Amelia’s Magazine | Simon Ekrelius: New S/S 2012 Season Interview

Simon Ekrelius S/S 2012 by Natalia Nazimek
Simon Ekrelius S/S 2012 by Natalia Nazimek.

Simon Ekrelius has been slowly building a reputation for his futuristic yet feminine style. Here’s a peek into his new S/S 2012 collection Bar-Red, page and a chance to find out more about his unique vision.

Simon Ekrelius S/S 2012 by Milly Jackson
Simon Ekrelius S/S 2012 by Milly Jackson.

What brought you from Sweden to set up your studio in London? 
I first discovered London in 1993 and since then I have been back and forth. My designs work better in London than in Sweden, healing where people are very careful with their wardrobe. In 2002 my partner Tom and I decided to move here and settle down.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
All photography by Marc Lavoie.

Simon Ekrelius S/S 2012 by Sampo Lehtinen
Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You have a wonderful way of making futurism seem eminently female and wearable – what inspires you and how do you keep this look fresh each season?  
I’m inspired by many things other than fashion; architecture, painting, sculpture and artistic movements in general. I don’t look at the work of other fashion designers because I can’t help but be affected, which is not good for my creative process. I also tend to avoid fashion magazines, which helps to keep my head clear and enable me to work hard on my feelings for the next season. I decide what I really like and what I feel will work, bearing in mind that it’s easy to go way too crazy and futuristic. It’s important to find the right balance – that’s what fashion is all about.

Simon Ekrelius S/S 2012 by Natalia Nazimek
Simon Ekrelius S/S 2012 by Natalia Nazimek.

What in particular is the new season’s collection Bar-Red based on and what does the name refer to?
I think that back in 1919 people were maybe experiencing similar things to what we are going through now, so Bar-Red is based on the Bauhaus movement, mainly with regards the geometric forms used in architectural design. I like the way that the Bauhaus integrated different forms in order to construct a new kind of style and I translated this into our time so that the collection is not completely retrospective. Bar-Red is so named because it can also mean Barred. The shape of a Bar is rectangular and the colour Red is the main colour in the collection, plus the words Bar and Red work together perfectly. I used bar-shaped objects in my prints such as cigarettes and there are big chunky arrows pointing at naughty areas or sometimes just away.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius S/S 2012 by Sampo Lehtinen
Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You showed in Ottawa this season which is quite exciting – how did this come about?
I was asked to take part by the organisers of Ottawa Fashion Week and at first I did not even believe they had a fashion week. Plus it was during Paris Fashion Week, which was very awkward. But they wanted me to come so badly that they offered me a very good package, so then I just couldn’t say no, especially since the economy in Europe is so tough now. I met members of the Swedish embassy when I was over there and that was interesting because they want to import more independent Swedish design to Canada.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius by Gareth A Hopkins
Simon Ekrelius by Gareth A Hopkins.

Will you be showing again in London anytime soon? We loved your last catwalk show with On/Off here. Any London based plans that we can share with readers?
Yes, absolutely, I’m planning to do an exhibition again next season at London Fashion Week. Perhaps I will share space with another designer to see how that goes, and after that I’m sure that I will be back on the catwalk again. But it all depends on the sales I’m afraid…

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius S/S 2012 by Lesley T Spencer
Simon Ekrelius S/S 2012 by Lesley T Spencer.

What is your preferred music to listen to when you are working and have you discovered any new musicians or bands recently that we should know about?
I’m just putting together a playlist on Spotify, and it features Grace Jones, Best Coast, Fever Ray, The xx and The Knife. When I am working I sometimes listen to 6 Music, but sadly I don’t have much time to really discover new bands.

Simon Ekrelius Bar-Red SS 2012 - illus
Illustration by Simon Ekrelius.

Your fashion illustrations are beautiful – how do you ensure this side of your work practice stays alive?
I do my illustrations as I go along. I create them in my head and then if I have a pen, some colours and a bit of paper they will come out automatically like a machine. So I will always illustrate as long as I am creatively productive. They are not always pretty – sometimes they are just a few lines that will help me to remember what has come into my head.

Simon Ekrelius S/S 2012 by Milly Jackson
Simon Ekrelius S/S 2012 by Milly Jackson.

