Amelia’s Magazine | Prophetik: London Fashion Week A/W 2012 Catwalk Review


Prophetik A/W 2012 by Faye West

My fashion week hadn’t got off to the best of starts this season. I skipped day one, and arrived on day two rather worse for wear. I’d been out boozing the night before and hadn’t predicted to feel quite so dreadful the next morning. I managed the Spijkers show, but on my way to see my faces, Teatum Jones, I was spinning out so badly that I just had to return home. Spending the day on the sofa sorted me out, and so I leapt out of bed on a bright, Spring-like morning on Sunday (day three) to catch Prophetik, back after a hiatus last season, to see what Jeff Gardner could offer fashion fans at 10.30am.


Prophetik A/W 2012 by Claire Kearns

Seating was easy peasy thanks to the glorious gals at Forward PR, and the show began only a few minutes late. This season, Jeff’s charity of choice is the Lawrence Anthony Foundation, committed to protecting endangered rhinos. Well, I certainly didn’t expect to see photographs of rhinos mutilated at such an early hour, but the provocative images hit home the crisis the species face. It costs £30,000 to protect one rhino for a year – a terrifying amount of money – because the only way to keep them alive is by guarding them 24 hours a day. You can read more about the cause here.


All photography by Matt Bramford

So it was on with the show. True to form, a vibrant violinist opened the proceedings, galavanting up and down the catwalk as she played. A live band then accompanied music that blasted from the sound system and the first model appeared.

This collection was called ‘Courtly Love‘, which for a brief moment made me imagine Prophetik‘s staple frocks with Courtney Love-esque make-up. Alas, this wasn’t the case. The theme was more of a reference to Princess Grace, archetypal dandies and an age-old way of dressing reinvented with a surge of modernity. The collection brought Prophetik‘s inimitable style back to the catwalk – romance, drama and sophistication neatly packaged into one collection.


Prophetik A/W 2012 by Gilly Rochester

Layers of lace were built up on dresses, blouson sleeves met with tight cuffs, swooping necklines were decorated with ruffled trims and sashes around waists provided flattering silhouettes.

This season saw a shorter hemline on some pieces that came as a bit of a surprise; I’m used to Jeff’s floor-sweeping numbers but cuter frocks cut above the knee made the collection seem more wearable and playful.

Menswear was exemplary as per: this season brought cropped tuxedos with jazzy gold buttons and baggy knits; pillow-shaped sleeves appeared on shirts. I spent more time than was necessary fancying two frock coats, the first with beautiful embroidery that looked like a V&A exhibit, the second made from luxurious velvet with heavy brocade detailing.

I don’t see myself hanging around Bethnal Green in either, but I’ve since fantasised about wearing the latter around the house, pretending I’m from another era.


Prophetik A/W 2012 by Gabriel Ayala

The finale created gasps across the room: a dress, black on bottom, white on top, featured one of Jeff’s grandmother’s original blankets (he must be running out) covered in black feathers – a real red carpet number if ever I saw one; one that will likely have Livia Firth on the phone faster than you can say green carpet. Gasps of another kind came when Whitney Houston’s ‘I Wanna Dance With Somebody’ emerged from the speakers – an unorthadox choice at a Prophetik show, but one that had guests bouncing up and down in their seats.


Finale at Prophetik A/W 2012 by Faye West

While Prophetik isn’t my favourite type of fashion – I prefer the more contemporary, print-based designers – I’m never disappointed, as I’m sure the hopeless romantics won’t be either.

Categories ,A/W 2012, ,AW12, ,catwalk, ,Claire Kearns, ,Courtly Love, ,Dandy, ,fashion, ,Faye West, ,Forward PR, ,Freemasons’ Hall, ,Gabriel Ayala, ,Gilly Rochester, ,Jeff Garner, ,Lawrence, ,London Fashion Week, ,Matt Bramford, ,menswear, ,Prophetik, ,review, ,Vauxhall Fashion Scout, ,Whitney Houston, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Corrie Nielsen


Illustration by Joana Faria

The My Beautiful Fashion venue is once again this season at the Old Sorting Office – a cavernous venue with an eery feeling of days gone by. The ethereal atmosphere suited Corrie Nielsen‘s show perfectly. I hadn’t heard of Corrie until last season, try and her sculpted numbers with huge nods to the past really took my breath away, visit web so I was excited to see what she’d come up with this time around.


Illustration by Claire Kearns
 
The Old Sorting Office has been adorned with hundreds of large light bulbs that hang from the ceiling – everybody who came in marvelled at the installation and most of the chit-chat from the front row was lightbulb related. I went with Chief Amelia and we sat at opposite ends to avoid taking the same pictures.


A/W’s latest trend – taking dire photographs on an iPad (!) and getting in the way of people who are actually trying to take good photographs. Anybody with an iPad – don’t do it. You look like a berk, you get in everybody’s way and you know that you will only end up looking on other websites such as this one that publish photographs that don’t look like my 7 year old niece painted them with her feet. Oof!

Goodie bags included yet more hair products (I really should start growing my hair to make use of all these freebies) and a huge slab of Starbucks cake that made me feel ill just looking at it, but which I then spent the entire day longing for and regretting my decision to leave behind.



Illustrations by Joana Faria
 
Sparse music meant the show was to begin. Models appeared from behind the brutalist entrance, walking at a snail’s pace to add even more mystery to this dramatic collection. The lighting, consisting of the bulbs and some harsh studio lights at the end of the runway supplied yet more drama as each of the models was illuminated in a ghostly fashion, giving Corrie Nielsen‘s magical contours even more life.


Photograph by Matt Bramford



Corrie Nielson SS 2011 review-photo by amelia

Corrie Nielson SS 2011 review-photo by amelia
Corrie Nielson SS 2011 review-photo by amelia
Corrie Nielson SS 2011 review-photo by amelia
Corrie Nielson SS 2011 review-photo by amelia

Corrie Nielson SS 2011 review-photo by amelia


Photography by Amelia Gregory

A move towards more commercial pieces appeared first, which was a little surprising after last season’s outing, but not disappointing in the slightest; and by no means commercial in a high-street sense. Crisp shirts and tailored trousers had a marginal hint of Nielsen, a blouson-sleeved shirt with a synched back and huge pleated trousers was one of my favourite looks.


Illustration by Claire Kearns




Photography by Matt Bramford

As the show progressed, so did Nielsen’s bravery and inimitable silhouettes. Flattering trenches wrapped tightly around the models in luxurious gold silks were Westwood-esque, and pussy bow waist ties added a touch of glamour. A lemon sorbet creation with huge puff sleeves and a tulip waistline managed to be both futuristic and neoclassical at the same time. That pretty much somes up Corrie’s appeal – marrying Edwardian hairstyling with futuristic shapes resulted in a unique and exciting collection. Loved it!


Illustration by Kirsty McGill







Photography by Matt Bramford


Corrie Nielsen takes a bow, photography by Amelia Gregory

Categories ,Amelia Gregory, ,catwalk, ,Claire Kearns, ,Contour, ,Corrie Nielsen, ,Edwardian, ,Ethereal, ,fashion, ,Forward PR, ,Futuristic, ,ipad, ,Joana Faria, ,London Fashion Week, ,Matt Bramford, ,My Beautiful Fashion, ,Old Sorting Office, ,review, ,S/S 2012, ,Silhouette, ,Starbucks, ,Vivienne Westwood, ,Womenswear

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Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Fashion Mode No.1 Florian Jayet (by Helen)

Presentations are funny things; done badly they can leave you feeling a bit underwhelmed, price but done well they can be even more effective than a big catwalk show. Craig Lawrence’s A/W 2011 presentation fell into the latter category for me;a series of presentations meant that there was plenty of room to find a seat, viagra 40mg but still impressive front row faces like Susie Bubble and Fred Butler.A voiceover narrated the details of each outfit which really shed a lot of light on the intricacies of the designs that might have been lost on me otherwise; like garments being turned inside out to expose filigree textures beneath the surface.

