esthetica

Amelia’s Magazine | The London Fashion Week Virgin: Estethica Review

by

Illustration by Avril Kelly http://cargocollective.com/avrilkelly

There’s something about coming out of the Tube in an area you’ve never been to before. I realise this is an extremely London-centric point, order but bear with me – when you find yourself spat out onto a brand new street it’s like discovering a different city. But then you look up and see the familiar roundel and you know that yes, it’s still London. It’s interesting how so many of us seem to come to London to experience its variety, only to entrench ourselves in one specific part of the city. Some (who, me?) may even develop a few prejudices about certain other parts of the city too, as if London were some sort of microcosm of the world … Oh actually that last bit’s about right, isn’t it. ‘There is in London all that life can afford,’ Samuel Johnson famously said, and it’s very true. But still, going all the way to Clapham on a Saturday morning? SOUTH London? Really!

But last weekend I went to Clapham for the very first time, because that’s where the Papered Parlour is and I’d been looking forward to their silversmithing class for weeks. I resurfaced from the Tube at Clapham Common, curiously peeking around while the nice man with the coffee cart ground beans from scratch to make my espresso. The Papered Parlour is just up the road, hidden behind a plain door in a side street. Claire and Louise, the workshop’s founders, weren’t there, but my fellow would-be smithers and I were welcomed by Hana and our teacher, Caren Hartley.

Upcycled jewellery by Madi http://www.madiillustration.co.uk

Jewellery upcycling, or recycling of old items, was the theme for last Saturday’s seminar. We each poured out our bags of old, neglected jewellery, hoping Caren would be able to help us make something usable out of it. I’d brought two rings I was hoping to fix, having broken both of them within weeks of each other after having worn them every day for years. I’d also brought some broken brooches my grandma had given me, as well as a few other pieces I weren’t wearing. Having just told the group we could not use heat on any item that wasn’t pure silver or gold, Caren shook her head at my beloved moonstone ring. ‘You can’t heat anything with a gemstone as it will break,’ Caren said. Araldite glue it is, then.

My mother’s old floral pendant also got the brush-off from Caren: ‘That’s pewter, it would melt before you could do anything with it.’ This is the main danger when working with old jewellery, as you haven’t made it yourself and hence you can’t be completely sure about the metal composition. Caren studied the pendant, curved and prone to annoying swinging, concluding: ‘You could flatten it, with the mallet.’ Mallet! I was expecting delicate tools, tiny adjustments and boiling frustration, but it turns out silversmithing includes plenty of hammer action.

Caren Hartley

The next few hours went by in a flash. After my mallet fun I got the little pliers and snippers, changing the broken grandma brooches into pendants. Rough edges were smoothed down with the metal files – silver is quite soft when you’re working with it. Silversmithing is also a surprisingly dirty activity, with the suds from my hands running black as I washed before the cake break. It can be dangerous too – judging by the fact they made us sign some sort of release before letting us use the saw.

Make do and mend by Naomi Law http://www.nimlawdraws.co.uk

Halfway through the day we were introduced to the blowtorch, used not only to join pieces of metal together but also to prepare silver to be worked on. Heating up the metal to reach ‘the cherry red temperature’ loosens the molecules within the silver, Caren explained, meaning you can work on it. My main task with the blowtorch was to mend my ring, a little lady who wraps her legs around your finger. I’d got the ring half price at a craft fair nearly ten years ago, and worn it every day until the poor girl broke her leg about two years ago. High street silversmiths didn’t seem very keen on sorting this for me though, and now that I’ve seen how it’s done I can see why: it’s fiddly.

I put on the leather apron and the protective goggles, ready for the big moment. ‘Now, angle the flame away from me, as I will be holding the leg piece,’ Caren said as I lit the torch, wondering if she gets paid extra if a student maims her. But as the little lady turned cherry under the blue flame, everyone’s digits remained intact and the leg was back where it belonged. Okay, so it sticks out a bit more than it did before, but a little tap of the hammer and Bob’s your uncle.

Caren and Eva by Avril Kelly http://cargocollective.com/avrilkelly

Detail

I left the Papered Parlour with eight new pieces of jewellery, having altered or mended old things I either couldn’t or wouldn’t wear. My hands were aching as I counted up change for another espresso from the cart, about to go back to the familiar side of the river. As I stood on the platform waiting for my train, I absent-mindedly ran my thumb along the lady-ring. She’s back, and I fixed her all by myself.

Result

The Papered Parlour is in Clapham: 7 Prescott Place, London SW4 6BS. For more information about the spring workshop schedule see our listing – there are more silversmithing workshops to come, plus printmaking, sewing, photography, quilting and how to make your own shoes. Also, the Papered Parlour is putting on two mini-festivals at the V&A Museum of Childhood in Bethnal Green this spring: ‘Ethical fashion in the age of austerity’ tonight (3 March) and ‘It’s your write!’ next month (7 April) – for more detail see our listing here.


Illustration by Avril Kelly

There’s something about coming out of the Tube in an area you’ve never been to before. I realise this is an extremely London-centric point, treat but bear with me – when you find yourself spat out onto a brand new street it’s like discovering a different city. But then you look up and see the familiar roundel and you know that yes, buy it’s still London. It’s interesting how so many of us seem to come to London to experience its variety, only to entrench ourselves in one specific part of the city. Some (who, me?) may even develop a few prejudices about certain other parts of the city too, as if London were some sort of microcosm of the world … Oh actually that last bit’s about right, isn’t it. ‘There is in London all that life can afford,’ Samuel Johnson famously said, and it’s very true. But still, going all the way to Clapham on a Saturday morning? SOUTH London? Really!

But last weekend I went to Clapham for the very first time, because that’s where the Papered Parlour is and I’d been looking forward to their silversmithing class for weeks. I resurfaced from the Tube at Clapham Common, curiously peeking around while the nice man with the coffee cart ground beans from scratch to make my espresso. The Papered Parlour is just up the road, hidden behind a plain door in a side street. Claire and Louise, the workshop’s founders, weren’t there, but my fellow would-be smithers and I were welcomed by Hana and our teacher, Caren Hartley.


Upcycled jewellery by Madi

Jewellery upcycling, or recycling of old items, was the theme for last Saturday’s seminar. We each poured out our bags of old, neglected jewellery, hoping Caren would be able to help us make something usable out of it. I’d brought two rings I was hoping to fix, having broken both of them within weeks of each other after having worn them every day for years. I’d also brought some broken brooches my grandma had given me, as well as a few other pieces I weren’t wearing. Having just told the group we could not use heat on any item that wasn’t pure silver or gold, Caren shook her head at my beloved moonstone ring. ‘You can’t heat anything with a gemstone as it will break,’ Caren said. Araldite glue it is, then.

My mother’s old floral pendant also got the brush-off from Caren: ‘That’s pewter, it would melt before you could do anything with it.’ This is the main danger when working with old jewellery, as you haven’t made it yourself and hence you can’t be completely sure about the metal composition. Caren studied the pendant, curved and prone to annoying swinging, concluding: ‘You could flatten it, with the mallet.’ Mallet! I was expecting delicate tools, tiny adjustments and boiling frustration, but it turns out silversmithing includes plenty of hammer action.


Caren Hartley

The next few hours went by in a flash. After my mallet fun I got the little pliers and snippers, changing the broken grandma brooches into pendants. Rough edges were smoothed down with the metal files – silver is quite soft when you’re working with it. Silversmithing is also a surprisingly dirty activity, with the suds from my hands running black as I washed before the cake break. It can be dangerous too – judging by the fact they made us sign some sort of release before letting us use the saw.


The blue flame by Naomi Law

Halfway through the day we were introduced to the blowtorch, used not only to join pieces of metal together but also to prepare silver to be worked on. Heating up the metal to reach ‘the cherry red temperature’ loosens the molecules within the silver, Caren explained, meaning you can work on it. My main task with the blowtorch was to mend my ring, a little lady who wraps her legs around your finger. I’d got the ring half price at a craft fair nearly ten years ago, and worn it every day until the poor girl broke her leg about two years ago. High street silversmiths didn’t seem very keen on sorting this for me though, and now that I’ve seen how it’s done I can see why: it’s fiddly.

I put on the leather apron and the protective goggles, ready for the big moment. ‘Now, angle the flame away from me, as I will be holding the leg piece,’ Caren said as I lit the torch, wondering if she gets paid extra if a student maims her. But as the little lady turned cherry under the blue flame, everyone’s digits remained intact and the leg was back where it belonged. Okay, so it sticks out a bit more than it did before, but a little tap of the hammer and Bob’s your uncle.


Caren and Eva by Avril Kelly

I left the Papered Parlour with eight new pieces of jewellery, having altered or mended old things I either couldn’t or wouldn’t wear. My hands were aching as I counted up change for another espresso from the cart, about to go back to the familiar side of the river. As I stood on the platform waiting for my train, I absent-mindedly ran my thumb along the lady-ring. She’s back, and I fixed her all by myself.


Result

The Papered Parlour is in Clapham: 7 Prescott Place, London SW4 6BS. For more information about the spring workshop schedule see our listing – there are more silversmithing workshops to come, plus printmaking, sewing, photography, quilting and how to make your own shoes. Also, the Papered Parlour is putting on two mini-festivals at the V&A Museum of Childhood in Bethnal Green this spring: ‘Ethical fashion in the age of austerity’ tonight (3 March) and ‘It’s your write!’ next month (7 April) – for more detail see our listing here.

My first experience of London Fashion Week was less in at the deep end with the big kids, click and more of a splash about in the shallow end with armbands on. And actually, I found it a rather favourable place in which to position myself.

My task was to skulk around the Estethica and Ecoluxe show rooms and report back on some of my favourite designs, a task I undertook with gusto. Anyone who reads my personal blog will know that I adore beautiful ethically made clothes. So I jumped/squealed at the chance to meet some of the designers and see the clothes up close. I have been watching the rise and shine of some of the new ethical designers with interest, having been introduced to many of them via Amelia’s book (which of course you have bought, yes? Yes?)

My first hurdle in getting to Estethica involved ‘borrowing’ a friends pass and hoping that no one would look at the name on the badge and question my gender when I beeped in. I was a tad nervous approaching Somerset House, but was buoyed on by ‘West End Girls’ which popped onto shuffle at the most opportune moment for the final bit of the walk. I bloody love it when shuffle gets it right. So it was with a strut that I entered Somerset house aided by the Pet Shop Boys, my trusty Spanx and one too many soya latte’s.

My second hurdle was actually finding the room. Directions typically included: “You’re in entirely the wrong place. You need to turn round, go back downstairs and outside, then enter through one of two doors, left again….” I think I went cross eyed. It was located in a particularly awkward spot, which was a shame as the rooms contained some marvellous work. But the getting lost, trekking up and down stairs and being stomped on by lethal platform wedges was worth it. The quality of some of the designs was inspiring and innovative, easily rivalling their ‘non ethical’ neighbours.

I had kind of hoped that I’d be able to blend in with the crowd, take notes and snap pictures before skulking on, but I quickly realised that this would be nigh on impossible.  I soon found myself confabulating with some of the friendly designers and PR people. I was repeatedly asked if I had a card. I didn’t. Rookie error. Lesson learned for next time.  Stall holders craned to read my badge as I smiled sheepishly and surreptitiously covered it with my scarf. I was nervous so wondered around with a slightly creepy perma-grin, but thankfully most of the participants had heard of Amelia’s Magazine so far from being rebuffed, I had a very warm welcome. PHEW.

Ok- on to the clothes. I met lot of lovely people and saw some beautifully crafted clothes, but here are just a few of my favourites.

The jewellery of Little Glass Clementine caught my eye before I had even entered the room, and like a magpie, I was beckoned in by it. Necklaces are made from a marvellous concoction of found objects; from bird skulls and bottle tops, to bath plugs and plastic toys.  They are totally unique, slightly mad (in the bestest of ways) and utterly covetable. Little Glass Clementine is featured in Amelia’s book. See an extract of the interview here .

Goodone pulled me in next, with their soft jersey bodycon dresses and thick woollen belts that begged to be handled. I loved the combination of figure hugging dresses with drapey, overized pieces too, all made from recycled, end of roll and salvaged materials. Feminine yet bolshy. Ace. Goodone are featured in Amelia’s book, see an extract of the interview here:


Illustration by Natasha Thompson

There is something irresistible to me about Joanna Cave’s delicate filigree jewellery. Inspired by ballet and old Art Nouveau costumes, the pieces are delicate and girly yet dramatic and bold. They are made from recycled sterling silver, ethically sourced pearls and vintage ribbon. Joanna cave jewellery is featured in Amelia’s book, see an extract of the interview here:

Actualy, I was pretty spoiled on the jewellery front. Kumvana Gomani uses old bottles and recycled aluminium to create gorgeous long necklaces and pretty earings.


Illustration by Alison Day

The North Circular, an ethical knitwear company, inhabited the corner of one of the rooms, filling it with an impressive alluring installation involving a huge bundle of sheeps wool and TV’s. Apparently the video was showing a piece called ‘metamorphosis’ with Lily Cole in it, but I managed to miss it. Truthfully, muted colours are not my thing, but the pieces were luxurious to feel and beautifully crafted, using British ethically sourced wool.


Illustration by Alison Haines

I loved this bright Pink Ciel dress. Just the right balance of smart and sexy.  All Ciel fabrics are carefully sourced to be as ethical as possible. Sarah Ratty, the founder of Ciel and chair of the Ethical fashion Forum was warm and friendly, and a long time friend of Amelia’s Magazine. She is featured in Amelia’s book, you can read an extract of her interview here.

Illustration by Avril kelly

I have to say that, despite the fact that the person in the stall seemed too busy to talk, I fell in love with Max Jenny. My favourite pieces were their colourful cape’s, for the following reasons.  They are waterproof; this satisfies my northern fell-walking roots. They are capes; this satisfies my Drama Queen roots. Amazingly their products are made from recycled PET bottles, which satisfies my inner hippie. Tick, tick. tick. MaxJenny is featured in Amelia’s Compedium of Fashion Illustration.


Illustration by Matilde Sazio

Lu Flux’s designs also caught my eye. I have always loved their use of colour and therefore loved this colourful leather rucksack. By working with salvaged, vintage and organic fabrics, that combine pleats, knitting and patchwork, the collection makes something new out of something old. .Lu Flux is featured in Amelia’s Compedium of Fashion Illustration. You can read an extract of their interview here.


Photograph by Damian Ucieda Cortes

Tara St James made use of copper pipe work in her gorgeous, chunky jewellery, and I also loved the blanket capes too. Chic and snuggley. Good for campsites and cocktails, bonus.