What are your future plans for the Simon Ekrelius brand? 
Aww, this is a difficult one! I think for the moment I just want to get a better relation with buyers abroad and perhaps one boutique here in London to stock Simon Ekrelius exclusively. But then of course it would be great to eventually do my own shows in Paris or London, with high level production so that I can explain my stories properly in all areas. After that I would like to have my own place (to sell from). But first I need to focus on finding buyers.
 

Categories ,6 Music, ,architectural, ,Bar-Red, ,bauhaus, ,Best Coast, ,Buyers, ,Fever Ray, ,Futuristic, ,Gareth A Hopkins, ,Grace Jones, ,illustration, ,Lesley T Spencer, ,london, ,London Fashion Week, ,Marc Lavoie, ,Milly Jackson, ,Natalia Nazimek, ,onoff, ,Ottawa Fashion Week, ,paris, ,S/S 2012, ,Sampo Lehtinen, ,Simon Ekrelius, ,Spotify, ,Swedish, ,The Knife, ,The XX

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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: Jean Pierre Braganza (by Matt)

After the safety of school, stuff facing the real world can make artists feel a bit lost – this is why the working artists at the Core Gallery started ‘DIY Educate’. Starting from Saturday 26th February, this there will be workshops, prostate critiques and lectures to help with the practical aspects of art life.

Rosalind Davis

‘I came out of five years of education with a BA and an MA, but I still didn’t know where to begin when it came to knowing how the art world works,’ says Rosalind Davis, co-director of the Core Gallery. A lot of people who graduated university with an arts or humanities degree are likely to identify with this sentiment; while art school is good for finding your voice, it’s not so good when it comes to teaching you about running a business. This is where Rosalind, and her fellow Core Gallery artists, hope to be able to help.

Enver Gursev

The Core Gallery was set up in April 2010, and puts on exhibitions by emerging curators. ‘We want to be a dynamic, exploratory space,’ says Rosalind. Their DIY Educate programme kicks off this spring, focusing firmly on ‘what they don’t teach you in school’: how to apply for an exhibition, how to sell your work, how to approach a gallery. The workshops will also go over how to find grants, or how to find an arts-related side-job to keep food on the table. One-on-one tutorials are also part of the package, with esteemed painter Graham Crowley offering his honest opinion for starters, with more names to be added. ‘There will also be peer critique sessions, and the opportunity to exchange ideas in a friendly place’, says Rosalind, emphasising how the most important thing is to create a space where artists feel nurtured.

Graham Crowley

‘Lots of art school practice is about the concept and processes of art, and there is less focus on the business side,’ says Rosalind. ‘But artists can be shy about marketing themselves, and they will often need encouragement.’

I ask Rosalind why the business side this isn’t covered better in school, and she says it’s difficult to say, but part of the reason may be that artist teachers in university may not be that great at promoting themselves either. She lectures about the business side of art herself, but she thinks it should be a mandatory subject to better prepare students for what’s to come.

Arnold Borgerth

DIY Educate will include talks by curators and artists, plus practical workshops. Membership costs £18 per year, granting free or reduced price access to events. Non-members can attend too, paying full price. DIY Educate is a not-for-profit programme that receives no independent funding, and Rosalind hopes to be able to expand offerings as things get going.

Elizabeth Murton

The programme kicks off this Saturday, 26th February, with a peer critique sesson followed by an artist and curator dialogue. On Tuesday night, 1st March, there will be a ‘nuts and bolt’ workshop on how to be an artist.

‘We plan to have one of these ‘nuts and bolts’ workshop every other month or so, plus a series of art workshops through the spring and summer,’ Rosalind explains. Initially the gallery plans to have two tutorials a month, but this could grow as more artists join Graham Crowley in offering them.

All images courtesy of Core Gallery and its resident artists.

The DIY Educate website is here – find the Core Gallery in Deptford: C101 Faircharm Trading Estate, 8-12 Creekside, London SE8 3DX

Illustration by Joana Faria

If I ever meet Jean Pierre Braganza in person, buy I might give him a little squeeze. His A/W 2011 show on Friday leaps right into my top 5 – and I’m writing this at the end of a very long and pretty stressful Day 3.

