Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Bora Aksu

Bora Aksu S/S 2012 by Gareth A Hopkins
Bora Aksu S/S 2012 by Gareth A Hopkins.

Nicola Roberts was once more amongst the attendees for The Unknown, online which promised an entire narrative within the collection. Ever the romantic, tadalafil Bora Aksu discovered four old postcards in a Geneva antiques market. Initially attracted to the beautiful Edwardian imagery, it was to be the words written on the back that would inspire him the most. Written by a young lady named Rose, the postcards disclosed her love for Charles… and left Bora wondering what happened to this great romance of over one hundred years ago. And thus he embarked on The Unknown.

Bora Aksu S/S 2012 by Karla Pérez (Geiko Louve)Bora Aksu S/S 2012 by Karla Pérez (Geiko Louve)
Bora Aksu S/S 2012 by Karla Pérez aka Geiko Louve.

Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu S/S 2012 by Gareth A Hopkins
Bora Aksu S/S 2012 by Gareth A Hopkins.

Lighting low, the show began with a group of models who emerged en masse at the head of the runway, each dressed head to toe in shades of cream and beige with their heads wrapped in flowery garlands. Before them the catwalk (with no riser this season) was strewn with autumnal petals. Short puff skirts paired with crisp sleeveless blouses gave way to columns of tulle and net, all with signature Bora Aksu detailing. The demure colouring left me with the impression of an Edwardian schoolgirl who had been caught in her undies, but amongst this were some very wearable separates that should sell well in the real world.

Bora Aksu S/S 2012 by Megan Thomas
Bora Aksu S/S 2012 by Megan Thomas.

With a splash of sea blue roped detailing the collection moved onto sophisticated blacks and navy blues. Sweeping dresses with ribbon seam details emphasised womanly curves and curved necklines riffed on the current mania for all things pan collared. Sheer fabrics gave a glimpse of nipple, a common theme of this fashion week.

Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu SS 2011 review-photo by Amelia Gregory
Bora Aksu S/S 2012 by June Chanpoomidole
Bora Aksu S/S 2012 by June Chanpoomidole.

I prefer my Bora with a bit more colour and structure, but this was an elegant collection that showed off Bora Aksu‘s love of all things Edwardian. It was also an excellent showcase for his new venture into the realm of hosiery. In the goodie bags were a pair of very special Bora Aksu branded tights, the rolling fishnet emulating the curved seams of his clothes: a perfect way to own a piece of Bora for a fraction of the cost of a whole outfit. Over the next few days I spotted many a pair of Bora clad legs on the front row, so it looks like he’s onto a winner.

Categories ,Antique, ,Beige, ,BFC, ,Bora Aksu, ,Charles, ,Cream, ,Edwardian, ,Gareth A Hopkins, ,Geiko Louve, ,Geneva, ,Hosiery, ,June Chanpoomidole, ,June Sees, ,Karla Perez, ,lfw, ,London Fashion Week, ,Megan Thomas, ,Nicola Roberts, ,Nipples, ,Pan Collars, ,postcards, ,Romantic, ,Rose, ,S/S 2012, ,Sheer, ,Somerset House, ,The Unknown, ,tights

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

W 2011-W 2011-IMG_4205
LFW2_FlorianJayet_by_AlisonDay

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

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

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

LFW3_FlorianJayet_by_AlisonDay

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

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

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

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

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

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

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

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

Marina by Artist Andrea
Marina in an amazing mice encrusted jumper by Andrea Peterson.

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

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

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

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011 by Alia Gargum
Bora Aksu A/W 2011 by Alia Gargum.

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

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

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

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

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

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

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

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

Categories ,Alia Gargum, ,Andrea Peterson, ,Bora Aksu, ,Bow Tie, ,Danielle Shepherd, ,Donya Todd, ,Dr Jekyll and Mr Hyde, ,girls aloud, ,Keisha Buchanan, ,Marina and The Diamonds, ,Nicola Roberts, ,Sugababes, ,Sweeny Todd, ,trompe l’oeil, ,Tuxedo, ,twiggy

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Bora Aksu (by Georgia)


Illustration by Gilly Rochester

It was Day 1 at Somerset House and I was surrounded by all those fashion bigwigs at Caroline Charles; sure to have just flown in first-class from the closing New York Fashion Week and before that whichever glamorous corner of the Earth they resided. The BFC Catwalk space, page therefore, kicked off with a sure-fire reminder of where we were; London. Just in case anyone forgot.


Illustration by Maria Papadimitriou

??It was all about the classic, home-comfort elements of good-old British style. You had your checks, your lace, your chiffon, your wool winter coats that your mother forced you in when you were young and now just can’t get out of.??

Most garments were intrinsically minimalistic. There was very little print. The fabric palette didn’t stretch too far and no real attempt towards a-symmetric cuts or daring features was made. Despite such profuse amounts of plain-Jane style, however, a subtle sexiness arose from those full-sequined dresses in bright red and sultry black as well as the odd combination of tiger and leopard print. It was bad taste turned classy.??


Illustration by Gilly Rochester

The collection’s silhouette held a strong focus on the waist with delicate belts cinching-in wool shift dresses and chiffon floaty creations. There was a barely a bold moment throughout the entire show but one thing was for sure: everything had style.
Furthermore (as has been featured countless times this season), bows were a primary focus for Charles. She placed them on bowler hats, made them out of black ribbon tied around the neck and pulled them round to the rear of high-waisted trousers.


Illustrations by Maria Papadimitriou

Some of the combinations of textures, however, were a little iffy for me. Black leather pencil skirts with brown lady-like jackets? It just didn’t click. I also wasn’t keen on the injection of equestrian riding hats and low pony-tails. It was oh-so-boring and that kind of look, for me anyway, completely lacks any sort of style or attitude. Perhaps a ploy made my yet-another designer to turn the head of Kate Middleton as the Royal Wedding approaches? Maybe so.


Photographs by Georgia Takacs

Amidst the elegant and some-what calming classical music, however, I was agitated by lady-with-hideous-hat who was inconveniently featured in most of my photographs. There was a bit of a frenzy around her and THE HAT after the show. I couldn’t begin to understand why and marched past indifferent and utterly confused.??

All in all, a largely predictable and collection from a classic London dress-maker. It’s endearing, however, to see a leading designer of 47 years to continue delivering a fail-safe iconic style which will forever be appreciated. And with so much sophisticated femininity around this Autumn/Winter season, it certainly set the scene for what was to come and offers a solid reference to anyone embracing ‘The Woman’ next season.

Illustration by Sandra Contreras

Jena.Theo, more about made up of Jenny Holmes and Dimitris Theocharidis, more about who met at the London College of Fashion, approved clearly want to be rock-chic at heart, and the show was like a highly anticipated gig with fashion editors literally fighting for seats (I’m not kidding it was crazy). So a bit of a manic start then!


Illustration by Gareth A Hopkins

The models sashayed down the catwalk whilst the clothes beautifully draped and flowed behind them and nothing was structured; it was very much a free-loving collection. A possible clanger came from the denim bubble coat (not as horrific as it sounds but still bad) and the look was slightly undone; maybe even unfinished but then maybe that’s what was intended.

The venue itself was pretty hardcore for 11am too with flashing coloured lasers spraying from the ceiling and a giant board lit up behind the models leaving us in no doubt as to what show we were at. They might as well have told us to get our rave on whilst referencing Valkyrie as the collection was aptly known.


Illustration by Gareth A Hopkins

Something always gets me though at these shows and it’s when the designers decide that ‘normal’ make up isn’t enough for their show, they need something a little kooky. Jena Theo decided that each model needed a black ‘Michael Stipe’ esque stripe across their eyes and to me it just wasn’t needed. Not that it particularly distracted from the clothes but it didn’t necessarily add anything either.


Illustration by Sandra Contreras

I’ll give them their due, after all it is their first on-schedule show this year but maybe next year the theatrical make up needs to be left out. Surely there’s enough of that in fashion!

You can saw more of Gareth A Hopkins’ illustrations in Amelia’s Compendium of Fashion Illustration.


Illustration by Jenny Robins

So I’m a big fan of Bora Aksu. He’s one of those London Fashion Week underdogs that just has that extra WOW-factor and his show always seems to be the hot ticket on Day One. And with Twiggy and Marina (of The Diamonds) in the front row, price I don’t think I was the only one with high expectations!??The show was held in the BFC Catwalk Space and, approved after being ushered into the line for those with seated tickets, I found myself standing behind a rather ratty lady from Marie Claire who literally huffed and grumbled even if my bag simply brushed her arm. It’s called a queue, darling.


Illustration by Joe Turvey

Hoards of hipsters then made their way into the line behind me (men in wedges, copious amounts of fur and red lipstick – you know the drill) hence this was the moment I knew I was in the line allocated good seats. Front row was, therefore, choc-a-bloc with extreme scenesters and second row wasn’t bad at all when one clocked onto the masses that were standing in any space available. Fashion Week does seem very busy this time round.


Live catwalk illustration by Jenny Robins


Twiggy! All photography by Georgia Takacs

I passed Twiggy’s name on a piece of paper and, upon her arrival moments later, the paps were crazy around her. I could just about see her smile, flashing amidst the flurry. Surrounding her on the front row were the likes of Nicola Roberts and Tallulah Harlech.


Illustration by Joe Turvey

As the lights were just about to dim, the fierce Marina Diamandis – arms adorned with tumbling knitted mice – was ushered to the seat right in front of me by a crazed front-of-house lady belting ‘Make way! Move along!’, probably resulting in some poor lady writing for Grazia sitting cross-legged on the floor. Fashion, eh?


Marina Diamandis

Show time. Bora Aksu didn’t hang around. Dark music and a-symmetric power dresses immediately stormed the catwalk. It was all about sharp tailoring with wool blazers and-the-like including a reoccurring little bow placed high at the neck, either tied there or on the dress. They were, in fact, appearing everywhere – on belts, the backs of dress and even hanging down from the backs of skirts. Bows are big this season!??One thing was for sure, Aksu was clearly enjoying the green. Shirts and underskirts blazed with a bright emerald hue amidst a largely classic palette of greys, charcoals and, of course, black. Green definitely stood out. And it stole the show.


Illustration by Joe Turvey

The dresses had countless genius intricacies – such is the genius of Aksu himself! Every garment had a mix of textures, fabrics, colours and structures. Hemlines were either short-and-sexy or floor-length – the two trends that seem to be dominating, this season. It’s either one extreme or the other, which I LOVE.

Hemlines are greatly important, often defining a silohette, and they were paid great attention to here creating an imposing, powerful image.

With frizzy back-combing and casual back-dos, the hair was understated messy glam. As was the make-up with pale skin and hints of brown. This natural grooming was a definite side-step away from the often mind-boggling intricate creations of Bora Aksu who, once again, delivered a fashion force to be reckoned with!

