-tone jacket

    Pattern

    This is the second area where the intermediary could be used.

    Selecting in-between patterns requires a bit more sartorial funds as patterns consist of many different elements meant to be coordinated. In one of my previous posts, I have explained the levels of pattern mixing. Therefore, I will only touch on the topic of setting an intermediate.

    To improve the look’s aesthetic “bridging” patterns should resemble those already in use. The similarity could be either in the style of lines, chromatic characteristics, or other levels of pattern coherence.

    For example, if we combine geometric print with intricate abstract design linking pattern might remotely resemble both of them.

    Jacket as a "bridge" for differently patterned garments

    Striped dress shirt and floral skirt share nothing in colour scheme; their style of lines is also different. As intermediary, the plaid jacket incorporates skirt’s rich red-brown colour and shirt’s geometry

    Texture

    As I have mentioned before there are no common rules for texture mixing. However, the transition textures are expected to have similar attributes to those already in use.

    Shape and volume

    Shapes and volumes seldom require an intermediary. It means, as long as common sense is taking into account, it is difficult to make mistakes in this area.

    Final touch

    As you have already noticed the process, of “linking” parts of an outfit is not a subject for sweeping generalizations. It is not easy to set strict rules and provide common instructions to follow. All I can do is to outline the problem and set the trend of thoughts. The rest is entirely up to you.

    I’m sure if a person knows about relations between elements described in this article they will tend to pay a little more attention to the sophisticated ritual of dressing. That will certainly produce noticeable and pleasant changes.

    You may also like to read about:
    Cherry on the top or contrast principle
    The Timeless Principles of Pattern Mixing
    Basic Principles of an Outfit Layout: Focal Point

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Cherry on the Top or Contrast Principle

Why is contrast important?

While putting an outfit we aim to create a composition where all details are in their place and the whole look is complete and pleasant to the eye.

There are a number of subjects to keep in mind when arranging a composition. The important one that I would like to talk about here is contrast.

The abstract idea of contrast is one of the fundamental principles of our Universe. Mountains and plains, oceans and dry lands, positive and negative charges, high and low pressure – they are all contrasting in their state or force, and it is through this interaction the word exists.

Recognising contrast is natural for humans. We differentiate objects because they are contrasting , we use this difference as a reference point.

For example, Eiffel tower (300m high) is quite lofty for an average human, but it is dwarfed by Burj Khalifa building (828m) in Dubai when two are put together.

Contrast and outfit layout

Back to the subject of clothing. Being curious human beings it is our second nature to look for new experiences. A visually interesting item in this regard would be something that induces our eyes to explore or as Diane Vreeland put it: “The eye has to travel”.

Introducing layers of complexity into the look by adding various textures or using multiple colours gets our attention. Put it another way, contrast is used to enhance an outfit by giving tedium an appeal, a life buoy, reducing the repetitive impact.

Contrast can be created in several areas

  • Colour. The same colour can look different depending on surroundings. It could be vibrant and bright next to complementary hue, or become subtle and dull whilst surrounded by analogous colours.
    Illustration of the same red necklace on contrasting and analogous backgrounds

    The same red necklace looks radiant and vivid on mint green background, but it mutes on cadmium red mannequin

  • Brightness is our perception of the colour luminance, how bright we see it. It is quite an interesting topic on itself, but I’ll explain it briefly below.

    Ideally the difference of brightness in an outfit should be in direct relationships with wearers’ complexion. What I refer to here is the natural contrast created by skin, eyes, and hair tones. The more contrasting features woman has the wider brightness range in garments she could afford to wear. And on the contrary, the less contrasting appearance demands for the lower brightness contrast in clothes.

    Back in the real world, the illustration below shows outfits made in contrasting colours. The sangria and blue dress on the left have low brightness contrast while the pink one at the right is much lighter than the jacket and so it will do great on person with high contrast complexion.

    Two identical jackets paired with red dresses in different tones

    Steel blue jacket paired with equally bright dress (left) and lighter one (right)

    Desaturated image above

    The desaturated image shows clearly the difference in brightness level between two sets

  • Shape (volume). Arrangements of shapes that are slightly varied and irregular tend to hold the interest of a viewer longer than those perfectly even. Different forms can not only produce different moods but can also create an optical illusion. Anything will look bigger surrounded by smaller objects. And vice versa.