One of my favourite things during fashion week is getting to see interesting buildings that I never knew existed and wouldn’t normally take the slightest interest in. Braganza’s show was to take place at the ‘Show Space‘ – part of one of those centuries-old hotels with Baroque interiors and branded soaps. Me and Amelia skipped the queue and sneaked inside to find the most beautiful chandeliers and lots of OTT dressed punters. The actual room in which the show was to take place was equally as decadent, save for the make-shift catwalk that looked like it could topple at any second – and the tiny gap down the side of said catwalk through which we all had to squeeze. ‘I predict a bottle neck’ I thought as we entered, and my premonition came true on the way out.


Illustrations by Krister Selin

A little wait ensued while it was ensured that every inch of carpet had somebody to occupy it, so I took a few snaps of the room and got a bit excited about the juxtaposition of this past interior and Braganza’s future aesthetic.

On with the show with bangin’ beats and gorgeous models wearing more gorgeous clothes. Masculine tailoring appeared first, dynamically cut and decorated with a transfixing splatter pattern in tonal greys. This pattern was set to become a theme, appearing in both menswear and womenswear. After only a few pieces I instantly thought that Braganza’s collections are always meticulous and polished – rich, full fabrics are combined with unique cuts and expert craftsmanship – the entire collection was technically faultless.

Models appeared one after the other, pausing a third of the way down the catwalk so we could all get a good look. I like this set up – much better for pictures (and I’ve really struggled with pictures this season – bloody A/W and it’s sea of dark colours).


Illustrations by Krister Selin

Branganza took the collection forward concentrating on luxe materials that have high aesthetic value: rich and heavy knits, leather and mohair; add a science-fiction influence and you’ve got a real fashion forward collection.

Geometric cuts featured patches of contrasting materials. Nautical stripes in monochrome contrasted with the smoothness of jersey; gents wore Cuban heels with their military tailoring with contrasting sleeves. Braganza has an incredible ability to combine leather architectural pieces with beautifully elegant silk frocks – sounds hideous on paper but as a collection it was completely coherent.


Illustration by Joana Faria

I usually can’t get it up for a predominantly black collection, but with Jean Pierre Braganza’s vision of the future I most certainly can. Bursts of lipstick red shook things up a bit: a gent’s suit with a synched back and skinny trousers that finished with points; embellished onto a mind-blowing shift dress; on short skirts. But it will be Braganza’s black that I remember this collection for: leather sleeves for gents and cutaway dresses in leather with a hint of bondage that oozed sex appeal for the ladies. Eyes peeled folks, this is what the future looks like.

All photography by Matt Bramford

See more of Joana Faria and Krister Selin’s illustrations in Amelia’s Compendium of Fashion Illustration.

Categories ,A/W 2011, ,architectural, ,baroque, ,black, ,Catwalk review, ,Croydon face lift, ,Cuban heels, ,Futuristic, ,geometric, ,Jean Pierre Braganza, ,Joana Faria, ,Krister Selin, ,London Fashion Week, ,Northumberland Avenue, ,Red, ,The Show Space, ,Trace Publicity

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

Lako Bukia AW 2012 by Love Amelia
Lako Bukia A/W 2012 by Love Amelia.

This season Lako Bukia went all futuristic for Broken Mirrors in shades of silver and black, a collection that was inspired by her Georgian heritage once again, and a traditional fear of looking into shattered glass. In contrast to last season’s floaty print focused offering, this saw a return to more structured tailoring and a harder line – enhanced by the styling of Claudia Behnke, which featured severe metal top knots and an extremely strong flattened black brow. This is something we’ve seen a lot of on the catwalks this season: Desperate Scousewives, you have a lot to answer to.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia A/W 2012 by Gemma Cotterell
Lako Bukia A/W 2012 by Gemma Cotterell.

Fabrics were predominantly silverised, in silk, leather or lame – the last being notoriously hard to cut well. I’m afraid that lame reminds me of my pre-pubescent attempts to create party wear, circa 1985, and it’s very hard to make it look like a luxury fabric.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia A/W 2012 by Gaarte
Lako Bukia A/W 2012 by Gaarte.

There was an element of the 70s evident in the collection – wide legged glittery pants wouldn’t look out of place in the disco – whilst skater skirts teamed with sheer panelled blouses would look more at home on the deck of the Starship Enterprise. The shoes were possibly from another world entirely – unwearable in everyday life but simply stunning: slightly winged and with heels constructed out of towering pillars of jagged edged glass.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia A/W 2012 by Claire Jones
Lako Bukia A/W 2012 by Claire Jones.