You can saw more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Categories ,A/W 2011, ,Bora Aksu, ,Catwalk review, ,Emerald, ,hipsters, ,lfw, ,London Fashion Week, ,Marie Claire, ,Marina & the Diamonds, ,Nicola Roberts, ,Tallulah Harlech, ,twiggy

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Bora Aksu (by Jemma)

Bora Aksu London Fashion Week AW11
Bora Aksu by Lisa Stannard

Bora was the hot ticket on Saturday night and it was typical that all the big fashion editors were otherwise engaged, pills ok so they were at Downing Street with the queen of political fashion Sam Cam but I bet they were gutted. In fact I was quite impressed with myself getting a seat right by the models entrance and plonking myself right on the end….that was until the show got soo full up that the side of the stage was crowded with a gazillion people blocking my photographic view. Oh well.

Bora Aksu London Fashion Week AW11
Illustration by Lisa Stannard

Aksu is a graduate of the Central Saint Martins MA (who isn’t these days?) so since 2002 he has been working through his collections and gaining the title of “star of the show” by many newspapers which lead him to his first debut collection off schedule in February 2003. Suzy Menkes is even a fan, mind not an accolade to be taken lightly. Intriguingly Bora Aksu was intent on dressing models in chiffon headband. Now these weren’t ordinarily tied around the head but wrapped in a variety of criss cross styles almost like a facial sling; not that that’s a slur I loved it. Aksu’s aspiration is to “find balance point between contrast [and create romance] with a darker twist.”

Bora Aksu London Fashion Week AW11
Photoography by Jemma Crow

It certainly was a darker show inspired by Dr Jekyll and Mr Hyde with Marilyn Manson’s rendition of Sweet Dreams accompanying the models. Although looks were tailored there was an old-fashioned Victorian feel to the collection with bustle style skirts on dresses and bow ties. It even seemed that Aksu had taken a leaf out of Christopher Kane’s book with a green lace dress, looking to be a hot colour for the season along with red (but never together of course that would be ridiculous!) It even came in the form of silky shirts tucked into trousers. Delish!

Aksu knows how to make the OTT side of fashion into a surprisingly wearable collection. I think it’s mostly down to his subtle use of colour (the greens) and detailing (the bows and head scarves) which makes everything just that bit more interesting.

Bora Aksu London Fashion Week AW11
Photoography by Jemma Crow

As with all the popular shows we had the delights of a front row celebrity through non other than M&S sweetheart Twiggy who sat next to our very own Amelia Gregory. But the real press scrum (and I’m not using that word lightly it was a MENTAL scrum) came after the show. What with the likes of Marina from the Diamonds fame, Nicola Roberts from Girls Aloud and Twiggy making their exit, getting out of the show was easier said than done. Cue lots of pushing us plebs from the paparazzi as far as we could go just so that they could get the money shot. Not my favourite thing about these shows but it’s all got to be done. And believe me I’ve got elbows to push them back be warned.

Bora Aksu London Fashion Week AW11
Bora Aksu by Lisa Stannard

Thanks to Lisa Stannard for the illustrations. More of her work can be seen in Amelia’s Compendium of Fashion Illustration.

Categories ,Amelia Gregory, ,AW11, ,Bora Aksu, ,celebrity scrum, ,Central Saint Martins, ,Downing Street, ,Dr Jekyll and Mr Hyde, ,Lisa Stannard, ,London Fashion Week, ,marilyn manson, ,Marina and The Diamonds, ,Nicola Roberts, ,samantha cameron, ,Suzy Menkes, ,twiggy

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Krystof Strozyna

Jasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011 by Maria Papadimitriou
Jasper Garvida A/W 2011 by Maria Papadimitriou.

As anyone who attends the shows will know, viagra buy guessing who has priority tickets is always an amusing game. Is it the gold star? Surely double gold star is better? Or maybe this season purple or neon yellow signifies top cat for a certain PR? Jasper Garvida tickets certainly had us guessing – we were sent quite a handful, some with green dots on and all with the exciting words VIP. I made an educated guess that VIP with green dot was the most prestigious bet and I got it wrong – green dot was lesser.

Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi.

So it was that I found myself twiddling my thumbs as a bunch of friendly bloggers were whisked ahead of me, all gabbling excitedly about the “washing machine cocktail party” that they had just attended courtesy of Miele, who had then popped them straight in a taxi to the Freemasons Hall where they were ushered onto the front row. At the end of the day the best sticker to have wasn’t VIP at all, it simply had the immortal word Miele stamped on it.

Jasper Garvida‘s A/W 2011 collection was titled Le Baiser, meaning The Kiss, and was inspired by a confluence of East and West. It featured feminine tailoring with a distinctly vintage feel that was emphasised by the glamourous neatly swept up hairstyles and crystal drop earrings.

The strong opening outfit was a gorgeous black cylindrical backless dress, followed by a series of elegant grey numbers that featured cutouts to reveal the hips, thighs and back. Shoulders were draped, dropped and covered in armour-like sliced plastic embellishments that swung lazily as the models walked. Colour broke through in the form of a stunning chartreuse one shouldered dress followed by silky Fornasetti inspired circular prints and a bold giant keyhole placement print on rusty silk. Gigantic ruffles provided a key focus, counter-balancing the precise and beautiful tailoring.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Eventually russet gave way to a searing orangey red, quite definitely the colour of the season, but also in this instance noticeably the colour of the large Miele goodie bags under the front row seats. Without so much as a glance at my press release it was obvious to me that these were sponsored garments. Perfect for this season’s trends, but what happens next time round?

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

I left slightly bemused by the tenuous connection between domestic appliances and high fashion, but this was nevertheless a collection to remember. Anyway, as I know only too well, you’ve got to get your sponsorship where you can.

Jasper Garvida A/W 2011 by Sandra Contreras
Jasper Garvida A/W 2011 by Sandra Contreras.

You can read Katie Antoniou’s blog about the same show right here.

Jasper Garvida A/W 2011 by Maria Papadimitriou
Jasper Garvida A/W 2011 by Maria Papadimitriou.

As anyone who attends the shows will know, website guessing who has priority tickets is always an amusing game. Is it the gold star? Surely double gold star is better? Or maybe this season purple or neon yellow signifies top cat for a certain PR? Jasper Garvida tickets certainly had us guessing – we were sent quite a handful, more about some with green dots on and all with the exciting words VIP. I made an educated guess that VIP with green dot was the most prestigious bet and I got it wrong – green dot was lesser.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi.

So it was that I found myself twiddling my thumbs as a bunch of friendly bloggers were whisked ahead of me, viagra buy all gabbling excitedly about the “washing machine cocktail party” that they had just attended courtesy of Miele, who had then popped them straight in a taxi to the Freemasons Hall where they were ushered onto the front row. At the end of the day the best sticker to have wasn’t VIP at all, it simply had the immortal word Miele stamped on it.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory

Jasper Garvida‘s A/W 2011 collection was titled Le Baiser, meaning The Kiss, and was inspired by a confluence of East and West. It featured feminine tailoring with a distinctly vintage feel that was emphasised by the glamourous neatly swept up hairstyles and crystal drop earrings.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory

The strong opening outfit was a gorgeous black cylindrical backless dress, followed by a series of elegant grey numbers that featured cutouts to reveal the hips, thighs and back. Shoulders were draped, dropped and covered in armour-like sliced plastic embellishments that swung lazily as the models walked. Colour broke through in the form of a stunning chartreuse one shouldered dress followed by silky Fornasetti inspired circular prints and a bold giant keyhole placement print on rusty silk. Gigantic ruffles provided a key focus, counter-balancing the precise and beautiful tailoring.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Eventually russet gave way to a searing orangey red, quite definitely the colour of the season, but also in this instance noticeably the colour of the large Miele goodie bags under the front row seats. Without so much as a glance at my press release it was obvious to me that these were sponsored garments. Perfect for this season’s trends, but what happens next time round?

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

I left slightly bemused by the tenuous connection between domestic appliances and high fashion, but this was nevertheless a collection to remember. Anyway, as I know only too well, you’ve got to get your sponsorship where you can.

Jasper Garvida A/W 2011 by Sandra Contreras
Jasper Garvida A/W 2011 by Sandra Contreras.

You can read Katie Antoniou’s blog about the same show right here.

Jasper Garvida A/W 2011 by Maria Papadimitriou
Jasper Garvida A/W 2011 by Maria Papadimitriou.

As anyone who attends the shows will know, dosage guessing who has priority tickets is always an amusing game. Is it the gold star? Surely double gold star is better? Or maybe this season purple or neon yellow signifies top cat for a certain PR? Jasper Garvida tickets certainly had us guessing – we were sent quite a handful, some with green dots on and all with the exciting words VIP. I made an educated guess that VIP with green dot was the most prestigious bet and I got it wrong – green dot was lesser.

Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi.

So it was that I found myself twiddling my thumbs as a bunch of friendly bloggers were whisked ahead of me, all gabbling excitedly about the “washing machine cocktail party” that they had just attended courtesy of Miele, who had then popped them straight in a taxi to the Freemasons Hall where they were ushered onto the front row. At the end of the day the best sticker to have wasn’t VIP at all, it simply had the immortal word Miele stamped on it.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida‘s A/W 2011 collection was titled Le Baiser, meaning The Kiss, and was inspired by a confluence of East and West. It featured feminine tailoring with a distinctly vintage feel that was emphasised by the glamourous neatly swept up hairstyles and crystal drop earrings.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011 by Sandra Contreras
Jasper Garvida A/W 2011 by Sandra Contreras.

The strong opening outfit was a gorgeous black cylindrical backless dress, followed by a series of elegant grey numbers that featured cutouts to reveal the hips, thighs and back. Shoulders were draped, dropped and covered in armour-like sliced plastic embellishments that swung lazily as the models walked. Colour broke through in the form of a stunning chartreuse one shouldered dress followed by silky Fornasetti inspired circular prints and a bold giant keyhole placement print on rusty silk. Gigantic ruffles provided a key focus, counter-balancing the precise and beautiful tailoring.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

Eventually russet gave way to a searing orangey red, quite definitely the colour of the season, but also in this instance noticeably the colour of the large Miele goodie bags under the front row seats. Without so much as a glance at my press release it was obvious to me that these were sponsored garments. Perfect for this season’s trends, but what happens next time round?

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

I left slightly bemused by the tenuous connection between domestic appliances and high fashion, but this was nevertheless a collection to remember. Anyway, as I know only too well, you’ve got to get your sponsorship where you can.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

You can read Katie Antoniou’s blog about the same show right here.

Jasper Garvida A/W 2011 by Maria Papadimitriou
Jasper Garvida A/W 2011 by Maria Papadimitriou.

