She sounds delicate, lookwebsite like this pretty and well.. wonderful. Floating folk, her music is ethereal and yet very raw. We at Amelia’s have been fans of Nancy Elizabeth for yonks. See the review of her album, Wrought Iron, available on the Leaf Label, here. Then see live reviews, here and here from 2007. This is our first interview with her. She is simply charming as you can read. Enjoy.
You sound so relaxed when you play your music, it’s like having a massage listening to you! Are you a very relaxed person? Erm, It’s hard to tell how relaxed you yourself are because you have nothing to measure it against. I’ve never been inside someone else’s mind to see how it is. Nevertheless, I do feel at home on stage even though I hate people staring at me. It’s a strange juxtaposition. I’m generally a relaxed person I suppose. I hate rushing and spend a lot of time day dreaming.
How did you get to where you are today?
I have a great mentor, Daisaku Ikeda, who has taught me never to give in to disbelief and doubt. I adore making music, so I do as much of it as possible.
Have you always been creative?
Yes, it’s quite tiring. I am always thinking of sounds and images and how to make new things. Having said that, I don’t know if I’m that creative. I do create a lot of stuff, but again, I’ve never been inside the mind of an accountant so I don’t know what that’d be like. I imagine everyone is creative, just in different ways. I can’t create a spreadsheet that will calculate the cost of cornflakes to save my life, because I don’t care. Some people do! I think creativity is the desire to do something and the necessary inspiration to do it, whatever it may be. Some people have that for cooking, some people have it for equations. I have it for music and words.
What musical instruments do you play and when did you start learning them?
I generally play anything that comes my way. I’ve got a piano and a guitar and a little harp and a few other stringed instruments, a celeste, synths, bells, drums. Loads of stuff. My house is a nightmare. Can’t move for instruments. They’re not designed to be economic with space. I started with the piano when I was ten but I hated having lessons so I rebelled and taught myself guitar. From then on I’ve collected various things and ended up falling back in love with the piano, but on my own terms, not the teacher’s terms.
Who inspires your music?
Everyone I meet. I particularly adore Aphex Twin and I’d love to be inside his mind for a moment. I also love poetry and dialects.
How do you use the countryside/city/people as tools to write your lyrics?
I don’t really think about that. I live in a city. I sometimes go for walks in the countryside. I’m always writing so it makes no difference where I am. I use my own feelings as inspiration and both people and places being out different feelings so I try and mix it up as much as possible. I’ll be out clubbing one week and staring at a mountain the next. I have loads of different kinds of friends and enemies. It’s all a rich tapestry to me.
It’s so easy to become immersed in your music and drift off to a little world. Would you say your lyrics are your almost like your ‘own world’?
Yes. I find it really hard to deal with the reality of paying my rent and organizing paperwork. I’m 100% completely absorbed by my story of life and I live it like it’s a book unfolding. I sometimes want to shoot myself in the head and put a rest to it all but I don’t have a gun and anyway, even struggling to pay my rent is a story and a new chapter so I embrace it all. My songs are most definitely like chapters in a story. I don’t even care if no one cares. I am living out my life like a play and I love all the characters dearly. If I didn’t have many different kinds of sub plots and storylines going on then I wouldn’t be able to understand or relate to any one else’s story. It’s all interesting. I think I will write music until I die.
Does it ever make you feel vulnerable, articulating and exposing it?
Not really. In this modern age people seem to think you’ve got to put on some kind of show, especially in the arts. I am completely myself. I believe that my life is perfect as it is, with all it’s flaws and foibles. Surely I would not be happy if I felt I had to hide it? I think that sometimes people don’t like my level of honesty but I am happy this way so I will keep on writing music that is a representation of how I feel and if no one likes it I don’t worry. I don’t think that other people’s opinion’s has any bearing on how valuable what I do is. This is the only way to not end up making shit, lifeless music, or die of heartache in an industry and world where money and fame are the only accepted ways to measure success. It might sound arrogant, but it’s just self-belief, the two are not the same. I believe in myself completely, but I also have absolute belief in other people.
How do you escape it and free your mind?!
Day dreaming, dancing and the odd pint.
Is it hard to sit down and motivate yourself sometimes? How do you do it?
Yes I sometimes put off what needs to be done because it feels like the task it too big and everything is hard and scary. This never benefits me but I’ve learned not to give myself a hard time for it. I think motivation comes in direct proportion to how inspired I feel, and how inspired I feel comes in direct proportion to how much I’m striving to understand the purpose of my life. As I say, going out for a pint usually helps, as does eating curry and turning my music up loud and dancing around.
Where did you grow up, and where do you reside now?
I grew up in the wonderful town of Wigan and I now live in my beloved city of Manchester.
How important is ‘home’ to you? Do you get nostalgic?
I’ve wondered about this loads. I’m in love with the North of England. I really love other places too, but a few years ago I realized that I always measure everything against what I first knew… Wigan. I suppose the word “home” means, the place where you consider to be the centre of your world. Of course that can mean many different things. Geographically, at least, that will always be Lancashire for me. I always wear rose tinted spectacles when it comes to Lancashire. Red ones, of course.
How do you challenge yourself?
Ooo that’s a big question. I’d like to say I go for a jog at 6am everyday but that would be a giant lie. I try and read and see something good in people who I might dislike. If I just outright hate them then I’ll try and understand why and take a look at myself. I try and make my fingers play things they don’t want to on the piano, but only if it sounds good. Drumming is great for me because I usually can’t physically do what is in my mind, but after a good practice it all comes right. That is great.
What are you working on now?
MY THIRD ALBUM! God only knows when it shall be ready. I’m not rushing.
Thank you x
Nancy will be playing three more dates this month. See them here.
Illustration by Artist Andrea
This is my first front row show at London Fashion Week, buy so I’m terribly excited. So far I’ve been stomped on, prostate pushed and poked in my attempt to view the catwalk, viagra sale so this good fortune is very much welcomed. A photographer makes his way down the catwalk before the main event starts and snaps the front row. I’m not sure I should be here, but I smile like I own my seat. And as the lights dim, then brilliantly alight once more, my camera is swiftly awakened; lens cap off, switch flicked on, pointing to shoot. Queue the music and it begins.
Monochrome trails the catwalk with authority and chic; a combination of dark strong leather shorts and skirts and light flowing chiffon shirts. Military tailoring softened with fluidity. They’re embellished with a bullet detailing, which, I later learn, is inspired by the Georgian National Ballets costume worn by male ballet dancers. The Georgian National Ballet costumes have also been the source of inspiration for a variety of designers. Did you know that writer Terry Nation’s creation of the Daleks in Doctor Who was inspired by costumes of the Georgian National Ballet too?
The hair compliments the theme. Long Heidi style plaits, careful topknots and intricately braided updos. Clean, neat, confident. And what of the shoes?! I’m tempted to pull a pair of Lako Bukia stunning signature (Mary Jane-esque) heels right off the pretty feet of an unassuming model.
The catwalk changes colour, as the black and whites retreat and the wines, dusky pinks and pearly greys glide in. Colours are good. Colours make me happy. Beautiful swirling chiffon skirts accompanying softly draping silk shirts, then leather trousers and leather skirts and leather shouldered chiffon shirts.
