BFC Tent – AmeliasMagazine

Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Report: Basso & Brooke

In our pre- London Fashion Week interview with Cooperative Designs , illness stomach the design duo discussed the incredible presentations they produced for S/S 2010 (Bauhaus) and A/W 2010;

“With a presentation we have the opportunity to design the entire event, we try to encapsulate the feel of the collection as an real experience for our guests. This season we are showing at the Groucho Club, and we have some really exciting plans!”

These were the words of Annalisa Dunn and upon entering the packed out Groucho Club, it was the designers had produced something rather special. It was a scene straight from one of my favourite books, Evelyn Waugh’s satiric love affair with London’s upper classes: Vile Bodies (or Bright Young Things to give the book it’s film title).

Utilising the ever-so-shabby, but rather wonderful art deco setting of the Groucho Club, the set designed by David White encouraged the “good time” atmosphere that was infectious from the moment you walked in.

In the centre of the room alongside the live piano, the models were arranged as in a frieze so beloved of traditional painting. Holding their position, they laughed and smiled as cameras snapped Cooperative Designs’ celebrated structural and incredibly textural knitwear. This year saw the introduction of raffia and jersey into their material repertoire.

Illustration by Michelle Urvall Nyrén

A Cooperative Designs presentation is a sought after event, by the time I had to leave, a one in one out policy had been implemented, as the upstairs room overflowed with admirers. The fantastic glasses adorning the models were made in collaboration with Alex Cunningham and the intriguing ready-for-the-beach wedges were in association with Flip Flop. As fitting such a special event many of the audience came dressed in previous seasons, making the clothes more covetable for the ease in which they are worn.

Illustration by Michelle Urvall Nyrén

Ever captivated by the fabrics and shapes used by Cooperative Designs, it was a delight to discuss their design process with Annalisa:

“Dorothee has more of a womenswear background then me, she has developed a process she calls Primary pattern cutting. Pieces are designed as flat graphic angular shapes then left to drape and distort on the body. This process particularly suits knitwear, as it has such great drape and stretch properties.”

A more apt title could not be found, for the presentation was titled Bollywood Babylon, which in turn was inspired by artist Kenneth Anger’s books; Hollywood Babylon 1 and 2 in which the writer records the debauchery of 1920′s Hollywood actors. This reviewer is particularly enamored with the art deco inspired print adorning the S/S 2011 collection, oh to join the easy revelry of this imagined film set created by Cooperative Designs!

Photographs by Amy Gwatkin

Illustration by Eugenia Tsimiklis

After pegging it down the strand, website like this I arrived at the BFC tent with less than 30 seconds to spare. My desperate dan demeanour must have won me brownie points somewhere as I was ushered into the catwalk seating area so fast my feet barely touched the floor. Expecting the Issa show to begin, no rx imagine my suprise when Basso and Brooke creations started to walk their way down the catwalk…there must have been some awful mistake?…yes, indeed there was Mr Matt Bramford (who must be reading his timetable upside down last night).

A 9am Sunday morning treat: great turnout (including model Amber Rose – front row), amazing prints and a seamless show. To be able to mix so many colours, prints, patterns and styles into pieces of clothing is a talent few can boast. I have never trained as a fashion designer but I imagine that there comes a time early in their lives, perhaps as a kid choosing between a pencil and a box of crayolas, when their speciality is set for life. In my view, all designers have not so much a signature look as a part of the DNA clothing they excel at: silhouette, colour, print, cut. Some designers can change the way we see the body – I’m thinking of Miuccia Prada –and some fill in the outlines of fashionable shapes with their own individual colour, pattern and texture.

Illustration by Eugenia Tsimiklis

Prints were the order of the day with a slight All Saints (edgy brand not 90s girlband) feel to some of the ones with italic scripting and antique maps running across. After reading the press release, it turns out that the writing is actually handwritten notes by Da Vinci, Tolstoy, Balzac and others in a nod to the non digital past. Digital prints are then sliced into the notes and maps, creating more dramatic, eclectic mixes.