Photograph by Lauren Bilanko

And then I was out the door again, navigating Somerset House’s warren like corridors. I presumed I’d be surrounded by long legged, anorexic, bitchy looking women. I did see some ultra skinny, unhealthy looking people, which will always sadden me, but there were also plenty of healthy looking amazingly dressed people there too. In fact, I enjoyed the London Fashion Week street style stuff as much as the main show photo’s (perhaps sacrilegious?). But what really struck me was that people were, well, NICE. And mostly normal. Which I have to say I wasn’t expecting.

Next up, I’ll be reviewing Ecoluxe. You can buy Amelia’s Compendium of Fashion Illustration (featuring the very best in ethical fashion design) RIGHT HERE.

Written by Hannah Bullivant on Thursday March 3rd, 2011 9:57 am

Categories ,4 Equal Sides, ,ACOFI, ,Alison Day, ,Alison Haines, ,Amelia’s Compendium of Fashion Illustration, ,Avril Kelly, ,ciel, ,Ecoluxe, ,estethica, ,esthetica, ,goodone, ,Hannah Bullivant, ,Joanna Cave, ,Kumvana Gomani, ,lfw, ,Lily Cole, ,Little Glass Clementine, ,London Fashion Week, ,Lu Flux, ,Matilde Sazio, ,Max Jenny, ,Maxjenny, ,Natasha Thompson, ,pet shop boys, ,Somerset House, ,Soya Latte, ,Spanks, ,Tara St James, ,The North Circular

Similar Posts:






Amelia’s Magazine | The London Fashion Week Virgin: Estethica Review

by

My first experience of London Fashion Week was less in at the deep end with the big kids, and more of a splash about in the shallow end with armbands on. And actually, I found it a rather favourable place in which to position myself.

My task was to skulk around the Estethica and Ecoluxe show rooms and report back on some of my favourite designs, a task I undertook with gusto. Anyone who reads my personal blog will know that I adore beautiful ethically made clothes. So I jumped/squealed at the chance to meet some of the designers and see the clothes up close. I have been watching the rise and shine of some of the new ethical designers with interest, having been introduced to many of them via Amelia’s book (which of course you have bought, yes? Yes?)

My first hurdle in getting to Estethica involved ‘borrowing’ a friends pass and hoping that no one would look at the name on the badge and question my gender when I beeped in. I was a tad nervous approaching Somerset House, but was buoyed on by ‘West End Girls’ which popped onto shuffle at the most opportune moment for the final bit of the walk. I bloody love it when shuffle gets it right. So it was with a strut that I entered Somerset house aided by the Pet Shop Boys, my trusty Spanx and one too many soya latte’s.

My second hurdle was actually finding the room. Directions typically included: “You’re in entirely the wrong place. You need to turn round, go back downstairs and outside, then enter through one of two doors, left again….” I think I went cross eyed. It was located in a particularly awkward spot, which was a shame as the rooms contained some marvellous work. But the getting lost, trekking up and down stairs and being stomped on by lethal platform wedges was worth it. The quality of some of the designs was inspiring and innovative, easily rivalling their ‘non ethical’ neighbours.

I had kind of hoped that I’d be able to blend in with the crowd, take notes and snap pictures before skulking on, but I quickly realised that this would be nigh on impossible.  I soon found myself confabulating with some of the friendly designers and PR people. I was repeatedly asked if I had a card. I didn’t. Rookie error. Lesson learned for next time.  Stall holders craned to read my badge as I smiled sheepishly and surreptitiously covered it with my scarf. I was nervous so wondered around with a slightly creepy perma-grin, but thankfully most of the participants had heard of Amelia’s Magazine so far from being rebuffed, I had a very warm welcome. PHEW.

Ok- on to the clothes. I met lot of lovely people and saw some beautifully crafted clothes, but here are just a few of my favourites.

The jewellery of Little Glass Clementine caught my eye before I had even entered the room, and like a magpie, I was beckoned in by it. Necklaces are made from a marvellous concoction of found objects; from bird skulls and bottle tops, to bath plugs and plastic toys.  They are totally unique, slightly mad (in the bestest of ways) and utterly covetable. Little Glass Clementine is featured in Amelia’s book. See an extract of the interview here .

Goodone pulled me in next, with their soft jersey bodycon dresses and thick woollen belts that begged to be handled. I loved the combination of figure hugging dresses with drapey, overized pieces too, all made from recycled, end of roll and salvaged materials. Feminine yet bolshy. Ace. Goodone are featured in Amelia’s book, see an extract of the interview here:


Illustration by Natasha Thompson

There is something irresistible to me about Joanna Cave’s delicate filigree jewellery. Inspired by ballet and old Art Nouveau costumes, the pieces are delicate and girly yet dramatic and bold. They are made from recycled sterling silver, ethically sourced pearls and vintage ribbon. Joanna cave jewellery is featured in Amelia’s book, see an extract of the interview here:

Actualy, I was pretty spoiled on the jewellery front. Kumvana Gomani uses old bottles and recycled aluminium to create gorgeous long necklaces and pretty earings.


Illustration by Alison Day

The North Circular, an ethical knitwear company, inhabited the corner of one of the rooms, filling it with an impressive alluring installation involving a huge bundle of sheeps wool and TV’s. Apparently the video was showing a piece called ‘metamorphosis’ with Lily Cole in it, but I managed to miss it. Truthfully, muted colours are not my thing, but the pieces were luxurious to feel and beautifully crafted, using British ethically sourced wool.


Illustration by Alison Haines

I loved this bright Pink Ciel dress. Just the right balance of smart and sexy.  All Ciel fabrics are carefully sourced to be as ethical as possible. Sarah Ratty, the founder of Ciel and chair of the Ethical fashion Forum was warm and friendly, and a long time friend of Amelia’s Magazine. She is featured in Amelia’s book, you can read an extract of her interview here.

Illustration by Avril kelly

I have to say that, despite the fact that the person in the stall seemed too busy to talk, I fell in love with Max Jenny. My favourite pieces were their colourful cape’s, for the following reasons.  They are waterproof; this satisfies my northern fell-walking roots. They are capes; this satisfies my Drama Queen roots. Amazingly their products are made from recycled PET bottles, which satisfies my inner hippie. Tick, tick. tick. MaxJenny is featured in Amelia’s Compedium of Fashion Illustration.


Illustration by Matilde Sazio

Lu Flux’s designs also caught my eye. I have always loved their use of colour and therefore loved this colourful leather rucksack. By working with salvaged, vintage and organic fabrics, that combine pleats, knitting and patchwork, the collection makes something new out of something old. .Lu Flux is featured in Amelia’s Compedium of Fashion Illustration. You can read an extract of their interview here.


Photograph by Damian Ucieda Cortes

Tara St James made use of copper pipe work in her gorgeous, chunky jewellery, and I also loved the blanket capes too. Chic and snuggley. Good for campsites and cocktails, bonus.


Photograph by Lauren Bilanko

And then I was out the door again, navigating Somerset House’s warren like corridors. I presumed I’d be surrounded by long legged, anorexic, bitchy looking women. I did see some ultra skinny, unhealthy looking people, which will always sadden me, but there were also plenty of healthy looking amazingly dressed people there too. In fact, I enjoyed the London Fashion Week street style stuff as much as the main show photo’s (perhaps sacrilegious?). But what really struck me was that people were, well, NICE. And mostly normal. Which I have to say I wasn’t expecting.

Next up, I’ll be reviewing Ecoluxe. You can buy Amelia’s Compendium of Fashion Illustration (featuring the very best in ethical fashion design) RIGHT HERE.

Written by Hannah Bullivant on Thursday March 3rd, 2011 9:57 am

Categories ,4 Equal Sides, ,ACOFI, ,Alison Day, ,Alison Haines, ,Amelia’s Compendium of Fashion Illustration, ,Avril Kelly, ,ciel, ,Ecoluxe, ,estethica, ,esthetica, ,goodone, ,Hannah Bullivant, ,Joanna Cave, ,Kumvana Gomani, ,lfw, ,Lily Cole, ,Little Glass Clementine, ,London Fashion Week, ,Lu Flux, ,Matilde Sazio, ,Max Jenny, ,Maxjenny, ,Natasha Thompson, ,pet shop boys, ,Somerset House, ,Soya Latte, ,Spanks, ,Tara St James, ,The North Circular

Similar Posts:






Amelia’s Magazine | Minna Hepburn Interview

by

listingmusic.gif

Monday 19th January

Greg Dulli/Mark Lanegan, viagra sale information pills Union Chapel, cialis 40mg London

mark%20lanegan%2C%20greg%20dulli.jpg

For fans of the drug-n-whisky soaked darker side of life this intimate venue should be the perfect place to catch the full intensity of this bad boy duo’s melancholic rumblings.

Still Flyin’, patient Stricken City, We Have Band, Hoxton Square Bar and Kitchen, London

15-piece Californian band/orchestra/whatever headline with their sunny but diverse indie pop. Plus cool electro pop from We Have Band.

Tuesday 20th January

Kasms, White Heat, London

Noisy and shambolic guitar sounds from these metal-tinged black-haired Londoners.

Wednesday 21st January

Wire, Cargo, London

wire.jpg

Sometimes gigs from old favourites can be a risky business, often liable to disappoint when your heroes have become sad old has-beens. With any luck these late 70s punk stalwarts were too cool to age badly and this should be a great gig.

Little Joy, Dingwalls, London

Strokes drummer Fab Moretti becomes a front man on this side project. Expect New Yorkey, indie-pop in a similar vein to, um, The Strokes via Brazil.

Thursday 22nd January

La Roux, Cockpit, Leeds

la-roux.jpg

She’s in Issue 10 so she must be pretty good but don’t just take our (and every other music journalist in England’s) word for it. Check out her fun dance pop live.

Friday 23rd January

Sky Larkin, Barfly, Cardiff

sky%20larkin.jpeg

Cute but clever indie rock from Leeds with a definite off-beat edge.

David Grubbs, The Croft, Bristol

Once the founder of 80s punk metallers Squirrel Bait, David Grubbs now plays grungy post-rock as a solo concern.

Saturday 24th January

James Yuill, The Macbeth, London

JamesYuill276.jpg

Think Jose Gonzalez without the advert but with plenty of electronic sounds to accompany the quiet and introspective acoustic numbers.

Of Montreal, Digital, Brighton

Much loved indie pop, spreading a little happiness whilst supporting Franz Ferdinand on their latest tour.

Sunday 25th January

Le Corps Mince de Francoise, Library, Lancaster

le-corps-mince-de-francoise.jpg

Daft Finnish pop in the same vein as CSS, Chicks on Speed and others of that ilk. Crazy make up and fun party girls = a great end to the weekend.

Rows of fish heads preserved in salt – even in the quirky world of Tatty Devine, viagra 60mg that’s an unexpected sight. They peer out from a long black board mounted on the gallery wall like hunting trophies. Next to them, buy cast copies of ripe oranges burrow into blocks of dark red velvet, rx as if victims of a bloody fruit massacre.

tattyfish.jpg

tattyoranges.jpg

This is the first solo show of sculptor Amaia Allende, which opened on Thursday at the Tatty Devine boutique and gallery space in Brick Lane, east London. Allende claims to tackle the “subject of belonging” by assembling similar everyday items into tidy rows. It looks suspiciously like she has emptied her kitchen bin around the shop.

By the front door, some sort of green pear-like fruits line up on a narrow shelf. Poking out of the top are long strands of polyester blond hair, which make them look like a family of Mrs Pear Heads. So they belong together, you see, while at the same time having individual personalities (because of the hair).

tattypears.jpg

tattypunters.jpg

Tatty Devine is famous for its unique jewellery and edgy art exhibitions, including “Jane Amongst the Birds”, a competition for the best foreign bird or budgie (complete with Tatty Devine trophy) held in September last year. So when it comes to belonging, it seems that Allende and her sombre line-up of fish heads and old fruit, have found an appropriate home.
The most glamorous way of recycling clothes is buying vintage. Last week atelier-mayer.com was launched by luxury fashion PR, viagra order Carmen Haid, about it and fashion journalist, Alice Kodell, and it is a literal vintage heaven. It’s not the place to go if your vintage needs are met by Beyond Retro but if you want a designer dress to suit your decadent palette, you’ll love it.

In the 1930′s Carmen Haid’s grandmother, Klaudia Mayer ran a haute couture atelier in Vienna, selling exquisite clothes sourced from all over the world and it is this that atelier-mayer.com recreates as an online boutique.

The launch truly indicated the splendour of the site, as we entered Marks Club – gentlemen’s club extraordinaire – in Mayfair, we were greeted with roaring fireplaces, country estate décor and the elegant melodies of the violinists could be heard wafting down the staircase.

atelier-mayer-marks-club.jpg
Photograph by Tilly Pearman

Such a grand setting was fitting for the designer and couture gowns on show, a taste of what can be bought on the site. As well as on rails, the clothes were worn by models and the violinists, to show off the true beauty of them.

atelier-mayer-violin.jpg

atelier-mayer-champagne.jpg
Photographs by Tilly Pearman

The site not only allows you to browse through the clothes online, the style me section acts as your very own personal shopper, taking into account your size and preferences and finding appropriate pieces and accessories for you.

Atelier-mayer.com is also a great source for brushing up on your fashion knowledge, it has biographies of designers and fashion houses, guides to buying vintage and the style minute section contains a collection of fashion videos, including a fabulous Audrey Hepburn montage and an interview with key sartorial players including Coco Chanel, which is in her native French but we (Prudence Ivey – bilingual Music Editor) has done a handy translation of the key questions for you:

Could you give me a definition of elegance?
Coco: It’s difficult, you ask a difficult question, what is elegance? It’s many things. I will say something which I repeat all the time that for me is obvious but which many people don’t understand: that you can never be elegant enough.

Many of the dresses you designed last year have been copied or imitated in practically every country in the world. The Chanel style has descended to the street. Are you happy about this?
Coco: I am delighted. That was my goal. I don’t believe in defending fashion. You can’t have fashion if you are against imitation. There is no fashion if no-one sees it. Not me but many of the couturiers have an insane fear of imitation but you can’t be successful without it. For me success is the copy. You can’t be successful without that and imitation.

Wise words Coco.

emmythegreat12bar1.jpg
photograph from Gavin Cullen

I should confess that I don’t come to First Love with impartial ears, information pills but more as an inadvertent geek, verging-on-groupie, who has faithfully been following the movements of Emma-Lee Moss since first stumbling across the girl who sang out prophecies of premature death and the difficulty in distinguishing between love and a stomach disorder. Assembling whoever I could, I stood among many a rowdy crowd turned to enchanted silence – the boys would always fall in love and the girls would come away a little jealous.

