LFW – Page 16 – AmeliasMagazine

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Designers Remix (Charlotte Eskildsen)

So Designers Remix is the project of Charlotte Eskildsen who has designed for the woman with an “avant garde angle on sophistication” whatever that means. But her collection wasn’t shown in the archetypical fashion show setting that everyone has – no, buy more about this was a living presentation. Now without being snobbish these ‘presentations’ can sometimes be frankly boring, but this was just a bit different. Generally these designers displays their wares on some pretty coat hangers and expects you to coo over it whilst placing a few press releases on windowsills.

But Designers Remix was done a little differently with real life models. Walking into the Portico Rooms in Somerset House you’re struck by two of the aforementioned posing together in front of a painted pillar with the highest fully coiffed beehives I’ve seen in a long time. Sporting a ruffled dress in a satin material maybe best saved for the high street it’s wasn’t the key piece I was expecting to see, but the frilled coat she was standing next to (on a model don’t worry) was very Celine-chic: minimlist and camel.

Live illustrations by Jenny Robins

The inspiration for her pieces was the Palais Royal in Paris; she looked at mixing the look of the elaborate architecture with the striped columns in the courtyard. And the ruffles on the above dress and coat were inspired by the Tuleries Garden and, ironically, French Poodles? Ok so this is very avant-garde. As you walked around the live exhibition, the pieces appealed to my taste more and more. A navy blue column coat with dainty silver buttons was stunning (collarless and mid-length is what you need for A/W 2011) whilst a silky draped tangerine dress stood out from the otherwise minimal colour palette. Strangely though, it was the clothes on the hangers that appealed to me more than the pieces shown on the models.

A rack of butter-soft leather and suede mix jackets (known as the Bilbao) and grey ribbed jumpers (known as the Kissher) with point detailing on the sleeves was so perfect I wanted to throw it on right that minute. As seen at Daks, the look du jour for A/W 2011 will be thick jumpers over silky skirts so Eskilden is right on-trend with her thinking. The pieces seemed quite disjointed as if they weren’t part of the same collection, though – as lovely as they were.

Illustration by Erica Sharp

There was definitely lots of beautiful pieces from the designer, and as my first time seeing her collection, I’m impressed if not a little bit confused. Eskilden works with the feminine shape to tailor the pieces and has an imperative knack for getting drapes falling beautifully down the body. I think it’s the concept that confuses me; sometimes fashion is just too clever for its own good.

All photography by Jemma Crow

Written by Jemma Crow on Friday February 25th, 2011 4:08 pm

Categories ,A/W 2011, ,Bilbao, ,Celine, ,Charlotte Eskildsen, ,Designers Remix, ,Erica Sharp, ,fashion, ,Jenny Robins, ,Kissher, ,lfw, ,London Fashion Week, ,Palais Royal, ,paris, ,Portico Rooms, ,Presentation Review, ,Somerset House

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Bora Aksu (by Georgia)

Illustration by Gilly Rochester

It was Day 1 at Somerset House and I was surrounded by all those fashion bigwigs at Caroline Charles; 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, page 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.

Photographs by Georgia Takacs

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 Sandra Contreras

Jena.Theo, more about made up of Jenny Holmes and Dimitris Theocharidis, more about who met at the London College of Fashion, approved clearly want to be rock-chic at heart, and the show was like a highly anticipated gig with fashion editors literally fighting for seats (I’m not kidding it was crazy). So a bit of a manic start then!

Illustration by Gareth A Hopkins

The models sashayed down the catwalk whilst the clothes beautifully draped and flowed behind them and nothing was structured; it was very much a free-loving collection. A possible clanger came from the denim bubble coat (not as horrific as it sounds but still bad) and the look was slightly undone; maybe even unfinished but then maybe that’s what was intended.

The venue itself was pretty hardcore for 11am too with flashing coloured lasers spraying from the ceiling and a giant board lit up behind the models leaving us in no doubt as to what show we were at. They might as well have told us to get our rave on whilst referencing Valkyrie as the collection was aptly known.

Illustration by Gareth A Hopkins

Something always gets me though at these shows and it’s when the designers decide that ‘normal’ make up isn’t enough for their show, they need something a little kooky. Jena Theo decided that each model needed a black ‘Michael Stipe’ esque stripe across their eyes and to me it just wasn’t needed. Not that it particularly distracted from the clothes but it didn’t necessarily add anything either.

Illustration by Sandra Contreras

I’ll give them their due, after all it is their first on-schedule show this year but maybe next year the theatrical make up needs to be left out. Surely there’s enough of that in fashion!

You can saw more of Gareth A Hopkins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Illustration by Jenny Robins

So I’m a big fan of Bora Aksu. He’s one of those London Fashion Week underdogs that just has that extra WOW-factor and his show always seems to be the hot ticket on Day One. And with Twiggy and Marina (of The Diamonds) in the front row, price I don’t think I was the only one with high expectations!??The show was held in the BFC Catwalk Space and, approved after being ushered into the line for those with seated tickets, I found myself standing behind a rather ratty lady from Marie Claire who literally huffed and grumbled even if my bag simply brushed her arm. It’s called a queue, darling.

Illustration by Joe Turvey

Hoards of hipsters then made their way into the line behind me (men in wedges, copious amounts of fur and red lipstick – you know the drill) hence this was the moment I knew I was in the line allocated good seats. Front row was, therefore, choc-a-bloc with extreme scenesters and second row wasn’t bad at all when one clocked onto the masses that were standing in any space available. Fashion Week does seem very busy this time round.

Live catwalk illustration by Jenny Robins

Twiggy! All photography by Georgia Takacs

I passed Twiggy’s name on a piece of paper and, upon her arrival moments later, the paps were crazy around her. I could just about see her smile, flashing amidst the flurry. Surrounding her on the front row were the likes of Nicola Roberts and Tallulah Harlech.

Illustration by Joe Turvey

As the lights were just about to dim, the fierce Marina Diamandis – arms adorned with tumbling knitted mice – was ushered to the seat right in front of me by a crazed front-of-house lady belting ‘Make way! Move along!’, probably resulting in some poor lady writing for Grazia sitting cross-legged on the floor. Fashion, eh?