Other prints included trompe l’oeil images of ruched fabrics, mainly used in larger panels on the back of dresses but occasionally inserted onto the front. I am personally a huge fan of print design (I was a colour-change felttip pen sort of kid), which I think often gets ignored in favour of more flashy, and by definition, flesh-revealing options (anyone designing an elaborately printed bikini has rather missed the point). There’s something depressing about an off-the-shelf pattern you end up seeing on clothes everywhere, from high street shops to market stalls. I want someone to have sat down and designed the images that appear on the surface of clothes with as much care and dedication as they did every other aspect.

Illustrated by June Chanpoomidole

Basso and Brooke’s S/S11 show didn’t pioneer any particular dress shape, although all their clothes look wearable: lots of skater-skirted party dresses, a collared blouse and skirt and filmy jumpsuitst. The skirts had great shape and movement to them, especially the shorter kicky ones; the dresses made use of clashing prints on the front and back and thought had also been put into matching shoes to each look. However, what they do to a tee is the print; everyone knows that when you go to their show you’ll get lovingly rendered prints galore. This also means subtle use of colour, and when the models took their turn all together, it added up to a handwritten, map inspired rainbow.

Photograph by Florence Massey

Some of the choices surprised me at first: leopard print? Hermes-scarf style illustrated floral squares? But because they were digitally chopped up with gold foil sections that seemed to creep over the garish parts, or set against a background of pearly grey silk, I think it worked. There is a trend now for mixing up complicated prints, which when it works, looks incredible. One good thing about animal print is that you can’t really beat nature for creating a pleasing whole and by sticking to the silvery sheen of water, brown and rusty orange of animals spots and mineral metallics, there’s a good chance an outfit will hang together, just like Basso and Brooke’s show.

Illustration by June Chanpoomidole

Written by Florence Massey and Satu Fox on Sunday September 19th, 2010 11:00 pm

Categories ,Basso & Brooke SS 2011, ,BFC, ,BFC Tent, ,Digital Prints, ,fashion, ,Leopard Print, ,London Fashion Week, ,prints, ,Somerset House, ,Womenswear

Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: David Koma (Reprise)

Illustration by Andrea Peterson

Only two seasons ago David Koma presented his – Niki de Saint Phalle inspired – collection of dresses off schedule headlining Freemasons as the winner of Fashion Scout’s Merit Award. The garments were tight, clinic bright and fun – body-con for the Sci-Fi (think The Jetsons crossed with Barberella) obsessives! In contrast Koma’s S/S 2011 collection combined his tightly constructed silhouette with a welcome relax in the hemlines.

All photographs by Amelia Gregory

This season Koma experimented with the essence of ballet, dosage hardening the oh-so-familiar shape of the tutu with bold geometric shapes. The fabric of the dresses constricted around the chest before dropping softly into swishing pleats.

Illustration by Andrea Peterson

During the course of LFW, approved Satu Fox, my fellow Amelia’s Magazine correspondence and I discussed which designers Cheryl Cole might wear later this year on X Factor. As a rule I often avoid X-Factor but remain aware of the concentrated gaze directed towards the sartorial choices of the female presenters, where as Simon and Louie appear to skate through the entire series in identical tatty threads.

As if answering Satu’s and I’s musings, David Koma’s produced a series of (ignoring the questionable use of snake) python adorned Egypitan column dresses in two alternatives: either ever so slightly garish gold or a dramatic black. Both looks which would definately wow on the X-Factor.

Illustration by Gareth A Hopkins

The use of python was upsetting, one can just about understand the development of fur coats, when the material was a hunting by-product in sub-zero weather conditions. It still remains harder to justify the use of fur as a luxurious adornment. Subsequently how does one justify the use of Python? It has no qualities, I am aware of other than the scream of wealth. Is python skin sourced via a farm? Or is the skin obtained after an animal dies of natural causes?

llustration by Gareth A Hopkins

Amelia had the good fortune to ask this outstandingly young designer (24!) about his decision to use Python Skin, you can read the intriguing outcome to their conversation here.

