Lanvin – AmeliasMagazine

Amelia’s Magazine | Scandinavian womenswear designer Eyglo: New S/S 2012 Season Presentation Preview and Interview

Eyglo S/S 2012 by Aysim Genc.

  Eyglo Magret has been designing clothes since the age of 17. Graduating from the Iceland Academy of Arts in 2005 with a degree in Fashion Design, artistic Eyglo went on to intern with a number of highly respected fashion houses including Bernhard Willhelm, threeAsFOUR and Jeremy Scott – an impressive start, not to mention formidable resume for a first time graduate. 

I first met Eyglo during Paris Fashion Week and instantly decided that I liked both her and her small, but expertly designed collection. Following our conversation, I discovered the thinking and creative process behind her refreshingly original concepts: talk dinosaur themes and sea-green hair and you’ve got my attention.  

Eyglo by Aysim Genc
Eyglo S/S 2012 by Aysim Genc.

 Eyglo’s collections are often described as feminine and timeless with a signature nudge nudge, wink wink thrown in for added humour. I was drawn to the architectural simplicity of each piece for S/S 2012, particularly the sporty, easy to wear shapes found on funnel neck coats and wide fitting dresses; a big trend for next year if Paris’s spring/summer trade shows are anything to go by. Always one for working with natural fabrics, Eylgo is continuously reinventing her approach towards detail and pattern cutting, often giving a slight futuristic feel to her impishly charming creations that wouldn’t be out of place in a Tim Burton-esque fantasy.

Eyglo S/S 2012

Not only is 28-year-old Eylgo Magret a creative soul, but she also has one heck of a business orientated head on her shoulders. In 2010, she and nine other designers set up Icelandic-based boutique collective, Kiosk. The store pulls together a group of young designers under one roof offering something new and original to the fashion conscious youth of Reykjavik, Iceland. 

Parallel to that of the Icelandic fashion scene itself, Eyglo has slowly but surely been creeping into the world’s international fashion radar over the past few years. Following our brief chat in Paris, I couldn’t resist the opportunity to speak to the Scandinavian designer in more depth about the direction for S/S 2012 and what the future holds for Icelandic brainchild, Kiosk.

Eyglo S/S 2012

After graduating from the Iceland Academy of Arts you interned with Jeremy Scott. How was it working with him, and what did you take away from the experience? 
It was great! But the best part was probably the people that were there at the same time – Gerlan from Gerlan Jeans and Ingrid Gutto who is now the head designer for Alexander Wang Menswear. It was also amazing staying in the Hollywood hills with small deer, raccoons, skunks and other funny little animals running around outside the studio. I was mainly involved in pattern cutting and costume making, but I also got to design a dress for Madonna and Fischerspooner whilst I was there. I was also lucky enough to intern with ThreeASFOUR and Bernhard Willhelm. Each experience was completely different to the next. I’m really into experimental pattern making and I was lucky enough to be involved with different ways of acting out this process at three different companies. 

Eyglo by Katie Gill
Eyglo S/S 2012 by Katie Gill.

You designed a dress for Madonna! Did you get to meet the lady herself?
 No, I didn’t get to meet Madonna unfortunately; she had an assistant running around for her. I just got hold of the measurements and a reference picture and did my thing, but she did wear the dress in one of her music videos so I guess I fulfilled my duty!

Which other designers do you look to for direction?
It can vary from season to season, but usually Givenchy, Lanvin, Mary Karantzou and many more. It’s always nice to look to the graduation collections from Central Saint Martins as well.   

Eyglo S/S 2012 by Grace Duignan-Pearson.

What’s the inspiration behind your S/S 2012 collection?
It all stems from when my son came home from the library with a dinosaur book one day. That’s where I got the idea for the pattern and pleats, and I also scanned my own hair onto silk satin dresses. The collection has a bit of a sporty, animalistic vibe to it I guess.

You and nine other designers co-own the Icelandic boutique store, Kiosk. Where did the idea behind the venture come from?
I’d originally been selling in KronKron and Liborius here in Reykjavik for some time; they’re both really nice boutiques so I had nothing to complain about. The whole idea for Kiosk came from my friend and we grouped together. Now it’s possible for me to sell my products cheaper, and I get more in my pocket at the end of the day. The nicest thing is that you get to stay in much better contact with your customers, for special orders and so on. We work one day a week each, split the rent and have a lot of fun being a group. We’re taking in three new brands at the beginning of November, whilst two of the original owners take a break to work on other things. I’d recommend this way of doing business for all young designers, it takes up a lot of time but pays back in so many ways in the end.