There were some beautiful and intriguing elements to the collection, in particular some tight silver trousers and a stunning knee length dress which both featured a shattering glass emblem – the textured shards had the effect of toning down some of the overt glitz, creating a silvery sense of style. Whilst hardly practical I adored the last evening dress, which featured a stunning bodice made out of actual shattered mirror.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
For the finale the catwalk head was showered with confetti (in silver, yup you’ve guessed it) – which went off with a loud bang. Down at the catwalk entrance we didn’t know what had happened and it certainly caused a skipping of the heart beat and a few nervous giggles around me. There’s nothing like an unexpected fright at LFW to lighten the mood.

Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
Lako Bukia AW 2012 - photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,70s, ,A/W 2012, ,Broken Mirrors, ,Claire Jones, ,Claudia Behnke, ,Desperate Scousewives, ,disco, ,Fashion Scout, ,Freemasons’ Hall, ,Futuristic, ,Gaarte, ,Gemma Cotterell, ,Georgian, ,Glitter, ,lako bukia, ,Lame, ,Love Amelia, ,review, ,Silver, ,Starship Enterprise, ,Superstition

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Amelia’s Magazine | Gyunel: London Fashion Week A/W 2013 Catwalk Review

Gyunel AW 2013 by May van Millingen
Gyunel LFW A/W 2013 by May van Millingen

I am distracted by a wedding dress photoshoot on my way to Gyunel‘s show at The Savoy and veer in via the wrong entrance, barely making it in time for the show. When I do finally enter, out of breath, it’s to the sound of crackling flames. The Savoy is a fancy venue with a fresco feel (Sistine Chapel as opposed to al) and Gyunel‘s Demi-Couture show is at home in this opulent location, where the clothes are complimented by chandeliers and a luxurious egg-shell blue decor. Supermodel Jodie Kidd is one of the well-known faces in the front row and the circular catwalk makes for a refreshing change to the usual straight up, straight down.

Gyunel AW 2013 by May van Millingen
Gyunel LFW A/W 2013 by May van Millingen

The collection is kicked off with a feather-covered gown in dark blue modeled by Erin O’ Connor. There are some futuristic haircuts and revealing leather, which feel a little Fifth Element, although none of the models sport the giveaway tangerine mop. A Pantone style selection of blues, a dash of white, a dab of purple and some striking cream hoods make up some of the glorious colours in this show. I can’t help but think the dresses have the feel of another era, and the leather-bound models with their billowing train dresses gives me an aftertaste of steam-punk.

Gyunel AW 2013 by Hannah Smith
Gyunel A/W 2013 by Hannah Smith

My street-side wedding-dress encounter must have been an omen as there’s a traditional, white, flowing matrimony dress in the collection too. This virginal piece is a strong contrast to the sexuality exuded by some of the other frocks, and some of the models are, what my boyfriend would (with a mischievous grin) call, ‘smuggling peanuts’.

Gyunel LFW AW 2013
Gyunel LFW AW 2013

The series of white hoods are unexpected and add an aura of mystique to the show. The make-up, provided by AOFM graduates gives the models dramatic, white, metallic eyes; right up to the brow, making them seem simultaneously as though they could be from Narnia and outer space.

Gyunel‘s collection is a well-used deployment of contrasts; leather mixed with chiffon makes for an interesting look, as does the presence of ready-to-wear garments alongside couture. With the strong underlying blue tones and a generous show of skin, the models remind me of Jason’s sirens effortlessly luring men to sea. Perhaps this influence is something I’ve imagined though, as sea salt hairspray is one of the goodie-bag freebies I managed to nab from an earlier show.

Gyunel LFW AW 2013

Gyunel LFW AW 2013

Gyunel LFW AW 2013

You can tell almost everything you need to know about someone from their walk. There is a world of difference between a prance and a skip, a mooch and a stride. I prefer those who amble, and I do a good mosey myself. Models tend to strut, but these catwalk beauties have a stride of their own; they glide. Combined with the make-up and the clothes, the effect is otherworldly. The braids that hold the hair back from their faces adds to the effect and has a trace of Princess Leia making the whole effect, not just of the clothes, but of the entire experience, pretty impressive. Whether it’s the surroundings or the dresses, I feel like I’m in a different universe for the duration of Gyunel’s fresh, varied and fantabulous show at The Savoy.

