catwalk – Page 9 – AmeliasMagazine

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

James Long S/S 2015 by Helen Marudas

I haven’t been to a James Long show for a few seasons now. I’m not sure why. It might be that they just didn’t want me there. That’s fine. This season was a different story, though, and I’m dead chuffed that I went along. We were greeted by handsome chaps in trademark James Long graphic tees serving rosé wine. Just as I swallowed mine in two gulps, a lady kindly notified me that I could, had I wanted to, take it to my seat, which was a little embarrassing.

All photography by Matt Bramford

Anyway, gone were the glued-down hair dos and quilted fabrics of last season to make way for a fresh, beachy, summertime approach. Models appeared one after the other with flowing, surfer locks and nonchalant expressions as if they had strode in from some hipster beach that you haven’t heard of.

James Long S/S 2015 by Helen Marudas

Overall, it was a complex, multi-faceted collection. The show invitation had a small piece of fabric stapled to it, which would be a detail that formed the basis of many of the looks. The first model wore a denim jacket with aforementioned fabric stripes attached with abandon, teamed with a long, mesh t-shirt dress and jeans to match the jacket.

Then came shorts with the same treatment; frayed at the leg with thick, elasticated waists – a homage to boxers, which was a key theme here. Graphic, stripy t-shirts and stripy socks were aplenty. The emphasis was on jazzed up sportswear, with more mesh, more waistbands, tapered joggers and James’ trademark wrap shorts jazzed up for next summer. The quilted experiments of last season moved into bubble-knit sweaters, tucked into shorts to provide a laid back look that James has perfected this time around.

Statement pieces come in the form of t-shirts and jumpers with a loose, scripted ‘JAMES‘ logo that I am left lusting after. Appearing in different colours, this new logo filled the front and back of garments and crept up sleeves.

A collaboration with LUNETTES KOLLEKTION saw models wear a variety of circular, mirrored sunglasses and quilted nylon bags completed the looks. This was without doubt one of my favourite collections this season and I can’t wait to see what happens next.

Written by Matt Bramford on Tuesday June 24th, 2014 12:53 pm

Categories ,catwalk, ,fashion, ,Helen Marudas, ,James Long, ,knitwear, ,LCM, ,LCMSS2015, ,london, ,London Collections Men, ,LUNETTES KOLLEKTION, ,Matt Bramford, ,menswear, ,Old Sorting Office, ,review, ,SS15, ,stripes

Amelia’s Magazine | Jamie Wei Huang AW15: London Fashion Week Catwalk Review

Jamie Wei Huang AW15-photo by Amelia Gregory 28
Jamie Wei Huang chose a hard vibe for A/W 2015, with a large collection titled Nymphomaniac sent down the catwalk to an ominous soundtrack of deep industrial metal. Her always androgynous tailoring was given a darker twist this season, with zips, tassels, wool insets and buckles used liberally throughout, hair worn greased across the face. A pearlescent fish scale textured top in cream with black stripes and pocket was a personal favourite; accessories were also a highlight, including crepe platform-heeled brogues in juicy patent, high wristed button gloves, clutch bags and tasselled backpacks. Blood red and intense blues were a welcome colour addition to a predominantly monochrome collection.

Jamie Wei Huang AW15-photo by Amelia Gregory 17

All photography by Amelia Gregory.

Jamie Wei Huang AW 15/16 from FASHION SCOUT on Vimeo.

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

Categories ,A/W 2015, ,AW15, ,catwalk, ,Fashion Scout, ,Industrial, ,Jamie Wei Huang, ,London Fashion Week, ,Nymphomaniac, ,review

Amelia’s Magazine | Jasper Garvida: London Fashion Week A/W 2012 Catwalk Review

Jasper Garvida A/W 2012 by Amy Smith

After seeing KTZ at the main show space at Somerset House I froze on the spot for longer than was necessary. My camera battery was dying (as per at fashion week) and I was exhausted. Should I make the trek up to Bloomsbury to catch Jasper Garvida? Yes, I know the journey from Somerset House to Bloomsbury isn’t of Captain Scott proportions. Well, clearly, I decided to go or I wouldn’t be writing this review. Anyway…

Jasper Garvida A/W 2012 by Emily Robertson

All photography by Matt Bramford

Jasper returned to the Bloomsbury Hotel‘s grand ballrooms to present his collection. As I took my seat I wondered how it was going to work – at one end of the catwalk (floor) stood an aggression of photographers (a collective noun I’ve created myself), at the other end, a brick wall. It transpired that models were entering from the middle and doing a loop, which must have been pretty taxing.