On float dreamy wispy dresses. Criss-crossing leather straps add a touch of the urban, reigning in the wearer, back to the city, whilst shoulders of golden coins encourage indulgence and a retreat into the sublime.
But it’s the finale that really causes ooohing and aaahing and eyes to widen. A deep blood red dress, its upper half blanketed in golden coins and a skirt that sweeps the floor and ripples as the model moves. It’s obviously the piece the designer is most proud of, as she captures the stage accompanied by her final piece.
More applause and then it’s over and the audience is rushing to get to their next show. A guest sitting in the row behind me is trying to get a hold of something under my seat, so I turn to help her. She jumps back.
“Erm… Can I have your goodie bag,” she asks coyly. Oh my! She had just tried to steal my goodie bag and I had almost let her, I realise. I smile and decline her request. I should probably thank her for alerting me. I’m feeling almost guilty for refusing her now, but hey, this is my first London Fashion Week goody bag and I’m taking it!
Olivia Rubin’s show was to be held at Jalouse in Hanover Square – a place I’d hear of but never actually ventured in to. It was to be my last womenswear show (although I didn’t know it at the time, ed such is life!) and after a long, grueling day I needed a big drink. Luckily, these were on hand.
Outside, glamorous ladies and gents queued to get in, all throwing their tickets into the air, shouting the names of their publications or various relationships with Olivia. When I finally got inside, the Only Way is Essex girl group Lola were being ravished by a pack of pervy photographers screaming their names. To my left was Danielle Lloyd, an intriguing shade of orange; to my right, Jason Gardiner sat in a booth surrounded by a harem of orange honeyz. Konnie Huq was there. What the hell was going on? I was completely baffled. We’d featured Olivia in the past – I adored her artists-inspired collection, but I had no idea she had such an, erm, orange following.
There were no seats available – the show was to take place on a precarious plinth around the main area of the club, with guests littered around the plinth in sunken seats. I positioned myself by a wall and necked a cocktail. Whilst waiting for the show to start, I Twittered and checked my emails, slightly aware of somebody standing next to me but not looking up to notice. Hilariously, it was contributor Lauren, who had been stood there for a good ten minutes without either of us realising. This is the kind of thing that happens to your brain during fashion week. I could have been stood next to Naomi Campbell and wouldn’t have noticed (not that Lauren isn’t gorgeous herself).
The show began to rapturous applause, with the first model coming out from behind a make-shift backstage area right behind where I was standing. It was difficult to know where to look, and I missed the first few outfits due to glaring at the audience and being mesmerised by Jalouse’s crystal ceiling.
Olivia has quickly risen up the fashion ranks with her playful, vibrant prints using a whole load of inspiration. This time was no exception – brick patterns, speech bubbles, floral prints on silk and animal prints were all on display under the glittery lights. The shapes and cuts seemed a little more sophisticated this time around – Olivia’s staple playful dresses were still there in vibrant colours, but the addition of figure-hugging jersey tops and cropped trousers added a new, demure look. Lace details had been added to some pieces, sexing them up a little. Jersey and silks had been married for great effect. Sexy translucent shirts worn over lace underwear add even more kink to this fab collection.
Many of the pieces featured wrap-around details that flatter the figure – not that any of these hot models needed any flattering, but I imagine that sweeping necklines and pinched waists can be pulled off by even the most Rubenesque figure. Longer, almost floor-length numbers with vibrant graphic patterns closed the show – the final walkthrough leaving me on edge as these glamorous girls in vertiginous heels swaggered around the raised plinth.
One of the Only Way Is Essex birds, illustrated by Lisa Stannard
After the show, me and Amelia enjoyed a cocktail or two and had a bit of a gossip, keeping one eye on the attendees. We stood near the official photo point, me with my camera around my neck – one of the guests asked if I could take her picture. She didn’t ask why I was taking pictures or which publication I was from, she just wanted her photograph taken. Well, why not? Here she is – I hope she sees it (and likes it, obv).
Krystof Strozyna showed on Friday 17th February in the Fashion Scout salon. I dashed in at the last minute, giving me pole position at the end of the catwalk.
This was a more sombre showing than is usual from the renowned Polish designer, featuring a predominantly neutral colour palette of black, cream, sand and milk chocolate – a flash of royal blue in the form of two sexy silk dresses provided welcome relief.
The collection featured asymmetric shaping that revealed large expanses of thigh, zippered blouse details combined with sheer panels, and draping aplenty. Having spent so much time at Fashion Philosophy Fashion Week Poland over the past few seasons I now recognise all these elements to be the backbone of a typically Polish aesthetic, and unfortunately I felt that Krystof Strozyna was playing it incredibly safe. The demands of commerciality could well be exerting a strong hold over the designer these days: come back, experimental Krystof of yore.
All photography by Amelia Gregory.
Written by Amelia Gregory on Wednesday February 22nd, 2012 5:26 pm
Only if resident LC:M hunk David Gandy has been wheeled in will you find a tedious tailored three-piece suit at a KTZ show – and that’s exactly why I bloody love going.
The usual onslaught of chaos occurred outside, but I knew that once inside, it would be relatively empty. In the basement of Victoria House, I was right – rows of empty seats were frantically being filled as I picked a good standing vantage point from which to view this season’s bizarre brilliance.
A KTZ menswear show tends to feel comfortingly familiar, yet entirely different. The ambiguous, evocative symbols that mix Sanskrit with religious symbols with godknowswhat adorned most garments, black and white dominated this collection and the silhouettes were as dramatic as ever. So what do you do to mix things up a bit? Paint the bloody models ice white, of course. This is definitely not a show to appeal to the Harris Tweed brigade.
Pieces seemed to be bigger than ever this season. XXL hoods draped over models past the knee; furs, scarves and thick fabrics enveloped models’ faces and necks; a sort of Arctic exploration on LSD. I was dazzled by caps with metal embellishments, metal headpieces that crept down foreheads, jewels attached to sweatshirts that had been arranged in a precise, mathematical fashion, and skintight jumpsuits that were so low cut that they revealed navels.
The tribal, cultish vibe remained at this collection’s core, its mix of graphic emblems and experiments with fabric keeping every audience member’s attention all the way through over forty looks. I won’t even attempt to define it, categorise it, or discuss it in terms of how wearable, sellable or functional it is. That would be a mistake. It’s better to sit (or stand) back, revel in the showmanship of it all, then stock up on Snazaroo face paint when you get home.
Written by Matt Bramford on Thursday January 30th, 2014 6:08 pm
It was at 9am when I rolled up at the Old Sorting Office for my first show of this season: KTZ. After a few too many Tequila-based cocktails at the Agi & Sam party the night before, I wasn’t in the best of states, but I was pleased (for myself, not for KTZ) to find that the venue wasn’t heaving. A raised standing area occupied one corner of the space and I was pleased that the organisers of London Collections: Men had finally given some thought to this issue.