As anyone who attends the shows will know, this web guessing who has priority tickets is always an amusing game. Is it the gold star? Surely double gold star is better? Or maybe this season purple or neon yellow signifies top cat for a certain PR? Jasper Garvida tickets certainly had us guessing – we were sent quite a handful, some with green dots on and all with the exciting words VIP. I made an educated guess that VIP with green dot was the most prestigious bet and I got it wrong – green dot was lesser.

Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi.

So it was that I found myself twiddling my thumbs as a bunch of friendly bloggers were whisked ahead of me, all gabbling excitedly about the “washing machine cocktail party” that they had just attended courtesy of Miele, who had then popped them straight in a taxi to the Freemasons Hall where they were ushered onto the front row. At the end of the day the best sticker to have wasn’t VIP at all, it simply had the immortal word Miele stamped on it.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida‘s A/W 2011 collection was titled Le Baiser, meaning The Kiss, and was inspired by a confluence of East and West. It featured feminine tailoring with a distinctly vintage feel that was emphasised by the glamourous neatly swept up hairstyles and crystal drop earrings.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011 by Sandra Contreras
Jasper Garvida A/W 2011 by Sandra Contreras.

The strong opening outfit was a gorgeous black cylindrical backless dress, followed by a series of elegant grey numbers that featured cutouts to reveal the hips, thighs and back. Shoulders were draped, dropped and covered in armour-like sliced plastic embellishments that swung lazily as the models walked. Colour broke through in the form of a stunning chartreuse one shouldered dress followed by silky Fornasetti inspired circular prints and a bold giant keyhole placement print on rusty silk. Gigantic ruffles provided a key focus, counter-balancing the precise and beautiful tailoring.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

Eventually russet gave way to a searing orangey red, quite definitely the colour of the season, but also in this instance noticeably the colour of the large Miele goodie bags under the front row seats. Without so much as a glance at my press release it was obvious to me that these were sponsored garments. Perfect for this season’s trends, but what happens next time round?

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

I left slightly bemused by the tenuous connection between domestic appliances and high fashion, but this was nevertheless a collection to remember. Anyway, as I know only too well, you’ve got to get your sponsorship where you can.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

You can read Katie Antoniou’s blog about the same show right here.

Jasper Garvida A/W 2011 by Maria Papadimitriou
Jasper Garvida A/W 2011 by Maria Papadimitriou.

As anyone who attends the shows will know, information pills guessing who has priority tickets is always an amusing game. Is it the gold star? Surely double gold star is better? Or maybe this season purple or neon yellow signifies top cat for a certain PR? Jasper Garvida tickets certainly had us guessing – we were sent quite a handful, some with green dots on and all with the exciting words VIP. I made an educated guess that VIP with green dot was the most prestigious bet and I got it wrong – green dot was lesser.

Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi.

So it was that I found myself twiddling my thumbs as a bunch of friendly bloggers were whisked ahead of me, all gabbling excitedly about the “washing machine cocktail party” that they had just attended courtesy of Miele, who had then popped them straight in a taxi to the Freemasons Hall where they were ushered onto the front row. At the end of the day the best sticker to have wasn’t VIP at all, it simply had the immortal word Miele stamped on it.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida‘s A/W 2011 collection was titled Le Baiser, meaning The Kiss, and was inspired by a confluence of East and West. It featured feminine tailoring with a distinctly vintage feel that was emphasised by the glamourous neatly swept up hairstyles and crystal drop earrings.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011 by Sandra Contreras
Jasper Garvida A/W 2011 by Sandra Contreras.

The strong opening outfit was a gorgeous black cylindrical backless dress, followed by a series of elegant grey numbers that featured cutouts to reveal the hips, thighs and back. Shoulders were draped, dropped and covered in armour-like sliced plastic embellishments that swung lazily as the models walked. Colour broke through in the form of a stunning chartreuse one shouldered dress followed by silky Fornasetti inspired circular prints and a bold giant keyhole placement print on rusty silk. Gigantic ruffles provided a key focus, counter-balancing the precise and beautiful tailoring.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

Eventually russet gave way to a searing orangey red, quite definitely the colour of the season, but also in this instance noticeably the colour of the large Miele goodie bags under the front row seats. Without so much as a glance at my press release it was obvious to me that these were sponsored garments. Perfect for this season’s trends, but what happens next time round?

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

I left slightly bemused by the tenuous connection between domestic appliances and high fashion, but this was nevertheless a collection to remember. Anyway, as I know only too well, you’ve got to get your sponsorship where you can.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

You can read Katie Antoniou’s blog about the same show right here.

Jasper Garvida A/W 2011 by Maria Papadimitriou
Jasper Garvida A/W 2011 by Maria Papadimitriou.

As anyone who attends the shows will know, view guessing who has priority tickets is always an amusing game. Is it the gold star? Surely double gold star is better? Or maybe this season purple or neon yellow signifies top cat for a certain PR? Jasper Garvida tickets certainly had us guessing – we were sent quite a handful, sickness some with green dots on and all with the exciting words VIP. I made an educated guess that VIP with green dot was the most prestigious bet and I got it wrong – green dot was lesser.

Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi
Jasper Garvida A/W 2011 by Madi.

So it was that I found myself twiddling my thumbs as a bunch of friendly bloggers were whisked ahead of me, all gabbling excitedly about the “washing machine cocktail party” that they had just attended courtesy of Miele, who had then popped them straight in a taxi to the Freemasons Hall where they were ushered onto the front row. At the end of the day the best sticker to have wasn’t VIP at all, it simply had the immortal word Miele stamped on it.

Jasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida‘s A/W 2011 collection was titled Le Baiser, meaning The Kiss, and was inspired by a confluence of East and West. It featured feminine tailoring with a distinctly vintage feel that was emphasised by the glamourous neatly swept up hairstyles and crystal drop earrings by Lucas Jack.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011 by Toni Bowater
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011 by Sandra Contreras
Jasper Garvida A/W 2011 by Sandra Contreras.

The strong opening outfit was a gorgeous black cylindrical backless dress, followed by a series of elegant grey numbers that featured cutouts to reveal the hips, thighs and back. Shoulders were draped, dropped and covered in armour-like sliced plastic embellishments that swung lazily as the models walked. Colour broke through in the form of a stunning chartreuse one shouldered dress followed by silky Fornasetti inspired circular prints and a bold giant keyhole placement print on rusty silk. Gigantic ruffles provided a key focus, counter-balancing the precise and beautiful tailoring.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

Eventually russet gave way to a searing orangey red, quite definitely the colour of the season, but also in this instance noticeably the colour of the large Miele goodie bags under the front row seats. Without so much as a glance at my press release it was obvious to me that these were sponsored garments. Perfect for this season’s trends, but what happens next time round?

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

I left slightly bemused by the tenuous connection between domestic appliances and high fashion, but this was nevertheless a collection to remember. Anyway, as I know only too well, you’ve got to get your sponsorship where you can.

Jasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia GregoryJasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

You can read Katie Antoniou’s blog about the same show right here.

Illustration By Artist Andrea

I was very nervous about Jasper’s show, symptoms as I adored his Spring/Summer collection so much that I was worried my expectations would be too high. But I wasn’t disappointed- the sound of rainfall set the mood for the show, order and the slats of the more theatrical pieces replicated this noise as the models walked. One maxi-dress was tied at the waist with a belt hung with oversized keys, information pills which clinked together as she walked. The inclusion of sounds in a catwalk show helps to make it all seem more three dimensional. Reworked, instrumental covers of 90s tunes by the likes of Nirvana also created a great soundtrack.


Whilst a number of the dresses were so ostentatious- and according to reports from friends of mine backstage, so incredibly heavy-that they are unlikely to be worn by the likes of you and me, Jasper cleverly takes the textures of these pieces and works them into accessories like clutch bags and statement ruff-style necklaces that are much easier to integrate into your real-life wardrobe.

Illustration by Artist Andrea

Inspired by the novel ‘Soie’ by Alessandro Baricco about a European man who becomes enchanted with the East, there is a distinct oriental feel to the colour palette and the silhouettes.Lace dresses with thigh-high slits and completely backless, full length evening gowns added to the sensuality of the silk and lace.

Iconic Fornasetti-inspired prints make fantastic statement pieces, as well as a knitted maxi number, the knitwear trend instigated by the likes of Craig Lawrence and Mark Fast showing no sign of dying.The hair was elegantly side-swept in a vintage-inspired up-do; a look complimented by Lucas Jack drop earrings.


Its no coincidence that my favourite shows on Friday, and so far of LFW altogether, are the two that featured lots of colour, a few show-stopping, theatrical pieces, gorgeous vintage-inspired prints, and silhouettes designed for a womanly shape.I’m referring to Prophetik and Jasper Garvida. However, both shows also share the same single criticism from me- these are sexy designs, can you please put them on women with sexier figures?They would look BETTER.Honest.The corsets of Prophetik were desperate for some heaving bosoms a la costume drama, whilst some of Jasper’s models were painfully thin.Its something I noticed at his last show too, and I’ve heard the same feedback from a number of people, even the illustrators I sent my photos to were shocked.Jasper is represented by one of the loveliest, most down-to-earth PR companies around, so I really hope they pass thes comments on to him, as its really the only criticism I have of the show.

Photos by Katie Antoniou


Illustration by Andrea Peterson, recipe aka Artist Andrea.

I was very nervous about Jasper’s show, as I adored his Spring/Summer collection so much that I was worried my expectations would be too high. But I wasn’t disappointed- the sound of rainfall set the mood for the show, and the slats of the more theatrical pieces replicated this noise as the models walked. One maxi-dress was tied at the waist with a belt hung with oversized keys, which clinked together as she walked. The inclusion of sounds in a catwalk show helps to make it all seem more three dimensional. Reworked, instrumental covers of 90s tunes by the likes of Nirvana also created a great soundtrack.

Whilst a number of the dresses were so ostentatious – and according to reports from friends of mine backstage, so incredibly heavy – that they are unlikely to be worn by the likes of you and me, Jasper cleverly takes the textures of these pieces and works them into accessories like clutch bags and statement ruff-style necklaces that are much easier to integrate into your real-life wardrobe.


Illustration by Andrea Peterson, aka Artist Andrea.

Inspired by the novel ‘Soie’ by Alessandro Baricco about a European man who becomes enchanted with the East, there is a distinct oriental feel to the colour palette and the silhouettes.Lace dresses with thigh-high slits and completely backless, full length evening gowns added to the sensuality of the silk and lace.

Iconic Fornasetti-inspired prints make fantastic statement pieces, as well as a knitted maxi number, the knitwear trend instigated by the likes of Craig Lawrence and Mark Fast showing no sign of dying. The hair was elegantly side-swept in a vintage-inspired up-do; a look complimented by Lucas Jack drop earrings.