Cheers then – those photographs you’re taking on your iPhone are lush… can I have a copy? Grrr…

Gah.

I haven’t been to one of Jasper‘s shows before but I’d heard good things and our Alia interviewed Jasper last season, so I was keen to see what he’d present this time.

Jasper Garvida A/W 2012 by Amy Smith

The show began with simple neat tailoring in a camel colour, embellished with big gold buttons. I don’t know if the seats were a little lower or the heels bigger than at other shows, but these models were enormous. I almost felt quite scared as they lurched towards me. Long, fitted dresses that were perfectly tailored hung off them effortlessly, though.

The collection then brought pleated skirts with mesmerising digital prints. These were cut just above the knee at a level where neither femininity or morals are compromised. Jasper certainly knows a good silhouette.

Then came fitted jackets with tight-fitting cropped trousers. More intriguing prints here, along with more gold buttons and oversized zips that added a real luxurious flavour to the collection. One jacket, with a high collar and sweeping neckline, featured stunning gold embroidery on each lapel.

My favourite pieces were to be found at the end of the presentation. Long black body-con numbers were reminiscent of 1990s Versace – carrying gold embroidery around necklines, harness straps and thick gold chain draped casually across the torso, and I’ve already earmarked a shorter number with huge gold tassels draped from the shoulders for my next red carpet walk.

Jasper Garvida A/W 2012 by Sophy Henn

It’s a bold woman (in vertiginous heels) that is a Jasper Garvida woman; a woman who oozes sex appeal and isn’t afraid to celebrate their femininity.

The lighting was a little awkward to work with, hence why my photographs are a little sub-standard in this review. They don’t do this superb collection any justice.

Written by Matt Bramford on Monday February 27th, 2012 2:10 pm

Categories ,A/W 2012, ,Amy Smith, ,AW12, ,black, ,Bloomsbury Hotel, ,Buttons, ,catwalk, ,embroidery, ,Emily Robertson, ,Gold, ,jasper garvida, ,London Fashion Week, ,Matt Bramford, ,review, ,Sophy Henn, ,Tall, ,Versace, ,Womenswear

Amelia’s Magazine | João Melo Costa and Luís Buchinho: London Fashion Week S/S 2014 Catwalk Review

Jaoa Melo Costa S/S 2014 by Elisa Mac
João Melo Costa S/S 2014 by Elisa Mac.

It is becoming more and more common to find showcases for other countries on the catwalks during LFW, presumably because London is considered the pinnacle of creativity… if not sales. And then labels can return to their home countries and boast of their success in London, thereby impressing their local fans. Still, it’s not cheap to bring a designer and their collection to these shores, which is why journalists are frequently invited over to cover fashion weeks in home lands (I was flown out to Poland for several seasons, and know many who do the rounds of European fashion weeks).

With this in mind it helps to have a bit of sponsorship at hand, which is clearly why two Portuguese designers were showing in the embassy headquarters at Belgrave Square. Since I always get excited about seeing inside a posh venue I jumped at the chance to attend: the paintings and champagne were lovely but unfortunately the lighting was petty dismal so it wasn’t the best place to take great photos. You win some, you lose some. Here’s how it went:

Joao Melo Costa SS 2014-photography by Amelia Gregory

The two designers were shown back to back, with the younger of the two first up. João Melo Costa showed a youthful collection that featured some interesting round optical designs translated into yummy orange and white prints on boxy shaped separates. He played with different fabrics, layering see-through chiffon and pearlescent materials, and echoes of the print appeared in metal embellishments on slate grey versions.

Luis Buchinho SS 2014-photography by Amelia Gregory

Luís Buchinho is a stalwart of Portuguese fashion and put together an elegant but instantly forgettable collection that featured a series of panelled dresses; his only concession to current trends being the ear cuffs worn by one model.

All photography by Amelia Gregory.