The shoes were also real show-stoppers,the result of a collaboration between Craig and Crisian & McCaffrey, featuring killer heels and knitted panels.The colours of the collection were inspired by the night; dark blues, purples and navy blues; a brilliant alternative to the blacks and greys autumn/winter collections often resort to. Craig’s alternative textiles like cellophane and Kyototex give a shimmery finish to evening wear, whilst knitted tights worn underneath sheer knits created striking, layered patterns. Some pieces were made up of large circles and stripes woven into the fabric, subtle details which only really showed up in the texture of the garments.

In striking contrast to the dark clothes, the models’ eyes were accentuated with a neon orange stripe on each eyelid; in keeping with the ‘brights’ make-up trend. Statement tights were also omnipresent in the LFW crowd and Craig’s offerings imply they’re going nowhere.

When the presentation finished, Craig didn’t seem to be making an appearance, until his mum left her place on the front row to drag him out to much applause. He certainly deserves it for pioneering a totally innovative approach to textiles and knitwear which has made him a firm fixture on the London fashion scene.

Presentations are funny things; done badly they can leave you feeling a bit underwhelmed, viagra but done well they can be even more effective than a big catwalk show. Craig Lawrence’s A/W 2011 presentation fell into the latter category for me;a series of presentations meant that there was plenty of room to find a seat, pharm but still impressive front row faces like Susie Bubble and Fred Butler.A voiceover narrated the details of each outfit which really shed a lot of light on the intricacies of the designs that might have been lost on me otherwise; like garments being turned inside out to expose filigree textures beneath the surface.

The shoes were also real show-stoppers,the result of a collaboration between Craig and Crisian & McCaffrey, featuring killer heels and knitted panels.The colours of the collection were inspired by the night; dark blues, purples and navy blues; a brilliant alternative to the blacks and greys autumn/winter collections often resort to. Craig’s alternative textiles like cellophane and Kyototex give a shimmery finish to evening wear, whilst knitted tights worn underneath sheer knits created striking, layered patterns. Some pieces were made up of large circles and stripes woven into the fabric, subtle details which only really showed up in the texture of the garments.

In striking contrast to the dark clothes, the models’ eyes were accentuated with a neon orange stripe on each eyelid; in keeping with the ‘brights’ make-up trend. Statement tights were also omnipresent in the LFW crowd and Craig’s offerings imply they’re going nowhere.

When the presentation finished, Craig didn’t seem to be making an appearance, until his mum left her place on the front row to drag him out to much applause. He certainly deserves it for pioneering a totally innovative approach to textiles and knitwear which has made him a firm fixture on the London fashion scene.

Illustration by Jo Cheung

Presentations are funny things; done badly they can leave you feeling a bit underwhelmed, viagra order but done well they can be even more effective than a big catwalk show. Craig Lawrence’s A/W 2011 presentation fell into the latter category for me;a series of presentations meant that there was plenty of room to find a seat, thumb but still impressive front row faces like Susie Bubble and Fred Butler. A voiceover narrated the details of each outfit which really shed a lot of light on the intricacies of the designs that might have been lost on me otherwise; like garments being turned inside out to expose filigree textures beneath the surface.

The shoes were also real show-stoppers, seek the result of a collaboration between Craig and Crisian & McCaffrey, featuring killer heels and knitted panels.The colours of the collection were inspired by the night; dark blues, purples and navy blues; a brilliant alternative to the blacks and greys autumn/winter collections often resort to. Craig’s alternative textiles like cellophane and Kyototex give a shimmery finish to evening wear, whilst knitted tights worn underneath sheer knits created striking, layered patterns. Some pieces were made up of large circles and stripes woven into the fabric, subtle details which only really showed up in the texture of the garments.


Illustration by Jo Cheung

In striking contrast to the dark clothes, the models’ eyes were accentuated with a neon orange stripe on each eyelid; in keeping with the ‘brights’ make-up trend. Statement tights were also omnipresent in the LFW crowd and Craig’s offerings imply they’re going nowhere.

When the presentation finished, Craig didn’t seem to be making an appearance, until his mum left her place on the front row to drag him out to much applause. He certainly deserves it for pioneering a totally innovative approach to textiles and knitwear which has made him a firm fixture on the London fashion scene.

Photos by Katie Antoniou

Illustration by Jo Cheung

Presentations are funny things; done badly they can leave you feeling a bit underwhelmed, visit this site but done well they can be even more effective than a big catwalk show. Craig Lawrence’s A/W 2011 presentation fell into the latter category for me;a series of presentations meant that there was plenty of room to find a seat, but still impressive front row faces like Susie Bubble and Fred Butler.A voiceover narrated the details of each outfit which really shed a lot of light on the intricacies of the designs that might have been lost on me otherwise; like garments being turned inside out to expose filigree textures beneath the surface.

The shoes were also real show-stoppers,the result of a collaboration between Craig and Crisian & McCaffrey, featuring killer heels and knitted panels.The colours of the collection were inspired by the night; dark blues, purples and navy blues; a brilliant alternative to the blacks and greys autumn/winter collections often resort to. Craig’s alternative textiles like cellophane and Kyototex give a shimmery finish to evening wear, whilst knitted tights worn underneath sheer knits created striking, layered patterns. Some pieces were made up of large circles and stripes woven into the fabric, subtle details which only really showed up in the texture of the garments.

Illustration by Jo Cheung

In striking contrast to the dark clothes, the models’ eyes were accentuated with a neon orange stripe on each eyelid; in keeping with the ‘brights’ make-up trend. Statement tights were also omnipresent in the LFW crowd and Craig’s offerings imply they’re going nowhere.

When the presentation finished, Craig didn’t seem to be making an appearance, until his mum left her place on the front row to drag him out to much applause. He certainly deserves it for pioneering a totally innovative approach to textiles and knitwear which has made him a firm fixture on the London fashion scene.

Photos by Katie Antoniou

Illustration by Artist Andrea

Charlie Le Mindu’s ‘Berlin Syndrome’ catwalk show was packed with journalists, viagra photographers and front row candy like Daphne Guinness and Diane Pernet, remedy lots of people were left outside, disappointed. Such is the draw of the promise of nudity.

And Charlie didn’t let us down- first up on the catwalk was a naked model drenched in fake blood, wearing only a headpiece adorned with the word ‘Violence’. Profound, eh?The ‘Carrie’ theme ran through the whole show, with a number of the pieces being blood-splattered or drenched,a gimmick I’d have got pretty bored of if it weren’t for the nod to second world war Berlin. Vintage style lace and lots of military influences from gasmarks to metal cases meant that my interest was definitely peeked. Some of this stuff WAS wearable- have a look at this fantastic robe.

The shoes were a result of a collaboration between Charlie and Underground Shoes, I’m really disappointed that I didn’t get a better picture of any of them, because they were fantastic; stunning platforms covered in lace and Charlie’s signature hair.


Beginning life as a hairdresser, Charlie has gone on to work human hair into his clothing designs, now worn by the likes of Lady Gaga. In this show, hair fringing was often daubed in Graffiti, as were the model’s own hairstyles.

Illustration by Artist Andrea

The return of a darkly rebellious nod to the Punk era was evident in a number of shows this year,evidence of the current economic climate, dissatisfaction with the government; certainly Charlie was out to shock, provoke and disturb, with the final walk through set to a soundtrack of pigs being slaughtered. Whilst maintaining his artistic integrity, I do think Charlie was thinking of potential buyers when he designed this collection, as a lot of it is much more wearable than his previous pieces, despite the avant garde presentation.Get ready to see these looks on many a celeb; though probably without the fake blood.

Illustration by Artist Andrea

Photographs by Katie Antoniou

Ziad Ghanem by Avril Kelly

What an amazing show; Ziad Ghanem has trumped everything else I’ve seen this week. Opening with a model dressing in a dark, doctor dramatic floor length strapless gown, price with green feathers, stilts and skull makeup the audience were cheering from the off.

The front row was packed out with the eccentrically dressed – Boy George almost blended into the background in a bright yellow hat and full face of makeup. Special mention has to go to the PVC clad, (and complete with blow up hair), London artist Pandemonia, sitting opposite me. Together with a matching blow up dog, she must have been boilin’!