Marina Diamandis

Show time. Bora Aksu didn’t hang around. Dark music and a-symmetric power dresses immediately stormed the catwalk. It was all about sharp tailoring with wool blazers and-the-like including a reoccurring little bow placed high at the neck, either tied there or on the dress. They were, in fact, appearing everywhere – on belts, the backs of dress and even hanging down from the backs of skirts. Bows are big this season!??One thing was for sure, Aksu was clearly enjoying the green. Shirts and underskirts blazed with a bright emerald hue amidst a largely classic palette of greys, charcoals and, of course, black. Green definitely stood out. And it stole the show.

Illustration by Joe Turvey

The dresses had countless genius intricacies – such is the genius of Aksu himself! Every garment had a mix of textures, fabrics, colours and structures. Hemlines were either short-and-sexy or floor-length – the two trends that seem to be dominating, this season. It’s either one extreme or the other, which I LOVE.

Hemlines are greatly important, often defining a silohette, and they were paid great attention to here creating an imposing, powerful image.

With frizzy back-combing and casual back-dos, the hair was understated messy glam. As was the make-up with pale skin and hints of brown. This natural grooming was a definite side-step away from the often mind-boggling intricate creations of Bora Aksu who, once again, delivered a fashion force to be reckoned with!

You can saw more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Written by Georgia Takacs on Sunday February 20th, 2011 10:19 pm

Categories ,A/W 2011, ,Bora Aksu, ,Catwalk review, ,Emerald, ,hipsters, ,lfw, ,London Fashion Week, ,Marie Claire, ,Marina & the Diamonds, ,Nicola Roberts, ,Tallulah Harlech, ,twiggy

Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Fashion Mode No.3 Carlotta Actis Barone (by Helen)

Hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Whilst in the press lounge I had a natter with a benefits investigator and a lady who runs an art gallery. The benefits investigator did the media bits as a relief from fraud and because ‘the people are always so friendly.’ This is true, viagra 100mg help somewhat surprisingly. I have met some super and interesting people at LFW, seek and this man was no exception. A delight to chat to. All three of us were heading for the Fashion Mode show, cure but I was faffing about with Toni and Guy etc. so didn’t walk with the investigator or art lady. But I saw them opposite me in the audience and it was obvious, although we had talked mostly about high class fraud, investigator man, liked his threads. And why not? I love it that Charlie, my boyfriend, loves his clothes, and he’d be all over watching a male fashion show, like the one at Fashion Mode: James Hillman.

hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Most men, I want to say ALL MEN, look great in a well cut suit. Boys turn to men, and previously bland chaps, turn to hotness. Is it the shoulders? Is it the old school charm? Or is it because it’s almost rare to see everyday, thus special and alluring? It’s a shame, because men look fantastic when they’re wearing something cut correctly. Why not embrace the suit more? Have you not seen Mad Men, with Don etc. and err Don? In real life Jon Hamm looks like Bon Iver in the middle of his woods escapade. In Mad Men, he is all that millions of women desire. I don’t think it’s the 50s ideologies of man protecting woman, whilst woman looks perfect and alert. It’s just a suit looks NICE.

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

So, James Hillman shows that men look good dressed in black clothes, cut well, particularly suits. The collection is all black because James used crude oil as his inspiration for his designs. Embracing crude oil wholeheartedly, he has studied the distillation of crude oil, learning that different temperatures produce different iterations of oil. Each fabric thus, represents a different tier in the crude oil process. The heavyweight oils are represented with heavyweight woollen cashmere mixes and reindeer leather. Whilst the lightweight oils are represented in rip stock and lightweight wax cottons.

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

The deigns are sleek and sharp. Whilst the pockets and necklines are detailed, with for example; reflective fabric; pock and crepe pocket panelling; high neck or collarless necklines, all the pieces retain luxurious simplicity. I still have issues with man bags, but the rest of the show was hot to trot. This was confirmed by a man, by the investigator who I saw at the end of the show. “I don’t normally go in for men’s fashion, but I loved that. I would wear all of that. Hmmm…may need to investigate this James Hillman further.” Indeed. And spread the word.

Hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Whilst in the press lounge I had a natter with a benefits investigator and a lady who runs an art gallery. The benefits investigator did the media bits as a relief from fraud and because ‘the people are always so friendly.’ This is true, viagra 100mg somewhat surprisingly. I have met some super and interesting people at LFW, and this man was no exception. A delight to chat to. All three of us were heading for the Fashion Mode show, but I was faffing about with Toni and Guy etc. so didn’t walk with the investigator or art lady. But I saw them opposite me in the audience and it was obvious, although we had talked mostly about high class fraud, investigator man, liked his threads. And why not? I love it that Charlie, my boyfriend, loves his clothes, and he’d be all over watching a male fashion show, like the one at Fashion Mode: James Hillman.

hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

Hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Whilst in the press lounge I had a natter with a benefits investigator and a lady who runs an art gallery. The benefits investigator did the media bits as a relief from fraud and because ‘the people are always so friendly.’ This is true, viagra approved somewhat surprisingly. I have met some super and interesting people at LFW, try and this man was no exception. A delight to chat to. All three of us were heading for the Fashion Mode show, but I was faffing about with Toni and Guy etc. so didn’t walk with the investigator or art lady. But I saw them opposite me in the audience and it was obvious, although we had talked mostly about high class fraud, investigator man, liked his threads. And why not? I love it that Charlie, my boyfriend, loves his clothes, and he’d be all over watching a male fashion show, like the one at Fashion Mode: James Hillman.

hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Most men, I want to say ALL MEN, look great in a well cut suit. Boys turn to men, and previously bland chaps, turn to hotness. Is it the shoulders? Is it the old school charm? Or is it because it’s almost rare to see everyday, thus special and alluring? It’s a shame, because men look fantastic when they’re wearing something cut correctly. Why not embrace the suit more? Have you not seen Mad Men, with Don and err Don? In real life Jon Hamm looks like Bon Iver in the middle of his woods escapade. In Mad Men, he is all that millions of women desire. I don’t think it’s the 50s ideologies of man protecting woman, whilst woman looks perfect and alert. It’s just a suit looks NICE.