Written by Amelia Gregory on Saturday September 21st, 2013 9:51 am

Categories ,Belgrave Square, ,catwalk, ,Elisa Mac, ,João Melo Costa, ,Luís Buchinho, ,Portugal, ,Portuguese, ,Portuguese Embassy, ,review, ,S/S 2014

Amelia’s Magazine | Katie Eary: London Collections: Men S/S 2014 Catwalk Review

Katie Eary S/S 2014 by Dom&Ink

Katie Eary pretty much started the current leopard print menswear trend. Back in 2010, she had boxing models head-to-toe in it. Her love affair with the design continued on Monday at her S/S 2014 offering.

All photography by Matt Bramford

As is standard at Katie’s shows, it seemed like everybody in London had descended on Victoria House. I’m always sceptical when you’ve got a standing ticket and it’s a printable email – there’s no way of policing who presses print and tries their luck. I actually saw one guy with about 12 fresh print-outs in the queue, dishing them out to his pals like they were Wonka’s golden tickets; their eyes lighting up at the sight of the pink-flamingo-in-a-wig design. When we finally did get inside, it was by far the busiest I’d ever seen that venue.

Standing next to a speaker is one of my favourite things during fashion week*, and as a preview of one of Kanye West‘s forthcoming tracks from new album Yeezus penetrated my eardrums, I wondered if I’d even get out alive. At least it wasn’t Coldplay.

Katie Eary S/S 2014 by Dom&Ink

Anyway. A mixture of models began to appear and there was no hidin’ that pink flamingo. Each print induced flashbacks to a Charlie le Mindu show that I had since managed to supress – have a look here and you’ll see why. Emblazoned across shirts, isolated on tees, this flamingo was a versatile motif that seemed to work across all garments that it was applied to; I’ll be damned if I’m not sporting a flamingo-in-a-wig t-shirt by the end of next summer.

Other print patterns included the aforementioned leopard print, Katie’s signature, this time in red and black with a linear gradient application, fading to translucency on slim-fit polo shirts and fading to black on oversized rucksacks.

Both patterns appeared on trousers and shorts with combat pockets and were styled with Nikes in similer colours and Katie Eary-branded skateboards.

Katie Eary S/S 2014 by Dom&Ink

Peppering the mens showcase were a bunch of super sexy ladies with candy floss wigs and poker faces. They sported designs not dissimilar to the mens’ range – flamingo head scarves, racy leopard-print translucent kaftans and coral bikinis that they could actually fill.

I’ve left some shows baffled about what season I’ve just witnessed, but there was no mistaking at this show – Katie Eary predicts a red hot summer.

*it isn’t.

Written by Matt Bramford on Friday June 21st, 2013 9:43 am

Categories ,catwalk, ,Dom&Ink, ,fashion, ,flamingo, ,Kanye West, ,Katie Eary, ,LCM, ,LCMSS14, ,Leopard Print, ,London Collections Men, ,Matt Bramford, ,menswear, ,review, ,S/S 2014, ,skateboards, ,summer, ,Victoria House

Amelia’s Magazine | Felder Felder: London Fashion Week S/S 2013 Catwalk Review

Felder Felder S/S 2013 by Claire Kearns

So it’s bloody fashion week again! Comes around quickly, doesn’t it? Every six months, in fact. I hadn’t allowed myself to get too excited or stressed this time around, so when I arrived at Somerset House on Friday evening for my first show of the season – Felder Felder – I was hoping they could whip me up in to a fashion frenzy. I decided to go and register first, quickly filing past streetstyle snappers taking pictures of other streetstyle snappers with birds in their hair and toilet seats around their necks. As I registered I recognised the dulcet tones of an Essex girl and glanced over noticing it was Lydia from TOWIE, a somewhat fashion week darling these days. I love Lyds and she looked gorgeous, but I couldn’t help noticing that her stylist had been a bit over-zealous with the eyebrow tweezers. I’m sorry I don’t have a picture but if you Google her no doubt you’ll see what I mean.

Felder Felder S/S 2013 by Janneke de Jong

I made my way to the ~~big top~~ tent in the centre of the courtyard and was totally surprised by how well organised it was. ‘Have I stepped in to a parallel universe?’ I thought to myself as I surveyed the calm, atmospheric room with people glugging Baileys cocktails and air kissing. Queuing was a breeze, free of shouting and angst, and all I could do was hope that the rest of the week would pan out like this.

