Amelia’s Magazine | Maison Martin Margiela 20 at Somerset House


Illustration by Donna McKenzie

Regular readers of Amelia’s Magazine will know that we covered the Maison Martin Margiela 20 exhibition last March, when it showed in fashion capital Antwerp.

But, since it’s moved to our very own fashion capital, we thought we’d have another look, and get some of our wonderful illustrators involved!

Somerset House is quickly becoming a fashion hot spot, with the rehoming of London Fashion Week and the recent SHOWstudio sessions. It’s clear why, too – it’s bloody beautiful.

This is the third outing for the Maison Martin Margiela exhibition, after seasons in Antwerp and Munich, so actually it’s the label’s 22nd anniversary this year, but who cares? I’ll use any excuse to have a poke around a fashion archive.


Illustration by Louise McLennan

The exhibition, set in Somerset House’s lower galleries and you’d be forgiven for believing, if this building wasn’t centuries old, that the space had been purpose-built for this nostalgic trip down Margiela memory lane.

All but a couple of the rooms are white-washed in typical Margiela fashion, and while the exhibition allows us to explore the history of this conceptual and inspirational label, it still give nothing away about the elusive man himself.


Illustration by Amy Martino

Instead of being a chronological or nostalgic display, the aim of this exhbition is to explore the key themes of Maison Martin Margiela, including the inspiration behind each collection and the techniques used.

So it is the quirks that have made this brand truly unique that are given most attention. We begin with a look at the anniversary catwalk show, amongst a lot of polystyrene models, whilst mooching along a row of rather battered Tabi shoes.


Illustration by Donna McKenzie

The bulk of the exhibition explores varying collections and what made them stand out alongside so many other fashion designers of the time. Flat-pack clothing, XXXL oversized pieces, painted garments, narrow tailoring, the trench coat, and the re-visioning of old garments. We also see the evolution of Margiela’s elusivity – first it was a slash of paint across a model’s face, then a blindfold, and then the infamous sunglasses (which I was so tempted to lift I had to walk around with my hands in my pockets. Damn I wish I’d bought them – what a collector’s item).


Illustration by Farzeen Jabbar

One room is devoted to archive footage, film and photographs from across the collections – the room is dark and has white lounge chairs for you to kick back and revel in some of the most iconic fashion images of the last two decades.


Illustration by Zarina Liew

Whether you like fashion or not, I’m entirely convinced that you will love this exhibition – it breaks the boundaries of typical gallery design and it is incredibly inspirational – Go See It!

You can read a full review of the Antwerp exhibition (which was exactly the same exhibition, I promise) here.

For the all important details, visit our listings section.



Categories ,Amy Martino, ,antwerp, ,Birthday, ,catwalk, ,Donna McKenzie, ,Elusive, ,london, ,London Fashion Week, ,Louise McLennan, ,Maison Martin Margiela, ,Munich, ,Polystyrene, ,Showstudio, ,Somerset House, ,Tabi shoe, ,XXXL, ,Yellowbirdmachine, ,Zarina Liew

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Amelia’s Magazine | Graduate Fashion Week 2010: International Show

An androgynous Autumn/Winter collection kicked off Northbrook college’s graduate show with Rhea Field’s take on tuxedos with a twist. The nude and black palette teamed with the surprising use of latex injected just the right amount of femininity to the aptly named ‘About A Boy’ collection. Polka-dot pussy bow blouses in ultra girly chiffon were given the tailored treatment with perfectly-pleated trousers and black lace-up boyish brogues; bow-ties were oversized or sugary pink and shirts were sequin-splattered in a perfect contradictory fashion. ? 

Diana Alves drew her inspiration for ‘Parallel Fashion’ from contemporary architecture. To achieve her shapes she made a 3D pyramid from paper which she mounted on a mannequin. She then proceeded to create her abstract garments using this concept, find teamed with clever tailoring to create her sharp shouldered woollen jackets and satin and silk taffeta zip detailed dresses. ? 

