Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: À La Disposition

 

Fashion in the Age of Austerity, ampoule pill orgsanised by the Papered Parlour combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, amongst some rare, antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops. 

 

Learning to Upcycle jewellry with Tatty Devine 

I was most excited by the panel debate with the Guardian’s ‘Ethical Living’ columnist Lucy Siegle, Think Act Vote Founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disapoint; we raced around lots of interestting, contraversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things. 

 

One of the key messages I took from the event was that if you want to shop ethically you cant be afraid of complexity. Lucy Siegle exlained that it isn’t as simple as ‘baddies’ and ‘goodies’ in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairly traded, tree protecting, wildlife saving or garments using only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything. 

Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of. 

 

The Panel. Illustration by Sam Parr 

Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hm. 

 

A  workshop in action: students learning to make a wallet out of a tetrapack with the Otesha Project 

 There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. 

After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs. 

My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of  Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.
 

 

Hannah Peel illustration by Elizabeth Goodspeed 

  

Tatty Devine illustration by Sanna Dyker 

There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourite’s. 

I loved the intricate illustrations on the goods at the Zosienka and Rosie stall. 

 

This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House. 

 

  Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.

I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.

This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.

 

I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised with loud music beginning to play half way through. (Note to Papered Parlour: Great event but I think the ‘Make believe’ area was too close to the stage!) Fellow contributor Katie Antoniou  was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.   

The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny.

There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called ‘It’s your write!’, it’s on the 7th April, and it will be a celebration of the self published.
 

Fashion in the Age of Austerity, orgsanised by the Papered Parlour combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, amongst some rare, antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops. 

 

Learning to Upcycle jewellry with Tatty Devine 

I was most excited by the panel debate with the Guardian’s ‘Ethical Living’ columnist Lucy Siegle, Think Act Vote Founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disapoint; we raced around lots of interestting, contraversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things. 

 

One of the key messages I took from the event was that if you want to shop ethically you cant be afraid of complexity. Lucy Siegle exlained that it isn’t as simple as ‘baddies’ and ‘goodies’ in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairly traded, tree protecting, wildlife saving or garments using only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything. 

Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of. 

 

The Panel. Illustration by Sam Parr 

Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hm. 

 

A  workshop in action: students learning to make a wallet out of a tetrapack with the Otesha Project 

 There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. 

After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs. 

My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of  Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.
 

 

Hannah Peel illustration by Elizabeth Goodspeed 

  

Tatty Devine illustration by Sanna Dyker 

There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourite’s. 

I loved the intricate illustrations on the goods at the Zosienka and Rosie stall. 

 

This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House. 

 

  Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.

I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.

This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.

 

I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised with loud music beginning to play half way through. (Note to Papered Parlour: Great event but I think the ‘Make believe’ area was too close to the stage!) Fellow contributor Katie Antoniou  was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.   

The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny.

There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called ‘It’s your write!’, it’s on the 7th April, and it will be a celebration of the self published.
 

Fashion in the Age of Austerity, look orgsanised by the Papered Parlour combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, pilule amongst some rare, antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops. 

 

Learning to Upcycle jewellry with Tatty Devine 

I was most excited by the panel debate with the Guardian’s ‘Ethical Living’ columnist Lucy Siegle, Think Act Vote Founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disapoint; we raced around lots of interestting, contraversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things. 

 

One of the key messages I took from the event was that if you want to shop ethically you cant be afraid of complexity. Lucy Siegle exlained that it isn’t as simple as ‘baddies’ and ‘goodies’ in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairly traded, tree protecting, wildlife saving or garments using only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything. 

Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of. 

 

The Panel. Illustration by Sam Parr 

Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hm. 

 

A  workshop in action: students learning to make a wallet out of a tetrapack with the Otesha Project 

 There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. 

After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs. 

My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of  Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.
 

 

Hannah Peel illustration by Elizabeth Goodspeed 

  

Tatty Devine illustration by Sanna Dyker 

There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourite’s. 

I loved the intricate illustrations on the goods at the Zosienka and Rosie stall. 

 

This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House. 