Eyglo S/S 2012 by Katie Gill.

Iceland is becoming more and more known for its emerging talent. Recession aside, what do you think the future holds for the Icelandic fashion scene?
It’s slowly growing. I remember when I was a teenager there was only mall shops and one second hand store – that was it! I guess that was the reason why I went into fashion design. I couldn’t find any clothes that were interesting enough for me. I graduated in 2005, and that was only the second year of graduates studying fashion in Iceland. Just 10-20% of each year’s graduates go on to actually do their own thing. We’ve held Reykjavik Fashion Festival twice now and hopefully it will be held again early next year. The event managed to get a lot of press here last time and I wouldn’t hesitate in taking part again.

Eyglo S/S 2012

When did you first decide that you wanted to be a fashion designer?
I was 17 and studying at business school – ha! It almost happened over a night and I’ve never looked back since. Not once. There’s nothing else that I would like to do, this is it.

Eyglo S/S 2012 by Grace Duignan-Pearson.

How would you describe the typical Eyglo girl?
Clothing wise, I would say playful and classic but a total nerd! Though a happy and a confident nerd at that.

What’s next for Eyglo?
I’m currently working on my designs for A/W 2012. I’m looking into crop circles; clearly I’ve been watching too many ancient aliens programs. I wouldn’t be surprised if I started a cult before the collection is actually shown, ha!

Written by Sarah Deane on Tuesday November 8th, 2011 11:24 am

Categories ,Alexander Wang, ,AsFour, ,Aysim Genc, ,Bernhard Willhelm, ,Central Saint Martins, ,Eyglo, ,fischerspooner, ,Gerlan Jeans, ,Givenchy, ,Grace Duignan-Pearson, ,Hollywood, ,iceland, ,Iceland Academy of Arts, ,Jeremy Scott, ,Kate Rose Gill, ,Kiosk, ,KronKron, ,Lanvin, ,Liborius, ,Madonna, ,Mary Karantzou, ,Paris Fashion Week, ,Reykjavik, ,Reykjavik Fashion Festival, ,S/S 2012

Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Ascher Scarves

Prangsta, ailment illustrated by Joana Faria

Now, ask here’s a treat. Hopefully you caught Georgia Takacs’ wonderful insight into the awe-inspiring world of Prangsta Costumiers last week: the celebrated (if somewhat unconventional) Alice in Wonderland-esque bazaar in New Cross.

Now I would never in a million years suggest that readers of Amelia’s Magazine come to the site just to look at pretty pictures, rx what with our bursting-at-the-seams stock of fabulous writers, but in order to bring a little sunshine and entertainment to a so far grey Wednesday, feast your eyes on some glorious images and illustrations from Prangsta.

Georgia, who wrote the article, took part in a shoot with the team there, capturing the many faces that pass through the doors and even more of the craft-packed corners of this wonderful find. So here they are. I’m convinced you could look at this place all day and never get bored – I hope you agree!

Illustration by Krister Selin

The latest shoot focuses on a somewhat macabre Snow White, shown with an array of weird and wonderful friends:

Illustration by Rachel de Ste. Croix

Prangsta, story illustrated by Joana Faria

Now, medical here’s a treat. Hopefully you caught Georgia Takacs’ wonderful insight into the awe-inspiring world of Prangsta Costumiers last week: the celebrated (if somewhat unconventional) Alice in Wonderland-esque bazaar in New Cross.

Now I would never in a million years suggest that readers of Amelia’s Magazine come to the site just to look at pretty pictures, what with our bursting-at-the-seams stock of fabulous writers, but in order to bring a little sunshine and entertainment to a so far grey Wednesday, feast your eyes on some glorious images and illustrations from Prangsta.

Illustration by Krister Selin

The latest shoot focuses on a somewhat macabre Snow White, shown with an array of weird and wonderful friends:

Illustration by Rachel de Ste. Croix

Prangsta also worked with ethereal fashion photographer Ellen Rogers, and the result is astonishing. Rogers’ photographs make heavy use of photographic techniques from long ago, evoking (for me at least) images of Marlene Dietrich in Hot Venus and the eery portraits of death popular in the Victorian age. Whatever they evoke, this marriage of Prangsta and Rogers is incredible.

