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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Ones to Watch (by Amelia)

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We Won! Grow Heathrow by Sam Parr

Grow Heathrow by Rebecca Peacock.

Just over a year ago a group of my friends envisioned a radical new version of the Transition Town model. Activists drawn from groups such as Plane Stupid and Climate Camp decided to squat a rundown old market garden in the village of Sipson that was being used as a dumping ground for car scrap in an area planned for demolition to make way for the third runway at Heathrow. And thus Grow Heathrow was born, click a great big YES in the face of so many NOs.

Over the course of the past year they have utterly transformed the area; growing their own food, malady hosting bike workshops and ensuring a sustainable community has sprung up that fully involves the locals. What was once an eyesore covered in shattered glass has become an inspiring success story, this site described by one local as “better than prozac”. In this beautiful short video from You and I Films the misty eyed community get together to reminisce about the past year, describing how what they did was “naughty but extremely worthwhile” and a necessary action to enable the creation of their “own piece of paradise.” As is so often the case, gardening has proved the glue that has brought people together.

Later in March Grow Heathrow will host the Reclaim the Fields European gathering, and then a group of people associated with the project will go on an ambitious 100 day cycle ride to Palestine. P.E.D.A.L. will meet with permaculture projects along the way; sharing ideas and stories for a better world.

Inspiring stuff indeed, but I’ll let this lovely video – made to celebrate Grow Heathrow‘s first birthday – do the talking.

You can read more about Grow Heathrow in this blog, written just after it was set up in early 2010.

Grow Heathrow by Rebecca Peacock.

Just over a year ago a group of my friends envisioned a radical new version of the Transition Town model. Activists drawn from groups such as Plane Stupid and Climate Camp decided to squat a rundown old market garden in the village of Sipson that was being used as a dumping ground for car scrap in an area planned for demolition to make way for the third runway at Heathrow. And thus Grow Heathrow was born, approved a great big YES in the face of so many NOs.

We Won! Grow Heathrow by Sam Parr.

Over the course of the past year they have utterly transformed the area; growing their own food, order hosting bike workshops and ensuring a sustainable community has sprung up that fully involves the locals. What was once an eyesore covered in shattered glass has become an inspiring success story, information pills described by one local as “better than prozac”. In this beautiful short video from You and I Films the misty eyed community get together to reminisce about the past year, describing how what they did was “naughty but extremely worthwhile” and a necessary action to enable the creation of their “own piece of paradise.” As is so often the case, gardening has proved the glue that has brought people together.

Later in March Grow Heathrow will host the Reclaim the Fields European gathering, and then a group of people associated with the project will go on an ambitious 100 day cycle ride to Palestine. P.E.D.A.L. will meet with permaculture projects along the way; sharing ideas and stories for a better world.

Inspiring stuff indeed, but I’ll let this lovely video – made to celebrate Grow Heathrow‘s first birthday – do the talking.

You can read more about Grow Heathrow in this blog, written just after it was set up in early 2010.

Grow Heathrow by Rebecca Peacock.

Just over a year ago a group of my friends envisioned a radical new version of the Transition Town model. Activists drawn from groups such as Plane Stupid and Climate Camp decided to squat a rundown old market garden in the village of Sipson that was being used as a dumping ground for car scrap in an area planned for demolition to make way for the third runway at Heathrow. And thus Grow Heathrow was born, link a great big YES in the face of so many NOs.

We Won! Grow Heathrow by Sam Parr.

Over the course of the past year they have utterly transformed the area; growing their own food, and hosting bike workshops and ensuring a sustainable community has sprung up that fully involves the locals. What was once an eyesore covered in shattered glass has become an inspiring success story, drug described by one local as “better than prozac”. In this beautiful short video from You and I Films the misty eyed community get together to reminisce about the past year, describing how what they did was “naughty but extremely worthwhile” and a necessary action to enable the creation of their “own piece of paradise.” As is so often the case, gardening has proved the glue that has brought people together.

Later in March Grow Heathrow will host the Reclaim the Fields European gathering, and then a group of people associated with the project will go on an ambitious 100 day cycle ride to Palestine. P.E.D.A.L. will meet with permaculture projects along the way; sharing ideas and stories for a better world.

Inspiring stuff indeed, but I’ll let this lovely video – made to celebrate Grow Heathrow‘s first birthday – do the talking.

You can read more about Grow Heathrow in this blog, written just after it was set up in early 2010.

Grow Heathrow by Rebecca Peacock.

Just over a year ago a group of my friends envisioned a radical new version of the Transition Town model. Activists drawn from groups such as Plane Stupid and Climate Camp decided to squat a rundown old market garden in the village of Sipson that was being used as a dumping ground for car scrap in an area planned for demolition to make way for the third runway at Heathrow. And thus Grow Heathrow was born, remedy a great big YES in the face of so many NOs.

We Won! Grow Heathrow by Sam Parr.

Over the course of the past year they have utterly transformed the area; growing their own food, sickness hosting bike workshops and ensuring a sustainable community has sprung up that fully involves the locals. What was once an eyesore covered in shattered glass has become an inspiring success story, described by one local as “better than prozac”. In this beautiful short video from You and I Films the misty eyed community get together to reminisce about the past year, describing how what they did was “naughty but extremely worthwhile” and a necessary action to enable the creation of their “own piece of paradise.” As is so often the case, gardening has proved the glue that has brought people together.

Later in March Grow Heathrow will host the Reclaim the Fields European gathering, and then a group of people associated with the project will go on an ambitious 100 day cycle ride to Palestine. P.E.D.A.L. will meet with permaculture projects along the way; sharing ideas and stories for a better world.

Inspiring stuff indeed, but I’ll let this lovely video – made to celebrate Grow Heathrow‘s first birthday – do the talking.

You can read more about Grow Heathrow in this blog, written just after it was set up in early 2010.

Grow Heathrow by Rebecca Peacock.

Just over a year ago a group of my friends envisioned a radical new version of the Transition Town model. Activists drawn from groups such as Plane Stupid and Climate Camp decided to squat a rundown old market garden in the village of Sipson that was being used as a dumping ground for car scrap in an area planned for demolition to make way for the third runway at Heathrow. And thus Grow Heathrow was born, mind a great big YES in the face of so many NOs.

We Won! Grow Heathrow by Sam Parr.

Over the course of the past year they have utterly transformed the area; growing their own food, store hosting bike workshops and ensuring a sustainable community has sprung up that fully involves the locals. What was once an eyesore covered in shattered glass has become an inspiring success story, described by one local as “better than prozac”. In this beautiful short video from You and I Films the misty eyed community get together to reminisce about the past year, describing how what they did was “naughty but extremely worthwhile” and a necessary action to enable the creation of their “own piece of paradise.” As is so often the case, gardening has proved the glue that has brought people together.

Later in March Grow Heathrow will host the Reclaim the Fields European gathering, and then a group of people associated with the project will go on an ambitious 100 day cycle ride to Palestine. P.E.D.A.L. will meet with permaculture projects along the way; sharing ideas and stories for a better world.

Inspiring stuff indeed, but I’ll let this lovely video – made to celebrate Grow Heathrow‘s first birthday – do the talking.

You can read more about Grow Heathrow in this blog, written just after it was set up in early 2010.

Kirsty Ward A/W 2011 by YesGo Illustration.

Every season I eagerly anticipate Fashion Scout’s Ones to Watch because it is invariably a wonderful place to discover raw talent before everyone else does. This season we even ran a preview to prompt early onset salivating.

Kirsty Ward A/W 2011 by Charlotte Hoyle.

Unfortunately I was late to arrive and had to make do with an abysmal spot at the back, medicine hence my far from fabulous photography. The perils of an action packed opening day to LFW. I do apologise.

Kirsty Ward A/W 2011 by June Chanpoomidole.

Straight off the starting blocks was Kirsty Ward, hospital who first came to our attention when she created jewellery for boyfriend David Longshaw when he himself showed as part of Ones to Watch a year ago. Last season she created her first collection, buy information pills on view at the static stands at Fashion Scout… and I knew straight away I’d discovered something very special.

Kirsty Ward A/W 2011. Photography by Amelia Gregory
Kirsty Ward A/W 2011 by Charlotte Hoyle.