Anna Louise Moxon focused on body proportions in her graphics inspired collection ‘Illustration Subfocus’. With the use of prints she followed contours of the body to create full and feminine silhouettes. Her interesting designs are inspired by special effects in films, symptoms in particular CGI (computer generated imagery) and 3D animation. The retro colour palette of monochrome, dosage grey and red combined with the futuristic concept and use of layered textures and prints make for a really interesting and forward-thinking collection.  ? 
After a extremely brief 30-second interval it was Manchester’s University of Salford’s chance to shine, and shine, one designer in particular, quite literally did. 

Alex Dubell began the show with ‘Modern Hysterics’,the first of three collections inspired by the surprising choice of soap opera Coronation Street, of which he says “just as in reality, life in ‘the street’ can be chaotic with events that are both dramatic and well hidden”.

He has chosen to represent this drama by the medium of extremely exaggerated and structured shoulders in a sparkly midnight blue palette which he describes as “the ‘out of touch’ moments that we all experience, which Coronation Street has dramatised so effectively for many years”. ? 
Emma Lidell had a more futuristic vision judging by her collection ‘Grey Matter’ which does what it says on the tin. The show had a sports-luxe feel to it, courtesy of her use of marl jersey, but presented a twist with a heavy use of Perspex moulding and transparent ‘astronaut’ style skirts. She describes her collections as “garments evoking ambiguous intelligent thought”.

Danielle Ferguson presented the audience with the second Corrie based collection of the night, this time the inspiration came off the back of a particular storyline in her favourite programme rather than the show in general. The collection is named ‘My inner child’ and is based on Sarah Louise Platt’s teenage pregnancy and how becoming a mother at such a young age can force a person into adulthood. ? 

She describes her creations as “both playful and grown up” demonstrated in the her full length adult romper-suit, cute cropped printed blouse which she teamed with a huge teddy bear skirt and a classy ankle length camel coat paired with a teddy bear ears hat. She also shows a penchant for polka-dots which can be found throughout the collection, on both demure scarves and a fitted top with overly-structured pleated sleeves reminiscent of a pretty bow.

Closing the show in spectacular fashion was Charlotte Lee Taylor whose collection ‘Bioluminescent Abyss’  was inspired by the black icy world beneath the sea, a world 13,000 feet beneath the surface untouched by the sun’s rays.

Charlotte invoked this bizarre and dark environment and the electric forms that light it with her midnight-black organza garments, which included a thigh-skimming transparent cage dress and a full length hooped cocoon style dress, the collection was mesmerizing enough without the final collective walk of the models down the runway, when a selection of each outfit burst into glowing halos of light, giving us mere humans a glimpse of the electrifying and mesmerizing world under the sea, never before seen by human eyes. Until now.

Anna Piercy, troche UCA Epsom, generic Illustrated by Lisa Billvik

Well well well the kids certainly know what they’re doing at Graduate Fashion Week this year. Sunday kicked off day one of shows for the creatively minded at our very own Earl’s Court and believe me these are the McQueens of the future.

UWE Bristol showcased some beautiful structured puffball dresses from Georgina Kitchen teamed with knee high socks and see-through metallic partitions. Jessie Potter had a clear vision too, healing showing off an appliquéd felt and wool collection in a 70s pallet of mustard and burgundy with pom-pom headdresses. Jessica Hart clearly had the most funm however – showing a pastel based range of graphic prints that Lady Gaga would feel sheepish in. Necklaces were gigantic, as were pockets, in what was a playful and crisp collection, complete with bow headbands of course. (Read more about UWE Bristol’s show here – with even MORE illustrations!)


Jessica Hart, illustrated by Jenny Goldstone

I was not expecting the standard of design as seen at UCA Epsom University’s show after though. Think of Pilgrim’s, 50s housewives, teddy boys, Julia Roberts in Mona Lisa Smile and a dash of kids TV and you’re half way there. This was a serious clash of icons creating a surprisingly good statement for the University.

But amongst the host of talent there were some definite faces of the fashion future to watch, and a surprising amount of menswear. Remember you heard it here first.