Photographs by Ellen Rogers

To read the original article about the wonderful world of Prangsta, click here.

Image courtesy of Ascher

On Tuesday I went to see a beautiful collection of scarves from Ascher London, order presented in a suite at Number One Aldwych. Marking their first collection of scarves in thirty years, the collection consists of some brand new designs sitting alongside classic designs from the Ascher library, reworked in new colourways.

Ascher was founded as a fabric house in 1947; their fabrics graced the catwalks of an amazing list of couturiers including Dior, Yves Saint Laurent, Givenchy, Schiaparelli, Lanvin and Mary Quant. A husband and wife team, Lida designed and Zika printed the fabrics.

Rose Pom Pom, designed by Ascher studio, was featured prominently in a collection of dresses in Christian Dior’s 1954 collection

Fabric shortages during the Second World War lead to a rise in the popularity of colourful headscarves as an easy way to liven up dull uniforms. During the 1940s Ascher took advantage of this trend, initially reproducing nineteenth-century prints in vivid new colourways.

A selection of scarves from the Ascher archive

Later, they became the first studio to approach and join forces with artists to produce scarves from illustrations and paintings, boasting another impressive list of those involved: Matisse, Derain, Berard, Moore, Cocteau, Nicholson and Sutherland.

Image courtesy of Ascher

Sam Ascher, grandson of Lida and Zika, talked me through the current collection along with some vintage scarves and artwork from the Ascher archive. This included a rare opportunity to see some original and never-used ink illustrations by Cecil Beaton, complete with his handwritten instructions outlining the repeat pattern.

All of the scarves are made in Italy using luxurious silk twill, silk chiffon, cashmere and modal with hand rolled edges and the quality is immediately apparent.

Screen printing (rather than digital printing) allows the designs to be reproduced exactly, so that each design is as perfect as if it had been hand-painted. Some multi tonal scarves are produced using up to ten screens, ensuring each of the artists’ original brushstrokes is retained in perfect detail. There is definitely no cutting of corners where Ascher is concerned.

The collection look book features an illustrated guide of How To Wear Your Ascher Scarf. Names like The Sports Car and The Parisian Loop conjure up images of glamorous femme fatales racing around the Home Counties in classic cars. The whole collection captures the optimistic glamour and elegance of the post-war era.

Images courtesy of Ascher

One of the scarves designed by Henry Moore is described in the look book as Bridging the gap between fashion and fine art, Aschers designs are described as equally at home in a frame or worn on an evening out.

The designs were celebrated with a retrospective at the V&A back in 1987 and they are still held in many museum collections, evident by the two Henry Moore wall hangings on display, which I was told had been unexpectedly sent over by the Tate that morning.

All photography by Naomi Law, unless otherwise stated

Written by Naomi Law on Monday September 27th, 2010 9:40 am

Categories ,Ascher, ,Cecil Beaton, ,Dior, ,Givenchy, ,Henry Moore, ,How to Wear, ,Lanvin, ,london, ,London Fashion Week, ,Mary Quant, ,matisse, ,Number One Aldwych, ,S/S 2011, ,Sam Ascher, ,Scarves

Amelia’s Magazine | Dispatches: Fashion’s Dirty Secret

Illustration by Antonia Parker

Saying you work in fashion normally garners one of two reactions: awe with a smidgen of jealousy on the presumption all you do is swan around with fabrics and making swishy type movements before dashing off to an exotic shoot/party/event of the year, more about ambulance or utter contempt.

On arriving at a friend’s boyfriend’s drinks it was the second reaction I received. He and his friends were doing a masters degree in ethical business, seek and had I arrived dressed as Cruella DeVil with a baby’s head on a silver platter I possible would have got a warmer reception. As allegedly glamorous as fashion is, medicine it is also many people’s favourite whipping boy. Neither picture is entirely true.

Channel 4’s Dispatches programme exposed the vile, undeniably horrific and illegal working conditions of UK based sweatshops. Showing the secret film to a sweatshop surveyor, he stated these compared to some of the worst conditions he’s seen in the Far East. The conditions in the sweatshop should never be allowed to happen regardless of where it is in the world: Leicester or Laos it really doesn’t matter.

Illustration by Karolina Burdon

The UK High Street actually has some very high standards when it comes to treatment of labourers. The retailers featured, including New Look, Peacocks and Jane Norman stated their supply chains were SEDEX approved. SEDEX allows retailers to independently demonstrate their commitment to ethics. Obviously this self regulation had failed. Each retailer appeared to take on board the facts and launch appropriate investigations into sub-contracting. If only they had been more proactive in the first place.