 

  Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.

I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.

This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.

 

I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised with loud music beginning to play half way through. (Note to Papered Parlour: Great event but I think the ‘Make believe’ area was too close to the stage!) Fellow contributor Katie Antoniou  was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.   

The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny.

There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called ‘It’s your write!’, it’s on the 7th April, and it will be a celebration of the self published.
 

Fashion in the Age of Austerity, cialis 40mg orgsanised by the Papered Parlour combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, salve amongst some rare, antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops. 

 
Learning to upcycle jewellery with Tatty Devine 

I was most excited by the panel debate with the Guardian’s Ethical Living columnist Lucy Siegle, Think Act Vote founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disappoint; we raced around lots of interestting, controversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things. 

 

One of the key messages I took from the event was that if you want to shop ethically you can’t be afraid of complexity. Lucy Siegle explained that it isn’t as simple as goodies and baddies in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairtrade, tree protecting, wildlife saving or fabrics that use only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything. 

Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of. 

 
The Panel. Illustration by Sam Parr 

Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hmm. 

 
A  workshop in action: students learning to make a wallet out of a Tetra Pak with the Otesha Project 

There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs. 

 
Hannah Peel illustration by Elizabeth Goodspeed 

My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of  Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.


Tatty Devine illustration by Sanna Dyker 

There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourites. 

I loved the intricate illustrations on the goods at the Zosienka and Rosie stall. 

 

This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House. 

 

Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.

I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.

This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.

 

I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised: loud music began to play half way through. (Note to Papered Parlour: Great event but I think the Make Believe area was too close to the stage!) Fellow contributor Katie Antoniou was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.   

The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny. There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called It’s your write! and it’s on the 7th April 2011. Expect to find a celebration of the self published.
 

Fashion in the Age of Austerity, online orgsanised by the Papered Parlour combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, mind amongst some rare, antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops. 

 
Learning to upcycle jewellery with Tatty Devine 

I was most excited by the panel debate with the Guardian’s Ethical Living columnist Lucy Siegle, Think Act Vote founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disappoint; we raced around lots of interestting, controversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things. 

 

One of the key messages I took from the event was that if you want to shop ethically you can’t be afraid of complexity. Lucy Siegle explained that it isn’t as simple as goodies and baddies in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairtrade, tree protecting, wildlife saving or fabrics that use only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything. 

Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of. 

 
The Panel. Illustration by Sam Parr 

Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hm. 

 

A  workshop in action: students learning to make a wallet out of a tetrapack with the Otesha Project 

 There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. 

After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs. 

My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of  Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.
 

 

Hannah Peel illustration by Elizabeth Goodspeed 

  

Tatty Devine illustration by Sanna Dyker 

There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourite’s. 

I loved the intricate illustrations on the goods at the Zosienka and Rosie stall. 

 

This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House. 

 

  Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.

I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.

This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.

 

I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised with loud music beginning to play half way through. (Note to Papered Parlour: Great event but I think the ‘Make believe’ area was too close to the stage!) Fellow contributor Katie Antoniou  was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.   

The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny.

There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called ‘It’s your write!’, it’s on the 7th April, and it will be a celebration of the self published.
 

Fashion in the Age of Austerity, viagra 60mg orgsanised by the Papered Parlour combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, buy more about amongst some rare, link antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops. 

 
Learning to upcycle jewellery with Tatty Devine 

I was most excited by the panel debate with the Guardian’s Ethical Living columnist Lucy Siegle, Think Act Vote founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disappoint; we raced around lots of interestting, controversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things. 

 

One of the key messages I took from the event was that if you want to shop ethically you can’t be afraid of complexity. Lucy Siegle explained that it isn’t as simple as goodies and baddies in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairtrade, tree protecting, wildlife saving or fabrics that use only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything. 

Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of. 

 
The Panel. Illustration by Sam Parr 

Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hmm. 

 
A  workshop in action: students learning to make a wallet out of a Tetra Pak with the Otesha Project 

There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs. 

 
Hannah Peel illustration by Elizabeth Goodspeed 

My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of  Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.