Ziad Ghanem by Alison Day

The loud show, with music changes more frequent than model changes provided clapping, laughing and unanimous approval – so much so that no one seemed to care that the show started an almost an hour late. Male and female models took to the catwalk in stunning creations – capes, gigantic earrings and tremendously tight dresses were wriggled, danced and glided down the runway on joker-style made-up faces.

The models came in all shapes and sizes but voluptuous curves and a heaving bosom was the order of the evening. Corset dresses that pushed said bosoms up and out were so tight that somewhere Scarlett Johansen was blushing. Full length floaty gowns in pale hues of blue, deep reds, sparkling gold and matte grey also allowed for plenty of swishing, and cloak spinning as the models made their way towards the waiting photographers.

Ziad Ghanem by Madi

My favourite dress was the bright fuschia deep cut and backless cocktail dress that nipped in perfectly at the waist. The shiny nature of the material was so unashamedly trashy that it avoided (I think) being either tacky or quality street wrapper-esque. Other notable highlights of the show include a deathly bride and groom, solemnly showering the crowd with petals at the end of the show, and the model who pirouetted her way backwards after walking down the catwalk. All in all, a brilliant show – exciting, entertaining and some truly beautiful clothes.
LFW2_FlorianJayet_by_AlisonDay

LFW A/W 2011, viagra sale Florian Jayet. Illustration by Alison Day

I spent London Fashion Week staying at my parent’s house. My childhood home with a new kitchen, order dog ‘brother’, central heating that works and a bath. I’m not going to lie, I enjoyed having my porridge made in the morning. Maple syrup on the side, and a herbal tea, packed lunch filled with snacks. That’s right, I lapped it up. Although Charlie is an excellent boy/man, there is nothing quite like the mother. However they live a few miles outside of Brighton, in a village. Thus the trek to London, the long days and write ups – intense. All because I LOVE it. Love words, fashion, and obviously, this mighty magazine. Yet I deliberated with coming to London for one show on Sunday. Day of rest day normally means Roast dinner. But I have in my mind, ‘NO HELS! SAY NOT TO NOTHING!’ at all times. I’m following my writing dream after all. This causes me great pleasures and enormous pains. So, of course, one show or not, I was on that train to London Victoria. And am I glad I made the effort for Fashion Mode?

Yes. Three shows in one; three excellent shows. I’m going to split Fashion Mode into three posts, because each designer deserves the love. So we will start with Florian Jayet.

LFW3_FlorianJayet_by_AlisonDay

LFW A/W 2011, Florian Jayet. Illustration by Alison Day

Initially I was slightly terrified and in awe of the models coming out. Nothing different to every show you might say. But, this was different, because the models had metal contraptions of their heads that made them look like a cross between special aliens and orthodontic patients. Four strips of silver metal came over their heads from the back, to touch their faces, with an enormous roller at the back. After my initial fear, I decided that they looked cool, as inevitably happens at LFW. See: ‘Urg… ahhh.. yah, I totally get that now. I want one.’ Although I’m not sure I would wear one of these creations, I would certainly consider wearing the dresses, which the metal complimented perfectly. Wiggle space lady, that’s what you are. With lasers from your eyes and hips.

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W 2011-W 2011-IMG_4106W 2011-W 2011-IMG_4111W 2011-W 2011-IMG_4113W 2011-W 2011-IMG_4137

LFW A/W 2011, Florian Jayet. Photography by Amelia Gregory

Florian Jayet is a graduate in Biology which explains his science appreciative designs. The pieces featured strong shoulders, midi length skirts and padded fabrics. The shape of the woman has been celebrated and appreciated as if it is meant to be seen and not covered – raw biology. The models reminded me of those in Huxley’s; Brave New World. Perfect, angular and although feminine, minus the romanticism and emotional sentimentality, that are sometimes conjured by designs. In a sense Jayet‘s pieces are actually a mix of previous, and our vision of future, ideologies. The restricted, but beautiful shapes of the 20s, 30s and 40s appear to have been fused with modern and excessive details; i.e. the shoulders. The contemporary complimenting the past, and particularly with reference to French houses; Chanel and Dior. This makes for a very sophisticated and composed look. It made me want to look closer, at every detail, and know more. As opposed to held within the ruffles, the corset and the red heels, everything seemed so wrapped up, with the story inside. It was whimsical in its own way, and also impenetrable. These outfits are those that I would hope to find in the corner of a cafe in Paris, smoking, mysterious, alone – with a steely, but far away look.

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LFW A/W 2011, Florian Jayet. Photography by Amelia Gregory

I adored the padding details and the shrug wraps. Space lady, dressed for dinner. The long dresses had a Japanese feel to them, geisha like and graceful. Florian Jayet said that the focus for him, is to create; ‘a fetish wardrobe, pieces that a woman can keep forever, bringing them out on special occasions when she needs to be propelled into confidence and strength.’ It’s fair to say that you would feel empowered wearing Jayet’s pieces. The creams and blacks, shoulders, padding and midi length skirts would have me stomping and demanding like a glossy magazine Editor with somewhere to be. However at the moment it’s more probable I would be the space lady in the cafe, with a triple americano (having no affect), internally reliving or hoping for something. With an unreadable face, it’s unclear as to what scene could be playing in the mind of this space femme, but in a way it’s romantic – because for me, everything always is. This includes Jayet, of course.

Categories ,Alison Day, ,Amelia Gregory, ,Biology, ,chanel, ,Dior, ,Fahsion, ,Fashion Mode, ,Fashion Scout, ,Florian Jayet, ,Forward PR, ,lfw, ,LFW A/W, ,Space

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Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Fashion Mode No.2 James Hillman (by Helen)

Bora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011 by Danielle Shepherd
Bora Aksu A/W 2011 by Danielle Shepherd.

Bora Aksu is one of the most unassuming and down to earth men I’ve ever met, find let alone in the land of fashion – which is why it is so bizarre that his shows attract such a high level of celebrity interest – I can’t for one moment imagine that he courts it himself…

Twiggy at Bora Aksu. Amelia Gregory
Twiggy at Bora Aksu. Photography by Amelia Gregory.

It was only after I’d planted myself down in the front row that I realised I was in the thick of a celebrity pap fest. Twiggy was busy giving vox pops to my left and Marina of Marina and the Diamonds fame came stomping past inches from my nose in a bid to find a spare patch of front row action. I kept my head down, information pills so it was only after the show that I realised I’d been sitting only a few bodies down from ex Sugababes’ star Keisha Buchanan, as she stood for an awkward and heavily photographed air kiss reunion with Girls Aloud’s current fashion darling Nicola Roberts, whose incredible thinness was enhanced by the halo of flashes going off behind her. I could hardly leave the venue for the ensuing scrum. Memo to self: try to avoid sitting in the thick of celeb land next time.

Marina by Artist Andrea
Marina by Andrea Peterson.

Last season Bora took a step away from the Somerset House action to show at the considerably smaller venue at Victoria House, and in reflection of this step down his collection seemed slightly lacking in confidence. But for A/W 2011 he was back in the big tent, and proving once more that he is at the height of his powers.

Bora Aksu A/W 2011 by Donya Todd
Bora Aksu A/W 2011 by Donya Todd.

Gun metal grey is a favourite Bora colour, and the collection flew off the starting blocks as it meant to continue, with a gorgeous bustle-backed party frock in metallic fabric and wool, highlighted by a slash of emerald green at the waist and in the underskirt – a colour that was to take second place only to his beloved grey this season. Bora staples: lace, sheer chiffon, cable knit and corsetry lacing were all present and correct, bound and wound around the models in cunning arrangements. Playful inspiration was found in the form of tuxedos and bow ties, Bora playing with proportion, placement and tromp l’oeil effects. As usual some of the dresses called to mind a suit of armour, contouring the female form. As the collection progressed the models heads became evermore bound in black gauze, encasing their delicate features. At the end the models grouped in an army to take their final turn on the catwalk – a trend that was to be repeated throughout the week at various shows.

Bora Aksu has an extraordinarily clear vision that keeps getting stronger and stronger: feminine without being too girly, clever without being unwearable, recognisable without being samey and just damn innovative every time. He is without doubt one of the most individual and idiosyncratic designers working in the UK today. Roll on S/S 2012.

You can read Georgia Takacs’ review here and Jemma Crow’s review here. Or you can check in with my intimate interview, posted last September. We’re big fans, what can I say?