Lucinda Ailes: One so patriotic, not to our fair Blighty mind, but all things American were emblazoned on everything through an array of stars and stripes. Models sported devoted shorts, leggings and maxi dresses but all was kept thoroughly wearable by grey mix-and-match pieces to wear back with the collection.

Katie Barret: A different kind of heritage was displayed in Barret’s show of menswear pieces. Thoroughly Scottish and proud of it, models sported full kilted dresses as well as the traditional skirts. The whole feel was very rugged using natural fabrics and even slightly drab colours. But each look was spiced up with a hint of tomato red, whether it be in a top or the waist detailing of said kilt instantly adding an extra something to the look.

Antonia Lloyd: Another one for the boys but this time not quite so manly. Lloyd made sure the boys sparkled in glittered tuxedo style shirts and knickerbockers to be proud of. There was something quite romantic about the look, with buttons done up to the neck and a palette of muted greys and navies.

Beata Gebka: I told you there were pilgrims and it came from Gebka’s show. Models sported traditional style long dresses accessorized with cloches and capes. As unwearable as it sounds, the pieces were surprisingly covetable, finished off with black ribbon detailing and even bib fronts. This may just be the new look come autumn and one that features heavily around the key muted pallet of greys and navies again.

Stency Kidega: Frills frills and more frills was what Kidega must have been dreaming of. They were added to the shoulders of jackets and the necklines of coats but wherever they were placed they looked beautiful. Kidega pulled off a very tailored collection, which isn’t always the most interesting, but the corset detailing on the dresses and the aforementioned jackets made sure that it was. Delicious.

Eve McDonald: McDonald definitely has a 50s housewife buried inside her otherwise she wouldn’t be able to produce such stunning floral shirts. But she’s also hiding a Teddy Boy too, as pieces were mixed with checked trousers and long shorts. Finished off with floral headscarves tied in oversized bows I almost wanted to pull on my espadrilles and listen to some good old Rock ‘n’ Roll.

Anna Piercy: It’s Piercy who brought the piece de résistance of the whole night for me. Piercey managed to create a collection based entirely around oversized letters. Seriously. Not that much to hear but the fabrics still flowed into beautiful a-line dresses with cut-out detailing. Even more intelligent was the use of panelling and sequins to create letters from the arms and body of a dress. And the finale – Piercey’s models came together to spell out the word ‘RANDOM.’ It was and yet I still liked it.


Illustrations by Lisa Billvik

How nice though that we got to see the faces behind the fashion as each designer (embarrassingly for most but certainly not all) walked the catwalk with one of their models. It was cheers and ovation all round from the crowd and do you know what…. they thoroughly deserved it.

Hear, hear!


Anna Sergunova, look illustrated by Aniela Murphy

It may have been the first ever International Show at Graduate Fashion Week, viagra but the designers did all they could to leave a lasting impression on London; collections came courtesy of universities spanning Europe with one show from students as far as Singapore.

The show launched with a strong start with Wolfgang Jarnach from the Akademie Mode & Design in Munich, his dark collection was made up of voluminous skirts and shoulders teamed with striking tailored jackets, topped off with a dramatic Count Dracula style cape.

In an equally theatrical fashion came Vicole Lang’s collection, which racked up the most air miles for GFW, coming in from the Lasalle College of the Arts in Singapore. The show kicked off with a distinctly fetishism theme opening with a PVC bandage body suit, but seemed to become more gradually demure with each outfit, until the stunning Balenciaga-esque spiked and padded dress closed her a collection in show-stopping fashion.

After Vicole’s electrifying garments, a much needed cool off came courtesy of Lidya Chrisfen’s collection which swished down the runway to the calming sounds of an ebbing tide. The neutral palette, twisted rope detailing and seashell embellishments brought to mind shipwrecks and desert islands, whilst the daringly cut, printed maxi dresses injected a touch of red-carpet glamour to the collection.