One retailer leading the way in the UK is ASOS. In the last few months they have built on the successes of Fashion Enter, a not-for-profit enterprise, specialising in garment sampling and helped them open a dedicated ASOS factory. Having a UK based factory will not only cut transport costs, carbon footprints, and lower turnaround times for ASOS but also boost the local economy.

It’s thanks to programmes like Dispatches that public awareness of poor working conditions is being raised. This is undeniably a good thing. Sweatshops like this should not be allowed to exist.

Let’s look at the facts for a moment. The story doesn’t end there and Dispatches, to their credit, touched on it. The existence of fast fashion and super cheap clothes has a huge role to play in the existence of sweatshops. In yesteryear clothes were luxury items, to be worn over and over; to be mended and repaired, to be recycled into new garments. Not so anymore. Some of the responsibility must inevitably fall on the heads of all of us. How often have you bought a cheap top, or bargain basement jeans, or a £15 dress that was such a steal it’d be rude not to buy it? I know I have (not the dress, but you get the picture). How often do you really think about where that has come from? The Dispatches vox pop revealed that few people actually do.

Illustration by Willa Gebbie

The fact is until UK consumers begin to demand better working conditions and simultaneously agree to pay for them little will change. When asked why UK retailers rarely manufacture in the UK anymore, the answer is simple. The UK consumer won’t pay the necessary price. Why do these sweatshops exist? Because on ever dwindling profit margins short cuts will happen. Blind eyes will be turned – a feeling echoed by both Mary Portas and Melanie Rickey in their tweets after the show. Such things are, again, totally unacceptable.

I used to get asked to make outfits for people. When I gave honest rock bottom quotes, I found most of these requests vanished. Why pay £100 for a shirt when you can go down town and get one for a tenner? Scales of economy and an essentially bespoke service aside, it’s the same thing. Regardless of who does it, every piece has to be cut, every seam sewn, and every feature, rhinestone, embellishment and sequin attached. A suit has over 140 separate pieces, a zipper five, a shirt cuff six or more including buttons and buttonholes.

A lot of work goes into the shirt on your back. Those making it deserve to get paid a living wage, and work in safe conditions. Those manufacturing deserve to make a profit. The consumer deserves quality goods at the right price. At some point someone is going to lose out. Nine times out of ten this will be the person we can’t directly see.

Illustration by Karolina Burdon

So what do we do? A little bit of research goes a long way. Check out responsible manufacturers, check out your local boutiques (a small designer is often more likely to be ethical and more importantly the chance of bumping into someone in the same outfit is greatly reduced), check out eco-fashion labels (for instance in Amelia’s new book) or places like Traid, and check out ASOS’ own brand.Your t-shirt may cost £25 instead of £5, your jeans £40 instead of £15, but in each tiny way it’ll help stop sweatshops.

As one of the members of the public on the programme stated, ‘we each have to buy within our means, but that doesn’t mean buying irresponsibly.’

To watch the documentary on Channel 4′s 4oD, click here.

Written by Nick Bain on Thursday November 11th, 2010 5:00 pm

Categories ,Antonia Parker, ,ASOS, ,Channel 4, ,designers, ,Dispatches, ,ethical, ,Far East, ,fashion, ,Fashion Enter, ,High Street, ,Jane Norman, ,Laos, ,Leicester, ,Mary Portas, ,Melanie Rickey, ,New Look, ,Peacocks, ,SEDEX, ,Sweatshops, ,traid, ,Willa Gebbie

Amelia’s Magazine | Éthologie by Jasper Garvida: London Fashion Week S/S 2015 Catwalk Review

Jasper Garvida by Simon McLaren.

Jasper Garvida is known for his glamorous tailoring, which was all present and correct for the second outing of his new Éthologie brand. The SS15 collection: Gradiva – She Who Advances, was shown on the catwalk in the basement of the ME London Hotel in conjunction with some top end sponsors, and featured a delightful selection of swing skirts with cinched waists, slouchy trousers and button up styling on crop jackets and shirt dresses. Muted desert colours and patchwork sandstone shades were juxtaposed with ombre denim hues or deepest indigo and glittering metallics. These were garments that could be dressed up or dressed down to fit any situation, with tousled hair and large jewels worn at throat and wrists giving a laid back bohemian vibe. Jasper Garvida closed the show by sauntering down to the edge of the photographer’s pit and jokily turning to take a selfie of himself on the catwalk, provoking a peal of delighted laughter from the audience.