Needless to say Kirsty Ward‘s first foray onto the catwalk proper did not disappoint. Working in a range of materials she kept to her sculpted best, whilst also working with new ideas such as the sheer asymmetric flip sided shirt.

Kirsty Ward A/W 2011. Photography by Amelia Gregory
Kirsty Ward A/W 2011 by Gilly Rochester.

As ever the jewellery was an integral part of her designs, sometimes embedded within the fabric, but always well considered. When I spoke to Kirsty at the stands she talked of her ongoing love with everyday household items: coat hangers and miniature hinges get her in an excitable tizz. But there’s no single clear influence in an innovative collection that will no doubt stand the test of time – one stand out piece was inspired by the shape of a Stormtrooper mask, albeit not through any conscious decision. Amusingly she tried to use as many “sick colours” as possible and was almost disappointed that fashionistas have been referring to her colour palette as “autumnal.” I love Kirsty Ward’s vision and an interview with this talented lady is long overdue….

Anja Mlakar A/W 2011. Photography by Amelia Gregory
Anja Mlakar A/W 2011 by Karolina Burdon.

Coming second we were treated to Anja Mlakar‘s collection, which was a confident showing of bouncy tulip skirted dresses in pastels, red and black. Cutaways were a big feature, and I liked the styling with what looked like round padded foam belts, roughly tied at the waist. Definitely an intriguing proposition.

Anja Mlakar A/W 2011. Photography by Amelia Gregory
Anje Mlakar A/W 2011 by Charlotte Hoyle.

Next up was possibly my least favourite, simply because I am not a minimal kind of gal: no offence intended. Tze Goh works in a kind of compacted foam jersey material that can be easily sculpted into shapes which stand proud of the body.

Tze Goh A/W 2011. Photography by Amelia Gregory
Tze Goh A/W 2011 by Sarah Wharton.

Capes, hairy and smooth, were the order of the day – in steely greys, deep purples and heathery blues.

Sara Bro-Jorgensen A/W 2011 by Charlotte Hoyle.

Lastly Sara Bro-Jorgensen created an intriguing collection using trompe l’oeil print and intarsia techniques to play with definitions of clothing. One outfit featured the imprint of a tuxedo, accessorised with a bow tie and knitted hood. She replicated her beloved leather jacket in intarsia, (it also features as part of the collection), using an old 1960s knitting machine available only at the Royal College of Art (the bonus of being an alumni).

Sara Bro-Jorgensen A/W 2011 by Maria Papadimitriou.

At her exhibition stand she freely admitted that she is not sure how she can reproduce the look commercially. Sometimes, it seems, old technology really is best. My favourite outfit was a trompe l’oeil intarsia cape dress out of which the model’s arms protruded frontways, encased in creamy childlike mittens. I wouldn’t recommend adopting such a stance of an evening on the town but on the catwalk this styling was a lot of fun.

Sara Bro-Jorgensen A/W 2011 by Stellabombella.

Sara Bro-Jorgensen A/W 2011. Photography by Amelia Gregory
Sara Bro-Jorgensen A/W 2011. All photography by Amelia Gregory.

Read Florence Massey’s review here. You can see more of June Chanpoomidole’s work in Amelia’s Compendium of Fashion Illustration.

Written by Amelia Gregory on Wednesday March 2nd, 2011 11:36 am

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Anja Mlakar, ,Charlotte Hoyle, ,Fashion Scout, ,Florence Massey, ,Freemasons’ Hall, ,Gilly Rochester, ,Intarsia, ,June Chanpoomidole, ,June Sees, ,Karolina Burdon, ,Kirsty Ward, ,knit, ,Maria Papadimitriou, ,Mhairi-Stella McEwan, ,Ones To Watch, ,Royal College of Art, ,Sara Bro Jorgensen, ,Sarah Wharton, ,Slowly the Eggs, ,Stellabombella, ,Stormtrooper, ,Tze Goh, ,YesGo Illustration

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

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Alice Palmer A/W 2011 by Maria Papadimitriou.

Glaswegian Alice Palmer makes extravagantly shaped knitwear. Now based in London, online web she demonstrated her ‘polyhedra knitting’ skills to the max with her Into the Void collection. The press release cites the minimalism of Anish Kapoor, order eccentric flying machine enthusiast Gustav Mesmer, tadalafil who invented an Umbrella Helicopter, and Black Sabbath as big influences. But you’d be hard pushed to identify them in anything more than the loosest of contexts.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Alice Palmer A/W 2011 by Gilly Rochester
Alice Palmer A/W 2011 by Gilly Rochester.

Abstracted shapes in monochrome were the basis of Into the Void, extended and furled from the body in stunning 3D folds like the skin of an exotic ridged lizard. Large dangling flaps capsized down low cut backs or heaved forwards like innards rupturing. Hair was layered high on top of the head, and eyes pronounced with winged eyebrows in severest black. A tight fitting strapless dress featuring a geometric patterns like rippling water was amongst the most successful in terms of wearability.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory
Alice Palmer A/W 2011 by Emmi Ojala.

I was particularly captivated by the amazing spike jewellery which came bobbing seductively past me at eye level on wrists, and around necks, and dangling in great stacked globes off fingers. It was created by Karen-Ann Dicken of Oread Jewellery, a fellow Glaswegian who trained at the Royal College of Art. For this catwalk show she lent her Geo designs, made from steel, silver, semi-precious stones and cubic zirconia.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Karen-Ann Dicken geo necklace
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void stylist, the lovely Rebekah Roy. All photography by Amelia Gregory.

Alice Palmer A/W 2011 by Maria Papadimitriou.

Glaswegian Alice Palmer makes extravagantly shaped knitwear. Now based in London, viagra sale she demonstrated her ‘polyhedra knitting’ skills to the max with her Into the Void collection. The press release cites the minimalism of Anish Kapoor, the eccentric dreams of flying machine enthusiast Gustav Mesmer, who invented an Umbrella Helicopter, and Black Sabbath as diverse influences, but you’d be hard pushed to identify them in anything more than the loosest of contexts.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Alice Palmer A/W 2011 by Gilly Rochester
Alice Palmer A/W 2011 by Gilly Rochester.

Abstracted shapes in monochrome and muted gold were the basis of Into the Void, extended and furled from the body in stunning 3D folds like the skin of an exotic ridged lizard. Large dangling flaps resembled the armoured scales of a dinosaur as they capsized down low cut backs, or heaved forwards like ruptured innards. Hair was layered high on top of the head, and eyes pronounced with winged eyebrows in severest black. Tight fitting dresses with a geometric pattern like rippling water were amongst the most successful in terms of wearability.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory
Alice Palmer A/W 2011 by Emmi Ojala.

I was particularly captivated by the amazing spike jewellery which came bobbing seductively past me at eye level on wrists, and around necks, and dangling in great stacked globes off fingers. It was created by Karen-Ann Dicken of Oread Jewellery, a fellow Glaswegian who trained at the Royal College of Art. For this catwalk show she lent her Geo designs, made from steel, silver, semi-precious stones and cubic zirconia.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Karen-Ann Dicken geo necklace
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void stylist, the lovely Rebekah Roy. All photography by Amelia Gregory.

You can view more work by Emmi Ojala in my first book, Amelia’s Anthology of Illustration, available here.

Alice Palmer A/W 2011 by Maria Papadimitriou.

Glaswegian Alice Palmer makes extravagantly shaped knitwear. Now based in London, medications she demonstrated her ‘polyhedra knitting’ skills to the max with her Into the Void collection. The press release cites the minimalism of Anish Kapoor, the eccentric dreams of flying machine enthusiast Gustav Mesmer, who invented an Umbrella Helicopter, and Black Sabbath as diverse influences, but you’d be hard pushed to identify them in anything more than the loosest of contexts.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Alice Palmer A/W 2011 by Gilly Rochester
Alice Palmer A/W 2011 by Gilly Rochester.

Abstracted shapes in monochrome and muted gold were the basis of Into the Void, extended and furled from the body in stunning 3D folds like the skin of an exotic ridged lizard. Large dangling flaps resembled the armoured scales of a dinosaur as they capsized down low cut backs, or heaved forwards like ruptured innards. Hair was layered high on top of the head, and eyes pronounced with winged eyebrows in severest black. Tight fitting dresses with a geometric pattern like rippling water were amongst the most desirable in terms of wearability.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory
Alice Palmer A/W 2011 by Emmi Ojala.