It’s no coincidence that my favourite shows on Friday, and so far of LFW altogether, are the two that featured lots of colour, a few show-stopping, theatrical pieces, gorgeous vintage-inspired prints, and silhouettes designed for a womanly shape.I’m referring to Prophetik and Jasper Garvida. However, both shows also share the same single criticism from me – these are sexy designs, can you please put them on women with sexier figures? They would look BETTER. Honest. The corsets of Prophetik were desperate for some heaving bosoms a la costume drama, whilst some of Jasper’s models were painfully thin. It’s something I noticed at his last show too, and I’ve heard the same feedback from a number of people, even the illustrators I sent my photos to were shocked. Jasper is represented by one of the loveliest, most down-to-earth PR companies around, so I really hope they pass thes comments on to him, as its really the only criticism I have of the show.

All photography by Katie Antoniou.

You can see more of Andrea Peterson’s work in Amelia’s Compendium of Fashion Illustration.

Illustrations by Ankolie

Even the invitation to this show had me excited; detail of a vintage toile print on a fabric corset lined with vintage style brass buttons and the byline ‘inspired by the court of Louis XV when art became frivolous’ grabbed my attention.Because all of this is frivolous, viagra order isn’t it?We’re in the middle of a recession and yet here we are, purchase still feeding are obsession with fashion and art because it has become such an integral part of our lives.Combining fashion and music is a big part of my job as a stylist to musicians, drugs so opening the show with Analize Ching on the violin was a big hit with me, followed by wonderful orchestral music that evoked the atmosphere of a French royal court.


I’d been a little underwhelmed by a lot of very drab Autumn/Winter collections, where hues vary only from black,to greys, some cream and back to black. The colours Prophetik used are all natural, with plum shades blended from madder root, rumex, logwood and indigo, and burgundy mixed from madder root, curled dock and gallnut. Adding yet more splashes of colour and prints were the quilted pieces, handed down from Jeff’s grandmother Lola from Tennesse. Hemp, cactus silk and ostrich feathers provided stunning texture and shape to the pieces. Accessories label ‘Dotted Loop’ provided reworked vintage accessories and even the shoes were made from vegetable-tanned leather.


Its rare that I can get at all excited by menswear, but the pieces in this collection spoke to the avid period-drama fan inside me. Military inspired jackets and riding boots?Phwoar.Yes please. Jeff himself appeared at the end showing how the look can be worked, though I’m sure he could probably get a way with wearing pretty much anything and still look like he just finished writing poetry/surfing/horse-riding; all listed as his hobbies.Only someone this comfortable with his masculinity could design coats for men made out of pastel pink quilts.


Corsets, tailored jackets and voluminous skirts; Jeff is very good at designing clothes for real women’s bodies.He recently dressed the lovely Livia Firth for the 2011 Golden Globes, and I can only imagine that his celebrity following will continue to increase.The final dress, ‘Mrs Moulton’ features ostrich feathers that shed naturally twice a year (from the ostrich, not the dress-that would be a high maintenance frock indeed) hand sewn on white silk and organza- I can totally picture this as a celebrity wedding dress.Watch this space.


I’ll leave you with Jeff’s take on Renaissance Art.I think it’s very interesting considering our current pre-occupation with all things vintage.
‘Renaissance art is not a rebirth as one implies, but freedom from the past. Unconcerned with what has been said or done, living in the present with an immediate relation to all things…achievement does not birth beauty but raw effort confessing its own failures and in the confession is the beauty of Art.’

Photos by Katie Antoniou

Illustrations by Ankolie.

Even the invitation to this show had me excited; detail of a vintage toile print on a fabric corset lined with vintage style brass buttons and the byline ‘inspired by the court of Louis XV when art became frivolous’ grabbed my attention.Because all of this is frivolous, isn’t it?We’re in the middle of a recession and yet here we are, pilule still feeding are obsession with fashion and art because it has become such an integral part of our lives.Combining fashion and music is a big part of my job as a stylist to musicians, web so opening the show with Analize Ching on the violin was a big hit with me, followed by wonderful orchestral music that evoked the atmosphere of a French royal court.

I’d been a little underwhelmed by a lot of very drab Autumn/Winter collections, where hues vary only from black,to greys, some cream and back to black. The colours Prophetik used are all natural, with plum shades blended from madder root, rumex, logwood and indigo, and burgundy mixed from madder root, curled dock and gallnut. Adding yet more splashes of colour and prints were the quilted pieces, handed down from Jeff’s grandmother Lola from Tennesse. Hemp, cactus silk and ostrich feathers provided stunning texture and shape to the pieces. Accessories label ‘Dotted Loop’ provided reworked vintage accessories and even the shoes were made from vegetable-tanned leather.

It’s rare that I can get at all excited by menswear, but the pieces in this collection spoke to the avid period-drama fan inside me. Military inspired jackets and riding boots?Phwoar.Yes please. Jeff himself appeared at the end showing how the look can be worked, though I’m sure he could probably get a way with wearing pretty much anything and still look like he just finished writing poetry/surfing/horse-riding; all listed as his hobbies.Only someone this comfortable with his masculinity could design coats for men made out of pastel pink quilts.

Corsets, tailored jackets and voluminous skirts; Jeff is very good at designing clothes for real women’s bodies. He recently dressed the lovely Livia Firth for the 2011 Golden Globes, and I can only imagine that his celebrity following will continue to increase. The final dress, ‘Mrs Moulton’ features ostrich feathers that shed naturally twice a year (from the ostrich, not the dress-that would be a high maintenance frock indeed) hand sewn on white silk and organza – I can totally picture this as a celebrity wedding dress. Watch this space.

I’ll leave you with Jeff’s take on Renaissance Art. I think it’s very interesting considering our current pre-occupation with all things vintage:
‘Renaissance art is not a rebirth as one implies, but freedom from the past. Unconcerned with what has been said or done, living in the present with an immediate relation to all things…achievement does not birth beauty but raw effort confessing its own failures and in the confession is the beauty of Art.’


All photography by Katie Antoniou.

Illustrations by Ankolie.

Even the invitation to this show had me excited; detail of a vintage toile print on a fabric corset lined with vintage style brass buttons and the byline ‘inspired by the court of Louis XV when art became frivolous’ grabbed my attention.Because all of this is frivolous, cure isn’t it?We’re in the middle of a recession and yet here we are, generic still feeding are obsession with fashion and art because it has become such an integral part of our lives.Combining fashion and music is a big part of my job as a stylist to musicians, so opening the show with Analize Ching on the violin was a big hit with me, followed by wonderful orchestral music that evoked the atmosphere of a French royal court.

I’d been a little underwhelmed by a lot of very drab Autumn/Winter collections, where hues vary only from black,to greys, some cream and back to black. The colours Prophetik used are all natural, with plum shades blended from madder root, rumex, logwood and indigo, and burgundy mixed from madder root, curled dock and gallnut. Adding yet more splashes of colour and prints were the quilted pieces, handed down from Jeff’s grandmother Lola from Tennesse. Hemp, cactus silk and ostrich feathers provided stunning texture and shape to the pieces. Accessories label ‘Dotted Loop’ provided reworked vintage accessories and even the shoes were made from vegetable-tanned leather.

It’s rare that I can get at all excited by menswear, but the pieces in this collection spoke to the avid period-drama fan inside me. Military inspired jackets and riding boots?Phwoar.Yes please. Jeff himself appeared at the end showing how the look can be worked, though I’m sure he could probably get a way with wearing pretty much anything and still look like he just finished writing poetry/surfing/horse-riding; all listed as his hobbies.Only someone this comfortable with his masculinity could design coats for men made out of pastel pink quilts.

Corsets, tailored jackets and voluminous skirts; Jeff is very good at designing clothes for real women’s bodies. He recently dressed the lovely Livia Firth for the 2011 Golden Globes, and I can only imagine that his celebrity following will continue to increase. The final dress, ‘Mrs Moulton’ features ostrich feathers that shed naturally twice a year (from the ostrich, not the dress-that would be a high maintenance frock indeed) hand sewn on white silk and organza – I can totally picture this as a celebrity wedding dress. Watch this space.

I’ll leave you with Jeff’s take on Renaissance Art. I think it’s very interesting considering our current pre-occupation with all things vintage:
‘Renaissance art is not a rebirth as one implies, but freedom from the past. Unconcerned with what has been said or done, living in the present with an immediate relation to all things…achievement does not birth beauty but raw effort confessing its own failures and in the confession is the beauty of Art.’


All photography by Katie Antoniou.

Illustrations by Ankolie.

Even the invitation to this show had me excited; detail of a vintage toile print on a fabric corset lined with vintage style brass buttons and the byline ‘inspired by the court of Louis XV when art became frivolous’ grabbed my attention. Because all of this is frivolous, health isn’t it? We’re in the middle of a recession and yet here we are, malady still feeding are obsession with fashion and art because it has become such an integral part of our lives. Combining fashion and music is a big part of my job as a stylist to musicians, so opening the show with Analize Ching on the violin was a big hit with me, followed by wonderful orchestral music that evoked the atmosphere of a French royal court.

I’d been a little underwhelmed by a lot of very drab Autumn/Winter collections, where hues vary only from black,to greys, some cream and back to black. The colours Prophetik used are all natural, with plum shades blended from madder root, rumex, logwood and indigo, and burgundy mixed from madder root, curled dock and gallnut. Adding yet more splashes of colour and prints were the quilted pieces, handed down from Jeff’s grandmother Lola from Tennesse. Hemp, cactus silk and ostrich feathers provided stunning texture and shape to the pieces. Accessories label ‘Dotted Loop’ provided reworked vintage accessories and even the shoes were made from vegetable-tanned leather.

It’s rare that I can get at all excited by menswear, but the pieces in this collection spoke to the avid period-drama fan inside me. Military inspired jackets and riding boots? Phwoar. Yes please. Jeff himself appeared at the end showing how the look can be worked, though I’m sure he could probably get a way with wearing pretty much anything and still look like he just finished writing poetry/surfing/horse-riding; all listed as his hobbies. Only someone this comfortable with his masculinity could design coats for men made out of pastel pink quilts.

Corsets, tailored jackets and voluminous skirts; Jeff is very good at designing clothes for real women’s bodies. He recently dressed the lovely Livia Firth for the 2011 Golden Globes, and I can only imagine that his celebrity following will continue to increase. The final dress, ‘Mrs Moulton’ features ostrich feathers that shed naturally twice a year (from the ostrich, not the dress-that would be a high maintenance frock indeed) hand sewn on white silk and organza – I can totally picture this as a celebrity wedding dress. Watch this space.

I’ll leave you with Jeff’s take on Renaissance Art. I think it’s very interesting considering our current pre-occupation with all things vintage:
‘Renaissance art is not a rebirth as one implies, but freedom from the past. Unconcerned with what has been said or done, living in the present with an immediate relation to all things…achievement does not birth beauty but raw effort confessing its own failures and in the confession is the beauty of Art.’


