Amelia’s Magazine | Graduate Fashion Week 2010: International Show

An androgynous Autumn/Winter collection kicked off Northbrook college’s graduate show with Rhea Field’s take on tuxedos with a twist. The nude and black palette teamed with the surprising use of latex injected just the right amount of femininity to the aptly named ‘About A Boy’ collection. Polka-dot pussy bow blouses in ultra girly chiffon were given the tailored treatment with perfectly-pleated trousers and black lace-up boyish brogues; bow-ties were oversized or sugary pink and shirts were sequin-splattered in a perfect contradictory fashion. ? 

Diana Alves drew her inspiration for ‘Parallel Fashion’ from contemporary architecture. To achieve her shapes she made a 3D pyramid from paper which she mounted on a mannequin. She then proceeded to create her abstract garments using this concept, find teamed with clever tailoring to create her sharp shouldered woollen jackets and satin and silk taffeta zip detailed dresses. ? 

Anna Louise Moxon focused on body proportions in her graphics inspired collection ‘Illustration Subfocus’. With the use of prints she followed contours of the body to create full and feminine silhouettes. Her interesting designs are inspired by special effects in films, symptoms in particular CGI (computer generated imagery) and 3D animation. The retro colour palette of monochrome, dosage grey and red combined with the futuristic concept and use of layered textures and prints make for a really interesting and forward-thinking collection.  ? 
After a extremely brief 30-second interval it was Manchester’s University of Salford’s chance to shine, and shine, one designer in particular, quite literally did. 

Alex Dubell began the show with ‘Modern Hysterics’,the first of three collections inspired by the surprising choice of soap opera Coronation Street, of which he says “just as in reality, life in ‘the street’ can be chaotic with events that are both dramatic and well hidden”.

He has chosen to represent this drama by the medium of extremely exaggerated and structured shoulders in a sparkly midnight blue palette which he describes as “the ‘out of touch’ moments that we all experience, which Coronation Street has dramatised so effectively for many years”. ? 
Emma Lidell had a more futuristic vision judging by her collection ‘Grey Matter’ which does what it says on the tin. The show had a sports-luxe feel to it, courtesy of her use of marl jersey, but presented a twist with a heavy use of Perspex moulding and transparent ‘astronaut’ style skirts. She describes her collections as “garments evoking ambiguous intelligent thought”.

Danielle Ferguson presented the audience with the second Corrie based collection of the night, this time the inspiration came off the back of a particular storyline in her favourite programme rather than the show in general. The collection is named ‘My inner child’ and is based on Sarah Louise Platt’s teenage pregnancy and how becoming a mother at such a young age can force a person into adulthood. ? 

She describes her creations as “both playful and grown up” demonstrated in the her full length adult romper-suit, cute cropped printed blouse which she teamed with a huge teddy bear skirt and a classy ankle length camel coat paired with a teddy bear ears hat. She also shows a penchant for polka-dots which can be found throughout the collection, on both demure scarves and a fitted top with overly-structured pleated sleeves reminiscent of a pretty bow.

Closing the show in spectacular fashion was Charlotte Lee Taylor whose collection ‘Bioluminescent Abyss’  was inspired by the black icy world beneath the sea, a world 13,000 feet beneath the surface untouched by the sun’s rays.

Charlotte invoked this bizarre and dark environment and the electric forms that light it with her midnight-black organza garments, which included a thigh-skimming transparent cage dress and a full length hooped cocoon style dress, the collection was mesmerizing enough without the final collective walk of the models down the runway, when a selection of each outfit burst into glowing halos of light, giving us mere humans a glimpse of the electrifying and mesmerizing world under the sea, never before seen by human eyes. Until now.

Anna Piercy, troche UCA Epsom, generic Illustrated by Lisa Billvik

Well well well the kids certainly know what they’re doing at Graduate Fashion Week this year. Sunday kicked off day one of shows for the creatively minded at our very own Earl’s Court and believe me these are the McQueens of the future.

UWE Bristol showcased some beautiful structured puffball dresses from Georgina Kitchen teamed with knee high socks and see-through metallic partitions. Jessie Potter had a clear vision too, healing showing off an appliquéd felt and wool collection in a 70s pallet of mustard and burgundy with pom-pom headdresses. Jessica Hart clearly had the most funm however – showing a pastel based range of graphic prints that Lady Gaga would feel sheepish in. Necklaces were gigantic, as were pockets, in what was a playful and crisp collection, complete with bow headbands of course. (Read more about UWE Bristol’s show here – with even MORE illustrations!)