I was particularly captivated by the amazing spike jewellery which came bobbing seductively past me at eye level on wrists, and around necks, and dangling in great stacked globes off fingers. It was created by Karen-Ann Dicken of Oread Jewellery, a fellow Glaswegian who trained at the Royal College of Art. For this catwalk show she lent her Geo designs, made from steel, silver, semi-precious stones and cubic zirconia.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Karen-Ann Dicken geo necklace
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void stylist, the lovely Rebekah Roy. All photography by Amelia Gregory.

You can view more work by Emmi Ojala in my first book, Amelia’s Anthology of Illustration, available here.

Alice Palmer A/W 2011 by Maria Papadimitriou.

Glaswegian Alice Palmer makes extravagantly shaped knitwear. Now based in London, rx she demonstrated her ‘polyhedra knitting’ skills to the max with her Into the Void collection. The press release cites the minimalism of Anish Kapoor, the eccentric dreams of flying machine enthusiast Gustav Mesmer, who invented an Umbrella Helicopter, and Black Sabbath as diverse influences, but you’d be hard pushed to identify them in anything more than the loosest of contexts.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Alice Palmer A/W 2011 by Gilly Rochester
Alice Palmer A/W 2011 by Gilly Rochester.

Abstracted shapes in monochrome and muted gold were the basis of Into the Void, extended and furled from the body in stunning 3D folds like the skin of an exotic ridged lizard. Large dangling flaps resembled the armoured scales of a dinosaur as they capsized down low cut backs, or heaved forwards like ruptured innards. Hair was layered high on top of the head, and eyes pronounced with winged eyebrows in severest black. Tight fitting dresses with a geometric pattern like rippling water were amongst the most desirable in terms of wearability.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory
Alice Palmer A/W 2011 by Emmi Ojala.

I was particularly captivated by the amazing spike jewellery which came bobbing seductively past me at eye level on wrists, and around necks, and dangling in great stacked globes off fingers. It was created by Karen-Ann Dicken of Oread Jewellery, a fellow Glaswegian who trained at the Royal College of Art. For this catwalk show she lent her Geo designs, made from steel, silver, semi-precious stones and cubic zirconia.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Karen-Ann Dicken geo necklace
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void stylist, the lovely Rebekah Roy. All photography by Amelia Gregory.

You can view more work by Emmi Ojala in my first book, Amelia’s Anthology of Illustration, available here.

Bodyamr A/W 2011 by Maria del Carmen-Smith.

For the Bodyamr show the upstairs hall of Freemasons Hall had been laid out in a strange network of criss-crossing aisles, malady variably lit with spotlights from all directions. I was on the end of a row just across from Amber Rose, unhealthy though I hasten to add that I had to be told who she was as I am not that up on celebrities who have no discernible career: model/actress whatever – you get the picture.

Amber Rose at Bodyamr A/W 2011.

Louise Redknapp at Bodyamr A/W 2011. Photography by Amelia Gregory
Louise Redknapp with a fan at Bodyamr A/W 2011.

I will concede that she pulled off a gunmetal S/S 2011 Bodyamr dress with considerable panache – hers is a curvaceous physique to envy. Also in attendance was Louise Redknapp, that famous fashion guru.

Bodyamr A/W 2011. Photography by Amelia Gregory
Bodyamr A/W 2011 by Antonia Parker.

Somewhat inexplicably the show started with the prolonged sounds of revolution, and throughout the show lighting altered drastically between interrogation bright and near darkness – changes which definitely kept me on my photographic toes as I constantly swung around in my seat and adjusted my camera settings. My cousin-in-law-to-be is a fashion designer who works for Bodyamr and so I know that this was not an attempt to ensure that bloggers took only shit photos, and in fact the results were a pleasant surprise: the models bathed in a warm ethereal glow that gives a very different feel to most of my catwalk photos.

Bodyamr A/W 2011. Photography by Amelia Gregory
Bodyamr A/W 2011 by Antonia Parker.

Bodycon tailoring is at the centre of all Bodyamr collections; sleekly fitting fabrics encasing leggy models, draped flatteringly over shoulders and featuring well placed cutaway designs. Tightness was offset with flowing chiffons split thigh-high, all picked out in a highly desirable selection of plum and jade green colours. An occasional fez made an appearance, emphasising the languid opulence of flowing fabrics. Shoulders were fluffed out with woolly capes, heels were gold spiked – a collaboration with Gianmarco Lorenzi. Where collars existed they were high and bejewelled. Caramel, golden yellow and the ubiquitous bright red provided highlights.

Bodyamr A/W 2011. Photography by Amelia Gregory
Bodyamr A/W 2011 by Maria del Carmen-Smith.

The show ended on a stunning lilac gown with a golden woven bodice and Amber Rose stood to kiss Bodyamr designer Amir Ali as he came loping down the catwalk for his photo call.

Bodyamr A/W 2011. Photography by Amelia Gregory.

It’s not surprising that a Bodyamr show attracts so many celebrities. His is a very superior brand of glamour, designed to unashamedly wow the red carpet crowd. And wow it did.

Bodyamr A/W 2011. Photography by Amelia Gregory

You can see more illustrations by Antonia Parker in Amelia’s Compendium of Fashion Illustration.

Written by Amelia Gregory on Wednesday March 16th, 2011 2:49 pm

Categories ,ACOFI, ,Amber Rose, ,Amelia’s Compendium of Fashion Illustration, ,Amir Ali, ,Antonia Parker, ,Bodyamr, ,bodycon, ,Fashion Scout, ,Freemasons’ Hall, ,Gianmarco Lorenzi, ,lfw, ,Louise Redknapp, ,Maria del Carmen Smith, ,Red carpet, ,Revolution

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

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Prophetik A/W 2011 by Gilly Rochester.

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

Prophetik A/W 2011 by Andrea Peterson.

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

Prophetik A/W 2011 by Gilly Rochester.

The show opened in typical Jeff style, with live vocals followed by a madly thrashing classical violinist, who strutted down the catwalk as if her life depended on it.

Analiza Ching by Amelia Gregory

Violinist Analiza Ching by Gabriel ‘Gaarte’ Ayala.

But it was the finer detailing which really stood out as the models swept past me. His ball gowns and corseted dresses were awash with gorgeously constructed patchwork, twirly brocade, gilded buttons and ruffles. At a time when trains, tails, hooped and boned structures of every description have been big across all runways, his is an aesthetic which makes total sense right now.

Prophetik A/W 2011 by Danielle Shepherd.

For me the absolute stand outs were a couple of stupendous quilted jackets… and by quilted I really do actually mean made out of antique quilts, one of which belonged on his childhood bed that he must surely have baulked at destructing – just a tiny bit. But as his stylist Rebekah Roy pointed out to me later on, it makes absolute sense to refashion a quilt in this way – a quilt that in the very first place was made from fabric remnants.

Prophetik A/W 2011 by Andrea Peterson.

This approach of continuous upcycling is certainly innovative, and epitomises what I love most about Jeff: his dedication to sustainable practice. All his fabrics are painstakingly hand dyed with a magical potion of herbs in a process that takes many weeks to accomplish – this season’s special plum colour was obtained by mixing up a unique blend of madder root, sorrel, logwood and indigo.

Prophetik A/W 2011 by Karina Yarv.

The love he puts into every single part of his work is evident in the outcome, and of anyone on the ethical fashion scene I really feel that Prophetik is pushing the way forward by putting on a ambitious catwalk show that ensures excitement amongst mainstream fashionistas. Prophetik opened Fashion Scout for the third season running and the Freemasons Hall was packed to the rafters, including famous front row attendees in the form of Hilary Alexander and Livia Firth, erstwhile wife of Colin and celebrity advocate of ethical fashion. At the end Jeff took a demure bow dressed in a cream silky ruffled top and powder blue peddle pushers, sporting his trademark swept back ponytail: if there’s one major advocate for dressing this way it’s the ever dapper Jeff Garner himself.

Prophetik A/W 2011 by Farzeen Jabbar.

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

You can read Matt Bramford’s review here, Helen Martin’s review here and Katie Antoniou’s review here.

Prophetik A/W 2011. Photography by Amelia Gregory.

You can read more about Jeff Garner‘s design philosophy in Amelia’s Compendium of Fashion Illustration.