All photography by Katie Antoniou.
Krystof Strozyna A/W 2011 by Gabriel ‘Gaarte’ Ayala.
Krystof Strozyna A/W 2011 by Gabriel ‘Gaarte’ Ayala.

Krystof Strozyna has been on my radar for what seems like forever in fashion… which in practice means a couple of years – ever since we wrote about him in the print version of Amelia’s Magazine, discount shortly after his graduation from Central Saint Martins in 2007. Which makes it all the more annoying that we don’t receive proper tickets to his shows. I hate e-invites, view I really do. I always forget to print them out which usually means I forget to attend the show (I need tickets IN MY HANDS during LFW – there’s just too much to juggle otherwise) and they’re invariably no good for anything better than standing. Basically, they just don’t cut it.

Krystof Strozyna A/W 2011 by Gabriel ‘Gaarte’ Ayala.
Krystof Strozyna A/W 2011 by Gabriel ‘Gaarte’ Ayala.

Luckily my face is so well known around Fashion Scout that I can usually slide into any show with no problem. So it was that I got cajoled in to see Krystof Strozyna‘s A/W collection – well, it didn’t take much to be honest. Apparently Kimberly Walsh was there too, flying the flag for Girls Aloud during a rare break for Nicola Roberts. I can imagine her curves would suit his sexy 80s inspired draped tailoring a little better anyhow.

Krystof Strozyna A/W 2011 by Matilde Sazio
Krystof Strozyna A/W 2011 by Matilde Sazio.

For the most part this collection did not disappoint, featuring tailored black and flesh tones combined with undulating shades of ruched blue chiffon. A little more awkward was a one legged dress – maybe a good idea in practice but somewhat inelegant on the catwalk.

Krystof Strozyna A/W 2011 by Gabriel ‘Gaarte’ Ayala.
Krystof Strozyna A/W 2011 by Gabriel ‘Gaarte’ Ayala.

The winning numbers were undoubtedly Krystof Strozyna‘s gorgeous neon fractal prints, which brought a splash of welcome colour to the ubiquitous Little Black Dress… and a devastating punch delivered by the liberal use of acidic orange. Red may have been the favoured highlight of many an A/W collection but on the strength of this I’m voting for vibrant orange. Yum yum.

Krystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia GregoryKrystof Strozyna A/W 2011. Photography by Amelia Gregory
Krystof Strozyna A/W 2011. All photography by Amelia Gregory.

Categories ,Central Saint Martins, ,Fashion Scout, ,Freemasons’ Hall, ,Gaarte, ,Gabriel Ayala, ,Gabriel ‘Gaarte’ Ayala, ,girls aloud, ,Goodley PR, ,Kimberly Walsh, ,Krystof Strozyna, ,Matilde Sazio, ,Nicola Roberts

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Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Ramon Gurillo and Bodyamr

Charles Anastase4

Watching the show, nurse seek something niggled, buy information pills what reference was missing – apart from the immediates being the 70’s and the French Revolution – there was something else, something that was coming through in the occasional bundled up model. I battered it aside, thinking no – these thoughts are from reading The Road recently, and it’s discriptions of the belegaured wrapped up souls have become stuck in one’s mind.

And then out walked the below outfit, framed by the soft bordering on romantic hair, taffata and block colours of the thick thick Anastase layers, was the only full face painted experience of the whole show. In the context of the aforementioned taffata it provided a disconcerting effect, summering images of the cults avoided in desperation along the desolated world in Cormac McCarthy’s The Road.

Charles Anastase 5

Not wanting to read too much into this, thinking the show contained enough references- from languid lazy glamour completed by Linda Farrow sunglasses to the idea that one might have preferred to have been born in France several years ago. The thought that this was another designer considering the apocalyptic nature of future was left dangling, as I unfortunately did not have access to a press release until The Telegraph posted on the show, answered my suspicions:

“Charles Anastase, made climate change the theme of his collection for next autumn/winter”.

Now I seriously doubt that in an actual apocalypse we would wear towering wedges whilst bound in constrictive felt, it is always interesting to see how designers portray thoughts and fears from outside of Fashion. Last season saw Bernard Chandran, James Long and Katie Eary presented two vesions of clothes to be worn in a dystopic future. Whilst harder than Anastase, a sense of fear of the unknown remains within all three collections.

Charles Anastase 1

Anastase’s was a short introduction into the designer’s current range of thoughts. It will be interesting to see what is presented at next season’s show. It was great to see a return to the sophistication that length and fabric can offe after what seems like endless seasons of thigh high body tight flesh exposing nothingness.

Charles Anastase2

Photographs by Elizabeth Johnson
Charles Anastase4

Watching the show, thumb something niggled, viagra order what reference was missing – apart from the immediates being the 70’s and the French Revolution – there was something else, something that was coming through in the occasional bundled up model. I battered it aside, thinking no – these thoughts are from reading The Road recently, and it’s discriptions of the belegaured wrapped up souls have become stuck in one’s mind.

And then out walked the below outfit, framed by the soft bordering on romantic hair, taffata and block colours of the thick thick Anastase layers, was the only full face painted experience of the whole show. In the context of the aforementioned taffata it provided a disconcerting effect, summering images of the cults avoided in desperation along the desolated world in Cormac McCarthy’s The Road.

Charles Anastase 5

Not wanting to read too much into this, thinking the show contained enough references- from languid lazy glamour completed by Linda Farrow sunglasses to the idea that one might have preferred to have been born in France several years ago. The thought that this was another designer considering the apocalyptic nature of future was left dangling, as I unfortunately did not have access to a press release until The Telegraph posted on the show, answered my suspicions:

“Charles Anastase, made climate change the theme of his collection for next autumn/winter”.

Now I seriously doubt that in an actual apocalypse we would wear towering wedges whilst bound in constrictive felt, it is always interesting to see how designers portray thoughts and fears from outside of Fashion. Last season saw Bernard Chandran, James Long and Katie Eary presented two vesions of clothes to be worn in a dystopic future. Whilst harder than Anastase, a sense of fear of the unknown remains within all three collections.

Charles Anastase 1

Anastase’s was a short introduction into the designer’s current range of thoughts. It will be interesting to see what is presented at next season’s show. It was great to see a return to the sophistication that length and fabric can offe after what seems like endless seasons of thigh high body tight flesh exposing nothingness.

Charles Anastase2

Photographs by Elizabeth Johnson
Charles Anastase4

Watching the show, this something niggled, stuff what reference was missing – apart from the immediates being the 70’s and the French Revolution – there was something else, something that was coming through in the occasional bundled up model. I battered it aside, thinking no – these thoughts are from reading The Road recently, and it’s discriptions of the belegaured wrapped up souls have become stuck in one’s mind.

And then out walked the below outfit, framed by the soft bordering on romantic hair, taffata and block colours of the thick thick Anastase layers, was the only full face painted experience of the whole show. In the context of the aforementioned taffata it provided a disconcerting effect, summering images of the cults avoided in desperation along the desolated world in Cormac McCarthy’s The Road.

Charles Anastase 5

Not wanting to read too much into this, thinking the show contained enough references- from languid lazy glamour completed by Linda Farrow sunglasses to the idea that one might have preferred to have been born in France several years ago. The thought that this was another designer considering the apocalyptic nature of future was left dangling, as I unfortunately did not have access to a press release until The Telegraph posted on the show, answered my suspicions:

“Charles Anastase, made climate change the theme of his collection for next autumn/winter”.

Now I seriously doubt that in an actual apocalypse we would wear towering wedges whilst bound in constrictive felt, it is always interesting to see how designers portray thoughts and fears from outside of Fashion. Last season saw Bernard Chandran, James Long and Katie Eary presented two vesions of clothes to be worn in a dystopic future. Whilst harder than Anastase, a sense of fear of the unknown remains within all three collections.

Charles Anastase 1

Anastase’s was a short introduction into the designer’s current range of thoughts. It will be interesting to see what is presented at next season’s show. It was great to see a return to the sophistication that length and fabric can offe after what seems like endless seasons of thigh high body tight flesh exposing nothingness.

Charles Anastase2

Photographs by Elizabeth Johnson
Charles Anastase4

Watching the show, viagra something niggled, pills what reference was missing – apart from the immediates being the 70’s and the French Revolution – there was something else, case something that was coming through in the occasional bundled up model. I battered it aside, thinking no – these thoughts are from reading The Road recently, and it’s discriptions of the belegaured wrapped up souls have become stuck in one’s mind.

And then out walked the below outfit, framed by the soft bordering on romantic hair, taffata and block colours of the thick thick Anastase layers, was the only full face painted experience of the whole show. In the context of the aforementioned taffata it provided a disconcerting effect, summering images of the cults avoided in desperation along the desolated world in Cormac McCarthy’s The Road.

Charles Anastase 5

Not wanting to read too much into this, thinking the show contained enough references- from languid lazy glamour completed by Linda Farrow sunglasses to the idea that one might have preferred to have been born in France several years ago. The thought that this was another designer considering the apocalyptic nature of future was left dangling, as I unfortunately did not have access to a press release until The Telegraph posted on the show, answered my suspicions:

“Charles Anastase, made climate change the theme of his collection for next autumn/winter”.

Now I seriously doubt that in an actual apocalypse we would wear towering wedges whilst bound in constrictive felt, it is always interesting to see how designers portray thoughts and fears from outside of Fashion. Last season saw Bernard Chandran, James Long and Katie Eary presented two vesions of clothes to be worn in a dystopic future. Whilst harder than Anastase, a sense of fear of the unknown remains within all three collections.

Charles Anastase 1

Anastase’s was a short introduction into the designer’s current range of thoughts. It will be interesting to see what is presented at next season’s show. It was great to see a return to the sophistication that length and fabric can offe after what seems like endless seasons of thigh high body tight flesh exposing nothingness.

Charles Anastase2

Photographs by Elizabeth Johnson
Charles Anastase4

Watching the show, discount something niggled, pharmacy what reference was missing – apart from the immediates being the 70’s and the French Revolution – there was something else, price something that was coming through in the occasional bundled up model. I battered it aside, thinking no – these thoughts are from reading The Road recently, and it’s discriptions of the belegaured wrapped up souls have become stuck in one’s mind.

And then out walked the below outfit, framed by the soft bordering on romantic hair, taffata and block colours of the thick thick Anastase layers, was the only full face painted experience of the whole show. In the context of the aforementioned taffata it provided a disconcerting effect, summering images of the cults avoided in desperation along the desolated world in Cormac McCarthy’s The Road.

Charles Anastase 5

Charles Anastase Autumn Winter 2010 was a busy show reference wise – from languid lazy glamour completed by Linda Farrow sunglasses to the idea that one might have preferred to have been born in France several years ago. The thought that another was designer considering the apocalyptic nature of future was left dangling. Until The Telegraph posted on the show, answering my suspicions:

“Charles Anastase, made climate change the theme of his collection for next autumn/winter”.