Designers take a leaf out of Stella McCartney’s book and research luxury alternatives to animal products!

llustration by Gareth A Hopkins

It’s been intriguing to see numerous designers plundering the back catalogues of Abstract Artists, from Cooperative Design’s wonderful reinvention of the Bauhaus through their use of Memphis School of Furniture Design (who also popped up in Holly Fulton’s press release) to David Koma’s application of bold abstract inspired shape from Fernand Leger.

Written by Sally Mumby-Croft on Tuesday September 28th, 2010 1:20 pm

Categories ,Artist Andrea, ,BFC, ,BFC Tent, ,Cheryl Cole, ,David Koma, ,Farmed, ,Gareth A Hopkins, ,grthink, ,Holly Fulton, ,London Fashion Week, ,Python, ,Satu Fox, ,X Factor

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

Illustration by Gemma Randall

Christopher Shannon burst onto the catwalk in true and typical chavvy style to launch menswear day, see for me at least, more about on Wednesday. His wasn’t the first show; we didn’t get tickets for Lou Dalton (a real shame, as I was really looking forward to that one) or Topman Design (meh). There’s a strange feeling in the air on LFW’s Wednesday – it’s eerily quiet, people are more relaxed and you could actually swing a cat around in the press room, should you desire, for the first time in five days.

Shannon showed alongside JW Anderson in the BFC space, but even with these two heavyweights of menswear design presenting back to back, the venue still wasn’t full. It’s a shame that there isn’t as much interest in menswear, but the editors had all shipped off to Milan, I guess…

Shannon was up first and his show featured some of my favourite guilty pleasure tracks – Blu Cantrell, for instance. Tune! This kind of music sits hand in hand with his unique blend of street-inspired sportswear and edgy, boyish tailoring. The first looks were all crisp white numbers, featuring engineered t-shirts with geometric holes, multi-pocketed shorts and bucket hats, followed by sweaters with mesh details. I like Shannon’s fancy-free approach to menswear – it’s for young, hip individuals who care about style but not about stuffy suits.

Progressing into outerwear, the collection bore sports-luxe jackets, more mesh, and shorter shorts. Shannon’s garish but great rucksacks, a long-term callabo with Eastpak, made an appearance in similar tones as last season – pale greys and baby blues.

Illustration by Gemma Randall

Further in, Shannon’s signature camo-graffiti prints showed up, bringing a welcomed burst of colour in the form of pale blues. I like this print A LOT – it works on padded puffas, shorts and even bucket hats (although I doubt I’ll be seen in the entire get up – the pattern is intense and it needs breaking up a little, I think).

His scally charm shone through on more printed numbers, where sections had been cut away, and the reappearing camo print. Panelled trousers, though, displayed the menswear designer’s continual progression – sand chinos displayed oblong sections in luscious pastel colours made the move from teenage fashion. Vibrant yellows hinted at that ballsy appeal many of us were looking for.

Faces were painted like colloquial masks, apparently inspired by longing for a holiday, but I’m going to ignore this literal influence — as much as it looked fun, it fought to distract from some pretty sophisticated tailoring. All in all, a toned-down collection compared to what we are used to. As the chavvy charmer continues to grow up, so will – I hope – his collections.

All photography by Matt Bramford

Illustration by Gemma Randall

Christopher Shannon burst onto the catwalk in true and typical chavvy style to launch menswear day, find for me at least, on Wednesday. His wasn’t the first show; we didn’t get tickets for Lou Dalton (a real shame, as I was really looking forward to that one) or Topman Design (meh). There’s a strange feeling in the air on LFW’s Wednesday – it’s eerily quiet, people are more relaxed and you could actually swing a cat around in the press room, should you desire, for the first time in five days.

