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

Kingston MA Patricia Osbahr photo by Amelia Gregory

LFW Daks Catwalk Show Spring Summer 2011

I rolled into Daks at the bright and early time of 9am on a Saturday morning – expecting to be one of the few who made in out of bed. But the crowd was bright eyed and bushy tailed – shame some of the models looked pale and in need of some shut-eye!

When the Daks press release proclaimed the collection was inspired by a “British traveller on a journey through India” I envisaged either a ‘gap yah’ nightmare or colonial outfits complete with G&T’s. Thankfully what ended up on the catwalk was far from it. Daks S/S 2011 was an easy, patient breezy collection of crisp designs in white, pilule pale grey, approved and stone.

Daks Spring Summer 2010 collection illustration by Abi Daker

Rather than going for swathes of layers, embroidery and hippy trippy designs, Daks decided to translate the ‘traveller’ theme in a much more sophisticated way – splashes of mustard yellow (my FAVOURITE colour) were meant to represent the spices of India, and the lightweight fabrics were chosen to be suitable for hot climates. I can’t see myself donning a drop waisted skirt and chic leather satchel to trek through the Himalayas, but Dak’s ‘grand tour’ was fun to watch – and felt oh-so English.

Daks Spring Summer 2011 fashion illustration by Abi Daker

Referencing the 1930s, there were some gorgeous mid length pleated skirts, high-waisted trousers and a standout mustard yellow shirt dress. I was even convinced that I needed the knitted shorts and onesies in my life. But considering how great the accessories were in the rest of the collection – with little round sunglasses and convertible leather rucksacks – the shoes (cheap looking wedges and flip flops) seemed a bit of an afterthought.
Amelia_LFW1_Yasmin Siddiqui, <a target=ailment gaarte” title=”Amelia_LFW1_Yasmin Siddiqui, online gaarte” width=”480″ height=”480″ class=”aligncenter size-full wp-image-25158″ />
Yasmin Siddiqui opens the Kingston MA show. Illustration by Gaarte.

Sometimes it’s hard to be heard amongst all the chatter and noise of LFW so it’s either very foolish (who’s got time to come?) or very inspired (you’ve got a ready made captive audience) to hold your MA show at the same time. I suspect Kingston University leaned the latter way, physician thinking why not jump on the fashion week bandwagon? They’d even secured a slot in the hallowed Freemasons’ Hall.

Kingston MA by Katherine Tromans Alison Firth
Kingston MA by Katherine Tromans Alison Firth
Alison Firth by Katherine Tromans.

But it was late in the day, those of us who had been trogging around all day were pretty bloody knackered. Then the show was running behind and it was bloody hot in the hall… and we didn’t even have seated tickets. It seemed those had gone to the copious quantities of friends and relatives brought along by so many participants. Note to PRs – if you give us shit tickets you’ll probably get shit photos – I was hardly able to snap anything decent from my vantage point. And if you desperately want to be heard it really does pay to get the press on your side. With pretty pics.

Abby_Wright_Kingston_show Stacey Grant
Stacey Grant by Abby Wright.

Luckily we’ve got a crack team of illustrators who can make a proverbial silk purse out of a sow’s ear, or a beautiful image out of… well… not very much to look at, (which is just as well). But still, I like to have the option of good photos too. Pick ‘n’ mix and all that.

Amelia_LFW2_gaarte Yasmin Siddiqui,
Yasmin Siddiqui by Gaarte.

Amelia_LFW3_gaarte Faraz Hussain
Faraz Hussain by Gaarte.

And then the show went on… and on… Okay, so there’s a bonus to seeing several designers at once – when they’re of a very high calibre and you haven’t got a million other things to see and do. But I have to say, Kingston Uni, that this wasn’t up to the standard that London Fashion Week has become accustomed to. People were sneaking off all around me. Which leads me to my second piece of advice. Only go up against the best of what London design has to offer if you’re sure you can match it!