    For example big bag would appear even bigger if it is carried by a petite girl. Or, speaking about moods, imagine fitted stiff coat with bulky scarf thrown upon it. Strict lines of a coat are perfectly unbalanced by the casual style of the scarf.

  • Texture. Creating contrast in textures is a great way to add an extra bit of interest and an elegant way show sartorial consciousness. It is a must for monochrome outfits. Whilst lacking the colour component the certain degree of excitement could be, nevertheless, created by using surface properties.

    The simplest way to make texture contrast is to use fabrics with straight opposite characteristics: glossy – matt, sheer – opaque, stretchy – firm and so on. There is, unfortunately, no proven recipe book on how to mix multiple textures. Some experimentation and observation of what works is a way to go here.

    Few notes to consider about textures:

    1. Various textures reflect light differently. Nap fabrics (like velvet, fleece and felt) make colours appear more rich and saturated because of their fuzzy surface. In contrary, smooth and shiny ones reflect more light. That creates gloss and bleaches the surface. Therefore, the same colour in silk will appear lighter than on velvet.
    2. Moreover, fabrics hold dyes differently. The colour on cotton gabardine will look a little bit lighter than on wool as wool tends to retain dye better.
      Even though lack of variety can be tedious, contrast should be used with care. Too much of it and there will be several focal points competing for an attention and affecting unity of the overall look.

    As you can see contrast is the ultimate attention grabber. It can work on many levels and is to be used with comprehension taking into account person’s style and personality.


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    Right Pants Length: Flared, Bell-bottom, Wide Leg Pants

    For the sake of convenience I’ll write about flared, bell-bottom, wide leg and any long pant with hemline wide enough to cover the shoe as Flared. Since they all obey the same length rules.

    The flared trousers and jeans are very popular among women of different ages and body types. However, according to my personal observations almost 65% of women wear flared pants which are too short, and 15% wear the ones that are too long. If there was a fine for wearing incorrect length pants the Government would’ve solved quite a few budget problems in no time!

    It worth mentioning that flared pants are very capricious and demanding. They can either make a whole look more slender or transform it totally opposite way.
    The secret to get the first and avoid the second is to hem the pants correctly. The flared pants of the correct lengths will complement almost every body type.

    Wide hem demands long length. They are just designed that way – with lots of fabric not only broadways but lengthwise as well.

    The hem should almost touch the floor. It’s ok if they skim the ground. But for practical reason they can be just 0.3-0.5 cm off so they actually don’t touch the ground. Red carpet wearers can certainly make it into exact lengths with the help of their designers.

    Wide leg pants floor length
    Right length for wide leg pants

    Ideally they should hide the shoe entirely. This does not mean that your stylish shoes will be out of sight. They will poke out when you’re walking or sitting down creating an intrigue for those trying to figure out what shoes you are actually wearing.

    If for whatever you don’t feel comfortable with this arrangement, you might as well consider some other styles to wear. “Wear it right, or don’t wear it at all” saying has its place for this type of clothing.

    Flared pants with flats

    Full length flared pants looks great with high to medium heels. Yet, hemmed for flats or low heels they get creased breaks in the front. This could be fine with denim and rough fabrics, but on most dress and suit types it does look a bit awkward.

    Thus, you may want to hem them at slant: longer at the back and sides and shorter at the instep. Such edge will produce a clean break in the front without compromising the length. At the same time this is more laborious job that takes time and that not every tailor would agree to do. It might also cost more than regular hemming as well, but the benefits you’ll get out of correctly hemmed flared pants are definitely worth it.

    Illustration of pants with straight and slanted hems
    Straight vs slanted hem

    A point to be mentioned as well is that skinnies are not very captious of heels. The flared pants, on other hand, certainly are. And as long line created by flared pants is immeasurably complementing to almost every body type it is worth to scrutinize every cm of pants length and heel highs to get most of them. That’s true even if this involves extra spending on tailoring or getting a second pair to be hemmed at different length.



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