Illustration by Gemma Randall

All photography by Matt Bramford

LFW Holly Fulton by KAYLEIGH BLUCK
Holly Fulton by Kayleigh Bluck.

For S/S 2011 Holly Fulton took inspiration from Joan Collins and 60s cruise wear as her “ladies” went on a fantastical tour of luxury living in all the most chic resorts: Monaco, order Egypt, ed Brazil, Hollywood. If this woman exists in reality she would surely be the most shallow creature on the planet, but such is the way of fashion: it thrives on escapism.

Holly Fulton SS2011 photo by Amelia Gregory

All photography by Amelia Gregory.

Holly Fulton by Michelle Urvall Nyrén.

This was the first Holly Fulton catwalk show I’ve attended, and being a fan I was intrigued to see how her aesthetic has held up in a year when her influence on the high street has been massive – particularly where large jewellery is concerned.

Holly Fulton SS2011 photo by Amelia Gregory

Holly Fulton by Aniela Murphy.

The show started strongly with a bright orange cracked paving print blouse atop a tiered fringed pencil skirt before giving way to a look that I would say took as much inspiration from the flared shapes of the 70s as it did the decade before. Yellow skater style flared skirts featured laser cut cocktail patterns. Heels were so high one model was forced to remove hers for the finale.

Holly Fulton SS2011 photo by Amelia Gregory

LFW Holly Fulton by KAYLEIGH BLUCK
Holly Fulton by Kayleigh Bluck.

Holly is at her strongest when she puts together Aztec, Aboriginal and Memphis School inspired appliques on the front of long panels. Flares, shift dresses and maxi skirts provided ample opportunity for this, accessorised with the usual fabulous necklaces and decorated clutch bags. They were accompanied by suitably luxe big earrings and big hair.

Holly Fulton SS2011 photo by Amelia Gregory

The collection only started to falter once towards the end, when Holly sent a few dresses down the runway that seemed obviously tacked on to appease sponsors Swarovski. Goodness knows why she decided to finish on these less polished numbers, instead of interspersing them through the whole show.

Holly Fulton SS2011 photo by Amelia Gregory

Holly Fulton by Aniela Murphy.

Like David Koma before her Holly used python, this time in its natural colouring as part of heavily textured patterning so that it was less obvious from afar. Maybe a luxury feel demands some kind of obvious domination over the rest of the world, but I’m not sure I like this new trend towards exotic animal skins (see my David Koma blog for more on my thoughts). Other than this blip she remains an innovative and individual designer who’s very definitely one step ahead of her imitators.

Holly Fulton SS2011 photo by Amelia Gregory

Written by Amelia Gregory on Monday September 27th, 2010 2:36 pm

Categories ,1960s, ,1970s, ,Aboriginal, ,Aniela Murphy, ,Aztec, ,BFC Tent, ,David Koma, ,Holly Fulton, ,Joan Collins, ,Kayleigh Bluck, ,lfw, ,London Fashion Week, ,Memphis School, ,Michelle Urvall Nyrén, ,Python skin, ,Swarovski

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

Like most girly girls growing up, page shop my bedroom was decorated with various shades of baby pink and faerie-inspired memorabilia. I had faerie bedspreads, no rx no rx faerie lampshades, approved faerie candles, faerie wind chimes (no, really) – I had no idea of the concept of taking things too far. If there was an image of one of those illuminated delicate, dainty little figures slapped onto anything (including mugs and toilet rolls) it had to be mine.

Although I have since grown out of my faerie-loving phase (and into other crazy obsessions my good friends will tell you!), the child in me still gravitates towards stories about magical other worldly beings, the innocence of youth, and pretty much anything that takes me back to my childhood. It is for this reason that when I was asked to do a feature on Jessica Albarn’s first storybook, The Boy in the Oak, it was with a resounding ‘yes’ that I answered. However, it turns out that these faeries aren’t the good ones that I used to wrap around me to protect me as I slept.