Written by Amelia Gregory on Thursday February 24th, 2011 8:26 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Analiza Ching, ,Andrea Peterson, ,Artist Wonderment, ,Danielle Shepherd, ,Ethical Fashion, ,Farzeen Jabbar, ,Fashion Scout, ,Freemasons’ Hall, ,Gaarte, ,Gabriel Ayala, ,Gilly Rochester, ,Hilary Alexander, ,Jeff Garner, ,Karina Yarv, ,Livia Firth, ,Louix XV, ,Prophetik, ,Quilt, ,Rebekah Roy, ,Upcycling, ,Violinist

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Charlie Le Mindu (by Amelia)

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Charlie Le Mindu by Andrea Peterson aka Artist Andrea.

Charlie Le Mindu has already done massive headpieces and copious nudity… what could possibly be next? How about dripping blood, nurse Nazi references and CUNT (sprayed onto the back of a model’s head)? Yes, more about this and more was to be our Sunday morning treat at Berlin Syndrome, a show inspired by the WWII decadence of the German Third Reich.

Charlie Le Mindu. Photography by Tim Adey.

Charlie Le Mindu by Dan Stafford.

Each season a Charlie Le Mindu ticket grows that little bit hotter… and the queues of people desperate to view his inimitable mix of genius, fantasy and fannies grows ever more clamourous. So it was that whilst waiting for Jazzkatze to start I made a judgement, made my excuses, and headed over to the tiny On/Off venue. These things happen. I knew it would be totally worth it.

Charlie Le Mindu by Andrea Peterson aka Artist Andrea.

But first I had to battle my way into a decent seat. Hot avante garde fashion tends to attract a lot of extravagant characters, each trying to out-outfit the next one.

Out Outfit You by Bourgeois & Maurice.

So it was that I found myself just a few bodies down from fashion doyenne Daphne Guinness – allegedly attending her only show this season – and a rare LFW sighting of Diane Pernet.

Charlie Le Mindu Berlin Syndrome by Emma Jardine.

Across the way club kid Daniel Lismore looked uncomfortably squished in one of the huge froufrou contraptions that constitutes his “look”. The delightful (and talented) Natasha Khan of Bat for Lashes looked wonderfully normal in comparison – and had to fight for a front row spot.

Charlie Le Mindu A/W 2011 Berlin Syndrome. Photography by Amelia Gregory

Kap Bambino provided the intense soundtrack to this show, a mash up of melodic vocals, pig squeals and a grimy off-kilter baseline. Our first treat? A stripper, dripping with blood from her Violence headgear to her vampirish talons. Her only accessory was an ancient looking metal bag, slung nonchalantly from her shoulder on a thin piece of chain.

Charlie Le Mindu A/W 2011 Berlin Syndrome. Photography by Amelia Gregory.

She was followed onto the catwalk by a giant mohican worn with plastic cape and lacy shorts – a cross of gaffa tape the only nod to modesty. More buttery lace, more plastic, more fringing and beading on both men and women. Make up was pale, deathly, fittingly. From the front a plastic fluffy fringed cape looked pervily demure, arms bound down to the sides. From the back it revealed a spray painted phallus and more that I cannot read.

Charlie Le Mindu by Madi.

Charlie Le Mindu A/W 2011 Berlin Syndrome. Photography by Amelia Gregory
Charlie Le Mindu A/W 2011 by The Lovely Wars.

A moderately wearable lace belted maxi coat was followed by more exposed boobs and a gas mask with a waterfall of hair extruding from the mouth like an alien intervention. More hair as fur, smudged red lips, a smile from a knowing model as she pounded towards the thickly layered ranks of photographers.

Charlie Le Mindu Berlin Syndrome by Natsuki Otani.

Charlie Le Mindu Finale Piece by LJG Art & Illustration.

And finally the denouement, a huge white eagle – a reference to the Third Reich insignia – clutching a blonde be-wigged head, the bird trailing lace and blood to the floor. It was a trail that followed the models back stage as the show ended to the sounds of a porcine massacre and Charlie Le Mindu took his curtain bow in a butcher’s apron, hands bloody. I glanced anxiously over to stylist Tamara Cincik, who was protectively cradling her pregnant belly.

Charlie Le Mindu A/W 2011 Berlin Syndrome. Photography by Amelia Gregory.

You can read Katie Antoniou’s earlier blog about the same show here, and see more work by Andrea Peterson in Amelia’s Compendium of Fashion Illustration. There is also a lovely blog featuring Andrea Peterson at work on the creation of her Charlie Le Mindu painting right here.

Written by Amelia Gregory on Wednesday March 9th, 2011 8:39 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Andrea Peterson, ,Ani Saunders, ,Anna Trevelyan, ,Artist Andrea, ,Bat for Lashes, ,berlin, ,Berlin Syndrome, ,Blood, ,Bourgeois & Maurice, ,Charlie le Mindu, ,CUNT, ,Dan Stafford, ,Daniel Lismore, ,Daphne Guinness, ,Diane Pernet, ,Eagle, ,Emma Jardine, ,Hair, ,Insignia, ,Jazzkatze, ,Kap Bambino, ,Katie Antoniou, ,LJG Art & Illustration, ,Madi, ,Madi Illustrates, ,Natasha Khan, ,Natsuki Otani, ,Nudity, ,onoff, ,Out Outfit You, ,Plastic, ,Strippers, ,Tamara Cincik, ,The Lovely Wars, ,Third Reich, ,Tim Adey, ,Wigs, ,WWII

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

by

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

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

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

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

Jena.Theo_LFW_MattBramford_006 Jena.Theo_LFW_MattBramford_007 Jena.Theo_LFW_MattBramford_008 Jena.Theo_LFW_MattBramford_004 Jena.Theo_LFW_MattBramford_003
Photography by Matt Bramford

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

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

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

Jena.Theo_LFW_MattBramford_002 Jena.Theo_LFW_MattBramford_001 Jena.Theo_LFW_MattBramford_005
Photography by Matt Bramford

Jena.Theo have managged to combine the mythology with the urban reality. Fantasy has been embraced, with opulence in mind, the designs are sumptuous, yet strong. Fit for women going into battle with the ice of Scandinavia and the luxuriousness of a cashmere bustle behind them. And why not mix up the hemlines, paint black across our eyes and march like amazonian creations girls. We are women. Watch us gracefully, cooly and quietly move, like we believe we are mighty. We are. For designs that were indeed simple, they were deserving of their sparkling lights.
Gemma Milly-Prophetik-A-W11
Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

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

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

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

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

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

Prophetik_LFW_MattBramford_198 Prophetik_LFW_MattBramford_188 Prophetik_LFW_MattBramford_142 Prophetik_LFW_MattBramford_131 Prophetik_LFW_MattBramford_104 Prophetik_LFW_MattBramford_098 Prophetik_LFW_MattBramford_078 Prophetik_LFW_MattBramford_068 Prophetik_LFW_MattBramford_044 Prophetik_LFW_MattBramford_040 Prophetik_LFW_MattBramford_024
Prophetik LFW A/W 2011 Collection, photography by Matt Bramford

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

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

Helen Martin Prophetik
THE Prophetik DRESS. Photo by Helen Martin

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

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

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

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

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Charlie Le Mindu (by Amelia)

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Charlie Le Mindu by Andrea Peterson aka Artist Andrea.

Charlie Le Mindu has already done massive headpieces and copious nudity… what could possibly be next? How about dripping blood, nurse Nazi references and CUNT (sprayed onto the back of a model’s head)? Yes, more about this and more was to be our Sunday morning treat at Berlin Syndrome, a show inspired by the WWII decadence of the German Third Reich.

Charlie Le Mindu. Photography by Tim Adey.

Charlie Le Mindu by Dan Stafford.

Each season a Charlie Le Mindu ticket grows that little bit hotter… and the queues of people desperate to view his inimitable mix of genius, fantasy and fannies grows ever more clamourous. So it was that whilst waiting for Jazzkatze to start I made a judgement, made my excuses, and headed over to the tiny On/Off venue. These things happen. I knew it would be totally worth it.

Charlie Le Mindu by Andrea Peterson aka Artist Andrea.

But first I had to battle my way into a decent seat. Hot avante garde fashion tends to attract a lot of extravagant characters, each trying to out-outfit the next one.