Now I seriously doubt that in an actual apocalypse we would wear towering wedges whilst bound in constrictive felt, however, it is always interesting to see how designers portray thoughts and fears from the News or mass media obsessions. Last season saw Bernard Chandran, James Long and Katie Eary present their visions of what clothes to be worn in a dystopic future. Whilst harder than Anastase, a sense of fear of the unknown remains within all four of these exploratory collections.

Charles Anastase 1

Anastase’s was a short introduction into the designer’s current range of thoughts and experimentations – from the aforementioned to the patterns that could only be described as 70′s carpet chic. It was at the same time, great to see a return to the potential sophistication offered by length and fabric after what feels like endless seasons of thigh high body tight flesh exposing nothingness. It will be interesting to see how these themes will be developed for next season’s show.

Charles Anastase2

Photographs by Elizabeth Johnson
Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, ed and I was duly ushered to the front row. Always nice to know you’re meant to be there, page rather than trying it on in the hope no one will move you. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I sing around the camp fire with friends.

I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well I was going to be quite rude about them, but then I met the PR who invited me, and read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. And then I met the PR again in the queue for a show the next day, and this time was introduced to the American designer Jeff Garner. Aiee!! So I will be a little nicer.

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration and hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, tadalafil they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, buy more about and I was duly ushered to the front row. Always nice to know you’re meant to be there, viagra 40mg rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I like to sing around the camp fire with friends. I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well, I met the PR who invited me in the queue for a show on Saturday, and was introduced to the American designer Jeff Garner, (Aiee!!) and I’ve since read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. So I will be considered in what I say…

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration and hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, tadalafil they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, ailment and I was duly ushered to the front row. Always nice to know you’re meant to be there, pharm rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I sing around the camp fire with friends.

I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well I was going to be quite rude about them, but then I met the PR who invited me, and read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. And then I met the PR again in the queue for a show the next day, and this time was introduced to the American designer Jeff Garner. Aiee!! So I will be a little nicer.

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration and hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, store they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, information pills and I was duly ushered to the front row. Always nice to know you’re meant to be there, approved rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I sing around the camp fire with friends.

I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well I was going to be quite rude about them, but then I met the PR who invited me, and read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. And then I met the PR again in the queue for a show the next day, and this time was introduced to the American designer Jeff Garner. Aiee!! So I will be a little nicer.

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration and hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, viagra order they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, visit web and I was duly ushered to the front row. Always nice to know you’re meant to be there, ailment rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I like to sing around the camp fire with friends. I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well, I met the PR who invited me in the queue for a show on Saturday, and was introduced to the American designer Jeff Garner, (Aiee!!) and I’ve since read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. So I will be considered in what I say…

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration and hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, discount they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, and I was duly ushered to the front row. Always nice to know you’re meant to be there, rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I like to sing around the camp fire with friends. I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well, I met the PR who invited me in the queue for a show on Saturday, and was introduced to the American designer Jeff Garner, (Aiee!! He’s a published poet and all! Quite a good one if the ditty he penned to accompany the show is anything to go by) and I’ve since read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. So I will be considered in what I say…

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning rushing away from her castle on high. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell-shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration, making the collection entirely from sustainable fabrics such as hemp, bamboo, organic cotton and recycled materials. I hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, order they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, purchase and I was duly ushered to the front row. Always nice to know you’re meant to be there, rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I like to sing around the camp fire with friends. I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well, I met the PR who invited me in the queue for a show on Saturday, and was introduced to the American designer Jeff Garner, (Aiee!! He’s a published poet and all! Quite a good one if the ditty he penned to accompany the show is anything to go by) and I’ve since read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. So I will be considered in what I say…

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning rushing away from her castle on high. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell-shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration, making the collection entirely from sustainable fabrics such as hemp, bamboo, organic cotton and recycled materials. I hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, more about they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, decease and I was duly ushered to the front row. Always nice to know you’re meant to be there, rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I like to sing around the camp fire with friends. I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well, I met the PR who invited me in the queue for a show on Saturday, and was introduced to the American designer Jeff Garner, (Aiee!! He’s a published poet and all! Quite a good one if the ditty he penned to accompany the show is anything to go by) and I’ve since read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. So I will be considered in what I say…

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning rushing away from her castle on high. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell-shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration, making the collection entirely from sustainable fabrics such as hemp, bamboo, organic cotton and recycled materials. I very much hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, and they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, what is ed and I was duly ushered to the front row. Always nice to know you’re meant to be there, ambulance rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I like to sing around the camp fire with friends. I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well, I met the PR who invited me in the queue for a show on Saturday, and was introduced to the American designer Jeff Garner, (Aiee!! He’s a published poet and all! Quite a good one if the ditty he penned to accompany the show is anything to go by) and I’ve since read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. So I will be considered in what I say…

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning rushing away from her castle on high. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell-shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration, making the collection entirely from sustainable fabrics such as hemp, bamboo, organic cotton and recycled materials. I very much hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

We were shepherded into the one of the grand rooms at the Freemasons’ Hall by a blonde lady on a very high horse. In the atrium we were offered organic chocolates to nibble on (by Chocolala, tadalafil they were AMAZING) and plastic cups of wine. All of this before lunchtime! So far so very extravagant.

A pretty curlicued silver sticker on my Prophetik flyer boded well, viagra and I was duly ushered to the front row. Always nice to know you’re meant to be there, rather than trying to pull a fast one in the hope that no one will move you on. Whilst the show took forever to start, Matt and I dug around in the overflowing goodie bags, revealing a suit bag, an iphone amplifier dock, a sponsored notebook, organic toiletries and more chocolate, to name just a few items of ecojunk. Free frippery is to be expected at Fashion Week but I use the term ecojunk because of Prophetik’s “wearable philosophy” of promoting eco fashion. Of course any move towards sustainability is to be applauded, but then surely stick to recycled gifts? Or something more suited to said philosophy? Needless to say I took everything home anyway because that’s the way I’m programmed, but I couldn’t help feeling just a little bit guilty in doing so.

Eventually we heard the strains of a live violinist, who was soon joined by an acoustic guitarist, followed shortly after by an entire middle aged rock band, replete with bare chests and swinging medallions. Checking my show notes I’ve since discovered that this band included none other than members of Def Leppard and the Sex Pistols. Woah! Veering unexpectedly to a grinding holt, Massive Attack suddenly crashed onto the sound system. Then it was back to live rock, a bit of piped rave and finally the beautiful strains of the gospel song “I’ll fly away” – a refrain that I like to sing around the camp fire with friends. I expect this was all meant to segue seamlessly together but this was sadly not the case, and it says something that it’s the music that I am talking about first and not the clothes – overall it was an unsatisfactory and entirely unnecessary distraction.

Prophetik by Etiene Del Monte
Prophetik by Etiene Del Monte

The clothes? Well, I met the PR who invited me in the queue for a show on Saturday, and was introduced to the American designer Jeff Garner, (Aiee!! He’s a published poet and all! Quite a good one if the ditty he penned to accompany the show is anything to go by) and I’ve since read a bit more about Prophetik on their website, discovering that there is a touching ecological and communitarian philosophy behind the brand. So I will be considered in what I say…

I loved the way the show opened (music aside), with a girl whisking between the musicians in a black dress like a fair maiden in mourning rushing away from her castle on high. From then on jodphurs and military themed tailored pieces jostled alongside bulbous bell-shaped crinoline fairytale princess dresses (my favourite outfits) next to ill advised crushed velvet sweeping gowns – all worn by fair skinned ladies with blonde or red hair. There were a few bits of menswear thrown in for good measure and I found myself idly wondering how I ever used to find male models attractive (so young, so… nothingy. I must be getting old) – instead I was more interested in looking at the wiggy men in the fancy paintings on the walls. When I checked my twitter feed in a moment of boredom (sorry nice PR lady, sorry Mr. Designer man) I noted that everyone seemed inadversely excited by the thigh high boots. Is that a good sign? I suppose I just felt that the whole thing was a bit of a mishmash – with some interesting pieces that didn’t ever seem to add up to a strong whole collection. And the music really really didn’t help matters. At all. Got that?

However, I think it’s admirable that Prophetik are taking ecological ideals into consideration, making the collection entirely from sustainable fabrics such as hemp, bamboo, organic cotton and recycled materials. I very much hope to read up more on their philosophy at a point where I am not madly dashing around fashion week. In the meantime, I wish them all the best and hope I a) don’t run into them again at the shows or b) they’re happy to take on board a bit of constructive criticism. Please don’t kill me! And aren’t the illustrations by Etiene del Monte wonderful?

Ramon Gurillo by Katie Harnett
Ramon Gurillo by Katie Harnett

In this blog I’m going to kill two fashionable birds with one stone. Mainly because they were designers I’ve never heard of before and also because I didn’t go too crazy for them.

Over in Victoria House I bumped into ex intern Sarah Barnes at Ramon Gurillo: turns out that she’s interning now with Fashion156 (who you will remember that I met in the front row over at Charlie Le Mindu), here small world that it is. Apparently they’ve got money from the Fashion Council over yonder so it’s all straight reportage, page as quick as possible. NOT SO HERE FOLKS. You’ll hear my views exactly as they are, undiluted – some of the time – even by good common sense. And complete with rambling interludes aplenty. That’s just how we roll I’m afraid. Ain’t no one giving us money.

Ramon Gurillo by Katie Harnett
Ramon Gurillo by Katie Harnett

Ramon was all about the yarn and I found myself wondering (not for the first time it has to be said) if, finally, knitwear has come of age. Maybe I should resurrect my knitwear business after all. Yes, I designed a range of 80s influenced handknits made from mohair and vegetable dyed British rare sheep wool at about the same time as I launched Amelia’s Magazine, fact fans. It was called avb (a nickname from my parents). But I just couldn’t do both. Madness it was. In fact big bags of unused wool are at this very moment languishing in my parent’s attic, no doubt being decimated by moths as we speak.

Ramon had some very sexy metallic glittery lips but I’m afraid the same glamourous intent had not been applied to his collection – which was far too tasteful for me. I did very much like the bold concertina (metallic, again) necklaces. Sorry, back to the knitwear. There were lots of lacy knit tights and leggings (possibly belonging to the stylist) which I quite liked, although I have to say that at the rate I put holes in my own leggings choosing to buy ones with pre-made holes would seem foolhardy at best. The best piece was a wonderful holey sweater dress, and I liked all the dangly bulbous bits and ruched details that appeared on other items.