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

Hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Whilst in the press lounge I had a natter with a benefits investigator and a lady who runs an art gallery. The benefits investigator did the media bits as a relief from fraud and because ‘the people are always so friendly.’ This is true, unhealthy somewhat surprisingly. I have met some super and interesting people at LFW, tadalafil and this man was no exception. A delight to chat to. All three of us were heading for the Fashion Mode show, but I was faffing about with Toni and Guy etc. so didn’t walk with the investigator or art lady. But I saw them opposite me in the audience and it was obvious, although we had talked mostly about high class fraud, investigator man, liked his threads. And why not? I love it that Charlie, my boyfriend, loves his clothes, and he’d be all over watching a male fashion show, like the one at Fashion Mode: James Hillman.

hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Most men, I want to say ALL MEN, look great in a well cut suit. Boys turn to men, and previously bland chaps, turn to hotness. Is it the shoulders? Is it the old school charm? Or is it because it’s almost rare to see everyday, thus special and alluring? It’s a shame, because men look fantastic when they’re wearing something cut correctly. Why not embrace the suit more? Have you not seen Mad Men, with Don and err Don? In real life Jon Hamm looks like Bon Iver in the middle of his woods escapade. In Mad Men, he is all that millions of women desire. I don’t think it’s the 50s ideologies of man protecting woman, whilst woman looks perfect and alert. It’s just a suit looks NICE.

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

So, James Hillman shows that men look good dressed in black clothes, cut well, particularly suits. The collection is all black because James used crude oil as his inspiration for his designs. Embracing the concept wholeheartedly, he studied the distillation of crude oil, learning that different temperatures produce different iterations of oil. Each fabric thus, represents a different tier in the crude oil process. The heavyweight oils are represented with heavyweight woollen cashmere mixes and reindeer leather. Whilst the lightweight oils are represented in rip stock and lightweight wax cottons.

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

The deigns are sleek and sharp. Whilst the pockets and necklines are detailed, with for example; reflective fabric; pock and crepe pocket panelling; high neck or collarless necklines, all the pieces retain luxurious simplicity. I still have issues with man bags, but the rest of the show was hot to trot. This was confirmed by a man, by the investigator. I saw him at the end of the show. Statement on James Hillman follows: “I don’t normally go in for men’s fashion, but I loved that. I would wear all of that. Hmmm…may need to investigate this James Hillman further.” Indeed. And spread the word.

Hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Whilst in the press lounge I had a natter with a benefits investigator and a lady who runs an art gallery. The benefits investigator did the media bits as a relief from fraud and because ‘the people are always so friendly.’ This is true, nurse somewhat surprisingly. I have met some super and interesting people at LFW, view and this man was no exception. A delight to chat to. All three of us were heading for the Fashion Mode show, but I was faffing about with Toni and Guy etc. so didn’t walk with the investigator or art lady. But I saw them opposite me in the audience and it was obvious, although we had talked mostly about high class fraud, investigator man, liked his threads. And why not? I love it that Charlie, my boyfriend, loves his clothes, and he’d be all over watching a male fashion show, like the one at Fashion Mode: James Hillman.

hillman

LFW A/W 2011 James Hillman Collection. Illustration by Anne N’Toko

Most men, I want to say ALL MEN, look great in a well cut suit. Boys turn to men, and previously bland chaps, turn to hotness. Is it the shoulders? Is it the old school charm? Or is it because it’s almost rare to see everyday, thus special and alluring? It’s a shame, because men look fantastic when they’re wearing something cut correctly. Why not embrace the suit more? Have you not seen Mad Men, with Don and err Don? In real life Jon Hamm looks like Bon Iver in the middle of his woods escapade. In Mad Men, he is all that millions of women desire. I don’t think it’s the 50s ideologies of man protecting woman, whilst woman looks perfect and alert. It’s just a suit looks NICE.

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

So, James Hillman shows that men look good dressed in black clothes, cut well, particularly suits. The collection is all black because James used crude oil as his inspiration for his designs. Embracing the concept wholeheartedly, he studied the distillation of crude oil, learning that different temperatures produce different iterations of oil. Each fabric thus, represents a different tier in the crude oil process. The heavyweight oils are represented with heavyweight woollen cashmere mixes and reindeer leather. Whilst the lightweight oils are represented in rip stock and lightweight wax cottons.

Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

The deigns are sleek and sharp. Whilst the pockets and necklines are detailed, with for example; reflective fabric; pock and crepe pocket panelling; high neck or collarless necklines, all the pieces retain luxurious simplicity. I still have issues with man bags, but the rest of the show was hot to trot. This was confirmed by a man, by the investigator. I saw him at the end of the show. Statement on James Hillman follows: “I don’t normally go in for men’s fashion, but I loved that. I would wear all of that. Hmmm…may need to investigate this James Hillman further.” Indeed. And spread the word.

I will confess now. I may have gone over the top. Yes, information pills this blog is positively popping at the seams with illustrations. And it’s the FOURTH, order yes the FOURTH one to hit our website. But really it’s no surprise that Prophetik is such a big draw for both writers and illustrators, capsule peddling as he does an uber romantic view of the world that is steeped in a deep love for the natural world.

For his A/W 2011 Artist Wonderment collection designer Jeff Garner once again referenced times past, this time the “frivolous snobbery” of the court of Louix XV, an epoch that for him epitomises the falsity of impulsive consumption. Having interviewed Jeff Garner for my book, Amelia’s Compendium of Fashion Illustration I know how important to him it is to live a fully accountable life, and it seems to me that the title of this collection refers to the purity of artistic vision with which he himself attempts to live his own life.

It was the detailing which really stood out as the models swept past me. His ball gowns and corseted dresses were awash with gorgeously constructed patchwork, twirly brocade, gilded buttons and ruffles. But the absolute stand outs were a couple of stupendous quilted jackets. And by quilted I really do actually mean made out of an antique quilt, one of which belonged on his childhood bed that he must surely have baulked at destructing – just a tiny bit. But as his stylist Rebekah Roy pointed out to me later on, it makes absolute sense to refashion a quilt in this way – a quilt that in the very first place was made from fabric remnants.

This approach of continuous upcycling is certainly innovative, and what I love most about Jeff is his dedication to sustainable practice. All his fabrics are painstakingly hand dyed with a magical potion of herbs in a process that takes many weeks to accomplish – this season’s special plum colour was obtained by mixing up a blend of madder root, sorrel, logwood and indigo. Of anyone on the ethical fashion scene I really feel that Prophetik is pushing the way forward by putting on a ambitious catwalk show that ensures excitement amongst mainstream fashionistas. Prophetik opened Fashion Scout for the third season running and the Freemasons Hall was packed to the rafters, including famous front row attendees in the form of Hilary Alexander and Livia Firth, erstwhile wife of Colin and celebrity advocate of ethical fashion.

I can only hope that Jeff’s dedication to the ethical cause will rub off on other members of the fashion industry. Soon.
I will confess now. I may have gone over the top. Yes, store this blog is positively popping at the seams with illustrations. And it’s the FOURTH, yes the FOURTH one to hit our website. But really it’s no surprise that Prophetik is such a big draw for both writers and illustrators, peddling as he does an uber romantic view of the world that is steeped in a deep love for the natural world.

The show opened in typical Jeff style, with live vocals followed by a madly thrashing classical violinist, who strutted down the catwalk as if her life depended on it. But it was the finer detailing which really stood out as the models swept past me. His ball gowns and corseted dresses were awash with gorgeously constructed patchwork, twirly brocade, gilded buttons and ruffles. But the absolute stand outs were a couple of stupendous quilted jackets. And by quilted I really do actually mean made out of an antique quilt, one of which belonged on his childhood bed that he must surely have baulked at destructing – just a tiny bit. But as his stylist Rebekah Roy pointed out to me later on, it makes absolute sense to refashion a quilt in this way – a quilt that in the very first place was made from fabric remnants.

I can only hope that Jeff’s dedication to the ethical cause will rub off on other members of the fashion industry. Soon.
Carlotta_Actis_Barone_Abby_Wright_LFW

LFW A/W 2011 Carlotta Actis Barone Collection. Illustration by Abby Wright

Well the third of Fashion Mode’s designers this Sunday was simply put: stunningly pretty and explosive. Frosted make up, and backcombed and massive hair, more about beige skyscraper heels and icy pouts – all complimented utterly beautiful pieces from the designer. Carlotta Actis Barone drew gasps and ‘ooohs’ as her models sashayed down the catwalk. These girls were ice princesses. With enormous hoods, view fluffy shrugs, pom poms, exposed zips, extravagant fishtail dresses, flamboyant netting and super sleek, pencil skirts; they all had a heavenly, intense, snowy fairytale vibe.

Gemma Milly-Carlotta Actis Barone-Fashion Mode-A-W11

LFW A/W 2011 Carlotta Actis Barone Collection. Illustration by Gemma Milly

Reading about the designer, her artistic training has been life -long. Carlotta Actis Barone is the daughter of Italian visual artist Manuela Corti and writer Gianni Actis Barone. Although she discovered her true passion for fashion at the age of 24. During her study at Central St. Martin’s College of Art and Design for a BA in Fashion Print, she went on a gap year, working with Korean designer Moon Young Hee, B.C.B.G Max Azria Manoukian and Balmain.. Explaining the bold colour use in her collection, we discover that Carlotta’s pieces are based around strong, feminine women. She often also has a political edge to her designs, and is extremely passionate about the ethical issues surrounding fashion. These ethical opinions are often reflected in her designs, this season being no exception. The Autumn/Winter 2011 collection focuses on cruelty against animals, with particular focus on fur, and seals. We all know fur is wrong, our animals should be celebrated, not worn. We at Amelia’s feel very fiercely about this. See Amelia’s own ethical fashion book, here.

Gareth A Hopkins Carlotta Fashion Mode AW11

LFW A/W 2011 Carlotta Actis Barone Collection. Illustration by Gareth A Hopkins

Hence for Carlotta, the frosted lipped models, beige faux fur and red, white and navy blue palette. The seals being the beige faux fur, the blue the cold sea, and the white symbolic of the snow and ice. Red is obviously the horrendous slaughter of the seals, shown in the underskirts and showpieces.

Carlotta Actis Barone

LFW A/W 2011 Carlotta Actis Barone Collection. Illustration by Matilde Sazio

The enormous, white eyelashes, iced lips and enormous hair, paired with fitted 50s influenced dresses, short knitted, luxurious, hooded pieces… faux fur shrugs, hand muffs, sleeves and collar details… were so strong and and almost, beautifully angry. Carlotta also referenced Inuit people in her designs, each of the skirted models wore transparent leggings and geometric patterns ran through the collection, similar to their attire. The whole collection represents how I’m sure many girls would love to look in the winter time. It’s so feminine, heavenly and bold. A mixture of prom dresses, Narnia and Victorian fashion – a fantasy, a drama – and of course in terms of the seals; a harsh reality.

LFW Kayleigh Bluck

LFW A/W 2011 Carlotta Actis Barone Collection. Illustration by Kayleigh Bluck

I adored the pronounced peplum dress, the fitted black coat, with full skirt from the waist. The blue, white and red mixed beautifully, if slightly shocking. Which of course, is part of the message Carlotta is making with her show. Without doubt the finale piece, a red fishtail, strapless dress, with a faux fur beige, large shrug, was just INCREDIBLE. I was in love with that dress. I still am in love with that dress. It was the perfect ending to a show that inspired, amazed and informed. This fabulous collection, left me in awe.

Carlotta Actis Barone LFW A/W Amelia Gregory

LFW A/W 2011 Carlotta Actis Barone Collection. Photography by Amelia Gregory

Buy Amelia’s Book on Ethical Fashion: here. You will also find illustrations by Abby Wright, Gemma Milly and Gareth A. Hopkins in the book.

Written by Helen Martin on Thursday February 24th, 2011 9:04 pm

Categories ,Abby Wright, ,Amelia Gregory, ,Carlotta Actis Barone, ,Fashion Scout, ,Gareth A Hopkins, ,Gemma Milly, ,Helen Martin, ,Kayleigh Bluck, ,lfw, ,LFW A/W, ,Matilde Sazio

Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Prophetik (by Helen)

Jena Theo Matilde Sazio Jena.Theo LFW A/W 2011, seek rx Illustration by Matilde Sazio

I was ushered in through the door by a geezer of a Londoner chap, sick straight through to a high heeled officious lady, then again to the very highest heels clinking their way to the front row to show me my seat. There were bags on my seat. Bags filled with goodies. Splendid. The lady next to me was bouncing her baby on her knee, as said baby was knawing on a pain au chocolat. “Nice earmuffs” I said to the tiny fashionista, pointing towards her penguin earmuffs on her head. “To protect her from the sound. It can get very loud. But she does love it here. Loves the shows.” How much do I want a chilled out, cute baby like her. Also, cool mother! I know mothers who wouldn’t take their child to Tescos for fear of its screaming the flourescently lit shed down. I looked around properly, and saw straight backed women before me. Unsmiling, with notepads on their laps and twitter at their fingertips. No one was without a smart phone. Comfortingly others were holding cameras possibly at the same level as mine, not everyone had the enormous lensed beasts. This made me feel infinitely better about my black device with sand trapped in the lens from every holiday in the last three years and glitter from an explosion of glitter at a festival last year. It makes me slightly sad to see it sprinkle on my lap when I take the lens cap off. Nostalgic particles… To the left, I felt like I was getting an immense tan however from the mad, bright white, highly lit, flashing, mini bulb, sensation. It was just INTENSE; magic eye, transfixing, blinding… The lady next to me shielded the left hand side of her face for a bit. We briefly discussed the perils of giant screens of mini light bulbs. SUCH a drag. Then it all went dark and we were treated to intro music as the anticipation was allowed to be built. Dum, dum, dum….dum… dum. EXCITED. Most of the opposite front row remained attached to the twit or without expression.

Jena.Theo LFW A/W 2011, Illustration by Karina Yarv

The darkness remained for a while, and I felt my heart start to beat harder. You know when as a child (/adult), at a theme park, you have just queued to get onto a ride that begins in the dark? You’re kind of scared but excited, not really sure how it will turn out? Yes, that. That was what it felt like. I was half expecting for the floor to drop and to experience a heart in my mouth sensation, as gravity stole my nerves. Child next door was heckling, all ready for the experience to begin. She’s not worried her mother assures me, as a seasoned show-goer why would she be? Well, indeed. This does not compare to my 80s Sussex upbringing. I spent being three and four devoted to my pink bomber jacket and all in one waterproof jumpsuit number. Was it the 80s? Was it me? Is there any hope? I apoligise, enough pondering! The show began.

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Photography by Matt Bramford

I was pleased to see that what was being presented was completely wearable. Definitely in London. Perhaps less so in Bristol – it was slightly ‘too’ urban for the West Country. However, if I had a choice (and el cash), some of those pieces would be getting worn in Falfael King and that secret bar we’ve been meaning to go to for a while… at least supper club. Or – ah see, I kind of want to move to London again. Don’t get the wrong impression of Briz, I beg you. Anyway digressing again- the show was very charcoal, black and cream orientated. The models all had black stripes across their eyes and otherwise bare faces. This made them look like mysterious, moody superheros. I liked it, as it really set of the simple coloured, pieces; the models all expressionless (course), their masks and the movement of the light or dark pieces worked together perfectly. It felt like we were on the sea, with norwegian heroines. Swishing slowly about, their heels never falter, their gaze exact, the path has been set and the grey skies are dappled with stars, as the storm takes hold. These strong warriors will take us with their capes flowing behind them, their hair dancing in the wind.

Jena.Theo Valkyrie by Matilde Sazio Jena.Theo LFW A/W 2011, Illustration by Matilde Sazio

My favourite piece was one with an almost bustling at the back, flowing down to the ground, in one swipe. The front was a mini, the back was the drama, the fantasy. I would love to wear this one standing at the front of a ship. Not a ferry, a ship. The collection; Valkyrie, refers to a band of celestial female figures who decide to die in the field of battle. So 300, in a sense, but with women. Strong, ethereal women.

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Photography by Matt Bramford

Jena.Theo have managged to combine the mythology with the urban reality. Fantasy has been embraced, with opulence in mind, the designs are sumptuous, yet strong. Fit for women going into battle with the ice of Scandinavia and the luxuriousness of a cashmere bustle behind them. And why not mix up the hemlines, paint black across our eyes and march like amazonian creations girls. We are women. Watch us gracefully, cooly and quietly move, like we believe we are mighty. We are. For designs that were indeed simple, they were deserving of their sparkling lights.
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Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

A long queue waited for me outside of Freemason’s Hall. Initially I considered sauntering in through the door I first came across, pill but after peering in I discovered that in fact there was only a Vauxhall car in there and a couple of security men. Instead there was the aforementioned queue, pill just round the corner. I spotted Akeela, Katie and Sarah of Scribble fame in the line and promptly hit them all with my enormous goodie bag from Jena.Theo. As I was excitable, my accompanying movements were erratic and thus the thwacking continued until I decided to destroy the bag and had a look at the contents. Delicious. The standing and nattering continued before our coloured stickers were called forwards. I thanked Amelia power as we were marched straight in and positioned in the second row. Ooo a mini orchestra to the left.

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Prophetik LFW A/W 2011 Collection, illustration by Abby Wright

Chat for ages it seems before it all goes dark. Then a blonde bobbed lady came out and started ‘haaaa’ing. More high pitched than Enya, but similarly Lord Of The Rings magical. WHAT to expect. Well, in truth I had an idea, the press sheet announced that this was ‘Artist Wonderment’. This can only mean we are entering the fantasy land of the designer. Happily, as I read on, it would appear that Prophetik have been inspired by all the magic of the past. And I DO so love a good period drama. I quote: ‘The season exudes the freedom from the pretense of being what we would become, fleeing from egotism into the wonderment of an artist.’ Prophetik are very fond of liberty and protection of our world, through being all-sustainable. Tennessee’s Jeff Garner, who designs the fashion lifestyle brand, wants to bring an awareness of the repercussions of the clothing business, to everyone they can reach.