Now her album has appeared on our desk and I am all excitement and nerves. The name is taken from Samuel Beckett’s depressing novella about a violently misogynistic lover, whilst Emmy’s First Love is a “hard-won innocence-to-experience saga about a destructive but ultimately character forming relationship, in which songwriting process was her final act of catharsis”. But the tracks that most explicitly fit this bill are the ones I find hardest to warm to, stripped of the subtlety and delicacy of earlier songs, they can be a little sour to the taste. For the most part however, the album shines with all the appeal that makes Emmy great. Lyrics that are dark, humorous and full of brilliantly evocative imagery – all veiled beneath teasingly playful melodies and a disarmingly sugared deliverance – “Our guitarist Euan says our songs are passive aggressive – people think we’re harmless unless they’re really listening”.

We went along to 12 Bar to see her play an acoustic set of before an intimidating crowd of straight clothed industry folk, though she was unfazed, always confident, “we’re used to much bigger stages” she joked …. and so Emmy the Great enters into the mainstream, and perhaps it is just the natural preconditioning of any fan but I think I preferred her on intimate stages when it was just her, her guitar, and a pool of admirers. Saying that, ‘We are Safe” is my new favourite song, full band.

napoleon-IIIrd-album.jpg

Opening with a Billy Bragg mockney cry, web you expect Napoleon IIIrd’s mini-album to be a fairly straightforward chronicle of the times, viagra sale Jamie T stylee with shades of Blur in the guitars. All fine but all a little 2006 and not terribly promising. And then the second track, A Strong Nuclear Force, hits you very much as it says on the tin, with its Prince via Beck falsetto and electro beats and you realise there may be more to this boy. A Leeds music scene stalwart, having played with iLikeTrains, iForward Russia! and The Research and remixed a whole bunch of his Northern counterparts, it is perhaps no wonder that there is a little more variety and interest in this collection of songs than might be expected.

napoleon-IIIrd.jpg

So much variety in fact, that it is easy to feel a little disorientated by the broad mix of genres which Napoleon IIIrd introduces, apparently on a whim. He certainly keeps you on your toes with his playful approach to continuity but challenging the audience is no bad thing and just a couple of listens bring out a common thread running throughout the record. The songs seem to build up to and around the pulsing, driving and crashing The Sky Is Too High, which at around 7 minutes certainly stands apart from the punchy observational territory of the rest of the disc, lacking as it does any discernable lyrical content. Proceedings are then rounded off on a dramatic note with the electro-hymn See Life, down-tempo enough to fall asleep to but interesting enough to give your full attention to on a long dark wet afternoon of the soul. It may take a little perserverance but this mini-album is definitely worth the time.

minna-logo.jpg

Now based in London, pill Finnish designer Minna Hepburn is showing her A/W 09 collection as part of Esthetica, and the ethical branch of London Fashion Week. Her beautiful and delicate designs caught our eye and even better, they’re eco-friendly, with all her materials being locally sourced, organic and fair-trade. She took the time to talk to us about her ideas and work:

When did you decide to persue a career in fashion design?
After I graduated, I went travelling with my husband and we ended up in Asia. I felt lost in terms of my career as I had studied War Studies at Kings College and worked a bit in the city, neither of those options really inspired me. Travelling and my ever so encouraging husband gave me the confidence to do something that I really loved – which is fashion.

What are you currently working on?
I am putting together my A/W 09 collection that I am showing at London Fashion Week, Esthetica in February. I think Esthetica will be bigger and better this year. I am really looking forward to it!
I am also finalising designs for my online boutique, which will be launched at the end of February.

minna-1.jpg

What designers do you admire?
I absolutely love Rodarte. What they have achieved without any proper training in fashion is incredible and very inspiring!

Who or what inspires your work?
My biggest inspirations are lace and antique markets. England has such amazing antique markets. We never had anything like that in Finland. It’s amazing that you can find gorgeous pieces from the early 1900′s and they are still in wearable condition. Sometimes I might find an old buttons or a postcard and get an amazing design idea.
When I am travelling I always look out for antique markets, France has some of the best ones I have seen!

What has been your biggest professional achievement so far?
Being accepted to do London Fashion Week and putting a collection together after just having a baby. My son Hayden was merely days old and I was still sore after a cesarean when I returned to work to finish the collection. I could not have done it without my friends though!

Also, I think one of the proudest moment was when A la Mode, started stocking my designs. They are such an institution, old and respected shop with impressive list of labels. They have been such a joy to work with!

Why did you decide to create an eco-friendly label?
With my first label, SE1 London, I experienced fast fashion as its worst. It was a range of silk dresses, tops and skirts that were made in Vietnam but I did a lot of traveling and it opened my eyes. It made me re-think the whole fashion industry and how it operates. I decided that second time round I would do it differently. I took some time to research the ethical fashion market, suppliers and the whole concept. I noticed that there was a gap in the high end of the ethical fashion market. A lot of the other ethical fashion brands were doing lots of wardrobe staples and there was not much choice, so I wanted to focus on that and provide some.
I really wanted to create not just a label, but a brand, and to feel that I was doing something differently and maybe setting an example.

minna-2.jpg

minna-3.jpg

Is it important to you that your materials are locally sourced?
I wanted to show that beautiful and affordable garments can be made in the UK, which is where Scottish lace came into the picture. Also, I have always loved antique markets and found Scottish lace to have that vintage look and appeal.
I started testing my designs with high end shops in Bath and London and got positive feedback. Encouraged by this, I applied to London Fashion Esthetica and decided to produce a full collection for S/S 09.

How do you feel ethical fashion is perceived by the public?
I think ethical fashion is getting better every season. It’s important to show people that ethical fashion can also be commercial, affordable and in line with the current trends.
The media has played a very big part in bringing the message that eco-fashion is in vogue. With the current economical climate, I think people are more aware how they are spending and what they want to spend their money on. With lots of cool ethical brands emerging, I think fashion with conscience has never been more in fashion.

How would you describe your personal style?
At home, as a mother of two young children I try to keep things simple. White lace tops and baby sick does not go well together…
But when I go out, it’s all about antique cocktail rings, pieces from my collection, dresses, high heels and vintage.

Do you like to wear ethical brands yourself?
I wear lot of vintage and I have discovered this amazing French brand, Ekyog, who have a shop on the Kings Road. They have the softest organic knitwear I have ever worn! But I have to say that most of the time I wear my own designs. Also by wearing it, I am testing each design, the fit and the fabrics before I put anything to production. It’s important to know how the garment will behave and last.

Thanks for talking to us Minna, have fun at Fashion Week.
London Fashion Week runs from 20th-25th February 2009.

Written by Jennifer McNulty on Wednesday January 21st, 2009 3:18 pm

Categories ,A la Mode, ,Antique Market, ,Designer, ,Eco-friendly, ,Esthetica, ,Ethical, ,Fair Trade, ,Kings College, ,LFW, ,Minna Hepburn, ,Organic, ,Q&A, ,Scottish Lace

Similar Posts:






Amelia’s Magazine | London Fashion Week A/W 2011 Showroom Review: EcoLuxe

by

Samantha Cole A/W 2011 by Madi
Samantha Cole A/W 2011 by Avril Kelly
Samantha Cole A/W 2011 by Avril Kelly.

I am not a big fan of all black outfits so a show entirely consisting of unrelenting black is unlikely to be a winner with me. The Samantha Cole A/W 2011 collection Above and Beneath the Definitive Structure was all about black, illness black, price black. Black in differing fabrics with differing reactions to light, but nevertheless black.

A succession of models – sporting futuristic up-dos and violent black eye make-up that stretched from lash to eyebrow – slowly filtered past us in the upstairs salon of Freemasons Hall. This might not have been so noticeable had the majority of us not just come from the Bunmi Koko show, where models had been sent down the catwalk at breakneck speed. People could be seen shifting in their seats, checking their watches, unused to this sudden slow down in a season of warp speed catwalking.

Samantha Cole A/W 2011 by Jane Young
Samantha Cole A/W 2011 by Jane Young.

The first models wore abstract linear prints etched onto squared off one-shoulder minidresses and boxy shapes that stood proud of the body. Leather crunched unforgivingly in all the wrong places and harsh catwalk lighting rendered black leather a pallid grey against the darkness of light absorbing black velvet. This had the air of clever ideas lost in translation.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

Much more successful and flattering were form-hugging knitwear and velvet fabrics that wrapped sexily around bosoms and hips, a giant head-swallowing Elizabethan ruffled neckbrace and the last outfit of the show – an intriguingly cut maxi length dress, draped skirt swinging from a high waistline shaped away from the body. She only showed one dress that featured her unique signature shape – exaggerated 3D hips.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

Samantha Cole is known for her desire to clothe the strong and empowered female, and we’ve previously interviewed her about some stunning work, and Matt Bramford was rightly impressed with her her show as part of On/Off a year ago. It’s clear that despite the copious use of black Samantha has some wonderful ideas, but sadly this collection was not as fabulous as it could have been.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

As our applause died down we could hear loud whooping as the models headed backstage. Three giggling ladies popped out to take a bow, followed by another lady on her own. Which one, I wondered, was the real Samantha Cole?
Samantha Cole A/W 2011 by Avril Kelly
Samantha Cole A/W 2011 by Avril Kelly.

I am not a big fan of all black outfits so a show entirely consisting of unrelenting black is unlikely to be a winner with me. The Samantha Cole A/W 2011 collection Above and Beneath the Definitive Structure was all about black, this black, buy more about black. Black in differing fabrics with differing reactions to light, look but nevertheless black.

A succession of models – sporting futuristic up-dos and violent black eye make-up that stretched from lash to eyebrow – slowly filtered past us in the upstairs salon of Freemasons Hall. This might not have been so noticeable had the majority of us not just come from the Bunmi Koko show, where models had been sent down the catwalk at breakneck speed. People could be seen shifting in their seats, checking their watches, unused to this sudden slow down in a season of warp speed catwalking.

Samantha Cole A/W 2011 by Jane Young
Samantha Cole A/W 2011 by Jane Young.

The first models wore abstract linear prints etched onto squared off one-shoulder minidresses and boxy shapes that stood proud of the body. Leather crunched unforgivingly in all the wrong places and harsh catwalk lighting rendered black leather a pallid grey against the darkness of light absorbing black velvet. This had the air of clever ideas lost in translation.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

Much more successful and flattering were form-hugging knitwear and velvet fabrics that wrapped sexily around bosoms and hips, a giant head-swallowing Elizabethan ruffled neckbrace and the last outfit of the show – an intriguingly cut maxi length dress, draped skirt swinging from a high waistline shaped away from the body. She only showed one dress that featured her unique signature shape – exaggerated 3D hips.

Samantha Cole A/W 2011 by Madi
Samantha Cole A/W 2011 by Madi.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

Samantha Cole is known for her desire to clothe the strong and empowered female, and we’ve previously interviewed her about some stunning work, and Matt Bramford was rightly impressed with her her show as part of On/Off a year ago. It’s clear that despite the copious use of black Samantha has some wonderful ideas, but sadly this collection was not as fabulous as it could have been.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

As our applause died down we could hear loud whooping as the models headed backstage. Three giggling ladies popped out to take a bow, followed by another lady on her own. Which one, I wondered, was the real Samantha Cole?
Samantha Cole A/W 2011 by Avril Kelly
Samantha Cole A/W 2011 by Avril Kelly.

I am not a big fan of all black outfits so a show entirely consisting of unrelenting black is unlikely to be a winner with me. The Samantha Cole A/W 2011 collection Above and Beneath the Definitive Structure was all about black, patient black, black. Black in differing fabrics with differing reactions to light, but nevertheless black.

A succession of models – sporting futuristic up-dos and violent black eye make-up that stretched from lash to eyebrow – slowly filtered past us in the upstairs salon of Freemasons Hall. This might not have been so noticeable had the majority of us not just come from the Bunmi Koko show, where models had been sent down the catwalk at breakneck speed. People could be seen shifting in their seats, checking their watches, unused to this sudden slow down in a season of warp speed catwalking.

Samantha Cole A/W 2011 by Jane Young
Samantha Cole A/W 2011 by Jane Young.

The first models wore abstract linear prints etched onto squared off one-shoulder minidresses and boxy shapes that stood proud of the body. Leather crunched unforgivingly in all the wrong places and harsh catwalk lighting rendered black leather a pallid grey against the darkness of light absorbing black velvet. This had the air of clever ideas lost in translation.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

Much more successful and flattering were form-hugging knitwear and velvet fabrics that wrapped sexily around bosoms and hips, a giant head-swallowing Elizabethan ruffled neckbrace and the last outfit of the show – an intriguingly cut maxi length dress, draped skirt swinging from a high waistline shaped away from the body.

Samantha Cole A/W 2011 by Madi
Samantha Cole A/W 2011 by Madi.

Strangely, she only showed one dress that featured her unique signature shape – exaggerated 3D hips.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

Samantha Cole is known for her desire to clothe the strong and empowered female, and we’ve previously interviewed her about some stunning work, and Matt Bramford was rightly impressed with her her show as part of On/Off a year ago. It’s clear that despite the copious use of black Samantha has some wonderful ideas, but sadly this collection was not as fabulous as it could have been.

Samantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia GregorySamantha Cole A/W 2011. Photography by Amelia Gregory
Samantha Cole A/W 2011. Photography by Amelia Gregory.

As our applause died down we could hear loud whooping as the models headed backstage. Three giggling ladies popped out to take a bow, followed by another lady on her own. Which one, I wondered, was the real Samantha Cole?

Fair+True and Reluxe illustration by Andrea Kearney

The EcoLuxe exhibition was held at the ultra chic One Aldwych Hotel, about it just across the road from Somerset House. Fresh from Esthetica, view I wondered if the designers holed up over at One Aldwych would be able to compete with the level of talent I’d witnessed over at Somerset House, discount but my questions were quickly forgotten as I descended the staircase at the hotel and saw the stalls.

Inevitably, there were a few brands and designers showcasing work that didn’t really float my boat, but I also saw some beautifully crafted clothes that really excited me. Here are just a few of my favourites.

I was excited to see that Fashion Conscience, my favourite ethical online retailer, had a stand. I got chatting to their PR rep about how to encourage more mainstream use of ethical design principals and how to close the gap between the high end ethical and the affordable everyday ethical. Fashion Conscience, in my humble opinion, are beginning to fill this gap, but there is still some way to go. The Fashion Conscience stall was showcasing the work of two of my favourite labels, ReLuxe and Fair+True:

Reluxe oozes cool. The designs are fresh, colourful, relaxed and crucially AFFORDABLE. They use recycled fabrics which means many garments are completely unique, or in limited supply due to the limitations of the fabric. I have fallen in love with this slightly bonkers neon striped skirt and am just waiting for pay day to purchase it (don’t beat me to it!) Brands like Reluxe and Fair+True (below) make me excited and hopeful that ethical businesses CAN make it in to the middle market mainstream, can be affordable and can have mass appeal. YES.

Knitted Skirt by Reluxe. Photo via Fashion Conscience.