At the catwalk, it was a similarly calm affair. That was until that lunatic Nancy Dell’Olio arrived and the photographers started to mount each other just to get a shot of her. God knows what it would be like if somebody more famous than Nancy Del’Olio arrived – you know, like a Paralympian perhaps, or that pup that won Britain’s Got Talent. They’d go wild.

Kate Nash. All photography by Matt Bramford

The lights fell and out came a grungy-looking creature who stood on a box and started singing. I had absolutely no idea, until my pal The London Lip Gloss told me after the show, that this was Kate Nash. I made a mental note to start reading show notes. No longer the red-haired, over annunciating Cockney, Kate Nash has been transformed in to a slightly gothic gal with the help of a different stylist and a bottle of hair dye. She can’t half belt out a tune though and, looking back, I think this new style really suits her.

It didn’t take long for Felder Felder‘s S/S 2013 outing to reignite that fire in my belly. With Kate Nash‘s vocals as the soundtrack, models began to appear in what has now become the Felder sisters’ trademark – floaty frocks and gorgeous digital prints worn by powerful females.

Felder Felder by Janneke de Jong.

Digital leopard print came first on said floaty frocks in pastel colours, on a-line numbers and then those with long trains that Felder Felder do so well. This was then traded for a grungier butterfly pattern in dark blues on tailored jackets and pants.

Next we saw translucent pastel blue blouses and an ethereal floor-sweeping dress in the same colour.

My favourites were th 1950s-esque swimwear pieces, some with ruffles on knickers and others covering entire swimming-costume shapes. A ruffled skirt with sweetheart neckline top had the crowd clapping with glee.

The final, show-stopping piece featured all of the above: that floating hemline, the ruffles around the waist, the pastel palette, this time in a cloudy orange, daringly split up both thighs.

It was a collection of grown-up elegance while still having that rock n’ roll attitude the Felder sisters are famous for.

Written by Matt Bramford on Tuesday September 18th, 2012 7:19 pm

Categories ,Baileys, ,BFC, ,Butterflies, ,catwalk, ,Catwalk Space, ,Clare Kearns, ,Digital Prints, ,fashion, ,Felder Felder, ,Janneke de Jong, ,Kate Nash, ,London Fashion Week, ,Lydia Bright, ,Matt Bramford, ,review, ,Ruffles, ,S/S 2013, ,Somerset House, ,SS13, ,TOWIE, ,Womenswear

Amelia’s Magazine | British Fashion Designers at Mercedes-Benz Fashion Week Russia A/W 2011: Louise Gray

Louise Gray A/W 2011 by Abi Heyneke.

For almost the entire trip to Russia I was convinced that Louise Gray was another girl in the Fashion East entourage… it was only when she stepped out to take her bow on the catwalk that I realised she was the very tiny blonde girl in sky high heels. Louise is a textile designer at heart, remedy and her colourful vision has attracted an almost unfeasible amount of hype in recent years: I tried to see her show this season at London Fashion Week but arrived too late to get into the tiny On/Off venue. This was a great way to see her show in a slightly less pressurised arena, site in front of an audience who might not be quite so frantically enthusiastic about her amazing technicolour palette.

Louise Gray A/W 2011 by Maria Papadimitriou aka Slowly the Eggs.

Louise Gray A/W 2011 Russia Photography by Amelia Gregory
Louise Gray A/W 2011 by Abi Heyneke

Her A/W 2011 collection lived up to expectations: all clashing primary tartans and devilishly playful spotty make up which had been slightly toned down from her London show. The first model strode down the catwalk with an amused smile upon her lips as well she might given that she was sporting a metallic blue ruffled shorts suit accessorised with helium heart balloons that drifted above her head. The range encompassed dresses, shirts and mohair coats, all worn with thigh high patent spotty boots. Peel away a few of the garments and there was usually one that could easily be worn alone by someone less daring than the Louise Gray archetype. A lot of fun, but one can only wonder what the much more conservative Russian audience thought of it all. Here’s hoping they went away inspired by the possibilities of what fashion can be.

Louise Gray A/W 2011 Russia Photography by Amelia Gregory
Louise Gray A/W 2011. All photography by Amelia Gregory.

