LFW – Page 14 – AmeliasMagazine

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Carlotta Gherzi for Sado

Finally escaping the intermittent drizzle, shop medications I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, information pills pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Enter structured jackets embellished with heraldic embroidery and printed silk skirts, jumpsuits and dresses in autumn colours, burnt orange and berry red. The prints vary, from pretty paisleys to luxurious leopard print. I’m not usually attracted to animal print, but I’m longing for the paisley meets leopard print dress, sporting blue silk detail on the neck and shoulders. It’s simple and elegant but not at all banal. High necks, low cinched waists and midi length skirts in vivid blue and red make for graceful dresses that suggest a marriage of Victoriana and 1970s styles. Bold and neutral colours follow, sheathed in dazzling gems that revive nostalgia for the 1950s.

Live catwalk illustration by Jenny Robins

The colours fade into cloudy greys, biscuit beiges and ice blues for the inconspicuous in you and luxurious brocades make up beautiful jackets, not unlike those gentlemen’s smoking jackets of a bygone vintage era. The catwalk darkens and we’re engulfed in black. Black lace, black wool, black silk – all combine to forge pretty, yet formal, dresses and blouses. I’m rarely taken in by designs in black, but these really are lovely. The vintage inspired shoes and patterned tights play a key part in the presentation, complimenting a largely conservative but beautiful collection.

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay

Illustration by Avril Kelly

Finally escaping the intermittent drizzle, remedy I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, pilule pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, unhealthy I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Live catwalk illustration by Jenny Robins

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay

Illustration by Emma Block

When I asked a friend for London Fashion Week advice, physician I was told that I would need a pair of sensible shoes and a pair of killer heels. On my way to Carlotta Gherzi for SADO at Vauxhall Fashion Scout, visit this site my killer heels were safely stashed in my official London Fashion Week tote bag and my sensible brogues were getting soaked. I attempted to power walk through the rain in a ladylike manner, decease which resulted in something resembling a trot, and made my way towards the impressive and mysterious Freemasons Hall.

Illustration by Natasha Thompson

This was to be my first show I had attended solo, and I was very conscious of being late. I waited in-line with some reassuringly non-scary fashion types, and when I said I was from Amelia’s Magazine I was immediately whisked away to the front row. As an occupier of a coveted A- list seat, I was entitled to a Fashion Scout goodie bag, which included a bottle of water, a Vauxhall notepad (surprisingly quite nice) and a can of hair shine spray. People around me chatted, but I was only focused on my sketchbook. As I waited in eager anticipation, feet resting on the edge of the white catwalk, the lights began to dim.

Gherzi’s collection, named ‘Frozen Flora’, “for the wicked gal whose secret dream is to be the ice queen”, started with distinctly wearable, rather delicious pieces in soft tones reminiscent of mochas and iced lattes.

I quickly realised what a fantastic seat I had; taking unobstructed photos was effortless and if I had been creepy and inappropriate I definitely could have touched the models. I was definitely close enough to tell that texture was a big element in Gherzi’s work. Silks were draped and ruched, metallic fabrics pleated into undulating waves, and my favourite had to be the beautiful organic wool that appeared almost quilted.

Illustration by Emma Block

The make-up on the models was minimal, with only subtle white highlights in the area between eye and nose, and hair had a crisply ironed in crease in the middle of its lengths. The choice of music was poppy, and tunes included the likes of Snow Patrol and Plan B.

As the show went on, richly textured blacks and pleated metallic greys crept into the soft, otherwise neutral tones of the clothes, rather like the sun going down on an icy day. Shimmering dresses shone like a cold night sky full of stars, with the occasional snug grey sheepskin cape. By this point I had already compiled a mental shopping list of pieces I’d like to own.

Illustration by Natasha Thompson

Gherzi has designed her own floral prints, which looked like sparkling jewels, and featured in both of asymmetric, flowing silk numbers and short paneled dresses. All of Gherzi’s pieces struck me as very feminine and incredibly wearable. The textured wool capes and jackets were a particular favourite of mine, as they were stylish statement pieces guaranteed to keep you toasty warm on the most miserable of London days. Gherzi herself says, “A female of distinction always looks her best, when she’s completely at ease whatever the weather throws at her”, I’ve got to say I rather agree with her.

The final piece was a full length sparkling creation worthy of any ice queen or red carpet starlet; low cut at the back, empire line and ruched across the bust, with subtle hints of pink glitter.

As the show ended, models cascaded on to the runway along with the heavily pregnant, and very lovely looking, Carlotta Gherzi herself, and the crowd erupted into applause.

All photography by Emma Block

You can see more of both Emma Block and Natasha Thompson’s illustrations in Amelia’s Compendium of Fashion Illustration.

Written by Emma Block on Wednesday March 2nd, 2011 6:33 pm

Categories ,A/W 2011, ,Carlotta Gherzi, ,Catwalk review, ,Emma Block, ,fashion, ,floral, ,lfw, ,London Fashion Week, ,Natasha Thompson, ,Vauxhall Fahsion Scout

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Jasper Garvida (by Amelia)

Emily Jane White by LJG Art & Illustration
Illustration by Laura Godfrey, troche link LG Illustration

I know that folk music isn’t all organic, ambulance whole foods, pill and love – or indeed deep lust – buried in a haystack. Happy all day, before campfires and passions at night. No, folk musicians don’t spend their days wearing slightly grubby lumberjacks or floaty, ethereal frocks. See evidence: Grizzly Bear aren’t happy all the time and Bon Iver is a delightfully melancholy chap. And then just listen to Nick Drake and young Laura Marling. To be honest I’m not really sure where I got the skippy, clappy, dancing in the hazy afternoon sunshine vision from. Perhaps it’s because folk artists tend to sing about the earth, nature and love in one breath. There is no chat of ‘honeys’ or ‘bling’. Gah, And of course, folkers may be generally creative and appreciative of the natural world, but it in no means leaves them exempt of sadness, hurt and darkness. I wonder, does it in actual fact make them more open and adept to describing their feelings than the blingers? Regardless, folk is often as rhythmic and warming as the grandfather clock that my 40s’ Grandpa chopped the bottom of, to fit in his house. Tick, tock. Folk is cosy and true, which is why it feels so pure – which is why it makes me want to reside in a yurt.

Emily Jane White - Sarah Matthews
Illustration by Sarah Matthews

Let me introduce you to Emily Jane White. The PR sheet in-front of me says that her album is: ‘a collection of ten opulent, uncluttered and captivating ballads.’ A friend asked me other day, “If you had to only use one adjective for the rest of your life, what would it be?” If I was a news writer, I would say: “Peh, what even are adjectives?”. As a PR I would pass out. Whilst as a writer of my own devices, I would say – ‘blissful’. Then I could put ‘anti’ in-front of a word perhaps. Awkward. Anyway, off on a tangent again: Emily Jane White’s music is BLISSFUL.

See:

She is melancholy. But in the way that makes you feel perhaps strangely, very contented. Maybe it is because in a sense Emily is making peace with herself and her thoughts through the act of writing her music. She said that she found writing her latest album, Ode To Sentience, out now on Talitres Records, cathartic to write: “They speak to the emotional simplicity and complexity of human relationship. I chose to call the record Ode To Sentience because it is the capacity to feel that creates a share human experience of music. We all share the potency of music by having the capacity to feel, and I found the simplicity of this fact very beautiful.”

‘Tis true.

emily Jane White
Illustration by Laura Godfrey, LG Illustration

Her album is about leaving home, her’s was California – I Lay To Rest (California) – the drawn out strings longing to leave. The sharper notes; the sadness of leaving it. Clipped Wings is ghostly and full of yearning, reflections of love’s passed. The Cliff holds classic American twangs, whilst Oh Katherine, is a string filled heaven of a song. Her voice is as soft and delicate as a peach, whilst her fearless approach to singing from the darker depths of her consciousness matches the strings perfectly.

She is much like a Californian Kate Bush, but less obviously ethereal and screaming. Or she could be a gentler Alela Diane or singular Mountain Man. Black Silk has to be my personal favourite. The Law is guitar based, slow and… actually quite a lot like my Grandpa’s Grandfather clock. It wraps you up. Says it’s all ok. For a little bit of this, here we have ‘The Law’, for you to download for free: here. Download it now.

emily

Emily Jane White’s Album, Ode to Sentience is available now on Talitres Records.

Emily Jane White by LJG Art & Illustration
Illustration by Laura Godfrey, visit this LG Illustration

I know that folk music isn’t all organic, price whole foods, advice and love – or indeed deep lust – buried in a haystack. Happy all day, before campfires and passions at night. No, folk musicians don’t spend their days wearing slightly grubby lumberjacks or floaty, ethereal frocks. See evidence: Grizzly Bear aren’t happy all the time and Bon Iver is a delightfully melancholy chap. And then just listen to Nick Drake and young Laura Marling. To be honest I’m not really sure where I got the skippy, clappy, dancing in the hazy afternoon sunshine vision from. Perhaps it’s because folk artists tend to sing about the earth, nature and love in one breath. There is no chat of ‘honeys’ or ‘bling’. Gah, And of course, folkers may be generally creative and appreciative of the natural world, but it in no means leaves them exempt of sadness, hurt and darkness. I wonder, does it in actual fact make them more open and adept to describing their feelings than the blingers? Regardless, folk is often as rhythmic and warming as the grandfather clock that my 40s’ Grandpa chopped the bottom of, to fit in his house. Tick, tock. Folk is cosy and true, which is why it feels so pure – which is why it makes me want to reside in a yurt.