Jessica Hart, illustrated by Jenny Goldstone

I was not expecting the standard of design as seen at UCA Epsom University’s show after though. Think of Pilgrim’s, 50s housewives, teddy boys, Julia Roberts in Mona Lisa Smile and a dash of kids TV and you’re half way there. This was a serious clash of icons creating a surprisingly good statement for the University.

But amongst the host of talent there were some definite faces of the fashion future to watch, and a surprising amount of menswear. Remember you heard it here first.

Lucinda Ailes: One so patriotic, not to our fair Blighty mind, but all things American were emblazoned on everything through an array of stars and stripes. Models sported devoted shorts, leggings and maxi dresses but all was kept thoroughly wearable by grey mix-and-match pieces to wear back with the collection.

Katie Barret: A different kind of heritage was displayed in Barret’s show of menswear pieces. Thoroughly Scottish and proud of it, models sported full kilted dresses as well as the traditional skirts. The whole feel was very rugged using natural fabrics and even slightly drab colours. But each look was spiced up with a hint of tomato red, whether it be in a top or the waist detailing of said kilt instantly adding an extra something to the look.

Antonia Lloyd: Another one for the boys but this time not quite so manly. Lloyd made sure the boys sparkled in glittered tuxedo style shirts and knickerbockers to be proud of. There was something quite romantic about the look, with buttons done up to the neck and a palette of muted greys and navies.

Beata Gebka: I told you there were pilgrims and it came from Gebka’s show. Models sported traditional style long dresses accessorized with cloches and capes. As unwearable as it sounds, the pieces were surprisingly covetable, finished off with black ribbon detailing and even bib fronts. This may just be the new look come autumn and one that features heavily around the key muted pallet of greys and navies again.

Stency Kidega: Frills frills and more frills was what Kidega must have been dreaming of. They were added to the shoulders of jackets and the necklines of coats but wherever they were placed they looked beautiful. Kidega pulled off a very tailored collection, which isn’t always the most interesting, but the corset detailing on the dresses and the aforementioned jackets made sure that it was. Delicious.

Eve McDonald: McDonald definitely has a 50s housewife buried inside her otherwise she wouldn’t be able to produce such stunning floral shirts. But she’s also hiding a Teddy Boy too, as pieces were mixed with checked trousers and long shorts. Finished off with floral headscarves tied in oversized bows I almost wanted to pull on my espadrilles and listen to some good old Rock ‘n’ Roll.

Anna Piercy: It’s Piercy who brought the piece de résistance of the whole night for me. Piercey managed to create a collection based entirely around oversized letters. Seriously. Not that much to hear but the fabrics still flowed into beautiful a-line dresses with cut-out detailing. Even more intelligent was the use of panelling and sequins to create letters from the arms and body of a dress. And the finale – Piercey’s models came together to spell out the word ‘RANDOM.’ It was and yet I still liked it.


Illustrations by Lisa Billvik

How nice though that we got to see the faces behind the fashion as each designer (embarrassingly for most but certainly not all) walked the catwalk with one of their models. It was cheers and ovation all round from the crowd and do you know what…. they thoroughly deserved it.

Hear, hear!


Anna Sergunova, look illustrated by Aniela Murphy

It may have been the first ever International Show at Graduate Fashion Week, viagra but the designers did all they could to leave a lasting impression on London; collections came courtesy of universities spanning Europe with one show from students as far as Singapore.

The show launched with a strong start with Wolfgang Jarnach from the Akademie Mode & Design in Munich, his dark collection was made up of voluminous skirts and shoulders teamed with striking tailored jackets, topped off with a dramatic Count Dracula style cape.

In an equally theatrical fashion came Vicole Lang’s collection, which racked up the most air miles for GFW, coming in from the Lasalle College of the Arts in Singapore. The show kicked off with a distinctly fetishism theme opening with a PVC bandage body suit, but seemed to become more gradually demure with each outfit, until the stunning Balenciaga-esque spiked and padded dress closed her a collection in show-stopping fashion.

After Vicole’s electrifying garments, a much needed cool off came courtesy of Lidya Chrisfen’s collection which swished down the runway to the calming sounds of an ebbing tide. The neutral palette, twisted rope detailing and seashell embellishments brought to mind shipwrecks and desert islands, whilst the daringly cut, printed maxi dresses injected a touch of red-carpet glamour to the collection.