Kenny Larkin‘s Drama remix of La Fleur’s Nightflow began pumping through the sound system, reawakening the remains of the previous night’s alcohol binge. I quickly found myself in the mood for what was about to be KTZ‘s best outing yet.
Inspiration this season came from Greek Hekatontarchs perfectly married with, as always, elements of street wear and hip hop culture. Pieces seemed infinitely more wearable this time, too – when you remove the sculpted torsos and headline-grabbing headwear. The opening section stayed true with the brand’s monochrome philosophy, starring oversized tops, pleated skirts, translucent shirts revealing bare torsos and basketball shorts. All of the above featured KTZ‘s staple ambiguous patterns; I noticed lightning bolts and elements of Greek architecture hidden amongst these ostentatious designs.
The latter section introduced a vibrant orange to the rest of the looks. Enveloping jackets, baseball caps, bombers with multiple pockets and tassels and towelling shorts were all highlights as the tangerine warriors drew cheers from the cavalry of KTZ fans inside.
The final pieces involved plastic weaves and tessellating plastic shapes: modern day armour for the modern day fashion fan. It was an incredible mix of historical references and contemporary styling and set a very high precedent for the next couple of days.
Written by Matt Bramford on Thursday June 19th, 2014 3:47 pm
Regular readers of my London Fashion Week reviews (Hi mum, sorry I haven’t called, been busy) will know that I absolutely adore KTZ. If I could only choose one show to see each season it would probably be this – so it was disappointing that both myself and Amelia hadn’t received any tickets this time. The show had been moved from its regular spot on menswear day to fit in with the womenswear schedule – a move not so surprising considering the KTZ womenswear is usually what gets people talking. This also might explain the lack of tickets – but it was thanks to fashion superhero Lida over at The First To Know that I managed to get in.
Inside, it was already approaching capacity with barely enough room to swing a Canon zoom lens. I managed to perch on the end of a row – one cheek on, one cheek off – as the aisles began to fill up also. Now I don’t want to get above my station but I’ve seen some really, really bad fashion etiquette this season. It seems there are more and more people desperate to take photographs, with people standing up in all rows to try and secure a less blurry shot. It makes for a messy looking show, with some people even resorting to lying on the floor. I dread to think what kind of immoral images they take of the poor models.
I had just enough time to scan the crowds for celebrities before the show began – I think there was a member of The Saturdays (I could be wrong) who looked like she’d been getting ready since 2004. The lights fell, the infamous eardrum-bursting music began and this season’s KTZ extravaganza opened with a monochrome all-plaid number. I hadn’t had time to survey any show notes in part because I was trying to work out whether Girl From The Saturdays was actually from The Saturdays – and sometimes this makes the show more interesting, when you have no idea what to expect. This opening number featured a loose-fitting jacket in heavy tartan fabric, embellished with silver pearls and worn over matching layers – herringbone and smaller tartans – all brought together at the waist with a deep belt featuring ‘KTZ’ in metal.
The tartans kept a-coming, and I would even be so brave to suggest that tartan might be a trend, if people still really worry about things like that. Gorgeous plaid in bright yellow and rich red appeared, styled similarly in Yohji Yamamoto-esque coats with askew proportions and leather and gold accessories. A little bit punk, a little bit New Romantic (styled with flat, shapeless caps) and a LOT of fun.
On the bottom half, tartans came on pleated skirts – sexier than kilts, cut much higher above the knee. Digital-print skirts carrying constellations almost went unnoticed amongst such vibrant fabrics.
As usual there was a huge element of mystery to this collection – as it progressed, models wore huge capes printed with ambiguous religious symbols and monk-like hoods that managed to be sexy and scary at the same time. This section of the show would most certainly have had Dan Brown soaked.
The offerings for fellas seemed a lot stronger this year and the relationship between menswear and womenswear was the most married I’ve seen from KTZ so far. Tartan caps and puffa jackets carried fur trims, large scarves with said symbols were worn across the chest, and hooded cassocks had a surprisingly masculine effect.
The finale brought a few unusual pieces that came as a bit of a surprise – it made the collection seem a little incoherent, but this is KTZ and they can be as incoherent as they bloody like for all I care – leave orderly collections to the Jasper Conrans of fashion, I say. Pinstripe New Romantic-proportioned blazers were embellished with hundreds and thousands of shimmering stars for the gents; for women this treatment appeared on a body-conscious one-piece. A black cropped-sleeve dress, covered completely in black jewels, brought gasps from the guests on my bench.
Reviewing my photographs, I haven’t even mentioned the Versace-esque printed dress with Baroque and tartan fused together perfectly in print, OR the Chanel-esque twinset and baggy sweater. Oh! It was wonderfully exhausting as always, and a massive relief to see that, even in an age of austerity, KTZ will continue to invite us (ahem) into their weird and wonderful dreams.
Written by Matt Bramford on Monday February 27th, 2012 11:45 am
A while back I happened to catch a performance by Lissie at the Old Queens Head in Angel. I hadn’t planned on watching her – truth be told, more abouthealing I was there to check out the band before her ; but my curiosity was piqued as I watched the room fill up with an expectant and excited audience, rx all craning their necks and standing on their tippy toes to get a better view of the girl serenading us. It’s been a while since I saw someone so captivating. Golden haired, this site freckled and just a slip of a thing, Lissie entranced the room who in turn treated her to a hushed and reverential silence, punctuated only by bursts of spirited applause and cheers. I watched the audience watching her. Everyone seemed transported out of their location; away from the top room of a pub on grimy old Essex Road and into the world that Mid-Western native come Californian girl Lissie inhabits, laced with the scent of orange blossom, filled with wide open skies, winding rivers and smokey mountains, and night-times spent on porches with nothing but a guitar, a couple of beers and a pack of Marlboro Reds . No wonder we were all captivated.
A couple of weeks later, I got to meet the busy Lissie. In the time between, Lissie had appeared on Jools Holland, toured around Europe, duetted with Ellie Goulding at The Great Escape, and graced the airwaves, all in the name of the hectic promotion of her debut album, Catching a Tiger (hot on the heels of the release of last years Why You Runnin’ EP). The phrase ‘riding a juggernaut’ comes to mind with Lissie; bursting into our consciousness with the brightest of starts. The day we met was a rare moment of down time; her touring schedule is in a constant state of flux – stretching to accommodate gigs that are being added on a daily basis, and Lissie had only just made it back from the previous nights gigs in Manchester and Newcastle. Curled up wearing her newest acquisition – a red jacket with white piping brought from a charity shop up North which made her look, she remarked cheerily, like “Santa Claus”, she lamented the ever decreasing amount of free time but was laughingly quick to note that it’s “a quality problem- it’s only busy because it’s going well, if no-one liked the music then there wouldn’t be things for me to do!” As Amelia’s Magazine is nothing if not versatile in its roles, I was happy to take on the guise of English Tourist Board representative, and suggest a list of places to visit when she finally gets a day off; though when that day will be, we will never know! ( FYI, Lissie was especially keen on the visit to Hampton Court Palace idea). As she munched on a healthy beetroot salad – my lunch advice was a visit to Mr Jerk in Soho for some fattening salt fish patties; probably best that not all of my suggestions get listened to) – I decided to find out just where this spirited… got her start in life.