Out Outfit You by Bourgeois & Maurice.

So it was that I found myself just a few bodies down from fashion doyenne Daphne Guinness – allegedly attending her only show this season – and a rare LFW sighting of Diane Pernet.

Charlie Le Mindu Berlin Syndrome by Emma Jardine.

Across the way club kid Daniel Lismore looked uncomfortably squished in one of the huge froufrou contraptions that constitutes his “look”. The delightful (and talented) Natasha Khan of Bat for Lashes looked wonderfully normal in comparison – and had to fight for a front row spot.

Charlie Le Mindu A/W 2011 Berlin Syndrome. Photography by Amelia Gregory

Kap Bambino provided the intense soundtrack to this show, a mash up of melodic vocals, pig squeals and a grimy off-kilter baseline. Our first treat? A stripper, dripping with blood from her Violence headgear to her vampirish talons. Her only accessory was an ancient looking metal bag, slung nonchalantly from her shoulder on a thin piece of chain.

Charlie Le Mindu A/W 2011 Berlin Syndrome. Photography by Amelia Gregory.

She was followed onto the catwalk by a giant mohican worn with plastic cape and lacy shorts – a cross of gaffa tape the only nod to modesty. More buttery lace, more plastic, more fringing and beading on both men and women. Make up was pale, deathly, fittingly. From the front a plastic fluffy fringed cape looked pervily demure, arms bound down to the sides. From the back it revealed a spray painted phallus and more that I cannot read.

Charlie Le Mindu by Madi.

Charlie Le Mindu A/W 2011 Berlin Syndrome. Photography by Amelia Gregory
Charlie Le Mindu A/W 2011 by The Lovely Wars.

A moderately wearable lace belted maxi coat was followed by more exposed boobs and a gas mask with a waterfall of hair extruding from the mouth like an alien intervention. More hair as fur, smudged red lips, a smile from a knowing model as she pounded towards the thickly layered ranks of photographers.

Charlie Le Mindu Berlin Syndrome by Natsuki Otani.

Charlie Le Mindu Finale Piece by LJG Art & Illustration.

And finally the denouement, a huge white eagle – a reference to the Third Reich insignia – clutching a blonde be-wigged head, the bird trailing lace and blood to the floor. It was a trail that followed the models back stage as the show ended to the sounds of a porcine massacre and Charlie Le Mindu took his curtain bow in a butcher’s apron, hands bloody. I glanced anxiously over to stylist Tamara Cincik, who was protectively cradling her pregnant belly.

Charlie Le Mindu A/W 2011 Berlin Syndrome. Photography by Amelia Gregory.

You can read Katie Antoniou’s earlier blog about the same show here, and see more work by Andrea Peterson in Amelia’s Compendium of Fashion Illustration. There is also a lovely blog featuring Andrea Peterson at work on the creation of her Charlie Le Mindu painting right here.

Written by Amelia Gregory on Wednesday March 9th, 2011 8:39 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Andrea Peterson, ,Ani Saunders, ,Anna Trevelyan, ,Artist Andrea, ,Bat for Lashes, ,berlin, ,Berlin Syndrome, ,Blood, ,Bourgeois & Maurice, ,Charlie le Mindu, ,CUNT, ,Dan Stafford, ,Daniel Lismore, ,Daphne Guinness, ,Diane Pernet, ,Eagle, ,Emma Jardine, ,Hair, ,Insignia, ,Jazzkatze, ,Kap Bambino, ,Katie Antoniou, ,LJG Art & Illustration, ,Madi, ,Madi Illustrates, ,Natasha Khan, ,Natsuki Otani, ,Nudity, ,onoff, ,Out Outfit You, ,Plastic, ,Strippers, ,Tamara Cincik, ,The Lovely Wars, ,Third Reich, ,Tim Adey, ,Wigs, ,WWII

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

by

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

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

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

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

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

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

Prophetik_LFW_MattBramford_198 Prophetik_LFW_MattBramford_188 Prophetik_LFW_MattBramford_142 Prophetik_LFW_MattBramford_131 Prophetik_LFW_MattBramford_104 Prophetik_LFW_MattBramford_098 Prophetik_LFW_MattBramford_078 Prophetik_LFW_MattBramford_068 Prophetik_LFW_MattBramford_044 Prophetik_LFW_MattBramford_040 Prophetik_LFW_MattBramford_024
Prophetik LFW A/W 2011 Collection, photography by Matt Bramford

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

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

Helen Martin Prophetik
THE Prophetik DRESS. Photo by Helen Martin

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

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

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

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

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Amelia’s Magazine | Little Glass Clementine: an interview with luxury recycled jewellery designer Clementine James

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Little Glass Clementine by Lesley Barnes.

Why the name?
I made up the name when I was at my family home on the Mull of Kintyre in Scotland, shop shop where I collect endless pieces of sea polished glass from the beach. I combined that with my first name Clementine because I thought it was kind of sweet.

Where do you work from?
I used to live and work on a little leaking narrow boat by Springfield Park in north London. But I now have a proper studio in Dalston with a big work desk. Makes life a little easier – less rocking!

You aren’t a trained jewellery designer, mind so what prompted you to start Little Glass Clementine?
I taught myself to make jewellery so that I could support myself through my degree at SOAS, where I studied Anthropology and World Religions, and I ran stalls at the markets in Portobello and Camden for the best part of three years. Then I became busy restoring gypsy caravans and being a climate activist, but now I am in love with the discovery of beautiful antiques and unusual stones that I transform into sculptural necklaces. I quickly realised that my market is high-end, where my statement necklaces will be recognised as art.

How does showing at Estethica compare with working on a market stall?
It’s a bit like being back in the market, bantering with passers by, drinking coffee and chatting about my jewels. But with a few distinctive differences; there is no reggae playing, I’m not freezing cold, and my prices and pieces have changed – quite dramatically.

How do you put each necklace together?
I arrange all the components on an old piece of black velvet, making compositions out of the different objects and gems until I am satisfied. Then I start weaving them all together and hope very much I can recreate what I had when I laid them out. I only use wire and I never glue or make holes in the objects – so there is always a period while I’m working where everything looks like a big entangled mess. Strangely enough I am never convinced that a necklace is right until about five minutes before it is finished – when suddenly one stone, broach or button will bring the whole thing together…

Read the rest of this interview with Little Glass Clementine in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Written by Amelia Gregory on Wednesday January 26th, 2011 9:42 am

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Anthropology, ,camden, ,Clementine James, ,Climate Activism, ,Climate Change, ,dalston, ,Eco fashion, ,estethica, ,Ethical Fashion, ,Houseboat, ,Lesley Barnes, ,Little Glass Clementine, ,Mull of Kintyre, ,Portobello, ,scotland, ,SOAS, ,Springfield Park, ,World Religions

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Amelia’s Magazine | Hetty Rose: how to create beautiful shoes from old kimonos

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Tania Kowalski was a workshop manager at a well-known contemporary jewellery gallery in London when Synnove Saelthun arrived from New York to join the design team. They soon discovered that they had similar views on design and business ethics, more about cialis 40mg and became good friends. Several years later they started the Oria brand, prescription using Synnove’s design skills and Tania’s production expertise. Synnove is a technically brilliant goldsmith with a passion for design and an eye for detail. Tania is a trained jeweller, viagra with a wide range of experience in the jewellery industry, from design creation through to production. Her expertise includes sourcing ethical materials and ensuring fair business practice.

Tania’s passion for other cultures has led her to visit remote tribes in the Amazon of Brazil, hill tribes in Nepal and the Dogon people of Mali. It was during these travels that she became fascinated with the cultural importance and symbolic meaning of tribal adornment. When designing a new collection, the couple sit down together to discuss what the new collection will symbolise. They research and refine story boards, and after ensuring that the designs are technically feasible Synnove makes an initial prototype, the best of which will go into production.

The use of the phoenix is a symbol of honesty and justice in Chinese mythology, and is one of the inspirations for the Nina collection. The lotus symbolises purity and beauty in many different cultures, and it inspired their silver lotus collection.

Working in Nepal Tania discovered that the safe working conditions and fair living wages which we take for granted in the West are not necessarily the norm in other parts of the world. This early experience was important in persuading Tania to commit to fairtrade sourcing as a founding principle of Oria.