Louise Gray A/W 2011 by Abi Heyneke

Written by Amelia Gregory on Wednesday April 13th, 2011 12:33 pm

Categories ,Abi Heyneke, ,Clashing, ,Fashion East, ,Helium Balloons, ,London Fashion Week, ,Louise Gray, ,Lulu Kennedy, ,Maria Papadimitriou, ,Mercedes-Benz Fashion Week Russia, ,Moscow, ,Multi-coloured, ,onoff, ,prints, ,Russia!, ,Slowly the Eggs, ,Technicolour, ,textiles

Amelia’s Magazine | Brooke Roberts: New S/S 2012 Season Interview

Brooke Roberts by Cathryn Nicholson.

We first spoke with fashion knitwear designer Brooke Roberts back in 2009. Here she talks about the inspirations behind her new S/S 2012 collection, which was launched with a spectacular dance presentation at The Hospital Club in September.

Brooke Roberts S/S 2012.

We first interviewed you two years ago – what has changed since then? Are you still working part time as a radiographer and if so how are you juggling everything?
It’s busier than ever! I’ve been stocked at Browns Focus for three seasons, and I’m consulting for a menswear label, while running my label and working part-time as a radiographer. It’s seven days a week at the moment!

Brooke-Roberts-by-Antonia-Parker
Brooke Roberts S/S 2012 by Antonia Parker.

Your collections are created in Italy from the best fabrics – what kind of exciting yarns can you tell us about in the new collection, and what are their properties?
I’ve been experimenting with bio-ceramic yarns, which have metabolic and body temperature regulating properties. I’ve also been using retro-reflective yarns, which are a wool base with microscopic glass beads bonded to the surface. I mix these with luxury yarns like extra-fine merino, cashmere and silk for a techno-luxe effect. All of my knits are unique programmes, so mixing the yarns with the programmes allows me to create really personal and innovative fabrics.

Brooke Roberts S/S 2012. Photography by Akeela Bhattay.

Why did you make the move from science into fashion. What do you miss about that world and what do you not miss at all?! Why did you decide that fashion was more important to you than radiography?
Being a radiographer means you lack autonomy in your work. I find that difficult. The medical images I create are incredibly detailed and textural, and inspire the fabrics I create. I think my science degree has given me a unique perspective on technology and design. I’m not the kind of designer who starts a collection by researching fashion history and other designers previous collections. I develop my ideas through interpreting medical images, creating digital knit programs and yarn experimentation. I then use fashion references to develop silhouettes. Fashion allows me to express my perspective on science and design. I find the two to be harmonious.

Brooke Roberts medical inspired knitwear by Veronica Rowlands.

Why is it important to combine the science and the arts?
Combining the two enhances the understanding and interest in each field. They are inextricably linked. Science gives us the ability to understand and explain the world around us. That is powerful knowledge that can be applied creatively. A great example is the Wellcome Collection and Wellcome Trust, which funds art projects with a basis in biomedical science. Electroboutique at the Science Museum is another great example.

Brooke Roberts S/S 2012. Photo by Akeela Bhattay

What science journals, fashion and music blogs do you recommend for a bit of inspiration?
Science and technology – Wired, New Scientist, the RSNA’s Radiology journal, Suzie Sheehy‘s blog ‘high heels in the lab‘, Google! I love looking up strange materials and gadgets on the net to develop ideas for my collections. Fashion – Vogue Italia, Stylebubble, Dazed Digital, ShowSTUDIO. Music – I’m a big Radio 6 fan – not so much a music blog reader.

Brooke Roberts S/S 2012. Photo by Akeela Bhattay
For your S/S 2012 collection you put on a dance performance in collaboration with Riccardo Buscarini at the Hospital Club which I was sadly unable to attend. What prompted this idea and what was the best part of the performance?
This idea came out of a video of a knitting machine made entirely of lego, which I found on Youtube. Riccardo Buscarini choreographed the piece from this, and Elspeth Brooke composed the score, which she and I recorded at one of the hospitals I work at. I operated the x-ray machines and she recorded the sound. The collection was a commentary on woman and machine, and encorporated high-tech Italian industrial knitting techniques with hand knit, crochet and hand-lacing.

Brooke Roberts S/S 2012. Photo by Akeela Bhattay
The current collection is for sale in Browns Focus (including some collaborative accessories with Eye of the World), how is that doing and do you have any more plans for new stockists or designer collaborations?
The collection looks great. I’ve seen it in store and one of the styles has already sold out, so that’s great. I just returned from New York where I visited three retailers – more on that next season! I am hoping to work with Riccardo and Elspeth again, and looking forward to seeing what we can create next season.