Gyunel A/W LFW 2013 By Maya Beus
Gyunel A/W 2013 by Maya Beus

Categories ,A/W 2013, ,AOFM, ,chandeliers, ,couture, ,Demi-Couture, ,Dress, ,Erin O’ Connor, ,Feathers, ,Futuristic, ,Gyunel, ,Hannah Smith, ,Jessica Cook, ,Jodie Kidd, ,lfw, ,London Fashion Week, ,Luxury, ,May van Millingen, ,Maya Beus, ,The Savoy, ,Wedding

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Amelia’s Magazine | Hellen Van Rees: London Fashion Week A/W 2013 Catwalk Preview Interview

Hellen Van Rees
Helen Van Rees A/W 2013 by Claire Kearns

Up-and-coming Dutch fashion and textile designer Hellen van Rees is presenting her independent collection SQUARE3 ANGLE: THE TRANSFORMATION at London Fashion Week A/W 2013 this weekend. Hellen graduated from the MA in Fashion at Central Saint Martins’ back in February 2012 and then packed her suitcase and moved to the Netherlands to start her own fashion label. Her first collection at LFW was pegged as a ‘One to Watch’ by Fashion Scout and Lady Gaga has since been spotted donning her clobber. She’s known for her hand-made tweed fabrics which are created using factory remnants and recycled threads, and her work has 3-dimensional, sculpture-like elements, as well as a futuristic feel. Complete with a brand-spanking new video to promote her new Chanel-inspired collection, it’s likely that her pieces will receive a lot of interest in the coming weeks.

London Fashion Week
Helen Van Rees A/W 2013 by RoshniBA

Hellen Van Rees is still exploring the ideas from her graduate collection which she developed on in her last show Square2: Exploring Excitement. Although you might expect a sprinkling of déjà vu, this collection puts a tangy new twist on her hallmark tweeds. I spoke to Hellen about her shiny new collection and her plans for the future in advance of her (second) London Fashion Week show.


Video collaboration between Hellen van Rees and Evelien Gerrits of EveMedia

What can we expect from your upcoming collection at LFW A/W’13?
Lots of tweed and colours, contrasting black & white rubber and beautiful quality wool and silk; all arty but wearable.

You released a promo video for your show, how did this project come about?
I was trying to think of a way, other than a catwalk show, to present the new collection; to show the collection moving and in a nice atmosphere so the complete image comes across, as well as the details. This seemed like an exciting way to achieve that.

London Fashion Week

London Fashion Week

Hellen Van Rees

London Fashion Week

Photography by Kim Buckard

You started your own label in February 2012, what are your greatest achievements of the last year?
The fact that I was able to show my very first independent collection during London and Paris fashion week; and that I am able to do so again.

Do you have a favourite piece in this show?
I like the pieces with the new multi-coloured tweed a lot: the long dress with shiny black sleeves especially. It’s got strange contrasts but is also very elegant and wearable as well.

Do you wear your own pieces?
Not when I work (because it can get messy!) but for presentations, interviews and special occasions, yes.

Hellen Van Rees
Helen Van Rees A/W 2013 by Victoria Haynes

You’re also exhibiting at Paris Fashion Week; do you think the reactions to your show will differ between London and Paris?
I think it will because it attracts a different crowd. London has lots of bloggers and people who are generally interested in fashion that want to absorb new things, so it’s a very excitable crowd. Paris is more serious business, people there are generally looking for something more specific.

You studied the MA in Fashion at Central Saint Martins; did this prepare you for setting up your own label?
CSM was very good for me, to bring out my strong points and help me develop a clear direction within my designs. It doesn’t really prepare you for the whole business side of how it works, for example, how to sell your clothes, but I’m finding out along the way, which is fine.

Hellen Van Reees

London Fashion Week

Hellen Van Rees

Photography by Kim Buckard

You were chosen to be part of Ones to Watch as part of Vauxhall Fashion Scout’s prestigious platform for new design talent; do you think this has helped you?
Yes it has! It has made it possible for me to show my work in a professional way to large number of professionals and I’ve been supported with advice as well. They’ve done all this again for this season, which is great!