I always loved to sing, I was a pretty outspoken, strong willed little kid! I got a little shyer and more introverted when I got older but as a kid I used to stomp my feet when I walked (swings arms in a very determined manner), I was always talkin’… My family were really sweet and encouraging, but at school I would get into a lot of trouble because I would talk back, I always knew what was best for me, and when other people used to tell me what was best for me, I would be like “uh oh! Not gonna do it!” (laughs) I loved to sing, so becoming a songwriter was a great way for me to express my feelings, you know. I wasn’t always great at talking about things, and so I could write these little melodies…. even as a little kid, I would sing my feelings. I sang to my sister; I do recall tape recording this mean song about her, and leaving a tape recorder about her under her bedroom door and then pressing play and running away! (laughs) And then in high school I went through my phase of being more introverted – I pierced my nose, got a tattoo, started smoking,….I did my own thing cause I didn’t really fit in to any particular group. I started writing music, taught myself guitar and then started working at this coffee shop where I could play.
What type of music were you listening to then?
Music wise, when I was younger I was into folk, Americana, musical theatre, and then in high school I was into country and gangsta rap
Those are two very different genres!
You wouldn’t think that these are similar in any way, but when you listen to either country or rap, it’s people telling their story. Indie rock can be more obtuse or obscure. Country and rap is some one speaking in the first person, you know? It’s more like, “this is my story, this is my experience.”
Do you respond to music that is more heartfelt and honest?
Totally, but I like all kinds of stuff. Although I don’t really listen to music to get inspired for my own music.
Did you move to California immediately after high school?
First I went to Colorado, to go to study at Colorado State. I was playing music and sang with a DJ there, and he ended up getting our song placed on tv shows. That was a catalyst for me; I realised that I could make a living making music, maybe eventually a good living! And then I went and did a semester of school (our version of uni) in Paris. I was singing there as well; I met a woman who helped me get shows in bars, and I also got some stuff played on college radio. After that I dropped out of school, and moved to LA – only cause I figured that that’s where you go when you want to be a singer!
Comparisons have been made to the hazy and bohemian rock n’ roll that came out of Laurel Canyon in the 70′s (think Joni Mitchell, The Doors, and Stevie Nicks). Lissie’s 2010 version is honed from living in an area not more than a mile or two away; Beechwood Canyon, a creative hub of artists and musicians and a world away from the plastic glamour and sheen of Beverly Hills. Los Angeles is known for chewing up and spitting up many a wide eyed starlet and ingenue, but strong-willed Lissie was never going to be one of the victims….
I don’t know if it’s me being stubborn, or being from the Mid West, but….I’m not bullshit, I don’t want bullshit in my life. I’m still nice, you know? I was never tempted by (the LA madness.) I always knew what I wanted to do. And I wasn’t immediately successful… I had figured that by 22 I was gonna make a record, and I didn’t make one till I was 26. But I was never like “I’m never going to be successful, maybe I need to be skinnier, or prettier, or I need to start doing drugs!
A year ago (while dealing with the messy end of a relationship) Lissie made a decision – part gut instinct, part cosmic order – to leave LA and head north to the tranquil town of Ojai, a place that she had never even stepped foot in…
Do you get inspired by the peace of Ojai?
Unfortunately i was more inspired to write when I was in Hollywood, because there was more more me to get worked up about. (sighs) There was this guy that I dated…… we broke up and our breakup process was drawn out and painful, which gave me a lot of material (laughs). Part of the reason why I moved was because it felt like my family was broken, and I needed a change. I put it out there; I was on a plane coming back from Tennessee and…. sometimes I just say what I want, and try to have faith that it will happen, and this is the weird thing; I found myself sitting next to two people who lived in Ojai, and I told them that I was heading back to LA, and they suggested I visit Ojai. So I got back to LA and instantly knew that I couldn’t be there; there was something in me that said “you have to move to Ojai, even though I had never been there before!” I went online, and found this house that cost less than my apartment in LA . I put down a deposit and moved, gone! And it was the best thing for me. I totally healed my heart there, and got myself in a position where I could really focus on myself, and what I need to do. I live alone, with my dog, I go for walks. And I make a ton of pie! (laughs)
So you have a summer of touring in England?
Yeah, every day we get a revised schedule. We’re (Lissie and her band) doing festivals for the next few months, and in October, November and December there will be at least one thing a month going on in England, so it’s unclear whether we will just stay here or start our momentum in the States, ’cause I still have to go promote my album over there. I don’t exactly know what’s going to be happening, but it’s all good.
Don’t miss this opportunity to catch some of the best up and coming fashion designers showcasing their work in such a wonderful setting, so very far from the usual hubbub associated with urban fashion shows.
Of course I couldn’t resist putting a sneak preview of the best designers out to a host of illustrators…
Models will be provided by Elite, which might well excite the man in your life… and this major model agency will also be scouting the festival for the next big thing. Ooo-eeeee. Will you be down by the lakeside this weekend?
Written by Amelia Gregory on Wednesday July 14th, 2010 12:24 pm
LCF BA(hons) Fashion Design Technology Womenswear by Fanni Varga.
London College of Fashion took over Shoreditch this week to present their graduating collections for 2015. The former Nicholls and Clarke Building has been commandeered (until tomorrow) and for the first time all graduates from LCF are showcasing their work together.
Monday night saw the top twenty graduating fashion design students present their work at a lavish catwalk show. I only know it was lavish because I saw it being streamed at the George & Dragon boozer an hour or so later; I couldn’t get in the actual venue because it was massively oversubscribed. Amelia, toting visible pregnant belly, managed to score a seat inside, but I settled for a prime spot just outside the entrance and photographed the models as they emerged in groups from a purpose built marquee. It had all the glamour of a school sports day, but you can’t beat early evening summer light for pictures and there was much less of a scrum.
As per usual, the standard was exceptionally high, but I’ve picked a few of my favourites:
Natalie Ballout
Natalie Ballout opened the show with an army of peace sign-touting models. Netting, knitwear and rope made up these complex creations with punk influences.
All photography by Matt Bramford
Oilam (Louisa) Pang
Oilam (Louisa) Pang was first up representing menswear. Traditional tailoring was mixed with sportwear influences in a polished collection that wouldn’t look out of place at this weekend’s upcoming London Collections: Men showcase.
Chunyin Marc Mok
Chunyin’s sculptural pieces looked 2D with paper-like fabrics constructed in intriuging, non-conformist shapes, but it will be his futuristic foam footwear that his graduating collection will be remembered for:
Isobel R. Cook, Giverney Volrath and Jay Biscarra
Isobel R. Cook and Jay Biscarra’s collections were shown together, I assume, because they were strikingly similar in inspiration and reference. With hints of tribal designs and an exotic jungle palette, both men and women wore laser cut armour-like creations and thick wool coats. Giverney Volrath produced the striking laser-cut embellishments.
Fanni Varga
Distressed fabrics and obscure seams in unusual places made Fanni Varga’s collection ethereal and futuristic – a theme that ran through many of the graduate’s work.