Wearability was an apparently unimportant factor for a number of the international designers, as spectators at Earl’s Court witnessed recurring ‘head coverings’ as opposed to headwear from several collections. This theme was kicked off by Linda, hailing from Singapore’s LaSalle College of the Arts, who sent a seemingly ‘blind’ model down the runway in a denim hooded thigh-skimming mini dress, which zipped up balaclava style to the top of her head.


Linda, illustrated by Lisa Billvik

The concept continued in Anna Sergnova’s collection, whose medieval-inspired garments were dreamt up in the halls of Saint Petersburg’s State University of Technology & Design. Four of her six garments completely covered the model’s faces with knight style armour, metal visors and chain-mail helmets, teamed with gauntlets and protective Balmain style padded hips and shoulders. Unfortunately the safety of the models was somewhat blighted by the towering heel-less wedges in which they were precariously balancing on as they walked the runway.

Things only got stranger when Amsterdam Fashion Institute student, Floor Kolen’s creations took to the stage, she too showed a penchant for covering the eyes, this time through the medium of masks, rather scary looking plastic bird masks to be precise. She also took the acrylic route for a selection of her garments and accessories including a moulded bust style T-shirt, plastic feet shoes and demi-gloves which only covered the front part of the hand, but would nethertheless render the wearer helpless.


Floor Kolen, illustrated by Maria del Carmen Smith

It is often the English that are often regarded as the most eccentric people in the world; but maybe it is time to rethink this stereotype, because actually stranger things can and certainly do happen – just ask the international designers at GFW. 

Images courtesy of catwalking.com

Categories ,Academie Mode & Design, ,amsterdam, ,Amsterdam Fashion Institute, ,Anna Sergnova, ,Count Dracula, ,Earls Court, ,Floor Kolen, ,Graduate Fashion Week 2010, ,International Show, ,Lasalle College of the Arts, ,Lidya Chrisfen, ,Linda, ,london, ,Munich, ,PVC, ,Saint Petersburg, ,Singapore, ,State University of Technology & Design, ,Vicole Lang, ,Wolfgang Jarnach

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Amelia’s Magazine | Shadow Catchers: Camera-less Photography at the V&A


Susan Derges

A new exhibition at the V&A – Shadow Catchers – is a beautiful as it sounds. The first of its kind, viagra sale it explores the work of five key camera-less image makers. It was a concept that, find when it popped into the Amelia’s inbox, I found hard to get my tiny brain around – photographs? Without a camera? Of course, I’d experimented with making photographic images without a camera at college but the quality of images that the five artists create is astonishing.

The exhibition is in the smaller gallery at the front of the grand building and is somewhat sidelined by the major Diaghilev retrospective, but shouldn’t be missed. It’s totally inspiring and tackles some thought-provoking concepts. Here’s a little look at the five artists that the show focusses on, each given their own room and space, along with some of their ground-breaking images.

Floris Neusüss

Floris Neusüss is the master of the photogram, a technique which involves placing an object on photo-sensitive paper before exposing both to light sources. He has devoted his entire career to this process – developing his work and teaching the concept to others. The most powerful of Neusüss’ work in his little area is The Latticed Window, Lacock Abbey, 2010. A life-size window from the Abbey is captured on photographic paper using light sources projected inside, and it is both imposing and relaxing at the same time – complete with all the dust and scratches as proof it is actually a photograph.
Neusüss also made beautiful and powerful images of women in Europe in the 1960s. Untitled Berlin 1962 and Untitled Munich 1965 are great examples of this – these ethereal silhouettes in foetal positions appear both active and motionless at the same time, removing any trace of personal identity but urging the viewer to think about the models’ circumstances and character.

Pierre Cordier

Cordier’s work challenges reality, aiming to produce ‘fake photographs of inaccessible reality’. His chemigrams create interesting geometrical patterns and are an exercise in simplicity. His work airs more on the side of science than art, despite employing a moer artistic approach than other camera-less photographers. The most interesting thing to note is that Cordier’s process – protecting the surface of photographic paper with art materials – means that the images he creates are impossible to realise by any other means. I do like his work, but I couldn’t help thinking that the captions were a little pretentious. And, viewing immediately after Neusüss’ powerful images of people, Cordier’s just aren’t as captivating.