Hellen van Rees LFW
Helen Van Rees A/W 2013 by Maya Beus

You’re known for your use of tweed and sustainable materials: is this something you’ve always been interested in?
Sustainability is very important to me because I think it makes sense. I make high-end handmade garments; it makes sense that not only the outside is nice looking, but also that the story behind it is strong. The tweed and the weaving method is something I developed about a year and a half ago, but I keep getting new ideas for it so I’ll keep going with it for a while.

3D shapes are a big part of your work, where do you get your inspiration?
Contemporary art installations mostly, like the cube installations by Rachel Whiteread.

London Fashion Week
Helen Van Rees A/W 2013 by BlackEyed Jack

What is the process behind each of your collections?
I continue with the previous collection, reinterpret it, change colours, look at art and pictures, make fabrics and then make garments. I don’t really sketch; I just start making one thing and from it comes another new idea. Halfway through I do a fitting see what I have and what’s missing. I make more, and in the end there’s suddenly a collection

LFW aside, is there anything else in the year ahead that you’re really looking forward to?
Yes! I’m doing a TED talk in March at TEDx Zwolle.

London Fashion Week

London Fashion Week

London Fashion Week

Hellen Van Rees

Hellen Van Rees’ collection can be seen in the Fashion Scout London & Paris Showroom. London 15.02 -19.02 & Freemasons Hall, 60 Great Queen Street. Paris 28.02 – 05.03, 23 Rue du Roi de Sicile, Paris. You can buy her pieces at her store here

Categories ,3D, ,A/W’13, ,BlackEyed Jack, ,Central Saint Martins, ,Claire Kearns, ,collection, ,CSM, ,designer, ,Eve Media, ,Futuristic, ,Hellen van Rees, ,interview, ,Jessica Cook, ,Kim Buckard, ,lfw, ,London Fashion Week, ,Maya Beus, ,Ones To Watch, ,OwlandAccordion, ,Paris Fashion Week, ,recycled, ,RoshniBA, ,sculpture, ,Square2: Exploring Excitement, ,SQUARE3 ANGLE: THE TRANSFORMATION, ,sustainable, ,TED, ,Tweed, ,University of Arts London, ,vauxhall, ,Victoria Haynes

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Amelia’s Magazine | Constructive Studio: London Fashion Week S/S 2013 Preview Interview

Constructive Studio scarves
Constructive Studio is a brand new label launching this season, a collaboration between graphic designer Craig Yamey and fashion designer Ian Scott Kettle, who discovered a mutual love of street art, colourful painterly patterns and photographic collaging, put together and engineered into dramatic shapes for fashion design and beyond. Craig Yamey tells us more about what inspired this unique partnership.

Constructive Studio bow_ties
How did you meet Ian Scott Kettle and what made you get together to create a new label?
Ian and I met at a Central Saint Martins Degree show in 2009 through a mutual friend. We instantly hit it off and it was clear we shared the same approach to designing and similar influences. When I saw Ian’s portfolio I was blown away. He had recently worked as a designer for Alberta Ferretti and I had just returned from a year travelling through Vietnam so I was buzzing with ideas and new sketch books. I could see parallels between Ian’s engineered forms and my own illustration work so we started to investigate ways in which we could marry our skill set. We were both freelancing and teaching at the time so initially we would just meet up to show each other ideas. Ian would give me sketches and I would expand on them or design a print that could be engineered into his ideas. We soon realised that there was a strong aesthetic being born and that’s when we decided to form a new label and get a studio together. It was great to have a dedicated work space and have some set deadlines to work towards.

Constructive Studio lace_face
As a graphic designer how hard is it for you to get your head around fashion and what new things have you learnt recently?
Working in commercial graphic design often requires you to turn around print-ready artwork in an hour. The greatest lesson Ian has taught me is the importance of an incubation period; time to research and develop ideas, materials and processes. I am used to working with pen, ink and computer, my output has always existed in a 2-dimensional realm and I have only been restricted by my own time frames. Now relying on suppliers to send samples of materials, fittings and experimenting with print techniques means I’ve needed to create a much longer time scale to complete work. The other area within fashion that has been a great learning curve is understanding the difference between designing for flat graphics such as posters or CD covers and designing for engineered prints and scarves where fabric drapes and hangs off he body. It’s been great learning how different materials function.