Vintage fashion, about it illustrated by Matilde Sazio

Kim Sklinar, viagra sale aka Preloved Reloved, cheap has set herself an interesting New Year’s challenge. For the duration of 2011, Kim isn’t going to buy any new clothes. No more high-street bargains, no more feeding corporate giants, no more fast-fashion waste, no siree. ‘Another one?’ I hear you cry – and you’d be right. But this one is a little different.

While Kim hopes to raise awareness about the amount of cheap clothing we purchase and what effects that has on the environment and people’s lives, there’s also a bigger reason closer to home. Kim’s father was diagnosed with cancer over 18 months ago, and she decided to set up the project to raise funds for Macmillan, the cancer care and support charity. Unfortunately, as of only last week, Kim’s dad won’t see the project through its fruition. But Kim will dedicate the project to his memory.

So, how do you do it? Well, Kim’s vowed to buy only vintage and from outlets like eBay, and she’ll spend more time in charity shops which also benefits all of the organisations that run them. I had a chat with her about the project and how she thinks she’ll manage it all…

Vintage shop, illustrated by Karolina Burdon

What gave you the idea for Preloved, Reloved in the first place?
Well I always like to dress a little differently. My style is mainstream with a retro edge, I suppose. I always seem to end up with a daft New Year’s resolution – last year I cycled from London to Paris for The Institute of Cancer Research. I like using my time to help others and spread awareness.

Were you a fan of vintage and upcycling before you started the project?
Yes! I always admire my friends’ outfits; well, those who wear vintage and second-hand fashion. Upcycling is something I have experimented with for ages at home and now is the time to make sure I actually finish some projects!

Where will you source your outfits?
Charity shops, vintage stores, eBay, my mum’s wardrobe…! I made a lined cape last night from linen and satin for balmy summer nights (booking a holiday soon!).

Charity shops, illustrated by Rukmunal Hakim

What does the project hope to achieve?
I want to raise awareness of numerous charities related to my Dad’s illnesses. I want my friends to know that too much of an unhealthy lifestyle is probably going to lead to an early demise. I also want to raise the profile of vintage and second-hand fashion; I remember as a kid we use to take the mick out of anyone who dressed from a charity shop. I myself as a student had a stigma against them. Now it’s become kitsch, cool and quirky. It’s good for the environment.

How much do you hope to raise and what are the funds likely to be used for?
£2500 is my Just Giving target – it goes directly to Macmillan. However, with my shopping at many different charity shops, my cash goes straight to them – win win all round! I have my thinking cap on about how to expand the project though.

eBay! Illustration by Avril Kelly

Why did you choose Macmillan?
My dad (and his dad) had cancer – he died last week unfortunately. And it wasn’t the cancer that killed him, it was his heart and his adult-onset diabetes. A poor lifestyle in his twenties and thirties caused it and he was only 57 when he passed. So as I said before, this project benefits other charities focussing on these causes too through me spending money at their outlets.

Not that far in, but have you come accross any problems so far? Has anything that happened that you weren’t expecting?
Avoiding shops is quite hard as I realised I can’t just pop into the Topshop sale and treat myself – which I suppose is good for my wallet and I’m going to do less impulse-buying on the way home from work.
With my Dad passing, I haven’t had as much time to go browsing shops as much as I’d like. This weekend, however, I’m going to the Girls of Guildford vintage fair and gig – for some serious retail therapy, cupcake-nomming and also to check out some great live music away from the bustle of London.

Vintage, illustrated by Jess Holt

What are you wearing today? Where’s it all from?
Dark blue skinny jeans, leather knee boots that I already owned with black and cream patterned blouse from River Island that I bought from Cancer Research UK. I’m also wearing red rose earrings from Magnolia Jewellery.

Do you plan to make or alter any of your clothes? If so, how?
Yes – I love sewing and making jewellery too – I made a cape last week and have upcycled a pair of old, torn jeans from my uni days into a denim mini. I have a small collection of retro patterns including a lovely dress with a pussy bow. I love being able to create something out of fabric I love: last year I went to a lovely Indian wedding and couldn’t find The Outfit – so I made a purple maxi-dress with a halterneck and glammed it up with ribbons dangling down my back. Saved myself a fortune too!

Illustration by Gilly Rochester

What else do you get up to?
I run Never Enough Notes – a music e-zine, and I’m cycling the London-Brighton this summer with my brother and friends to raise money for the British Heart Foundation.

What would be your perfect Preloved, Reloved outfit?
For daytime it would easily be vintage jeans, brown boots that look a bit worn-out, a floaty shirt or cheeky tee, a tweed jacket and a battered satchel.
For evening, I love ball gowns and retro dresses so would be something glam that I could wear with a pair of 1970s heels! Oh there’s way too much choice, I love it!

Photographs by Kim Sklinar

You can follow Kim’s efforts at the Preloved, Reloved blog; donate online here.

Junky Styling S/S 2010 by Aniela Murphy.

Annika Sanders and Kerry Seager are self-taught fashion designers. They started up Junky Styling after they received lots of compliments for their deconstructed and restyled secondhand suits made to go out clubbing in during the 1990’s.

What prompted your approach to dressmaking?
Our approach was initially borne out of a lack of money but it soon became a necessity for individuality and quality. At first Annika’s mother did most of the sewing so our designs were heavily directed by her.

Have you seen many changes over the years?
Aside from all the wrinkles on our faces? We have seen the tangible development of a marketplace that never existed before. Education has enabled the sustainable movement to become more widely accepted and understood, approved and now many new brands think about sustainability before they even start designing.

Where did you go out in the past and do you still go clubbing?
We went to a wide mixture of venues that hosted a similar dressy scene. It was such a brilliant time, and we still enjoy socialising and a bit of a shuffle. But we always try to ensure that we are not the oldest at the bar…

Read the rest of this interview and see more illustrations of Junky Styling’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
You’ve been going for a very long time. Have attitudes to ethical fashion started to change yet?
Consumers are starting to question the huge exploitation of people and the environment that permits their clothing to be so cheap, treat because it doesn’t add up. There is still a long way to go but the fashion industry is slowly changing the way it does business.

What has the People Tree brand achieved?
We support 5, website like this 000 farmers, case artisans and their families in developing countries by producing well designed fairtrade and sustainable products. For us it’s about creating sustainable livelihoods that put food on the table at the end of the day.

You’ve collaborated with both Bora Aksu and Karen Nichol. What have they brought to People Tree?
We’ve worked with Bora for four years because we share the view that good fashion design should last for years. He is a master of beautiful, feminine draped designs that we produce in organic and fairtrade cotton, and we’ve already started designing an exciting new collection for S/S 2012. Like me Karen is passionate about handicrafts and she loves traditional Japanese textiles and designs. She works with our hand knitters in Nepal to create beautiful appliquéd and hand embroidered embellishments
You’ve been going for a very long time. Have attitudes to ethical fashion started to change yet?
Consumers are starting to question the huge exploitation of people and the environment that permits their clothing to be so cheap, see because it doesn’t add up. There is still a long way to go but the fashion industry is slowly changing the way it does business.

What has the People Tree brand achieved?
We support 5, try 000 farmers, artisans and their families in developing countries by producing well designed fairtrade and sustainable products. For us it’s about creating sustainable livelihoods that put food on the table at the end of the day.

You’ve collaborated with both Bora Aksu and Karen Nichol. What have they brought to People Tree?
We’ve worked with Bora for four years because we share the view that good fashion design should last for years. He is a master of beautiful, feminine draped designs that we produce in organic and fairtrade cotton, and we’ve already started designing an exciting new collection for S/S 2012. Like me Karen is passionate about handicrafts and she loves traditional Japanese textiles and designs. She works with our hand knitters in Nepal to create beautiful appliquéd and hand embroidered embellishments
How did the idea of working with old porcelain come about?
I was tired of producing other peoples’ ideas (as a stage producer) so in 2007 I decided to start working on my own project, dosage which soon developed into my rapidly growing label, stomach Sägen. I go to flea markets as often as I can for inspiration and to collect source material; I have amassed a huge collection of vintage buttons as well as piles of chipped and damaged porcelain that is no longer wanted. I like to work with my hands and I love turning items from the past into modern accessories.