Jasper Garvida SS 2015 photo by Amelia Gregory

All photography by Amelia Gregory.

Written by Amelia Gregory on Saturday October 11th, 2014 4:13 pm

Categories ,Ethologie, ,Felicities PR, ,Gradiva – She Who Advances, ,jasper garvida, ,London Fashion Week, ,Me Hotel, ,ME London Hotel, ,S/S 2015, ,Simon Mclaren, ,SS15

Amelia’s Magazine | Fashion design inspired by the classics: An interview with Anna Popovich

Anna Popovich by Karolina Burdon

Anna Popovich by Karolina Burdon.

Anna Popovich grew up in Leicester and has taken a far from direct route into fashion, first studying Literature at King’s College London, before refining her style working as a model and an intern for the likes of Roksanda Ilinicic, then topping up her skills at London College of Fashion and Central St Martins. Her innovative Hackney based brand has recently decided to concentrate on selling direct to the public, offering affordably priced limited runs throughout the year straight through their website.

Fashion Illustration by Ivana Bugarinovic

Fashion Illustration by Ivana Bugarinovic.

How did you get from a degree in comparative literature to your own clothing brand?
It’s not the most obvious route is it! Sewing and making clothes has been something I’ve always enjoyed. My Grandmother gave me my first sewing lesson when I was three. It really didn’t occur to me that I could be a fashion designer and as I’d enjoyed literature at school it seemed a sensible choice for a degree. While I was studying I continued to make clothes for myself in my spare time and got involved with the drama society, making costumes for their productions. After my degree I worked in costume for various theatre and opera companies before interning for fashion designer Roksanda Ilincic. It was the latter experience which made me decide to become a fashion designer myself.

Anna Popovich Elizabeth-Shirt-Anthony-Skirt-Long and Mark Dress

What have been the biggest problems you have overcome so far and what have been your biggest triumphs?
I think the biggest problems I’ve had are probably the same ones anyone starting a business of any kind has. As well as having to get your head around tasks you may not be comfortable with, (for me this would be finance and marketing) you have to maintain a strong sense of self belief. I think it’s the latter that can prove the hardest! My biggest triumph has been convincing the lovely Emily Parrett to become a partner in the business, as managing director. Everything seems less daunting when there’s someone else to discuss, worry and celebrate things with. Other highlights have included making a dress in Liberty’s shop window and being invited to speak to a roomful of young designers at the UKFT’s Rise event for creative start-ups.

Anna Popovich by Julie Ritchie

Anna Popovich by Julie Ritchie.

How do you manage to juggle a career as a model alongside your role as a fashion designer?
With some difficulty! Things have improved greatly since I bought a bike as I’m always zipping between my studio, castings and shoots. It’s so interesting working with other fashion labels – I learn so much from the different ways they operate and I’ve been really lucky to get advice from some of the most talented people in the industry.

Anna Popovich by Gianluca Floris

Anna Popovich by Gianluca Floris.

You have decided to concentrate on a direct relationship with your customers: how is this reflected in the way that you work, for instance in the way that the garments are produced and sold?
We’ve recently made the decision to sell direct to customers either online or at events. Our garments are luxury but we want them to be accessible and we see this as the best way of achieving this. Although we understand why they have to do it we hate seeing our prices hugely inflated by retailers so they can take a cut and we don’t want to push our prices down by not paying properly for materials and workmanship or compromising on quality. At the moment most of our pieces are made to order in London but we are starting to stock pieces in more sizes (still made in London) to reduce the time customers have to wait for their order.

Anna Popovich ira dress, ira top

How does your love of classic design manifest itself in your ranges?
The inspiration for each collection is very different but there’re certain ideas which run through them all. From a very early age I’ve poured over images of the opulent dresses of the couture houses operating at the turn of the century – Worth, Poiret, Lanvin. I love the way these designers worked with fabric; draping, folding and embellishing. You’ll always find a bit of the drama of these pieces in my collections often combined with hints of classic menswear.

Anna-Popovich-by-Yelena-Bryksenkova

Anna Popovich by Yelena Bryksenkova.