Emily Jane White - Sarah Matthews
Illustration by Sarah Matthews

See:

‘Tis true.

emily Jane White
Illustration by Laura Godfrey, LG Illustration

emily

Emily Jane White’s Album, Ode to Sentience is available now on Talitres Records.

Emily Jane White by LJG Art & Illustration
Illustration by Laura Godfrey, look LG Illustration

I know that folk music isn’t all organic, doctor whole foods, and love – or indeed deep lust – buried in a haystack. Happy all day, before campfires and passions at night. No, folk musicians don’t spend their days wearing slightly grubby lumberjacks or floaty, ethereal frocks. See evidence: Grizzly Bear aren’t happy all the time and Bon Iver is a delightfully melancholy chap. And then just listen to Nick Drake and young Laura Marling. To be honest I’m not really sure where I got the skippy, clappy, dancing in the hazy afternoon sunshine vision from. Perhaps it’s because folk artists tend to sing about the earth, nature and love in one breath. There is no chat of ‘honeys’ or ‘bling’. Gah, And of course, folkers may be generally creative and appreciative of the natural world, but it in no means leaves them exempt of sadness, hurt and darkness. I wonder, does it in actual fact make them more open and adept to describing their feelings than the blingers? Regardless, folk is often as rhythmic and warming as the grandfather clock that my 40s’ Grandpa chopped the bottom of, to fit in his house. Tick, tock. Folk is cosy and true, which is why it feels so pure – which is why it makes me want to reside in a yurt.

Emily Jane White - Sarah Matthews
Illustration by Sarah Matthews

See:

‘Tis true.

emily Jane White
Illustration by Laura Godfrey, LG Illustration

emily

Emily Jane White’s Album, Ode to Sentience is available now on Talitres Records.

Illustration by Lesley Barnes

So Saturday morning – day two of London Fashion Week – started off brilliantly. It was p*ssing it down, medicine the tyre on my bike had deflated itself twice and I didn’t have a clue what I was doing. Gallantly, search if I do say so myself, I hot-stepped it to work to put some articles together, and then when it was time made my way to The Show Space on Northumberland Avenue (where I had been the previous day to view Jean Pierre Braganza’s collection) armed with an umbrella.

Unfortunately, the rest of London’s fashion population were also armed with umbrellas (despite wearing some outfits best saved for hot Summer evenings – gah) and queuing was a bit of a nightmare. Luckily I bumped into my pal Sabrina from The Science of Style, and we huddled together in the queue and waited. And waited. And waited some more. Eventually a call was made for orange stickers and we were ushered inside, and while we waited even more for the show to start, Sabrina filled me in on the gossip with some of the front row-ers.

Illustration by Katie Walters

I’ve always liked Bernard’s aesthetic – always vibrant with an exotic feel. This time around didn’t disappoint, and his signature architectural pieces were on form along with some other softer, flattering designs. Blinding hues of magenta and bursts of orange lit up the catwalk (and our cold, damp hearts) which appeared on hooded dresses and were welcomed on on shift dresses with flamboyantly embroidered patterns that looked like heart-monitor graphs, cutting muted grey dresses in half.

Illustration by Lesley Barnes

This being autumn/winter, there was a unsurprising amount of black in the collection (a bugger to photograph alongside acid brights), with one of my favourite pieces in the collection being an enormous cocoon-like knee-length jacket with exaggerated shoulders and geometric details – confirming Chandran’s status as a showman. Other black jackets were sexed up with neon tights and accessories.

Strutured dresses focussed on waists with details with dresses meeting there and extending away from the body – Chandran creates silhouettes that flatter the fashion-forward woman.

The collection progressed with feathered showpieces in rich reds and bright orange – a pure delight – and a red expertly-embellished onesie. But it was back to black to close the show – an all-in-one covered in delicate feathers and jewels – reminding us of Bernard’s exotic heritage and innate attention to detail.

All photography by Matt Bramford

See more of Lesley Barnes’ illustrations in Amelia’s Compendium of Fashion Illustration. Read Helen’s fab write-up of this show here!

Jasper Garvida A/W 2011 by Maria Papadimitriou.

As anyone who attends the shows will know, ask guessing who has priority tickets is always an amusing game. Is it the gold star? Surely double gold star is better? Or maybe this season purple or neon yellow signifies top cat for a certain PR? Jasper Garvida tickets certainly had us guessing – we were sent quite a handful, purchase some with green dots on and all with the exciting words VIP. I made an educated guess that VIP with green dot was the most prestigious bet and I got it wrong – green dot was lesser.

Jasper Garvida A/W 2011 by Madi.

So it was that I found myself twiddling my thumbs as a bunch of friendly bloggers were whisked ahead of me, viagra approved all gabbling excitedly about the “washing machine cocktail party” that they had just attended courtesy of Miele, who had then popped them straight in a taxi to the Freemasons Hall where they were ushered onto the front row. At the end of the day the best sticker to have wasn’t VIP at all, it simply had the immortal word Miele stamped on it.

Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida‘s A/W 2011 collection was titled Le Baiser, meaning The Kiss, and was inspired by a confluence of East and West. It featured feminine tailoring with a distinctly vintage feel that was emphasised by the glamourous neatly swept up hairstyles and crystal drop earrings by Lucas Jack.

Jasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011 by Toni Bowater.

Jasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011 by Sandra Contreras.

The strong opening outfit was a gorgeous black cylindrical backless dress, followed by a series of elegant grey numbers that featured cutouts to reveal the hips, thighs and back. Shoulders were draped, dropped and covered in armour-like sliced plastic embellishments that swung lazily as the models walked. Colour broke through in the form of a stunning chartreuse one shouldered dress followed by silky Fornasetti inspired circular prints and a bold giant keyhole placement print on rusty silk. Gigantic ruffles provided a key focus, counter-balancing the precise and beautiful tailoring.

Jasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

Eventually russet gave way to a searing orangey red, quite definitely the colour of the season, but also in this instance noticeably the colour of the large Miele goodie bags under the front row seats. Without so much as a glance at my press release it was obvious to me that these were sponsored garments. Perfect for this season’s trends, but what happens next time round?

Jasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

I left slightly bemused by the tenuous connection between domestic appliances and high fashion, but this was nevertheless a collection to remember. Anyway, as I know only too well, you’ve got to get your sponsorship where you can.

Jasper Garvida A/W 2011. Photography by Amelia Gregory
Jasper Garvida A/W 2011. All photography by Amelia Gregory.

You can read Katie Antoniou’s blog about the same show right here.

Written by Amelia Gregory on Tuesday March 1st, 2011 2:43 pm

Categories ,Fashion Scout, ,Freemasons’ Hall, ,jasper garvida, ,Katie Antoniou, ,lfw, ,Lucas Jack, ,Madi, ,Maria Papadimitriou, ,Miele, ,Sandra Contreras, ,Slowly the Eggs, ,Toni Bowater

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Samantha Cole

Bunmi Koko A/W 2011 by Liam McMahon

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best chance discoveries of last season, this web so it was with great anticipation that I sat down for this show, right, as it happened, next to Lucy Jones – director of Fashion Textiles at the University of East London – who I recognised from the FAD awards last year. Designer Bunmi Olaye is one of her star pupils and in fact still operates out of a studio that the university provides for her. Definitely a big boon for a young designer.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi prides herself on her business acumen, which was thoroughly present and correct with the large fabric goodie bag stashed under front row seats. Inside mine was a beautifully presented cupcake (soon to be thoughtlessly squashed) as well as an incredibly thorough press pack that included a lovely set of postcards with fashion illustrations of her S/S collection, an explanatory foldout detailing Bunmi’s achievements and inspirations behind Kaleidoscopia, and then to top it all off a mini newspaper: The Bunmi Koko Times. This girl sure knows how to market herself!

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi’s show began with a short movie – a great idea in theory but a bit odd in practice – involving as it did some clubby graphics and James Bond-ish silhouettes. I wasn’t really sure what it contributed to the whole. Then the show was off with a run – and when I say run I really do mean run. The models were moving quickly at most shows, but at Bunmi’s they were moving at such a lick that it was nigh on impossible to capture them through a lens. It’s a good thing I like to capture models on the hop rather than front on like the paps. The clubby graphics – inspired by rainbows, supernovas and mirages – splashed across wide tutus, wrap dresses and clutch bags. I particularly liked the clever of use of futuristic ruching over shoulders and across breastbones. I loved the elegant purple suit and an eye-popping orange woolly dress, which bounced down the catwalk in a spray of moth-orgasmic fluff. I wasn’t so keen on the metallic leather pieces, which looked cheap by comparison.

