In a strange part of town, viagra in a venue that gave no clue as to why it existed (apart from having the appearance of a Travelodge) Andrew Majtenyi presented his debut collection.
I must confess, sildenafil before the show I knew little about Majtenyi, so I had zero expectations. It was, in the end, a very polished show.
No major boundaries were pushed; there’s still an omnipresent recession-friendly vibe at Fashion Week, yet Majtenyi’s collection was a positive one.
Sharp, tailored outfits with girlish softness were influenced by 1940s New Look optimism – in an environment of economic recovery, I guess we’re looking for the same attitudes from tailors as the admirers of Dior did during his time.
A grey palette really suited these simple, elegant pieces, and structured business-like ensembles managed to be flirtatious with shorter hem-lines.
The collection progressed to include playful and humorous prints, which included dog-walkers and ketchup bottles. These also added a splash of colour to an otherwise monochromatic colour palette.
Flannel grey structured suits were given an edge with a flocked damask treatment, and thin belts synched in waists to create a more flattering silhouette.
All in all, a good show, but I’d really like to see Majtenyi’s outfits on curvaceous women with a touch more sex appeal – did anybody check these girls’ BMI?!
In a strange part of town, page in a venue that gave no clue as to why it existed (apart from having the appearance of a Travelodge) Andrew Majtenyi presented his debut collection.
I must confess, viagra approved before the show I knew little about Majtenyi, physician so I had zero expectations. It was, in the end, a very polished show.
No major boundaries were pushed; there’s still an omnipresent recession-friendly vibe at Fashion Week, yet Majtenyi’s collection was a positive one.
Sharp, tailored outfits with girlish softness were influenced by 1940s New Look optimism – in an environment of economic recovery, I guess we’re looking for the same attitudes from tailors as the admirers of Dior did during his time.
A grey palette really suited these simple, elegant pieces, and structured business-like ensembles managed to be flirtatious with shorter hem-lines.
The collection progressed to include playful and humorous prints, which included dog-walkers and ketchup bottles. These also added a splash of colour to an otherwise monochromatic colour palette.
Flannel grey structured suits were given an edge with a flocked damask treatment, and thin belts synched in waists to create a more flattering silhouette.
All in all, a good show, but I’d really like to see Majtenyi’s outfits on curvaceous women with a touch more sex appeal – did anybody check these girls’ BMI?!
In a strange part of town, medicine in a venue that gave no clue as to why it existed (apart from having the appearance of a Travelodge) Andrew Majtenyi presented his debut collection.
I must confess, before the show I knew little about Majtenyi, so I had zero expectations. It was, in the end, a very polished show.
No major boundaries were pushed; there’s still an omnipresent recession-friendly vibe at Fashion Week, yet Majtenyi’s collection was a positive one.
Sharp, tailored outfits with girlish softness were influenced by 1940s New Look optimism – in an environment of economic recovery, I guess we’re looking for the same attitudes from tailors as the admirers of Dior did during his time.
A grey palette really suited these simple, elegant pieces, and structured business-like ensembles managed to be flirtatious with shorter hem-lines.
The collection progressed to include playful and humorous prints, which included dog-walkers and ketchup bottles. These also added a splash of colour to an otherwise monochromatic colour palette.
Flannel grey structured suits were given an edge with a flocked damask treatment, and thin belts synched in waists to create a more flattering silhouette.
All in all, a good show, but I’d really like to see Majtenyi’s outfits on curvaceous women with a touch more sex appeal – did anybody check these girls’ BMI?!
In a strange part of town, buy in a venue that gave no clue as to why it existed (apart from having the appearance of a Travelodge) Andrew Majtenyi presented his debut collection.
I must confess, cheapest before the show I knew little about Majtenyi, find so I had zero expectations. It was, in the end, a very polished show.
No major boundaries were pushed; there’s still an omnipresent recession-friendly vibe at Fashion Week, yet Majtenyi’s collection was a positive one.
Sharp, tailored outfits with girlish softness were influenced by 1940s New Look optimism – in an environment of economic recovery, I guess we’re looking for the same attitudes from tailors as the admirers of Dior did during his time.
A grey palette really suited these simple, elegant pieces, and structured business-like ensembles managed to be flirtatious with shorter hem-lines.
The collection progressed to include playful and humorous prints, which included dog-walkers and ketchup bottles. These also added a splash of colour to an otherwise monochromatic colour palette.
Flannel grey structured suits were given an edge with a flocked damask treatment, and thin belts synched in waists to create a more flattering silhouette.
All in all, a good show, but I’d really like to see Majtenyi’s outfits on curvaceous women with a touch more sex appeal – did anybody check these girls’ BMI?!
London Fashion Week can be very inconsistent indeed. You fight for a seat on the front row for a show which gives you nothing but a headache, unhealthy and then you see a show showcasing four different designers who are all outstanding.
This was the case at Vauxhall Fashion Scout’s Ones To Watch yesterday evening, approved representing up-and-coming designers Askh, visit web David Longshaw, Eudon Choi and Florencia Kozuch.
Kicking off this show, Eudon Choi‘s pieces were understated yet chic, fusing elements of military with aspects of contemporary menswear tailoring. His women were sassy, strong, and super-confident. Military greens and greys had an Orwellian feel – whilst intricate panelling and short, short hemlines added a touch of sex appeal. Touches of warm red added an inviting splash of colour.
Next up, David Longshaw‘s designs were more feminine, and made good use of floral prints and graphic patterns. Dresses were split diversely into blocks, with bolero-capped capes and a-line skirts; each part of a different material or design. OTT jewellery by Kirsty Ward gave the outfits a lift, and the show-piece – with large shoulder accents – showcased some pretty embellishment.
Askh presented both womenswear and menswear; the former including body-con sheer dresses with masses of tangled loops – could they be bra straps perhaps, or a nod in that direction? Either way, they fused sportswear with underwear and created interesting shapes. The menswear, whilst not as outlandish, showcased ceramic embellished knitwear, in hues of grey and khaki.
Florencia Kozuch dresses unafraid and stylish women and was the highlight of the show. Flamboyant, chunky knitwear, so light it bounced like clouds, held this collection together. Chic 1980s boater hats were embellished with wooden sticks and gave a modern touch to the outfits, and a bondage bustier had real sex appeal.
We’re hoping to see much more of these guys during future seasons.
Categories ,A/W 2010, ,Askh, ,David Longshaw, ,Eudon Choi, ,Florencia Kozulch, ,London Fashion Week, ,Ones To Watch, ,Vauxhall Fashion Scout
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