Jinwoong Bang
One of my favourite menswear collection’s was by Jinwoong Bang. White in colour with lots of sportswear influences, the collection was incredibly slick. Burst of orange, including sports stripes and cropped jackets, made the collection cohesive.
Kenji Lau
Kenji Lau continued the warrior and protest theme initiated by Natalie Ballout’s show opener. Models with Middle Eastern headwear covering eyes carried enormous flags, with textiles by Angela Domale. Garments were heavy, covering the models’ bodies, and featured unfinished edges and many tassles.
Marianne Tse-Laurence
Marianne Tse-Laurence’s menswear was in stark contrast to the aforementioned collections for gents. Arctic explorer types wore furs and thick overcoats in cold winter colours, teamed with long frayed skirts.
Geneviève Pinette and Lisaveta Haponenka
A welcome relief from the dark, heavier collections – Geneviève Pinette’s future disco attire was a firm favourite. Vibrantly coloured dresses had rigid inserts that toyed with the models’ silhouettes; dark tights had haphazard attachments and metallic strips with textiles by Lisaveta Haponenka.
Dan He
The penultimate collection in the show, Dan He’s was a real stand-out. Exaggerated silhouettes, including bell-shaped skirts, oversized circular jackets and wide-legged trousers, all appeared in the same cream/peach tone. Jordan Byron Britton’s millinery topped off the collection perfectly.
Catherine Wang and Camila Lopes
Closing the show, Catherine Wang presented striking hand-painted (I think) dresses in various shapes. Shoestring straps held them up as they draped down models and tied the dresses in different places, creating dreamy, swirling shapes with textiles by Camila Lopes.
The exhibition runs until tomorrow – more details here.
Written by Matt Bramford on Friday June 12th, 2015 11:14 am
I’ll put up my hands and admit that as a girl, healthmedications not yet a quarter of a century old, remedy talking about music is utterly intimidating. Yet I try. At some point in my life I’ll make a concerted effort to dance about architecture too. There is an endless wealth of information on bands that have already been, that I am never, ever going to be able to catch up on. Yet I try. As a music fan (enough to write about it), I’m embarrassed to admit that I only really discovered my, now, all time favourite band, Talking Heads within the last five years. I know, shoot me down. My convoluted point is that, as much as I try and piece it together, I can only imagine what The Slits releasing ‘Cut’ meant to the females and general youth and music fans of 1979. Yes there was a sex bomb fronted Blondie, intriguingly androgynous Patti Smith and unconventional Kate Bush, but an all female, punk rock band that posed naked on their album sleeve and generally didn’t give a f***. No one saw that coming and their influence has reverberated ever since.
Fast forward then 30 years and their new album, Trapped Animal, has been unleashed to a society that is certainly far from sorted. But can the music still have the same punch? The garage approach of Cut has inevitably given way to a slicker product all round. That same mixture of reggae rhythms, scratchy guitars, anger and mischief abounds. Rather than sounding like a band thirty years past their prime, as could be said of many a reunion album, there is a freshness that means you could be mistaken for thinking you’re hearing the latest South London council estate collective. This could be explained by the new multi-generational line-up that features Sex Pistol Paul Cook’s daughter, Hollie. You also get the impression that frontwoman Ari Up has as much energy as her fourteen year old self that met original member, Palmolive, at a Patti Smith gig.
Lyrically, the album doesn’t stretch the boundaries of the concept of rhyming but you wouldn’t hear Girls Aloud bemoaning of “Men who want us to be their mother/Men who hate us because of their mother.” Where the Pop Idol-ers are concerned with their “cappuccinos to go-o”, Up and her girls are hollering about ‘Peer Pressure’, “issues with child abuse” and eschewing the shackles of a nine to five: “We don’t pay rent with a passion, and we don’t wanna follow fashion.”
The fact that foul-mouthed Lily Allen launched her career on the wave of reggae-tinged pop is no accident. The Slits invented the model for anti-establishment, men-bashing, unselfconscious pop and even though this new offering will never live up to Cut standards, it’s a welcome return of punk’s finest.
Helping to keep the pressure on governments across the world, health activists in Australia held a mass action last week against Hazelwood Coal Power Station, erectile one of the dirtiest in the world. The climate camp held a day of planning and workshops, nurse followed by the day of action where a group of over 500 people placed a ‘Community Decommission Order’ on Hazelwood to switch on the renewable energy transition.
Twenty-two people were arrested on the day and, with the Governments lack of conviction, it seems many more are ready for the same sacrifice. As one secondary school teacher put it, “not such a big sacrifice in the scheme of things.” Looking at pictures and reports as well as listening to the radio report, it looks like a well planned day of disobedience. Affinity groups such as the Wombat Warriors, Radical Cheerleaders and Climate Clowns show great initiative. Apparently the police wouldn’t let “bikezilla”, a massive 8-person bike, join the protest though. Shame.
I caught up with Louise Morris, one of the organisers of the action to get her account of the action and see what’s in store for climate action in Australia.
How long have you been involved in the protest movement in Australia and was there a catalyst for getting involved?
I’ve been involved in campaigning in Australia for over a decade, starting off with the campaign to stop the Jabiluka Uranium mine in Kakadu National park and spending many years as a forest activist and blockader in Tasmania (as a result now one of the Gunns 20) and Western Australia.
I decided to devote my time to climate campaigning in 2006, as the realisation set in that no matter how many pieces of forest we saved through campaigning and blockades etc – if climate change is not dealt with, the climatic conditions forecast will spell the end for all the places we have campaigned for and protected over the years.
I grew up in mining towns in Western Australia, so am very aware of the sort of environmental and social scars the mining and logging industry inflict. My decision to work on climate issues has been heavily based on the mitigation angle. I am a strong believer in trying to solve a problem, rather than trying cope with the problem as best we can through adaptation measures. This has led me to focus strongly on coal issues and to work within the grassroots realm of climate campaigning. I really do think it’s in the grassroots community movement that we have the most power.
What was your personal experience on last weeks action?
I was one of the key organisers of the Switch off Hazelwood – Switch on Renewables weekend. My experience ranged from having to deal with the police in the lead up to the event and during the event with their complete over-reaction to the whole affair, talking with people who were prepared to be arrested and acting as media spokesperson for the group.
My experience of the action and watching other peoples reaction to the day was extremely positive.
This action was the first of it’s type for the Victorian Climate Movement. For the past few years people have lobbied, rallied in cities etc but never actually taken action at the site of the pollution and been prepared to be arrested.
We had 500-plus people from all possible walks of life turn up. A lot of families, older folk and a massive representation from the quite mainstream ‘Climate Action Group’ demographic that is strong in Australia. We had 22 people manage to scale the security fences and police lines that were put up prior to our action. In that list of arrestees are doctors, teachers, electricians, stay at home mums… the list goes on.
Our state government tried to label us as eco-terrorists in the lead up to the event. This failed dismally, as our lead up media campaign was very solutions focused (just transition to renewable energy) and we were very open in our aim of civil disobedience… this combined with images of the people who were at the action, got out to the wider world of so many kids, families, professionals and respected members of the community were taking action. We have had a lot of support from the public and arms of the mainstream media.