Bunmi Koko A/W 2011 by Andy Bumpus.

Despite the clever styling with diamante encrusted visors, this felt far less cohesive than her last collection and left me wondering what exactly the Bunmi aesthetic is. It was all over so quickly that I hardly had time to digest it before Bunmi herself spilled out onto the catwalk, grinning broadly and sporting a t-shirt for Fill The Cup – a fashion range that will send profits to feed hungry children across the world.

Bunmi Koko A/W 2011. Photography by Amelia Gregory.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best chance discoveries of last season, web so it was with great anticipation that I sat down for this show, mind right, information pills as it happened, next to Lucy Jones – director of Fashion Textiles at the University of East London – who I recognised from the FAD awards last year. Designer Bunmi Olaye is one of her star pupils and in fact still operates out of a studio that the university provides for her. Definitely a big boon for a young designer.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko A/W 2011 by Liam McMahon.

It’s a good thing I like to capture models on the hop rather than front on like the paps. The clubby graphics – inspired by rainbows, supernovas and mirages – splashed across wide tutus, wrap dresses and clutch bags. I particularly liked the clever of use of futuristic ruching over shoulders and across breastbones.

Bunmi Koko A/W 2011 by Liam McMahon.

I loved the elegant purple suit and an eye-popping orange woolly dress, which bounced down the catwalk in a spray of moth-orgasmic fluff. I wasn’t so keen on the metallic leather pieces, which looked cheap by comparison.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011. Photography by Amelia Gregory.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best chance discoveries of last season, healing so it was with great anticipation that I sat down for this show, right, as it happened, next to Lucy Jones – director of Fashion Textiles at the University of East London – who I recognised from the FAD awards last year. Designer Bunmi Olaye is one of her star pupils and in fact still operates out of a studio that the university provides for her. Definitely a big boon for a young designer.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko A/W 2011 by Liam McMahon.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011. Photography by Amelia Gregory.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best new discoveries of last season, malady so it was with great anticipation that I sat down for this show next to Lucy Jones – director of Fashion Textiles at the University of East London – who I recognised from the FAD awards last year. Designer Bunmi Olaye is one of her star pupils and in fact still operates out of a studio that the university provides for her. Definitely a big boon for a young designer.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi prides herself on her business acumen, recipe which was thoroughly present and correct with the large fabric goodie bag stashed under front row seats. Inside mine was a beautifully presented cupcake (soon to be thoughtlessly squashed) as well as an incredibly thorough press pack that included a lovely set of postcards with fashion illustrations of her S/S collection, an explanatory foldout detailing Bunmi’s achievements and inspirations behind Kaleidoscopia, and then to top it all off a mini newspaper: The Bunmi Koko Times. This girl sure knows how to market herself!

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko A/W 2011 by Liam McMahon.

Bunmi Koko A/W 2011 by Andy Bumpus.

Despite the clever styling with diamante encrusted visors, Kaleidoscopia felt far less cohesive than her last collection and left me wondering what exactly the Bunmi aesthetic is. It was all over so quickly that I hardly had time to digest it before Bunmi herself spilled out onto the catwalk, grinning broadly and sporting a t-shirt for Fill The Cup – a fashion range that will send profits to feed hungry children across the world.

Bunmi Koko A/W 2011. Photography by Amelia Gregory.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best new discoveries of last season, buy information pills so it was with great anticipation that I sat down for this show next to Lucy Jones – director of Fashion Textiles at the University of East London – who I recognised from the FAD awards last year. Designer Bunmi Olaye is one of her star pupils and in fact still operates out of a studio that the university provides for her. Definitely a big boon for a young designer.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi prides herself on her business acumen, prescription which was thoroughly present and correct with the large fabric goodie bag stashed under front row seats. Inside mine was a beautifully presented cupcake (soon to be thoughtlessly squashed) as well as an incredibly thorough press pack that included a lovely set of postcards with fashion illustrations of her S/S collection, an explanatory foldout detailing Bunmi’s achievements and inspirations behind Kaleidoscopia, and then to top it all off a mini newspaper: The Bunmi Koko Times. This girl sure knows how to market herself!

Bunmi Koko A/W 2011. Photography by Amelia Gregory
Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko A/W 2011. Photography by Amelia Gregory
Bunmi Koko A/W 2011 by Liam McMahon.

Bunmi Koko A/W 2011. Photography by Amelia Gregory

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011. Photography by Amelia Gregory.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best new discoveries of last season, buy so it was with great anticipation that I sat down for this show next to Lucy Jones – director of Fashion Textiles at the University of East London – who I recognised from the FAD awards last year. Designer Bunmi Olaye is one of her star pupils and in fact still operates out of a studio that the university provides for her. Definitely a big boon for a young designer.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011. Photography by Amelia Gregory
Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko A/W 2011. Photography by Amelia Gregory
Bunmi Koko A/W 2011 by Liam McMahon.

Bunmi Koko A/W 2011. Photography by Amelia Gregory

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011. Photography by Amelia Gregory.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best new discoveries of last season, stomach so it was with great anticipation that I sat down for this show next to Lucy Jones – director of Fashion Textiles at the University of East London – who I recognised from the FAD awards last year. Designer Bunmi Olaye is one of her star pupils and in fact still operates out of a studio that the university provides for her. Definitely a big boon for a young designer.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi prides herself on her business acumen, purchase which was thoroughly present and correct with the large fabric goodie bag stashed under front row seats. Inside mine was a beautifully presented cupcake (soon to be thoughtlessly squashed) as well as an incredibly thorough press pack that included a lovely set of postcards with fashion illustrations of her S/S collection, order an explanatory foldout detailing Bunmi’s achievements and inspirations behind Kaleidoscopia, and then to top it all off a mini newspaper: The Bunmi Koko Times. This girl sure knows how to market herself!

Bunmi Koko A/W 2011. Photography by Amelia Gregory
Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko A/W 2011. Photography by Amelia Gregory
Bunmi Koko A/W 2011 by Liam McMahon.

Bunmi Koko A/W 2011. Photography by Amelia Gregory

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011. Photography by Amelia Gregory.

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best new discoveries of last season, ed so it was with great anticipation that I sat down for this show next to Lucy Jones – director of Fashion Textiles at the University of East London – who I recognised from the FAD awards last year. Designer Bunmi Olaye is one of her star pupils and in fact still operates out of a studio that the university provides for her. Definitely a big boon for a young designer.

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi prides herself on her business acumen, prostate which was thoroughly present and correct with the large fabric goodie bag stashed under front row seats. Inside mine was a beautifully presented cupcake (soon to be thoughtlessly squashed) as well as an incredibly thorough press pack that included a lovely set of postcards with fashion illustrations of her S/S collection, an explanatory foldout detailing Bunmi’s achievements and inspirations behind Kaleidoscopia, and then to top it all off a mini newspaper: The Bunmi Koko Times. This girl sure knows how to market herself!

Bunmi Koko A/W 2011. Photography by Amelia Gregory
Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko A/W 2011. Photography by Amelia Gregory
Bunmi Koko A/W 2011 by Liam McMahon.

Bunmi Koko A/W 2011. Photography by Amelia Gregory

Bunmi Koko A/W 2011 by Andy Bumpus.

Bunmi Koko A/W 2011. Photography by Amelia Gregory.

Samantha Cole A/W 2011 by Avril Kelly.

I am not a big fan of all black outfits so a show entirely consisting of unrelenting black is unlikely to be a winner with me. The Samantha Cole A/W 2011 collection Above and Beneath the Definitive Structure was all about black, recipe black, prostate black. Black in differing fabrics with differing reactions to light, but nevertheless black.

A succession of models – sporting futuristic up-dos and violent black eye make-up that stretched from lash to eyebrow – slowly filtered past us in the upstairs salon of Freemasons Hall. This might not have been so noticeable had the majority of us not just come from the Bunmi Koko show, where models had been sent down the catwalk at breakneck speed. People could be seen shifting in their seats, checking their watches, unused to this sudden slow down in a season of warp speed catwalking.

Samantha Cole A/W 2011 by Jane Young.

The first models wore abstract linear prints etched onto squared off one-shoulder minidresses and boxy shapes that stood proud of the body. Leather crunched unforgivingly in all the wrong places and harsh catwalk lighting rendered black leather a pallid grey against the darkness of light absorbing black velvet. This had the air of clever ideas lost in translation.

Samantha Cole A/W 2011. Photography by Amelia Gregory.

Much more successful and flattering were form-hugging knitwear and velvet fabrics that wrapped sexily around bosoms and hips, a giant head-swallowing Elizabethan ruffled neckbrace and the last outfit of the show – an intriguingly cut maxi length dress, draped skirt swinging from a high waistline shaped away from the body.

Samantha Cole A/W 2011 by Madi.

Strangely, she only showed one dress that featured her unique signature shape – exaggerated 3D hips.

Samantha Cole A/W 2011. Photography by Amelia Gregory.