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Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

Then violin lady, Analiza Ching came out, short skirted, her hair flicking around. Violinsts always look pretty cool I think, especially when they are jumping around, confidently using the strings to produce feisty sounds. After more hair and body kinetic energy, Miss Violinst went and joined the Benjamin Ellin orchestra. Then the models started streaming out in their Louis XV inspired outfits. With long dresses, corseted and delicate detailing. The colours were soft and the fabric consisted of ripped silks, organic velour, as well as 100 year old southern quilts, courtesy of Jeff Garner’s great grandmother, Lola. Interestingly cactus silk was also introduced, made from the agave plant. The pieces looked heavy and purposeful as they swept past. Similar to the dresses you find in fashion museums, a bit starchy and very thick. However, Prophetik‘s collection, as opposed to the historic pieces, had a woodland feel to them, connecting them to the earthy message and principles of the designer.

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Prophetik LFW A/W 2011 Collection, photography by Matt Bramford

“He’s grease lightning isn’t he?” The ladies behind me complained, as they were unable to get a shot of the red-headed male model on the catwalk. With his long hair slicked back, quilted buttoned up jackets and three quarter length trousers, I wished he would next come out mounted on a horse. Perhaps with one of the angel lady beings, riding side saddle and looking into the middle distance – because that’s where the magic is, clearly. The men all looked serious and officious in their luxurious outfits. Like Prince’s, they wore the natural colours with a regal air about them. I can certainly imagine some of my Hereford friends cracking out these jackets round the fire this Autumn. Residing in woods, yurts and buses, they whole heartedly are ‘woodland creatures’. Much like these, pretty imps and fairies. The Prince, the carpenter and the folk singer, sit within the trees, stars sparkling and dragonflies dancing.

There were a few dresses that I fell in love with. This included the midi length halter dress with boots – most of the outfits were worn with flat boots – I imagine for easy action in the woods. They complimented the dresses, stopping the over pretty factor. All hair was slicked to the ears and then waved, faces pale and natural. I also loved the female tailcoats, tight to the waist then full to the thigh and featuring turned up cuffs, curling at the top. All with embroidered edges and in deep, or pastel colours. Then the floor length, corseted, strapless, rich purple dress, complete with a train was divine. As was a stunning mossy green and cream empire line dress. It was a modern, eco Austen esque, Regency beauty; so graceful. The strapless and halterneck dresses were lighter than the embroidered pieces, many of which billowed in layers to the floor, and were more reminiscent of the Tudor 16th century period.

Helen Martin Prophetik
THE Prophetik DRESS. Photo by Helen Martin

I must say, the absolutely MOST fantastic dress of them ALL was a white ostrich feather creation. I want to get married and wear this ostrich BEAUTY. Like the white, angelic creation from the sky, she swept in and the whole audience gasped. I’d like to think she was saved by birds after being orphaned through the enemy’s shots. Then nurtured by the birds before she emerged, into the woods. And the woodland creatures danced in merriment, for she had been saved, and she was beautiful. Red-headed man will hopefully slow his canter to a trot, then dismount, his nonchalent stare becoming a transfixed (gruff) stare. He loved her already.

Gemma Milly and Abby Wright have their illustrations in Amelia’s Compendium of Fashion Illustration, available here.

Written by Helen Martin on Sunday February 20th, 2011 2:04 pm

Categories ,Abby Wright, ,ACOFI, ,Akeela, ,Amelia, ,Analiza Ching, ,Benjamin Ellin, ,eco, ,folk, ,Gemma Millie, ,Helen Martin, ,Katie Antoniou, ,lfw, ,LFW A/W 2011, ,Lola, ,Louis XV, ,marriage, ,Matt Bramford, ,Orchestra, ,planet, ,prince, ,Princess, ,Prophetik, ,Sarah Scribbles, ,sustainable, ,Tennessee, ,vauxhall, ,Violin, ,woodland creatures

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Maria Francesca Pepe (by Helen)

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MariaFrancescaPepe LFW A/W 2011. Illustration by Abby Wright.

It was extremely dark in that first room. Save for a few lamps casting red strips of a blood-like glow. Certain points were lit up on the model, information pills the shining metal spikes, dosage the dull sheen of black leather and the pointed hat. I will be honest now. I had to check that the model was in fact a mannequin. She was. But checking was interesting. The light was so low and I was terrified she would move suddenly. An intimidating mannequin.

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I wasn’t sure whether the rest of the models would be mannequins too, but as we entered slightly more light filled rooms, it was obvious that these ones were real. But they were also a higher level of scary. Two looked like mermaids trapped on rocks. Occasionally shifting, they looked confident, bored and yet super vulnerable and TRAPPED. I felt myself want to look at them closer, but then one of them looked me in the eye. Which was a shock. These models, with their purposefully lank, long hair, dark eyes, glossy and pale skin, ghostlike sheer dresses, and fabulous golden accessories looked like aliens. Of course ridiculously beautiful aliens.

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Photography Helen Martin

I have to say that I was mesmerised by the back of one model. She had a golden, Egyptian styled headpiece, in the shape of eyes. The three main headpieces were forged by hand in resin and carbon steel, then varnished in opalescent acrylics and hand studded with brass and Swarovski hexagonal studs. They are designed in the style of medieval shields and helmets. The tiara for me was my favourite however, it looked regal and yet delicate and pretty. Also empowering, I imagine a useful attribute for whichever land she/you/me might be in. In contrast, although also empowering, MariaFrancescaPepe‘s shoes looked like something you could definitely cause GBH with. Not pretty, pretty – fierce! In a more sultry way than Rihanna fierce. With enormous spikes at the top, their cream colour, did little to belie their extra ridiculous height and metal danger.

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Photography Helen Martin

Like the tiara, the majority of the presentation focused on eyes. Earrings, rings and chains…. EYES. This was a small issue for me. Ever since my brother told me the details of his eye operation at five years old, and then watching Dali’s eye slitting scene – ugh- I’m feeling sick as I write, I have been afraid of anything touching eyes. Or just weird eyes. And in truth… Dali. Cue sweeping generalisation alert: In terms of films, books, art and what I have seen; the 30s, like the 70s, seem like the scariest decades to me. Thus, when the saddest and scariest looking model of them all, looked at me right in the eye, with her incredibly, INTENSELY mesmerising own eyes, I didn’t know what to do. Transfixing model.

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Model looking at me… Photography Helen Martin

It’s not surprising that MariaFrancescaPepe has been heavily influenced by Dali’s surrealism for this collection. As I read: ‘Objects of magical meaning and of inner strength. A mask hides and reveals at the same time. Eyes are a mirror for the soul. Dali’s surrealism lesson has been learnt.’ The presentation was tribal and punky, but also ethereal and ghost-like. Almost like facing your own deep reality, that of the soul’s and our desires. The ‘ahhhhhhhhhhh’ music added to these fearful and reflective thoughts. It was as if MariaFrancescaPepe had gone through Indiana Jones’s chest of treasure, added in some Alien, X Files, lots of Dali and then Marilyn Manson on top. Sounds odd, is odd – but also very interesting. It comes as no surprise that Lady GaGa apparently ‘embodies’ MariaFrancescaPepe’s accessories.

Written by Helen Martin on Friday February 25th, 2011 6:28 pm

Categories ,Abby Wright, ,Alien, ,brass, ,cuffs, ,Dali, ,Dominatrix, ,Ethereal, ,Eyes, ,Fortuna, ,Freemasons’ Hall, ,Helen Martin, ,jewellery, ,lfw, ,LFW A/W 2011, ,MariaFrancescaPepe, ,Mermaids, ,Pretty, ,Spikes, ,Swarovski, ,X Files

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Bunmi Koko

irrespressibles by daria h

Bunmi Koko A/W 2011 by Toni Bowater.

Bunmi Koko was undoubtedly one of my best new discoveries of last season, troche 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, 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’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.

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

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. The conclusion? Good work from a promising young designer, but needs refining.

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

Written by Amelia Gregory on Sunday March 6th, 2011 7:12 pm

Categories ,Andrew Bumpus, ,Andy Bumpus, ,Bunmi Koko, ,Bunmi Olaye, ,FAD Awards, ,Fashion Scout, ,Fashion Textiles, ,Fill The Cup, ,James Bond, ,Kaleidoscopia, ,lfw, ,Liam McMahon, ,London Fashion Week, ,Lucy Jones, ,The Bunmi Koko Times, ,Toni Bowater, ,University of East London

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

Illustration by Gemma Sheldrake

It’s always a treat to see a brand new designer launch at London Fashion Week – there’s always one that you get tickets for and have never heard of but really stand out in a sea of similarity. This season, clinic it was Fyodor Golan.

Fyodor Podgorny and Golan Frydman make up this design duo – and this debut collection, there romantically titled ‘Pagan Poetry’ was a real treat.

Sarcasm alert: I do rather enjoy sitting on the front row with somebody who is so desperate to capture what they are seeing with a Blackberry or video camera that they lean forward so much that they obscure the view for everybody behind them. I’ve had this a lot this fashion week – I guess it’s inevitable, with the internet now saturated with fashion blogs, it’s only a matter of time before almost everybody has a decent camera and is trying to capture the action as it happens. I’ve heard stories of people taking photographs with one hand and Tweeting with the other. When will it end?! This guy I was sitting next to at Fyodor Golan was beyond ridiculous. Armed with a teeny tiny video camera, he moved backwards and forwards like he directing a Hollywood blockbuster. I jabbed him a couple of times, with a helpless ‘PLEASE STOP DOING THAT!’ look on my face. It didn’t make the slightest difference. He continued to capture, with his shakey hand, every detail of every look. Gah.

Despite this monster I was determined to capture good photographs of this stunning collection. The inspiration had come from Renaissance and Regency periods, and with heritage in Latvia, Russia, Israel, Morocco and Germany, Fyodor and Golan certainly have a enormous amount of cultural references to draw from.

Long, elegant silhouettes dominated the catwalk, spiced up with ruched details and voluminous elements. High waisted skirts were teamed with cropped bolero jackets with flamboyant layering to start with, extremely wearable and somehow classic and contemporary at the same time. Contrasting textures such as organza and cotton were married together in geometric patterns.

Illustration by Ella Masters

Futuristic tailoring appeared on floor length jersey skirts – intricate panels had been applied to waists, and hems were elasticised which allowed models to swagger intently.

The collection then took a very dramatic turn with some amazing conceptual pieces that had everybody raising their cameras in unison. Architectural frocks made in leather and goat skin appeared – one dramatic piece featuring a short, short skirt with layered pleats, another floor length where the leather had been treated to look organic and made the model move like an animal. Other pieces saw organza take twists and turns around models’ figures in muted lilac and beige, having an exotic, romantic flavour. There was so much going on here, but for the final walk-through, somehow it all seemed to fuse together perfectly.

Idiot With Video Camera continued to capture every piece in motion, much to my dismay. I saw him on the Frow a few times during the course of the week. He’s probably really famous, and I’ll never work again. But he drove me insane! And the end of the show, he’d dropped his mobile on the floor. Being a kind and considerate individual, I returned it to him as he legged it out of the venue. ‘Thanks!’ he said, ‘And sorry if I got in your way before!’ ‘Yes, you did!’ I barked, ‘…but I’m over it now.’ He offered me some pictures from his ‘official photographer’ but I declined. I think I did okay – it’s not difficult to take good pictures of great clothes.

Illustration by Gemma Sheldrake

Fyodor Podgorny and Golan Frydman make up this design duo – and this debut collection, romantically titled ‘Pagan Poetry’ was a real treat.

Illustration by Abi Daker

Illustration by Ella Masters

Futuristic tailoring appeared on floor length jersey skirts – intricate panels had been applied to waists, and hems were elasticised which allowed models to swagger intently.

Illustration by Gemma Sheldrake

Fyodor Podgorny and Golan Frydman make up this design duo – and this debut collection, see romantically titled ‘Pagan Poetry’ was a real treat.

Sarcasm alert: I do rather enjoy sitting on the front row with somebody who is so desperate to capture what they are seeing with a Blackberry or video camera that they lean forward so much that they obscure the view for everybody behind them. I’ve had this a lot this fashion week – I guess it’s inevitable, medicine with the internet now saturated with fashion blogs, it’s only a matter of time before almost everybody has a decent camera and is trying to capture the action as it happens. I’ve heard stories of people taking photographs with one hand and Tweeting with the other. When will it end?! This guy I was sitting next to at Fyodor Golan was beyond ridiculous. Armed with a teeny tiny video camera, he moved backwards and forwards like he was directing a Hollywood blockbuster. I jabbed him a couple of times, with a helpless ‘PLEASE STOP DOING THAT!’ look on my face. It didn’t make the slightest difference. He continued to capture, with his shakey hand, every detail of every look. Gah.

Illustration by Abi Daker

Illustration by Ella Masters

Futuristic tailoring appeared on floor length jersey skirts – intricate panels had been applied to waists, and hems were elasticised which allowed models to swagger intently.

Fyodor Golan A/W 2011 by Joy Chokchai.

I love heading into a show at LFW when I have absolutely no idea what to expect – anything showing at Fashion Scout and PR-ed by Trace Publicity is almost certainly going to be of a high calibre, viagra buy as was the case with newcomers, malady the intriguingly named Fyodor Golan.

Fyodor Golan A/W 2011 by Sandra Contreras.

Fyodor Podgorny and Golan Frydman surely have the most FABULOUS names in fashion. This endearing couple (they held hands when they came out for a bow) are emblematic of the mash up of cultures and nationalities that constitutes London a decade into the new millennium. Between them they have Latvian, generic Russian, Israeli, Moroccan and German roots but got together here in my hometown of Londinium. Between them they have worked at Alexander McQueen, Raf Simons, Richard Nichol and Issey Miyake – in other words a top selection of fashion designers – and these skills were put to good effect in Pagan Poetry, their first catwalk show.

Fyodor Golan A/W 2011. Photography by Amelia Gregory
Fyodor Golan A/W 2011 by Sandra Contreras.

The result was a super confident collection inspired by the dress of Regency and Renaissance periods and the scarification rituals of tribal cultures. In practice this meant lots of sheer dresses, cut away areas on the waist, sexy exposed backs and highly tooled ridged and bumped leather detailing. Some of the staggered draping reminded me of Masha Ma, seen at it’s most extreme in a powder blue hooded cape on top of a textured see through bodysuit. Backless dresses are big for A/W and one of my favourite Fyodor Golan dresses featured teasingly buckled straps beneath a thick swinging plait. Very sexy.

Fyodor Golan A/W 2011. Photography by Amelia Gregory
Fyodor Golan by Lisa Stannard.

A couple of the tighter dresses featured one of the season’s more worrying trends: extremely tight gathered hems which forced the model to move with great care down the catwalk – I’m sure clothing psychologists would have a field day with the meaning behind this latest design feature. The show closed with a deep royal blue dress featuring this season’s favourite red carpet touch: a lengthy train of fabric billowing out behind. I look forward to seeing what this multi cultural twosome produce next.

Fyodor Golan A/W 2011. Photography by Amelia Gregory
Fyodor Golan by Lisa Stannard.

You can read Matt Bramford’s rather more amusing blog about this show and the trials and tribulations of sitting next to an *annoying person who leans out to capture every single look on their shitty camera* right here. Oh how I empathise – I had my fair share of camera wielding cretins to cope with over LFW (see above, at this very show). I could see Matt helplessly trying to shoot round his one at the far end of the catwalk and you can probably spot the culprit from the front if you look through my own photos. GRRRRRR.

Fyodor Golan A/W 2011. Photography by Amelia Gregory.

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

Written by Amelia Gregory on Thursday March 3rd, 2011 2:39 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Fashion Scout, ,Fyodor Golan, ,Fyodor Podgorny, ,Golan Frydman, ,Joy Chokchai, ,lfw, ,Lisa Stannard, ,London Fashion Week, ,Masha Ma, ,Matt Bramford, ,Sandra Contreras, ,Trace Publicity

Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Prophetik (by Helen)

Gemma Milly-Prophetik-A-W11
Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

A long queue waited for me outside of Freemason’s Hall. Initially I considered sauntering in through the door I first came across, but after peering in I discovered that in fact there was only a Vauxhall car in there and a couple of security men. Instead there was the aforementioned queue, just round the corner. I spotted Akeela, Katie and Sarah of Scribble fame in the line and promptly hit them all with my enormous goodie bag from Jena.Theo. As I was excitable, my accompanying movements were erratic and thus the thwacking continued until I decided to destroy the bag and had a look at the contents. Delicious. The standing and nattering continued before our coloured stickers were called forwards. I thanked Amelia power as we were marched straight in and positioned in the second row. Ooo a mini orchestra to the left.

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Prophetik LFW A/W 2011 Collection, illustration by Abby Wright

Gemma_Milly-Prophetik2-A-W11
Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

Then violin lady, Analiza Ching came out, short skirted, her hair flicking around. Violinsts always look pretty cool I think, especially when they are jumping around, confidently using the strings to produce feisty sounds. After more hair and body kinetic energy, Miss Violinst went and joined the Benjamin Ellin orchestra. Then the models started streaming out in their Louis XV inspired outfits. With long dresses, corseted and delicate detailing. The colours were soft and the fabric consisted of ripped silks, organic velour, as well as 100 year old southern quilts, courtesy of Jeff Garner’s great grandmother, Lola. Interestingly cactus silk was also introduced, made from the agave plant. The pieces looked heavy and purposeful as they swept past. Similar to the dresses you find in fashion museums, a bit starchy and very thick. However, Prophetik’s collection, as opposed to the historic pieces, had a woodland feel to them, connecting them to the earthy message and principles of the designer.

Helen Martin Prophetik
THE Prophetik DRESS. Photo by Helen Martin

Gemma Milly and Abby Wright have their illustrations in Amelia’s Compendium of Fashion Illustration, available here.

Written by Helen Martin on Sunday February 20th, 2011 2:04 pm

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Maria Francesca Pepe (by Helen)

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MariaFrancescaPepe LFW A/W 2011. Illustration by Abby Wright.

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Hels MFP 5

Hels MFP 1

Hels MFP 5

Photography Helen Martin

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Photography Helen Martin

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Model looking at me… Photography Helen Martin

Written by Helen Martin on Friday February 25th, 2011 6:28 pm

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Bunmi Koko

irrespressibles by daria h

Bunmi Koko A/W 2011 by Toni Bowater.

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.

Written by Amelia Gregory on Sunday March 6th, 2011 7:12 pm

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