Sägen means Old Saga in Swedish – why did you chose this name for your brand?
I come from a small island called Gotland in the middle of the Baltic Sea and I have wonderful memories of listening to all the old myths when I was a kid. I came up with the idea for Sägen when I was there and the name reflects my interest in recycling a little bit of history into new treasures, so I find the name very suitable.

How do you cut the porcelain and set it in silver?
I cut and grind the porcelain with machines, which is a very dirty, dusty and dangerous job: I have been close to losing my fingers many times. When I am working in my basement studio I forget about everything else, instead focusing on the patterns that I am obsessed with. I decide what shapes to make up depending on the motifs in the porcelain, then I set the porcelain in silver (which is 98% recycled) so that it curves, bends and stretches around the shape I have cut out.

Ivana Basilotta S/S 2011 by Bex Glover.

Ivana Basilotta is Italian but has lived in Germany as well as the UK. She channels her observations of different cultures into her work, treatment sometimes the ideas flowing so fast that her pen can’t keep up and her scissors can’t cut the fabric fast enough. Quite often she only realises she was inspired by a certain idea once the collection has been finished. Having previously studied business Ivana is well placed to run her label, prostate and feels that a good business knowledge is as important as the creative force of a design house.

A committed vegetarian, she designs with peace silk, which is made in India without the killing of the silk moth. Because peace silk is spun as a fibre rather than reeled as a thread it is warmer and softer than ordinary silk. “I cannot imagine eating meat,” she says. “I find it strange that people eat dead animals.” She feels that being a vegetarian brings a great sense of freedom and well being, and it is an easy way to lead a greener life. “Farm land that could directly produce food for humans is used to farm and feed animals for slaughter, which uses up far more resources.” She does not like to imagine the stress and sorrow that farmed animals must experience, and wants no part in it…

Read the rest of this interview with Ivana Basilotta in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
bex_glover_howies_collection
Howies by Bex Glover.

Howies has since 1995 pioneered the creation of ethical active clothing with a strong design aesthetic. Based in Cardigan Bay, case Wales, remedy the company has built up a devoted fan base via its affiliation with outdoor sports such as surfing, order mountain biking and skateboarding. Products are made from high performing sustainable fabrics that will last, with a proportion of profits ploughed back into grassroots social and environmental projects via the Earth Tax. Although some clothes are made in China and Turkey they ensure best practice by employing the same factories as other companies they trust, such as M&S…

Read the rest of this interview and see more illustrations of Howie’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Hetty Rose by Lesley Barnes.

You make bespoke shoes… if I wanted a pair of shoes for myself how would the process work?
I create a collection each season from which clients can choose a design, ailment then they decide which vintage Japanese kimono fabric they would like their shoes made up in. Clients can alter the shape and height of the heel so that the shoes are totally unique to them. I usually meet them personally if they are UK based, and we have tea whilst I measure their feet and bring them fabric samples to muse through. It’s a very interactive purchase, with the client involved in every step of the design because I want them to have an emotional attachment to the shoes so that they will treasure them and love wearing them. I email them photos during the process of making the shoes so they can see them being created. At the halfway point they are ready for a fitting and after that I finish off the sole and attach the heels. The whole process takes around six to eight weeks and prices start from £350. With international clients everything is done via email – it’s exciting for them to receive a pair of shoes all the way from a little workshop in England.

How else can someone get a pair of your shoes?
Following increased sales and press attention we have decided to extend the Hetty Rose brand to a wider audience, who will be able to own a precious piece of designer footwear at a more affordable price point and without the long wait for a pair of bespoke shoes. Our Ready to Wear collection features some of our best selling styles in kimono fabrics, and can be bought directly from our website. In the future I plan to add more accessories such as bags, baby shoes, homewares and ties for men…

Read the rest of this interview with Hetty Rose in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Written by Amelia Gregory on Monday January 24th, 2011 10:57 am

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,bespoke, ,Eco fashion, ,Essex, ,Ethical Fashion, ,footwear, ,Henrietta Samuels, ,Hetty Rose, ,japanese, ,kimono fabric, ,Lesley Barnes, ,menswear, ,Ready-to-wear, ,recycling, ,shoes, ,Ties, ,Upcycling

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Amelia’s Magazine | Howies: Ethical active clothing pioneers in Wales

by

Tania Kowalski was a workshop manager at a well-known contemporary jewellery gallery in London when Synnove Saelthun arrived from New York to join the design team. They soon discovered that they had similar views on design and business ethics, more about cialis 40mg and became good friends. Several years later they started the Oria brand, prescription using Synnove’s design skills and Tania’s production expertise. Synnove is a technically brilliant goldsmith with a passion for design and an eye for detail. Tania is a trained jeweller, viagra with a wide range of experience in the jewellery industry, from design creation through to production. Her expertise includes sourcing ethical materials and ensuring fair business practice.

Tania’s passion for other cultures has led her to visit remote tribes in the Amazon of Brazil, hill tribes in Nepal and the Dogon people of Mali. It was during these travels that she became fascinated with the cultural importance and symbolic meaning of tribal adornment. When designing a new collection, the couple sit down together to discuss what the new collection will symbolise. They research and refine story boards, and after ensuring that the designs are technically feasible Synnove makes an initial prototype, the best of which will go into production.

The use of the phoenix is a symbol of honesty and justice in Chinese mythology, and is one of the inspirations for the Nina collection. The lotus symbolises purity and beauty in many different cultures, and it inspired their silver lotus collection.

Working in Nepal Tania discovered that the safe working conditions and fair living wages which we take for granted in the West are not necessarily the norm in other parts of the world. This early experience was important in persuading Tania to commit to fairtrade sourcing as a founding principle of Oria.

Vintage fashion, about it illustrated by Matilde Sazio

Kim Sklinar, viagra sale aka Preloved Reloved, cheap has set herself an interesting New Year’s challenge. For the duration of 2011, Kim isn’t going to buy any new clothes. No more high-street bargains, no more feeding corporate giants, no more fast-fashion waste, no siree. ‘Another one?’ I hear you cry – and you’d be right. But this one is a little different.

While Kim hopes to raise awareness about the amount of cheap clothing we purchase and what effects that has on the environment and people’s lives, there’s also a bigger reason closer to home. Kim’s father was diagnosed with cancer over 18 months ago, and she decided to set up the project to raise funds for Macmillan, the cancer care and support charity. Unfortunately, as of only last week, Kim’s dad won’t see the project through its fruition. But Kim will dedicate the project to his memory.

So, how do you do it? Well, Kim’s vowed to buy only vintage and from outlets like eBay, and she’ll spend more time in charity shops which also benefits all of the organisations that run them. I had a chat with her about the project and how she thinks she’ll manage it all…

Vintage shop, illustrated by Karolina Burdon

What gave you the idea for Preloved, Reloved in the first place?
Well I always like to dress a little differently. My style is mainstream with a retro edge, I suppose. I always seem to end up with a daft New Year’s resolution – last year I cycled from London to Paris for The Institute of Cancer Research. I like using my time to help others and spread awareness.

Were you a fan of vintage and upcycling before you started the project?
Yes! I always admire my friends’ outfits; well, those who wear vintage and second-hand fashion. Upcycling is something I have experimented with for ages at home and now is the time to make sure I actually finish some projects!

Where will you source your outfits?
Charity shops, vintage stores, eBay, my mum’s wardrobe…! I made a lined cape last night from linen and satin for balmy summer nights (booking a holiday soon!).

Charity shops, illustrated by Rukmunal Hakim

What does the project hope to achieve?
I want to raise awareness of numerous charities related to my Dad’s illnesses. I want my friends to know that too much of an unhealthy lifestyle is probably going to lead to an early demise. I also want to raise the profile of vintage and second-hand fashion; I remember as a kid we use to take the mick out of anyone who dressed from a charity shop. I myself as a student had a stigma against them. Now it’s become kitsch, cool and quirky. It’s good for the environment.

How much do you hope to raise and what are the funds likely to be used for?
£2500 is my Just Giving target – it goes directly to Macmillan. However, with my shopping at many different charity shops, my cash goes straight to them – win win all round! I have my thinking cap on about how to expand the project though.

eBay! Illustration by Avril Kelly

Why did you choose Macmillan?
My dad (and his dad) had cancer – he died last week unfortunately. And it wasn’t the cancer that killed him, it was his heart and his adult-onset diabetes. A poor lifestyle in his twenties and thirties caused it and he was only 57 when he passed. So as I said before, this project benefits other charities focussing on these causes too through me spending money at their outlets.