LFW-KingstonMA-Gemma-Milly Victor Chan
Victor Chan by Gemma Milly.

I’m sure many of the Kingston MA students are very talented, but I’m struggling to remember anything that stood out, and that is a bad thing. A lot of it was very similar in feel, nondescript in colouring with draping and protrusions everywhere (they seem to be very much du jour) And I’m sorry, but a load of polygonally moulded leathers do not a fashion designer make.
LFW-KingstonMA2-Gemma-Milly Raine Hodgson
Raine Hodgson by Gemma Milly.

Stand outs, if I’m pushed? Obviously the first piece, courtesy of Yasmin Siddiqui, was a great piece of statement jewellery. There was some strong colouring combinations in the menswear from Faraz Hussain and Helen Taylor’s male jumpsuit was fun, as was her styling with wooden head frames. Generally I had a strong sense of shapelessness going on. But hey! I’ll let you make up your minds for yourselves, and in the meantime I think you’ll agree that my illustrators have done sterling work.

LFW Daks Catwalk Show Spring Summer 2011

I rolled into Daks at the bright and early time of 9am on a Saturday morning – expecting to be one of the few who made in out of bed. But the crowd was bright eyed and bushy tailed – shame some of the models looked pale and in need of some shut-eye!

When the Daks press release proclaimed the collection was inspired by a “British traveller on a journey through India” I envisaged either a ‘gap yah’ nightmare or colonial outfits complete with G&T’s. Thankfully what ended up on the catwalk was far from it. Daks S/S 2011 was an easy, advice breezy collection of crisp designs in white, pale grey, and stone.

Daks Spring Summer 2010 collection illustration by Abi Daker

Rather than going for swathes of layers, embroidery and hippy trippy designs, Daks decided to translate the ‘traveller’ theme in a much more sophisticated way – splashes of mustard yellow (my FAVOURITE colour) were meant to represent the spices of India, and the lightweight fabrics were chosen to be suitable for hot climates. I can’t see myself donning a drop waisted skirt and chic leather satchel to trek through the Himalayas, but Dak’s ‘grand tour’ was fun to watch – and felt oh-so English.

Daks Spring Summer 2011 fashion illustration by Abi Daker

Referencing the 1930s, there were some gorgeous mid length pleated skirts, high-waisted trousers and a standout mustard yellow shirt dress. I was even convinced that I needed the knitted shorts and onesies in my life. But considering how great the accessories were in the rest of the collection – with little round sunglasses and convertible leather rucksacks – the shoes (cheap looking wedges and flip flops) seemed a bit of an afterthought.

fashion illustration by Amy Martino

Illustration by Amy Martino

At the Bodyamr show, page the celebrities nearly outshone the clothes. Lily Allen, viagra Nick Grimshaw, Keisha from the Sugababes and the TV Chef Gizzi Erskine all waltzed in past us mere mortals crammed outside the Vauxhall Fashion Scout hall, (made more manic by the decision to cram two presentations into one catwalk show) cue much jostling and craning of necks by my fellow bloggers to get a good photo.

Once inside, the celeb fest continued – the press release reeled off a list of starlets who loved Bodyamr (Florence Welch, Beyonce, and Cheryl Cole dontcha know), and the crowd whispered about Daisy Lowe opening the show and Kanye West’s girlfriend Amber Rose closing. The scrum for goodie bags as everyone sat down added to the excitement – a recent collaboration with Rixos hotels meant a rather bizarre mix of hotel freebies and glossy brochures was under every seat.

As for the clothes – Bodyamr do a fine line in creating flattering, skin-tight looks for powerful women (hence the appeal for starlets). True to form, their inspiration for S/S 2011 was a cross between Josephine Baker wrapping jewels ‘seductively around her naked body’ and a 90s supermodel. It was a fun, glamorous collection, with pieces that wouldn’t look out of place in Studio 54 (sequins, kaftan style dresses, jersey, Grecian draping), a nice dose of body con and some sheer chiffon dresses printed with art deco jewels (there’s the naked Josephine Baker for you). There was even some slouchy, slinky daywear amongst the goddess dresses tailor-made for the red carpet. And yes, Daisy looked amazing – I just hope people weren’t too star-struck to notice her beautifully draped white jersey jumpsuit.