The feeling post this action is that people are ready for more peaceful community driven direct action, and more people are prepared to get arrested to push the government into some real action on climate change.
How did the mainstream media and the public react?
In the lead up to this event we put a lot of thought and energy into talking about our message of switching on a transition to renewable energy and switching off coal. Part of this outreach included a public meeting at the town of Morwell, which is the heart of coal country in our state. This was a ‘robust’ meeting but we got great feedback from everyone who came about the transition message and we were supported by unions representing coal workers that we were pushing for a just transition to renewable energy.
In terms of media – we ran a pretty tight messaging strategy around the fact that this is a community driven event that is calling for a switch from renewable energy and this requires that we switch off coal.
At first we got very little interest, but as the word that people were going to partake in peaceful mass civil disobedience got out, the interest grew. On the whole, we got a pretty fair run in the media in the lead up to the event. A lot of time was spent explaining what civil disobedience was, as Australia has not had a strong activist culture in recent years. Once again the core message that we were calling for a switch from coal to renewables, with a just transition was central in a lot of the willingness of commercial media to hear us out.
Obviously on the day of the action some of the conservative media ran the ‘rowdy protester’ line and showed the fence shaking but considering the sort of coverage we usually get in the mainstream Australian press, I think we have seen a shift in how community protest and civil disobedience is being covered. That said, the large representation of families and ‘ordinary looking folk’ really did help that.
Do you think Australia is ready for a broader movement relating to climate change and what do you think the comparison is to movements across the world?
Yes. We had our first climate camp last year in Newcastle [NSW] and from this it was decided that in 2009 we would have state based events, of which the Switch off Hazelwood event was one. The reasons for this were many, including the fact that Australia is so geographically large that it’s not feasible (financially or environmentally) for people to trek across the country to come to a single climate camp.
For the next 3 months there will be Climate Camp style events across the country from South Australia, New South Wales to Western Australia. The interest and willingness is there for a movement that is prepared to take action at the site of the big polluters and put some targeted pressure on government and the big polluters who are shaping the climate policy.
In terms of the broader movement relating to climate change there is definitely a lot more scope for more varied forms of action and campaigning. We are currently organising a bunch of movement building events and workshops using the lessons learnt from many countries and campaigns, including elements of the Obama community mobilisation strategy.
Comparisons are hard to make as we live in a massive continent with quite a sparse population, in comparison to many other countries who have strong climate movements. We also have a populace that has been alienated from the concepts of protest, civil disobedience and strong social movements from previous (and still current) governments who have demonised such things as ‘Anti-Australian.’
As one of the organisers of the action, what have you learnt from the process?
Honestly, the importance of networks, community and talking to people face-to-face to get them involved and part of creating the event they want to be a part of. Another lesson we always learn from these events is that people need to have fun organising and being part of events like this – best way to keep them coming back and get more people involved.
The Affinity Group and Working Group model was central in making a lot of elements of this event work. From the public meeting, the promotions, independent media to the action itself.
What’s next for Climate Camp in Australia?
There are still a number of state based Climate Camps to come in the next few months across Australia after the ‘Switch off Hazelwood – Switch on Renewables’ event. The next immediate one is in South Australia and after that is the one at the Helensbugh coal mine in NSW. So much more Climate Camp action is on the cards. And here in Victoria we are looking ahead to what is next in the lead up to Copenhagen as a national climate event.
Looks like a lot going on in Australia, shame it would have to be a carbon intensive flight away, that or a 6 month cycle mission, hmmm.. now thats an idea.
MATT AND KIM are a destructive dance duo hailing from Brooklyn, pilule NYC. There are very few bands that can always guarantee you a real good time with one single push of a button, but Matt & Kim never let me down. Ever. We caught this Brooklyn duo live back in June and they knocked our socks off.
Yeah, there are tons of happy-go-lucky bands with that high-energy, high-on-life exuberance, throwing shapes and keeping their toothy smiles fixed, verging on the robotic and the slightly scary. But there’s always the inevitable grating after a few listens as the cheer morphs into a cheesy mess of slobbery, over-enthusiastic group hugs and high-fives that leave you backing away into the safety of Morrissey‘s comforting drones, vowing never to venture away again. Promise.
The weird thing is, Matt & Kim are super cheesy, but they seem so genuinely fun and unaffected that it’s tough not to abandon any self-concious hang-ups and just leap along with their carefree charm. And if their new tracks are anything to go by, they show no sign of quietening down and getting all mature on us.
As the jaunty keys and sharp, tapping sticks that start ‘Daylight”s introduction trip and pop, the call and response of “We cut the legs off of our pants/Threw our shoes into the ocean/Sit back and wave through the daylight/Sit back and wave through the daylight” gets louder and fuller, there an immediate hit of teenage nostalgia. It’s a reminder to never grow up too much and when that alarm rings to get you out of bed in the morning – it’s time to wake up.
Watch the duo having fun in their DIY-esque video here:
‘Daylight’ is out on 28th September on Fader Label/Nettwerk.
Obstinately avoiding the typical artistic “nude” and the potential sexist connotations of the form, medicineSheila Wallis’s Threadneedle Prize-winning “Self-portrait” does feature the artist without clothes, medical but avoids rendering herself as a sexual object. Instead the artist describes herself as appearing to be a “small, look naked creature” rather than a coquette.
The painting feels very real as opposed to a being a fantasy of female sexiness. She gazes back at the onlooker with a slightly knotted brow but, despite being aware of the attention, doesn’t seem either to play up to it or to be exploited by it. She is vulnerable but remains in control through the action of painting herself. Perhaps a deciding factor in seeing the painting without sexual connotations as a female viewer is knowledge of the gender of the artist and that she is also the subject of the painting; it’s easier to enjoy a nude for what it is without the overtones of an artist/muse relationship.
The prize is voted for online by visitors to the exhibition, at the Mall Galleries. This year’s exhibition was strong and there was a theme of interaction between man-made structures and nature. For example, Jennifer Godlieb’s eerie “Lurker” (below) seems to depict a gasometer set in a future time when cities are devoid of people and all is overgrown and transformed into a spookily beautiful Scandinavian forest. The message could be an environmentalist one: despite the messages about “saving our world” from climate change, eventually Mother Nature will reclaim all our efforts.
In contrast to the fairy-castle appearance of Godlieb’s post-human architecture, Zachary Peirce’s painting of “Pripyat, Chernobyl Exclusion Zone 1” bleaches the colours out of the natural landscape, leaving washed-out pinks, bruise purples and a colour the same yellow tone as human skin. A slight touch of green appears murky and poisonous. In the background there is a building that appears to be melting: the black outlines drip down the canvas into the overgrowth. Here the impact of humanity’s failings on nature has created a dirty, deserted area without any of the peace of Godlieb’s twilight scene.
Peter Wylie’s brutalist tower block “Goldfinger four (with Le Corbusier flaking paint from Villa La Roche)” is actually still occupied but the exterior of the worn old concrete monster offers little comfort. The golden windows that presumably inspired the title do seem to imply little pockets of cosy humanity lurking within.