Ramon Gurillo by Katie Harnett
Ramon Gurillo by Katie Harnett

After the show Sarah and I went to the tiny press room in the On/Off building, where I proceeded to stylishly tip nuts all over the bottom of my bag and then all over the blow-up sofa whilst Sarah attempted to upload a hasty blog. When she failed to make an internet connection we headed off to the Bodyamr show over at the gorgeous Freemasons’ Hall. We were herded into yet another staggeringly beautiful hall – featuring heavily ornate ceilings and shuttered wooden divisions between two antechambers. I sat tapping my feet and wondering how likely it was that I would make it to the next show (Bora Aksu), as rumours began to circulate on twitter that Nicola Roberts of Girls Aloud was in the front row. Well, not where I was she weren’t, but she could have been the other side of the division. Dammit. I do find it ever so amusing that Nicola, once the most pitied and derided member of the band, is now the coolest fashionista of the lot. Oh how those tangerine days of yore must haunt her now!

Bodyamr by Saroj Patel
Bodyamr by Saroj Patel

In the end I decided to lurk at the back so I could make a hasty exit, and only got to see the first few looks of the Bodyamr collection. Usually enough to make a thorough and precise analysis of a show I find. The show was opened by a model of staggering non-beauty and I registered with amusement a few confused smirks in the front row opposite me. A very odd choice indeed. It was then straight into “sports luxe” of the type we’ve seen many times before. Looking back at the catwalk pictures of the outfits I missed my favourites were definitely the ruche print dresses. But then you can always win me over with a bit of splashy coloured print.

Fortunately I managed to make it over to Bora Aksu in time….

Categories ,80s, ,avb, ,Bodyamr, ,Bora Aksu, ,Charlie le Mindu, ,Fashion blog, ,Fashion156, ,Freemasons’ Hall, ,girls aloud, ,knitwear, ,lfw, ,metallics, ,Nicola Roberts, ,onoff, ,Ramon Gurillo, ,Sports Luxe, ,Victoria House

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Amelia’s Magazine | Graduate Fashion Week 2010: The Gala Show Finale!


Shinsuke Mitsuoka

The world of fashion is notoriously fickle and grabbing the attentions of a fashion crowd for any extended period of time seems tricky. Catwalk shows do their best with an array of light shows and thumping soundtracks which could sometimes do with a warning.

Nottingham Trent have prepared it all for their outing at Graduate Fashion Week with glossy door staff, medications designer goody bags and even a rather trendy loitering DJ (wearing a somewhat dubious puffa jacket). They’re raring to go, remedy but there’s just one cog in the works; a serious lack of bums on seats. Well, there is of course the age old excuse of being fashionably late, but even the pinched smiles of women ferrying around have started to crumble.

All becomes clear as a dull thudding bass infiltrates the theatre and the sound barrier takes a bashing as the trill of hundreds of screaming girls hit the roof. Apparently Tinie Tempah is a big deal (and from the glimpse I got, genuinely teeny Tinie). He’s had all of one song, which luckily for Nottingham Trent, he dispatches quickly, and soon a bustle of activity swells at the theatre doors. If Tinie didn’t make them ‘Pass Out’ (see what I did there? Here all week folks…) then the efforts of Nottingham Trent’s 2010 graduates will surely do their best to stun the senses. 

Nottingham Trent has a clear passion for encouraging students to experiment with unique techniques and textures in knitwear, producing a modern and varied aesthetic across the course. Their catwalk show oscillates between detailed, intricate knitwear and sleek takes on womenswear with bursts of energy injected at intervals by the likes of Emma Dick, showcasing sharp, graphic prints of televisions and arrows just at home in a museum of Pop Art as the runway. Integrated hoods give the look a futuristic feel but there’s a touch of the retro about her two-tone body con jumpsuit with a classic 1960s palette contrast between red and black.

Nottingham Trent keeps the volume turned up with Claire Hartley’s cutaway knitted one pieces, exposing flashes of green, yellow and red for a futuristic sci-fi look. Hartley’s dedication to forward thinking stretches beyond the aesthetics as she hopes to generate a new innovative, zero waste policy in manufacturing to ensure the sustainability and evolution of the clothes. 

By now Tinie’s long forgotten as each model stalks down the catwalk to puffa DJ’s painfully hip soundtrack. Nikki Lowe dazzles with gold lamé suits complete with built-in gloves worthy of an evil Jackie Collins penned character, but flashlight necklaces add a distinctive disco feel caught somewhere between the 1970s and the 1990s.

Miranda Boucher’s collection is a dark and luxurious celebration of femininity with plush midnight blue coats and velveteen details just obscuring the model’s modesty.  

Emma Philpot’s knitwear seems to grow from the models bodies, twisting and turning upon itself and forming knots and twists likes a chunky chainmail, while Tiffany Williams continues the fairytale edge with her menswear collection in dark, brooding colours and heavy volume that weigh on the shoulders as a hulking, masculine presence. Backs reveal shimmers of gold thread intertwined, adding a lighter side to the depth of her work. 
Jenna Harvey’s dresses change at every turn as each layer of tiny fabric is double printed and loosely set so as it moves a new picture is revealed. At times it feels like 3D glasses are needed just to keep up with the transformation before your eyes.

Meanwhile, Phoebe Thirlwall’s beautiful knitwear dresses, inspired by the intricacies of the skin, show a level of workmanship that is breathtaking under the lights of the catwalk. Each ribbed layer clings to the models with hundreds of different levels working together. Her hard work has clearly not gone unnoticed as her work was also photographed by renowned artist Rankin, a stunning portrait duly displayed in grand terms at Earl’s Court.


 
Izabela Targosz’s equestrian turn on tailoring injects some more colour into Nottingham Trent’s show, with jackets made with horsehair pockets and backs adding a silky but quirky feel. Riding hats are the natural yet perfect accessory to a collection that shows an equal strength in its attention to detail for an upheaval of the British tailored look. 

Shinsuke Matsuoka’s work is saved for the final spot and with the breathtaking effect of the garments, it’s easy to see why. Bondage style zips snake across panels of black hi-shine material; the sound of the clothes are a foreboding presence in themselves, but as six outfits stand together the models are transformed into an unnervingly attractive chain gang from the future. I’m not sure if it was this effect or not, but my camera also spluttered its final breaths at this point, perhaps overwhelmed by the power of Matsuoka’s collection.

In any case, it proved a spectacular way to end things and is not something I can imagine being trumped by Tinie any day soon.

Images courtesy of catwalking.com


Nicola Roberts, cheapest illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.


Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’


Hilary Alexander, illustrated by Amy Martino

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.


Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghastly white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.


Zandra Rhodes, illustrated by Paul Shinn

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.


Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.


Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.


Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’

Categories ,Alberta Ferretti, ,Amsterdam Fashion Institute, ,Anna Lee, ,Awards, ,Big cats, ,Britain’s Got Talent, ,Caryn Franklin, ,Diversity, ,Dylan Jones, ,Earls Court, ,Elle Magazine, ,Erin O’ Connor, ,Fashion Week, ,Gala Show, ,GFW, ,girls aloud, ,Gold Award, ,Graduate Fashion Week 2010, ,International Show, ,Kim Jones, ,london, ,Lorraine Candy, ,Manchester Metropolitan University, ,menswear, ,models, ,Naomi Dominique, ,Naomi New, ,Nicola Roberts, ,Northbrook College, ,Northumbria, ,Rebecca Thompson, ,Rhea Fields, ,River Island, ,Roya Hesam, ,Textiles Award, ,Ticker Tape, ,Womenswear, ,Zandra Rhodes

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Amelia’s Magazine | Graduate Fashion Week 2010: The Gala Show Finale!


Shinsuke Mitsuoka

The world of fashion is notoriously fickle and grabbing the attentions of a fashion crowd for any extended period of time seems tricky. Catwalk shows do their best with an array of light shows and thumping soundtracks which could sometimes do with a warning.

Nottingham Trent have prepared it all for their outing at Graduate Fashion Week with glossy door staff, medications designer goody bags and even a rather trendy loitering DJ (wearing a somewhat dubious puffa jacket). They’re raring to go, remedy but there’s just one cog in the works; a serious lack of bums on seats. Well, there is of course the age old excuse of being fashionably late, but even the pinched smiles of women ferrying around have started to crumble.

All becomes clear as a dull thudding bass infiltrates the theatre and the sound barrier takes a bashing as the trill of hundreds of screaming girls hit the roof. Apparently Tinie Tempah is a big deal (and from the glimpse I got, genuinely teeny Tinie). He’s had all of one song, which luckily for Nottingham Trent, he dispatches quickly, and soon a bustle of activity swells at the theatre doors. If Tinie didn’t make them ‘Pass Out’ (see what I did there? Here all week folks…) then the efforts of Nottingham Trent’s 2010 graduates will surely do their best to stun the senses. 

Nottingham Trent has a clear passion for encouraging students to experiment with unique techniques and textures in knitwear, producing a modern and varied aesthetic across the course. Their catwalk show oscillates between detailed, intricate knitwear and sleek takes on womenswear with bursts of energy injected at intervals by the likes of Emma Dick, showcasing sharp, graphic prints of televisions and arrows just at home in a museum of Pop Art as the runway. Integrated hoods give the look a futuristic feel but there’s a touch of the retro about her two-tone body con jumpsuit with a classic 1960s palette contrast between red and black.

Nottingham Trent keeps the volume turned up with Claire Hartley’s cutaway knitted one pieces, exposing flashes of green, yellow and red for a futuristic sci-fi look. Hartley’s dedication to forward thinking stretches beyond the aesthetics as she hopes to generate a new innovative, zero waste policy in manufacturing to ensure the sustainability and evolution of the clothes. 

By now Tinie’s long forgotten as each model stalks down the catwalk to puffa DJ’s painfully hip soundtrack. Nikki Lowe dazzles with gold lamé suits complete with built-in gloves worthy of an evil Jackie Collins penned character, but flashlight necklaces add a distinctive disco feel caught somewhere between the 1970s and the 1990s.

Miranda Boucher’s collection is a dark and luxurious celebration of femininity with plush midnight blue coats and velveteen details just obscuring the model’s modesty.  

Emma Philpot’s knitwear seems to grow from the models bodies, twisting and turning upon itself and forming knots and twists likes a chunky chainmail, while Tiffany Williams continues the fairytale edge with her menswear collection in dark, brooding colours and heavy volume that weigh on the shoulders as a hulking, masculine presence. Backs reveal shimmers of gold thread intertwined, adding a lighter side to the depth of her work. 
Jenna Harvey’s dresses change at every turn as each layer of tiny fabric is double printed and loosely set so as it moves a new picture is revealed. At times it feels like 3D glasses are needed just to keep up with the transformation before your eyes.

Meanwhile, Phoebe Thirlwall’s beautiful knitwear dresses, inspired by the intricacies of the skin, show a level of workmanship that is breathtaking under the lights of the catwalk. Each ribbed layer clings to the models with hundreds of different levels working together. Her hard work has clearly not gone unnoticed as her work was also photographed by renowned artist Rankin, a stunning portrait duly displayed in grand terms at Earl’s Court.


 
Izabela Targosz’s equestrian turn on tailoring injects some more colour into Nottingham Trent’s show, with jackets made with horsehair pockets and backs adding a silky but quirky feel. Riding hats are the natural yet perfect accessory to a collection that shows an equal strength in its attention to detail for an upheaval of the British tailored look. 

Shinsuke Matsuoka’s work is saved for the final spot and with the breathtaking effect of the garments, it’s easy to see why. Bondage style zips snake across panels of black hi-shine material; the sound of the clothes are a foreboding presence in themselves, but as six outfits stand together the models are transformed into an unnervingly attractive chain gang from the future. I’m not sure if it was this effect or not, but my camera also spluttered its final breaths at this point, perhaps overwhelmed by the power of Matsuoka’s collection.

In any case, it proved a spectacular way to end things and is not something I can imagine being trumped by Tinie any day soon.

Images courtesy of catwalking.com


Nicola Roberts, cheapest illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.


Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’


Hilary Alexander, illustrated by Amy Martino

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.


Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghastly white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.


Zandra Rhodes, illustrated by Paul Shinn

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.


Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.


Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.


Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’

Categories ,Alberta Ferretti, ,Amsterdam Fashion Institute, ,Anna Lee, ,Awards, ,Big cats, ,Britain’s Got Talent, ,Caryn Franklin, ,Diversity, ,Dylan Jones, ,Earls Court, ,Elle Magazine, ,Erin O’ Connor, ,Fashion Week, ,Gala Show, ,GFW, ,girls aloud, ,Gold Award, ,Graduate Fashion Week 2010, ,International Show, ,Kim Jones, ,london, ,Lorraine Candy, ,Manchester Metropolitan University, ,menswear, ,models, ,Naomi Dominique, ,Naomi New, ,Nicola Roberts, ,Northbrook College, ,Northumbria, ,Rebecca Thompson, ,Rhea Fields, ,River Island, ,Roya Hesam, ,Textiles Award, ,Ticker Tape, ,Womenswear, ,Zandra Rhodes

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Amelia’s Magazine | Album Review: Nicola Roberts – Cinderella’s Eyes

nicola-roberts-by-marta-spendowska
Nicola Roberts by Marta Spendowska.

Nicola Roberts has been slowing creeping into my consciousness… first there was the reinvention as a fashionista as we started to spot her sitting on the front row at London Fashion Week.

Cinderella's-Eyes-Nicola-Roberts-cover-art
Then there have been the two singles which steadfastly refuse to tread the usual girl band solo rubbish. Beat of My Drum features Nicola jumping around to a cracked up bass line courtesy of Diplo and Dimitri Tikovoi. With lyrics clearly inspired by her first ugly duckling days as the youngest member of Girls Aloud, seek it is resolutely individual.

YouTube Preview Image

Then came the genius pop tune that is Lucky Day, website like this produced by Canadian electropop group Dragonette and shot by indie director Stephen Agnes in New York with Nicola wearing just one outfit, information pills a ridiculously short floral tent dress.

YouTube Preview Image

Now for the album: Yo Yo gleans its big retro sound from many an 80s pop anthem. Cinderella’s Eyes is a more obviously pop record, though it benefits from some particularly high episodes where Nicola sounds the spit of Kate Bush (no really). Porcelain Heart is another big and potentially commercial dance number.

Nicola-Roberts-by-Lizzie-Mary-Cullen
Nicola Roberts by Lizzie Mary Cullen.

Then comes her collaboration with the magnificent Metronomy; I benefits from a typically off kilter arrangement which begins with ethnic sounding plinky plonks that slowly creep to life. The track never shies away from Nicola’s occasionally shrill falsetto, instead toying languidly with it before fading out.

Nicola-Roberts--Red-Dress
Everybody’s Got To Learn Sometime, originally by The Korgis, is the only cover on an album that is otherwise entirely penned by Nicola herself. She manages to give the 80s track a suitably modern electro twist and it is on this that her voice sounds at its best. Say it Out Loud is another floor filler with a driving beat that builds to a nice crescendo before dying away in a Euro stylee. Gladiator sticks with the same sort of dance vibe, but with the addition of some quite bonkers lyrics.

Nicola Roberts by Dana Bocai
Nicola Roberts by Dana Bocai.

The Metronomy glitches are back with Fish Out Of Water, another song that harks back to Nicola’s less confident days. Take a Bite is a truly great tune, a real fighting anthem: check these lyrics. ‘Get your teeth round this open wide, Eyes bigger than your belly tonight, If you think you’re hard take a bite‘ and ‘Just because you’re twice the size of me, Doesn’t mean I’m scared of World War III, Sit back and grab a cup of tea, I’m gonna kick your arse now in 3D‘ As she states, ‘Everybody’s got a limit alright‘ and it looks like this deceptively frail looking woman reached hers some time ago.

Nicola Roberts Mushroom
The album ends on a the most downbeat song. Sticks & Stones covers Nicola’s hardest times as the most derided member of the band. ‘How funny that I was too young for so many things, Yet you thought I’d cope with being told I’m ugly.’

Nicola Roberts by David White
Nicola Roberts by David White.

I’ve always loved clever pop music and Cinderella’s Eyes most definitely fits the bill – it’s a great slice of off kilter ballsiness from the most singular and talented member of Girls Aloud.

Nicola Roberts Bench
It has been quite something to watch Nicola Roberts‘ transformation since Girls Aloud won Popstars: The Rivals nearly ten years ago. Looking back at the young girl who hid behind a thick smothering of fake tan, who could have predicted this outcome? Certainly not I… life really is full of surprises.

Cinderella’s Eyes is out now on Polydor. You can hear the whole album streamed here. But before you go, check out this brilliant b-side for Beat of My Drum.

YouTube Preview ImageDisco, Blisters & A Comedown.

Categories ,80s, ,Beat of My Drum, ,Cinderella’s Eyes, ,Dana Bocai, ,David White, ,Dimitri Tikovoi, ,Diplo, ,Dragonette, ,electropop, ,Everybody’s Got To Learn Sometime, ,girls aloud, ,Kate Bush, ,Lizzie Mary Cullen, ,London Fashion Week, ,Lucky Day, ,Marta Spendowska, ,metronomy, ,Nicola Roberts, ,Polydor, ,Popstars: The Rivals, ,Sound of the Underground, ,Stephen Agnes, ,The Korgis

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Amelia’s Magazine | Album Review: Nicola Roberts – Cinderella’s Eyes

nicola-roberts-by-marta-spendowska
Nicola Roberts by Marta Spendowska.

Nicola Roberts has been slowing creeping into my consciousness… first there was the reinvention as a fashionista as we started to spot her sitting on the front row at London Fashion Week.

Cinderella's-Eyes-Nicola-Roberts-cover-art
Then there have been the two singles which steadfastly refuse to tread the usual girl band solo rubbish. Beat of My Drum features Nicola jumping around to a cracked up bass line courtesy of Diplo and Dimitri Tikovoi. With lyrics clearly inspired by her first ugly duckling days as the youngest member of Girls Aloud, it is resolutely individual.

YouTube Preview Image

Then came the genius pop tune that is Lucky Day, produced by Canadian electropop group Dragonette and shot by indie director Stephen Agnes in New York with Nicola wearing just one outfit, a ridiculously short floral tent dress.

YouTube Preview Image

Now for the album: Yo Yo gleans its big retro sound from many an 80s pop anthem. Cinderella’s Eyes is a more obviously pop record, though it benefits from some particularly high episodes where Nicola sounds the spit of Kate Bush (no really). Porcelain Heart is another big and potentially commercial dance number.

Nicola-Roberts-by-Lizzie-Mary-Cullen
Nicola Roberts by Lizzie Mary Cullen.

Then comes her collaboration with the magnificent Metronomy; I benefits from a typically off kilter arrangement which begins with ethnic sounding plinky plonks that slowly creep to life. The track never shies away from Nicola’s occasionally shrill falsetto, instead toying languidly with it before fading out.

Nicola-Roberts--Red-Dress
Everybody’s Got To Learn Sometime, originally by The Korgis, is the only cover on an album that is otherwise entirely penned by Nicola herself. She manages to give the 80s track a suitably modern electro twist and it is on this that her voice sounds at its best. Say it Out Loud is another floor filler with a driving beat that builds to a nice crescendo before dying away in a Euro stylee. Gladiator sticks with the same sort of dance vibe, but with the addition of some quite bonkers lyrics.

Nicola Roberts by Dana Bocai
Nicola Roberts by Dana Bocai.

The Metronomy glitches are back with Fish Out Of Water, another song that harks back to Nicola’s less confident days. Take a Bite is a truly great tune, a real fighting anthem: check these lyrics. ‘Get your teeth round this open wide, Eyes bigger than your belly tonight, If you think you’re hard take a bite‘ and ‘Just because you’re twice the size of me, Doesn’t mean I’m scared of World War III, Sit back and grab a cup of tea, I’m gonna kick your arse now in 3D‘ As she states, ‘Everybody’s got a limit alright‘ and it looks like this deceptively frail looking woman reached hers some time ago.

Nicola Roberts Mushroom
The album ends on a the most downbeat song. Sticks & Stones covers Nicola’s hardest times as the most derided member of the band. ‘How funny that I was too young for so many things, Yet you thought I’d cope with being told I’m ugly.’

Nicola Roberts by David White
Nicola Roberts by David White.

I’ve always loved clever pop music and Cinderella’s Eyes most definitely fits the bill – it’s a great slice of off kilter ballsiness from the most singular and talented member of Girls Aloud.

Nicola Roberts Bench
It has been quite something to watch Nicola Roberts‘ transformation since Girls Aloud won Popstars: The Rivals nearly ten years ago. Looking back at the young girl who hid behind a thick smothering of fake tan, who could have predicted this outcome? Certainly not I… life really is full of surprises.

Cinderella’s Eyes is out now on Polydor. You can hear the whole album streamed here. But before you go, check out this brilliant b-side for Beat of My Drum.

YouTube Preview ImageDisco, Blisters & A Comedown.

Categories ,80s, ,Beat of My Drum, ,Cinderella’s Eyes, ,Dana Bocai, ,David White, ,Dimitri Tikovoi, ,Diplo, ,Dragonette, ,electropop, ,Everybody’s Got To Learn Sometime, ,girls aloud, ,Kate Bush, ,Lizzie Mary Cullen, ,London Fashion Week, ,Lucky Day, ,Marta Spendowska, ,metronomy, ,Nicola Roberts, ,Polydor, ,Popstars: The Rivals, ,Sound of the Underground, ,Stephen Agnes, ,The Korgis

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