Not that far in, but have you come accross any problems so far? Has anything that happened that you weren’t expecting?
Avoiding shops is quite hard as I realised I can’t just pop into the Topshop sale and treat myself – which I suppose is good for my wallet and I’m going to do less impulse-buying on the way home from work.
With my Dad passing, I haven’t had as much time to go browsing shops as much as I’d like. This weekend, however, I’m going to the Girls of Guildford vintage fair and gig – for some serious retail therapy, cupcake-nomming and also to check out some great live music away from the bustle of London.

Vintage, illustrated by Jess Holt

What are you wearing today? Where’s it all from?
Dark blue skinny jeans, leather knee boots that I already owned with black and cream patterned blouse from River Island that I bought from Cancer Research UK. I’m also wearing red rose earrings from Magnolia Jewellery.

Do you plan to make or alter any of your clothes? If so, how?
Yes – I love sewing and making jewellery too – I made a cape last week and have upcycled a pair of old, torn jeans from my uni days into a denim mini. I have a small collection of retro patterns including a lovely dress with a pussy bow. I love being able to create something out of fabric I love: last year I went to a lovely Indian wedding and couldn’t find The Outfit – so I made a purple maxi-dress with a halterneck and glammed it up with ribbons dangling down my back. Saved myself a fortune too!

Illustration by Gilly Rochester

What else do you get up to?
I run Never Enough Notes – a music e-zine, and I’m cycling the London-Brighton this summer with my brother and friends to raise money for the British Heart Foundation.

What would be your perfect Preloved, Reloved outfit?
For daytime it would easily be vintage jeans, brown boots that look a bit worn-out, a floaty shirt or cheeky tee, a tweed jacket and a battered satchel.
For evening, I love ball gowns and retro dresses so would be something glam that I could wear with a pair of 1970s heels! Oh there’s way too much choice, I love it!

Photographs by Kim Sklinar

You can follow Kim’s efforts at the Preloved, Reloved blog; donate online here.

Junky Styling S/S 2010 by Aniela Murphy.

Annika Sanders and Kerry Seager are self-taught fashion designers. They started up Junky Styling after they received lots of compliments for their deconstructed and restyled secondhand suits made to go out clubbing in during the 1990’s.

What prompted your approach to dressmaking?
Our approach was initially borne out of a lack of money but it soon became a necessity for individuality and quality. At first Annika’s mother did most of the sewing so our designs were heavily directed by her.

Have you seen many changes over the years?
Aside from all the wrinkles on our faces? We have seen the tangible development of a marketplace that never existed before. Education has enabled the sustainable movement to become more widely accepted and understood, approved and now many new brands think about sustainability before they even start designing.

Where did you go out in the past and do you still go clubbing?
We went to a wide mixture of venues that hosted a similar dressy scene. It was such a brilliant time, and we still enjoy socialising and a bit of a shuffle. But we always try to ensure that we are not the oldest at the bar…

Read the rest of this interview and see more illustrations of Junky Styling’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
You’ve been going for a very long time. Have attitudes to ethical fashion started to change yet?
Consumers are starting to question the huge exploitation of people and the environment that permits their clothing to be so cheap, treat because it doesn’t add up. There is still a long way to go but the fashion industry is slowly changing the way it does business.

What has the People Tree brand achieved?
We support 5, website like this 000 farmers, case artisans and their families in developing countries by producing well designed fairtrade and sustainable products. For us it’s about creating sustainable livelihoods that put food on the table at the end of the day.

You’ve collaborated with both Bora Aksu and Karen Nichol. What have they brought to People Tree?
We’ve worked with Bora for four years because we share the view that good fashion design should last for years. He is a master of beautiful, feminine draped designs that we produce in organic and fairtrade cotton, and we’ve already started designing an exciting new collection for S/S 2012. Like me Karen is passionate about handicrafts and she loves traditional Japanese textiles and designs. She works with our hand knitters in Nepal to create beautiful appliquéd and hand embroidered embellishments
You’ve been going for a very long time. Have attitudes to ethical fashion started to change yet?
Consumers are starting to question the huge exploitation of people and the environment that permits their clothing to be so cheap, see because it doesn’t add up. There is still a long way to go but the fashion industry is slowly changing the way it does business.

What has the People Tree brand achieved?
We support 5, try 000 farmers, artisans and their families in developing countries by producing well designed fairtrade and sustainable products. For us it’s about creating sustainable livelihoods that put food on the table at the end of the day.

You’ve collaborated with both Bora Aksu and Karen Nichol. What have they brought to People Tree?
We’ve worked with Bora for four years because we share the view that good fashion design should last for years. He is a master of beautiful, feminine draped designs that we produce in organic and fairtrade cotton, and we’ve already started designing an exciting new collection for S/S 2012. Like me Karen is passionate about handicrafts and she loves traditional Japanese textiles and designs. She works with our hand knitters in Nepal to create beautiful appliquéd and hand embroidered embellishments
How did the idea of working with old porcelain come about?
I was tired of producing other peoples’ ideas (as a stage producer) so in 2007 I decided to start working on my own project, dosage which soon developed into my rapidly growing label, stomach Sägen. I go to flea markets as often as I can for inspiration and to collect source material; I have amassed a huge collection of vintage buttons as well as piles of chipped and damaged porcelain that is no longer wanted. I like to work with my hands and I love turning items from the past into modern accessories.

Sägen means Old Saga in Swedish – why did you chose this name for your brand?
I come from a small island called Gotland in the middle of the Baltic Sea and I have wonderful memories of listening to all the old myths when I was a kid. I came up with the idea for Sägen when I was there and the name reflects my interest in recycling a little bit of history into new treasures, so I find the name very suitable.

How do you cut the porcelain and set it in silver?
I cut and grind the porcelain with machines, which is a very dirty, dusty and dangerous job: I have been close to losing my fingers many times. When I am working in my basement studio I forget about everything else, instead focusing on the patterns that I am obsessed with. I decide what shapes to make up depending on the motifs in the porcelain, then I set the porcelain in silver (which is 98% recycled) so that it curves, bends and stretches around the shape I have cut out.

Ivana Basilotta S/S 2011 by Bex Glover.

Ivana Basilotta is Italian but has lived in Germany as well as the UK. She channels her observations of different cultures into her work, treatment sometimes the ideas flowing so fast that her pen can’t keep up and her scissors can’t cut the fabric fast enough. Quite often she only realises she was inspired by a certain idea once the collection has been finished. Having previously studied business Ivana is well placed to run her label, prostate and feels that a good business knowledge is as important as the creative force of a design house.

A committed vegetarian, she designs with peace silk, which is made in India without the killing of the silk moth. Because peace silk is spun as a fibre rather than reeled as a thread it is warmer and softer than ordinary silk. “I cannot imagine eating meat,” she says. “I find it strange that people eat dead animals.” She feels that being a vegetarian brings a great sense of freedom and well being, and it is an easy way to lead a greener life. “Farm land that could directly produce food for humans is used to farm and feed animals for slaughter, which uses up far more resources.” She does not like to imagine the stress and sorrow that farmed animals must experience, and wants no part in it…

Read the rest of this interview with Ivana Basilotta in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
bex_glover_howies_collection
Howies by Bex Glover.

Howies has since 1995 pioneered the creation of ethical active clothing with a strong design aesthetic. Based in Cardigan Bay, case Wales, remedy the company has built up a devoted fan base via its affiliation with outdoor sports such as surfing, order mountain biking and skateboarding. Products are made from high performing sustainable fabrics that will last, with a proportion of profits ploughed back into grassroots social and environmental projects via the Earth Tax. Although some clothes are made in China and Turkey they ensure best practice by employing the same factories as other companies they trust, such as M&S…

Read the rest of this interview and see more illustrations of Howie’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Written by Amelia Gregory on Monday January 24th, 2011 1:26 pm

Categories ,ACOFI, ,Active Wear, ,Amelia’s Compendium of Fashion Illustration, ,Bex Glover, ,Cardigan, ,Cardigan Bay, ,China, ,Do Lectures, ,Earth Tax, ,Eco fashion, ,Ethical Fashion, ,howies, ,M&S, ,Merino, ,Severn Studios, ,sustainability, ,Turkey, ,wales

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