Garry Fabien Miller

Fabien Miller’s dominant piece in this exhibition is Petworth Window 2000 – using a similar technique applied by Neusüss at Lacock Abbey. Petworth House and its long façade of windows is most famously depicted in Turner’s paintings, so there’s a whimsical element to Fabien Miller’s photographic version. His work is the most futuristic of the artists presented – his pieces are totally hypnotic; some appear to pulse while others look almost lenticular. Delphinium 1-8 1990 charts the growth and adaptation of a single leaf over a single day, starting with discrete, delicate marks and resulting in an almost standard photographic representation of the object in question.

Susan Derges

Derges’ work derives from an inherent interest in nature and how it is presented. It aims to reveal the hidden forces in nature that occur all around us but most go unnoticed. From sound waves to the flow of rivers, Derges captures unique patterns and formations in nature. River Tow 1997 appears almost like a charcoal drawing but is in fact a photographic record of patterns the river formed during an evening, using natural moonlight to expose the paper. The images are some of the most beautiful in the collection and made me want to run down to the Regent’s Canal at once to have a go. Vessel No. 3 (1995) sees the transformation of toadspawn into fully grown frogs over a series of photograms – from the intricate patterns the spawn first makes to the messy network of adult toads. Finally, her Arch series, capturing the four seasons in ‘dreamlike landscapes’ which appear like church windows (above), shouldn’t be missed.

Adam Fuss

So it’s to Adam Fuss to close this particular exhibition. The youngster of the group, Fuss began experimenting with camera-less photography in the 1980s. His work focusses on ‘the unseen’: events not usually documented in photography, rather than material forms. Invocation 1992 is an earnest piece of a newborn baby. Placing the baby onto the paper, submerged in water, the result is the peaceful image of the child’s outline with delicate ripples surrounding him (or her) like a baptism. My favourites were contrasting pieces Untitled 1988 and Ark 1990 – the former depicting rippling waves and nature’s chaos, the latter displaying a serene, solo drop of water and it’s minute ripples. Works like My Ghost 1997 – an ethereal image of a christening gown likened to an x-ray, have a real impact; Fuss makes the simplest objects into fascinating works of art.

This exhibition will fascinate anybody with the tiniest interest in photography and I came away feeling completely inspired. The works challenge both what we know of photography and how we think objects and nature that surrounds us every day can be depicted. Do go and see it – and catch the Diaghilev while you’re at it – you won’t be disappointed.

Categories ,Adam Fuss, ,berlin, ,Camera, ,Camera-less photography, ,Delphinium 1-8 1990, ,Floris Neusüss, ,Garry Fabien Miller, ,Lacock Abbey, ,london, ,Munich, ,My Ghost, ,Petworth Window, ,photography, ,Pierre Cordier, ,River Tow, ,Shadow Catchers, ,Susan Derges, ,The Latticed Window, ,Toadspawn, ,Turner, ,va

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Amelia’s Magazine | Shadow Catchers: Camera-less Photography at the V&A


Susan Derges

A new exhibition at the V&A – Shadow Catchers – is a beautiful as it sounds. The first of its kind, it explores the work of five key camera-less image makers. It was a concept that, when it popped into the Amelia’s inbox, I found hard to get my tiny brain around – photographs? Without a camera? Of course, I’d experimented with making photographic images without a camera at college but the quality of images that the five artists create is astonishing.

The exhibition is in the smaller gallery at the front of the grand building and is somewhat sidelined by the major Diaghilev retrospective, but shouldn’t be missed. It’s totally inspiring and tackles some thought-provoking concepts. Here’s a little look at the five artists that the show focusses on, each given their own room and space, along with some of their ground-breaking images.