Dotted across the image are pieces of flaking paint taken from a Le Corbusier building – perhaps the remains of a previous, shining image, gradually chipped away to reveal the reality of high-rise communal living? Le Corbusier’s use of concrete has led to some grim surroundings for those living there and it has been noted that as a material it wears much worse in the wet conditions of Britain compared to the sunnier climes of the South of France.
The buildings in “Goldfinger” block out any glimpse of sky and look like they belong in the pages of “1984”; but it’s unclear what commentary Wylie is making beyond the appearance of the building. How do these designs impact of the lifestyle of those who live in them? As in the other works, people are invisible but here they are not absent. I didn’t feel comfortable making assumptions about whether this represented a dystopian future or present because of the possibly classist assumptions – these buildings are usually destined for lower-income people. Can high-density urban estates ever live up to the utopian dreams of those who design them?
As the crowd waited perched on sofas, leaning against walls as we huddled round the catwalk Dolly Jones announced the winners: Mark Liu, Henrietta Ludgate (who was championed by Amelia’s Magazine earlier this year as a one to watch), MIA and Lalesso (both of whom you will have noticed were mentioned earlier in reference to winning the PURE awards in June).
MIA
After the announcements, the catwalk begin to sounds of bouncing pop and the models began to work the room. Each designer sent two designs down the catwalk, as teasers for their entire line. I would have loved to have seen more of the collections. Especially as the majority, if not the entirety, of what was sent down the Innovation catwalk was jump-off-the-catwalk-and-onto-my-back wearable.
Lalesso
To accompany the catwalk, the Ethical Fashion Forum provided recycled cardboard handouts detailing the reasons behind each designer’s selection. Mark Liu for developing a pattern cutting process that minimizes the amount of waste material produced by each garment, helping to “pioneering Zero Waste Fashion”. This made me think instantly of the “A-POC” line by Issey Miyake or taking it out of the acronym; the A piece of cloth project. From which the wearer is able to create endless items out of a single well-cut piece of fabric. Myakke is said to be continuing to develop this idea after becoming concerned about the impact of textile waste on the environment. It’s great to see young and established designers tackling the industry’s waste problem and turning it into a conceptual wearable idea. To compliment Liu’s pattern cutting he uses organic fabrics, low impact dyes and water based pigments. The two dresses, sent down the catwalk, were reminiscent of Peter Pan or an elfish child as they hung playfully off the models. Perfect for a summer’s day in the park.
Lalesso
Henrietta Ludgate worked with Osman Yousefzada after graduating from St. Martins and is now starting her own label. Ludgate’s philosophy lies in the maintenance of British craftsmanship. All the materials are sourced from British Mills and the collection is made entirely in a traditional Scottish crofting village. Her dresses really intrigue me being a combination of what appears to be felt and fleece. The pieces (not shown on the catwalk, but worn by members of the audience) had a similar feel in their shapes as Matthew Williamson’s graduate collection at St Martins. The new collection contained a wearable jersey dress with interesting piping detail to structure the back. Alongside a maxi dress which appeared to be an extended bankers shirt.
Henrietta Ludgate
Lalesso creates women’s wear out of traditional East African Fabrics, which translate perfectly for a Saturday spent walking around town and sitting in parks. The bold floral patterns were instantly eye catching.
MIA’s recycled fabrics and traditional Malawain textiles produced a refreshing take on up-cycling old urban sportswear into summer dresses.
The Innovation competition is importantly drawing attention to the numerous ways new designers are tackling challenges of sustainability that the fashion industry faces as a whole.
Henriette Ludgate
MIA is tackling craftsman’s jobs lost through the abundance of cheap second hand clothes on Malawi’s market stalls by employing local people in the process of up-cycling. All profits are put back into the community support, as well as buying equipment and training to maintain market access and community livelihoods. Furthermore (thanks again to the cards handing out by the Ethical Fashion Industry at the show), Lalesso recently founded SOKO – an ethical and eco fashion production plant in Kenya. Offering opportunities for other design companies to produce collections with the profits and increased job market to benefit communities in Kenya.
Mark Liu
The Ethical Fashion Forum and Innovation are proving not only that designers are environmentally aware when making their clothes and considering waste. But importantly they are using their businesses to recreate jobs and a skill based workforce in local communities effected by both the waste and desire for Fast Fashion. The 25th London Fashion Week began yesterday in its new haunt of Somerset House. Turning up to register, stuff there was the expected photo crush as numerous street style photographers selected those most fashionably dressed to stand before their lens. Not surprisingly London Fashion Week has been a lesson on how to be scarily on trend. Leather studded Jackets check. Harem pants in black and multiple prints. Check. Statement shoes check.check.check. Big Power Shoulders. Check. The most amazing outfit –outside the catwalk- was on the front row at Ashley Islam (more to come on this collection later). Sitting next to Michelle Williams from Destiny’s Child immaculat in Vivienne, what is ed was a rather beautiful man with an Anna Wintour bob,
complete with a dress made from nails. This often disregarded material was transformed into the ultimate disco dress, that tinkled out of shows.
The Prose Studio Collection of bold oil slick printed dresses was first down the catwalk. The feminine fluent dresses billowed around the models, falling down from the neck, along the arms and tacking tightly in at the waist to fall once more to the knees.
Remember blowing paint across water’s surface to create marbling patterns when pressed onto paper? Prose Studio’s harem pants felt as if the fabric had been dipped into the solution and hung out to dry. The drapes of the pants were delicately covered leaving the leg fabric bare.
The collection finished with a free flowing printed white tunic over white marbled dripped leggings.
Next up were Michela Carraro’s deconstructed geishas complete with rags tied into bondage shoes, big 80′s shoulders remain on the catwalk alongside constructed sheer blouses.
The shapes and layering were reminiscent of John Galliano’s personal style and diffusion line with an injection of Vivienne Westwood’s pirate’s collection. As the light blue piece sashayed down the catwalk, it suddenly struck.
What was being offered was a re-invention of a feminine suit, capable of expressing personality rather than smothering it underneath a shapeless blazer. This was a collection representing the intriguing daywear as represented with the gallantly bold, bordering on the garish printed trousers, under tucked beneath the swashbuckling floating blouses held together at the front with delicate stitching. Completed with the bandaged shoes, the piece formed an illustrious silhouette when framed by photographers.
Third was Joanna Wanderpuije’s elegant collection of modern shapes complete with the return of the perspex stars from the A/W collection, for S/S the stars are attached to the hips of the cotton skirt. Plenty of well cut shorts and printed tanks for effortless lux.
Leather bra tops – continuing previous seasons’ trends for underwear as outwear- hardened the collection appearing under a cropped print jacket nestling above the high-waisted cream trouser. A splash of colour was provided with the up-pleated tunic dress. The collection was incredible wearable with Wanderpuije’s prints elegant in their application and beautifully sculpted from material.
Fashion provides the opportunity to dive into new worlds, peer into another’s imagination. It can function similarly to illustration and convey a sense of being in the world and by being idiosyncratic tap into the public consciousness. The last piece from Yang Du‘s collection was one distinctive outfit from the Louis Vitton-esque rabbit ears combined with bold blue and white striped constructed-to-be-slouchy oversized dress.