Samantha Cole is known for her desire to clothe the strong and empowered female, and we’ve previously interviewed her about some stunning work, and Matt Bramford was rightly impressed with her her show as part of On/Off a year ago. It’s clear that despite the copious use of black Samantha has some wonderful ideas, but sadly this collection was not as fabulous as it could have been.

Samantha Cole A/W 2011. Photography by Amelia Gregory.

As our applause died down we could hear loud whooping as the models headed backstage. Three giggling ladies popped out to take a bow, followed by another lady on her own. Which one, I wondered, was the real Samantha Cole?

Written by Amelia Gregory on Sunday March 6th, 2011 9:09 pm

Categories ,Avril Kelly, ,Bunmi Koko, ,Freemasons’ Hall, ,Jane Young, ,lfw, ,London Fashion Week, ,London Kills Me, ,Madi, ,Madi Illustrates, ,onoff, ,Samantha Cole

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: House of Worth Couture Lingerie

House Of Worth SS12 by Gareth A Hopkins
House Of Worth Couture Lingerie A/W 2011 by Gareth A Hopkins.

As I had arrived at Claridges Hotel ridiculously early to see the House of Worth, approved Couture Lingerie Collection, purchase I was able to admire the interiors, more about the fresh flowers, the gold and white pillars and air of fragrance. With a click of my heels on the marble floors to the French Salon and the Drawing Room, I knew what I was about to see was special, and I wasn’t wrong.

HOUSE OF WORTH Worth Couture Lingerie ‘Inside Out Affair’ Collection Review

House of Worth by Claire Kearns
House Of Worth Couture Lingerie A/W 2011 by Claire Kearns.

This was a static exhibition and catwalk with an opportunity to see up close the finest details and feel the fabric between my fingertips, not only on the mannequins, but on the models too. I also had an opportunity to talk to the Head Designer of House of Worth, Giovanni Bedin, about the collection.

HOUSE OF WORTH Worth Couture Lingerie ‘Inside Out Affair’ Collection Review

HOUSE OF WORTH Worth Couture Lingerie ‘Inside Out Affair’ Collection Review
Head designer Giovanni Bedin talks with a model. All photography by June Chanpoomidole.

House of Worth Illustration By Kassie Berry
House Of Worth Couture Lingerie A/W 2011 by Kassie Berry.

My reward for arriving early was the chance to see the models getting ready ‘backstage’. The models sported loose ringlet curls with nude lipstick and minimal smoky makeup that were applied right in front of me, making the space feel really intimate.

LFW house of worth phoebe kirk
House Of Worth Couture Lingerie S/S 2012 by Phoebe Kirk.

The lingerie collection features balconette and triangle style bras matched with full briefs and thongs, and many outfits shown at Claridges consisted of two layers: long sleeved leotards that covered the fingers combined with a basque or crinoline. There was virginal white lace, sensual black satin tulle and ravenously seductive velvet that featured a recurring circular boned motif in elegant bows and ribbon shapes. By combining the simplicity of a circle with the frills of satin and tulle Giovanni marries the feminine with a more modern aesthetic.

House Of Worth SS12 by Gareth A Hopkins
House Of Worth Couture Lingerie A/W 2011 by Gareth Hopkins.

Giovanni Bedin told me that this lingerie collection is an evolution of the previous couture S/S 2011 collection in Paris whereby he became interested in the techniques required to make a jacket or a dress and how these could be applied to underwear. Giovanni strongly believes that Lingerie is Sexy and has so much to say about the wearer that it should not be hidden as mere underwear. He urges the wearers of Worth Lingerie to be versatile; to mix and match the ready-to-wear and couture lingerie with outerwear.

House of Worth by Lianne Harrison
House Of Worth Couture Lingerie A/W 2011 by Lianne Harrison.

House of Worth by Kristina Vasiljeva
House Of Worth Couture Lingerie A/W 2011 by Kristina Vasiljeva.

HOUSE OF WORTH by GEMMA TRAVIS
House Of Worth Couture Lingerie A/W 2011 by Gemma Travis.

Versatility is Giovanni Bedin’s strength; as in his previous summer collection the basques are all detachable and easily customisable so that they can be worn as outerwear. When I overheard the models talking they were discussing how comfortable the House of Worth lingerie is to wear, and how they might customise them to wear them on a night out. The House of Worth lingerie range plays with contrasting combinations of design detailing that would befit the modern sensual woman, and wearing one of these outfits as outerwear would definitely be a conversation starter.

LFW house of worth phoebe kirk
House Of Worth Couture Lingerie A/W 2011 by Phoebe Kirk.

When I asked Giovanni Bedin what’s in store for the future he said ‘a development of ready-to-wear lingerie and couture‘ – thereby not letting on too much… but I think we can be assured that there will be more masterpieces from Giovanni Bedin in the near future. All in all, I felt suitably inspired and excited by this new venture for the House of Worth.

HOUSE OF WORTH Worth Couture Lingerie ‘Inside Out Affair’ Collection Review

Written by June Chanpoomidole on Friday September 23rd, 2011 1:09 pm

Categories ,balconette, ,basque, ,Bra, ,Claire Kearns, ,Claridges Hotel, ,Claridge’s Hotel, ,couture, ,crinoline, ,Gareth Hopkins, ,Gemma Travis, ,Giovanni Bedin, ,House of Worth, ,illustrators, ,Inside Out Affair, ,Juliette Fazekas, ,June Chanpoomidole, ,Kassie Berry, ,Kristina Vasiljeva, ,lfw, ,Lianne Harrison, ,lingerie, ,London Fashion Week, ,Melissa Bell, ,Nici Harrison, ,Phoebe Kirk, ,Ready-to-wear, ,RMG Public Relations, ,S/S 2012, ,Static exhibition, ,The Drawing Room, ,underwear

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Clements Ribeiro

Illustration by Avril Kelly

Finally escaping the intermittent drizzle, pilule I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, here pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, viagra 40mg I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Live catwalk illustration by Jenny Robins

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay

Written by Akeela Bhattay on Friday February 25th, 2011 5:32 pm

Categories ,A/W 2011, ,Avril Kelly, ,Catwalk review, ,Classic, ,Clements Ribeiro, ,Ethical Fashion, ,Formal, ,Inacio Ribeiro, ,Jenny Robins, ,lfw, ,London Fashion Week, ,Northumberland House, ,Suzanne Clements, ,The Show Space, ,Upcycling, ,vintage

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Jean-Pierre Braganza (by Amelia)

thumb emilio
Emilio de la Morena by Faye West
Emilio de la Morena LFW A/W 2011 Collection: Illustration by Faye West

Apparently Emilio de la Morena has lengthened his silhouette. His pieces are now touching, viagra sale or over the knee, prostate ‘signalling a new direction that is stricter and more refined.’ The body con is still there of course, order remaining tighter than a wetsuit, and both wigglier and feistier than Mad Men’s, Joan. That’s exactly what the collection made me think of: Joan and Jessica Rabbit. This translates to: HOT… but sophisticated.

Red Charlotte Olympia shoes featured throughout the show. Now, I’ve always been a fan of red shoes. From ballet to sky scraping, red shoes are sweet vixens, minxes, all playful and naughty. But less; “stop it Roger” and more; “Roger I want champagne, oysters and Chanel. Get them!” She needs a man, not a wimp. She will wear her shoes in the bath, and probably won’t speak to Roger much before or after – whatever happens between them. She’s an old school dressed WOMAN, not a girl, and she expects to be treated with respect. Like the stroppier ones in James Bond films, this woman can kick some ass. And answer back with cutting looks and witty, snappy words.

Emilio de la Morena LFW A/W 2011 Collection: Photography by Amelia Gregory

Other Charlotte Olympia shoes included a suede ankle boot and platform sandals in three colours, black, red, powder pink and ivory. All utterly lust-worthy. Heaven. The colour palette mirrors Emilio de la Morena Autumn/Winter collection, which focuses on black, dark purple and RED. The sombre tones of this show, inspired by the work of the American photographer Francesca Woodman and the circumstances surrounding her suicide in New York, in 1981, aged just 22. Her photographs are hauntingly beautiful and predominantly black and white. Emilio de la Morena wanted to reflect these sad circumstances, with his use of passionate, bruised and mourning colours. These give way however, to ivory and powder pink, making for delicate prettiness, next to the block melancholy. Together, the designs look classy, serious and fantastic. I see these beautiful women by the graves of Italian gangsters, weeping. They are hard, stunning and controlled, but what they love – they adore with all their hearts.

Emilio de la Morena LFW A/W 2011 Collection: Photography by Amelia Gregory

Victoriana also featured within Emilio de la Morena’s collection, but with a modern, sheer twist. Bib decoration and high necklines created from sheer, frayed and tufted organza, make it lighter, sexier and contemporary. The longer length, wool pencil skirts also featured sheer organza. With panels, embroidered in swirling, zig zagging ribbon, created in the material, as well as silk inserts. The additions allowing for fluidity of movement.