Tatty Devine illustration by Sanna Dyker 

There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourites. 

I loved the intricate illustrations on the goods at the Zosienka and Rosie stall. 

 

This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House. 

 

Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.

I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.

This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.

 

I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised: loud music began to play half way through. (Note to Papered Parlour: Great event but I think the Make Believe area was too close to the stage!) Fellow contributor Katie Antoniou was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.   

The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny. There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called It’s Your Write! and it’s on Thursday 7th April 2011. Expect to find a celebration of the self published.
 

Fashion in the Age of Austerity, advice organised by the Papered Parlour, pilule  combined so many exciting elements that I don’t quite know where to begin. It was in the most wonderful building, amongst some rare, antique toys in glass cabinets. Fashion designer and V&A Trustee Betty Jackson was there looking radiant in red lipstick, there was a brilliant panel debate, live music, shopping and craft workshops. 

 
Learning to upcycle jewellery with Tatty Devine 

I was most excited by the panel debate with the Guardian’s Ethical Living columnist Lucy Siegle, Think Act Vote founder Amisha Ghadiali, Labour Behind the Labels Hannah Higginson and the managing director of the Ethical Fashion Forum Tamsin Lejeune; four women that I happen to find pretty inispiring. The debate did not disappoint; we raced around lots of interestting, controversial and pressing issues like slow fashion, how to navigate the moral maze and where/if craft comes into things. 

 

One of the key messages I took from the event was that if you want to shop ethically you can’t be afraid of complexity. Lucy Siegle explained that it isn’t as simple as goodies and baddies in ethical fashion. If you scratch the surface of the ethical issues of clothing supply, you’d be forgiven for getting a little…muddled. There’s organic, local, hand made, made from natural fibres, made in the UK, Fairtrade, tree protecting, wildlife saving or fabrics that use only organic dyes. No garment can tick all of those boxes and no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist. What you choose all depends on your values and the way that you choose to navigate around it all. And as Tamsin Lejeune said, you can’t do everything. 

Ultimately, I believe you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. I was reminded however that we can, be a bit more thoughtful about where things come from and what they’re made of. 

 
The Panel. Illustration by Sam Parr 

Someone asked about changes at a government level, but the panel agreed that there simply isn’t any political appetite for tax breaks or measures that might encourage more ethical practices, which I found pretty depressing. They went on to say that the only way the industry was ever going to change was via direct citizen action, via things like writing letters to company head offices (action pack here). The panel said it’s pointless asking shop assistants about ethical practices because they generally won’t know. Although I think there is a place for this I secretly breathed a sigh of relief; I once stuttered through a rehearsed speech to a cashier in New Look only to be boo’d by the queue behind me and met with blank, skeptical faces from the staff….hmm. 

 
A  workshop in action: students learning to make a wallet out of a Tetra Pak with the Otesha Project 

There was a wearisome discussion about semantics and the need for a new word for ‘ethical’ and ‘sustainable’ which to be honest I found rather frustrating. I don’t think the name matters, I’d much rather peoples energies were spent on putting pressure on the suppliers and informing people. After some all round praise for sewing and making clothes as a way to recycle, appreciate garment making and challenge the way we think about fashion, the talk was done and I was back upstairs. 

 
Hannah Peel illustration by Elizabeth Goodspeed 

My friend and I wondered around the market stalls, wine glass in hand, whilst being entertained by some brilliant bands, including The Piney Gir Country Roadshow and Hannah Peel & Laura Groves. I particularly liked the folky, mellow sound of  Hannah Peel, who wore a bright green maxi dress, and who had some attendees standing in silence as they listened to her.


Tatty Devine illustration by Sanna Dyker 

There were 20 specially selected ethical fashion stalls to browse, which I regretted not bringing any cash for. Here’s a quick run through of my favourites. 

I loved the intricate illustrations on the goods at the Zosienka and Rosie stall. 

 

This is the Create Place’s stall. The craft workshops they offer enable them to prove heavily subsidised courses for their local community via an inspiring initiative from St Margaret’s House. 

 

Fine Cell were there too, a brilliant volunteer led organization that teaches prison inmates how to embroider and supplies them with the materials they need. The inmates are paid for their work, which is sold all over the UK.

I was glad to be introduced to the Offset Warehouse, a social enterprise and the first UK online retailer to sell a wide range of ethical fabrics, a haberdashery, garments and resources for crafts people. Their prices are also extremely reasonable. So if, like me, you like making clothes or interiors products, this is a good resource for ethical fabric.

This is the jewelry of A Alicia. She is part of the handmade wedding collective who are hosting an event this week between the 15th-20th March at the Craft Central Showcase Space in East London.

 

I also went along to Think Act Vote Founder Amisha Ghadiali’s talk, which was good but it felt a little disorganised: loud music began to play half way through. (Note to Papered Parlour: Great event but I think the Make Believe area was too close to the stage!) Fellow contributor Katie Antoniou was also there presenting Amelia’s Compendium of Fashion Illustration and answering questions.   

The combination of the panel discussion with the music, wine, stalls and workshops was a winner. And what really set it apart from the run-of-the-mill craft fairs was the focus on ethics and sustainability. There wasn’t one daggy, hippy-ish stand, just good design that happens to be ethical, with inspiring debate and discission. I was a happy bunny. There is another event coming up which, on the basis of the last one, I strongly recommend that you come along too. It’s called It’s Your Write! and it’s on Thursday 7th April 2011. Expect to find a celebration of the self published.
A La Disposition A/W 2011 by Zarina Liew
A La Disposition A/W 2011 by Zarina Liew.

Biggest surprise of London Fashion Week? À La Disposition, medicine about which I knew nothing prior to their show at Fashion Scout. It’s really nice to go to a show and feel like you’ve discovered something exciting – it’s one of the reasons I enjoy LFW so much, capsule and especially going to the smaller shows. After all, discovering new talent is something I’ve always loved doing in Amelia’s Magazine.

A La Disposition A/W 2011 by Zoe Georgiou of Soul Water
A La Disposition A/W 2011 by Zoe Georgiou of Soul Water.

A La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia Gregory
A La Disposition A/W 2011. Photography by Amelia Gregory.

An American husband and wife team, Lynda Cohen Kinne and Daniel Kinne of À La Disposition describe themselves as the fusion of form and function and for The Utopian Aviary collection they looked at the social structures, mimicry and mating displays of birds. This translated into an incredibly modern silhouette based on structures of times past: tight capes, over-developed coat tails that looked like wings and gigantic neck ruffles reminiscent of the medieval era. This was a super confident collection which showcased some superb pattern cutting skills.

A La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011 by Emma Lucy Watson
A La Disposition A/W 2011 by Emma Lucy Watson.

The Utopian Aviary opened with a stunning faux fur concoction: skirt layered more like the wings of a beetle than a bird, cape bunched around the shoulders in striped tones of greys. Black, deep green, jades and autumnal reds dominated the ensuing outfits, created in luxe fabrics: silk, taffeta and chiffon.

A La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011 by Zoe Georgiou of Soul WaterA La Disposition A/W 2011 by Zoe Georgiou of Soul Water
A La Disposition A/W 2011 by Zoe Georgiou of Soul Water.

A digitalised moire print featured on dress and blouse. Red buttons provided a contrasting punch to forest green velvet and waists were high and thighs puffed out, topped with exaggerated wing-collared pinstripe shirts and accessorised with fake wool leggings. Shoulder details called to mind the layered shapes of petals on a cross fronted jacket. A shot of deepest honey yellow was a searing burst of winter sunshine.

A La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011 by Zarina LiewA La Disposition A/W 2011 by Zarina Liew
A La Disposition A/W 2011 by Zarina Liew.

Models had teased up-dos that emulated the chaotic structure of birds’ nests, red alienesque contacts and eyes deeply rimmed with black. The overall effect was nigh on futuristic.

A La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011 by Sophie Pickup
A La Disposition A/W 2011 by Sophie Pickup.

Gigantic breast ruffles appeared on coats and looped down the chest in marled knitwear, extending outwards and upwards until, peacock like, a model appeared bearing a stunning ruffled contraption that rose like a cantilevered architecture from the back of her neck in delicious deep copper metallic silk. Behind, the ruffles cascaded like an echo down the back of her skirt. What a revelation!

A La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011. Photography by Amelia GregoryA La Disposition A/W 2011 by Sam ParrA La Disposition A/W 2011 by Sam Parr
A La Disposition A/W 2011 by Sam Parr.

Also of mention was the bulging goodie bags on the front row which contained two bottles of the new À La Disposition perfume {{intangible}}. These are composed of similar base ingredients with alternating top notes so that they can be worn alone or together. Created by boutique perfume maker Carvansons I’ve yet to be convinced of their wonder, but the press release is indeed as *intangible* as it was for the The Utopian Aviary show.

A La Disposition A/W 2011. Photography by Amelia Gregory
A La Disposition A/W 2011 by Sam Parr
A La Disposition A/W 2011 by Sam Parr.

Addendum: I always write my first draft about a show before I read the accompanying press release because I don’t want it to influence my initial perceptions – like good artwork I feel that a collection should stand alone without any kind of explanation. Which leads me to my final word for À La Disposition: keep it simple. There’s no need for overwrought descriptions, especially when the quality of showmanship itself does the talking.

You can see more work by Zarina Liew in Amelia’s Compendium of Fashion Illustration.

Categories ,À La Disposition, ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,American, ,birds, ,Carvansons, ,Daniel Kinne, ,Emma Lucy Watson, ,Fashion Scout, ,lfw, ,London Fashion Week, ,Lynda Cohen Kinne, ,medieval, ,Peacock, ,Perfume, ,Ruffles, ,Sam Parr, ,Sophie Pickup, ,Soul Water, ,The Utopian Aviary, ,Zarina Liew, ,Zoe Georgiou, ,{{intangible}}

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Amelia’s Magazine | À La Disposition: London Fashion Week A/W 2012 Presentation Review

A La Disposition AW 2012 by Claire Kearns

À La Disposition A/W 2012 by Claire Kearns

On the first day of London Fashion Week I went along to see the presentation by À La Disposition at Fashion Scout. Holding in my hands was an invitation that featured intricate imagery and lettering from times past in gold ink on black card – suitable perhaps for a brand whose name refers to historical costuming techniques. I was aware of American husband and wife duo Lynda and Daniel Kinnes’ previous creations, but I had not seen them before in the flesh so I was excited that I would be able to admire their handiwork up close.

A La Disposition AW 2012 photo by Maria Papadimitriou

A La Disposition AW 2012 by Barb Royal

À La Disposition AW 2012 by Barb Royal

A La Disposition A-W 2012 photo by Maria Papadimitriou

A La Disposition AW 2012 photo by Maria Papadimitriou

Each design on a black mannequin seemed to me like a character from a story; indeed in a previous interview in Amelia’s Magazine the couple mentioned that each ‘collection is a journey which flows from a story Daniel develops as he sketches‘. There is also an interesting element of continuity, or of a story unfolding, in the way the designers name their collections from season to season. The first collection they showed in London for A/W 2011 was titled The Utopian Aviary, suggesting a hopeful, perhaps naive start to a journey. This was followed by the mECHANICAL fAILURE show in S/S 2012, alluding to some turbulent times mid-flight. The current collection does not have such a specific title, but at the top of the invitation it read: A Solemn Viewing of Autumn and Winter 2013 – I am glad someone else is confused about whether this season is A/W 2012, A/W 2012-13 or A/W 2013. The title evoked in me an image of someone who has flown high up in bright humour, but once looking down finds the view not so pleasant.

A La Disposition AW 2012 photo by Maria Papadimitriou

A La Disposition AW12 by Gareth A Hopkins

À La Disposition AW 2012 by Gareth A Hopkins

This newfound solemnity was expressed in the predominantly black and grey tints of the new season, which were in contrast with the more bold and bright colours of previous collections. Furthermore, the use of monocles as a decorative element on top hats emphasised the theme of ‘viewing’ and ‘looking’, mentioned above.

