1930s

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Piers Atkinson

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Illustration by Krister Selin

Christopher Shannon burst back on to the catwalk on Menswear Day at London Fashion Week in typical chav-luxe fashion. Menswear day was a bit hot and cold this season – some of the shows were extremely busy, information pills but when I arrived at Christopher Shannon’s there didn’t seem to be that many attendees, no rx so I plonked myself on the front row and fiddled with my iPhone in a bid to look belonging and important. I even adjusted my crumbling posture (which is hella difficult after the cruel strains of back-to-back slumping at shows).


Illustration by Michelle Urvall Nyrén

The show soon filled up, viagra sale mind, and I was squashed along the frankly miserable BFC benches. Shannon’s infamous taste in music with which I wholeheartedly side (Rihanna’s What’s My Name and Te Amo being this season’s choice tunes) began the show, and out popped the street-cast models we’re familiar with. Some of them look terrified, some achingly nonchalant, but all are suited to Shannon’s unique take on menswear.


All photography by Matt Bramford

A mix of jersey sweatshirts, scarves and oversized rucksacks started the show – each with a Shannon twist. Shirts were cut through the middle to mix up the patterns – this time with a more ‘worldly’ influence. His obsession with sportswear derives from the fact that wherever you go, ‘there’s always sportswear’ – too true – and Shannon has drawn upon the variations of sportswear in different cultures for this ‘Hold Yer Head Up’ collection.


Illustration by Oscar Rubio

Bolder prints – abstract forms that have a more biological feel (influenced by his affection for David Attenborough!) make up the body of designs. Later came shirts separated down the middle in varying ways – sometimes texture, sometimes colour. Some shirts had woven-blanket details with different kitsch embellishments – a surprising move but a welcome one nonetheless.

Shannon’s clean nylons were spiced up with some frou-frou details this season – I wouldn’t be seen dead in any of this (mostly because my friends would snort, point and laugh) but I think the aesthetic of it is just fabulous. The lights, imposing over the catwalk, bounced in between each ruffle to give a shiny, futuristic look. A colour palette of navy blue, black, grey came with splashes of colour from the woven elements and bits of baby pink to remind us that this is still sportswear. Flat caps and flashy vibrant trainers complimented each outfit.


Illustration by Maria Papadimitriou

Much preferred the Eastpak collaboration rucksacks this time – again, the woven blanket details showed up and looked ace.

But, in spite of all this, I’ll forever remember Christopher Shannon’s A/W 2011 outing for those incredible Frank Sidebottom-esque hair-dos and embellished eyebrows. Why, you might ask? Because this is FASHION, darling.

See more of Krister Selin and Michelle Urval Nyrén’s illustrations in Amelia’s Compendium of Fashion Illustration!


Illustration by Michelle Urvall Nyrén

On Saturday 19th February I wandered down a rainy Frith Street to see milliner Piers Atkinson’s A/W 2011 collection.

Atkinson has an interesting background having originally studied graphic design, viagra before becoming involved with millinery he worked in PR for Zandra Rhodes, Mandi Lennard and Blow. He then became fashion editor at Disorder magazine before establishing The Daily for London Fashion Week. To ‘let off steam’ during this time he produced a small series of hats that would become his debut collection.


Illustrations by Joana Faria

Presented in Franny’s Pop Up Gallery opposite Ronnie Scott’s, the restaurant venue didn’t really give an indication of what would be on display, but Frith Street (just off Old Compton Street) was the ideal location given the themes in the collection.


Illustrations by Karolina Burdon

Atkinson drew on 1930s Paris for inspiration for Autumn Winter 2010, taking his cues from cabaret, bygone opium dens, drag queens, showgirls and back alley romance.  Familiar base shapes in a palette of navy, aubergine, black and gold were adorned with eccentric oversized fruits, giant pom poms, glitter and ostrich feathers. The range of avant-garde pieces would make Lady Gaga proud; she is already one of Atkinson’s high profile fans having worn a piece constructed from telephone components.


Illustrations by Ankolie

Also on display were photographs of Atkinson’s infamous acquaintances along with some of his lesser-known friends.  Mostly shot in Dalston back streets after dark, they could just as easily have been taken in 1930s Paris.

Obviously hard-to-miss were the eye-catching berets topped with neon lights, while classic shapes in suede were punctuated with gold plated studs. Veils were accented with diamantes… and glittering aubergines with 24 carat gold leaf. ‘Les Fruits de la Nuit’ featuring ‘hyper cherries’ and Atkinson’s signature lips embroidered on a tulle veil was a real winner, too!

More hyper cherries, this time in 24 carat gold leaf:

Illustration by Michelle Urvall Nyrén

‘L’Heroine’ with fab ‘chinchilla coque feather overdose’:

Illustration by Michelle Urvall Nyrén

Unfortunately I couldn’t make it to the party in the evening, but apparently whilst guests watched a performance by Anna Piaggi, two of the hats were stolen, but luckily for Piers and his team they were returned just as promptly as they disappeared.

See more of Joana Faria and Michelle Urval Nyrén’s illustrations in Amelia’s Compendium of Fashion Illustration!

Written by Naomi Law on Thursday March 10th, 2011 11:02 am

Categories ,1930s, ,A/W 2011, ,Ankolie, ,Blow, ,Cabaret, ,Cherries, ,dalston, ,Diamante, ,Disorder Magazine, ,Drag Queens, ,Frannie’s Pop Up Gallery, ,hats, ,Joana Faria, ,Karolina Burdon, ,Lady Gaga, ,London Fashion Week, ,Mandi Leonard, ,Michelle Urvall Nyrén, ,millinery, ,Naomi Law, ,Opium Dens, ,paris, ,piers atkinson, ,Presentation, ,review, ,Zandra Rhodes

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Amelia’s Magazine | Elizabeth Lau: New S/S 2012 Season Preview Interview

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Elizabeth Lau by Madi
Elizabeth Lau by Madi.

The delightful Elizabeth Lau has quickly built up a strong reputation as a quirky and playful designer to watch. In this interview I discover how she started her label, what influences her designs, and what defines an Elizabeth Lau girl.

Elizabeth-Lau-Bamboozle
When did you complete your studies at UCA Epsom and how long did it take to set up your own label?
I completed my Fashion Design degree in 2000, and worked first as an assistant stylist and then as an accessories designer in Hong Kong. During this time, I realised that I enjoyed it more when I was designing for myself and then I knew I wanted to launch my own label. Once this decision was made, everything happened super quickly as I knew exactly how I wanted the branding to be. From conception to having the first collection ready was 5 months. Looking back, launching the brand was the easy part. Keeping the label growing has been a lot harder, especially when you are a self funded indie brand. I wouldn’t mind having parents who own a factory or are in the fashion industry, as we probably wouldn’t have made so many costly mistakes!

Elizabeth-Lau-by-Kenza-Bennani
Elizabeth Lau S/S 2012 by Kenza Bennani.

Did you always know what kind of creative direction you would take?
In terms of branding, I always knew exactly how I wanted everything (logo, labelling, website and presentation materials) to look. All the graphics/web designers/artworkers we work with can testify that I am a control freak!! As for the design direction, I only design items that I would wear myself, so the brand is a true reflection of me, my loves and my personality. Very self indulgent but I have kept true to this throughout the life of the brand. The brand direction is always evolving as I am evolving as a person, but it still maintains its core values.

Elizabeth-Lau-First-Mate
Elizabeth Lau by Janneke de Jong
Elizabeth Lau S/S 2012 by Janneke de Jong.

Was knitwear always an integral part of your idea? What do you think makes your knitwear so special?
Initially we presented dresses, outerwear and a couple of cardigans. Although designing and pattern cutting dresses and coats was a real labour of love for me, over time it was clear that our knitwear sold much better and was what buyers honed in on. This had a big impact on the direction of the brand. Demand meant we could meet the factory minimums without having to pay a surcharge or order more than necessary, so we started to offer more knitwear as a result and work to this strength. I think our knitwear has done well because it is of good quality, offers something different to what is in the shops but is still wearable and well priced. I try and come up with some original ideas every season.