Wearability was an apparently unimportant factor for a number of the international designers, as spectators at Earl’s Court witnessed recurring ‘head coverings’ as opposed to headwear from several collections. This theme was kicked off by Linda, hailing from Singapore’s LaSalle College of the Arts, who sent a seemingly ‘blind’ model down the runway in a denim hooded thigh-skimming mini dress, which zipped up balaclava style to the top of her head.


Linda, illustrated by Lisa Billvik

The concept continued in Anna Sergnova’s collection, whose medieval-inspired garments were dreamt up in the halls of Saint Petersburg’s State University of Technology & Design. Four of her six garments completely covered the model’s faces with knight style armour, metal visors and chain-mail helmets, teamed with gauntlets and protective Balmain style padded hips and shoulders. Unfortunately the safety of the models was somewhat blighted by the towering heel-less wedges in which they were precariously balancing on as they walked the runway.

Things only got stranger when Amsterdam Fashion Institute student, Floor Kolen’s creations took to the stage, she too showed a penchant for covering the eyes, this time through the medium of masks, rather scary looking plastic bird masks to be precise. She also took the acrylic route for a selection of her garments and accessories including a moulded bust style T-shirt, plastic feet shoes and demi-gloves which only covered the front part of the hand, but would nethertheless render the wearer helpless.


Floor Kolen, illustrated by Maria del Carmen Smith

It is often the English that are often regarded as the most eccentric people in the world; but maybe it is time to rethink this stereotype, because actually stranger things can and certainly do happen – just ask the international designers at GFW. 

Images courtesy of catwalking.com

Categories ,Academie Mode & Design, ,amsterdam, ,Amsterdam Fashion Institute, ,Anna Sergnova, ,Count Dracula, ,Earls Court, ,Floor Kolen, ,Graduate Fashion Week 2010, ,International Show, ,Lasalle College of the Arts, ,Lidya Chrisfen, ,Linda, ,london, ,Munich, ,PVC, ,Saint Petersburg, ,Singapore, ,State University of Technology & Design, ,Vicole Lang, ,Wolfgang Jarnach

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Amelia’s Magazine | Graduate Fashion Week 2010: The Gala Show Finale!


Shinsuke Mitsuoka

The world of fashion is notoriously fickle and grabbing the attentions of a fashion crowd for any extended period of time seems tricky. Catwalk shows do their best with an array of light shows and thumping soundtracks which could sometimes do with a warning.

Nottingham Trent have prepared it all for their outing at Graduate Fashion Week with glossy door staff, medications designer goody bags and even a rather trendy loitering DJ (wearing a somewhat dubious puffa jacket). They’re raring to go, remedy but there’s just one cog in the works; a serious lack of bums on seats. Well, there is of course the age old excuse of being fashionably late, but even the pinched smiles of women ferrying around have started to crumble.

All becomes clear as a dull thudding bass infiltrates the theatre and the sound barrier takes a bashing as the trill of hundreds of screaming girls hit the roof. Apparently Tinie Tempah is a big deal (and from the glimpse I got, genuinely teeny Tinie). He’s had all of one song, which luckily for Nottingham Trent, he dispatches quickly, and soon a bustle of activity swells at the theatre doors. If Tinie didn’t make them ‘Pass Out’ (see what I did there? Here all week folks…) then the efforts of Nottingham Trent’s 2010 graduates will surely do their best to stun the senses. 

Nottingham Trent has a clear passion for encouraging students to experiment with unique techniques and textures in knitwear, producing a modern and varied aesthetic across the course. Their catwalk show oscillates between detailed, intricate knitwear and sleek takes on womenswear with bursts of energy injected at intervals by the likes of Emma Dick, showcasing sharp, graphic prints of televisions and arrows just at home in a museum of Pop Art as the runway. Integrated hoods give the look a futuristic feel but there’s a touch of the retro about her two-tone body con jumpsuit with a classic 1960s palette contrast between red and black.

Nottingham Trent keeps the volume turned up with Claire Hartley’s cutaway knitted one pieces, exposing flashes of green, yellow and red for a futuristic sci-fi look. Hartley’s dedication to forward thinking stretches beyond the aesthetics as she hopes to generate a new innovative, zero waste policy in manufacturing to ensure the sustainability and evolution of the clothes. 

By now Tinie’s long forgotten as each model stalks down the catwalk to puffa DJ’s painfully hip soundtrack. Nikki Lowe dazzles with gold lamé suits complete with built-in gloves worthy of an evil Jackie Collins penned character, but flashlight necklaces add a distinctive disco feel caught somewhere between the 1970s and the 1990s.

Miranda Boucher’s collection is a dark and luxurious celebration of femininity with plush midnight blue coats and velveteen details just obscuring the model’s modesty.  

Emma Philpot’s knitwear seems to grow from the models bodies, twisting and turning upon itself and forming knots and twists likes a chunky chainmail, while Tiffany Williams continues the fairytale edge with her menswear collection in dark, brooding colours and heavy volume that weigh on the shoulders as a hulking, masculine presence. Backs reveal shimmers of gold thread intertwined, adding a lighter side to the depth of her work. 
Jenna Harvey’s dresses change at every turn as each layer of tiny fabric is double printed and loosely set so as it moves a new picture is revealed. At times it feels like 3D glasses are needed just to keep up with the transformation before your eyes.

Meanwhile, Phoebe Thirlwall’s beautiful knitwear dresses, inspired by the intricacies of the skin, show a level of workmanship that is breathtaking under the lights of the catwalk. Each ribbed layer clings to the models with hundreds of different levels working together. Her hard work has clearly not gone unnoticed as her work was also photographed by renowned artist Rankin, a stunning portrait duly displayed in grand terms at Earl’s Court.


 
Izabela Targosz’s equestrian turn on tailoring injects some more colour into Nottingham Trent’s show, with jackets made with horsehair pockets and backs adding a silky but quirky feel. Riding hats are the natural yet perfect accessory to a collection that shows an equal strength in its attention to detail for an upheaval of the British tailored look. 

Shinsuke Matsuoka’s work is saved for the final spot and with the breathtaking effect of the garments, it’s easy to see why. Bondage style zips snake across panels of black hi-shine material; the sound of the clothes are a foreboding presence in themselves, but as six outfits stand together the models are transformed into an unnervingly attractive chain gang from the future. I’m not sure if it was this effect or not, but my camera also spluttered its final breaths at this point, perhaps overwhelmed by the power of Matsuoka’s collection.

In any case, it proved a spectacular way to end things and is not something I can imagine being trumped by Tinie any day soon.

Images courtesy of catwalking.com


Nicola Roberts, cheapest illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.


Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’


Hilary Alexander, illustrated by Amy Martino

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.


Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghastly white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.


Zandra Rhodes, illustrated by Paul Shinn

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.


Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.


Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.


Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’

Categories ,Alberta Ferretti, ,Amsterdam Fashion Institute, ,Anna Lee, ,Awards, ,Big cats, ,Britain’s Got Talent, ,Caryn Franklin, ,Diversity, ,Dylan Jones, ,Earls Court, ,Elle Magazine, ,Erin O’ Connor, ,Fashion Week, ,Gala Show, ,GFW, ,girls aloud, ,Gold Award, ,Graduate Fashion Week 2010, ,International Show, ,Kim Jones, ,london, ,Lorraine Candy, ,Manchester Metropolitan University, ,menswear, ,models, ,Naomi Dominique, ,Naomi New, ,Nicola Roberts, ,Northbrook College, ,Northumbria, ,Rebecca Thompson, ,Rhea Fields, ,River Island, ,Roya Hesam, ,Textiles Award, ,Ticker Tape, ,Womenswear, ,Zandra Rhodes

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Amelia’s Magazine | Graduate Fashion Week 2010: The Gala Show Finale!


Shinsuke Mitsuoka

The world of fashion is notoriously fickle and grabbing the attentions of a fashion crowd for any extended period of time seems tricky. Catwalk shows do their best with an array of light shows and thumping soundtracks which could sometimes do with a warning.

Nottingham Trent have prepared it all for their outing at Graduate Fashion Week with glossy door staff, medications designer goody bags and even a rather trendy loitering DJ (wearing a somewhat dubious puffa jacket). They’re raring to go, remedy but there’s just one cog in the works; a serious lack of bums on seats. Well, there is of course the age old excuse of being fashionably late, but even the pinched smiles of women ferrying around have started to crumble.

All becomes clear as a dull thudding bass infiltrates the theatre and the sound barrier takes a bashing as the trill of hundreds of screaming girls hit the roof. Apparently Tinie Tempah is a big deal (and from the glimpse I got, genuinely teeny Tinie). He’s had all of one song, which luckily for Nottingham Trent, he dispatches quickly, and soon a bustle of activity swells at the theatre doors. If Tinie didn’t make them ‘Pass Out’ (see what I did there? Here all week folks…) then the efforts of Nottingham Trent’s 2010 graduates will surely do their best to stun the senses. 

Nottingham Trent has a clear passion for encouraging students to experiment with unique techniques and textures in knitwear, producing a modern and varied aesthetic across the course. Their catwalk show oscillates between detailed, intricate knitwear and sleek takes on womenswear with bursts of energy injected at intervals by the likes of Emma Dick, showcasing sharp, graphic prints of televisions and arrows just at home in a museum of Pop Art as the runway. Integrated hoods give the look a futuristic feel but there’s a touch of the retro about her two-tone body con jumpsuit with a classic 1960s palette contrast between red and black.

Nottingham Trent keeps the volume turned up with Claire Hartley’s cutaway knitted one pieces, exposing flashes of green, yellow and red for a futuristic sci-fi look. Hartley’s dedication to forward thinking stretches beyond the aesthetics as she hopes to generate a new innovative, zero waste policy in manufacturing to ensure the sustainability and evolution of the clothes. 

By now Tinie’s long forgotten as each model stalks down the catwalk to puffa DJ’s painfully hip soundtrack. Nikki Lowe dazzles with gold lamé suits complete with built-in gloves worthy of an evil Jackie Collins penned character, but flashlight necklaces add a distinctive disco feel caught somewhere between the 1970s and the 1990s.

Miranda Boucher’s collection is a dark and luxurious celebration of femininity with plush midnight blue coats and velveteen details just obscuring the model’s modesty.  

Emma Philpot’s knitwear seems to grow from the models bodies, twisting and turning upon itself and forming knots and twists likes a chunky chainmail, while Tiffany Williams continues the fairytale edge with her menswear collection in dark, brooding colours and heavy volume that weigh on the shoulders as a hulking, masculine presence. Backs reveal shimmers of gold thread intertwined, adding a lighter side to the depth of her work. 
Jenna Harvey’s dresses change at every turn as each layer of tiny fabric is double printed and loosely set so as it moves a new picture is revealed. At times it feels like 3D glasses are needed just to keep up with the transformation before your eyes.

Meanwhile, Phoebe Thirlwall’s beautiful knitwear dresses, inspired by the intricacies of the skin, show a level of workmanship that is breathtaking under the lights of the catwalk. Each ribbed layer clings to the models with hundreds of different levels working together. Her hard work has clearly not gone unnoticed as her work was also photographed by renowned artist Rankin, a stunning portrait duly displayed in grand terms at Earl’s Court.


 
Izabela Targosz’s equestrian turn on tailoring injects some more colour into Nottingham Trent’s show, with jackets made with horsehair pockets and backs adding a silky but quirky feel. Riding hats are the natural yet perfect accessory to a collection that shows an equal strength in its attention to detail for an upheaval of the British tailored look. 

Shinsuke Matsuoka’s work is saved for the final spot and with the breathtaking effect of the garments, it’s easy to see why. Bondage style zips snake across panels of black hi-shine material; the sound of the clothes are a foreboding presence in themselves, but as six outfits stand together the models are transformed into an unnervingly attractive chain gang from the future. I’m not sure if it was this effect or not, but my camera also spluttered its final breaths at this point, perhaps overwhelmed by the power of Matsuoka’s collection.

In any case, it proved a spectacular way to end things and is not something I can imagine being trumped by Tinie any day soon.

Images courtesy of catwalking.com


Nicola Roberts, cheapest illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.


Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’


Hilary Alexander, illustrated by Amy Martino

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.


Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghastly white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.


Zandra Rhodes, illustrated by Paul Shinn

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.


Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.


Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.


Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’

Categories ,Alberta Ferretti, ,Amsterdam Fashion Institute, ,Anna Lee, ,Awards, ,Big cats, ,Britain’s Got Talent, ,Caryn Franklin, ,Diversity, ,Dylan Jones, ,Earls Court, ,Elle Magazine, ,Erin O’ Connor, ,Fashion Week, ,Gala Show, ,GFW, ,girls aloud, ,Gold Award, ,Graduate Fashion Week 2010, ,International Show, ,Kim Jones, ,london, ,Lorraine Candy, ,Manchester Metropolitan University, ,menswear, ,models, ,Naomi Dominique, ,Naomi New, ,Nicola Roberts, ,Northbrook College, ,Northumbria, ,Rebecca Thompson, ,Rhea Fields, ,River Island, ,Roya Hesam, ,Textiles Award, ,Ticker Tape, ,Womenswear, ,Zandra Rhodes

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Amelia’s Magazine | Graduate Fashion Week 2012 Gala Awards Ceremony: Part One


Matthew Williamson by Ruth Joyce

Twelve hundred students descend on Earls Court Two for Graduate Fashion Week every year. About a quarter of them get the opportunity to showcase their collections during one of the 16 fashion shows that are held over four days. In a dramatic climax – the Gala Awards show – 10 students are selected to present their work for a second time in the hope of receiving the coveted Gold Award.


All photography by Matt Bramford

So, like the fashion industry itself, chances of making it are pretty slim. 10 incredible collections graced the catwalk in the finale and I honestly couldn’t pick a winner – celebrity judges like Matthew Williamson and Julien Macdonald commented on the incredible standard exhibited of not only those who had been selected as a Gold Award nominee, but every college.


Julien Macdonald by Claire Kearns

Here’s a photographic whistle-stop tour of the awards ceremony:

INTERNATIONAL AWARD


Yvonne Kwok – Amsterdam Fashion Institute


Zhu Liyuanzi – Istituto Marangoni Milan


WINNER: Karen Jessen – ESMOD Berlin, presented by Julien Macdonald, Sara Maino from Vogue Italia & Caroline Burstein from Browns.

STUART PETERS KNITWEAR AWARD


Emma Walsh – Nottingham Trent University


Jousianne ProppManchester Metropolitan University


Caitlin Charles Jones – Kingston University


Judges Ruth Chapman from Matches, Erica Peters from Stuart Peters and knitwear designer Mark Fast couldn’t decide, so Caitlin and Jousianne both scooped the award!

ZANDRA RHODES TEXTILES AWARD


Daisy Lowe by Ruth Joyce


Amelia Smith – Northumbria University


Dae-Byn Lee – Nottingham Trent University


Roz Lamkin – Manchester Metropolitan University


WINNER: Xiaoping HuangUCLAN, presented by Daisy Lowe and Mary Katrantzou

BARCLAYS NEW BUSINESS AWARD


Holly Reid – UCLAN, presented by Tabitha Somerset-Webb (Project D) and Michelle Mone OBE

FASHION INNOVATION AWARD


Ami Collins – UCLAN, presented by Lorraine Candy of ELLE magazine and designer David Koma

MEDIA & DESIGN AWARD


Kerrie Donelly – UCA Epsom, presented by Fashion Editor-at-Large Melanie Rickey and ID magazine‘s Jefferson Hack (swoon)

STAND DESIGN AWARD


Edinburgh College of Art, presented by designer Fred Butler and Harvey NicholsYuri Nakamura

GEORGE BEST OF BRITISH AWARD


Susanna Yi – University of East London, presented by TV presenter Caroline Flack and ASDA fashion director Fiona Lambert

GEORGE CHILDRENSWEAR AWARD


Harriet Simons – Colchester, presented by singer Louise Redknapp and Fiona Lambert

MULBERRY ACCESSORIES AWARD


Laura Smallwood – Kingston University, presented by Mulberry‘s Tori Campbell

ETHICAL AWARD


Sarah Murphy, Northumbria – presented by stylist Jocelyn Whipple and film producer/eco hero Livia Firth

LIFETIME ACHIEVEMENT AWARD


Legendary catwalk photographer Chris Moore, presented by designer Jeff Banks

Part Two, featuring the major players and the menswear, womenswear and Gold Award winners, coming soon…!

Categories ,accessories, ,Amelia Smith, ,Ami Collins, ,Amsterdam Fashion Institute, ,ASDA, ,Awards, ,Caitlin Charles Jones, ,Caroline Flack, ,Caryn Franklin, ,Catwalking.com, ,Ceremony, ,Childrenswear, ,Chris Moore, ,Claire Kearns, ,Colchester, ,Dae-Byn Lee, ,daisy lowe, ,David Koma, ,Earls Court Two, ,Eco Age, ,Elle, ,Emma Walsh, ,Erica Peters, ,ESMOD Berlin, ,Essex, ,fashion, ,Fiona Lambert, ,Fred Butler, ,Gala, ,George, ,Gold Award, ,Graduate Fashion Week, ,Harvey Nichols, ,Holly Reid, ,ID Magazine, ,international, ,Istituto Marangoni Milan, ,Jeff Banks, ,Jefferson Hack, ,Jousianne Propp, ,Julien McDonald, ,Karen Jesson, ,Kerrie Donnelly, ,Kingston University London, ,knitwear, ,Laura Smallwood, ,Lifetime Achievement, ,Livia Firth, ,Lorraine Candy, ,Louise Redknapp, ,Manchester Metropolitan University, ,Mark Fast, ,Mary Katrantzou, ,matches, ,Matt Bramford, ,Matthew Williamson, ,Melanie Rickey, ,menswear, ,Michelle Mone OBE, ,Mulberry, ,New Business, ,Northumbria University, ,Nottingham Trent University, ,Project D, ,Roz Lamkin, ,Ruth Chapman, ,Ruth Joyce, ,show, ,Stuart Peters, ,Susanna Yi, ,Tabitha Somerset-Webb, ,Tori Campbell, ,UCA Epsom, ,UCLan, ,UEL, ,Womenswear, ,Xiaoping Huang, ,Yuri Nakamura, ,Yvonne Kwok, ,Zhu Liyuanzi

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Amelia’s Magazine | Dem Collective: designed in Sweden by Annika Axelsson and Karin Stenmar

Ciel S/S 2011 by Jo Cheung
Sarah Ratty of Ciel was one of the first designers to engage in ethical practice in the UK. She set up the label Conscious Earthwear in the early 90’s before creating the Ciel brand in 2005. She currently also works as a design consultant and advises the Soil Association on sustainable issues.

How do you design your garments?
Each collection has its roots in the way I have developed as an eco fashion designer over the last twenty years. I usually start with fabrics, buy information pills then I think about what garment shapes will best fit into the current zeitgeist and I combine these with my own influences from contemporary art, travel, history and nature. I use as many innovative approaches as I can in fabrication and cutting techniques, as well as using the naturally diverse fabrics from a range of indigenous locations, which are made and developed in situ.

What is the best way to design ethically?
Within eco design there is inevitably some compromise but I always do my best to find the best materials to achieve the desired outcome. I use fairtrade materials and organic fabrics from factories in Europe and South America, all of which comply with fair labour laws as set out by Labour Behind the Label. We use azo-free dyes, which do not use harmful metal mordants to fix the colour. Heavy metals are highly polluting and contribute to toxic soil runoff if not treated correctly. We have recently started to bring some production back to the UK and we conduct a lot of our work via Skype to reduce our carbon footprint.
Ciel S/S 2011 by Jo Cheung
Ciel S/S 2011 by Jo Cheung.

Sarah Ratty set up the label Conscious Earthwear in the early 90’s before creating the Ciel brand in 2005, viagra buy which we profiled in the print version of Amelia’s Magazine. She currently also works as a design consultant and advises the Soil Association on sustainable issues.

How do you design your garments?
Each collection has its roots in the way I have developed as an eco fashion designer over the last twenty years. I usually start with fabrics, pilule then I think about what garment shapes will best fit into the current zeitgeist and I combine these with my own influences from contemporary art, travel, history and nature. I use as many innovative approaches as I can in fabrication and cutting techniques, as well as using the naturally diverse fabrics from a range of indigenous locations, which are made and developed in situ.

What is the best way to design ethically?
Within eco design there is inevitably some compromise but I always do my best to find the best materials to achieve the desired outcome. I use fairtrade materials and organic fabrics from factories in Europe and South America, all of which comply with fair labour laws as set out by Labour Behind the Label. We use azo-free dyes, which do not use harmful metal mordants to fix the colour. Heavy metals are highly polluting and contribute to toxic soil runoff if not treated correctly. We have recently started to bring some production back to the UK and we conduct a lot of our work via Skype to reduce our carbon footprint.
Ciel S/S 2011 by Jo Cheung
Ciel S/S 2011 by Jo Cheung.

Sarah Ratty set up the label Conscious Earthwear in the early 90’s before creating the Ciel brand in 2005, and which we profiled in the print version of Amelia’s Magazine. She currently also works as a design consultant and advises the Soil Association on sustainable issues.

How do you design your garments?
Each collection has its roots in the way I have developed as an eco fashion designer over the last twenty years. I usually start with fabrics, diagnosis then I think about what garment shapes will best fit into the current zeitgeist and I combine these with my own influences from contemporary art, travel, history and nature. I use as many innovative approaches as I can in fabrication and cutting techniques, as well as using the naturally diverse fabrics from a range of indigenous locations, which are made and developed in situ.

What is the best way to design ethically?
Within eco design there is inevitably some compromise but I always do my best to find the best materials to achieve the desired outcome. I use fairtrade materials and organic fabrics from factories in Europe and South America, all of which comply with fair labour laws as set out by Labour Behind the Label. We use azo-free dyes, which do not use harmful metal mordants to fix the colour. Heavy metals are highly polluting and contribute to toxic soil runoff if not treated correctly. We have recently started to bring some production back to the UK and we conduct a lot of our work via Skype to reduce our carbon footprint…

Read the rest of this interview with Ciel 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.
Ciel S/S 2011 by Jo Cheung
Ciel S/S 2011 by Jo Cheung.

Sarah Ratty set up the label Conscious Earthwear in the early 90’s before creating the Ciel brand in 2005, information pills which we profiled in the print version of Amelia’s Magazine. She currently also works as a design consultant and advises the Soil Association on sustainable issues.

How do you design your garments?
Each collection has its roots in the way I have developed as an eco fashion designer over the last twenty years. I usually start with fabrics, viagra 40mg then I think about what garment shapes will best fit into the current zeitgeist and I combine these with my own influences from contemporary art, ampoule travel, history and nature. I use as many innovative approaches as I can in fabrication and cutting techniques, as well as using the naturally diverse fabrics from a range of indigenous locations, which are made and developed in situ.

What is the best way to design ethically?
Within eco design there is inevitably some compromise but I always do my best to find the best materials to achieve the desired outcome. I use fairtrade materials and organic fabrics from factories in Europe and South America, all of which comply with fair labour laws as set out by Labour Behind the Label. We use azo-free dyes, which do not use harmful metal mordants to fix the colour. Heavy metals are highly polluting and contribute to toxic soil runoff if not treated correctly. We have recently started to bring some production back to the UK and we conduct a lot of our work via Skype to reduce our carbon footprint…

Read the rest of this interview with Ciel 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.
Dem Collective by Michelle Urvall Nyren
Dem Collective by Michelle Urvall Nyren.

You were founded in 2004, nurse with the aim of becoming a profitable company that treated people and environment fairly. How have you put this into practice?
We are very close to the whole production chain, sildenafil from the cotton fields in Gujarat to our ready-to-wear garments. We have also started our own garment factory in Sri Lanka, where we can ensure good salaries and working conditions. All our fabric is fairtrade certified and eco labelled.

What defines a Dem Collective garment?
The design is very important – we make good-looking clothes that customers want. To be frank, the least environmentally friendly garment is the one that no one wants to wear… so our clothing is basic, timeless, and of good quality. We are happy that our customers call us and tell us that a t-shirt they bought five years ago is still in use, and hasn’t fallen apart, or gone out of fashion.

Dem Collective by Michelle Urvall Nyren
Dem Collective by Michelle Urvall Nyren.

Who are the designers you work with? How do the collaborations happen?
It is an important part of the Dem Collective ethos to work with a string of different designers; Maja Jakobsson, Maria Andersson, Camilla Jernmark. Our latest collaboration is with Josefin Lassbo. Both Karin and myself are very open about our lack of design experience, so we like to work with others. Most of our collaborations start out with the designer contacting us.

Why is it a bad idea to use genetically modified cotton?
There is still not enough data on the impact of genetically modified crops on the environment, the soil and the people. But one thing we do know is that they provide three harvests a year and that is really draining on the soil, which means increased use of pesticides and chemicals. And designer seeds are hugely expensive so farmers are more likely to fall into debt…

Read the rest of this interview and see more illustrations of Dem Collective’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.

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Annika Axelsson, ,Camilla Jernmark, ,Chemicals, ,Cotton Fields, ,Dem Collective, ,Designer Seeds, ,Eco fashion, ,Ethical Fashion, ,fairtrade, ,Gujarat, ,Josefin Lassbo, ,Karin Stenmar, ,Maja Jakobsson, ,Maria Andersson, ,Michelle Urvall Nyrén, ,pesticides, ,Ready-to-wear, ,Sri Lanka, ,sweden, ,Timeless

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