Brooke Roberts S/S 2012. Look book image.

What is your muse for the new collection? Any sneak ideas of what to expect, and can we expect anymore exciting shows?
I don’t have a muse. Next season will be a textural delight. Technical cables, geometry and luxury. The rest is top secret.

We can’t wait to see what Brooke Roberts does next season! Catch up with our previous interview with Brooke Roberts in 2009 here and here.

Written by Amelia Gregory on Monday November 28th, 2011 11:45 am

Categories ,Akeela Bhattay, ,Antonia Parker, ,Bianca Wendt, ,Brooke Roberts, ,Browns Focus, ,Cathryn Nicholson, ,Dazed Digital, ,Electroboutique, ,Elspeth Brooke, ,fashion, ,High Heels in the Lab, ,Hospital Club, ,New Scientist, ,Radio 6, ,Radiographer, ,Radiology Journal, ,Riccardo Buscarini, ,RSNA, ,S/S 2012, ,science, ,Science Museum, ,Showstudio, ,stylebubble, ,Suzie Sheehy, ,Veronica Rowlands, ,Vogue Italia, ,Wellcome Collection, ,Wellcome Trust, ,Wired

Amelia’s Magazine | Butterflies, Swans, Stars and Tiaras: An interview with beaded jewellery designer Clara Francis

Clara Francis Necklace by Rebecca May Ilustration

Clara Francis Necklace by Rebecca May Illustration.

Clara Francis and I first spoke about doing an interview when she had just given birth to her youngest and I was pregnant with Snarfle… but somehow life as a new mum got in the way and it’s only now, two years later, that I have finally been able to catch up with this super talented jewellery designer. Clara is self taught in the virtually lost art of beading, producing beautifully intricate but bold pieces that seem to take on a life of their own. Here she talks candidly about the swap from acting to making, how motherhood has changed her life, and her excitement about the production of a new bridal collection. She’s a total inspiration.

Clara Francis by N. Sukandiwirya

Clara Francis by N. Sukandiwirya.

Can you tell us a little about your early life, where did you grow up and what was it like?
I was born in miserable suburb of North West London in a street right next door to Brent Cross Shopping Centre. Spent the majority of my youth there pilfering and gobbing on peoples heads walking on the floor below… went to the local comprehensive where I proceeded to only be interested in art and squandered what little brain I had. Decided pretty early on that I wanted to be an actress and went to The Central School of Speech and Drama and studied there for three years. During my 20′s I worked pretty much solidly as an actress, mainly theatre and a little bit of tv and film. But I found the periods of unemployment deeply depressing and hated that I was solely reliant on other people to give me work. I was too thin skinned to be an actress…

Clara Francis beaded jewellery butterfly headband

All photography of model wearing Clara Francis jewellery by Matilda Hill Jenkins.

Clara Francis BUG_BUTTERFLY_FLOWER bead necklace

What were the first crafts you got involved with as a child in the 80s?
My cousin Marion in Paris has a jewellery business called Françoise Montagne and she would send me over boxes of these beautiful vintage French beads – all the ones lying about in her studio that she didn’t need anymore… how lucky was I? So I would fashion my own jewellery even then. Also my mum was very crafty and taught me to knit and crochet very young. She was always making me clothes and I remember girls laughing at me on the bus on the way to school in my very obvious home knit jumper and scarf combo… this was the 80’s and it was all about the label and the bling!!!

Clara Francis beaded jewellery white butterfly headband

Clara Francis necklace by Lucy Eves

Clara Francis necklace by Lucy Eves.

Where and how did you first discover the art of beadwork?
In the bead shop in Kentish Town I saw racks of tiny japanese glass beads in hundreds of incredible colours and finishes. I enquired as to what one does with them and then went to the library and took out any book I could find on beadweaving and taught myself. Once I had taught myself the basic beading stitches I decided I wanted to created my own rather than work with other peoples’ designs. I absolutely love blending all the colours together… it’s like painting with beads.

Clara Francis by Stella Pong

Clara Francis by Stella Pong.