What materials do you prefer to work with, and why?
The feel of a fabric is incredibly important to me and I love combining textures. Silks and soft wools have been my favourites but I’m seeing more and more great quality synthetic fabrics when I visit my suppliers. These fabrics can have the feel of natural fibres and be much more durable and easy to care for.

Anna Popovich Julius Coat Alexas Trousers -Anthony Dress

I love the combination of unusual colours, what inspired your latest collection?
This season I was inspired by the film Cleopatra staring Elizabeth Taylor and Richard Burton. The colour palette largely came from scenery and costumes in the film itself but there are also colours I chose which came from the research I did into the themes of the film such as the art of astrology.

Anna Popovich SS14 by Slowly The Eggs aka Maria Papadimitriou

Anna Popovich SS14 by Slowly The Eggs aka Maria Papadimitriou.

What do you hope for the label in the future?
More of the same – we’re having a really great time!

Anna Popovich by Melissa Angelik

Anna Popovich by Melissa Angelik.

Written by Amelia Gregory on Wednesday April 9th, 2014 9:37 am

Categories ,Anna Popovich, ,Cleopatra, ,Emily Parrett, ,Gianluca Floris, ,hackney, ,interview, ,Ivana Bugarinovic, ,Julie Ritchie, ,Karolina Burdon, ,Kings College London, ,Lanvin, ,liberty, ,Maria Papadimitriou, ,Melissa Angelik, ,Poiret, ,Rise, ,Roksanda Ilincic, ,Roksanda Ilinicic, ,Slowly the Eggs, ,UKFT, ,Worth, ,Yelena Bryksenkova

Amelia’s Magazine | Deloitte Ignite 2011 at the Royal Opera House: Festival Review

Red Dancer by Claire Kearns

Mike Figgis held the creative reins at the festival this year. One of the names he had invited along was someone I was keen to see – Hans Ulrich Obrist, diagnosis the director of the Serpentine Gallery and art mastermind. When we arrived at the epicentre of the festival, the Paul Hamlyn Hall, Hans and Mike were in deep conversation about Mike’s career, and his thoughts on Hollywood. Mike spoke bitterly about what he saw as the corruption of mainstream cinema and wasn’t abashed to name and shame, as he slammed Michael Bay and likened Steven Spielberg to Adolf Hitler. A poor shot from Figgis I thought.

Paul Hamlyn Hall by Amelia Gregory

Paul Hamlyn Hall by Amelia Gregory

It was independent film maker Emily James and her two guests, who almost managed to stir the reserved crowd. Emily is an American film-maker who was at the festival to present her film Just Do It. It was actually reviewed by Amelia for this blog back in July 2011 – a great review, which you should go and read here. The film charts three years in the environmental activism scene, focussing on protest groups such as Climate Camp and Plane Stupid. Emily follows a number of activists with her camera, as they show up at places like power stations, bank headquarters, and with no exceptions, films the direct action that takes place. Emily’s documentary provides a refreshing change from the mainstream media’s representation of the activity of these groups, which is often negative and has a habit of portraying the activists as trouble-makers.

The star of the film is Marina Pepper, a passionate ex-journalist who now devotes her life to rallying. In the film she dwells on what she does, and asks, ‘will this really make any difference?’. Cue long pause. She admits that it probably won’t, but she has attached herself to this fight, and will see it through. Marina was one of Emily’s guests, alongside Leo Murray who works with Plane Stupid, who were the group behind the closures of Stansted and Manchester airports a few years ago. It was a shame that feisty Marina faced a timid crowd when she tried to initiate a discussion about the Dale Farm issue. ‘Who here doesn’t like travellers?‘ she bellowed into the crowd. I felt a small achievement was made when Marina did manage to rouse the inner activists with some of the crowd members. She reminded us all that the environmentalist’s bane, oil company BP were the sponsors of the Royal Opera House.

It was a thought-provoking and intelligent part of the day. I felt I’d been given a lot of information that honestly, I hadn’t really been prepared for. Amelia’s Magazine has blogged extensively about activism, and specifically about groups such as Climate Camp. After coming home from the festival, and preparing to write this review, I took some time out to read these previous articles. One article which particularly stood out for me was by Adam S – his account of when over 1000 protestors stood their ground at the Ratcliffe-On-Soar power station. If like me, your not familiar with the good work of these people, go read one of Amelia’s fantastic and energetic articles here.