The collection felt serious and respectfully attractive. Not flirty, terribly young, overly romantic or precocious. Instead very sensual and confident. The red stole the show. However, like red lipstick on a make up less face, it looked the most alluring, when it was paired with the other other colours. The eyes and lips are too much – alone they are beautiful. Such a bright red needed the other colours to avoid being lost, and to stand out as a solitary statement. And you know, if the three women were sobbing by the grave, each with an accent of red, just imagine… scandalous, stylish, powerful and mysterious RED.
Jean-Pierre Braganza by Catherine Askew
Jean-Pierre Braganza A/W 2011 by Catherine Askew.

Ponytails, cure red eye make up, pharm close fitting suits, black, lots of black. A male model with razor sharp cheekbones and a hilarious female model with superlative head throwing posing skills. This is what Jean-Pierre Braganza showed at the Northumberland House, a new grandiose LFW location.

Jean-Pierre Braganza A/W 2011 by Jane Young.

Northumberland House.

After loitering in the magnificent reception area we were ushered into the huge ballroom, passing by the backstage area which looked suspiciously like the back of a Hollywood film lot.

Jean-Pierre Braganza A/W 2011. Photography by Amelia Gregory

Jean-Pierre Braganza A/W 2011 by Kerri-Ann Hulme.

Positronyx was a sexily provocative collection dominated by sharp tailoring and beautiful pattern cutting in a predominantly monochrome palette, bar a nod to that boldest of colours, pillar box red. This cropped up in a dashing geometric tiger-like striped print and on bam bam look-at-me suits for both men and women, but it was across the breast and curving around the hips of a particularly stunning embroidered dress that it enthralled me most.

Jean-Pierre Braganza A/W 2011. Photography by Amelia Gregory

Jean-Pierre Braganza A/W 2011 by Emmi Ojala.

A quick scan of the show press release reveals that when designing Jean-Pierre Braganza had in mind strong female warrior leaders, perhaps existing in a future world where “tribal affiliation has replaced the current societal controls, and clothing becomes even more imperative for identity, security and culture.” He certainly designs for the bold and assertive lady – creating sexy armour that wouldn’t look out of place on the prowl at a cocktail party.

Jean-Pierre Braganza A/W 2011. Photography by Amelia Gregory

I was less keen on the sponsored fur elements. But let’s not mention those, eh? It was an otherwise fabulous collection.

Jean-Pierre Braganza A/W 2011. All photography by Amelia Gregory.

You can read Matt Bramford’s superb review here, and view more of Emmi Ojala’s work in Amelia’s Anthology of Illustration.

Written by Amelia Gregory on Monday February 28th, 2011 5:52 pm

Categories ,Amelia’s Anthology of Illustration, ,black, ,Catherine Askew, ,Emmi Ojala, ,Fur, ,Jane Young, ,Jean Pierre Braganza, ,Kerri-Ann Hulme, ,lfw, ,London Kills Me, ,Matt Bramford, ,Northumberland House, ,Positronyx

Amelia’s Magazine | London Fashion Week A/W 2011 Menswear Day Catwalk Review: Cassette Playa (by Amelia)

Illustration by Gilly Rochester

It was Day 1 at Somerset House and I was surrounded by all those fashion bigwigs, buy sure to have just flown in first-class from the closing New York Fashion Week and before that whichever glamorous corner of the Earth they resided. The BFC Catwalk space, malady therefore, kicked off with a sure-fire reminder of where we were; London. Just in case anyone forgot.

Illustration by Maria Papadimitriou

??It was all about the classic, home-comfort elements of good-old British style. You had your checks, your lace, your chiffon, your wool winter coats that your mother forced you in when you were young and now just can’t get out of.??

Most garments were intrinsically minimalistic. There was very little print. The fabric palette didn’t stretch too far and no real attempt towards a-symmetric cuts or daring features was made. Despite such profuse amounts of plain-Jane style, however, a subtle sexiness arose from those full-sequined dresses in bright red and sultry black as well as the odd combination of tiger and leopard print. It was bad taste turned classy.??

Illustration by Gilly Rochester

The collection’s silhouette held a strong focus on the waist with delicate belts cinching-in wool shift dresses and chiffon floaty creations. There was a barely a bold moment throughout the entire show but one thing was for sure: everything had style.
Furthermore (as has been featured countless times this season), bows were a primary focus for Charles. She placed them on bowler hats, made them out of black ribbon tied around the neck and pulled them round to the rear of high-waisted trousers.

Illustrations by Maria Papadimitriou

Some of the combinations of textures, however, were a little iffy for me. Black leather pencil skirts with brown lady-like jackets? It just didn’t click. I also wasn’t keen on the injection of equestrian riding hats and low pony-tails. It was oh-so-boring and that kind of look, for me anyway, completely lacks any sort of style or attitude. Perhaps a ploy made my yet-another designer to turn the head of Kate Middleton as the Royal Wedding approaches? Maybe so.

Amidst the elegant and some-what calming classical music, however, I was agitated by lady-with-hideous-hat who was inconveniently featured in most of my photographs. There was a bit of a frenzy around her and THE HAT after the show. I couldn’t begin to understand why and marched past indifferent and utterly confused.??

All in all, a largely predictable and collection from a classic London dress-maker. It’s endearing, however, to see a leading designer of 47 years to continue delivering a fail-safe iconic style which will forever be appreciated. And with so much sophisticated femininity around this Autumn/Winter season, it certainly set the scene for what was to come and offers a solid reference to anyone embracing ‘The Woman’ next season.

Illustration by Gilly Rochester

It was Day 1 at Somerset House and I was surrounded by all those fashion bigwigs, pharmacy sure to have just flown in first-class from the closing New York Fashion Week and before that whichever glamorous corner of the Earth they resided. The BFC Catwalk space, ask therefore, generic kicked off with a sure-fire reminder of where we were; London. Just in case anyone forgot.

Illustration by Maria Papadimitriou

Illustration by Gilly Rochester

Illustrations by Maria Papadimitriou

Photographs by Georgia Takacs

It was Day 1 at Somerset House and I was surrounded by all those fashion bigwigs, find sure to have just flown in first-class from the closing New York Fashion Week and before that whichever glamorous corner of the Earth they resided. The BFC Catwalk space, what is ed therefore, kicked off with a sure-fire reminder of where we were; London. Just in case anyone forgot.

Illustration by Maria Papadimitriou

Illustration by Gilly Rochester

Illustrations by Maria Papadimitriou

Photographs by Georgia Takacs

Last week Trevor Moss and Hannah Lou held a preview screening for their Tin Tabernacle tour video, rx titled 11 Nights Under Tin. I caught up with them at Bush Hall a few weeks ago to find out more about this talented couple.

Trevor Moss and Hannah Lou, <a target= sildenafil all photography by Amelia Gregory” title=”Trevor Moss and Hannah Lou, all photography by Amelia Gregory” width=”480″ height=”320″ class=”aligncenter size-full wp-image-38522″ />

The Tin Tabernacle tour followed on from Trevor Moss and Hannah Lou’s Village Hall tour of last year. To pull it off they found approximately fifty churches through the Tin Tabernacles website, got details of about thirty of them and managed to stage concerts in eleven of them. The website often listed the nearest town or they enterprisingly zoomed in on the google street view: sometimes a contact number would be visible on a noticeboard, and at other times they phoned the local pub. Most people were really enthusiastic, but some were overwhelmed by the idea and worried by the commitment. “We wanted to get out into the community and play for people who don’t have much access to music,” they told me when I spoke to them at Bush Hall. “We went to those who were keen.” It seems to have been a successful venture: the audiences were mostly comprised of locals.

Tin Tabernacle by Gilly Rochester.

The Tin Tabernacle churches all vary in size, though they have a few things in common. They are all made of corrugated iron, and were invented circa 1840, when the scattering of God fearing British citizens across the British Empire hastened the need for an easily transportable place of worship. Mining communities sprung up in all sorts of remote corners of the globe so the churches often had to be carried for long distances overland. “They warm up fast because they are wooden clad inside,” explained Trevor and Hannah, “but some had no electricity so we played by candlelight.” The smallest church held only about 40 people, all squashed into the pews, but the average capacity was between 70-120. What with Trevor, Hannah and their two support acts it was still quite a squish.

Tin Tabernacle by Gilly Rochester.

I spotted a tin church on my visit to the Cornish village of Cadgwith earlier this year, but sadly this was not one that they managed to include on the tour, despite Trevor’s Cornish heritage. Many were nevertheless located in amazing locations, including on cliff tops.

<a target="_blank" href="http://www.vimeo.com/21323938" rel="noopener">http://www.vimeo.com/21323938</a>
11 Nights Under Tin, a film by Trevor Moss, can be watched in full here.

Why did they chose such an innovative way of touring? “We had toured the same venues for years and they are all the same, painted black inside.” Trevor and Hannah hope that with their Arts Council funded tours their audiences will experience an event, instead of just standing in the shadows. “It’s no wonder that so many bands’ later records are rubbish when they live in such a strange parallel reality.” So they have chosen places that will open their eyes to other communities. They always stay in independent B&Bs and sometimes with the local vicar – it’s also a carefully considered way for them to have an interesting time whilst peddling an album. “We get to play in places we would never have seen otherwise.”

Tin Tabernacle by Alison Day.

I can totally relate to this idea – half the reason I was so attracted to fashion photography as a creative medium was the possibility of visiting interesting locations to take photos. During my nascent fashion photography career I went to South Africa and America before I began to realise the environmental problems of excessive air travel.

Trevor Moss and Hannah-Lou by Sarah Matthews.

The *world* premiere of the resulting Tin Tabernacle film was shown at The Social on Wednesday 16th March. It was entirely shot on an old 80s Hi 8 camera in three seconds bursts three or four times an hour, so it is basically what they describe as “a collection of moving photos” with mostly in-camera sound.

Trevor Moss & Hannah Lou - Tin Churches by Emmeline Pidgen
Tin Churches by Emmeline Pidgen.

This interactive approach to playing and documenting music is a result of Hannah and Trevor’s art college career. They both met at Goldsmiths, where Trevor was studying fine art and Hannah was doing theatre studies. By the time they reached their third year they were signed as the band Indigo Moss, which we profiled on Amelia’s Magazine. By this point they were spending so much time immersed in music that Trevor had to enlist the rest of the band to help get his degree show up on time.

Tin Tabernacles by Reena Makwana.

The couple have now been writing songs together for 8 years and seem a lot older and wiser than their 25 years of age, a fact which they attribute to having lots of older friends. They met whilst living in halls but did not start going out together until Indigo Moss, and managed to keep their relationship secret from other band members for two months. They got married in 2008.

<a target="_blank" href="http://www.vimeo.com/16057030" rel="noopener">http://www.vimeo.com/16057030</a>
There’s Something Happening Somewhere, a film by Trevor Moss.

Indigo Moss eventually broke up because they didn’t enjoy it anymore, especially the way the label was pushing the band. Inevitably, they were pulling bigger audiences as a duet. At that point Tom from Lewis Music saw them and they signed a one album deal. After that Jeff of Heavenly saw a couple of shows and as they put it “it all happened quite naturally. We had a cup of tea and the Tin Tabernacle tour really caught his imagination.” Heavenly Recordings have parted ways with megalith EMI and are now part of the Universal funded Cooperative Music initiative which supports independent labels such as Transgressive, Moshi Moshi, Bella Union and Domino. It means they can share PR costs and everyone knows when the others are releasing records so they don’t step on toes, which seems to make brilliant sense. These are amongst my favourite labels and between them they host some fabulous musicians – why would they want to deliberately compete with each other?

Trevor-Moss-Hannah-Lou-by-LJG-Art-Illustration
Trevor Moss and Hannah-Lou by LJG Art & Illustration.

Ever prolific, Trevor Moss and Hannah Lou aim to put out one album a year from now on. The next record will be out in May and then comes the festival season, starting at Wood Festival on 21st May, and moving onto Truck Festival, Port Eliot and of course Glastonbury – where they played on my Climate Camp stage last year alongside Danny and the Champions of the World.

<a target="_blank" href="http://www.vimeo.com/5204941" rel="noopener">http://www.vimeo.com/5204941</a>
Performing at Wood Festival in 2009.

What to expect from the upcoming record? “There will be drums and a much bigger sound.” But as always all guitar and voices will be recorded together. I can’t imagine there will be much room in their van for more band members, and they agree that it is perfectly sized for just them. Although Trevor jokes that Hannah gets on his nerves it’s clear that this is very much a twosome. What happens when a family enters the equation? “Trevor wants to be a house husband,” laughs Hannah. “It will be a nice quiet time to write!” For now what they really want is a pet whippet. “They are lovely; so skinny and frail,” says Trevor. “It could travel in a hammock in the van.” The main trouble would be taking a dog into festivals, but I’m sure they could find an interesting series of venues that would accept a canine companion. Did someone mention lighthouses?

Trevor Moss and Hannah Lou, all photography by Amelia Gregory

TM AND HL-Jan 11-photography by Amelia Gregory
Trevor Moss and Hannah Lou, ambulance all photography by Amelia Gregory.

Last week Trevor Moss and Hannah Lou held a preview screening for their Tin Tabernacle tour video, titled 11 Nights Under Tin. I caught up with them at Bush Hall a few weeks ago to find out more about this talented couple.

Trevor Moss and Hannah Lou, all photography by Amelia Gregory

Tin Tabernacle by Gilly Rochester.

<a target="_blank" href="http://www.vimeo.com/21323938" rel="noopener">http://www.vimeo.com/21323938</a>
11 Nights Under Tin, a film by Trevor Moss, can be watched in full here.

Tin Tabernacle by Alison Day.

Trevor Moss and Hannah-Lou by Sarah Matthews.

Trevor Moss & Hannah Lou - Tin Churches by Emmeline Pidgen
Tin Churches by Emmeline Pidgen.

Tin Tabernacles by Reena Makwana.

<a target="_blank" href="http://www.vimeo.com/16057030" rel="noopener">http://www.vimeo.com/16057030</a>
There’s Something Happening Somewhere, a film by Trevor Moss.

Trevor-Moss-Hannah-Lou-by-LJG-Art-Illustration
Trevor Moss and Hannah-Lou by LJG Art & Illustration.

<a target="_blank" href="http://www.vimeo.com/5204941" rel="noopener">http://www.vimeo.com/5204941</a>
Performing at Wood Festival in 2009.

Trevor Moss and Hannah Lou, all photography by Amelia Gregory

TM AND HL-Jan 11-photography by Amelia Gregory
Trevor Moss and Hannah Lou, pill all photography by Amelia Gregory.

Last week Trevor Moss and Hannah Lou held a preview screening for their Tin Tabernacle tour video, drug titled 11 Nights Under Tin. I caught up with them at Bush Hall a few weeks ago to find out more about this talented couple.

Trevor Moss and Hannah Lou, <a target= sales all photography by Amelia Gregory” title=”Trevor Moss and Hannah Lou, all photography by Amelia Gregory” width=”480″ height=”320″ class=”aligncenter size-full wp-image-38522″ />

Tin Tabernacle by Gilly Rochester.

<a target="_blank" href="http://www.vimeo.com/21323938" rel="noopener">http://www.vimeo.com/21323938</a>
11 Nights Under Tin, a film by Trevor Moss, can be watched in full above.

Tin Tabernacle by Alison Day.

Trevor Moss and Hannah-Lou by Sarah Matthews.

Trevor Moss & Hannah Lou - Tin Churches by Emmeline Pidgen
Tin Churches by Emmeline Pidgen.

Tin Tabernacles by Reena Makwana.

<a target="_blank" href="http://www.vimeo.com/16057030" rel="noopener">http://www.vimeo.com/16057030</a>
There’s Something Happening Somewhere, a film by Trevor Moss.

Trevor-Moss-Hannah-Lou-by-LJG-Art-Illustration
Trevor Moss and Hannah-Lou by LJG Art & Illustration.

<a target="_blank" href="http://www.vimeo.com/5204941" rel="noopener">http://www.vimeo.com/5204941</a>
Performing at Wood Festival in 2009.

Trevor Moss and Hannah Lou, all photography by Amelia Gregory

Pick Me Up Paul Blow
Tiger Feet by Paul Blow.

Yesterday 2011′s Pick Me Up once again kicked off in the Embankment Galleries at Somerset House. I went along to the opening night to check out this years talent.

Like last year, information pills the lower galleries are once again devoted to the young rising stars of graphic design and illustration. This is the section for which I was asked to nominate a selection of Up and Coming illustrators many months ago. None of my suggestions were picked, remedy and on the basis of some artists who were chosen I would question the description. Tom Gauld – an old acquaintance of mine – has surely been at the top of the illustrative game for many years, as have some of the others. At 48 years old American artist Polly Becker is hardly young. Although it’s great to be feted at any time in your career it’s a bit of an oversight to champion well established artists as Ones to Watch. But nonetheless let’s continue with the review: there was much to enjoy in this gallery.

Pick Me Up 2011-Kate Moross
London based designer Kate Moross has quickly established a glowing reputation for her bold psychedelic style.

Pick Me Up NIght & Day by McBess

Matthieu Bessudo, aka McBess, favours a cartoonagraphic style with a surreal edge. Expect naked ladies with ninja faces. I liked the intricate stories in the large scale Night & Day artwork best.

Pick Me Up Seiko Kato
Seiko Kato was a real discovery – this Japanese artist lives in Brighton and produces amazingly detailed collages, filled with colourful flora and fauna. The Funeral is a beautifully surreal large scale work.

Pick Me Up 2011-Andy Rementer
I loved the bold colours and shapes of Andy Rementer.

Pick Me Up 2011-Jules Julien
Jules Julien makes macabre fine line work influenced by the surrealist drawing game Exquisite Corpse.

Pick Me Up 2011-Jessica Hische
Typography is Jessica Hische‘s speciality. Another American, she is a senior designer for Louise Fili Ltd. Beautifully rendered, if a little polished.

Pick Me Up 2011-Clara Terne
Swedish designer Clara Terne is inspired by the deep oceans and outer space, both equally other worldly. Kaleido did pretty much what it said on the tin. Nebuloso was a beautiful piece of digital art.

Pick Me Up 2011-MVM
MVM is a Norwegian and co founder of the Grandpeople design studio. He employs a fluid minimalist form and exhibits huge silk banners – almost Japanese in appearance.

Pick Me Up 2011-Eda Akaltun
Eda Akaltun is a founding member of Nobrow – evident in her distinctive colour palette – and favours a collagey painted approach that is instantly recognisable.

Pick Me Up 2011-Victo Ngai
From Hong Kong but working in London, Victo Ngai graduated from the Rhode Island School of Design. I loved her Japanese influenced drawings, which recall the fine detailing of woodblocks combined with a whimsical touch.

Pick Me Up 2011-James Graham
James Graham favours a simple graphic aesthetic.

Pick Me Up 2011-Revenge is Sweet
Revenge is Sweet shows bold 80s art deco artwork that has obvious advertising applications.

Pick Me Up 2011-Sarah Arnett
Sarah Arnett shows some beautiful digitally created flower artwork, densely created in curious colourways. Her original training as a textile designer is evident in these botanically inspired pieces.

Pick Me Up 2011-Gwenola Carrere
From Belgium, Gwenola Carrere shows some fabulous screenprints. She has published three children’s books to date. I loved her bold playful style.

Nigel Peake, from Ireland, makes lovely delicate abstract work. He has exhibited globally and I’ve always considered him more of a fine artist.

Pick Me Up 2011-Takeru Toyokura
Another Japanese artist, Takeru Toyokura shows amazing felt collages that depict weird faceless figures in surreal situations. Blonde haired children float against grandiose architecture. Strangely wonderful.

Pick Me Up 2011-Otecki
Polish artist Otecki creates black block prints inspired by both traditional iconography and graffitti. Loved his owl.

Pick Me Up 2011-Yoh Nagao
Another Japanese artist: Yoh Nagao is another surrealist collagist (do you sense a bit of a theme yet?)

Annelie Carlstrom uses a propelling pencil to fashion detailed pictures of girls with huge faces and extravagant hair. Quite unsettling.

Pick Me Up 2011-Paul Blow
Paul Blow‘s work really caught my eye for it’s strong colours and amusing narratives.

Pick Me Up 2011-Tom Gauld
Tom Gauld creates a weekly cartoon for the Guardian newspaper and you will no doubt be familiar with his unique drawings and quirky ideas – he used to run an independent publishing house with my bessie mate, the super talented Simone Lia.

Pick Me Up 2011-Polly Becker
Polly Becker‘s surrealist illustrations are created through the assemblage of ephemera.

Pick Me Up 2011-Stefanie Posavec
My boyfriend was most taken with the work of Stefanie Posavec, a graduate of Colorado State University who has an MA in Communication Design from Central Saint Martins. Her data visualisation is almost autistic in it’s detail.

I would love to see more emphasis on really new talent in this section, or perhaps in another bespoke section. Not to mention more variety in style (surreal, collage…) and a real nod to all the amazing home bred talent that is so prevalent on the blogosphere, in the zine world and elsewhere in the UK. The work shown is of an undoubtedly high standard but I think it’s an opportunity missed.

Pick Me Up 2011-Print Club London
Print Club London.

Nobrow and Ditto Press showcase their innovative independent publishing work on this floor, then above and below this gallery are stationed the collectives who pitched to take part in Pick Me Up. Print Club London is once again holding live screen-printing workshops.

Pick Me Up 2011-Sister Arrow
I particularly liked the print (for sale) by Sister Arrow, who has created an imaginary pygmy super-race simply called Sumo Babies of which I presume Crystal String Dance is one.

Pick Me Up 2011-Margaux Carpentier
I also liked Margaux Carpentier‘s work. Her print is inspired by an Eskimo legend where the first woman meets the wolf-god Amarok.

Pick Me Up 2011-Jaguar Shoes
The JaguarShoes Collective is showing for the first time, with lots of work for sale from a wide variety of loosely associated artists. For Pick Me Up they have created a Campfire wall – featuring over sized marshmallows and flickering tissue flames.

Pick Me Up 2011-Nous Vous
Next door is the minimalist Nous Vous set up.

Pick Me Up 2011-Samuel Esquire
Puck Collective are hosting a busy room that resembles a working studio. I particularly liked the strong graphic work of Samuel Esquire.

Pick Me Up 2011-Evening Tweed
Evening Tweed‘s exhibition space looks like a trendy aspirational shop in Brick Lane, with artfully arranged mementos lined around the walls. I wish my studio space looked like this!

Pick Me Up 2011-Anthony Burrill
Anthony Burrill is hosting the big central space – he may be an interesting graphic artist but he’s no Rob Ryan when it come to production techniques: expect photocopied collage opportunities and DJ-ing.

Pick Me Up 2011-Anthony Burrill
Pick Me Up Anthony Burrill area.

Suddenly it was closing time so I missed the It’s Nice That section and what looked like an interesting 3D concept from Them Lot – make sure you drop in to be filmed as one of the characters in their cardboard city. Leaving, visitors pass through the Concrete Hermit bookstore, which is much better placed than it was last year. From tomorrow (a bit late in the day I will concede) the shop will stock copies of both my books.

ACOFI Concrete Hermit
UPDATE: ACOFI and AAOI are now available at Concrete Hermit shop!

Make sure you take a moment to peruse through Amelia’s Anthology of Illustration and Amelia’s Compendium of Fashion Illustration – both of which are choc-a-bloc with *brand* new illustration talent.

Pick Me Up 2011-Nous Vous uke.

It’s exciting that an event like Pick Me Up exists, but disheartening that it isn’t more wide ranging and ambitious in the scope of its activities. What about the practical use of illustration and graphic art? Evening Tweed features some fabulous gilded Russian dolls, Nous Vous show a bespoke illustrated ukelele and the JaguarShoes Collective offers illustrated objects to buy, but there is very little consideration of how illustration can be applied to products within the exhibition as a whole or in the workshop schedule.

And what about the many different commercial aspects of working as an illustrator today? Where are the children’s book illustrators, the fashion illustrators, the illustrators who tackle sustainability within their work? Where is the discussion of the many many ways in which illustration is utilised within the online world, in animation and in editorial? Aspects of this will hopefully be brought up in workshops but I feel very strongly that there are only so many prints that people can buy for their walls, and an applied context is what differentiates illustration and graphic design from fine art so it really should be talked about in an exhibition such as this.

Pick Me Up 2011-Evening Tweed Russian Dolls
Evening Tweed Russian Dolls.

I also think it would be nice if different collectives and publishing houses were invited to take part in Pick Me Up every year, rather than many of the same ones returning again – I had a strong feeling of Deja Vu. And of course, lastly, I’d like to see more work from TRULY up and coming illustrators. There are so many very great ones out there….

You can read my full listing for Pick Me Up, including recommended events, right here. My review of last year’s Pick Me Up event can be read here. And in case you were wondering I feel it’s only right that I admit that I was actually asked to contribute this year. But we couldn’t agree on the best Amelia’s Magazine presence, which is a shame.

There’s always next year…

Cassette Playa A/W 2011 by Lisa Stannard.

As I write this there is a drill buzzing incessantly in my ear and it is glorious spring time weather outside. This and the fact that is now well over a month since LFW ended might well mean this is going to be an exceptionally short post.

Cassette Playa A/W 2011. Photography by Amelia Gregory
Cassette Playa A/W 2011 by Rebecca Strickson.

To a suitably grime tastic soundtrack Carrie Mundane (who now, adiposity according to the press release, viagra prefers to go under her given name of Carri Munden) staged a comeback show during menswear day at Somerset House. It was a large collection, full of her customary colour and verve. Metallic orange crop leather jackets over bright on black prints inspired by biker chic, metalheads, graffitti and tattoos? Padded jackets by heritage company Lavenham and bright socks pulled to mid calf? Women with curvaceous real bodies? Skin tight lycra and faux apron detailing? V-neck jumpers and silky lounge wear? Check check check. There was definitely nothing understated about this show.

Cassette Playa A/W 2011. Photography by Amelia Gregory
Cassette Playa A/W 2011 by Riki K.

And then out stepped a host of lego headed models painted entirely in gold, showcasing a capsule collection that will be marketed as Cassette Playa x Ken at Colette. Yes, you heard right, that’s Ken of Barbie and Ken fame, who celebrates his 50th anniversary this year. Not his birthday though, because that would be well weird given that he is a perpetually young doll for small children.

Cassette Playa A/W 2011. Photography by Amelia Gregory
Cassette Playa A/W 2011 by Riki K.