Bora Aksu A/W 2011 by Danielle Shepherd
Bora Aksu A/W 2011 by Danielle Shepherd.

Bora Aksu is one of the most unassuming and down to earth men I’ve ever met, viagra approved let alone in the land of fashion – which is why it is so bizarre that his shows attract such a high level of celebrity interest – I can’t for one moment imagine that he courts it himself…

Twiggy at Bora Aksu. Amelia Gregory
Twiggy at Bora Aksu. Photography by Amelia Gregory.

It was only after I’d planted myself down in the front row that I realised I was in the thick of a celebrity pap fest. Twiggy was busy giving vox pops to my left and Marina of Marina and the Diamonds fame came stomping past inches from my nose in a bid to find a spare patch of front row action. I kept my head down, discount so it was only after the show that I realised I’d been sitting only a few bodies down from ex Sugababes’ star Keisha Buchanan, as she stood for an awkward and heavily photographed air kiss reunion with Girls Aloud’s current fashion darling Nicola Roberts, whose incredible thinness was enhanced by the halo of flashes going off behind her. I could hardly leave the venue for the ensuing scrum. Memo to self: try to avoid sitting in the thick of celeb land next time.

Marina by Artist Andrea
Marina by Andrea Peterson.

Last season Bora took a step away from the Somerset House action to show at the considerably smaller venue at Victoria House, and in reflection of this step down his collection seemed slightly lacking in confidence. But for A/W 2011 he was back in the big tent, and proving once more that he is at the height of his powers.

Bora Aksu A/W 2011 by Donya Todd
Bora Aksu A/W 2011 by Donya Todd.

Gun metal grey is a favourite Bora colour, and the collection flew off the starting blocks as it meant to continue, with a gorgeous bustle-backed party frock in metallic fabric and wool, highlighted by a slash of emerald green at the waist and in the underskirt – a colour that was to take second place only to his beloved grey this season.

Bora Aksu A/W 2011 by Alia Gargum
Bora Aksu A/W 2011 by Alia Gargum.

Bora staples: lace, sheer chiffon, cable knit and corsetry lacing were all present and correct, bound and wound around the models in cunning arrangements. Playful inspiration was found in the form of tuxedos and bow ties, Bora playing with proportion, placement and tromp l’oeil effects.

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011. Photography by Amelia Gregory.

As usual some of the dresses called to mind a suit of armour, contouring the female form. As the collection progressed the models heads became evermore bound in black gauze, encasing their delicate features. At the end the models grouped in an army to take their final turn on the catwalk – a trend that was to be repeated throughout the week at various shows.

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011. Photography by Amelia Gregory.

Bora Aksu has an extraordinarily clear vision that keeps getting stronger and stronger: feminine without being too girly, clever without being unwearable, recognisable without being samey and just damn innovative every time. He is without doubt one of the most individual and idiosyncratic designers working in the UK today. Roll on S/S 2012.

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011. Photography by Amelia Gregory.

You can read Georgia Takacs’ review here and Jemma Crow’s review here. Or you can check in with my intimate interview, posted last September. We’re big fans, what can I say?

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011. Photography by Amelia Gregory.
Hillman

LFW A/W 2011 James Hillman Collection. Illustration by Ankolie

Whilst in the press lounge I had a natter with a benefits investigator and a lady who runs an art gallery. The benefits investigator did the media bits as a relief from fraud and because ‘the people are always so friendly.’ This is true, buy information pills somewhat surprisingly. I have met some super and interesting people at LFW, order and this man was no exception. A delight to chat to. All three of us were heading for the Fashion Mode show, ed but I was faffing about with Toni and Guy etc. so didn’t walk with the investigator or art lady. But I saw them opposite me in the audience and it was obvious, although we had talked mostly about high class fraud, investigator man, liked his threads. And why not? I love it that Charlie, my boyfriend, loves his clothes, and he’d be all over watching a male fashion show, like the one at Fashion Mode: James Hillman.

hillman

LFW A/W 2011 James Hillman Collection. Illustration by Ankolie

Most men, I want to say ALL MEN, look great in a well cut suit. Boys turn to men, and previously bland chaps, turn to hotness. Is it the shoulders? Is it the old school charm? Or is it because it’s almost rare to see everyday, thus special and alluring? It’s a shame, because men look fantastic when they’re wearing something cut correctly. Why not embrace the suit more? Have you not seen Mad Men, with Don and err Don? In real life Jon Hamm looks like Bon Iver in the middle of his woods escapade. In Mad Men, he is all that millions of women desire. I don’t think it’s the 50s ideologies of man protecting woman, whilst woman looks perfect and alert. It’s just a suit looks NICE.

Hillman - Amelia Hillman - Amelia Hillman - Amelia Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

So, James Hillman shows that men look good dressed in black clothes, cut well, particularly suits. The collection is all black because James used crude oil as his inspiration for his designs. Embracing the concept wholeheartedly, he studied the distillation of crude oil, learning that different temperatures produce different iterations of oil. Each fabric thus, represents a different tier in the crude oil process. The heavyweight oils are represented with heavyweight woollen cashmere mixes and reindeer leather. Whilst the lightweight oils are represented in rip stock and lightweight wax cottons.

Hillman - Amelia Hillman - Amelia Hillman - Amelia Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

The deigns are sleek and sharp. Whilst the pockets and necklines are detailed, with for example; reflective fabric; pock and crepe pocket panelling; high neck or collarless necklines, all the pieces retain luxurious simplicity. I still have issues with man bags, but the rest of the show was hot to trot. This was confirmed by a man, by the investigator. I saw him at the end of the show. Statement on James Hillman follows: “I don’t normally go in for men’s fashion, but I loved that. I would wear all of that. Hmmm…may need to investigate this James Hillman further.” Indeed. And spread the word.

Categories ,Amelia Gregory, ,Ankolie, ,Anne N’Toko, ,art, ,benefits, ,black, ,Bon Iver, ,crude oil, ,distillation, ,fashion, ,Fashion Mode, ,Fashion Mode Show Two, ,Fashion Scout, ,Forward PR, ,Helen Martin, ,James Hillman, ,Jon Hamm, ,LFW A/W 2011, ,Mad Men, ,men’s fashion, ,sleek, ,Suits, ,Texture, ,Toni and Guy, ,wool

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Michael Van Der Ham (by Amelia)

Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, order sickness having tried in vain for several seasons to get tickets, doctor I was super excited to finally be in attendance at a Mark Fast show. Knitwear was my first love. I spent much of teens knitting 80s tastic jumpers and despite opting to specialise in printed textile design at university I eventually started a knitwear label at the same time as Amelia’s Magazine. Unfortunately it didn’t last because it soon became apparent that the magazine was going to dominate my time and energy, so now big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow
Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent times there have been encouraging signs of its resurgence – with designers such as Mark Fast, Cooperative Designs and Alice Palmer leading the way. Mark has become well known for sexy figure hugging pieces with dramatic details that he creates using specialised techniques.

Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in tones of oatmeal, beige, shades of orange and black to create ribbed and ridged bodycon numbers fit for the most glamourous cocktail party. He also worked in leather with Canadian retailer Danier to create complementary pieces that included sexy corseted tops, wide legged trousers and buttersoft crop jackets, worn with sheer fabric and swishing straps. High necks followed a familiar trend for A/W 2011, as did the use of deep orange. One particular standout piece was a massive round shouldered ridged cardigan that called to mind a similar piece by fellow design supremo Georgia Hardinge.

Dresses and coats with plush shoulder bolsters worked especially well, as did the plump trim on a mini dress worn with a giant fluffy hat and platforms. Also of note was a swirling maxi skirted number with covered arms that only left the shoulders sexily bare. Boots were knee high and sexily louche and accessories included big bangles and spiky neckpieces.

The show ended on a showpiece backless leather hooded coat, trailing a huge train behind like a sweeping Hollywood baddie. Once more Mark Fast chose normal sized women to model his collection with the use of several “plus size” models. These lush beauties only served to emphasise the extreme skinniness of the few extremely bony girls included in the show. And the joy of it? These dresses arguably worked way better on the girls that looked more like real women.