The outfit instantly burned into the retina, this was something to wear as unemployment rates soar, it’s warm and it’s bright. This was fun fantastical fashion and I loved the oversized knitted bag that followed the models down the catwalk as if a rather petulant child.
As with all three previous designers, at Yang Du it was all about the detailing; tunic dresses were altered with cut away bra holes overlaid with fringing. Grinning cartoon faces contrasted wide blue knitted stripes, tight tight dresses were sent down with bold geometric black and white prints. Not forgetting the head adornments.
A great start to London Fashion Week, a mix of eccentricity and wearable shapes with most importantly the clothes bringing a smile to one’s face.
Yet another diverse and inspired collection, the first model appeared wearing a silk muzzle with a graphic pattern. These unusual face decorations featured prominently in the show. Printed, bejewelled, moulded from the shape of the face – it was clear they were making a statement. “It’s my reaction to climate change,” Bernard told me afterwards. It’s a provoking image we’re accustomed to seeing – during the SARS crisis and more recently with the swine-flu pandemic. Chandran has translated this evocative image and created masks of beauty.
Dresses were striking, bold statement pieces, in hues ranging from ochre to pewter. Folds and flaps created geometric silhouettes, showcasing Chandran’s skills as a craftsman, and revealing a possible Hussein Chalayan influence.
Other pieces consisted of simple shift dresses enveloped by folded, dynamically-cut fabric, creating exaggerated shoulders and wing-like forms, apposing the contours of the female form.
I loved this glittered interpretation of the bustier. Fashion-forward women only, need apply:
Patterns on masks and clothing had been translated directly from objects that surround Bernard in his day-to-day life. A stunning linear print in amber and black had been taken directly from “a basket that people give [Bernard} flowers in!” Bernard recalled. Looking again at the print makes sense of it – it appears almost photographic.
Another key look was the Chinese coolie hat, worn by a handful of models. Bernard in interesting in their form. “I like the way they fold, the way they are created – which can be said for a lot of my work,” Bernard told me. “The way an envelope folds, for example – like here,” as he gestured to a photograph on the wall backstage of a structured, geometric dress.
The more feminine consumer need not worry, as the show also included elegantly draped smock dresses and sumptuous blouson skirts, in chiffon, with organic, natural prints. These pieces were the most surprising considering his A/W 09/10 collection was so bold and striking. “Sometimes you just have to,” Bernard laughed.
There were so many different looks in this collection. It may sound as if the pieces were too disparate but this was not the case, as one after the other complimented each other, almost magically. Take the structured dress with exaggerated hips, fast becoming Bernard’s signature, juxtaposed with the softer sheer fabric pieces draped effortlessly over the models; juxtaposed with the hooded smock reminiscent, again, of an envelope; the prints and tones of each piece somehow beautifully transforming into the next.
Soul singer Estelle is a huge fan of Chandran’s work, shunning major fashion houses to wear his looks at awards ceremonies, so it was no surprise to see Destiny’s Child’s Michelle Williams and Beverley Knight wide-eyed on the front row. A Bernard Chandran woman is a glamorous, confident, ostentatious creature. It’s time this design hero took centre stage on-schedule. Sort it out, BFC!
All photographs and text by Matt Bramford
Written by Matt Bramford on Saturday September 19th, 2009 9:38 pm
A whole three weeks ago, while trying to wade through 10,000 London Collections: Men photographs and write up show reports, I went to another fashion show. The London College of Fashion hosted their BA collections two days after LC:M had finished (and I’d barely started). I knew that going was a bit silly, but I couldn’t resist – each year the standard is so high and the collections are so unique. ‘Bugger it’ I thought, as I legged it to The Yard in Shoreditch, the venue for this year’s show.
Twenty-six collections – many collaborations – is a bit of a challenge. At the LC:M menswear shows it’s pretty much one idea translated 30-odd times, but here there were TWENTY SIX totally different, totally unique ideas. Each student is worth a full review, but if I did that I wouldn’t sleep for days. I urge you to check out the very comprehensive University of the Arts London Showtime website where you can see collections in full. In the meantime, here’s a run-down of my favourites:
Opening the show was Daniel Tanner‘s regal womenswear, where dramatic sections of fabric in contrasting colours were fastened together with oversized knots.
I loved Arianna Luparia‘s luxuriant womenswear; rigid felt fabric in rich, dark colours appeared moulded into shapes that revealed bare flesh. Pieces were finished with Henriette Camilla Sveen‘s glorious jewellery and objet d’art – black wood and gold sculptures.
Faye Van Andel collaborated with Contour student Zoë Greening. The result was lace lingerie draped with rich silk fabrics and finished with fur wraps:
Luke Bullen and Jana Dahmen drew gasps from the audience with their ghostly, ethereal creatures. Delicate white sheets with unfinished hems were painted with black stripes with a resulting translucency. Models’ faces were only just visible underneath these unique creations.
Bespoke Tailoring graduate Marta Cesaro collaborated with knitwear designer Shasha Wong. The result: a polished collection of coats, tops and dresses in thick fabrics and pastel colours. Hats with enormous brims, concealing models’ faces, completed their looks.
I was blown away by Lucia Kelly‘s womenswear, with textiles by Inthira Tangjaroensutthichai. Love hearts formed the inspiration for these vibrant hand-painted metallic pieces; long coats were synched at the waist and long dresses with sweetheart necklines had dramatic dropped sleeves.
Sunjung Park‘s denim creations were pretty striking to say the least; shredded fabrics with thick knots and flattering, 1970s-esque shapes that revealed bare navals were complimented by Vivian Ng‘s bizarre and fascinating septum jewellery.
Also bringing a disco element to the catwalk were Sofia Ilmonen and Jinhee Moon, with millinery by Mengna Ye. Towelling pastel fabrics were matched with metallic ruffles, velvet and tinsel in a collection that sounds hideous when written down but sparkled in real life.
Maewa Uhlmann‘s luxurious sportswear in pretty much all white, with floating headpieces and cable details, provided a welcome break:
A collaboration between Victoria Smith and Hae-Na Kim, featuring dramatic blosson shapes and candy colours, was a worthy winner of collection of the year:
Clarissa Kang and Umme Salma presented a futuristic collection; dramatic, layered, silk pieces were brought to life with contemporary rigid braces with hair details:
Menswear was, as always, well represented. My favourites included Danielle Nichol/Katie Barker/Tiffany C. Ng‘s offering, with revealing sportswear and futuristic jewellery; Carl Jan Cruz‘s unfinished tailoring combining a wide range of fabrics; Guyhyun Jee‘s ostentatious fur coats and Ruri Watanabe‘s fun, vibrant style that was complimented with womenswear.
Closing the show was Charlotte Knowles. Charlotte had deconstructed Pinscreens and created dazzling pieces that jingled as models walked backwards and forwards. Hundreds of nails were delicately applied to wool coats and translucent dresses layered over skirts. It was the perfect finale to an outstanding show.
Written by Matt Bramford on Tuesday July 15th, 2014 9:22 am