Constructive Studio epaulets
Who do you hope will appreciate the various elements of your collection, eg. the bow ties and the plush dolls?
We have always been interested in creating a range that cuts through the boundaries between high-end luxury fashion and something more ‘street’ in it’s aesthetic; that’s my graphics background coming through! The colour palettes are bold and young and there is a sense of fun to the work. The bow ties are unisex and proving equally popular amongst women and men – I like the idea that certain pieces can transcend gender, an aesthetic we pushed in The Look Book. I always thought the plush dolls had quite a dark edge, using weeping Victorian-etched faces. I pitched the dolls at a KID ROBOTdesigner toy” market but it’s great to see how many young kids love them too.
 
Constructive Studio lazer_cut_tie
What’s the inspiration behind the newest design elements?
The influences for the first collection are a marriage of opposites; we are fusing our own hand-painted brush strokes with computer-generated vector-lines. Juxtaposing the mark-making of street art with photographic images of nature; clouds and flora. We like to mix strong angulated engineered forms with softer painted patterns and conversely enjoy mixing the strength of bold geometric shapes on delicate materials such as Habotai silk. We are very interested in exploring non-fashion materials to create our accessories, using polypropelene and acetates to make our collars. We like the fact that certain pieces such as the acrylic toggles and plastic collars sit somewhere between fashion and product design and our work has been picked up by The London Design Festival which focuses more on homeware and furniture design. 

Constructive Studio pink_collar
How do the graphics work with the complicated pattern cuts, and what is the process of designing together?
Creating engineered prints is an exciting process of passing the ball back and forth to one another. With the bow ties Ian will start with a sketch which we both look at and consider any necessary adjustments to the design. Ian will then create a pattern and make a Calico prototype. When the form is created I can gauge how the shape twists and folds, which areas will be exposed or overlap when worn. I then start designing the direction of the pattern in accordance to the form. Ian will then give me the flat pattern on which will apply my prints. Once sewn we can see which areas of the design need re-adjusting. With the meter silk scarves it’s important to understand how the scarf will be worn and will fold. Sometimes a design will look beautiful flat but when worn we realise the scale of certain elements need re-adjusting to have maximum impact on the body. 2-Dimensional graphics is easy to assess on paper but graphics for fashion prints needs testing and adjusting on the body.

Constructive Studio cleric_collars
What else do you hope to create in the Constructive Studio range?
We will be designing a range of T-shirts for the next collection. Instead of applying a print to a standard T-shirt we will be engineering the designs into the form and creating the Tees from scratch. We will also be introducing the scarves in larger sizes and lazer cut shapes, we are keen to engineer our patterns into more unusual shapes of scarf beyond the standard square format. The bow ties have been one of the most successful items in the collection so we will be applying new prints to our 3 shapes.

Constructive Studio plastic_collar
Constructive Studio launches this fashion week. What has a typical day been like in the run up to such a busy period?
Since the Look Book came back from print, we have taken to the streets, presenting the collection to buyers and the press. We have found that sending emails to buyers is no where near as successful as visiting shops, meeting with buyers and showing key pieces, so the past week we have targeted specific shops in London. A typical day also involves working on production, both to supply our forthcoming on-line retailers and to create stock for the open studio events that happen at Cockpit Arts where we are based. Then we start researching and developing the next collection to stay ahead of schedule, so next week we are off to Premier Vision in Paris to source fabrics and fittings and do some research into the French market. 

constructive studio cushion
What do you hope for over the next twelve months?
The next year its all about developing the collection, sourcing quality suppliers and getting the CONSTRUCTIVE STUDIO label known. London & Paris Fashion Week is on the horizon for the February Collection as this season its all about creating introductions. We have some exciting collaborations ahead of us and will be developing more products to apply the Constructive Studio aesthetic to.

constructive studio bowties
See more from Constructive Studio on their website, follow the label on twitter @constructive2 and facebook. The new collection will be stocked on Culture Label and with other stockists soon. Craig Yamey is also featured in my first book: Amelia’s Anthology of Illustration.

Categories ,@constructive2, ,Alberta Ferretti, ,Amelia’s Anthology of Illustration, ,Central Saint Martins, ,Cockpit Arts, ,Constructive Studio, ,Designer Toy, ,Facebook, ,Habotai silk, ,Ian Scott Kettle, ,KID ROBOT, ,London Design Festival, ,Look Book, ,Plush Toys, ,Plushies, ,Premier Vision, ,twitter, ,Vietnam

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