What experience did you have of market stalls before you set up shop in Spitalfields market?
My step father had market stalls all over London selling make up and cosmetics and often things that fell off the back of a lorry (once we had to sell 3 legged tights and umbrellas that you wore on your head!??) so I would work for him at Wembley Market every Sunday all through my teenage years. I couldn’t have hated it more but in retrospect I feel it taught me loads about how to sell to the public, people skills and even how to dress for cold weather!!! And most importantly I learnt the art of a good display… his mantra was ‘flash means cash‘!!!

Clara Francis beaded jewellery red choker

Clara Francis by Maia Fjord

Clara Francis by Maia Fjord.

How did the switch from acting to jewellery designer happen?
I always carried on crafting and decided that in between acting jobs rather than work in a call centre I would see if I could earn some money making and selling jewellery. I made a small collection and took it to the buyer at Harvey Nichols… and they bought everything I had there and then. I then got my stall at Spitalfields market which I had for about 8 years, and as my jewellery got more popular my acting career got LESS popular so I decided to knock the acting on the head. This was also around the time my partner and I decided to start a family.

Clara Francis beaded jewellery butterfly necklace

How does each design evolve?
I’m always ALWAYS thinking about jewellery and beads and all the possibilities that go with them. When I get an idea I sit in my studio and just play around with beads and various stitches (flat and three dimensional) until I get the effect I had pictured in my head. Some pieces will take weeks to get right as the beading process itself is so slow. I can spend an entire week making something and it’s only when I finish it and take a step back that I realise it hasn’t worked, so I have to start all over again.

Clara Francis wedding portrait

Wedding tiara bessie funny face

I believe you recently made your own bridal headpiece, what did it look like and where did the inspiration come from?
Yes, I got married a couple of months ago. I knew that I wanted to make my own headpiece and five more for my little bridesmaids. I based my entire wedding on these incredible gold glitter brogues I found for all the bridesmaids AND the film Paper Moon which I’m currently obsessed with. So a celestial theme appeared quite organically. I beaded with 24 carat gold plated beads to make 3D stars for my headdress and flat stars for the girls’ ones. I also beaded wedding favours for all my female guests; a beaded butterfly ring or brooch or forget-me-not flower. It was a massive labour of love but worth it whan I saw everyone wildly dancing and butterflies and bees sparkling on everyones fingers and lapels. (A: what a beautiful beautiful idea!)

Clara Francis by Melissa Angelik

Clara Francis by Melissa Angelik.

How did the experience of becoming a mother affect your business?
I had my two girls, Bessie and Maude very close together and continued to build my business whilst changing nappies and breastfeeding, doing lots of wholesale. I exhibited at LFW, selling all over the world particularly in the US, Japan and Korea… plus I was working freelance for Topshop and River Island making jewellery ranges for them. I collaborated with Tracey Boyd for a season plus I did a collaboration with the V&A museum.

In January 2011 Maude died very suddenly from a flu virus and my whole life changed in that instant. I couldn’t work for a long time. Simply couldn’t concentrate on anything. My perspective on life changed completely, and when I did tentatively start working again after many months it was in a very different way to the way I worked before. The creation of two collections a year and everything that went with it was too demanding… I live more simply now. I want to keep my business small and manageable and not travel too much. I want to take and collect my daughter from school most days. I’m so much less ambitious. I have also had another child since losing Maude: my son Gilbert who has just turned 2. It is such a joy to be with him everyday and watch him grow, and I want to savour every second of him as before I know it he will be at school…

Clara Francis stars

How do you run your business now and what designs do you have in the pipeline for 2014?
I currently have 3 beaders who work from home and I send them patterns and beads and they do piecework for me. All of their work gets sent back to me and Fiona (who works with me part time) and we sew everything together and finish pieces off in my studio, which is at the bottom of my garden. It is very hard juggling young children with running your own business and I am constantly berating myself for not having enough time to do anything properly (parent or business) but I am doing the best that I can and that is all I can do at present. I often have to work into the night when everyone else is asleep as that is the only way things will get finished, it’s not ideal but not forever… I’m definitely going to bring out a bespoke bridal collection in the near future as there is a definite gap in the market for the more quirky bride and I enjoyed the whole process of making mine for my wedding so much I want to share it with the world!