Matt Bramford has written a far more detailed and entertaining review of this show, but one thing he failed to mention was the free Barbie Sweet Talkin’ Ken Doll that all front row guests received. It’s one of those toys that you can talk to and it talks back in a vaguely unsettling robot voice. Hours of fun for my boyfriend, it turns out (well, ten minutes at least). Who said Ken was just for kids?

Barbie Sweet Talkin' Ken
My Barbie Sweet Talkin’ Ken.

You can see more work by Lisa Stannard in Amelia’s Compendium of Fashion Illustration.

Cassette Playa A/W 2011. Photography by Amelia Gregory
Cassette Playa A/W 2011. All photography by Amelia Gregory.

Written by Amelia Gregory on Wednesday March 23rd, 2011 2:46 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Ateralas, ,Barbie, ,Barbie and Ken, ,Barbie Sweet Talkin’ Ken Doll, ,Carri Munden, ,Carrie Mundane, ,Cassette Playa x Ken, ,Colette, ,Doll, ,Front Row, ,Ken, ,Lavenham, ,lfw, ,Lisa Stannard, ,London Fashion Week, ,Matt Bramford, ,Rebecca Strickson, ,Riki K, ,Somerset House

Amelia’s Magazine | London Fashion Week begins with the Triumph Inspiration Award

Triumph Inspiration Award
All photography by Amelia Gregory.

So, you’re a sports celebrity, but your sporting career has long since ended. What to do to keep in the spotlight? Why, turn up to a fashion show. And watch pretty models parade around in their keks. Purfect! And so it was that I found myself sitting behind not only Nicky Hambleton-Jones (fabulous skin since you ask, and a forehead as smooth as a baby’s bottom) but that well known fan of underwear Linford Christie. Well, he’s a man isn’t he?

Triumph Inspiration Award

I got to the awards as people were being seated, so just had a chance to whisk past a clutch of uncomfortable looking models posing in underwear beneath coloured lights as guests blithely sipped vodka tonics in front of them, and men (only men, and me) snapped them for posterity.

Triumph Inspiration Award presented by someone I’ve never heard of.

Triumph Inspiration Award

And so I sat behind the celebs as they had a suitably celeb-y chit chat, and then we were subjected to a bombastic intro which involved a lengthy and dramatic collage of lady silhouettes and then some misogynistic words from a male dancer who I’ve never heard of, and then the judges arrived. Helena Christensen looked vaguely uncomfortable as she was introduced and then joined in the passing of a note with Matthew Williamson and Rankin like a giggly schoolkid. I wonder how much they all got paid for this little shindig? A pretty penny I shouldn’t wonder.

Triumph Inspiration Award judges.

In the goodie bags were the first of many hair products that I expect to receive this week, a pair of pants that might fit around my thigh if I’m lucky, and a very glossy brochure of Helena wearing the outfits designed by the 27 finalists chosen from 2300 students from countries all over the globe. And how old is Helena Christensen anyway? A cheese lover apparently, no less, she’s still outrageously good looking in the flesh, though of course she has been airbrushed to oblivion in the promo shots.

Triumph Inspiration Award Helena Christensen

Luckily the actual show was short and sweet, and some of the designs – based on the theme Shape Sensation – were really rather good. It was all over very quickly as we finished with a nod to burlesque; a girl exploding balloons full of coloured paint powder all over the catwalk.

Triumph Inspiration Award

The winners were announced in a manner reminiscent of the Eurovision contest, Ludovico Loffreda of Italy, then Amaya Carcamo of Spain, both designs that I liked. Unsurprisingly the first prize went to a design that clearly had commercial potential, though I would have picked Amaya’s beautiful armoured contraption myself. The winner, Nikolay Bojilov of Bulgaria looked utterly dazed as he paraded down the catwalk with Helena Christensen on one arm.

Triumph Inspiration Award 2010 winner Nikolay Bojilov of Bulgaria.

Here then, are my favourites, from the sublime to the ridiculous.

The Sublime:

Triumph Inspiration Award Suzanne Ferncombe
Suzanne Ferncombe.

Triumph Inspiration Award Justin Singh
Justin Singh.

Triumph Inspiration Award runner up Ludovico Loffreda of Italy.

Grace Eliana Sugiarto.

Triumph Inspiration Award winner
The winning design by Nikolay Bojilov.

Triumph Inspiration Award Eugenia Dimopoulou
Eugenia Dimopoulou.

Triumph Inspiration Award Isolde Mayer
Isolde Mayer.

Triumph Inspiration Award Anette Boman
Anette Boman.

Triumph Inspiration Award Dennis Lyngso
Dennis Lyngso.

Triumph Inspiration Award Benjamin Blarer
Benjamin Blarer.

Triumph Inspiration Award runner up Amaya Carcamo.

Triumph Inspiration Award Manuel Marte
Manuel Marte.

Triumph Inspiration Award Tovah Cottle
Tovah Cottle.

And the Ridiculous:

Triumph Inspiration Award Da Da Tang Sze Man
Da Da Tang Sze Man.

Triumph Inspiration Award Peet Dullaert
Peet Dullaert.

Triumph Inspiration Award Pha Thi Cam Tu
Pha Thi Cam Tu.

Triumph Inspiration Award Karine Feldman
Karine Feldman.

Triumph Inspiration Award Cristina Homen de Gouveia
Cristina Homen de Gouveia.

Triumph Inspiration Award Caroline du Chastel
Caroline du Chastel.

Triumph Inspiration Award Yadvi Aggarwal
Yadvi Aggarwal.

Triumph Inspiration Award Ayumi Kawase
Ayumi Kawase.

Triumph Inspiration Award Elin Engstrom
Elin Engstrom.

Triumph Inspiration Award Xu Yi
Xu Yi.

Onward, London Fashion Week here I come. Look out for a live sketch blog of the awards from the wonderful Jenny Robins coming up soon.

Written by Amelia Gregory on Friday September 17th, 2010 12:26 am

Categories ,Amaya Carcamo, ,Anette Boman, ,Benjamin Blarer, ,Bra, ,Dennis Lyngso, ,Eugenia Dimopoulou, ,Eurovision, ,Grace Eliana Sugiarto, ,Helena Christensen, ,Isolde Mayer, ,Justin Singh, ,lfw, ,Linford Christie, ,London Fashion Week, ,Manuel Marte, ,Matthew Williamson, ,Nicky Hambleton-Jones, ,Nikolay Bojilov, ,Rankin, ,Shape Sensation, ,Suzanne Ferncombe, ,Tovah Cottle, ,Triumph Inspiration Award

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Clements Ribeiro

Illustration by Avril Kelly

Live catwalk illustration by Jenny Robins

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay

Written by Akeela Bhattay on Friday February 25th, 2011 5:32 pm

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Lako Bukia (by Amelia)

Reluxe by Andrea Kearney

Lako Bukia A/W 2011 by Alison Day.

If proof is needed that fashion illustration can inspire one to fall in love with a fashion designer then I’ve got the perfect story. Having seen and adored Andrea Peterson’s amazing Lako Bukia illustrations from last season I was dead set on seeing the show for myself this time around.

Lako Bukia A/W 2011 by Toni Bowater.

I immediately recognised the Lako Bukia aesthetic in her new collection, there CHOXA, page inspired by the costume worn by the men of the Georgian National Ballet, viagra which is heavily decorated with metal. Models sported messy side plaits, blood red lips and cartoon black eyes, rounded at the sides… the overall look was sexy but strong and defiant… don’t mess with these ladies who sport bullet holder detailing on breasts, hips and boots.

Lako Bukia A/W 2011 CHOXA. Photography by Amelia Gregory
Lako Bukia A/W 2011 by Karolina Burdon.

Sheer blouses with leather epaulette and collar detailing was followed by perky exposed boobs under large braces… and monochrome colouring gave way to silky peaches, lilacs, creams and caramel tones. Good enough to eat. Sharp militaristic tailoring worked beautifully in combination with floaty fabrics, leather cross straps reigning in chiffon dresses that threatened to overwhelm the models.

Lako Bukia A/W 2011 CHOXA. Photography by Amelia Gregory
Lako Bukia A/W 2011 by Toni Bowater.

Lako Bukia A/W 2011 by Katie Walters.

For the finale Lako Bukia strode onto the catwalk with her leading lady – a beautiful modern mermaid, all swishing red chiffon skirts beneath a gold scaled dress. Wearing a simple black dress featuring her trademark pointy shoulders she cut an aspirational dash for the gorgeous curvier lady. It’s so nice to know that clothes like these work just as well on a womanly figure.

Lako Bukia A/W 2011 CHOXA. Photography by Amelia Gregory
Lako Bukia A/W 2011 by Alison Day.

You can read Akeela Bhattay’s excellent report of the same show right here.

Written by Amelia Gregory on Monday March 7th, 2011 10:55 am

Categories ,Akeela Bhattay, ,Alison Day, ,Andrea Peterson, ,CHOXA, ,Fashion Scout, ,Freemasons’ Hall, ,Georgian National Ballet, ,Karolina Burdon, ,Katie Walters, ,lako bukia, ,lfw, ,Toni Bowater

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