Categories ,Amber Rose, ,Bodyamr, ,daisy lowe, ,fashion, ,gizzi erskine, ,jersey, ,jumpsuit, ,london, ,London Fashion Week, ,review, ,Sequins, ,Vauxhall Fashion Scout, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: House of Holland

Lu Flux S/S 2011 collection was presented in the chapel of No. 1 Greek Street, visit web also known as the House of Saint Barnabas, a space supporting those affected by homelessness for over 160 years. It is an absolutely beautiful building, with an outside courtyard and lovely lounges. The non-for-profit private members club Quintessentially Soho uses the revenue generated by members to finance the House of Saint Barnabas’s support centre.

Illustrations by Alia Gargum

The presentation consisted of live painting, as the illustrator behind the stunning designs on the shorts suit drew the models, lots of cupcakes and fabulous shoes.

I absolutely love the dress the designer was wearing from last season’s collection:


The House of Holland Team! All illustrations by Lisa Stannard

House of Holland’s show this season was held at My Beautiful Fashion, information pills in the disused Old Sorting Office on New Oxford Street. There wasn’t too much hustle and bustle when I arrived and we moved swiftly in , look along with the huge clan of the HOH friends and family who were then greeted with champagne and showed to their seats in a block close to the front of the runway.

Then in came the HOH celebrity friends which included usual suspect Aggy Deyn, who ran in and over to her friends seconds before the lights dimmed to start the show. Nick Grimshaw, Lily Allen, Jamie Winstone and Pixie Geldoff were seated together in the front row. Other celebrities included Nicola Roberts and Amber Rose…

Anyway now I’ve got the celebrities out of the way, on with the show! The show opened with Donna Summer’s ‘Love to Love You Baby‘ when the first girl walked out with an ash blonde laid back 1970s hair do, metallic banana-leaf print blazer teamed with a pleated metallic leather mini skirt and chunky era wedges. I was shocked and pleasantly surprised by the first instalment of sexiness and sophistication.

As the next girls continued to strut down the runway there was a recurring theme with the banana leaves, which were in fact a woven jacquard. These fabrics came in green, purple and blue and were used as part of shirt dresses (another recurring theme) with lots of lengthy fringing, and on cropped pants, fitted cropped jackets and flares. I was really enjoying the styling, it was preppy and cool, yet was mixed with a lot more sophistication than Henry’s past collections.

Then these pieces began to change and along came jumpsuits with appliquéd stars all over followed by flowing knee length pleated chiffon skirts teamed with slouchy vests in a bold pinky/purple print. I liked this look a lot. This was Henry’s recognisable print of the season, which was a lot tamer than past slogans, crazy paislies and polka dots.

My favourite outfit was Henry’s cropped (banana leaf) print t-shirt, with rusty metallic print pleated leather skirt. It had the most amazing oversized backpack with tan leather trims.  This wasn’t the only accessory in there; there was a lot of luxe towelling used on even more bags! Huge pom pom earrings, too – which I wouldn’t wear – but great fun for this catwalk show. There were also socks teamed with the huge metallic platforms with crazy fringing on them, I wonder if these will be sold amongst his hosiery range too?

Denim made a reappearance but this time it was decorated with metallic appliqued stars. I have to say that I did enjoy the non-star appliquéd pieces more.  The aquamarine pleated chiffon dress and the floor length banana leaf print dress were far nicer.

Henry didn’t leave out the glitz – just when you thought you had summed up the themes of this collection, out walks another 1970s disco queen in a slinky super sparkly gold dress.

I felt that the collection had moved far away from slogan tees and tights and was a more sophisticated reflection of his inspirations. Maybe I am biased – I’m totally with his fun vibe and 1980s references, but I suppose as one of his target consumers that’s entirely the point.

I’m looking forward to future collections from Henry, but desperate to get my hands on that oversized backpack…!

All illustrations by Lisa Stannard

Categories ,1970s, ,Agyness Deyn, ,Alexa Chung, ,Amber Rose, ,Banana Leaf, ,disco, ,Donna Summer, ,Glamour, ,Grimmers, ,Henry Holland, ,House of Holland, ,Jaime Winstone, ,lily allen, ,Lisa Stannard, ,London Fashion Week, ,My Beautiful Fashion, ,S/S 2011

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: The Ozwald Boateng Extravaganza

Bolshie-A-W-2010-Amelias-Magazine-Antonia-Parker-A
Bolshie AKA Baby-Leg Girl, shop by Antonia Parker.

Over at Fashion Scout there is yet another array of amazing new designers to trawl through. As I entered the upstairs room at the Freemasons’ Hall I was greeted by a girl with plastic roast chickens attached to her breasts and fanny. Perfect for Lady Gaga.

Bolshie
Those chickens, that spike-encrusted big-shouldered body suit, the top knot, something was ringing a very big bell. And it wasn’t the giant gold glittery Big Ben headpiece in the corner. I turned around and went “oh, it’s you!” For it was none other than Baby-leg Girl. Bolshie is 18 year old Rhiannon Jones, thrown out of her East Yorkshire school at the tender age of 15 years old and now residing in fashion centrale, Shoreditch.

Bolshie-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Bolshie by Antonia Parker.

We noticed her everywhere last season, usually to be found obscuring our view with giant shoulders and hair – little did we realise that this daring and very ambitious fashionista has got her very own label a spot at Fashion Scout. She’s even made it onto the local BBC news. Now there’s two fingers up at her old school eh?

The collection is a massive mashup of contemporary culture, full of passionate bravado. Think Mickey Mouse ears on a police helmet, guns, watch-encrusted glittery jackets, a print that appears to feature Coca-Cola baby bottles and of course the odd Baby-Leg adornment. I wonder if she ever reads Super Super?
You can see her entire collection here. Keep a beady eye on this one. She’s still only a teenager for gawd’s sake.

James Hock
This is the third season for the ex-accountant from Australia. But that’s about all I know about James Hock, since his website is ridiculously economical with any biographical information. The Unloved is a bold and playful collection of entirely black and red garments, based on an emotional journey. “It is sadness with a flickering of hope but ultimately, it is about the acceptance of fate.” So says the press release. Sheer fabrics are adorned with Swarovski crystals and juxtaposed against huge asymmetrical harlequin shapes cut across pantaloons, mini crinolines, sharp-shouldered capes and hybrid trouser-shorts. Audacious and definitely not for the faint hearted. He is currently stocked in uber trendy shop Machine-A.

James-Hock-by-Lisa-Stannard
James-Hock-by-Lisa-Stannard
James-Hock-by-Lisa-Stannard
James Hock by Lisa Stannard.

Kirsty Ward
Kirsty Ward graduated from Central Saint Martins MA in 2008 since when she has been working with Alberta Ferretti in italy. S/S 2011 saw the launch of her own label at Fashion Scout but I remember well how astonished I was by her jewellery for David Longshaw last season. Her own collection features amazing sculptural creations that echo the lines of the body in sheer pastel panels shaped with exaggerated wire and piping. Many pieces have integral jewellery or are meant to be worn with her huge wire and crystal bead necklaces in shades of pale peach and mint green. She was wearing an earring necklace when I met her: dangling earrings that connect under the chin. I’d personally be incredibly worried about pulling my earlobes off if I wore this creation, but she rocked the look with admirable confidence. I think a bit of upcycling could definitely fit into her aesthetic and I did nonchalantly suggest that she could use some old wire coat hangers… Definitely a new designer to keep a firm eye on.

felice perkins kirsty ward
felice perkins kirsty ward
felice perkins kirsty ward
Kirsty Ward by Felice Perkins.