Fair+True are a brand new Fairtrade company that also make lovely, brightly coloured sporty brights that I would love to wear. All pieces are fairly made in the UK or Africa or created from sustainable and organic fabrics. LOVE.

Fair + True illustration by Fritha Strickland

I hadn’t  heard of Lowie and I’m most disappointed by this because I  loved their stuff. Their AW 2011  clothing and hand knitted accessories were brightly coloured and gorgeous. I adored their Turkish socks, ear muffs, cloche hats and cardigans. Their SS 2011 collection was also beautiful with some really interesting shapes and details.


Turkish socks by Lowie. Illustration by Faye West

I liked the moody colours, tailoring and detailing of HEMYCA‘s clothes. Their focus is on fine tailoring, with an emphasis on the waist, which I always love. Ethically, HEMYCA has an ‘Organic Tailoring’ range and manufactures all their garments in London, promoting local businesses and cutting down on carbon dioxide emissions.

AW 2011 preview. Hemyca

I briefly saw Sanyukta Shrestha’s wedding accessories and dresses. However, it wasn’t until I saw models wearing the dresses online after the event that I truly appreciated their beauty. In fact I had a mouth a-gape, heart a-flutter moment when I saw this floor length, pleated dress with low cut back. It’s made from 100% organic silk and organic fair traded cotton sateen. If I could get married again (to the same man, I hasten to add!) it would be in this dress. Oh my. Head. Over. Heels.

Sanyukta Shrestha Wedding Dress illustration by Fritha Strickland

I always expected to be impressed by Esthetica and Eco Luxe, but I didn’t expect to be blown away, but I was.  I left both the show rooms with my brain whirring, a bag stuffed full of promo material, a camera full of more images than I knew what to do with and having talked at a million miles an hour to so many interesting and inspiring people. Eco Luxe has doubled in size since last year in what I assume  is a reflection of the increasing acceptance and awareness of ethical design. As ethical design and shopping with conscience become more mainstream,  I hope that ethical clothing designers wont be sectioned off in their own separate rooms. Instead they will be showcasing alongside all the other  London Fashion Week designers; proving that fashion with a conscience is not the exception, but the norm. One day indeed.

Written by Hannah Bullivant on Monday March 7th, 2011 12:25 pm

Categories ,Affordable Fashion, ,African Prints, ,Andrea Kearney, ,Eco Luxe, ,Ecoluxe, ,esthetica, ,Fair+True, ,Fashion Conscience, ,Faye West, ,Fritha Strickland, ,Hannah Bullivant, ,Hemyca, ,Knitted Skirt, ,LFW AW10/11: Women’s Wear Preview, ,London Fashion Week, ,Number One Aldwych, ,Reluxe, ,Sanyukta Shrestha, ,Somerset House, ,Turkish Socks

Similar Posts:






Amelia’s Magazine | London Fashion Week S/S 2011: best Jewellery Designers at Somerset House

by

frances conteh – lfw – ss11 – jenny robins
Carmen Secareanu On/Off by jenny robins
Illustration by Jenny Robins.

I didn’t make managed to take in the whole of On/Off exhibition this year because I was inevitably racing between shows when I passed through. And I always forget that it finishes a day before the other static shows.

Iris Serban by Chris Morris
Iris Serban by Chris Morris.

Cecile Bahnsen
Two designers that I really warmed to were graduates of the RCA that we’ve already covered. Cecile Bahnsen is a Danish designer who works with complex textile combinations inspired by modernism and resulting in delicate laser cut dresses and geometric shapes galore. I loved the batwing oversized coats, cure apparently a reference to her teenage years in the 90s.

Cecile Bahnsen photo by Amelia Gregory
Cecile Bahnsen photo by Amelia Gregory
Cecile Bahnsen photo by Amelia Gregory
All photography by Amelia Gregory.

Cecilie Bahnsen by Ella Masters
Cecilie Bahnsen by Ella Masters.

Frances Conteh
Frances Conteh could be found next door – delightfully colourful in the face of so much tasteful monochrome. Another RCA graduate who specialises in beautiful knitwear, she produced a range of slim fitting graphic dresses and oversized patterned coats in a yummy palate off citrus flavours. Stunning stuff.

Frances Conteh photo by Amelia Gregory
Frances Conteh photo by Amelia Gregory
Frances Conteh photo by Amelia Gregory

Carmen Secareanu
Hailing from Romania Carmen Secareanu creates strangely shaped garments inspired by “angels or birds”. Her stand was buzzing when I passed, with lots of people trying on her bulbous big shouldered black jacket replete with massive over-sized cuffs. Do garments get larger as models get slimmer, I wonder?

Carmen Secareanau photo by Amelia Gregory
Carmen Secareanu- lfw - ss11 - jenny robins
Carmen Secareanu by Jenny Robins.

Iris Serban
Another Romanian designer, Iris Serban plays with subtle broken prints, beading and ruffled textures like the carefully laid out pages of a very old book, rendered in all shades of beige.

Iris Serban photo by Amelia Gregory
iris serban by chris morris
Iris Serban by Chris Morris.

Laura Theiss
My fifth and final On/Off tip is the work of Lithuanian born Laura Theiss, who first trained in business so she should be good at this fashion malarkey. She’s another knitwear designer and graduate of Central Saint Martins, and divides herself between the UK and Germany. She specialises in the combination of different yarns and colours to create unusual textures and feeling.

Laura Theiss by Ella Masters
Laura Theiss by Ella Masters.

I’m sure I may have missed other talent, but hey, if you close a day before everyone else what do you expect?

Carmen Secareanu On/Off by jenny robins
Illustration by Jenny Robins.

I didn’t make manage to take in the whole of On/Off exhibition this year because I was inevitably racing between shows when I passed through. And I always forget that it finishes a day before the other static shows. But here is the best of what I saw…

Iris Serban by Chris Morris
Iris Serban by Chris Morris.

Cecile Bahnsen
Two designers that I really warmed to were graduates of the RCA that we’ve already covered. Cecile Bahnsen is a Danish designer who works with complex textile combinations inspired by modernism and resulting in delicate laser cut dresses and geometric shapes galore. I loved the batwing oversized coats, medications apparently a reference to her teenage years in the 90s.

Cecile Bahnsen photo by Amelia Gregory
Cecile Bahnsen photo by Amelia Gregory
Cecile Bahnsen photo by Amelia Gregory
All photography by Amelia Gregory.

Cecilie Bahnsen by Ella Masters
Cecilie Bahnsen by Ella Masters.

Frances Conteh
Frances Conteh could be found next door – delightfully colourful in the face of so much tasteful monochrome. Another RCA graduate who specialises in beautiful knitwear, side effects she produced a range of slim fitting graphic dresses, price massive mohair cardigans and oversized patterned coats in a yummy palate of citrus flavours. Stunning stuff.

Frances Conteh photo by Amelia Gregory
Frances Conteh photo by Amelia Gregory
Frances Conteh photo by Amelia Gregory
frances conteh - lfw - ss11 - jenny robins
Frances Conteh by Jenny Robins.

Carmen Secareanu
Hailing from Romania Carmen Secareanu creates strangely shaped garments inspired by “angels or birds”. Her stand was buzzing when I passed, with lots of people trying on her bulbous big shouldered black jacket replete with massive over-sized cuffs. Do garments get larger as models get slimmer, I wonder?

Carmen Secareanau photo by Amelia Gregory
Carmen Secareanu- lfw - ss11 - jenny robins
Carmen Secareanu by Jenny Robins.

Iris Serban
Another Romanian designer, Iris Serban plays with subtle broken prints, beading and ruffled textures like the carefully laid out pages of a very old book, rendered in all shades of beige.

Iris Serban photo by Amelia Gregory
iris serban by chris morris
Iris Serban by Chris Morris.

Laura Theiss
My fifth and final On/Off tip is the work of Lithuanian born Laura Theiss, who first trained in business so she should be good at this fashion malarkey. She’s another knitwear designer and graduate of Central Saint Martins, and divides herself between the UK and Germany. She specialises in the combination of different yarns and colours to create unusual textures and feeling.

Laura Theiss by Ella Masters
Laura Theiss by Ella Masters.

I’m sure I may have missed other talent, but hey, if you close a day before everyone else what do you expect?

Carmen Secareanu On/Off by jenny robins
Illustration by Jenny Robins.

I didn’t make manage to take in the whole of On/Off exhibition this year because I was inevitably racing between shows when I passed through. And I always forget that it finishes a day before the other static shows. But here is the best of what I saw…

Iris Serban by Chris Morris
Iris Serban by Chris Morris.

Cecile Bahnsen
Two designers that I really warmed to were graduates of the RCA that we’ve already covered. Cecile Bahnsen is a Danish designer who works with complex textile combinations inspired by modernism and resulting in delicate laser cut dresses and geometric shapes galore. I loved the batwing oversized coats, this apparently a reference to her teenage years in the 90s.

Cecile Bahnsen photo by Amelia Gregory
Cecile Bahnsen photo by Amelia Gregory
Cecile Bahnsen photo by Amelia Gregory
All photography by Amelia Gregory.

Cecilie Bahnsen by Ella Masters
Cecilie Bahnsen by Ella Masters.

Frances Conteh
Frances Conteh could be found next door – delightfully colourful in the face of so much tasteful monochrome. Another RCA graduate who specialises in beautiful knitwear, she produced a range of slim fitting graphic dresses, massive mohair cardigans and oversized patterned coats in a yummy palate of citrus flavours. Stunning stuff.

Frances Conteh photo by Amelia Gregory
Frances Conteh photo by Amelia Gregory
Frances Conteh photo by Amelia Gregory
frances conteh - lfw - ss11 - jenny robins
Frances Conteh by Jenny Robins.

Carmen Secareanu
Hailing from Romania Carmen Secareanu creates strangely shaped garments inspired by “angels or birds”. Her stand was buzzing when I passed, with lots of people trying on her bulbous big shouldered black jacket replete with massive over-sized cuffs. Do garments get larger as models get slimmer, I wonder?

Carmen Secareanau photo by Amelia Gregory
Carmen Secareanu- lfw - ss11 - jenny robins
Carmen Secareanu by Jenny Robins.

Iris Serban
Another Romanian designer, Iris Serban plays with subtle broken prints, beading and tasteful cream and beige ruffled textures like the carefully laid out pages of a very old book.

Iris Serban photo by Amelia Gregory
iris serban by chris morris
Iris Serban by Chris Morris.

Laura Theiss
My fifth and final On/Off tip is the work of Lithuanian born Laura Theiss, who first trained in business so she should be good at this fashion malarkey. She’s another knitwear designer and graduate of Central Saint Martins, and divides herself between the UK and Germany. She specialises in the combination of different yarns and colours to create unusual textures and feeling.

Laura Theiss by Ella Masters
Laura Theiss by Ella Masters.

I’m sure I may have missed other talent, but hey, if you close a day before everyone else what do you expect?

Dee-Andrews-Tatty-Devine
Harriet Vine of Tatty Devine by Dee Andrews.

I’m a girl. I quite like jewellery, information pills I can’t help it. Here’s my round up of the sweetest pieces I saw at Somerset House this year.

Phoebe Coleman
Phoebe Coleman was new to LFW this year, viagra 40mg evident in her slightly small simple stand and eager demeanour. But that’s no bad thing! Rather that than some shirty designer who barks at me if I take a photo. It’s understandable that some people get narked what with lots of pesky manufacturers sneaking in to nick their ideas, but I’m only too happy to share my business card so a bit of decorum is always good. Anyway, like I said Phoebe was lovely and chatty. Her first degree was in fine art and she then went onto study jewellery in San Diego, California whilst also producing plays. She’s a big old romantic, so alongside her previous dewdrop collection she has just launched the most darling heart collection at LFW. I love big brash jewellery for making a bit of a noise, but for day to day wear you can’t beat simple gold pendants. So want one. What’s more she’s determined to support local jewellers so everything is made in London.

Phoebe Coleman By Katherine Tromans
Phoebe Coleman By Katherine Tromans.

LeJu
I’ve written about the jewellery brand LeJu in Amelia’s Magazine before. Back then they were one of only a few ethical jewellery companies but they now have some strong competition. The brand deserves a special mention for breaking out of the Esthetica ghetto and pushing into more exciting boundaries of design than in previous seasons. Loved this huge piece making best use of dyed vegetable ivory.

Somerset House SS2011 Le Ju
All photography by Amelia Gregory.

Philippa Holland
Over on the Philippa Holland stand I was captivated by an absolutely gorgeous moveable sycamore ring. It comes in both gold and silver options but unfortunately it’s quite pricey. *sad face* Still, if you’re a money bags this is one beautiful and unique bit of jewellery. Philippa is inspired by the ancient and natural worlds as well as English folklore, so she creates lots of exciting bug pieces that obviously appeal to the fashion forward man – there was one fawning over them when I was visiting. Like Phoebe she’s keen to support British craftsmanship and eschews commercial production practices. Last Christmas she did personal engravings on pieces bought as gifts so let’s hope she does that again… what a fabulous idea for a totally unique present.

Philippa Holland By Katherine Tromans
Philippa Holland By Katherine Tromans
Philippa Holland By Katherine Tromans.

Cabinet 4 Buba
The Buba stand was all beaded and glittery: Ashish distilled into a handbag. This season Lesley Silwood and Euan McDonald have branched out into jewellery for the first time, and this was what drew me in, though I’d love one of their cross strap bags too now that my damn Vivienne Westwood bag is bust. All the beading is done by their own factory in India, which Lesley assured me means that working conditions are impeccable. Loved the big beaded hoop earrings and long sausage necklaces put together in abstract designs. Just fabulous. Even if she looked at me blankly when I told her I was from Amelia’s Magazine. Clearly not a fan then.

Buba-Jewellery-by-Kellie-Black
Buba Jewellery by Kellie Black.

Tatty Devine
Now, you all know I love Tatty Devine. Not only are Rosie Wolfenden and Harriet Vine two of my very favourite people in the whole of fashiondom but they’re so bloomin’ talented. Since they started off the whole acrylic jewellery thing (ten years ago, my word) they have been so incredibly copied by everyone – from graduate jewellers to Top Shop – that it’s become a bit ridiculous. But NONE of them will touch what Tatty Devine can design – because in terms of imagination and innovation they are always about ten steps ahead of the game. Every season I can’t wait to see what they’ve come up with next, and naturally this collection did not disappoint. Expect a continuation of the Future Mystic theme that has just hit the stands for A/W – with huge crystal necklaces and Esoterica a big influence. Look out especially for some amazing hinged glitter bird necklaces and headpieces. We also went to their party, read about it here.

LFW SS2011-photo by Amelia Gregory
Dee-Andrews-Tatty-Devine
Somerset House SS2011 Tatty Devine
Dee-Andrews-Tatty-Devine
Somerset House SS2011 Tatty Devine
Dee-Andrews-Tatty-Devine
Illustrations by Dee Andrews.

Mawi
We did a huge old feature on Mawi in one of the last issues of Amelia’s Magazine so safe to say that I’m quite a big fan – but somewhat miffed that in the course of writing this article I discovered that Mawi has reposted a pdf of that very same interview on a prominent part of her website with absolutely NO credit at all to where it came from. And I don’t even merit a mention on her “Cool Blogs and Websites” list. So yes, I like Mawi’s jewellery. She does big stuff: be warned, it’s quite heavy. She’s not worried about the current trend towards much smaller pieces (you’re in there Phoebe Coleman!) That’s it folks. Suffice to say I’d be more enthusiastic about the new collection if she bothered to acknowledge the promotion we gave her early on, or indeed to give me the impression she even remembers her appearance in Amelia’s Magazine. Love it when that happens. *sigh*

LFW SS2011-photo by Amelia Gregory
LFW SS2011-photo by Amelia Gregory
Mawi knuckledusters for the David Koma catwalk show.

Written by Amelia Gregory on Friday October 1st, 2010 12:52 pm

Categories ,Acrylic jewellery, ,Ashish, ,Buba, ,Cabinet 4 Buba, ,David Koma, ,Dee Andrews, ,Esoterica, ,esthetica, ,Euan McDonald, ,Future Mystic, ,Harriet Vine, ,jewellery, ,Katherine Tromans, ,Kellie Black, ,LeJu, ,Lesley Silwood, ,Mawi, ,Phillippa Holland, ,Phoebe Coleman, ,Rosie Wolfenden, ,Somerset House, ,Tatty Devine

Similar Posts:






Amelia’s Magazine | London Fashion Week S/S 2011: best of Somerset House & New Gen stands.

by

Romina Karamanea skirt by Joana Faria
Romina Karamanea by Joana Faria.

For the past two seasons the good PRs for Romina Karamanea have ensured that there has been a ridiculously long queue of baying fashionistas gathered outside the venue before they will let anyone inside. And so it was that I found myself being battered around on the steps of the Freemasons’ Hall on Tuesday evening: it was late in the week and it wasn’t really what I wanted to deal with. My ex flatmate, physician a stylist that I used to work for at The Face – we fell out – elbowed her way through with a bit of a hissy fit. I was seriously considering just calling it a day and going right home. But then security announced that it was “too late for stars” meaning that the complex sticker system on invites was about to be ditched, visit this site and the PRs next to me agreed that the most important people were at the front anyway – that would include me! love it when I feel less of a pleb – and it all looked good to go.

Romina Karamanea pants by Joana Faria
Romina Karamanea by Joana Faria
Romina Karamanea by Joana Faria.

Ushered into one of the gorgeous upper halls I was seated only three chairs down from my nemesis, who of course refused to acknowledge me. Which is just fine, our relationship never recovered after she moved out of my house and refused to pay her outstanding rent. But it did make me smile. Oh happy days. A funny little girl in latex stockings was placed between us and quickly presented me with her card and a badge. I had to spend the whole show trying to take photos around her as she leaned into the catwalk to take hers, but in the grand tradition of fashion week poseurs she sure was good at attracting attention.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

For this season Greek born, Central Saint Martins trained Romina looked to abstract expressionism for inspiration, though as her press release cheekily says, basically “the designer had popped to see her artist friend Hermes for a glass of wine.” Three colour stories of white, bluey green and red explored passionate brush strokes and the patterns of natural phenomena and geology. Opposing structures morphed into one garment, voluminous swathes of chiffon colliding with cleanly structured tailoring. It was a big collection that included a smattering of menswear but my favourite pieces were undoubtedly the final ones, glorious rich red undergarments topped with sweeping patterned dresses. Utterly divine.

Romina Karamanea by Joana Faria
Romina Karamanea by Joana Faria
Romina Karamanea by Joana Faria.

I wasn’t aware that Romina Karamanea was an advocate of sustainable design until I found a leaflet featuring her work in the basement at Esthetica, where the Centre for Sustainable Fashion had a corner stand showcasing some of the designers they work with. This organisation was set up by the London College of Fashion, with the aim of “challenging and provoking the established fashion system to work towards the goals of promoting human well being and respecting nature’s limits, whilst creating beauty and style.” Fashion designers are invited to attend workshops and one to one mentoring sessions about how to implement sustainable design practices and apparently Romina is one of their ambassadors, which is very exciting news.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

But a line in the first paragraph of her blurb immediately made my heart sink just a tiny bit. And not just because of the bad grammar. “Each piece is designed to be loved and kept forever getting better over-time, hopefully like the wearer.” Along with the notion of upcycling (now a far trendier way to say recycling in fashion circles) and making the most of factory waste – both of which I hasten to add are admirable choices when it comes to making fashion – creating clothes to be worn for a long time has become a bit of a get out quick clause for designers. It’s an easy statement to trot out because high fashion is invariably all about luxury and has a price tag to match. Not many people who invest in designer pieces are likely to throw away their purchases every season.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

But let’s just stop and think a bit more here. The reality is that these designers continue to show new collections, and we are inevitably urged to delve deep and create ourselves a new wardrobe each time a new season comes around. I only very rarely buy new clothes myself but I can’t claim to be completely removed from the process because I also get really excited about new creativity on the catwalks. It’s an innate human excitement that you can’t take away, but it’s how we deal with that feeling that counts. Of course I am against throwaway mass produced fashion, but sustainability cannot be achieved merely by saying that people should treasure clothes forever, not whilst producing a new collection twice a year with no deeper links to sustainable practice.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory

Reading on, I applaud Romina Karamanea‘s efforts. She is careful to fully research her supply chain, reduce fabric waste, utilise low impact digital printing techniques and organic cottons. She’s an edgy designer with a big following who can really affect people’s perception of working in a sustainable way. But it’s interesting that none of this information was on the press release for the catwalk show, or on her website: after all, who wants to be pigeonholed? It says a lot about how we still perceive an ethical imperative in design.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory

LFW-Cecilia Mary Robson-Andrea-Peterson
Cecilia Mary Robson by Andrea Peterson.

As well as all the shows there are of course a huge number of static stands to visit during LFW. Generally I manage to whip around them in something of a frenzy, there making mental notes of what to cover over the the ensuing months and accepting business cards but never with the intention of a proper write up on this ‘ere blog. This time though, I determined to do it properly. Because I want to support new designers that I like. Despite the fact that I myself (and this website) is deemed so unworthy of encouragement from the BFC that I made a staggering £19 from a Mercedes sponsored BFC advert over the course of LFW. It would be nice if I myself was to receive some support. Just a little bit. You know, enough to keep this darn blog rolling… because right now it’s in severe danger of death: I need to eat you know.

Somerset House SS2011 Tata Naka shoes
Tata Naka shoes. All photography by Amelia Gregory.

That bit of moaning done and dusted, here’s the low down of the best bits that I saw at Somerset House, both in New Gen and on the main stands. Some of it will have appeared on the catwalk, but if we didn’t make it to the show for whatever reason or didn’t get tickets I’ll cover it here instead. Note to designers: we’d prefer to see your catwalk show wherever possible. I’ll cover jewellery and Esthetica in other blogs.

Somerset House SS2011 Grazia helium dogs
Grazia helium dogs.

Tata Naka
This Georgian sister duo is one of my favourites – I used to style with their clothing a lot, most memorably in a shoot I did in the first ever issue of Amelia’s Magazine. They used to have quite a high profile but that has taken a bit of a nosedive in recent years – probably due to their decision to place more emphasis on creating a solid commercial business. But over the last few seasons they have been slowly creeping back into the centre of the fashion storm and I was very sad to have missed their presentation this year. My own error entirely. This season, like fellow independents Tatty Devine and Drowned in Sound (a very good music website) they were celebrating their 10th anniversary. Whilst perusing the gorgeous printed and embroidered kaftans and playsuits I got thoroughly distracted by a mad buyer who was trying on all the clothes and demanding fabric and colour changes. She was no doubt very important but downright scary: she watched over me whilst I deleted a photo of her (only wanted to get the outfit on someone to be illustrated, honest guv)

tata naka by genie espinosa
Tata Naka by Genie Espinosa.

DavidDavid
Two brothers, one who designs, the other with the business brains *oh why wasn’t I born with a business minded sister? sigh* DavidDavid have been on my radar since I first spotted their unique geometric designs in Mandi Lennard‘s press office many a moon ago. Back then I presumed some feisty young club kid was responsible – but I was clearly wrong: at least one of these designers was seen carrying his kid through the courtyard at Somerset House. Upstarts they ain’t.

Somerset House SS2011 DavidDavid
Somerset House SS2011 DavidDavid

This season’s collection was fetchingly presented against the light beaming through the window… pastel blocks marched against white and grey backgrounds on signature simple tees. But I think what I’d really like most this season is a chair covered in their fabric.

Somerset House SS2011 DavidDavid
DavidDavid.

Felicity Brown
Felicity Brown was discovered in one of the funny little New Gen huts: all froufrou dip dyed cascades of silk ruffled fabric, it reminded me of some much loved 70s dresses that I own. Inspiration was found in the shameless females in paintings of Toulouse-Lautrec. Since graduating from the Royal College of Art Felicity has worked with loads of top designers including Mulberry and Lanvin. Utterly fabulous.

Somerset House SS2011 Felicity Brown
Somerset House SS2011 Felicity Brown
Felicity Brown by Monique Anderson
Felicity Brown by Monique Anderson
Felicity Brown by Monique Anderson.

Mary Katrantzou
I was intrigued by Mary Katrantzou last season but sadly we were not to be recipients of a catwalk ticket – and thus missed the lampshade skirts in action. I nevertheless enjoyed a close up view of her digitally reworked prints of classic 70s glamour photography from Newton and Bourdin.

Somerset House SS2011 Mary Katrantzou
Somerset House SS2011 Mary Katrantzou
LFWSS11 Mary Katrantzou_KitLee
Mary Katrantzou by Kit Lee.

Yang Du
Yang Du was another designer that grabbed my attention last season. She creates huge surrealist sweater dresses in playful designs, and I was particularly taken by the crocodile top. But full marks also have to go for her display, which was really quite special – huge blow up eyeballs, lion finger puppets and masks… and not forgetting the helium dogs (see above for a picture). Oh hang on, they were a freebie from some magazine… still great though.

Somerset House SS2011 Yang Du
Somerset House SS2011 Yang Du
Somerset House SS2011 Yang Du
Somerset House SS2011 Yang Du
Yang Du by Genie Espinosa.
Yang Du by Genie Espinosa.

Klavers Van Engelen
Klavers Van Engelen were spotted in the Eastern Block room. Beautiful relaxed European design from these Dutch designers.

Somerset House SS2011 Klavers Van Engelen
Somerset House SS2011 Klavers Van Engelen
Klavers Van Engelen by Fiona M Chapelle
Klavers Van Engelen by Fiona M Chapelle
Klavers Van Engelen by Fiona M Chapelle.

Cecilia Mary Robson
The Cecilia Mary Robson collection was absolutely adorable and right up my street – watch a movie of these cute brightly coloured patch work dresses and skirts here.

Cecilia Mary Robson by Andrea Peterson
Cecilia Mary Robson by Andrea Peterson
Cecilia Mary Robson by Andrea Peterson.

Bebaroque
I only spotted the fabulous Bebaroque beaded tights as they were packing up to go home, and so didn’t get much of a chance to check out what they were made from and how well they might stand up to some heavy wear. But they sure looked bloody brilliant. Scottish designers Mhairi McNicol and Chloe Patience studied at the Glasgow School of Art before hooking up to start their hosiery business. If you fancy sending me a pair to test drive I’d sure like to give them a go ladies.

LFW SS2011 Bebaroque

Christopher Raeburn
Where to start with Christopher Raeburn? He appears to have made that tricky transition from Esthetica to the loftier climes of New Gen. Which is a good thing. Since we first started to champion his environmentally friendly designs he has expanded his anorak making repertoire – I really loved all the new bright colourways with giant spot prints. But I’m still smarting over the fact that he declined to give me a leftover rabbit, despite my very vocal appreciation of these cleverly designed little buggers and despite the continued support this blog has given him. And having seen lots of other apparently more *emminent* fashionistas carrying said rabbits around tucked smugly under their arms. Hurumph.

Somerset House SS2011 Christopher Raeburn
Somerset House SS2011 Christopher Raeburn
Somerset House SS2011 Christopher Raeburn
LFW SS2011 Menswear Andrew davis
Andrew Davis with his rabbit.

Written by Amelia Gregory on Wednesday September 29th, 2010 11:31 pm

Categories ,Andrea Peterson, ,Bebaroque, ,BFC, ,Cecilia Mary Robson, ,Chloe Patience, ,Christopher Raeburn, ,daviddavid, ,Eastern Block, ,esthetica, ,Felicity Brown, ,Fiona M Chapelle, ,Genie Espinosa, ,Hosiery, ,Kit Lee, ,Klavers Van Engelen, ,lfw, ,London Fashion Week, ,Mandi Lennard, ,Mary Katrantzou, ,Mhairi McNicol, ,Monique Anderson, ,New Gen, ,Royal College of Art, ,Somerset House, ,Tata Naka, ,Tatty Devine, ,Yang Du

Similar Posts:






Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Romina Karamanea

by

Illustration by Rob Wallace

JW Anderson’s Autumn Winter 2010 collection was a celebration of the understated. Opening the rather quiet menswear day at the BFC on September 23rd, buy information pills the designer’s Spring/Summer 2011 collection unleashed models dressed as Liberty sponsored waif and strays.

All Photography by Matt Bramford

The collection was luxe hippie, medicine a perennially popular look that rarely translate into the everyday, unless you happen to be a rock star from years’ past. Nevertheless, it is wonderfully pretty, especially when the boys came highly reminiscent of Jimi Hendrix’s flowery rock attire crossed with the early portraiture of Walker Evans.

Following his video presentation earlier during the week. JW Anderson choose to unleash his recent expansion into faery-esque womenswear onto the menswear catwalk, drawing a few raised eyebrows from a front row settling in for a day of uninterrupted menswear.


Inspired by the photography of William Gedney the collection captured a sense of youthful naive freedom last seen in the work of Sally Mann at The Photographers Gallery.

Illustration by Rob Wallace

A nod to American Youth subcultures, (everything is a nod these day, a rehash, a reminiscence) the clothes arrived as bleached out dreamy tie dyes combined with floral print trousers for the boys and long sheer skirts fitted underneath fisherman knits for the girls.

The collection, a homage to youthful runaways on the Great American Road trip was heavy in the literary romanticism in which JW Anderson excels.

For the finale, the models (beautifully styled by Robbie Spencer) sauntered to the youthful dissatisfaction of Jarvis Cocker’s Pulp, underneath the eery green light provided by lasers more commonly seen at Fabric.

Illustration by Rob Wallace

JW Anderson’s Autumn Winter 2010 collection was a celebration of the understated. Opening the rather quiet menswear day at the BFC on September 23rd, website like this the designer’s Spring/Summer 2011 collection unleashed models dressed as Liberty sponsored waif and strays.

All Photography by Matt Bramford

The collection was luxe hippie, look a perennially popular look that rarely translate into the everyday, cialis 40mg unless you happen to be a rock star from years’ past. Nevertheless, it is wonderfully pretty, especially when the boys came highly reminiscent of Jimi Hendrix’s flowery rock attire crossed with the early portraiture of Walker Evans.

Following his video presentation earlier during the week. JW Anderson choose to unleash his recent expansion into faery-esque womenswear onto the menswear catwalk, drawing a few raised eyebrows from a front row settling in for a day of uninterrupted menswear.


Inspired by the photography of William Gedney the collection captured a sense of youthful naive freedom last seen in the work of Sally Mann at The Photographers Gallery.

Illustration by Rob Wallace

A nod to American Youth subcultures, (everything is a nod these day, a rehash, a reminiscence) the clothes arrived as bleached out dreamy tie dyes combined with floral print trousers for the boys and long sheer skirts fitted underneath fisherman knits for the girls.

The collection, a homage to youthful runaways on the Great American Road trip was heavy in the literary romanticism in which JW Anderson excels.

For the finale, the models (beautifully styled by Robbie Spencer) sauntered to the youthful dissatisfaction of Jarvis Cocker’s Pulp, underneath the eery green light provided by lasers more commonly seen at Fabric.

Illustration by Rob Wallace

JW Anderson’s Autumn Winter 2010 collection was a celebration of the understated. Opening the rather quiet menswear day at the BFC on September 23rd, pharmacy the designer’s Spring/Summer 2011 collection unleashed models dressed as Liberty sponsored waif and strays.

All Photography by Matt Bramford

The collection was luxe hippie, a perennially popular look that rarely translate into the everyday, unless you happen to be a rock star from years’ past. Nevertheless, it is wonderfully pretty, especially when the boys came highly reminiscent of Jimi Hendrix’s flowery rock attire crossed with the early portraiture of Walker Evans.

Following his video presentation earlier during the week. JW Anderson choose to unleash his recent expansion into faery-esque womenswear onto the menswear catwalk, drawing a few raised eyebrows from a front row settling in for a day of uninterrupted menswear.


Inspired by the photography of William Gedney the collection captured a sense of youthful naive freedom last seen in the work of Sally Mann at The Photographers Gallery.

Illustration by Rob Wallace

A nod to American Youth subcultures, (everything is a nod these day, a rehash, a reminiscence) the clothes arrived as bleached out dreamy tie dyes combined with floral print trousers for the boys and long sheer skirts fitted underneath fisherman knits for the girls.

The collection, a homage to youthful runaways on the Great American Road trip was heavy in the literary romanticism in which JW Anderson excels.

For the finale, the models (beautifully styled by Robbie Spencer) sauntered to the youthful dissatisfaction of Jarvis Cocker’s Pulp, underneath the eery green light provided by lasers more commonly seen at Fabric.

Romina Karamanea skirt by Joana Faria
Romina Karamanea by Joana Faria.

For the past two seasons the good PRs for Romina Karamanea have ensured that there has been a ridiculously long queue of baying fashionistas gathered outside the venue before they will let anyone inside. And so it was that I found myself being battered around on the steps of the Freemasons’ Hall on Tuesday evening: it was late in the week and it wasn’t really what I wanted to deal with. My ex flatmate, for sale a stylist that I used to work for at The Face – we fell out – elbowed her way through with a bit of a hissy fit. I was seriously considering just calling it a day and going right home. But then security announced that it was “too late for stars” meaning that the complex sticker system on invites was about to be ditched, and the PRs next to me agreed that the most important people were at the front anyway – that would include me! love it when I feel less of a pleb – and it all looked good to go.

Romina Karamanea pants by Joana Faria
Romina Karamanea by Joana Faria
Romina Karamanea by Joana Faria.

Ushered into one of the gorgeous upper halls I was seated only three chairs down from my nemesis, who of course refused to acknowledge me. Which is just fine, our relationship never recovered after she moved out of my house and refused to pay her outstanding rent. But it did make me smile. Oh happy days. A funny little girl in latex stockings was placed between us and quickly presented me with her card and a badge. I had to spend the whole show trying to take photos around her as she leaned into the catwalk to take hers, but in the grand tradition of fashion week poseurs she sure was good at attracting attention.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

For this season Greek born, Central Saint Martins trained Romina looked to abstract expressionism for inspiration, though as her press release cheekily says, basically “the designer had popped to see her artist friend Hermes for a glass of wine.” Three colour stories of white, bluey green and red explored passionate brush strokes and the patterns of natural phenomena and geology. Opposing structures morphed into one garment, voluminous swathes of chiffon colliding with cleanly structured tailoring. It was a big collection that included a smattering of menswear but my favourite pieces were undoubtedly the final ones, glorious rich red undergarments topped with sweeping patterned dresses. Utterly divine.

Romina Karamanea by Joana Faria
Romina Karamanea by Joana Faria
Romina Karamanea by Joana Faria.

I wasn’t aware that Romina Karamanea was an advocate of sustainable design until I found a leaflet featuring her work in the basement at Esthetica, where the Centre for Sustainable Fashion had a corner stand showcasing some of the designers they work with. This organisation was set up by the London College of Fashion, with the aim of “challenging and provoking the established fashion system to work towards the goals of promoting human well being and respecting nature’s limits, whilst creating beauty and style.” Fashion designers are invited to attend workshops and one to one mentoring sessions about how to implement sustainable design practices and apparently Romina is one of their ambassadors, which is very exciting news.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

But a line in the first paragraph of her blurb immediately made my heart sink just a tiny bit. And not just because of the bad grammar. “Each piece is designed to be loved and kept forever getting better over-time, hopefully like the wearer.” Along with the notion of upcycling (now a far trendier way to say recycling in fashion circles) and making the most of factory waste – both of which I hasten to add are admirable choices when it comes to making fashion – creating clothes to be worn for a long time has become a bit of a get out quick clause for designers. It’s an easy statement to trot out because high fashion is invariably all about luxury and has a price tag to match. Not many people who invest in designer pieces are likely to throw away their purchases every season.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

But let’s just stop and think a bit more here. The reality is that these designers continue to show new collections, and we are inevitably urged to delve deep and create ourselves a new wardrobe each time a new season comes around. I only very rarely buy new clothes myself but I can’t claim to be completely removed from the process because I also get really excited about new creativity on the catwalks. It’s an innate human excitement that you can’t take away, but it’s how we deal with that feeling that counts. Of course I am against throwaway mass produced fashion, but sustainability cannot be achieved merely by saying that people should treasure clothes forever, not whilst producing a new collection twice a year with no deeper links to sustainable practice.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory

Reading on, I applaud Romina Karamanea‘s efforts. She is careful to fully research her supply chain, reduce fabric waste, utilise low impact digital printing techniques and organic cottons. She’s an edgy designer with a big following who can really affect people’s perception of working in a sustainable way. But it’s interesting that none of this information was on the press release for the catwalk show, or on her website: after all, who wants to be pigeonholed? It says a lot about how we still perceive an ethical imperative in design.

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea SS2011 photo by Amelia Gregory

Written by Amelia Gregory on Wednesday September 29th, 2010 5:40 pm

Categories ,Central Saint Martins, ,Centre for Sustainable Fashion, ,Defying Mainstream, ,esthetica, ,ethical design, ,Freemasons’ Hall, ,Greek, ,Joana Faria, ,lfw, ,Lisa Stannard, ,London College of Fashion, ,London Fashion Week, ,Romina Karamanea, ,sustainability, ,The Defiant, ,The Face

Similar Posts:






Amelia’s Magazine | London Fashion Week S/S 2011 Esthetica Review

by


Illustration by Annejkh Carson
Partimi Dress by Joana Faria
Partimi by Joana Faria.

I probably shouldn’t do this because I actually don’t believe the ghettoisation of ethical designers is a particularly good thing, more about but for ease of storytelling in the grand scheme of things it makes sense to cover the interesting stuff I came across at Esthetica altogether. This is by no means all the stuff I loved, purchase but I’ll be covering others in my upcoming book Amelia’s Compendium of Fashion Illustration (with an ethical bent) so for now I’ll just stick to a few that may not have been covered on this blog before….

Martina Spetlova
The Centre for Sustainable Fashion were promoting the work of Martina Spetlova, prescription another MA graduate of Central Saint Martins who has a first degree in chemistry and has set up a fair trade embroidery network between women in Pakistan and designers in the UK. She creates clothes made of interchangeable panels and her recent collection features some interesting garments sponsored by waste from the YKK zip company. She is currently building relationships with mills to use more end of line products that are well suited to the small runs of high end designers, but I do wonder what happens once all that waste has been scooped up.

Somerset House SS2011 Martina Spetlova
Somerset House SS2011 Martina Spetlova
Somerset House SS2011 Martina Spetlova
Octavi Navarro - Martina Spetlova
Martina Spetlova by Octavi Navarro.

Little Glass Clementine
I was really pleased to see my friend Clemmie from Little Glass Clementine exhibiting at Esthetica for the first time. We’ve covered Clemmie before, both for her work drawing attention to the imperilled island of Tuvalu and for her beautifully made jewellery.

LFW SS2011 Little Glass Clementine

I feel quite proud that her necklaces, constructed from found objects and lovingly sourced vintage items, are now finding a much wider audience. Read an interview with her here.

LFW SS2011 Little Glass Clementine
LFW SS2011 Little Glass Clementine
All photography by Amelia Gregory.

Sägen
Over in the Scandinavian corner I was most intrigued to discover the finely detailed work of Sägen, also showing at Esthetica for the first time. This is upcycling at it’s best – taking shards of old porcelain and reinvigorating them for a new life as a piece of delightful one off jewellery.

Somerset House SS2011 Sagen

Choose from twee rose patterns or more modern classic Scandinavian leaf designs, all set in nickel free silver. One massive downside: the website does not seem to cater to the English speaking customer, so one can only hope some UK based buyers have bought into the range.

sagen-katie-harnett
Sägen by Katie Harnett.

Nina Dolcetti
I tried on a pair of Nina Dolcetti bouncy platform shoes at Esthetica, and instantly fell in love… perhaps I could even ride a bike in a pair of these?? Inexplicably the head designer is not called Nina Dolcetti. Elisalex de Castro Peake is a Cordwainers graduate who launched her first upcycled shoe in September 2008 and the brand name Nina Dolcetti – meaning Little Sweets – comes from a combination of her nickname and her grandmother’s maiden name.

Somerset House SS2011 nina dolcetti
Somerset House SS2011 nina dolcetti
Somerset House SS2011 nina dolcetti

All shoes are made in a small factory run factory in East London from off cuts and pre-consumer waste, and she utilises only vegetable tanned leather and sustainably sourced cork and wood. So want a pair to bounce around in, but they’re a leetle bit pricey for me. Well worth it if you earn a decent wage though: I urge you to check them out.

LFW-Nina Dolcetti by Chris Morris
Nina Dolcetti by Chris Morris.

Partimi and Joanna Cave
I love Partimi‘s clean simple designs. Designer Eleanor Dorrien-Smith named her label after the architectural term parti, meaning the conceptual starting point for a project, and she makes beautiful wearable dresses adorned with simple graphic prints.

emma_block_partimi
Partimi by Emma Block.

This season she paid homage to costumes from Diaghilev’s Ballet Russes that her mother had collected at auction. I particularly loved her collaboration with ethical jewellery designer Joanna Cave, and am lusting after a pair of graphic cut out dangly earrings.

LFW SS2011 Partimi
Partimi Long dress by Joana Faria
Partimi earing by Joana Faria
Partimi by Joana Faria.

Oria
This jewellery range is the baby of creative duo Tania Kowalski and Synnove Saelthun, who have worked in the jewellery industry for a combined 25 years. Increasingly concerned wih the social and environmental impact of mining they created Oria in 2007 with an intention to make the supply chain transparent.

Somerset House SS2011 Oria

They source from fair-trade companies, all materials are traceable to point of origin and then the jewellery is made in their London studio. I love the delicate dangly cutout earrings featuring bees and birds.

Oria by Faye West
Oria by Faye West.

Michelle Lowe-Holder
I knew Michelle Lowe-Holder as a clothing designer, but after a break from the industry she’s decided to make a come back as an accessory designer. This was prompted by the realisation that she was always most interested in the details so she decided to be more sustainable and make use of the oodles of waste fabric from old collections – that she still has lying around in her studio – to create some stunning accessories: giant arm, neck and leg pieces are stacked to create dramatic silhouettes.

LFW SS2011 Michelle Lowe-Holder
LFW SS2011 Michelle Lowe-Holder
Michelle Lowe by Michelle Urvall Nyrén
Michelle Lowe-Holder by Michelle Urvall Nyrén.

From Somewhere
From Somewhere has been upcycling waste luxury materials since 1997, and as a bastion of sustainable fashion it was to designer Orsola de Castro that the BFC came when they wanted to set up Esthetica in 2006.

LFW SS2011 Orsola From Somewhere
Orsola de Castro.

This season she has been working with offcuts from Speedo to create a lovely limited edition capsule collection.

speedo_by Alia Gargum
Speedo From Somewhere collaboration by Alia Gargum.

Made
Having just returned from a Fashion Business Club get together with the unexpectedly lucid Laura Bailey I thought I would also mention Made, a jewellery brand “by the people for the people” that is reasonably well known thanks to some high profile branding and wide distribution. They are big on their “designer” collaborations, though not designers I’ve ever heard of: since when was Laura Bailey a jewellery designer anyway? Boy do I want her job. I’m not a massive fan of a lot of their stuff (looks wise), but they do undeniably good things by providing trade for impoverished communities in Africa.

made by natsuki otani
Made by Natsuki Otani.

Written by Amelia Gregory on Friday October 1st, 2010 5:21 pm

Categories ,Alia Gargum, ,Central Saint Martins, ,Centre for Sustainable Fashion, ,Cordwainers, ,Ecofashion, ,Elisalex de Castro Peake, ,Emma Block, ,esthetica, ,ethical design, ,Fashion Business Club, ,Faye West, ,From Somewhere, ,jewellery, ,Joanna Cave, ,Katie Harnett, ,Laura Bailey, ,Little Glass Clementine, ,MADE, ,Martina Spetlova, ,Michelle Lowe-Holder, ,Michelle Urvall Nyrén, ,Nina Dolcetti, ,Octavi Navarro, ,Oria, ,Orsola De Castro, ,Partimi, ,recycling, ,Sägen Butik, ,scandinavia, ,shoes, ,Speedo, ,sustainability, ,Synnove Saelthun, ,Tania Kowalski, ,Tuvalu, ,Upcycling, ,YKK

Similar Posts:






Amelia’s Magazine | London Fashion Week S/S 2011 Esthetica Review

by


Illustration by Annejkh Carson
Partimi Dress by Joana Faria
Partimi by Joana Faria.

I probably shouldn’t do this because I actually don’t believe the ghettoisation of ethical designers is a particularly good thing, more about but for ease of storytelling in the grand scheme of things it makes sense to cover the interesting stuff I came across at Esthetica altogether. This is by no means all the stuff I loved, purchase but I’ll be covering others in my upcoming book Amelia’s Compendium of Fashion Illustration (with an ethical bent) so for now I’ll just stick to a few that may not have been covered on this blog before….

Martina Spetlova
The Centre for Sustainable Fashion were promoting the work of Martina Spetlova, prescription another MA graduate of Central Saint Martins who has a first degree in chemistry and has set up a fair trade embroidery network between women in Pakistan and designers in the UK. She creates clothes made of interchangeable panels and her recent collection features some interesting garments sponsored by waste from the YKK zip company. She is currently building relationships with mills to use more end of line products that are well suited to the small runs of high end designers, but I do wonder what happens once all that waste has been scooped up.

Somerset House SS2011 Martina Spetlova
Somerset House SS2011 Martina Spetlova
Somerset House SS2011 Martina Spetlova
Octavi Navarro - Martina Spetlova
Martina Spetlova by Octavi Navarro.

Little Glass Clementine
I was really pleased to see my friend Clemmie from Little Glass Clementine exhibiting at Esthetica for the first time. We’ve covered Clemmie before, both for her work drawing attention to the imperilled island of Tuvalu and for her beautifully made jewellery.

LFW SS2011 Little Glass Clementine

I feel quite proud that her necklaces, constructed from found objects and lovingly sourced vintage items, are now finding a much wider audience. Read an interview with her here.

LFW SS2011 Little Glass Clementine
LFW SS2011 Little Glass Clementine
All photography by Amelia Gregory.

Sägen
Over in the Scandinavian corner I was most intrigued to discover the finely detailed work of Sägen, also showing at Esthetica for the first time. This is upcycling at it’s best – taking shards of old porcelain and reinvigorating them for a new life as a piece of delightful one off jewellery.

Somerset House SS2011 Sagen

Choose from twee rose patterns or more modern classic Scandinavian leaf designs, all set in nickel free silver. One massive downside: the website does not seem to cater to the English speaking customer, so one can only hope some UK based buyers have bought into the range.

sagen-katie-harnett
Sägen by Katie Harnett.

Nina Dolcetti
I tried on a pair of Nina Dolcetti bouncy platform shoes at Esthetica, and instantly fell in love… perhaps I could even ride a bike in a pair of these?? Inexplicably the head designer is not called Nina Dolcetti. Elisalex de Castro Peake is a Cordwainers graduate who launched her first upcycled shoe in September 2008 and the brand name Nina Dolcetti – meaning Little Sweets – comes from a combination of her nickname and her grandmother’s maiden name.

Somerset House SS2011 nina dolcetti
Somerset House SS2011 nina dolcetti
Somerset House SS2011 nina dolcetti

All shoes are made in a small factory run factory in East London from off cuts and pre-consumer waste, and she utilises only vegetable tanned leather and sustainably sourced cork and wood. So want a pair to bounce around in, but they’re a leetle bit pricey for me. Well worth it if you earn a decent wage though: I urge you to check them out.

LFW-Nina Dolcetti by Chris Morris
Nina Dolcetti by Chris Morris.

Partimi and Joanna Cave
I love Partimi‘s clean simple designs. Designer Eleanor Dorrien-Smith named her label after the architectural term parti, meaning the conceptual starting point for a project, and she makes beautiful wearable dresses adorned with simple graphic prints.

emma_block_partimi
Partimi by Emma Block.

This season she paid homage to costumes from Diaghilev’s Ballet Russes that her mother had collected at auction. I particularly loved her collaboration with ethical jewellery designer Joanna Cave, and am lusting after a pair of graphic cut out dangly earrings.

LFW SS2011 Partimi
Partimi Long dress by Joana Faria
Partimi earing by Joana Faria
Partimi by Joana Faria.

Oria
This jewellery range is the baby of creative duo Tania Kowalski and Synnove Saelthun, who have worked in the jewellery industry for a combined 25 years. Increasingly concerned wih the social and environmental impact of mining they created Oria in 2007 with an intention to make the supply chain transparent.

Somerset House SS2011 Oria

They source from fair-trade companies, all materials are traceable to point of origin and then the jewellery is made in their London studio. I love the delicate dangly cutout earrings featuring bees and birds.

Oria by Faye West
Oria by Faye West.

Michelle Lowe-Holder
I knew Michelle Lowe-Holder as a clothing designer, but after a break from the industry she’s decided to make a come back as an accessory designer. This was prompted by the realisation that she was always most interested in the details so she decided to be more sustainable and make use of the oodles of waste fabric from old collections – that she still has lying around in her studio – to create some stunning accessories: giant arm, neck and leg pieces are stacked to create dramatic silhouettes.

LFW SS2011 Michelle Lowe-Holder
LFW SS2011 Michelle Lowe-Holder
Michelle Lowe by Michelle Urvall Nyrén
Michelle Lowe-Holder by Michelle Urvall Nyrén.

From Somewhere
From Somewhere has been upcycling waste luxury materials since 1997, and as a bastion of sustainable fashion it was to designer Orsola de Castro that the BFC came when they wanted to set up Esthetica in 2006.

LFW SS2011 Orsola From Somewhere
Orsola de Castro.

This season she has been working with offcuts from Speedo to create a lovely limited edition capsule collection.

speedo_by Alia Gargum
Speedo From Somewhere collaboration by Alia Gargum.

Made
Having just returned from a Fashion Business Club get together with the unexpectedly lucid Laura Bailey I thought I would also mention Made, a jewellery brand “by the people for the people” that is reasonably well known thanks to some high profile branding and wide distribution. They are big on their “designer” collaborations, though not designers I’ve ever heard of: since when was Laura Bailey a jewellery designer anyway? Boy do I want her job. I’m not a massive fan of a lot of their stuff (looks wise), but they do undeniably good things by providing trade for impoverished communities in Africa.

made by natsuki otani
Made by Natsuki Otani.

Written by Amelia Gregory on Friday October 1st, 2010 5:21 pm

Categories ,Alia Gargum, ,Central Saint Martins, ,Centre for Sustainable Fashion, ,Cordwainers, ,Ecofashion, ,Elisalex de Castro Peake, ,Emma Block, ,esthetica, ,ethical design, ,Fashion Business Club, ,Faye West, ,From Somewhere, ,jewellery, ,Joanna Cave, ,Katie Harnett, ,Laura Bailey, ,Little Glass Clementine, ,MADE, ,Martina Spetlova, ,Michelle Lowe-Holder, ,Michelle Urvall Nyrén, ,Nina Dolcetti, ,Octavi Navarro, ,Oria, ,Orsola De Castro, ,Partimi, ,recycling, ,Sägen Butik, ,scandinavia, ,shoes, ,Speedo, ,sustainability, ,Synnove Saelthun, ,Tania Kowalski, ,Tuvalu, ,Upcycling, ,YKK

Similar Posts:






Amelia’s Magazine | Let’s say No to Mass Production

by

Do you have a band that soundtrack your life? The music of your memories?
Mine was, cure treatment is and always will be The National, a band who’ve been playing in the background of my first loves, lost loves, sad times, happy times, party times, sleep times, journeys on planes, journeys on trains, moving in-s and moving out-s.

thenational.JPG

Last night, after almost 5 years of unadulterated adoration and no less than 3 missed opportunities to see them , I finally saw The National, and it was knee-knockingly, breathtakingly amazing.
So amazing in fact, I broke a few of my cardinal “What Not To Do At Gigs” Rules. Nominally, these are:
1. Thou shall not sing along (aloud or mouthing along silently; they’re both as bad as each other)
2. Thou shall not join in group clapping (I’m not really a crowd participation kind of girl)
3. Thou shall not sway with your eyes closed (it looks creepy)

Having left the Royal Festival Hall in between lamenting the loss of my gig misanthropy and watching A Skin, A Night in bed (I really like The National- if you hadn’t noticed by this point) I began to ponder how to write about a band you’ve loved for such a long time, so here it goes.

(A Skin, A Night trailer)

Playing songs from their last two albums (Alligator and Boxer) and an EP (Cherry Tree), as well as covering new songs like the excellent ‘Runaway’, I noticed that one of the most striking thing about The National was their ability to depart from their records, which are, even at their most upbeat are still darkly contemplative and reflective, live however their energy is palpable, their most melancholic songs live are shot through with electricity and flourish. The National are a lot more prolific than the 2007 ‘overnight’ success of Boxer would suggest, and their familiarity with their extensive back catalogue allows them to embellish upon their records, making the live show full of exciting little twists and turns.

thenational2.JPG

Somewhere amidst these sonic twists and turns, I recognised The National’s ability to change the mood of not only what they were playing but also the mood of a packed out auditorium of people. Their music soars and swoops, murmurs with melancholy, heard in both Berringer’s voice and Newsome’s string solos, before crescendo-ing into a clattering wave of emotional intensity on the drums, guitars and brass. ‘Fake Empire’ ; Boxer’s opener starts with a simple, lilting piano melody and builds up to a full orchestral smorgasbord and was definitely a stand out favourite for me alongside ‘About Today’ from the aforementioned Cherry Tree EP whilst faster songs including ‘Mistaken for Strangers’ and ‘All the Wine’ pulsated with a dark emotion. The National are undoubtedly a honed and well oiled team from the drums and brass section to Padma Newsome’s dexterity on the piano and strings and it is this that enabled them to take such hairpin turns throughout their hour and a half long set, whilst retaining the interest of a legion of loyal fans, which is no mean feat.

And what of Mr. Berringer as a front man? I always had a rather specific image of him as a shy and brooding wordsmith, yet he commanded the attention of the crowd with his vocal range; from his trademark seductive baritone murmuring (‘Green Gloves’), to top-of-lungs anguished shouting (‘Abel’).

thenational3.JPG

The National create a totally unique soundscape, both live and on record, a soundscape filled with towering skyscrapers and empty parties, of drunk men in dead end jobs and the women they once loved leaving them. Ok, so it ‘s clearly not the Disneyworld of soundscapes but there is a real honesty and sad beauty to the images they create that inspire empathy and awe (both lyrically and melodically) in the stoniest of hearts.

So now as one of the converted to eyes closed, body swaying dancing at gigs, I unabashedly say that The National didn’t let me down live and I will continue to soundtrack a new lot of adventures with their music. Make them yours!

(Video for ‘Apartment Story’)

Monday 10th August

UN Climate Change Talks

The U.N. Climate Change Talks in Bonn, try Germany begin a series of informal intersessional consultations today. These are part of the run-up to Copenhagen in December, page and this particular series can be found webcast live here

0727%20sergio%20park.jpg
Illustration by Sergio Membrillas

Tuesday 11th August

The Yes Men

The Yes Men film shows the hoaxes perpetrated by two US political pranksters. The promotion team describe the film as “so stupidly entertaining” that it will reach and motivate thousands of people, page thus “adding even more juice into a movement that is trying to save civilization itself, among other modest goals.

Tuesday is the satellite event – live from Sheffield, it’s a simulcast event screening of THE YES MEN FIX THE WORLD and live q&a with the Yes Men beamed via satellites from Sheffield Showroom. Cinema-goers will have the opportunity to put their questions live and direct to the film’s stars from their respective cinema locations.

20.30, at the following London cinemas:
Odeon Panton Street, Clapham Picture House, The Gate Notting Hill, Greenwich Cinema, Ritzy Brixton, Screen-on-the-Green
More cinemas on the screenings page of their website.

Wednesday 12th August

Green Spaces & Sticky Feet

A creative exploration of the nature beneath our feet as we roam around the gardens – to help us understand why green spaces are important and how we can make our buildings greener. This is a workshop for children of all ages, who must be accompanied at all times by an adult.

2.30-4.30pm
St John-at-Hackney Churchyard Gardens

Contact – The Building Exploratory – 020 7729 2011 – mail@buildingexploratory.org.uk
www.buildingexploratory.org.uk

VESTAS : National Day of Action

On Friday the 7th August the bailiffs went in and the occupation of the Vestas wind turbine plant on the Isle of Wight ended.

In response to this a National Day of Action in support of the Vestas workers and to keep the factory open, for Green Jobs and a Green Energy Revolution, was declared. There will be actions all around the country organised by a diverse range of groups.

Or contact your local CCC group, or Union – or if you want to organise something in your area there is some advice from Jonathan Neale, of the CCC Trade Union group

The campaign to Save Vestas has not finished, it has just started and with it comes a campaign for a step change in the creation of Green Jobs and the Green Energy Revolution !

6.30pm
Outside the Department of Energy and Climate Change (DECC)

Contact – info@campaigncc.org – savevestas.wordpress.com

0729%20jeffrey%20windmills.jpg
Illustration by Jeffrey Bowman

Thursday 13th August

Journey Deep Into the Heart of Remembrance

A spiritual celebration and experience, honouring our regal beauty with sacred song and dance. Dances of universal peace, Taize singing, Bhajans & Kirtan, native American sweat lodge, Zikr & Sufi practice, Breton dancing, Tibetan sound meditation, yoga, tribal dance, ancient ways of the British Isles, chant wave and more…

You can find more details www.hounslow.info

0730%20faye%20mug.jpg
Illustration by Faye Katirai

Saturday 15th August

Fly by Night at Totteridge Fields Nature Reserve

Let the London Wildlife Trust take you out trapping, identifying and recording moths on the Totteridge Fields Nature Reserve. Come and see how many species of moths visit the fields at night. Please wear warm clothes and sensible footwear. Bring a Torch, Notebook and pen. You may also want to bring a flask.

Free car parking in sports ground car park adjacent to the Hendon Wood Lane entrance.
Nearest tube is Totteridge & Whetstone
251 bus stops on Totteridge Common near the junction with Hendon Wood Lane.

8.30-10.30pm
Hendon wood Lane entrance to totteridge Fields Nature Reserve
Contact – Clive Cohen – 07973 825 165 – notinbooks.conservation@btinternet.com

Monday 10th August
The National at Southbank Centre, ailment London

The National are one of my favourite all time bands. Their music full of deep seductive murmuring and soaring strings, cure The National build a beautiful soundscape full of urban discontent and lost loves.

the-national-band.jpg

Tuesday 11th August
Devotchka at Cargo, London

I wouldn’t blame you for thinking that Devotchka have wandered straight out an Eastern European shtetl with their romani/ klezmer-tastic music. In fact they’re from Colorado and you probably recognise their orchestral treats from Everything is Illuminated and Little Miss Sunshine.

devotchka.jpg

Wednesday 12th August
Woodpigeon at Borderline, London

Woodpigeon is whispery folk with beautiful strings and brass. Perfect for a summer evening.

woodpigeon.jpg

Thursday 13th August
Circulus at The Lexington, London

Tired of the ins and outs of modern life? Do you want to return to a simpler time? A medieval time? Go see Circulus then! They’re quite obviously as mad as a bag of prog listening cats but they sing about fairies and have lutes- what couldn’t be awesome about that?

Circulus-Feast.jpg

Friday 14th August
Forest Fire and Broadcast 2000 at The Luminaire, London

Lovely country folk from Brooklyn’s Forest Fire and tinkly electronica from Broadcast 2000 are set to make this night special!

Broadcast2000.jpg

Saturday 15th August
Spaghetti Anywhere and Colours at Barfly, London

Here at Amelia’s HQ we often find ourselves listening to Spaghetti Anywhere‘s myspace selection of pretty indie pop, and it never fails to brighten up a dreary office day.
Also playing are Colours the South Coast’s answer to My Bloody Valentine, offering up a delicious slice of Shoegaze with Pavement-y undertones. Brilliant stuff all round!

spaghetti.png

the depths of 180 The Strand, sildenafil where this year’s On|Off catwalk be, Bernard Chandran is about to present his S/S2010 collection. I’m excited.

I saw Chandran’s A/W collection back in February. It was incredible, and I was concerned that this season’s couldn’t live up. I need not have worried.

BC_1_1

Yet another diverse and inspired collection, the first model appeared wearing a silk muzzle with a graphic pattern. These unusual face decorations featured prominently in the show. Printed, bejewelled, moulded from the shape of the face – it was clear they were making a statement. “It’s my reaction to climate change,” Bernard told me afterwards. It’s a provoking image we’re accustomed to seeing – during the SARS crisis and more recently with the swine-flu pandemic. Chandran has translated this evocative image and created masks of beauty.

BC_2_1

Dresses were striking, bold statement pieces, in hues ranging from ochre to pewter. Folds and flaps created geometric silhouettes, showcasing Chandran’s skills as a craftsman, and revealing a possible Hussein Chalayan influence.

Other pieces consisted of simple shift dresses enveloped by folded, dynamically-cut fabric, creating exaggerated shoulders and wing-like forms, apposing the contours of the female form.

I loved this glittered interpretation of the bustier. Fashion-forward women only, need apply:

BC_3_1

Patterns on masks and clothing had been translated directly from objects that surround Bernard in his day-to-day life. A stunning linear print in amber and black had been taken directly from “a basket that people give [Bernard} flowers in!” Bernard recalled. Looking again at the print makes sense of it – it appears almost photographic.

Another key look was the Chinese coolie hat, worn by a handful of models. Bernard in interesting in their form. “I like the way they fold, the way they are created – which can be said for a lot of my work,” Bernard told me. “The way an envelope folds, for example – like here,” as he gestured to a photograph on the wall backstage of a structured, geometric dress.

BC_4_1

The more feminine consumer need not worry, as the show also included elegantly draped smock dresses and sumptuous blouson skirts, in chiffon, with organic, natural prints. These pieces were the most surprising considering his A/W 09/10 collection was so bold and striking. “Sometimes you just have to,” Bernard laughed.

BC_5_1

There were so many different looks in this collection. It may sound as if the pieces were too disparate but this was not the case, as one after the other complimented each other, almost magically. Take the structured dress with exaggerated hips, fast becoming Bernard’s signature, juxtaposed with the softer sheer fabric pieces draped effortlessly over the models; juxtaposed with the hooded smock reminiscent, again, of an envelope; the prints and tones of each piece somehow beautifully transforming into the next.

BC_6_1

Soul singer Estelle is a huge fan of Chandran’s work, shunning major fashion houses to wear his looks at awards ceremonies, so it was no surprise to see Destiny’s Child’s Michelle Williams and Beverley Knight wide-eyed on the front row. A Bernard Chandran woman is a glamorous, confident, ostentatious creature. It’s time this design hero took centre stage on-schedule. Sort it out, BFC!

All photographs and text by Matt Bramford
The 25th London Fashion Week began yesterday in its new haunt of Somerset House. Turning up to register, viagra there was the expected photo crush as numerous street style photographers selected those most fashionably dressed to stand before their lens. Not surprisingly London Fashion Week has been a lesson on how to be scarily on trend. Leather studded Jackets check. Harem pants in black and multiple prints. Check. Statement shoes check.check.check. Big Power Shoulders. Check. The most amazing outfit –outside the catwalk- was on the front row at Ashley Islam (more to come on this collection later). Sitting next to Michelle Williams from Destiny’s Child immaculat in Vivienne, sildenafil was a rather beautiful man with an Anna Wintour bob,
complete with a dress made from nails. This often disregarded material was transformed into the ultimate disco dress, that tinkled out of shows.

On|Off presents their off schedule designers at 180 the Strand. Down in the industrial stylebasement, the catwalk appeared from behind plastic sheets and the ever ready crowd of journalists, photographers and buyers took their seats to view collections from Prose Studio, Yang Du, Michela Carraro and Joanna Vaderpuije.

lfw09onoffpresentsprosestudio.jpg

The Prose Studio Collection of bold oil slick printed dresses was first down the catwalk. The feminine fluent dresses billowed around the models, falling down from the neck, along the arms and tacking tightly in at the waist to fall once more to the knees.

Remember blowing paint across water’s surface to create marbling patterns when pressed onto paper? Prose Studio’s harem pants felt as if the fabric had been dipped into the solution and hung out to dry. The drapes of the pants were delicately covered leaving the leg fabric bare.

lfw09onoffpresentsprosestudio4.jpg

The collection finished with a free flowing printed white tunic over white marbled dripped leggings.

lfw09onoffpresentsprosestudio13.jpg

Next up were Michela Carraro’s deconstructed geishas complete with rags tied into bondage shoes, big 80′s shoulders remain on the catwalk alongside constructed sheer blouses.

lfw09onoffpresentsMichela%20Carraro2.jpg

lfw09onoffpresentsMichela%20Carraro3.jpg

The shapes and layering were reminiscent of John Galliano’s personal style and diffusion line with an injection of Vivienne Westwood’s pirate’s collection. As the light blue piece sashayed down the catwalk, it suddenly struck.

lfw09onoffpresentsMichela%20Carraro4.jpg

What was being offered was a re-invention of a feminine suit, capable of expressing personality rather than smothering it underneath a shapeless blazer. This was a collection representing the intriguing daywear as represented with the gallantly bold, bordering on the garish printed trousers, under tucked beneath the swashbuckling floating blouses held together at the front with delicate stitching. Completed with the bandaged shoes, the piece formed an illustrious silhouette when framed by photographers.

lfw09onoffpresentsMichela%20Carraro10.jpg

Third was Joanna Wanderpuije’s elegant collection of modern shapes complete with the return of the perspex stars from the A/W collection, for S/S the stars are attached to the hips of the cotton skirt. Plenty of well cut shorts and printed tanks for effortless lux.

lfw09onoffpresentsjoanna5.jpg

Leather bra tops – continuing previous seasons’ trends for underwear as outwear- hardened the collection appearing under a cropped print jacket nestling above the high-waisted cream trouser. A splash of colour was provided with the up-pleated tunic dress. The collection was incredible wearable with Wanderpuije’s prints elegant in their application and beautifully sculpted from material.

lfw09onoffpresentsjoanna6.jpg

Fashion provides the opportunity to dive into new worlds, peer into another’s imagination. It can function similarly to illustration and convey a sense of being in the world and by being idiosyncratic tap into the public consciousness. The last piece from Yang Du‘s collection was one distinctive outfit from the Louis Vitton-esque rabbit ears combined with bold blue and white striped constructed-to-be-slouchy oversized dress.

lfw09onoffpresentsyangdu13.jpg

The outfit instantly burned into the retina, this was something to wear as unemployment rates soar, it’s warm and it’s bright. This was fun fantastical fashion and I loved the oversized knitted bag that followed the models down the catwalk as if a rather petulant child.

lfw09blowpresentsyangdu4.jpg

As with all three previous designers, at Yang Du it was all about the detailing; tunic dresses were altered with cut away bra holes overlaid with fringing. Grinning cartoon faces contrasted wide blue knitted stripes, tight tight dresses were sent down with bold geometric black and white prints. Not forgetting the head adornments.

lfw09onoffpresentsyangdu6.jpg

A great start to London Fashion Week, a mix of eccentricity and wearable shapes with most importantly the clothes bringing a smile to one’s face.

DSC_1454

For me, web the majority of fashion week involved being squished like a sardine in regimented rows watching models strut up and down a well lit runway. While this is all well and good, sometimes it’s fun to break from the norm…

nasirmazhar2

nasirmazhar

nm3

DSC_1462

from what I can gauge, Nasir Mazhar is a headwear designer, with very theatrical taste.

nm2

To view his presentation at London Fashion Week s/s10 we descended into the vaults of Somerset House, entering a strobe lit room, where at the end of the corridor a stunning and SEXY model posed around a pole in an almost fetichistic nude mask that covered her mouth and eyes……

DSC_1438

This was the opening taste of the world of Nasir Mazhar that is visceral, amusing, unique and downright hot. As I am predominately a photographer, I feel the images illustrate the experience better than anything I could write!

DSC_1448

nasirmazhar4

All photographs by Elizabeth Johnson
DSC_1454

For me, visit web the majority of fashion week involved being squished like a sardine in regimented rows watching models strut up and down a well lit runway. While this is all well and good, sickness sometimes it’s fun to break from the norm…

nasirmazhar2

nasirmazhar

nm3

DSC_1462

from what I can gauge, information pills Nasir Mazhar is a headwear designer, with very theatrical taste.

nm2

To view his presentation at London Fashion Week s/s10 we descended into the vaults of Somerset House, entering a strobe lit room, where at the end of the corridor a stunning and SEXY model posed around a pole in an almost fetichistic nude mask that covered her mouth and eyes……

DSC_1438

This was the opening taste of the world of Nasir Mazhar that is visceral, amusing, unique and downright hot. As I am predominately a photographer, I feel the images illustrate the experience better than anything I could write!

DSC_1448

nasirmazhar4

All photographs by Elizabeth Johnson
camillacatwalk2

The Four Seasons Charity Show was in aid of Oxfam and the British Heart Foundation. The design brief consisted of buying charity shop clothes and styling or adapting them into something new and stylish. As a textiles student I embraced the customisation route: deconstructing, seek reconstructing, find decorating, this site sewing, pleating, ruffling and so on until I could unveil works which were truly mine.

camillacatwalk

The collection made its way down the catwalk, and to my greatest delight, people enquired about buying the pieces. Encouraged by this I am incorporating a recyclable theme into my A2 textiles, which induced designer research. Focusing on using items considered as junk and turning them into fashionable and hopefully wearable pieces. Some of the designers I investigated include People Tree, Katharine E Hamnett’s slogan t-shirts, and Edun. All of their manifestos contain aspects of Fairtrade, organic resources, sustainability or tackling of other global issues.

camillaoxfam

Katharine E Hamnett promotes her campaigns on the consumer’s organic cotton (manufactured under tight ethical standards) chest: Free Burma, World Peace to Save the Seas. Hamnett presents her political beliefs and encourages us to do the same.

katherineEhamlett

Edun focuses on creating sustainable employment in developing countries, specifically sub-Saharan Africa. Just from these two brands you can see the multiple schemes that have been put into place to begin tackling global issues – they just need more recognition.

edunclothing

I first experienced the concept of eco-fashion – typically – as a younger sister, when presented with my older sister’s hand-me-downs. At the time, I was probably disappointed by the lack of brand new clothing, and yet now the wearing of second-hand has become more fashionable than ever. Take the explosion of vintage clothing and the increasing presence of designers who re-use old clothes to make new creations, such as the brand Junky Styling. In more recent years my interest in eco-fashion has expanded from an initially disgruntled youth to advocator of Ethical Sustainable Fashion.

junky-styling-01

This passion for re-making and vintage stems from television shows such as Twiggy’s Frock Exchange, and local fashion workshops, which I help to run as part of The Cambridge Design Collective. The workshops provide tips such as: turning old dresses into handbags, or learning how to distress jeans. The amount of people who have become involved and the techniques I have subsequently learnt demonstrate that we do not need mass production. We just need to get together and be a little more creative!

twiggyfrockexchange

In Frock Exchange, Twiggy encouraged the mass consumers of the UK to stalk out previously owned garments and transform them into beautiful bespoke items. The moment which propelled me into a world of eco-friendly fashion arrived in the role of a floral, floor-length Laura Ashley dress. The item was altered into the most amazing mini dress before Britain’s eyes. Energised by the programme I began to participate in clothes swaps and search for the independent retailers of my local town who do not mass-produce.

katherineehamlett1

My research revealed sustainable resources, such as the amazing Emporium 61, a boutique charity shop, which stocks vintage and even sells top brands such as Miu Miu and Prada. The shop also sells redesigned second hand clothing under the label 50/50. Cambridge has a lot of charity shops, independent outlets and vintage clothing, and yet so few people seem to know about them – something I hope to change by helping to publicise these stores better.

The achievement you feel when an item is successfully given a new lease of life, or at knowing your small decision is one tiny step towards helping the world (whether it be anti-child labour, or increasing climate change awareness), is definitely motivation to decrease high street consumerism. The High Street may hope it doesn’t use slave labour, child labour, unsustainable resources and more – but can you really imagine anything less fuels this mass producer? And what happens to all the clothes that aren’t sold? Huge piles of waste clothing?

clothingwaste

Eco – Fashion requires effort and if we really want to combat climate change and abuse of worker’s rights isn’t it worth it? Especially when you discover a hidden gem such as locally stocked labels: Rutzou or Milly Moy.

millymoy

I believe eco-fashion can be fashionable: even London Fashion Week has its own eco-friendly selection in its Esthetica exhibition! Of course some charity shops may still bear the stereotypical musty image, but if you look closely enough and do a little transformation you’d be amazed. If you’re not a designer yourself try a clothes swap, or vintage shopping in the beautiful Brick Lane of London – a perfect excuse if ever I heard one.

Written by Camilla Sampson on Wednesday October 7th, 2009 4:29 pm

Categories ,Brick Lane, ,Edun, ,esthetica, ,Ethical Fashion Forum, ,Katherine E Hamlett, ,London Fashion Week, ,Milly Moy, ,oxfam, ,People Tree, ,vintage

Similar Posts: