Amelia’s Magazine | Yifang Wan, Fashion Scout Merit Award Winner: London Fashion Week A/W 2013 Catwalk Review


Yifang Wan A/W 2013 by Gabriel Ayala

Fashion Week A/W 2013 got off to a cracking start on Friday, for anybody who actually turned up. I didn’t, thanks to the effects of an anti-Valentine’s cocktail binge, instead spent the evening in bed with fish and chips and half a bottle of Rioja. So it was Saturday morning where my season started, heading as I did to this season’s Fashion Scout Merit Award winner – Yifang Wan.


Photography by Amelia Gregory

Previous Merit Award winners including David Koma, Felder Felder, William Tempest and Leutton Postle have all gone on to establish successful labels and the pressure of such previous acclaim must be terrifying — but its effects weren’t evident in this polished collection by Yifang Wan.


Yifang Wan A/W 2013 by Dom&Ink


All other photography by Matt Bramford

Record numbers packed the ‘white room’ of the Freemasons’ Hall, and so my view of the show was framed by a diminutive Frenchman wielding a vogue.fr microphone like a maniac and a very excitable girl with masses of hair. Her head was all over the place trying to secure a good shot and I was forced to perform a strange sort of swaying dance with my zoom lens, not unlike an Emperor penguin.


Yifang Wan A/W 2013 by Dom&Ink

I’d briefly taken an interest in Wan‘s work when the Merit prize was awarded at the beginning of the year, and her previous collections draw inspiration from her Asian heritage and long, draped silhouettes dominate her previous outings. So it was no surprise, in the best possible way, to see these themes continued for A/W 2013, with inspiration from performance artist ‪Marina Abramović‬, most famous for sitting in a smock and staring at New Yorkers in the MOMA for 700 hours.

Only four rich colours featured in this collection – deep blue, green, red and black in thick fabrics. Jackets came with triangular slices removed almost with abandon as fabrics draped asymmetrically and architecturally. Almost every piece skimmed the floor, while fabric swayed and draped in different directions with emphasis on Far Eastern cuts. Each piece was accessorised with intriguing angular sculptural pieces, some worn around necks, others carried almost like weaponry.

Yifang Wan is no stranger to awards, having won the L’Oreal Professionel Award at Saint Martins as an MA student. Her £25,000 prize this season will hopefully propel the designer’s label in the direction it deserves.

Categories ,A/W 2013, ,A/W’13, ,catwalk, ,Central Saint Martins, ,East, ,Fashion Scout, ,Gabriel Ayala, ,Kimono, ,marina abramovic, ,Matt Bramford, ,Merit Award, ,Orient, ,review, ,Yifang Wan

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Amelia’s Magazine | Ziad Ghanem: London Fashion Week A/W 2013 Catwalk Review


Ziad Ghanem A/W 2013 by Helena Maratheftis

Ziad Ghanem‘s catwalk shows are always momentous: massively oversubscribed, a cat-fight to get into and an array of weird and wonderful creatures desperate to get a glimpse of what the ‘cult couturier’ has delivered this season.


Ziad Ghanem A/W 2013 by Michael Arnold

So imagine my surprise when I arrived a mere fifteen minutes late to find that the show had already started. I darted up the Freemasons’ Hall‘s stairs and the vivacious models were already wowing the crowds. It was a struggle to take pictures between the illustrious millinery of Ziad‘s fans; the pictures that feature here aren’t amazing, particularly since you can’t actually see much of the clothes…


All photography by Matt Bramford

As always, it’s impossible to define this collection in terms of trends or style. It would perhaps be easier to talk about what didn’t appear – you won’t find any tailored trenches or wearable basics here. Instead, Ziad is notorious, infamous and celebrated for frocks that defy seasonality. His blend of couture is one of the rare displays of truly unique craftsmanship at fashion week.

To describe the music as eclectic would be a massive understatement. Munroe Bergdorf had put together a mammoth mixtape of hits across the decades, most of which I now can’t remember so I’ve made a note to make more notes next season. I do remember David Bowie‘s Fashion, George Michael‘s Too Funky and Duran Duran‘s Notorious, tracks synonymous with the catwalk but given a different feel in the majestic setting of the Freemasons’ Hall.


Ziad Ghanem A/W 2013 by Helena Maratheftis

Effervescent models strode one after the other to rapturous applause and deafening whoops. This particular collection had been inspired by Andy Warhol‘s superstar transvestite Candy Darling, star of Flesh and muse of The Velvet Underground. Lavish make-up featured on every model, with Ziad‘s boys wearing as much as his girls. There were hints of the 1980s with Boy George-esque layering and vibrant African patterns.

Some dresses fitted so tightly that some models were forced to walk more slowly than others, while other pieces nipped at the waist but flourished at the hips. A completely diverse selection of fabrics were on offer – couture lace, organza, translucent contrasts and painted cottons. A terrifying model came out waving feathers… with her knockers out and doing a bird impression. Christ, this is hard work. Maybe just look at the pictures. Not that they do this collection any justice.

Monty Python‘s Always Look on the Bright Side of Life accompanied the finale, another unexpected twist as if we needed any more, but an uplifting statement and a glorious finish to this fashion week spectacle.

Categories ,A/W’13, ,boy george, ,couture, ,David Bowie, ,Duran Duran, ,fashion, ,Fashion Scout, ,Feathers, ,Freemasons’ Hall, ,George Michael, ,Helena Maratheftis, ,lfw, ,London Fashion Week, ,Matt Bramford, ,Michael Arnold, ,Monty Python, ,Munroe Bergdorf, ,Tits, ,Womenswear, ,Ziad Ghanem

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Amelia’s Magazine | Ziad Ghanem: London Fashion Week A/W 2013 Catwalk Review


Ziad Ghanem A/W 2013 by Helena Maratheftis

Ziad Ghanem‘s catwalk shows are always momentous: massively oversubscribed, a cat-fight to get into and an array of weird and wonderful creatures desperate to get a glimpse of what the ‘cult couturier’ has delivered this season.


Ziad Ghanem A/W 2013 by Michael Arnold

So imagine my surprise when I arrived a mere fifteen minutes late to find that the show had already started. I darted up the Freemasons’ Hall‘s stairs and the vivacious models were already wowing the crowds. It was a struggle to take pictures between the illustrious millinery of Ziad‘s fans; the pictures that feature here aren’t amazing, particularly since you can’t actually see much of the clothes…


All photography by Matt Bramford

As always, it’s impossible to define this collection in terms of trends or style. It would perhaps be easier to talk about what didn’t appear – you won’t find any tailored trenches or wearable basics here. Instead, Ziad is notorious, infamous and celebrated for frocks that defy seasonality. His blend of couture is one of the rare displays of truly unique craftsmanship at fashion week.

To describe the music as eclectic would be a massive understatement. Munroe Bergdorf had put together a mammoth mixtape of hits across the decades, most of which I now can’t remember so I’ve made a note to make more notes next season. I do remember David Bowie‘s Fashion, George Michael‘s Too Funky and Duran Duran‘s Notorious, tracks synonymous with the catwalk but given a different feel in the majestic setting of the Freemasons’ Hall.


Ziad Ghanem A/W 2013 by Helena Maratheftis

Effervescent models strode one after the other to rapturous applause and deafening whoops. This particular collection had been inspired by Andy Warhol‘s superstar transvestite Candy Darling, star of Flesh and muse of The Velvet Underground. Lavish make-up featured on every model, with Ziad‘s boys wearing as much as his girls. There were hints of the 1980s with Boy George-esque layering and vibrant African patterns.

Some dresses fitted so tightly that some models were forced to walk more slowly than others, while other pieces nipped at the waist but flourished at the hips. A completely diverse selection of fabrics were on offer – couture lace, organza, translucent contrasts and painted cottons. A terrifying model came out waving feathers… with her knockers out and doing a bird impression. Christ, this is hard work. Maybe just look at the pictures. Not that they do this collection any justice.

Monty Python‘s Always Look on the Bright Side of Life accompanied the finale, another unexpected twist as if we needed any more, but an uplifting statement and a glorious finish to this fashion week spectacle.

Categories ,A/W’13, ,boy george, ,couture, ,David Bowie, ,Duran Duran, ,fashion, ,Fashion Scout, ,Feathers, ,Freemasons’ Hall, ,George Michael, ,Helena Maratheftis, ,lfw, ,London Fashion Week, ,Matt Bramford, ,Michael Arnold, ,Monty Python, ,Munroe Bergdorf, ,Tits, ,Womenswear, ,Ziad Ghanem

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Amelia’s Magazine | Orla Kiely: London Fashion Week A/W 2013 Presentation Review


Orla Kiely A/W 2013 by Laura Hickman

Ireland’s Orla Kiely has firmly established her eponymous London label over the seasons with 1960s silhouettes, playful prints and rich fabrics. While the look book each season is never going to shock or win any awards for pushing the boundaries of fashion, style fans head to Orla for staple vintage pieces that are playful and pretty. But to judge Orla against the likes of Azzedine Alaïa or Hussein Chalayan would be missing the point. Always a nod to decades past, previous presentations have included film screenings directed by Gia Coppola and Mercedes Helnwein.


All photography by Matt Bramford

This season’s presentation took place in the intriguing Elms Lesters Painting Rooms, a gallery off Denmark Street that often hosts fashion press days; its labyrinth of rooms lend themselves well to presentations of this nature. A long arm of the upper floor had been transformed into a retro working-girl’s space that could have been lifted straight from a scene from Mad Men or working-class hero flick Made in Dagenham.


Orla Kiely A/W 2013 by Dom&Ink

Numerous models appeared at the entrance to the elongated space wearing this season’s take on Orla’s signature looks, as an unobtrusive soundtrack made up mostly of the clatter of a typewriter played. Beehive barnets piled high atop models’ heads. Orla’s girls were superbly cast, more as actresses than runway models: loading typewriters, filing paperwork, nattering quietly and changing ‘shifts’ regularly to allow other models to enter the showcase.


Orla Kiely A/W 2013 by Laura Hickman

Attention to detail was key, with design perverts like me eyeing up mid-century Scandinavian furniture, Smiths‘ clocks and old graphic signage as much as the outfits themselves.

Statement features this season include high-waisted dresses with girly a-line hems, flocked coats with swirling patterns, pleated and pointed collars, embroidered squirrels and a-line overcoats using Orla Kiely‘s signature shape.


Orla Kiely A/W 2013 by Dom&Ink

This kind of thoughtful, preciously executed presentation is the way forward. With never-ending developments in technology and record numbers at catwalk shows, presentations allow you to fully gage the nuances of collections and document them effectively, rather than the scramble to photograph, tweet, Facebook, Vine, MySpace, tumblr, Foursquare and Grindr your way through a catwalk show.


Orla Kiely A/W 2013 by Laura Hickman

Another infinitely wearable collection that will satisfy the label’s fans en masse.

Categories ,1950s, ,1960s, ,A/W 2013, ,A/W’13, ,beehive, ,Dom&Ink, ,Elms Lesters Painting Rooms, ,ireland, ,Laura Hickman, ,lfw, ,London Fashion Week, ,Mad Men, ,Made in Dagenham, ,Matt Bramford, ,Orla Kiely, ,Presentation, ,review, ,Smiths clocks, ,vintage

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Amelia’s Magazine | Hellen Van Rees: London Fashion Week A/W 2013 Catwalk Preview Interview

Hellen Van Rees
Helen Van Rees A/W 2013 by Claire Kearns

Up-and-coming Dutch fashion and textile designer Hellen van Rees is presenting her independent collection SQUARE3 ANGLE: THE TRANSFORMATION at London Fashion Week A/W 2013 this weekend. Hellen graduated from the MA in Fashion at Central Saint Martins’ back in February 2012 and then packed her suitcase and moved to the Netherlands to start her own fashion label. Her first collection at LFW was pegged as a ‘One to Watch’ by Fashion Scout and Lady Gaga has since been spotted donning her clobber. She’s known for her hand-made tweed fabrics which are created using factory remnants and recycled threads, and her work has 3-dimensional, sculpture-like elements, as well as a futuristic feel. Complete with a brand-spanking new video to promote her new Chanel-inspired collection, it’s likely that her pieces will receive a lot of interest in the coming weeks.

London Fashion Week
Helen Van Rees A/W 2013 by RoshniBA

Hellen Van Rees is still exploring the ideas from her graduate collection which she developed on in her last show Square2: Exploring Excitement. Although you might expect a sprinkling of déjà vu, this collection puts a tangy new twist on her hallmark tweeds. I spoke to Hellen about her shiny new collection and her plans for the future in advance of her (second) London Fashion Week show.


Video collaboration between Hellen van Rees and Evelien Gerrits of EveMedia

What can we expect from your upcoming collection at LFW A/W’13?
Lots of tweed and colours, contrasting black & white rubber and beautiful quality wool and silk; all arty but wearable.

You released a promo video for your show, how did this project come about?
I was trying to think of a way, other than a catwalk show, to present the new collection; to show the collection moving and in a nice atmosphere so the complete image comes across, as well as the details. This seemed like an exciting way to achieve that.

London Fashion Week

London Fashion Week

Hellen Van Rees

London Fashion Week

Photography by Kim Buckard

You started your own label in February 2012, what are your greatest achievements of the last year?
The fact that I was able to show my very first independent collection during London and Paris fashion week; and that I am able to do so again.

Do you have a favourite piece in this show?
I like the pieces with the new multi-coloured tweed a lot: the long dress with shiny black sleeves especially. It’s got strange contrasts but is also very elegant and wearable as well.

Do you wear your own pieces?
Not when I work (because it can get messy!) but for presentations, interviews and special occasions, yes.

Hellen Van Rees
Helen Van Rees A/W 2013 by Victoria Haynes

You’re also exhibiting at Paris Fashion Week; do you think the reactions to your show will differ between London and Paris?
I think it will because it attracts a different crowd. London has lots of bloggers and people who are generally interested in fashion that want to absorb new things, so it’s a very excitable crowd. Paris is more serious business, people there are generally looking for something more specific.

You studied the MA in Fashion at Central Saint Martins; did this prepare you for setting up your own label?
CSM was very good for me, to bring out my strong points and help me develop a clear direction within my designs. It doesn’t really prepare you for the whole business side of how it works, for example, how to sell your clothes, but I’m finding out along the way, which is fine.

Hellen Van Reees

London Fashion Week

Hellen Van Rees

Photography by Kim Buckard

You were chosen to be part of Ones to Watch as part of Vauxhall Fashion Scout’s prestigious platform for new design talent; do you think this has helped you?
Yes it has! It has made it possible for me to show my work in a professional way to large number of professionals and I’ve been supported with advice as well. They’ve done all this again for this season, which is great!

Hellen van Rees LFW
Helen Van Rees A/W 2013 by Maya Beus

You’re known for your use of tweed and sustainable materials: is this something you’ve always been interested in?
Sustainability is very important to me because I think it makes sense. I make high-end handmade garments; it makes sense that not only the outside is nice looking, but also that the story behind it is strong. The tweed and the weaving method is something I developed about a year and a half ago, but I keep getting new ideas for it so I’ll keep going with it for a while.

3D shapes are a big part of your work, where do you get your inspiration?
Contemporary art installations mostly, like the cube installations by Rachel Whiteread.

London Fashion Week
Helen Van Rees A/W 2013 by BlackEyed Jack

What is the process behind each of your collections?
I continue with the previous collection, reinterpret it, change colours, look at art and pictures, make fabrics and then make garments. I don’t really sketch; I just start making one thing and from it comes another new idea. Halfway through I do a fitting see what I have and what’s missing. I make more, and in the end there’s suddenly a collection

LFW aside, is there anything else in the year ahead that you’re really looking forward to?
Yes! I’m doing a TED talk in March at TEDx Zwolle.

London Fashion Week

London Fashion Week

London Fashion Week

Hellen Van Rees

Hellen Van Rees’ collection can be seen in the Fashion Scout London & Paris Showroom. London 15.02 -19.02 & Freemasons Hall, 60 Great Queen Street. Paris 28.02 – 05.03, 23 Rue du Roi de Sicile, Paris. You can buy her pieces at her store here

Categories ,3D, ,A/W’13, ,BlackEyed Jack, ,Central Saint Martins, ,Claire Kearns, ,collection, ,CSM, ,designer, ,Eve Media, ,Futuristic, ,Hellen van Rees, ,interview, ,Jessica Cook, ,Kim Buckard, ,lfw, ,London Fashion Week, ,Maya Beus, ,Ones To Watch, ,OwlandAccordion, ,Paris Fashion Week, ,recycled, ,RoshniBA, ,sculpture, ,Square2: Exploring Excitement, ,SQUARE3 ANGLE: THE TRANSFORMATION, ,sustainable, ,TED, ,Tweed, ,University of Arts London, ,vauxhall, ,Victoria Haynes

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Amelia’s Magazine | David Longshaw, Father Said: New S/S 2012 Season Preview Interview

David Longshaw S/S 2012 by Abi Hall
David Longshaw S/S 2012 by Abi Hall.

We’ve been following David Longshaw‘s career since we spotted him at Fashion Scout back in 2010. His work continues to evolve in intriguing directions, utilising his illustration and animations skills more than ever before…

We last spoke to you in 2010, what have been the biggest changes since then?
I’m now selling in Harrods as well as more shops in a variety of countries.

David Longshaw SS 2012
What was the inspiration behind Father Said, your S/S 2012 collection, and where does the accompanying story come from? (it’s quite dark!)
I created the story a few years ago for TANK magazine – but never used it for a collection. This season felt like the perfect time to use it and develop the characters. The story is a bit dark – but I think it can be fun to have a dark inspiration from time to time for something as frivolous and light as fashion – I like the contradiction. Here’s the story:

Father said it would have been… by David Longshaw
Father said it would be nice to go to the seaside. I’m not sure mother would have agreed; here I go getting all Alan Bennett. It wasn’t Alan Bennett like at all. That’s why I brought you here, a little nostalgic trip for me, unchartered territory for you. I was driving of course. Well you’d come to see me hadn’t you?
I didn’t expect it to happen. You know I didn’t. I hadn’t planned it. I mean I was all tired out from the drive. It was just these memories coming back that did it. I hadn’t told you about them had I?
“We could go round the castle you said,” but then we spied the purveyor of local delicacies and were ensnared by the intoxicating aroma.
Well, it would have been rude not to.

David Longshaw S/S 2012 by Mitika Chohan
David Longshaw S/S 2012 by Mitika Chohan.

Monies were exchanged and we floated out on the emerald green sea of tiles, shimmering from the hedgehog that had just mopped them. It was you who pointed out she was a hedgehog- all little and bristly and nose twitching as she mopped that chip shop floor; scared by the preying silver fox in the corner (Trevor they called him from over the counter) with his suave, debonair mask- under which lurked a wild, preying animal ready for its next victim. At least that’s how he looked, sitting, pouting but that gentle trickle of saliva and the abstract motif that speckled his jacket- formed from chips and gravy, suggested otherwise.
We did laugh about that, chuckling, as you do, walking towards the sea. You spotted that sign, “Boat Trip to Puffin Island.” £4.50 each, but it was worth it. We saw seals, and jellyfish and went up really close to the island and there were so many little birds. I’m not sure if there were any puffins though, you said you’d seen one but that was you all over.
I’m sorry the rest of the day didn’t pan out quite as well for you. It’s just these memories coming back. Now I think of it, I was reading a book at the time with a puffin mentioned in it, so perhaps that’s what it was.
I’m awfully sorry all the same. Anyway not much I can do now other than tidy things up I suppose. Well there you go. You’re wrapped up now. It was handy I had that spade in the boot wasn’t it. I’ll just cover you up- the soil will keep you warm.”

David Longshaw SS 2012

How did you put together the animation for Father Said and why did you decide to put the story together in animated form?
I’ve always been fascinated by animation – I love creating characters and the idea of bringing them to life for people to watch in a little version of my world. It’s a massively time consuming medium – even for something as crudely done as mine, but that’s part of its beauty. I thought it was a natural next step for me to explore animation as I create a story and illustrate it each season. It’s a fun tool to explain my collection and to build interest in my label, and it’s a point of differentiation. There are so many fashion labels out there and the big fashion houses have huge adverting budgets to promote their collections – so by doing something creative it helps showcase my ideas and the plan is that people will hopefully enjoy what I do and want to keep seeing more.

David Longshaw SS12 by Janneke de Jong
David Longshaw S/S 2012 by Janneke de Jong.

Putting it together was tricky as I’d never done it before and I thought it would be fun to do it all myself from a series of my illustrations (apart from the voice over which I got Jessica Bumpus to do). I did it using a very old mac – which seemed a good idea at the time until it became apparent that it was so old it wasn’t compatible with any others, or with upload programs to put it on Vimeo… which was unfortunate. But after a lot of pfaffing around I finally managed to get it on there and now it’s linked to my website as well. In the short term I’m planning to work on more short animations to develop with my collections. At some point in the future I would like to work on a more ambitious project with a much larger animation – perhaps even a stop motion model animation But I’d need a larger budget and a lot more time.

David Longshaw SS 2012
Why are narratives important?
Narratives help create the theme and tone of the collection – they inform everything from print and silhouette to the colour of the fabrics.

David Longshaw SS 2012
What was the inspiration behind the extravagant silhouettes in the S/S 2012 collection?
The idea was from the point in the story where Sophie accidentally kills her boyfriend, buries him, planting flowers over his burial place. The flowers grow and flow in to the dress she’s wearing. For the rest of her life she wears a flower to remind her of him. I wanted to convey the sense of the flowers growing and taking over what the wearer has on.

David Longshaw SS12 by Janneke de Jong
David Longshaw S/S 2012 by Janneke de Jong.

How did your time at Max Mara equip you for working as an independent designer, and do you have any tips for those just starting out?
My time at both Max Mara and Alberta Ferretti was really useful for starting my own label – aesthetically my style (and indeed the style of the other labels) are very different, but in a way that works out better than if I was just doing a smaller version of either label. Day to day there are things I put in to practice that I learnt there. When you work for big fashion houses you get to see how very successful businesses and design houses work and what’s helped them to get there. But there’s always things you think you would do differently as well.

David Longshaw SS 2012
For people just starting out it’s good to get as much experience in the industry as possible, whether it’s from work experience, or actually designing for a label – if you want to start your own label straight away then try to get as much business advice as you can. Design schools teach how to pull a collection together but you have to know how to be a business person – if you don’t then you won’t have the money or the structure to be able to continue. It’s also really important to think what you want your label to be like – what’s your point of difference and what do you think you can do better than is already out there. It’s good to be aware of all the pitfalls with running your own label: financial, emotional, time constraints, constantly questioning yourself, knowing all the things that can go wrong, all the reasons not to do your own label… Then just go for it anyway!

David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs
David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs.

You are not just a fashion designer but also an accomplished illustrator, how do the two fit together?
They go well together – I use my illustrations in the prints of my collection. Both my design and illustration work inspire each other. When I illustrate for a mag it’s a fun way for people to see my work and see which other designers I like (as I get to select who I interview or illustrate) and it gives people another window in to my thinking. Then when I’m designing I think back to my illustration work and why I selected certain designers/pieces. I’m not trying to be like another designer but it makes me reflect on why I would choose one designer’s work over another.

David Longshaw SS 2012
How do your partnerships with footwear designer Heather Blake and milliner Katherine Lee work? What is the process of working together on a collection?
With Katherine Lee we work together throughout the season on different projects for the collection – from looking and reviewing the collection’s designs and progress to specific pieces she creates for me. With Heather we look at my designs and work out what would be cool to go with them – what elements we can bring out from the clothes and in to the shoes.

David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs
David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs.

You also collaborate with girlfriend (and another Amelia’s Mag favourite) Kirsty Ward. How was the Christmas break with the Longshaw Wards? Did you do anything fun?
Christmas was great: there was a Maude fairy on top of the tree – there was still some pfaffing around with fabrics and pens (aka work) but also lots of fun – road trips to visit our families and friends. Then on New Year’s Eve we had a studio party in London and had some friends over.

David Longshaw SS 2012
What can we expect from A/W 2012? any tips?
More Maude: this season Maude’s taken over my collection and mashed it up with her own style… so basically she’s covered most of it with herself – from prints to bags, to scarves, to products…

David Longshaw SS 2012
Make sure you also check out our previous interview with David Longshaw here.

Categories ,Abi Hall, ,Alan Bennett, ,Alberta Ferretti, ,animation, ,David Longshaw, ,Father Said, ,Harrods, ,Heather Blake, ,illustration, ,interview, ,Janneke de Jong, ,Jessica Bumpus, ,Katherine Lee, ,Kirsty Ward, ,Maria Papadimitriou, ,Maude, ,Max Mara, ,Mitika Chohan, ,Puffin Island, ,S/S 2012, ,Slowly the Eggs, ,TANK magazine

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Amelia’s Magazine | Eugene Lin: London Fashion Week S/S 2014 Catwalk Review

Eugene_lin_by_Novemto_komo
Eugene Lin S/S14 by Novemto Komo

Eugene Lin’s interest in Mythology has not dwindled and neither has his talent: for his S/S 2014 collection he set out to create his own fable with Valkyrie; named after the Norse myth that female spirits of battle become swans with the aid of feathered cloaks. Returning once again to the Fashion Scout catwalk, for this latest battle he offered a much cleaner and less embellished collection, sending his own kind of modern warrior women down the runway. Pure white pieces came first, before a burst of unexpected orange turned things up a notch. Strong tailoring included high waists, feathers and pleats and provoked much delight, my own included. Lin provided his signature sharp lines and much loved screen prints; this time including some minimal digital printing techniques that worked well with the structured pieces. Themes and references can be tacky if overdone but Eugene Lin managed to modernise the myth and create a collection that showed the execution of an idea done well, plus the power of top class tailoring.

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

Photography by Christopher Dadey



Categories ,Eugene Lin, ,Fashion Scout, ,Freemasons’ Hall, ,London Fashion Week, ,prints, ,S/S 2014, ,tailoring, ,Valkyrie

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Amelia’s Magazine | An Interview with Designer Joseph Turvey – Part 1


Joseph Turvey A/W 2013 by Krister Selin

While everybody else viewed next season’s collections at the A/W 2013 London Collections: Men shows in January, I spent the week on a rather tedious stint of jury service. For days I sat doing nowt, following the shows and presentations on my iPhone through the usual channels. Twitter, Facebook and Instagram went wild for the latest offerings and it was Joseph Turvey‘s incredible dalmatian-themed collection that I most enjoyed viewing at 640 pixels wide.


Joseph Turvey

Back in 2010 I saw Joseph present his BA graduate womenswear collection at Graduate Fashion Week. Inspired by Margaret Rutherford and complete with ethereal masks, it was a sharp, polished collection with elements of menswear tailoring. I interviewed Joe shortly afterwards; a brief, standard post-GFW interview. Joseph then contributed illustrations to Amelia’s Magazine (amongst many other publications). But it was during Ones to Watch A/W 2012, merging his illustrative style with his talent for tailoring and eye for experimental materials, that propelled him on to the menswear scene. Also, Beyoncé once touched his hand during a performance of Halo.


Joseph Turvey A/W 2013 by Dom&Ink

I meet Joe in the hip offices of Coffin on Cake PR – a labyrinth of rooms above Redchurch Street with all sorts of weird and wonderful objects adorning walls. Joe is waiting in the showroom at the end of a long corridor, with other brands overshadowed by his incredible S/S and A/W 2013 collections. On sight of the dalmatian print enveloping his latest designs, I leap towards it to finally see it in the flesh. I’ve met Joe before but I’d forgotten how tall he was. His gentle personality and new-found confidence are instantly infectious. I launch into a series of typical questions, surmounting the urge to chat about Beyoncé – that will have to wait.


Joseph Turvey A/W 2013 by youdesignme

When I ask him how his day has been, he tells me he’s been rushed off his feet and hasn’t stopped – photoshoots, meetings, and walking his beloved cockapoo. This takes us nicely into chatting about his current collection. ‘I’m obsessed with dogs,’ he tells me, ‘I’m surrounded by dog owners and I love the idea of dog owners dressing like their dogs.’ I ask about the A/W 2013 presentation that garnered so much attention. ‘I got obsessed with having dalmatian puppies at the show… they came up from Devon!’ he says. I play devil’s advocate and ponder what PETA might think. ‘They were very well looked after… they were on rotation, and they’re show dogs – one of the girl pups absolutely loved the attention!’.

Each collection has had a central figure as inspiration and it will come as no surprise to learn that this season’s was Cruella de Vil; the result, a slick collection featuring suiting, bombers, sweaters and t-shirts adorned with dalmatian print. The installation at the AW13 showcase was ‘intense’ – two hours of ‘hardcore’ attention and showmanship. He describes it as ‘overwhelming’ and ‘scary’ and remembers the drama, with hushed whispers of PRs introducing attendees and figures like Natalie Massenet checking things out.

Joe launched himself straight onto the MA at London College of Fashion after graduating from the University of Birmingham. It was a tutor there who commented on the masculine feel of his womenswear collections, and so he decided to move in that direction. I ask Joe if he’d like to return to womenswear. ‘You never know what’s going to happen’, he says, coyly, ‘I just want to make the menswear the best it can be.’

Part two to follow tomorrow!

Photography by Matt Bramford except images of A/W 2013 presentation – courtesy of Coffin on Cake PR.

Categories ,A/W’13, ,beyonce, ,Coffin on Cake PR, ,Cruella de Vil, ,Dalmatians, ,Dogs, ,interview, ,Joseph Turvey, ,Krister Selin, ,London Collections Men, ,Matt Bramford, ,menswear, ,Ones To Watch, ,puppies, ,SS13, ,Style, ,youdesignme

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Amelia’s Magazine | An Interview with Knitwear Designers Brenda Aherne and Helen Delany of Electronic Sheep

Electronic Sheep

Known for their knitwear scarves, Electronic Sheep has carved itself a place in the market with its distinctive designs. Named after the Philip K. Dick novel Do Androids Dream of Electric Sheep, this fashion brand has a futuristic feel of its own, and its unique patterns as well as trend-setting styles give it an exciting edge. These scarves are straight out of a sci-fi movie, while still effortlessly maintaining wearability. The patterns are creative with an urban edge, and the use of block colours and type reminds me of graffiti. They sell a mix of products including scarves, sweater dresses and bobble hats. All knit-tastic and colour-packed.

Brenda Aherne and Helen Delany founded Electronic Sheep way back in 1999. Co-Director Brenda has a BA in Fashion from the National College of Art & Design in Dublin as well as a post-graduate qualification in Knitwear from LSAD. Before Electronic Sheep she worked as a Knitwear Technology specialist and Accessories Designer. Co-Director Helen has a BA in Graphic Design and has studied at Dublin’s National College of Art & Design, Central Saint Martins and The School of Visual Arts in New York. Helen has designed and art directed for The Sunday Times Magazine, Swarovski, Glamour US and The V&A among others. I spoke to them both about Blade Runner, purl and what they’ve learnt so far.

Electronic Sheep AW 2013

If you could describe Electronic Sheep in five words, what would they be?
BOTH: Warm Stories Knit Fashion Pictures

How did you two meet?
HELEN: We met in the late seventies, when we were young kids. Brenda moved in next door to me and the friendship began when I was invited around to her garden. This was to take part in a home movie shot on the cine camera. We soon figured out that we both liked making stuff and designed some new outfits for my two Yorkshire Terriers. Then we parted for a few years when Brenda became a ‘bold’ goth pre-teen, and I was forbidden to hang out with her. From thirteen onward our renewed friendship took hold with a vengeance and we became badasses together instead!

Electronic Sheep AW 2013

How did you come up with the name Electronic Sheep?
HELEN: Brenda won an award after her Postgrad in Knitwear, and to claim the cash she had to set up a company. She needed something quick and relevant. At the time she used high tech Shima Seiki knitting machines, hence the ‘Electronic’ part, and everything was made with yarn/wool so that’s where the Sheep came in. I was working at Wired magazine and was immersed in the sci-fi world which also influenced the name.

Electronic Sheep AW 2013
Electronic Sheep

Can you tell me a bit more about your A/W13 collection Typhoon Puppets?
BOTH: The main influence for the Typhoon Puppets collection was meteorology, but parallel to that other themes developed – like the use of our own comic collaged throughout and references to cities. It is a personal statement about how we feel and as city people, a lot of the imagery is a result of what we see around us. For example the scarf ‘Open 24 Hours’ depicts a girl eating noodles in the rain, the signage and clothing are both Asian and English; these are the strongest changes we are observing right now – dramatic weather/mixing cultures. Typhoon Puppets refers to how we have little control over the world and therefore are puppets in a storm.

Electronic Sheep
Electronic Sheep

How do your two different backgrounds (Brenda in Fashion and Helen in Graphic Design) come into play when you’re creating a collection?
HELEN: Having worked together for so long our disciplines overlap and we have similar interests and backgrounds, so we are often drawn to the same things. Conceptually it is a fluid process but when it gets down to the details and production our two strengths play an important part. I get pretty technical with the computer stuff and drawings, and I’m a bit of a control freak about details but that’s the curse of Graphic Design! Brenda is a ‘proper knitter’ and obviously more precious about the fashion side and knit techniques. I think one discipline relies equally on the other for what we do – we have managed to push the detail in our jacquards because we know both sides of the process – graphics and knit.

Your collections have a vast range of influences, how do you get the inspiration for a collection?
HELEN: We live in two different cities – Brenda in Dublin and me in London. Between us we have also lived and worked in New York, Munich and Rome. I think this is a major influence on us, and we delve into our past a great deal subconsciously, as well as deliberately. So it is our own experiences giving us inspiration, and we also collect a lot of things, to the point of being hoarders. Whatever we feel most strongly about at the time of designing becomes the subject of the collection, but usually it has been brewing-up for about a year.

Electronic Sheep

Your AW12 collection Pink Noir led to ‘A Knitted Film’, do you feel all creative pursuits are interrelated?
BOTH: Yes we think so – we are interested in the idea and then the medium. It is important to respect and protect the expertise of each field but we like creative processes overlapping. If it makes it stronger we will collaborate with other designers/artists to keep the level of output high. For ‘A Knitted Film’ we collaborated with a video artist Cliona Harmey to get her slant on things, and we collaborated with a musician to do the soundtrack. So they are all interrelated, but some people are better at certain things than others.

Electronic Sheep
Electronic Sheep AW 2013

Is it important to you that your pieces are practical?
BOTH: At the moment: yes. When we started out we handmade a lot of pieces ourselves, and experimented with fabric items. But production got complicated and we found ourselves glueing on felt dots to skirts at 3am etc. While it was fun the downside was time and also durability. We like that our knitwear is easy to wear and it keeps you warm. Plus we don’t have to worry about a dot falling off.

Do you both knit as a hobby?
BOTH: In an ideal world we would knit on the porch in rocking chairs, but normally we never get around to it. Brenda is naturally really good at knitting and crochet, she can also make knitted dolls. I think knitting is really relaxing and I like doing it but it has taken me 2 years to do 20 rows of plain/purl.

Electronic Sheep
Electronic Sheep

You’ve been around since 1999, how do you think the market has changed in the last ten years or so?
BOTH: It has changed in many ways style-wise, but in our experience a significant change is that people are more aware of product sources. There is in an increase in people buying covetable, durable items as opposed to throw-away fashion. That is good for progressive designers and in the long term, for the environment. It has a long way to go, but if people continue to look at who is designing and making their clothes, the knock on effect is great and really positive.

Electronic Sheep
Electronic Sheep

Do you have anything big planned for the second half of 2013?
BOTH: We have a lot of shows coming up in 2013. We are part of an exhibition which will show our work and film at the Irish Embassy in London and other spaces in the UK. The AW13 collection is also in Fashion Shows in London, Dublin and New York in September. Every October we like to do a launch at the Old Shoreditch Station also known as Jaguar Shoes, which is a fun way to celebrate the new collection.

You can see the Electronic Sheep website here www.electronicsheep.com
Electronic Sheep

Photographs where clothes are modelled are by David Poole. Product photographs were kindly supplied by Electronic Sheep.

Categories ,A/W’13, ,David Poole., ,Dublin, ,Electronic Sheep, ,Fashion Shows, ,Irish, ,Jaguar Shoes, ,knit, ,knitwear, ,london, ,Old Shoreditch Station, ,Pink Noir, ,Scarves, ,Sci-Fi, ,Typhoon Puppets

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