Yong
Special mention goes to Yong, who studied at Edinburgh College of Art and Design before passing through the hallowed years of an MA at Central Saint Martins. He makes clever and elegant dresses, advised by my old friend Jason Leung. I particularly liked the royal blue dress with amazing white ruffled embroidery, but I think I need to see more of these dresses worn to really appreciate them. In fact I’d like to see all of these designers on the catwalk. Here’s hoping…


Illustration by Stéphanie Thieullent

So then – the circus was finally over! The tent was in the process of being taken down, look designers were queuing for cabs with their collections in boxes, and the press made their individual ways home or to closing parties. But there was still one show to attend, which promised to be the most extravagant of them all… The final show on Wednesday and the closing spot for London Fashion Week S/S 2011 went to Mr Ozwald Boateng.

The invite won the award for the thickest, which gave details of this 25th anniversary celebration at the Leicester Square Odeon. I hadn’t had much time to think about it, but whispers were that it would be an all singing, all dancing display, and who was I to argue? I was gob-smacked when I showed up in Leicester Square to see that the cinema, famed for it’s glitzy premieres, had been covered in huge posters bearing the tailor’s name and fences had been erected to corden off fans desperate for a glimpse at a celebrity. What the hell was going on?!

The same build up ensued that I was oh-so used to by now – a heaving queue that descends into mush as soon as the gates are opened and a catfight to get in. Celebrities like Michelle Williams, Piers Morgan (!) and Joe McElderry were given the A-list treatment while we were herded in, catching a rare close-up glimpse of Amber Rose‘s enormous bosom as I shuffled past her.

Hilariously, I had been assigned the very last seat on the very last row – Z-47. Gee, thanks OB! I decided not to get too upset and took my seat, and was happy to discover a baby bottle of Moët & Chandon in the popcorn holder with one of those cheap flutes that you ram in the top so you can neck it quicker. Could be worse, I thought to myself, and I was desperate for an alcoholic drink. I admired the man who played guitar under the spotlight while I drank and thought that I could quite easily slip into a coma in this dark, relaxing atmosphere.

One hour and fifteen agonising minutes after the show was scheduled to start, the lights finally dimmed. I can only imagine that by now the guitarist had either worn down his fingers or ran out of tunes. The cinema screen came alive with a trailer for A Man’s Story; a forthcoming film about Boateng’s life. A who’s who of Hollywood including Will Smith and Laurence Fishburne waxed lyrical about the quality, craftsmanship and unique vision of Boateng and the film featured archival footage of life changing events, including the Brixton riots and the opening of Boateng’s store on Savile Row.




Ozwald Boateng was born in 1960 to Ghanian parents in North London. A combination of a laborious job in IT and his mother’s influence as a seamstress forced Boateng to reconsider his future, and he began selling his mother’s designs on Portobello Road. He quickly rose up the fashion ranks, being the first tailor to show in Paris and the first black tailor to launch on Savile Row. He’s also credited with bringing the famous sartorial street into the 21st century with his vibrant use of colour, modern cuts and Hollywood clientele.


Illustration by Stéphanie Thieullent

When the film trailer had finished, the real show began on a purpose-built runway below the cinema screen. The audience went MENTAL as one by one models appeared, strutted to the front, and then waited at the back – some in pairs, some in groups, many solo.

They just kept on coming, and at varying points when they had collected at the back, they marched forward again. It was utterly mesmerising, even from my appalling seat (which might as well have been in the Odeon Sheffield, I was so bleedin’ far away).


Illustration by Stéphanie Thieullent

The spectacle and celebration of such an event was immense, but it’s difficult to say much about the clothes when the models appear as tall as Lego men. I was hoping for a sort of retrospective of Boateng’s illustrious collections but it seemed most were very recent, and a quick Google search reveals it was the S/S 2011 collection with elements of last season’s, presumably because nobody creates a collection of 100 pieces required for a show of this scale.

Despite being miles away, I could see on the real-time projection on the cinema screen that each pair of trousers, each blazer and each different coat had been made to perfection. The fit was perfect, the cut was stylish but retained elements of sartorial old-English dress, and the collection itself was peppered with Boateng’s signature vibrant colours, inspired by his ancestry. Bright hues of purple, yellow, green and blue appeared as a welcome break from more traditionally coloured suits, and the use of aesthetic materials such as leather showed Boateng’s flair as a fashion forward thinker.

It was over in a flash. The finale featured all the models in a big love-in heap – hunky Tyrone Wood made an appearance, as did Richard Branson’s son Sam who was almost but not entirely as hunky. When they had exited the stage, Boateng appeared with his father to wild applause, whoops, cheers and the odd tear. Yes, including me. I will sob at anything – it’s all been about tits and tears this fashion week. Although, I have to say, I did once cry at DIY SOS, so my threshold is considerably low…

Congratulations, OB. Here’s to the next 25 years!

All photography by Matt Bramford

Categories ,Amber Rose, ,Joe McElderry, ,Leicester Square, ,London Fashion Week, ,Michelle Williams, ,Moët & Chandon, ,Odeon, ,Ozwald Boateng, ,Piers Morgan, ,S/S 2011, ,Sam Bronson, ,Savile Row, ,Stéphanie Thieullent, ,Suits, ,tailoring, ,Tyrone Wood

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

Alice Palmer A/W 2011 by Maria Papadimitriou
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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 by Gilly RochesterAlice 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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void All photography by Amelia Gregory.Alice Palmer A/W 2011 Into the Void Daniel Lismore photography by Amelia Gregory.Alice Palmer A/W 2011 by Emmi OjalaAlice Palmer A/W 2011 by Emmi Ojala
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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryKaren-Ann Dicken geo necklaceKaren-Ann Dicken geo necklace in steel
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void. Rebekah Roy. Photography by Amelia Gregory
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
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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 by Gilly RochesterAlice 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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void All photography by Amelia Gregory.Alice Palmer A/W 2011 Into the Void Daniel Lismore photography by Amelia Gregory.Alice Palmer A/W 2011 by Emmi OjalaAlice Palmer A/W 2011 by Emmi Ojala
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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryKaren-Ann Dicken geo necklaceKaren-Ann Dicken geo necklace in steel
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void. Rebekah Roy. Photography by Amelia Gregory
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
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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 by Gilly RochesterAlice 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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void All photography by Amelia Gregory.Alice Palmer A/W 2011 Into the Void Daniel Lismore photography by Amelia Gregory.Alice Palmer A/W 2011 by Emmi OjalaAlice Palmer A/W 2011 by Emmi Ojala
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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryKaren-Ann Dicken geo necklaceKaren-Ann Dicken geo necklace in steel
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void. Rebekah Roy. Photography by Amelia Gregory
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
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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 by Gilly RochesterAlice 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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void All photography by Amelia Gregory.Alice Palmer A/W 2011 Into the Void Daniel Lismore photography by Amelia Gregory.Alice Palmer A/W 2011 by Emmi OjalaAlice Palmer A/W 2011 by Emmi Ojala
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 GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryKaren-Ann Dicken geo necklaceKaren-Ann Dicken geo necklace in steel
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void. Rebekah Roy. Photography by Amelia Gregory
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
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. Photography by Amelia Gregory
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 GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011 by Antonia Parker
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 GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011 by Antonia Parker
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 GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011 by Maria del Carmen-SmithBodyamr A/W 2011 by Maria del Carmen-Smith
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 GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia GregoryBodyamr A/W 2011. Photography by Amelia Gregory
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.

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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