Dress Display by Amelia Gregory

Dress Display by Amelia Gregory

Alber Elbaz, the creative director at Lanvin, delivered Saturday’s highlight. No-one in Camp Deloitte had anticipated that Alber’s talk would bring in the masses. Due to an impromptu room change (Alber preferred the opulence and beauty of the intimate Crush Cinema Room) not everyone could fit in, and so he agreed to do the talk twice. He instantly won us over when he interrupted co-host Alice Rawsthorn as she mentioned his short lived career at YSL to add that yes, he had been fired. What touched me was the story of how he found his purpose at Lanvin. He had heard from a friend in New York, who was going to see her ‘arsehole husband‘ to sign their divorce. She messaged him, ‘Alber, I’m wearing Lanvin and I feel so protected‘. The idea that he could create this feeling from something as fine as silk is what propels him today.

Dress by Claire Kearns

Dress by Claire Kearns

The cinema room showing interviews from the likes of David Lynch and John Berger were interesting, but I found it difficult to concentrate with people constantly coming and going. I enjoyed it much more in the main hall, sat at a table and engaged with the speakers. This was the playground to several dancers who were performing for both 8 hour days – the young girl in red, continuously twirling on a raised block became a point of conversation for visitors and speakers.

Peter Blake by Amelia Gregory

Peter Blake by Amelia Gregory

On Sunday I enjoyed a cosy afternoon with national treasures, artist Peter Blake, and newsreader Jon Snow. Peter studied at the RCA, and is best known for the album artwork for the Beatle’s Sgt Pepper’s Lonely Hearts Club Band. Peter was genuinely lovely. I felt like I could listen to him and his stories for hours. He was honest to admit that his printed work has made him more financially secure in the last two years than he has ever been before.

Jon Snow and Mike Figgis by Amelia Gregory

Jon Snow and Mike Figgis by Amelia Gregory

Jon Snow was last on the bill. He brilliantly handled a question from the audience about the representation of Palestine in the news. He pondered whether the situation would be as bad as it is now if they had covered the story properly – probably not, he said honestly. He also spoke about the fall of print, and the rise of online media, ‘We’re travelling into the golden age of journalism…democratised information‘, he said after admitting that he frequently goes an entire day without touching a newspaper. He finished with an emotive speech, that highlighted how highly individual we have all become, and how we desperately need something that we have lost, a sense of community. He received a huge applause.

Red Dancer on Podium by Amelia Gregory

Red Dancer on Podium by Amelia Gregory

Only one word can describe the finale, and that is ‘spectacle’. Mike transformed from curator to director, of a sort of hotchpotch avant-garde orchestra. The People Band took one side of the stage, and the Opera House orchestra on the other. They were joined by saxophonist Peter King, Rosey Chan on the piano, the weird but wonderful Feral Choir, and the magnificent flamenco dancer Eva Yerbabuena. She crept on to the centre of the floor dressed all in black, and gave a stand out performance.

I felt like I’d been on an a funny sort of emotional rollercoaster with Mike Figgis this weekend – laughing with him, but quickly annoyed with his eye rolls and name calling. At the end, I saw someone congratulate and thank him. He was speechless, and it was at this point that I liked him best, and I thought, well done Mike, well done Deloitte. I’ll be back next year.

Written by Miranda Williams on Saturday September 10th, 2011 9:12 am

Categories ,Alber Elbaz, ,Alice Rawsthorn, ,Beatle’s Sgt Pepper’s Lonely Hearts Club Band, ,Climate Camp, ,Crush Cinema Room, ,Deloitte Ignite, ,Emily James, ,Hans Ulrich Obrist, ,Jon Snow, ,Lanvin, ,Marina Pepper, ,Mike Figgis, ,Peter Blake, ,Plane Stupid, ,Ratcliffe On Soar, ,rca, ,Royal Opera House

Amelia’s Magazine | Scandinavian womenswear designer Eyglo: New S/S 2012 Season Presentation Preview and Interview

Similar Posts:

Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Ascher Scarves

Similar Posts:

Amelia’s Magazine | Dispatches: Fashion’s Dirty Secret

Similar Posts:

Amelia’s Magazine | Éthologie by Jasper Garvida: London Fashion Week S/S 2015 Catwalk Review

Similar Posts:

Amelia’s Magazine | Fashion design inspired by the classics: An interview with Anna Popovich

Similar Posts:

Amelia’s Magazine | Deloitte Ignite 2011 at the Royal Opera House: Festival Review

Similar Posts: