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Amelia’s Magazine | Valentino: Master of Couture at Somerset House

Valentino A/W 2005 by Krister Selin

A recent viewing of the documentary Diana Vreeland: The Eye Has To Travel, a film dedicated to the infamous fashion editor’s pioneering feats, highlighted that going to a gallery to view exhibitions of living fashion designers is a relatively new concept. When Vreeland launched an Yves Saint Laurent retrospective in 1983 at the Costume Institute, she set a precedent for a legion of future fashion fairs.

In the modern era, fashion fans have no qualms about trading their hard-earned cash to gaze at frocks on mannequins and fashion retrospectives have dominated galleries with record-breaking visitor numbers. Presenting these exhibitions comes as a challenge to curators: no longer is it a case of whacking a few frocks on mannequins like you’re assembling a high street window display. A quick look at Viktor & Rolf at the Barbican, McQueen at the Met or Louis Vuitton/Marc Jacobs at Les Arts Decoratifs shows the dedication and commitment necessary to present fashion as art.

Valentino A/W 2002 and Natalia Vodianova by Cathleen Naundorf

What better way, then, to present Emperor of Couture Valentino Garavani‘s illustrious history than on one long catwalk? Avoid temptation to sashay past the tableaux as mannequins appear amongst elegant white chairs on either side of a runway, on which you’re the model. The Embankment Galleries at Somerset House have been transformed; no longer tiny catacombs, but brought together for dramatic effect.

Valentino A/W 2002 by Maya Beus

The lower floor showcases a number artefacts appearing in glass cabinets at the start of the exhibition. Letters from prominent designers and magazine editors celebrate Valentino‘s last milestone, his 45th anniversary as King of Couture, showering the Italian with praise for his record-breaking anniversary couture show at the Santo Spirito in Sassia in Rome. Glorious fashion sketches line other cabinets, but as was with Margiela and other exhibitions here, I found myself skimming past these in order to get to the main event upstairs.

Photographs courtesy of Somerset House/Peter MacDiarmid

And so the catwalk comes alive on the upper level, with a breathtaking 130 haute couture creations on models appearing as guests. They are arranged pretty haphazardly amongst the aforementioned white chairs, almost with abandon, without any rigid chronological order. Empty seats bear the names of the great and the good that have worn Valentino and attended countless shows: Princess Margaret, Elizabeth Taylor, Carla Bruni, Diane Kruger, Iman; Diana Vreeland herself.

Valentino S/S 1998 by Annie Rickard Straus

Valentino A/W 1992 by Sandra Contreras

La dolce vita comes alive as you make your way along the displays, featuring floor-sweeping gowns, kaftans, trouser suits and capes. I particularly enjoyed the 1990s section – creations designed with the decadent abandon of an era when the supermodel ruled fashion and Valentino, Gianni Versace and pals were bending over backwards knee-deep in gold chains to appease them. These pieces were without doubt the height of fashion, but have dated the most. Compare these to some numbers from the 1960s: they’re indistinguishable from the output of Maria Grazia Chiuri and Pier Paolo Piccoli, heading Valentino, over recent seasons.

Valentino S/S 2005 by Jamie Wignall

Valentino S/S 1969 by Maya Beus

The show’s dramatic finale sees Princess Marie-Chantal of Greece‘s wedding dress come to life on a dramatic platform. This pearl-encrusted ivory silk gown features a 4.5m train and 12 kinds of lace. Sure.

Princess Marie-Chantal’s wedding dress

While I wouldn’t wear it, it’s one of the greatest examples of dressmaking in history and this presentation allows you to see the astonishing detail in the flesh.

Valentino S/S 2004 by Krister Selin

I particularly enjoyed a personal tribute to le regazze – the girls – the loyal atelier that have produced innumerable tulles, mock-ups and eventual red-carpet-ready frocks for the Grand Master’s enormous following. They’re the stars of groundbreaking documentary film Valentino: The Last Emperor, bickering as they lovingly stitch the last couture collection by the man himself. In the exhibition we’re spoiled with an education of Italian atelier terms – such beauties as ‘Incrostazioni‘ ‘Drappeggio‘ and ‘Budellini‘, a couture technique specific to Valentino where double charmeuse silk is rolled and sewn around a looped length of wool. Each term has a visual representation, occupying a glass box and highlighting the important role that these individual processes have played in Valentino‘s roaring success.

Valentino A/W 2002 by Jamie Wignall

Valentino S/S 1998 by Sandra Contreras

Unmissable. Go.

Written by Matt Bramford on Friday December 7th, 2012 1:53 pm

Categories ,Annie Rickard Straus, ,Budellini, ,catwalk, ,couture, ,Drappeggio, ,Embankment Galleries, ,emperor, ,exhibition, ,fashion, ,Grand Master, ,Incrostazioni, ,Italy, ,Jamie Wignall, ,Krister Selin, ,le regazze, ,london, ,Marie-Chantal, ,Matt Bramford, ,Maya Beus, ,Natalia Vodianova, ,Peter MacDiarmid, ,Rome, ,runway, ,Sandra Contreras, ,Somerset House, ,The Last Emperor, ,Valentino Garavani

Amelia’s Magazine | Vivienne Westwood Shoes, An Exhibition 1973 – 2010, at Selfridges

Naomi Campbell wears Vivienne Westwood (1993), viagra sale illustrated by Krister Selin

It isn’t very often that a specific fashion designer is singularly celebrated for their contributions to fashion; when the V&A presented the Vivienne Westwood retrospective in 2004, medicine fashion fans were delirious at the opportunity to revel amongst the creations of our most fashionable Dame. This month, viagra the team at Selfridges reopen the Westwood archives and present a glorious exhibition devoted entirely to Vivienne Westwood’s revolutionary footwear.

Vivienne Westwood, illustrated by Abi Daker

What began as a calm stroll into central London on a bank holiday Monday soon descended into chaos – it was absolutely heaving (and to those of you shouting OF COURSE IT WAS YOU BLOODY IDIOT at the screen – yeah, I know). A text to remind me I was going to a party at Shoreditch House as early as 6pm didn’t help either, so me and the other half legged it down Oxford Street to catch the exhibition, and thank heavens we did.

Located in the chic Ultralounge on the lower ground floor of Selfridges (where previous exhibitions and pop-ups have occurred, including the brilliant 100 years of Selfridges display), the room features long rows of glass cabinets holding a huge selection of Westwood footwear from over the years. The black walls are sparse, with a few large images from advertising campaigns and of Our Viv herself dotted here and there, and a show reel of some of Westwood’s awe-inspiring catwalk shows at the back of the room, featuring a soundtrack of sexed-up national anthems and punk hits. It is, however, row after row of shoes displayed like the crown jewels that capture the imagination the most.

Ordered chronologically, the exhibition charts the literal rise and rise of Dame Viv’s footwear, from surviving examples from SEX and Seditionaries, (including leopard mules worn by SEX shop assistant Jordan) right through to Propoganda pirate boots (worn mostly by the gays and people from Leeds) and pairs seen at the most recent fashion weeks. The most interesting comparison drawn when you’ve seen every pair is that there isn’t much of a comparison at all – similar shapes and themes are echoed through the ages, shoes that have been consistently daring and innovative.

Illustration by Joana Faria

There must be over 100 pairs on display, all of which are a delight to view, but here are some of my favourites:

Mock Crock Elevated Gillie from Anglomania, AW 1993

Frilly petit-pied sandal (there is a shoe in there somewhere) from Blue Sky, SS 2005

Elevated court shoe in PVC, 1994, illustrated by Dee Andrews

Can shoes, from Ultra Feminity, SS 2003

Biba shoes, from Le flou taillé, AW 2003

MAN coin sandals, from MAN, SS 2005

Swarovski court shoe with Gina, from 56, SS 2008

The exhibition is supported by Melissa, the wonderful Brazilian-born ethical label that champions Melflex®, the recycled plastic phenomenon that uses sustainable and environmentally friendly production processes. Beginning with plastic versions of iconic Vivienne Westwood shoes, the collaboration has grown to include many of the archive styles on display at the exhibition (re-imagined in plastic, of course).

Exhibitions of this calibre, celebrating our fashion designers and presented so brilliantly, don’t come around very often. So if you’re in London and anywhere near Selfridges, do check it out – you won’t be disappointed.

Illustration by Meera Lee

Until 22 September, admission free.

Get all the important details here.

All photography by Matt Bramford

Written by Matt Bramford on Tuesday August 31st, 2010 3:33 pm

Categories ,1973-2010, ,catwalk, ,Dame Viv, ,exhibition, ,footwear, ,Jordan, ,london, ,Meliflex, ,Melissa, ,Oxford Street, ,Plastic dreams, ,Seditionaries, ,Selfridges, ,SEX, ,shoes, ,Ultralounge, ,va, ,Vivienne Westwood

Amelia’s Magazine | Yifang Wan, Fashion Scout Merit Award Winner: London Fashion Week A/W 2013 Catwalk Review

Yifang Wan A/W 2013 by Gabriel Ayala

Fashion Week A/W 2013 got off to a cracking start on Friday, for anybody who actually turned up. I didn’t, thanks to the effects of an anti-Valentine’s cocktail binge, instead spent the evening in bed with fish and chips and half a bottle of Rioja. So it was Saturday morning where my season started, heading as I did to this season’s Fashion Scout Merit Award winner – Yifang Wan.

Photography by Amelia Gregory

Previous Merit Award winners including David Koma, Felder Felder, William Tempest and Leutton Postle have all gone on to establish successful labels and the pressure of such previous acclaim must be terrifying — but its effects weren’t evident in this polished collection by Yifang Wan.

Yifang Wan A/W 2013 by Dom&Ink

All other photography by Matt Bramford

Record numbers packed the ‘white room’ of the Freemasons’ Hall, and so my view of the show was framed by a diminutive Frenchman wielding a vogue.fr microphone like a maniac and a very excitable girl with masses of hair. Her head was all over the place trying to secure a good shot and I was forced to perform a strange sort of swaying dance with my zoom lens, not unlike an Emperor penguin.

Yifang Wan A/W 2013 by Dom&Ink

I’d briefly taken an interest in Wan‘s work when the Merit prize was awarded at the beginning of the year, and her previous collections draw inspiration from her Asian heritage and long, draped silhouettes dominate her previous outings. So it was no surprise, in the best possible way, to see these themes continued for A/W 2013, with inspiration from performance artist ‪Marina Abramović‬, most famous for sitting in a smock and staring at New Yorkers in the MOMA for 700 hours.

Only four rich colours featured in this collection – deep blue, green, red and black in thick fabrics. Jackets came with triangular slices removed almost with abandon as fabrics draped asymmetrically and architecturally. Almost every piece skimmed the floor, while fabric swayed and draped in different directions with emphasis on Far Eastern cuts. Each piece was accessorised with intriguing angular sculptural pieces, some worn around necks, others carried almost like weaponry.

Yifang Wan is no stranger to awards, having won the L’Oreal Professionel Award at Saint Martins as an MA student. Her £25,000 prize this season will hopefully propel the designer’s label in the direction it deserves.

Written by Matt Bramford on Tuesday February 19th, 2013 1:31 pm

Categories ,A/W 2013, ,A/W’13, ,catwalk, ,Central Saint Martins, ,East, ,Fashion Scout, ,Gabriel Ayala, ,Kimono, ,marina abramovic, ,Matt Bramford, ,Merit Award, ,Orient, ,review, ,Yifang Wan

Amelia’s Magazine | Youjia Jin AW15: London Fashion Week Catwalk Review

Youjia Jin AW15-photo by Amelia Gregory 9
Everything about the Youjia Jin collection was well considered. Perfect tailoring was given a unique and fanciful twist, deftly playing with usual proportions and stylistic norms. A coat appeared one thing from the front and another from the back, with a swishing cape attached to a smartly tailored jacket. Sheer was combined with wool, cable knit provided detail on a pleated suit dress and gossamer light cascading ruffles adorned skirt waists, sleeves and hems. A traditional single breasted suit collar became the main feature on a coat dress. My favourite piece was a beautiful pinstripe wrap over dress that flared elegantly over a dark underskirt: so flattering and different.

Youjia Jin AW15-photo by Amelia Gregory 1

All photography by Amelia Gregory.

Youjia Jin AW 15/16 from FASHION SCOUT on Vimeo.

Written by Amelia Gregory on Friday February 27th, 2015 2:44 pm

Categories ,A/W 2015, ,AW15, ,catwalk, ,London Fashion Week, ,review, ,Show report, ,Youjia Jin

Amelia’s Magazine | Zeynep Kartal: London Fashion Week A/W 2014 Catwalk Review

Zeynep Kartel A/W 2014 by Melissa Angelik

Zeynep Kartel A/W 2014 by Melissa Angelik.

I was witness to the run through for Zeynep Kartal when I took a wrong turning at Freemasons’ Hall and ended up in the wrong venue… easy to do when the route to the shows are changed each season. This meant I already had a clear idea of the kind of thing to expect from this Turkish designer well before I sat down for the main event.

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynap Kartal A/W 2014 by Isher Dhiman

Zeynap Kartal A/W 2014 by Isher Dhiman.

The Manchester based designer boasts more than twenty years of experience in the fashion business, and for her first turn on the London Fashion Week catwalk she delivered pretty embellished evening wear fabricated from sheer and glitzy fabrics in an eye-pleasing colour palette of deep blue, blood red, gold and cream. Pattern details on this elegant and feminine collection were inspired by a combination of the Gothic revival architecture of Manchester’s Town Hall and Hollywood high glamour. The show ended with a fabulous 40s inspired wedding dress from her bridal range, but my favourite pieces (and the most fashion forward of the show) were those that featured a delicate all over sequinned zebra pattern. You can never have enough animal patterns in your life, you know.

Zeynep Kartal AW 2014-photography by Amelia Gregory

All photography by Amelia Gregory.

Written by Amelia Gregory on Thursday February 27th, 2014 7:20 pm

Categories ,A/W 2014, ,catwalk, ,Freemasons’ Hall, ,Hollywood, ,Isher Dhiman, ,London Fashion Week, ,Melissa Angelik, ,review, ,Town Hall, ,Turkish, ,Zeynep Kartal

Amelia’s Magazine | Mary Katrantzou: London Fashion Week A/W 2012 Catwalk Review

Mary Katrantzou A/W 2012 by Janneke de Jong

Allow me to depict the glamour of fashion week for you. My friends go green with envy when I say I’m ‘doing’ fashion week (or at least they used to, until they saw the state it left me in). My family start ‘wooing’ at the mere mention of it, baffled as to how a coal miner’s son is even allowed in to these places. I’m surprised they haven’t written a letter to the British Fashion Council asking them if they’ve gone mad.

Mary Katrantzou A/W 2012 by Lesley Barnes

Well, here’s how glamorous it is. I began day 5 – Tuesday – by dragging myself out of bed and squeezing myself onto the tube. Sweat poured down my face as I made the not easy decision as to whether to nestle into someone’s armpit or perversely gyrate against somebody’s back. I arrived at the Old Billingsgate venue at 8.30. I joined the standing queue, in the freezing cold, in which I waited for an hour trying to avoid idle chitchat with neighbouring standees. The sun glared on my face in an effort to render me blind. By the time we were allowed into the venue, we were herded like cattle onto a balcony overlooking the show, seats still visible. I felt like a child looking through a closed sweet shop window. Even the balcony was oversubscribed and I was elbowed from all directions. Not for the first time.

Mary Katrantzou A/W 2012 by Mitika Chohan

I could moan for a lot longer, but occasionally you see a show that makes it all worth it. Yes, my friends, it’s time for me to gush about Mary Katrantzou again.

I genuinely believe there isn’t anybody on the London Fashion Week schedule who is as inspiring, revolutionary and innovative as our Mary. There really is no wonder that it’s a scrum to get in, that social media goes wild post-show or that people fall to the floor at the mere mention of her name. Well, that last one I made up, but with the mighty Wintour in attendance the show kicked off and the room fell deathly silent. This season, Mary discovers the beauty in everyday items. Pencils, crayons, spoons and chess pieces are elevated to a sublime status. The invitation I had so carefully clung too in the queue – lenticular no less – featured a spectrum of crayons. It was this spectrum that would unfold in the show.

All photography by Matt Bramford

The first pieces in ivory reminded us of Mary’s unique silhouettes, not that we needed to be reminded. Structured tailoring of a contemporary nature was influenced by Victorian techniques, with exaggerated shoulders and bustle-like elements. Prints featured large spoons and coat hangers, transforming household staples into an iconic items.

Next came the hues – petrol blue, rich red, yellow and green numbers appeared. This season, for the first time, Mary presented ‘matching’ outfits – models wore the same colour head-to-toe. The humble HB pencil was repeated to create a bold, geometric print; a classic watch became the centrepiece of a striking cropped dress.

Mary Katrantzou A/W 2012 by Lesley Barnes

The fashion world mourned the death of François Lesage in December last year – head of Lesage, one of the last French haute couture embroidery houses. It is a fitting tribute that the house has worked with one of our brightest stars this season: the first time it has ever worked with a London designer. ‘No sequin is left unturned’ says Mary, which is pretty evident when you see these pieces. Body-con dresses were embellished with hundreds and thousands of sequins and jewels, and my photographs (and any that I’ve seen online) don’t do these pieces justice, which brought audible gasps to Old Billingsgate.

Mary Katrantzou A/W 2012 by Sarah Jayne Draws

Mary Katrantzou A/W 2012 by Nicola Ellen

There was a hint of old-school Versace in some of the prints, although I say that cautiously because I’ve been thinking that about everything since that infamous H&M collaboration. What this collection really sold was Mary’s inimitable style, whilst still being capable of offering something entirely different. At fashion week you generally find a really good print designer whose silhouettes could do with a bit of work, or vice-versa. But with Mary, you get both.

Mary Katrantzou A/W 2012 by Mitika Chohan

Hail Mary!

Oh, also – here’s that invite for fellow print pervs. Just wonderful.

Written by Matt Bramford on Friday February 24th, 2012 12:59 pm

Categories ,A/W 2012, ,Anna Wintour, ,AW12, ,Balcony, ,catwalk, ,François Lesage, ,Hail Mary!, ,Janneke de Jong, ,Lesage, ,Lesley Barnes, ,London Fashion Week, ,Mary Katrantzou, ,Matt Bramford, ,Old Billingsgate, ,Pencils, ,review, ,Spoons, ,topshop, ,Typewriter, ,Versace

Amelia’s Magazine | Ravensbourne: Graduate Fashion Week 2013 Catwalk Review

Illustration by Francesca Valorsa

As Northumbria University alumni, I haven’t missed one of their Graduate Fashion Week shows in the last eight years. Sadly, I broke this record this time around due to a rather tedious, but completely incapacitating 30th birthday hangover.

On top of this, I’ve had a holiday on the brink of collapse and a molar having a disco in my mouth. My chances of having any fun at GFW this year, thus, were minimal, but I couldn’t resist hot-footing along to Ravensbourne‘s outing on Monday. I had to get my fix of the latest fashion talent somewhere.

The A/W 2013 womenswear shows feel like only days ago and London Collections: Men kicks off in a couple of weeks. I always forget that it’s bloody hard work with the graduates: Ravensbourne presented no less than 25 collections, covering womenswear, menswear and textiles; all capable of catwalk conquering away from Earl’s Court. What I’m trying to say is that it’s like viewing 25 on-schedule shows at once – pretty exhausting.

Do you care? Probably not, so here’s a fruity rundown of some of my favourite graduates:

Graduate illustration by Phiney Pet

Josephine Pettman, aka Phiney Pet, opened the show with a stunning display of vibrant, illustrated textiles, sporty cuts and badge-emblazoned jackets.

Sofie Malmgren swiftly followed with a collection that couldn’t have been more different: a futuristic set of white, linear pieces with contrasting panels in varying materials and rectangular transparent clutch bags:

Tabitha Williamson‘s ethereal collection followed. Floor-sweeping numbers with balaclava hoods and masses of thick fabrics enveloped her models:

Illustration by Jack Bebbington

Menswear was abundant, with as much emphasis on radical fashion as well as commercial viability. William Baxter was the first to bring menswear to this show, presenting a selection of sharply tailored suits with an enlarged herringbone pattern, styled with a Great Gatsby influence:

Jane Swansbury‘s men were covered in tropical prints, featuring gorilla faces, hibiscus leaves and fruit and vegetables:

Illustration by Jane Swansbury

Sarah Frances Ratcliffe‘s expedition aesthetic proved popular, particularly metallic overcoats with hoods:

Jack Bebbington‘s oversized faux fur jackets and shorts also favoured the A/W season – I liked this a lot:

Illustration by Leanne Warren

Leanne Warren‘s capes featured intricate illustrations in vibrant colours:

Illustration by Chen-Yu Wang

…whilst Chen-Yu Wang drew inspiration from childhood, with this playful collection mastering oversized silhouettes. Knitted eyeballs and doll-like frayed hems featured:

Clio Peppiatt‘s collection was one of my favourites. Plastics, acid prints, chavvy styling, ridiculous blingy heels, burger handbags on chains and graffiti-esque burger patterns – what’s not to love?

In stark contrast, Madeleine Ayers‘ sleek collection drew comparisons to Japanese couturiers, with straight lines, unfinished hems and a monochrome colour palette:

Illustration by Anne Lina Dingsor Uudelepp

Anne Lina Dingsor Uudelepp‘s street fashion featured lots of striking prints and textures, styled with gold hoops and ghetto-gold jewellery:

Francesca Valorsa‘s ethereal veils, decorated with obscure faces, created drama and complimented her collection of intricate, haphazard fabrics:

Illustration by Charlotte Harris

…but it was to Charlotte Harris to close the show, whose collection of chunky knitwear, vibrant colours and metallic jackets brought whoops and cheers.

Written by Matt Bramford on Thursday June 6th, 2013 8:55 am

Categories ,2013, ,Anne Lina Dingsor Uudelepp, ,catwalk, ,Charlotte Harris, ,Chen-Yu Wang, ,Clio Peppiatt, ,Earls Court, ,Francesca Valorsa, ,Graduate Fashion Week, ,Great Gatsby, ,Jack Bebbington, ,Jane Swansbury, ,Leanne Warren, ,london, ,Madeleine Ayers, ,menswear, ,Phiney Pet, ,ravensbourne, ,review, ,Sarah Frances Ratcliffe, ,Sofie Malmgren, ,Tabitha Williamson, ,textiles, ,William Baxter, ,Womenswear

Amelia’s Magazine | Matthew Miller: London Collections: Men S/S 2014 Catwalk Review

Matthew Miller S/S 2014 – all photography by Matt Bramford

‘I AM NOT THE ARTIST. YOU ARE‘ declared Matthew Miller‘s press release, distributed along the white benches of the Victoria House, London Collections: Men venue. It was my penultimate show and the fatigue induced by fashion shows had well and truly set in. I needed something to perk me up if I was to make it to Xander Zhou at the end of the day.

Miller‘s ethereal show opening was just the ticket. Instead of music, a woman with dulcet tones harped on about the world through the speakers. An intense gent appeared, wearing only white tapered jeans, his back penned with the gallery cliché ‘UNTITLED MIXED MEDIA‘. The philosophy of the art world was to become Miller‘s branding for this season and was swiftly followed by a long-haired model with the same motif tattooed onto his chest. He carried a skateboard and wore jeans of a similar cut, this time in jet black. I liked the drama of it all, but I did ponder how long I could sit watching shirtless models wearing staple denim stroll past.

It wasn’t long, though, before Matty Miller‘s unique approach to menswear came to life. The relationship between fashion and art is a constantly evolving theory. Is fashion art? Is art fashion-led? Miller explored this concept by utilising the stark visuals of a gallery’s environment and interpreting it through clothing. His aim was to bring the haute pretensions of the art world down a peg or two.

Luscious sweaters really perked me up and I would never be able to decide which one to buy. A white crew neck had a subtle off white panel applied to the front and featured a gallery caption square on the reverse. Others carried a circular design making use of the ‘untitled’ motif, this time in a vinyl relief. I really enjoyed those. A stand-alone black version had the crowds launching their cameras into the air; a white version peaked from behind rigid denim. A black sweater with thick monotone blocks descending to white also stood out.

Sportswear is always a key factor in his collections (that’ll be his time at Umbro) and elements of this genre featured on most garments. Paper-like tops had hoods and front pockets. Trousers were cropped at the ankle. Black leather jackets with concrete toggles complimented these looks and reminded us of Miller‘s unique approach to materials.

Shapeless silhouettes in slim, straight fabrics came in a super-light grey, teamed with matching shorts, and this technique saw Miller show womenswear for the first season – smock-like dresses used darts to form angular shapes across chests.

It was left to raw denims, cracked paint finishes and unfinished hems to complete this visually stimulating and thought-provoking collection.

Written by Matt Bramford on Tuesday July 2nd, 2013 1:35 pm

Categories ,art, ,canvas, ,caption, ,catwalk, ,denim, ,Destroy to Create, ,fashion, ,Gallery, ,LCM, ,LCMSS14, ,London Collections Men, ,Matt Bramford, ,Matthew Miller, ,menswear, ,Radical Prototypes, ,review, ,skateboard, ,smocks, ,Sportwear, ,SS14, ,sweatshirts, ,Victoria House, ,Womenswear

Amelia’s Magazine | Rejina Pyo AW15: London Fashion Week Catwalk Review

Rejina Pyo AW15-photo by Amelia Gregory 5
Rejina Pyo chose an off schedule venue with intense wood panelling, the sense of intrigue heightened with rocks strewn about the darkened room. The same organic shapes were echoed in glittery foil prints on a selection of beautifully tailored jackets, 60s inspired skirt suits and drainpipe trousers. Cute day dresses were woven with strips of golden fabric, gold went all over in a stunning velvety denim cut suit, and dramatic sheers brought a touch of evening glamour for the more daring.

Rejina Pyo AW15-photo by Amelia Gregory 6

All photography by Amelia Gregory.

Written by Amelia Gregory on Thursday February 26th, 2015 11:15 pm

Categories ,A/W 2015, ,AW15, ,catwalk, ,London Fashion Week, ,Rejina Pyo, ,review, ,Show report

Amelia’s Magazine | MOSCHINO: London Collections: Men S/S 2015 Catwalk Review

Moschino S/S 2015 by Krister Selin

Moschino was the hottest ticket during London Collections: Men, and the 300-strong queue outside Lindley Hall was testament to that. Inside, the wall had been branded with a huge Moschino decal; cameras whirled above our heads on enormous tripods. The noise was deafening. Everybody seemed a bit sexier and they all had Moschino french fries iPhone cases.

My naivety, and inability to attend fashion weeks other than London-based ones, meant that I felt like I had been transported to a Versace show in Milan in the 1990s. My absolute favourite kind of fashion is trashy Italian fashion – the style of unashamed glamour that the Italians do so well, introduced in the 1980s and infamous in the 1990s. It brought us supermodels, leather chaps on the runway and more ghetto gold than you can shake a stick at. So when I found out that Moschino were to show at London Collections: Men, in our great city for the first time, I knew I’d bend over backwards to get in. Luckily I didn’t have to do that.

Moschino S/S 2015 by Krister Selin

Nobody seemed to be getting in from outside, and as I stood next to a woman dressed head-to-toe in that ridiculous, brilliant McDonald’s inspired ensemble, I envisaged a mass scrum and hours of waiting. I was surprised the show began a mere 20 minutes late. What happened after this is a bit of a blur, the atmosphere was so electric that I think I may have blacked out from excitement at one point.

All photography by Matt Bramford

Dishy models that must have been shipped in from Italy, or perhaps paradise, strode out to the sounds of a 1990s playlist. The first section turned soft drinks and pop culture into suits, t-shirts and swimwear. Then came brightly coloured tops, sweatshirts and bikinis emblazoned with enormous Moschino type.

Chanel 2.55 knock offs with gold Moschino letters replacing the interlocking C’s eveloped one model (above), one of my favourite looks from this show.

Next, on the World Cup bandwagon and a 1990s tip, models wore prints that were happy hardcore smiley faces featuring international flags. More 90s ephemera came in the form of oversized sweatshirts, nylon bomber jackets and black mesh pieces, with a yellow tailcoat tuxedo thrown in for good measure, naturally.

Then came a sort of homage to a range of luxury fashion houses – a mock Louis Vuitton monogram print appeared on jackets and trousers, the LVs replaced with serif Ms. A ‘Fauxchino‘ motif, added to my wishlist, looked so trashy that it could have been bought from a seaside market.

Want to dress like an Hermès carrier bag? Well now you can with Moschino‘s bright orange denim jacket and jeans with black Moschino logo strips. If Hermès isn’t your bag, perhaps a Versace-esque black and gold suit will suffice?

Rhinestone dollar signs and logo sweaters completed this collection:

I love the shocking, shameless abuse of other designer brands to glorious end. That’s a somewhat difficult sentence to type amidst outrageous alleged cases of high street copycats and even fashion powerhouses ripping off London designers, but Jeremy Scott and the label pull off the plagiarism with such panache that nobody seems to bat an eyelid. This blatant disregard for intellectual property has been at the heart of the brand since Franco Moschino launched his eponymous label in 1983. And, if this collection is anything to go by, Scott is without doubt the best person to take the Moschino crown. I’m praying he brings his army of merry men and women back next year.

Written by Matt Bramford on Friday June 27th, 2014 11:18 am

Categories ,1990s, ,catwalk, ,fashion, ,Gucci, ,Hermés, ,Italian, ,Jeremy Scott, ,LCM, ,LCMSS2015, ,Lindley Hall, ,London Collections Men, ,Louis Vuitton, ,menswear, ,Monogram, ,Moschino, ,pop culture, ,review, ,SS15, ,Swimwear, ,Versace, ,Womenswear

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