Elizabeth Lau S/S 2012 by Fay Newman
Elizabeth Lau S/S 2012 by Fay Newman.

What do you think defines the Elizabeth Lau look?
It is a contrast of sweet and cool, naïve yet chic. We came up with this definition a few seasons back and I think it really sums up the Elizabeth Lau London look.

YouTube Preview Image
How did you choose the model Annie Monroe for your S/S 2012 video? What were you looking for?
It was a stroke of good luck! I tweeted I was model casting for the S/S 2012 video and the lovely Ellen Burney (contributing editor to Lula) suggested Annie Monroe. I was already a fan of The Like and their 1960s style. I was looking for someone who would be a natural in front of the camera and not afraid to dance, so I knew Annie would be perfect for the video. We were over the moon that she was in London and that she agreed to do it. Everyone in the team agreed she was a real star; ultra professional, chilled and easy to work with. She got the vibe of the video straight away and improvised all her moves on the day. Then the techie wizards Future Jim and Jamie Ace did their magic and voila!

Elizabeth Lau SS 2012 by Hollie McManus
Elizabeth Lau S/S 2012 by Hollie McManus.

What inspired the S/S 2012 collection and how do you filter these references into a unique offering?
S/S 2012 started off with our muse Olive Oyl (a childhood favourite) and grew from there… colours, ideas from the comic strip, the look of Olive and what I imagined her to wear now, and I guess most obviously a nautical theme and everything that comes with that mixed in with my signature style. I try not to over think it and inspirations are quite loosely interpreted.

Elizabeth-Lau-Nipper
What kind of girl enjoys wearing Elizabeth Lau?
I think it is girls who are individuals and appreciate clothes that are well cut, witty and fun. They are likely to be whimsical but also possess an inner confidence. My brand is not dictated by seasonal trends so they will wear Elizabeth Lau simply because they love it. I don’t want there to be an age limit either, as girlish charm is something that remains with you always.

Elizabeth Lau by Gareth A Hopkins
Elizabeth Lau S/S 2012 by Gareth A Hopkins.

Where can people buy Elizabeth Lau clothes?
Independent boutiques such as Fifi Wilson, Donna Ida, Amelie and Nola. We have stockists and a loyal following in Japan and the Far East. When I get around to perfecting it, my e-boutique will be opening sometime in February!

Elizabeth-Lau-Mast1

Written by Amelia Gregory on Thursday January 26th, 2012 8:42 pm

Categories ,1960s, ,Amelie, ,Annie Monroe, ,Donna Ida, ,elizabeth lau, ,Ellen Burney, ,Fashion Design, ,Fay Newman, ,Fifi Wilson, ,Future Jim, ,Gareth A Hopkins, ,Hollie McManus, ,Hong Kong, ,Jamie Ace, ,Janneke de Jong, ,Kenza Bennani, ,knitwear, ,Lula Magazine, ,Madi, ,Madi Illustrates, ,Nola, ,Olive Oyl, ,S/S 2012, ,The Like, ,UCA Epsom

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Amelia’s Magazine | Bauhaus: Art as Life at the Barbican Art Gallery

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T. Lux Feininger’s Sport at the Bauhaus by Scott Nellis

A retrospective of a German modernist design movement seems like a slightly curveball choice whilst London is busy boasting about everything British. Even Tate, notorious for shunning British artists at its Modern site, celebrates Damien Hirst this summer. In Hirst fashion it’s rumoured that he kicked up a fuss at the thought of exhibiting at Tate Britain, and even paid for the floors of Tate Modern to be reinforced to accommodate his dead animals in tanks, leaving Tate Britain tenuously linking Picasso to British artists (and, hilariously, dealers) in its Picasso in Britain major exhibition. Even so, the theme of London’s galleries seems to be how great Great Britain is. Except, it seems, for the Barbican.


Bauhaus by Sam Parr

Nevertheless, I was excited to see what this new retrospective would offer. A visit to the Bauhaus Archiv in Berlin is a must for any design perv. I’d clocked that this Barbican showcase was in association with said archives so my feelings were mixed – would it be pieces I’d already seen, rehung in a different fashion?