A La Disposition A-W 2012 photo by Maria Papadimitriou

This year is of course the 200th anniversary of Charles Dickens, so it was fitting that some of the designs seemed to have stepped out of the Victorian/Dickensian era. The designers behind À La Disposition have mentioned that they are inspired by London life, parts of which still nowadays resemble situations depicted in Dickens’ novels. This connection between the past and the present was made – beautifully and with a lot of wit I thought – by placing contemporary looking woolly hats underneath top hats. Here, again like Dickens, À La Disposition could also be examining different social structures and their co-existence?

A La Disposition A-W 2012 photo by Maria Papadimitriou

A La Disposition AW 2012 by Nicola Ellen

À La Disposition AW 2012 by Nicola Ellen

A La Disposition A-W 2012 photo by Maria Papadimitriou

A La Disposition A-W 2012 photo by Maria Papadimitriou

Most of the pieces were really theatrical and well structured with sculptural shapes, displaying the brand’s great pattern cutting skills. As I really enjoy unwearable designs, a favourite feature of mine was the really long sleeves of some of the jackets, which not only reached the floor but extended even further to form long fabric tubes which trailed behind the figures.

A La Disposition A-W 2013 photo by Maria Papadimitriou

A La Disposition A-W 2012 photo by Maria Papadimitriou

A La Disposition A-W 2012 photo by Maria Papadimitriou

A La Disposition A-W 2012 photo by Maria Papadimitriou

A La Disposition AW 2012 photo by Maria Papadimitriou

A La Disposition A-W 2012 photo by Maria Papadimitriou

A La Disposition A-W 2013 photo by Maria Papadimitriou

It added to the presentation that Lynda and Daniel Kinne were dressed in mild period costume too, thus being really easily spotted in the room, with Lynda sporting blue hair against her more conservative ensemble in a delightful anachronistic fashion.

A La Disposition A-W 2012 the designers photo by Maria Papadimitriou

All photography by Maria Papadimitriou.

Categories ,À La Disposition, ,anachronistic, ,Barb Royal, ,black, ,Charles Dickens, ,Claire Kearns, ,Fashion Illustration, ,Freemasons’ Hall, ,Gareth A Hopkins, ,Grey, ,london, ,London Fashion Week, ,Lynda and Daniel Kinne, ,Maria Papadimitriou, ,Nicolla Ellen, ,Pattern Cutting, ,Period Costumes, ,Sculptural, ,Solemn, ,Structural, ,Theatrical, ,top hats, ,Vauxhall Fahsion Scout, ,Woolly Hats

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Amelia’s Magazine | À La Disposition: The London Fashion Week S/S 2012 Preview Interview

technology will save us stall
Simian Mobile Disco has made a career of writing sharp, case economic dance tracks. Their release last year of Temporary Pleasures showed that they could still fill up dance floors, and they enlisted the help of some of their musical peers.

New single Cruel Intentions features The Gossip’s Beth Ditto on vocals. Singing over a simple synth loop the minimal sounding track has Ditto’s voice front and centre throughout she is either singing a song about finding love, or losing it. It manages to highlight how effective her singing voice is and why she is so respected within the musical community.

As seems common for dance bands lately the track has a strong 80’s vibe to it but it doesn’t make it sound dated and cheap.  I can imagine dragging myself onto the dance floor during the closing minutes of a club dance and shaking my booze dullened body in time to the beat, and I mean that in the best possible way
A La Disposition SS 2012 by Faye West
A La Disposition S/S 2012 by Faye West.

À La Disposition return to London for their second season at London Fashion Week this September with their S/S 2012 collection mECHANICAL fAILURE, click inspired by the shapes of propellers and the mechanics of flight. Time to find out what keeps American husband and wife team Lynda and Daniel Kinne ticking… and why they’ve decided to make London their new home.

a la disposition mECHANICAL fAILURE by Gareth A Hopkins
À La Disposition mECHANICAL fAILURE by Gareth A Hopkins.
 
Last season we were wowed by À La Disposition for the first time at London Fashion Week – what was the reception like and why have you decided to return for a second time to show in London?
Thank you for the kind compliment. The reception we received was a great one: very warm and well spoken. It has always been a dream of ours to live in London because it is a great source of inspiration, and it is where we received very crucial and formative parts of our training.

A la disposition by Alice Nyong
À La Disposition S/S 2012 by Alice Nyong.

What other things did you discover and fall in love with at LFW?
What is truly unique about London Fashion Week and what we love most is the creative expression, not just the designers but also the people. London has a great mix professionalism and wit. We also find a positive vibe here that is truly its own.
 
A La Disposition by Yelena Bryksenkova
À La Disposition S/S 2012 by Yelena Bryksenkova.

Where is your studio based and what would it look like if I were to pop around for a cup of tea right now?
We are currently looking for a studio in London, or at least we will be after London Fashion Week. We hope to be based near our new home in Southwark. If you were to drop by right now you would find a very industrious scene of somewhat makeshift workstations and busy last minute adjustments. You would be treated to a deep malty cup of Assam taken with little sugar and much milk and nobbly biscuits.

A la disposition by Alice Nyong
À La Disposition S/S 2012 by Alice Nyong.

You are a husband and wife team – what came first? The working together or the romantic relationship? And how do you manage to separate your different work and private lives?
There always was an attraction from the first time we met at fashion school. It developed from a passion about the same things to working together to a passion for one another. There really is no division to our work and personal lives they are so harmoniously intertwined.

A La Disposition by Gilly Rochester LFW Sept 2011
À La Disposition S/S 2012 by Gilly Rochester.
 
For S/S 2012 I believe we can look forward to contrast in the form of voluminous gowns and graphic sternness, with shapes reminiscent of propellers – where did you find the inspiration for this collection and how did you research ideas?
It is always difficult to articulate our inspiration ideas. The collection is a journey which flows from a story Daniel develops as he sketches. This season’s story involved the mechanics of flight. Although we do not research images or ideas for each particular season we have an extensive library of fashion and art books and we are always gathering ideas from everything around us.

À La Disposition S/S 2012 by Alice Nyong
À La Disposition S/S 2012 by Alice Nyong.
 
It sounds as if your colour palette will be as bold as it was last time around – army greens combined with rich yellows and purples. How do you put together a colour range and then source the fabrics or dyes to make this a reality?
This is Lynda’s territory in the brand development. The colour range is developed in conjunction with the fabrics we source as the season organically develops. The punchiness of the colour card, the signature textures and the stripes are all Lynda.

A La Disposition by Gilly Rochester LFW Preview Sept 2011
À La Disposition S/S 2012 by Gilly Rochester.
 
Last season you created a wonderful dual perfume for the show (which I wear quite a lot!) – can we look forward to any other special collaborations for this season?
So glad to hear that you like our perfume {{intangible}}. It has been received very well. There is a smaller version of the perfume in the works to more easily distribute it. We also are working with Anastasia Radevich to design our shoe range again and are very excited about what she has designed for us.

a la disposition mECHANICAL fAILURE shoe by Gareth A Hopkins
a la disposition mECHANICAL fAILURE shoe by Gareth A Hopkins.
 
The styling of last seasons’ show was quite spectacular… you memorably used coloured contacts to give red eyes. Will there be any other surprises in store this season?
There are a few possibilities in the works. As long as it works with the collection we are willing to give it a go.

A La Disposition Dress by Claire Kearns
À La Disposition S/S 2012 by Claire Kearns.

À La Disposition will be showing their S/S 2012 collection on the catwalk on Tuesday 20th September 2011 as part of Fashion Scout.

A La Disposition Outfit by Claire Kearns
À La Disposition S/S 2012 by Claire Kearns.

Categories ,À La Disposition, ,Alice Nyong, ,Anastasia Radevich, ,Claire Kearns, ,Fashion Scout, ,Faye West, ,Gareth A Hopkins, ,Gilly Rochester, ,London Fashion Week, ,Lynda and Daniel Kinne, ,mECHANICAL fAILURE, ,Perfume, ,preview, ,Propellers, ,S/S 2012, ,Yelena Bryksenkova, ,{{intangible}}

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