Floris Neusüss

Floris Neusüss is the master of the photogram, a technique which involves placing an object on photo-sensitive paper before exposing both to light sources. He has devoted his entire career to this process – developing his work and teaching the concept to others. The most powerful of Neusüss’ work in his little area is The Latticed Window, Lacock Abbey, 2010. A life-size window from the Abbey is captured on photographic paper using light sources projected inside, and it is both imposing and relaxing at the same time – complete with all the dust and scratches as proof it is actually a photograph.
Neusüss also made beautiful and powerful images of women in Europe in the 1960s. Untitled Berlin 1962 and Untitled Munich 1965 are great examples of this – these ethereal silhouettes in foetal positions appear both active and motionless at the same time, removing any trace of personal identity but urging the viewer to think about the models’ circumstances and character.

Pierre Cordier

Cordier’s work challenges reality, aiming to produce ‘fake photographs of inaccessible reality’. His chemigrams create interesting geometrical patterns and are an exercise in simplicity. His work airs more on the side of science than art, despite employing a moer artistic approach than other camera-less photographers. The most interesting thing to note is that Cordier’s process – protecting the surface of photographic paper with art materials – means that the images he creates are impossible to realise by any other means. I do like his work, but I couldn’t help thinking that the captions were a little pretentious. And, viewing immediately after Neusüss’ powerful images of people, Cordier’s just aren’t as captivating.

Garry Fabien Miller

Fabien Miller’s dominant piece in this exhibition is Petworth Window 2000 – using a similar technique applied by Neusüss at Lacock Abbey. Petworth House and its long façade of windows is most famously depicted in Turner’s paintings, so there’s a whimsical element to Fabien Miller’s photographic version. His work is the most futuristic of the artists presented – his pieces are totally hypnotic; some appear to pulse while others look almost lenticular. Delphinium 1-8 1990 charts the growth and adaptation of a single leaf over a single day, starting with discrete, delicate marks and resulting in an almost standard photographic representation of the object in question.

Susan Derges

Derges’ work derives from an inherent interest in nature and how it is presented. It aims to reveal the hidden forces in nature that occur all around us but most go unnoticed. From sound waves to the flow of rivers, Derges captures unique patterns and formations in nature. River Tow 1997 appears almost like a charcoal drawing but is in fact a photographic record of patterns the river formed during an evening, using natural moonlight to expose the paper. The images are some of the most beautiful in the collection and made me want to run down to the Regent’s Canal at once to have a go. Vessel No. 3 (1995) sees the transformation of toadspawn into fully grown frogs over a series of photograms – from the intricate patterns the spawn first makes to the messy network of adult toads. Finally, her Arch series, capturing the four seasons in ‘dreamlike landscapes’ which appear like church windows (above), shouldn’t be missed.

Adam Fuss

So it’s to Adam Fuss to close this particular exhibition. The youngster of the group, Fuss began experimenting with camera-less photography in the 1980s. His work focusses on ‘the unseen’: events not usually documented in photography, rather than material forms. Invocation 1992 is an earnest piece of a newborn baby. Placing the baby onto the paper, submerged in water, the result is the peaceful image of the child’s outline with delicate ripples surrounding him (or her) like a baptism. My favourites were contrasting pieces Untitled 1988 and Ark 1990 – the former depicting rippling waves and nature’s chaos, the latter displaying a serene, solo drop of water and it’s minute ripples. Works like My Ghost 1997 – an ethereal image of a christening gown likened to an x-ray, have a real impact; Fuss makes the simplest objects into fascinating works of art.

This exhibition will fascinate anybody with the tiniest interest in photography and I came away feeling completely inspired. The works challenge both what we know of photography and how we think objects and nature that surrounds us every day can be depicted. Do go and see it – and catch the Diaghilev while you’re at it – you won’t be disappointed.

Categories ,Adam Fuss, ,berlin, ,Camera, ,Camera-less photography, ,Delphinium 1-8 1990, ,Floris Neusüss, ,Garry Fabien Miller, ,Lacock Abbey, ,london, ,Munich, ,My Ghost, ,Petworth Window, ,photography, ,Pierre Cordier, ,River Tow, ,Shadow Catchers, ,Susan Derges, ,The Latticed Window, ,Toadspawn, ,Turner, ,va

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