This is one happy bunny to have at last seen a Mark Fast show.
Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, pharmacy having tried in vain for several seasons to get tickets, here I was super excited to finally be in attendance at a Mark Fast show. Knitwear was my first love. I spent much of teens knitting 80s tastic jumpers and despite opting to specialise in printed textile design at university I eventually started a knitwear label at the same time as Amelia’s Magazine. Unfortunately it didn’t last because it soon became apparent that the magazine was going to dominate my time and energy, sildenafil so now big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow
Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent times there have been encouraging signs of its resurgence – with designers such as Mark Fast, Cooperative Designs and Alice Palmer leading the way. Mark has become well known for sexy figure hugging pieces with dramatic details that he creates using specialised techniques.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in tones of oatmeal, beige, shades of orange and black to create ribbed and ridged bodycon numbers fit for the most glamourous cocktail party. He also worked in leather with Canadian retailer Danier to create complementary pieces that included sexy corseted tops, wide legged trousers and buttersoft crop jackets, worn with sheer fabric and swishing straps. High necks followed a familiar trend for A/W 2011, as did the use of deep orange. One particular standout piece was a massive round shouldered ridged cardigan that called to mind a similar piece by fellow design supremo Georgia Hardinge.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

Dresses and coats with plush shoulder bolsters worked especially well, as did the plump trim on a mini dress worn with a giant fluffy hat and platforms. Also of note was a swirling maxi skirted number with covered arms that only left the shoulders sexily bare. Boots were knee high and sexily louche and accessories included big bangles and spiky neckpieces.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

The show ended on a showpiece backless leather hooded coat, trailing a huge train behind like a sweeping Hollywood baddie. Once more Mark Fast chose normal sized women to model his collection with the use of several “plus size” models. These lush beauties only served to emphasise the extreme skinniness of the few extremely bony girls included in the show. And the joy of it? These dresses arguably worked way better on the girls that looked more like real women.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

This is one happy bunny to have at last seen a Mark Fast show.
Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, rx having tried in vain for several seasons to get tickets, case I was super excited to finally be in attendance at a Mark Fast show. Knitwear was my first love. I spent much of teens knitting 80s tastic jumpers and despite opting to specialise in printed textile design at university I eventually started a knitwear label at the same time as Amelia’s Magazine. Unfortunately it didn’t last because it soon became apparent that the magazine was going to dominate my time and energy, more about so now big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow
Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent times there have been encouraging signs of its resurgence – with designers such as Mark Fast, Cooperative Designs and Alice Palmer leading the way. Mark has become well known for sexy figure hugging pieces with dramatic details that he creates using specialised techniques.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in tones of oatmeal, beige, shades of orange and black to create ribbed and ridged bodycon numbers fit for the most glamourous cocktail party. He also worked in leather with Canadian retailer Danier to create complementary pieces that included sexy corseted tops, wide legged trousers and buttersoft crop jackets, worn with sheer fabric and swishing straps. High necks followed a familiar trend for A/W 2011, as did the use of deep orange. One particular standout piece was a massive round shouldered ridged cardigan that called to mind a similar piece by fellow design innovator Georgia Hardinge.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

Dresses and coats with plush shoulder bolsters worked especially well, as did the plump trim on a mini dress worn with a giant fluffy hat and platforms. Also of note was a swirling maxi skirted number with covered arms that only left the shoulders sexily bare. Boots were knee high and louche; accessories included big bangles and spiky neckpieces.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

The show ended on a showpiece backless leather hooded coat, trailing a huge train behind like a sweeping Hollywood baddie. Once more Mark Fast chose normal sized women to model his collection with the use of several “plus size” models. These lush beauties only served to emphasise the extreme skinniness of the few extremely bony girls included in the show. And the joy of it? These dresses arguably worked way better on the girls that looked more like real women.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

This is one happy bunny to have at last seen a Mark Fast show.
Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, prescription having tried in vain for several seasons to get tickets, remedy I was super excited to finally be in attendance at a Mark Fast show. Knitwear was my first love: I spent much of teens knitting 80s tastic jumpers and despite opting to specialise in printed textile design at university I eventually started a knitwear label at the same time as Amelia’s Magazine. Unfortunately it became apparent that the magazine was going to dominate my time and energy, stomach so now my big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow
Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent years there have been encouraging signs of its resurgence – with designers such as Mark Fast, Cooperative Designs and Alice Palmer leading the way. Mark has become well known for sexy figure hugging pieces with dramatic details that he creates using specialised techniques.

Mark Fast A/W 2011. Photography by Amelia Gregory
Loving the fairy light look!

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in oatmeal, beige, shades of orange and black to create ribbed and ridged bodycon numbers fit for the most glamourous cocktail party. He also worked in leather with Canadian retailer Danier to create complementary pieces that included sexy corseted tops, wide legged trousers and buttersoft crop jackets, worn with sheer fabric and swishing straps. High necks followed a familiar trend for A/W 2011, as did the use of deep orange. One particular standout piece was a massive round shouldered ridged cardigan that called to mind a similar piece by fellow design innovator Georgia Hardinge.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

Dresses and coats with plush shoulder bolsters worked especially well, as did the plump trim on a mini dress worn with a giant fluffy hat and platforms. Also of note was a swirling maxi skirted number with covered arms that only left the shoulders sexily bare. Boots were knee high and louche; accessories included big bangles and spiky neckpieces.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

The show ended on a showpiece backless leather hooded coat, trailing a huge train behind like a sweeping Hollywood baddie. Once more Mark Fast chose normal sized women to model his collection with the use of several “plus size” models. These lush beauties only served to emphasise the extreme skinniness of the few extremely bony girls included in the show. And the joy of it? These dresses arguably worked way better on the models of more normal size.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

This is one happy bunny to have at last seen a Mark Fast show.
Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, more about having tried in vain for several seasons to get tickets, no rx I was super excited to finally be in attendance at a Mark Fast show. Knitwear was my first love: I spent much of teens knitting 80s tastic jumpers and despite opting to specialise in printed textile design at university I eventually started a knitwear label at the same time as Amelia’s Magazine. Unfortunately it became apparent that the magazine was going to dominate my time and energy, so now my big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow
Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent years there have been encouraging signs of its resurgence – with designers such as Mark Fast, Cooperative Designs and Alice Palmer leading the way. Mark has become well known for sexy figure hugging pieces with dramatic details that he creates using specialised techniques.

Mark Fast A/W 2011. Photography by Amelia Gregory
Loving the fairy light look!

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in oatmeal, beige, shades of orange and black to create ribbed and ridged bodycon numbers fit for the most glamourous cocktail party. He also worked in leather with Canadian retailer Danier to create complementary pieces that included sexy corseted tops, wide legged trousers and buttersoft crop jackets, worn with sheer fabric and swishing straps. High necks followed a familiar trend for A/W 2011, as did the use of deep orange. One particular standout piece was a massive round shouldered ridged cardigan that called to mind a similar piece by fellow design innovator Georgia Hardinge.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

Dresses and coats with plush shoulder bolsters worked especially well, as did the plump trim on a mini dress worn with a giant fluffy hat and platforms. Also of note was a swirling maxi skirted number with covered arms that only left the shoulders sexily bare. Boots were knee high and louche; accessories included big bangles and spiky neckpieces.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

The show ended on a showpiece backless leather hooded coat, trailing a huge train behind like a sweeping Hollywood baddie. Once more Mark Fast chose normal sized women to model his collection with the use of several “plus size” models. These lush beauties only served to emphasise the extreme skinniness of the few extremely bony girls included in the show. And the joy of it? These dresses arguably worked way better on the models of more normal size.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

This is one happy bunny to have at last seen a Mark Fast show.
Michael Van Der Ham A/W 2011 by Jenny Lloyd
Michael Van Der Ham A/W 2011 by Jenny Lloyd.

Michael Van Der Ham was held at the New Gen space in Billingsgate, visit this site and in the queue I bumped into *name drop alert* Courtney of Forward PR, rx Jeff Garner of Prophetik, Louisa of Cent Magazine and Jessica of Vogue. Usually I just slink in and out of shows as fast as possible, so it was nice to have a friendly little crew to hang out with as we made the most of free food laid on courtesy of Topshop… glasses of champagne, or juice… and creamy butternut squash risotto served in dinky little pots: quite possibly the best risotto I have ever tasted.

Michael Van Der Ham A/W 2011 by Avril Kelly
Michael Van Der Ham A/W 2011 by Avril Kelly.

This was only Michael Van Der Ham‘s second stand alone show, and as we were ushered in to our seats I was left wondering why the hell it had been so hard to get tickets for New Gen shows… the Billingsgate venue is huge, and the PR girls had to hurry standing tickets into seats as the lights went down. It was not exactly busy for either of the shows that I attended here, so it’s a shame that allocation of tickets was so tight.

Michael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia Gregory
Michael Van Der Ham A/W 2011 by Katie HarnettMichael Van Der Ham A/W 2011 by Katie Harnett
Michael Van Der Ham A/W 2011 by Katie Harnett.

Michael Van Der Ham has made his name from a unique cut and paste approach to fashion. Last season he mashed up all sorts of clashing fabrics to create something universally lauded but perhaps not wholly wearable. This season he appeared to address the commerciality question, so first out onto the catwalk came a series of eminently desirable velvet outfits in a range of jewel brights. Each one featured his signature asymmetric draped tailoring, but rendered all in one shade: delicious rose, fuchsia, lime, turquoise and orange.

Michael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011 by Madi
Michael Van Der Ham A/W 2011 by Madi.

From then on in we were in more familiar territory: assorted fabric panels and intarsia knitwear inspired by vintage floral paisleys in 70s style shades of purple and orange, complete with accents of lurex. Heavily tasseled trousers were fun for editorial but of questionable taste for the buying public; far more successful were the wide legged high waisted trousers worn with panelled wool crop jackets.

Michael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011 by Avril KellyMichael Van Der Ham A/W 2011 by Avril Kelly.
Michael Van Der Ham A/W 2011 by Avril Kelly.

But for me the standouts were unquestionably the range of sumptuous velvet dresses. Want. One. Experimenting with more wearable concepts suits Michael Van Der Ham well.

Michael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia Gregory
Michael Van Der Ham A/W 2011. Photography by Amelia Gregory.

Michael Van Der Ham A/W 2011 by Avril Kelly
Michael Van Der Ham A/W 2011 by Avril Kelly.

You can read Jemma Crow’s review of this show here and see more of Katie Harnett’s work in Amelia’s Compendium of Fashion Illustration.

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Assymetrical, ,Avril Kelly, ,Billingsgate, ,Cent Magazine, ,Champagne, ,Courtney Blackman, ,Forward PR, ,Intarsia, ,Jeff Garner, ,Jemma Crow, ,Jenny Lloyd, ,Jessica Bumpus, ,Katie Harnett, ,Louisa Lau, ,Lurex, ,Madi, ,Madi Illustrates, ,Michael van der Ham, ,New Gen, ,Old Billingsgate, ,Prophetik, ,Risotto, ,topshop, ,vogue

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Prophetik (by Matt)


Illustration by Antonia Parker

The On|Off venue this year isn’t the best, medicine sale I have to say. Located at Mercer Street Studios, medicine it’s absolutely tiny, information pills roasting hot and there are fewer seats than usual. Having been awarded an invitation with an orange sticker on, mind, I was ushered to the front and glamourously made my way inside. I don’t know if I’m just getting on a bit, but there seems to be a helluva lot of people at fashion week this season. For this, the Jena.Theo show, the room was full to bursting (I’m not sure what the HSE would have to say about some of the goings on in these pokey venues) but this design duo thoroughly deserve the mass attention they are getting.

‘Hilary’s here! Hilary’s here!’ began the whispers, and a gap on the front row, directly across the aisle from me, was created. At fashion week it could only be one Hilary they were so frantically trying to seat – our Hilary Alexander, who looked gorgeous in a feather-trimmed top. As the show was about to start, a tiny photographer with a lens the length of my arm positioned himself on the floor, right in my shot, between me and Hils. I was livid. I asked him politely to move the hell out of my way (another trend this season…) but he failed to take any notice. Sigh.

Look, here he is:

Despite moaning about the venue being tiny, I do adore the addition of an enormous screen at the back of the catwalk, which made for stark and interesting photographs and emphasised the pieces – a wondrous addition here with Jena.Theo’s exaggerated silhouettes.

On with the show, and extremely tall models emerged wearing all sorts of sculptural shapes. I really like Jena.Theo’s aesthetic – it’s contemporary (futuristic, even) but also wearable for the fashion-forward woman. The models really stood out in-front of the blinding LED screen; curved silhouettes had a Japanese influence with enormous sleeves and garments that gave out at the waist.

There was a definite unfinished aesthetic at play – ma, maybe, like the great Japanese couturiers. Hems were raw and luxurious silks were layered on top of each other. There wasn’t much in the way of colour – a splash of denim for an over-sized cape was a welcome break from this pretty much all black collection, but I guess that’s Jena.Theo’s style.


Illustration by Antonia Parker

I especially enjoyed the additions of leather, particularly on one patchwork piece that I’ve since deemed my fave. Black stripes across models faces added a sinister twist, but flattering shapes that emphasised curves and bare flesh allowed this collection to remain sexy and sophisticated. Capes were like sexed-up graduation gowns, while a huge padded jacket would sit happily in a Yohji Yamamoto exhibition.

A fantastic outing for this twosome, I can’t wait to see what direction they take all this in. I’m now off to drink the Chambord from the goody bag and smother myself in Elemis for ladies (I’m actually not, I’m off to another show, I just wanted to give them a plug).

Also got slightly distracted by what Dame Hilary might have been scribbling, so took a few cheeky shots of her notebook…


Illustration by Yelena Bryksenkova

The first time I saw Prophetik, buy information pills I just didn’t get it. It was Jeff Garner’s debut show, medications and I had come straight from some kind of Hannah-Marshall-if-it-aint-leather-and-black-it-aint-going-in show, pharm and I just couldn’t handle Prophetik’s pretty aesthetic. I’m pleased to say I’ve since changed my mind, and after researching Jeff’s label and reading about him in Amelia’s Compendium of Fashion Illustration, I couldn’t wait to see what he’d come up with this season – romantically titled ‘Artistic Wonderment’.

It was so lovely to see our ACOFI pals from Forward PR on the way in looking all professional (the last time I saw them, Laura was throwing shapes behind the bar and Nick was dancing with the wall). I was seated next to the owner of a boutique whose name I cannot remember, but who had an adorable baby on her lap who, at eight months, is apparently already into fashion. I think they gage the little one’s reaction on whether she cries or smiles (I do the same myself) and I’m happy to announce that said baby smiled with glee through the entire show – encouraged by the beautiful sounds of Benjamin Ellin‘s orchestra.


Illustration by Madi Illustrates

The room at Fashion Scout was packed, due in part I guess to the attention Jeff received for designing Livia Firth’s stunning Golden Globe gown as part of her ‘Green Carpet Challenge’. The beautiful Peace Silk floor-length dress evoked romance and elegance, two characteristics that have become Prophetik’s signature.

This season, Jeff’s been inspired by the court of Louis XV, when art became frivolous and dressing became romantic. An enormous collection featured gorgeous ripped silks and organic velours, as well as 100 year old quilts, transformed into men’s blazers and worked into dresses, handed down by Jeff’s own great grandmother Lola from Tennessee.

Acclaimed violinist Analiza Ching set the show in motion, frantically playing as she strutted up the catwalk to join the rest of the orchestra. Traditional dress shapes were transformed with said patchwork elements, low cut at the front and some models bearing flesh while other long-sleeved corseted numbers were influenced by Elizabethan dress. Pale models with metres of hair appeared one after the other in a earth-based colour palette of oatmeal, violet and burgundy, and the women bunched their dresses up at the front as they walked in that maiden-like way.


Illustration by Yelena Bryksenkova

The show-stopper at the end was an incredible all-white number (I can see potential brides fawning over this one) with hand-sewn ostrich feathers abundantly attached onto white organza layers. My other faves were a sweeping number in pinstripe heavy fabric, with a corseted top and a frou frou trim; a cropped corset with military elements, blouson sleeves and stiff Baroque cuffs, teamed with a bunched hemp skirt; and the men’s patchwork jacket (apparently made from Jeff’s own bedspread as a child) finished with gold jewellery and a pocket watch.


Illustration by Madi Illustrates

LOVED the shoes, darlings: a collaboration with LA sustainable shoe label CYDWOQ; gorgeous vegetable-tanned leather pointy numbers.

Jeff’s aesthetic sits side by side with his sustainable ethos – it’s earthy, romantic and never boring. I’m not entirely sure that I’ll be wearing a floor-length patchwork jacket with gold buttons come Autumn, but much gratitude to hunky Jeff for bringing a bit of fantasy and fairy tale to this week of shows.

All photography by Matt Bramford

See more of Yelena Bryksenkova’s illustrations is Amelia’s Compendium of Fashion Illustration.

Categories ,A/W 2011, ,ACOFI, ,Analiza Chang, ,Artistic Wonderment, ,baroque, ,Benjamin Ellin, ,CYDWOQ, ,Forward PR, ,frou frou, ,Golden Globes, ,Green Carpet Challenge, ,Jeff Garner, ,lfw, ,Livia Firth, ,London Fashion Week, ,Louis XV, ,Orchestra, ,Prophetik, ,Tennessee, ,Vauxhall Fashion Scout

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Amelia’s Magazine | Lazy Summer Days with Handmade Ethical Clothing from Lowie

Lowie by Emma Jardine
Lowie by Emma Jardine.

Lowie was set up by Bronwyn Lowenthal – born in the UK, site raised in Tanzania, with Jewish roots and a Welsh name. She was trained in marketing and went on to become brand manager for Ben Sherman before setting up Lowie nine years ago, which she started by importing Turkish made hats and socks to sell in Portobello Market. She quickly realised that there was a niche for brightly coloured handmade knitwear and found a supplier to produce larger quantities for her in Hong Kong.

I Love Lowie handmade ethical clothing, Kathryn Edwards
I Love Lowie handmade ethical clothing by Kathryn Edwards.

Lowie Playsuit by Alejandra Espino
Lowie Playsuit by Alejandra Espino.

Lowie Parlour Dress
The Lowie Parlour Dress.

Lowie has now expanded into ‘wovens’ – pretty cotton fabrics that feature darling floral sprig prints, all printed in a fair-trade factory in India. These are made into flirty dresses with full skirts and nipped in waists and cute little playsuits. The brand is sold in Heals, Anthropologie and ASOS to name but a few.

Lowie by Avril Kelly
Lowie by Avril Kelly.

Lowie Crochet Bow Dress by Michalis Christodoulou
Lowie Crochet Bow Dress by Michalis Christodoulou.

Lowie didn’t start life as a specifically eco brand but has gradually moved in that direction over the years. At one point Lowie was the only brand producing eco knitwear in jewel bright colours, so they have helped to lead the market away from boring ethical neutrals, opening the door for some of the much more exciting eco fashions that are around today.

Lowie by Jane Young
Lowie by Jane Young.

Lowie culotte playsuit
The Lowie Culotte Playsuit.

All wool jumpers and accessories are now made in China from wool that is produced in Australia. Although all Lowie cotton products are organic the wool is not, so they are currently looking into new types of eco yarns, for example those made from bamboo, which can feel as good or even nicer than wool.

Press Days March 2011-Lowie red bow
A close up of the bow detailing at press days.

Press Days March 2011-Lowie
A couple of the Lowie girls looking pretty in Lowie dresses. Hannah on the left manages the studio.

In the meantime Bronwyn travels overseas a few times a year to overlook factories and ensure production fits ethical fair-trade standards – all clothes are manufactured by home workers who run small domestic workshops in their living space.

Press Days March 2011-cupcakes Forward PR
A totally self indulgent photo of cupcakes at the Lowie press day. Just because they were so pretty.

You can find the new Lowie collection on their website. I absolutely adore the breezy Lowie style, especially for summer.

Categories ,Alejandra Espino, ,Anthropologie, ,ASOS, ,australia, ,Avril Kelly, ,Bamboo, ,Ben Sherman, ,China, ,cotton, ,cupcakes, ,Dresses, ,eco, ,Eco fashion, ,Emma Jardine, ,ethical, ,fairtrade, ,florals, ,Forward PR, ,handmade, ,Hannah, ,Heals, ,Hong Kong, ,India, ,Jane Young, ,Kathryn Edwards, ,knitwear, ,London Kills Me, ,Lowie, ,Michalis Christodoulou, ,Playsuits, ,Portobello Market, ,Press days, ,print, ,Turkey, ,Welsh, ,wool

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Amelia’s Magazine | Lazy Summer Days with Handmade Ethical Clothing from Lowie

Lowie by Emma Jardine
Lowie by Emma Jardine.

Lowie was set up by Bronwyn Lowenthal – born in the UK, site raised in Tanzania, with Jewish roots and a Welsh name. She was trained in marketing and went on to become brand manager for Ben Sherman before setting up Lowie nine years ago, which she started by importing Turkish made hats and socks to sell in Portobello Market. She quickly realised that there was a niche for brightly coloured handmade knitwear and found a supplier to produce larger quantities for her in Hong Kong.

I Love Lowie handmade ethical clothing, Kathryn Edwards
I Love Lowie handmade ethical clothing by Kathryn Edwards.

Lowie Playsuit by Alejandra Espino
Lowie Playsuit by Alejandra Espino.

Lowie Parlour Dress
The Lowie Parlour Dress.

Lowie has now expanded into ‘wovens’ – pretty cotton fabrics that feature darling floral sprig prints, all printed in a fair-trade factory in India. These are made into flirty dresses with full skirts and nipped in waists and cute little playsuits. The brand is sold in Heals, Anthropologie and ASOS to name but a few.

Lowie by Avril Kelly
Lowie by Avril Kelly.

Lowie Crochet Bow Dress by Michalis Christodoulou
Lowie Crochet Bow Dress by Michalis Christodoulou.

Lowie didn’t start life as a specifically eco brand but has gradually moved in that direction over the years. At one point Lowie was the only brand producing eco knitwear in jewel bright colours, so they have helped to lead the market away from boring ethical neutrals, opening the door for some of the much more exciting eco fashions that are around today.

Lowie by Jane Young
Lowie by Jane Young.

Lowie culotte playsuit
The Lowie Culotte Playsuit.

All wool jumpers and accessories are now made in China from wool that is produced in Australia. Although all Lowie cotton products are organic the wool is not, so they are currently looking into new types of eco yarns, for example those made from bamboo, which can feel as good or even nicer than wool.

Press Days March 2011-Lowie red bow
A close up of the bow detailing at press days.

Press Days March 2011-Lowie
A couple of the Lowie girls looking pretty in Lowie dresses. Hannah on the left manages the studio.

In the meantime Bronwyn travels overseas a few times a year to overlook factories and ensure production fits ethical fair-trade standards – all clothes are manufactured by home workers who run small domestic workshops in their living space.

Press Days March 2011-cupcakes Forward PR
A totally self indulgent photo of cupcakes at the Lowie press day. Just because they were so pretty.

You can find the new Lowie collection on their website. I absolutely adore the breezy Lowie style, especially for summer.

Categories ,Alejandra Espino, ,Anthropologie, ,ASOS, ,australia, ,Avril Kelly, ,Bamboo, ,Ben Sherman, ,China, ,cotton, ,cupcakes, ,Dresses, ,eco, ,Eco fashion, ,Emma Jardine, ,ethical, ,fairtrade, ,florals, ,Forward PR, ,handmade, ,Hannah, ,Heals, ,Hong Kong, ,India, ,Jane Young, ,Kathryn Edwards, ,knitwear, ,London Kills Me, ,Lowie, ,Michalis Christodoulou, ,Playsuits, ,Portobello Market, ,Press days, ,print, ,Turkey, ,Welsh, ,wool

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Amelia’s Magazine | Introducing AOFM: the Academy of Freelance Make Up

AOFM by YesGo!
AOFM by YesGo!

AOFM or the Academy of Freelance Make Up (artists) is the brainchild of New Zealander Jana Ririnui and Englishman Jason Mallet, discount who met, viagra like, mere months before they started up in business together – Jason bringing the business nous and Jana the creative spark. I’ve already had a chance to peruse their gorgeous coffee table book Make Up is Art at the Forward PR press day, and last week I had a chance to actually take a look around their Soho studios and learn a bit more about what AOFM does.

AOFM-Jana and Jason
AOFM’s Jana and Jason. All photography by Amelia Gregory.

Gathered in one of their airy studios on Dean Street the pair explained to us how they give students the opportunity to work in a real fashion environment backstage at Vauxhall Fashion Scout at LFW. AOFM was set up because Jana was frustrated that fellow make up artists weren’t being trained in the realities of working in the fast paced and often brutal fashion world, so it’s a place where not only do you get a brilliant make up artist training but also real hands on experience of working in the industry.

AOFM Jana and Jason by Jenny Robins
Jana and Jason with their chihuahuas. By Jenny Robins.

AOFM-photography by Amelia Gregory
AOFM-photography by Amelia Gregory

Despite having been going for under five years AOFM has already garnered huge acclaim and is all set to open up their New York wing this May. In that time Jana’s students have done everything “from X Factor to Italian Vogue” so they are highly rated in the industry, and Lauren Amps (who did my make up again) won make up artist of the year only two years after she left the college.

AOFM-photography by Amelia Gregory
AOFM-photography by Amelia Gregory Lauren Amps
AOFM-photography by Amelia Gregory Lauren Amps
Lauren Amps at work. Yes, there is make up in those drawers, there’s a reason why she’s on the floor!

Students are given a realistic view of what to expect if they work in the industry, which Jana says weeds a great deal of them out straight away because they simply aren’t willing to put the hard graft in to get where they want. There is a generation coming up now who expect things to fall into their lap, something I have noticed as well… the me me me middle class generation who’ve never experienced any hardships and are somewhat flummoxed by the cruel workings of the real world. Some students arrive with false expectations of what AOFM can do for them, but if they can’t “do a good smokey eye and a red lip” then they won’t be recommended for shows. I do love a strong look and the classic smokey eyes and red lips are clearly a crucial basis for many other looks.

AOFM-photography by Amelia Gregory bespoke make up brush set
AOFM bespoke make up brush set.

AOFM-photography by Amelia Gregory Make Up is Art
The AOFM bible: Make Up is Art. An inspiring collection of ideas intended for both professionals and beginners.

According to AOFM it usually takes about five years to get an agent, something which can be much quicker depending on a make up artist’s financial position. The sad truth is that like so many jobs it really does depend on whether you are secure, and in the case of make up artists it sounds like lots of people have hubbies who are willing to support them whilst they test and build up their portfolios.

AOFM-photography by Amelia Gregory
Another AOFM make up artist with a fabulous tattoo.

AOFM-photography by Amelia Gregory

After our chat Jana and Jason lead us to their stunning top floor where we were able to enjoy the new pot plants on the balcony far above the bustle of Soho, whilst nibbling on tasty goodies and having our make up done professionally (though a bad idea at the same time, as I discovered) as their two delightful chihuahuas Lily and Lula raced around our feet in an attempt to feed off the canape scraps. Although Jana is keen to add to the chihuahua pack it doesn’t sound like this will be happening any time soon, what with the new concession opening in New York and exciting plans for an even bigger project which I am absolutely not allowed to mention. Watch this space folks…

AOFM-photography by Amelia Gregory chihuahua
AOFM-photography by Amelia Gregory chihuahua
AOFM-photography by Amelia Gregory chihuahua
AOFM-photography by Amelia Gregory chihuahua
CHIHUAHUAS!

Categories ,AOFM, ,Chihuahua, ,Dean Street, ,Forward PR, ,Jana Ririnui, ,Jason Mallet, ,Jenny Robins, ,Lauren, ,Lauren Amps, ,Make Up is Art, ,new york, ,Soho, ,Studios, ,Vauxhall Fashion Scout, ,vogue, ,X Factor, ,YesGo!

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Amelia’s Magazine | Introducing AOFM: the Academy of Freelance Make Up

AOFM by YesGo!
AOFM by YesGo!

AOFM or the Academy of Freelance Make Up (artists) is the brainchild of New Zealander Jana Ririnui and Englishman Jason Mallet, who met, like, mere months before they started up in business together – Jason bringing the business nous and Jana the creative spark. I’ve already had a chance to peruse their gorgeous coffee table book Make Up is Art at the Forward PR press day, and last week I had a chance to actually take a look around their Soho studios and learn a bit more about what AOFM does.

AOFM-Jana and Jason
AOFM’s Jana and Jason. All photography by Amelia Gregory.

Gathered in one of their airy studios on Dean Street the pair explained to us how they give students the opportunity to work in a real fashion environment backstage at Vauxhall Fashion Scout at LFW. AOFM was set up because Jana was frustrated that fellow make up artists weren’t being trained in the realities of working in the fast paced and often brutal fashion world, so it’s a place where not only do you get a brilliant make up artist training but also real hands on experience of working in the industry.

AOFM Jana and Jason by Jenny Robins
Jana and Jason with their chihuahuas. By Jenny Robins.

AOFM-photography by Amelia Gregory
AOFM-photography by Amelia Gregory

Despite having been going for under five years AOFM has already garnered huge acclaim and is all set to open up their New York wing this May. In that time Jana’s students have done everything “from X Factor to Italian Vogue” so they are highly rated in the industry, and Lauren Amps (who did my make up again) won make up artist of the year only two years after she left the college.

AOFM-photography by Amelia Gregory
AOFM-photography by Amelia Gregory Lauren Amps
AOFM-photography by Amelia Gregory Lauren Amps
Lauren Amps at work. Yes, there is make up in those drawers, there’s a reason why she’s on the floor!

Students are given a realistic view of what to expect if they work in the industry, which Jana says weeds a great deal of them out straight away because they simply aren’t willing to put the hard graft in to get where they want. There is a generation coming up now who expect things to fall into their lap, something I have noticed as well… the me me me middle class generation who’ve never experienced any hardships and are somewhat flummoxed by the cruel workings of the real world. Some students arrive with false expectations of what AOFM can do for them, but if they can’t “do a good smokey eye and a red lip” then they won’t be recommended for shows. I do love a strong look and the classic smokey eyes and red lips are clearly a crucial basis for many other looks.

AOFM-photography by Amelia Gregory bespoke make up brush set
AOFM bespoke make up brush set.

AOFM-photography by Amelia Gregory Make Up is Art
The AOFM bible: Make Up is Art. An inspiring collection of ideas intended for both professionals and beginners.

According to AOFM it usually takes about five years to get an agent, something which can be much quicker depending on a make up artist’s financial position. The sad truth is that like so many jobs it really does depend on whether you are secure, and in the case of make up artists it sounds like lots of people have hubbies who are willing to support them whilst they test and build up their portfolios.

AOFM-photography by Amelia Gregory
Another AOFM make up artist with a fabulous tattoo.

AOFM-photography by Amelia Gregory

After our chat Jana and Jason lead us to their stunning top floor where we were able to enjoy the new pot plants on the balcony far above the bustle of Soho, whilst nibbling on tasty goodies and having our make up done professionally (though a bad idea at the same time, as I discovered) as their two delightful chihuahuas Lily and Lula raced around our feet in an attempt to feed off the canape scraps. Although Jana is keen to add to the chihuahua pack it doesn’t sound like this will be happening any time soon, what with the new concession opening in New York and exciting plans for an even bigger project which I am absolutely not allowed to mention. Watch this space folks…

AOFM-photography by Amelia Gregory chihuahua
AOFM-photography by Amelia Gregory chihuahua
AOFM-photography by Amelia Gregory chihuahua
AOFM-photography by Amelia Gregory chihuahua
CHIHUAHUAS!

Categories ,AOFM, ,Chihuahua, ,Dean Street, ,Forward PR, ,Jana Ririnui, ,Jason Mallet, ,Jenny Robins, ,Lauren, ,Lauren Amps, ,Make Up is Art, ,new york, ,Soho, ,Studios, ,Vauxhall Fashion Scout, ,vogue, ,X Factor, ,YesGo!

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