The Barbican from above, by Morgane Parma

Unusually (I think) this exhibition begins on the upper floor of the gallery, which had punters looking a bit bemused at the bottom of the stairs, most of them deciding to begin on the ground floor and bottle-necking one of the lower exhibition rooms. I stifled giggles as I crept upstairs where it was relatively quiet. I couldn’t help thinking that Gropius, Mies Van Der Rohe, Moholy-Nagy and pals would be pretty happy that their work and influence were being celebrated in the Brutalist concrete alcoves of the Barbican Art Gallery. The first room charts the opening of Bauhaus at Weimar and Walter Gropius‘ educational approach, particularly the Programme of the State Bauhaus in Weimar, a hefty text which has since become known as the Bauhaus manifesto. There are a few interesting pieces in these early rooms – particularly Lyonel Feininger‘s woodcut for the manifesto cover, on loan from MoMA.


Walter Gropius by Scott Nellis

The rest of the upstairs takes us on a tour of the early years of Bauhaus the ‘return to crafts’, showcasing the school’s impressive roster of teachers including Klee and Kandinsky; ‘salute to the square’, discussing the turning point in 1923 where Bauhaus progressed from emphasis on craft to its more rational aesthetic with which we associate the school today. One room, ‘instruments of communication’ got me particularly hot under the collar, showcasing some of Bauhaus‘ incredible typographic and editorial design work and many examples of Bauhausbücher produced between 1925 and 1930. The eclectic style of early Bauhaus print had by this point been replaced with a slick, efficient design aesthetic – geometric shapes, simplified information and even printers’ marks. In my humble/honest opinion, it’s some of the sexiest graphic design ever created.


All photography by Jane Hobson courtesy of the Barbican Art Gallery

It’s downstairs where the exhibition really comes alive, though, through tangible design, photography and costume, charting the move to Dessau, Bauhaus’ final home. Vibrant photographs document life at the school – sport, recreation, teaching, socialising. Dramatic photographs of the building itself show what a marvel it must have been, from Gropius‘ futuristic design to Marcel Breuer‘s tubular-steel furniture. The exhibition opens up here and it feels slightly overwhelming at first, particularly as you’ve been guided so carefully around the upstairs rooms.


Oskar Schlemmer’s Triadisches Ballett by Niki Groom

It was a challenge not to go wild as I surveyed the space, with costumes from Oskar Schlemmer‘s Triadisches Ballett that I hadn’t seen in Berlin, Josef Albers‘ nest of tables and club chair, Marcel Breuer‘s Wassily chair… it was a feast for any design fancier. Pig in proverbial shit, you might say.


Bauhaus (with Marcel Bruer chair) by Gilly Rochester

I could talk more about the pieces but any of the Bauhaus publications do it much better, so I’d recommend, if you can, to just go and bloody see it for yourself. You won’t be disappointed.


Ludwig Mies Van Der Rohe by Sandra Contreras

In 1933, after only 14 years, the Bauhaus dissolved under Mies Van Der Rohe‘s leadership. The Nazis grew ever anxious about what the school represented. Hannes Meyer was dismissed due to Communist leanings; Kandinsky‘s work had to be hidden because of his Russian background and funding was withdrawn. A poignant letter hangs as the last exhibit, written by Mies Van Der Rohe to the final students of Bauhaus, detailing its closure. It’s a poignant end to an exhibition that celebrates the enduring legacy and worldwide impact of the school.


All photography by Jane Hobson courtesy of the Barbican Art Gallery

Written by Matt Bramford on Monday May 14th, 2012 4:38 pm

Categories ,1920s, ,1930s, ,Archiv, ,Archives, ,Art Deco, ,art gallery, ,bauhaus, ,berlin, ,Damien Hirst, ,design, ,Dessau, ,editorial, ,Germany, ,Kandinsky, ,Klee, ,László Moholy-Nagy, ,london, ,Ludwig Mies Van Der Rohe, ,Lyonel Feininger, ,Marcel Breuer, ,Modernism, ,MOMA, ,Nazis, ,picasso, ,publishing, ,Tate, ,typography, ,Walter Gropius, ,Weimar

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