Written by Amelia Gregory on Thursday March 27th, 2014 3:17 pm

Categories ,80s, ,Beading, ,Bridal, ,Butterflies, ,Clara Francis, ,Françoise Montagne, ,Harvey Nichols, ,interview, ,japan, ,jewellery, ,Kentish Town, ,korea, ,Lucy Eves, ,Maia Fjord, ,Matilda Hill Jenkins, ,Melissa Angelik, ,N. Sukandiwirya, ,Paper Moon, ,Rebecca May Illustration, ,River Island, ,Snarfle, ,stars, ,Stella Pong, ,swans, ,The Central School of Speech and Drama, ,Tiaras, ,topshop, ,Tracey Boyd, ,US, ,Wedding, ,Wembley Market, ,Wholesale

Amelia’s Magazine | Central St Martins BA Show

Last night was the BA fashion show from the students of Central St Martins in a blisteringly hot Bethnal Green York Hall, hospital search where forty students had their work sent down the catwalk to an audience expecting nothing except the best and, web of course, the wackiest. With such a massive amount of creativity flying about it saw an awful lot of boxes being ticked, including (unfortunately) the prerequisite models who couldn’t make it down the runway without falling over the sheer volume of fabric they were swathed in.

It’s a strange and sometimes disconcerting sensation being hurtled straight into the centre of somebody imagination for only about a minute and a half, and some informed you of their vision more immediately and successfully than others. Particularly memorable was Caroline Jarvis’s menswear, a selection of loose knits, oversized jerseys, with a gorgeous fair isle cardigan and wooden birdbox accessories (a rucksack and a bumbag, as you ask).

birdbox%20backpack.jpg

I found it a really well put together collection and that’s effortlessly wearable but also enduring, with relaxed, rural overtones that provided a welcome dose of rustic respite amidst a sea of harsh, futuristic designs, with the models lobbing a stone back and forth between them a likeable touch.

I especially like the roughly cut schoolboy shorts on the final look, and the velvet pantaloons combined with some knitted socks. At the opposite end of the spectrum was John Booth, whose pieces had the air of children let loose with a whole lot of psychedelic crayons and felt tips, with raincoats covered in cartoon patches, giant beads and more colour than I’ve ever seen anywhere, ever, in the world.

Apart from in Peter Bailey’s collection of course, which saw giant plasticated jewellery and rockabilly straw hats against clashing check and polka dot prints. Pessimism certainly had no place here.

Knitwear was a popular choice and cropped up in unlikely places, including some seriously thick knitted trousers (by Sorada Thaiwaranon) that had the roasting hot audience looking on aghast. In fact the revelation of the evening seemed to be influence of craft on many of the collections, showing how the sustainable act of making perhaps has become more current than ever. Included in this was runner up Luke Brooks whose models were in some cases almost entirely enclosed in basket-weave cocoons, and elsewhere there were enormous thatch pockets, woven string blouses, wire coats and basket shoulder-pads. The patchwork tulip dress by Tamaki Fujie was another favourite, accessorised with a neckscarf made of flowers and a feather headdress.

The most positive responses seemed to be generated by the pastoral – maybe expressing some sort of growing ambivalence towards urban life, now that things are perhaps a bit more austere than we would like.

The winning collection was Dutch fashion print student Marie Hill, who sent out a series of fluorescent-techno bodycon cocktail dresses, with the body divided by contour lines of delicate folds with spider webs taut at the back.

The construction seemed to reveal a tension of ideas, and we found out afterwards from Marie that she was keen to do something technically impressive with the materials that had been donated by 3M. The fabrication certainly lent her designs a toughness, which I think successfully created a curious dialogue with the sophisticated evening silhouettes on show.

She actually changed her whole collection two weeks before the show because she wanted it to be more feminine so I wonder how the robust materials translated prior to the revamp. The reflective pieces were actually safety vests cut into thin strips, and like Olga Shishinka who appeared to use old tent material, it was an opportune foray into the reuse of materials.

Obviously a lot of trends were pandered to here – there were more jumpsuits than you could shake a stick for instance. The only rule here as an audience member is never to raise an eyebrow: you never know what you might be wearing next year.

Photos: Catwalking.com

Written by Jonno Ovans on Wednesday June 3rd, 2009 6:28 pm

Categories ,catwalk, ,craft, ,graduate, ,graphic prints, ,knitwear, ,reusable fabrics

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