Written and illustrated by Jessica, the artist tells the fantastical story of a young lonely boy who amuses himself by trampling on flowers, tearing the limbs off trees, and traumatising the creatures in the garden of his family home. His play becomes increasingly cruel until one day, the faeries that inhabit a giant oak tree, which is also the passageway to the Kingdom of Faerie, at the bottom of his garden take their revenge and trap him in the magical oak.

The narrative is accompanied by fine, detailed sketches of spindly creatures, faeries and facial expressions (the faces of the two protagonists in her story are based on her son Rudy and daughter Lola). Insects are introduced throughout the text and appear on most pages of the book, which Jessica weaves into the fabric of her story, somehow managing to make them appear more beautiful than creepy, through her gentle artistic strokes. The result is a dreamy, melancholic and rather sinister yet magical tale for adults and children alike.

On the eve of the launch of her first storybook ever, Amelia’s Magazine finds a few quiet moments to talk to the very talented artist (who also happens to be Damon Albarn’s sister) about her artistic influences, her rural upbringing, her alter ego faerie tale character and her biggest career challenge to date…

When did you first decide that you wanted to become an artist?I have always loved drawing but I guess I decided that I wanted to be an artist when I was about 15 yrs old.

How has your style evolved since you first started?
When I began my degree I was part of the sculpture department but I found I was happiest when I was drawing (although that could have been down to the fact that my sculptures had a tendency to fall over whenever my tutor drew near!). By the end of college, I had started drawing from nature and studying its relationship with geometry. It has developed a lot since then but I guess the seeds of that thought were sown then.

What/who has influenced your style?
Probably the most influential thing for me was the ‘Butterfly Ball’ by Alan Alderidge. It was a book I had as a child and of which I have revisited hundreds of times. I was fascinated by the detail, the personalities that Alderidge gave his characters and the dark sinister undertones.

What inspired The Boy in the Oak?
A good friend of mine has a tree in her garden that has a ghostly face in the bark. Her garden backs onto a wood and it reminded me of a place I used to visit as young child. A perfect setting for a faerie tale!

Is there a metaphor that older readers should relate to in The Boy in the Oak?
It’s about tuning into the magic in our daydreams, seeing through the veil of reality and escaping the prison of our minds.

How long did it take you to produce the illustrations and story for this book?
There were gaps along the way but it’s taken about four years from the birth of the idea to fruition.

Most of your work has a childhood theme – what was your childhood like and what were you like as a child?
I was born in London, but my parents moved out to North Essex when I was about 6. My parents are both artistic: my Dad ran the Colchester Arts school and my Mum had a studio at home. She also had a shop where she sold arts and crafts. We lived in a very old tudor house in a close-knit village. Most of my childhood was spent running around the countryside, making dens in woods and playing down by the river with my friends. I had lots and lots of guinea pigs, a rabbit and a cat. Also my Mum had a friend who had some ponies. It was all very ramshackle, but my Mum taught me and a lot of the village kids to ride. It was far away from pony club, hairnets and horse boxes, which was a good thing. I was a very happy child. My brother and I had a lot of freedom.

What is your favourite children’s fairy tale and why?
I loved all fairy tales like The Brothers Grimm, Hans Christian Andersen and the illustrations and stories in Russian Fairytales and folklore. But my favourite today still is the ‘The Happy Prince’ – by Oscar Wilde for its beautiful portrayal of love and kindness.

If you could be any fairy tale character, who would you be and why?
I would be the little girl in Baba Yaga, beating the witch and escaping adversity.

What has been the biggest career challenge you have faced to date?
Doing a three day live drawing performance for Helmut Lang in Tokyo. It was just a big deal for someone like me who is very private in their practice to be watched drawing!

What has been your proudest achievement to date?
Succeeding in getting my book published.

What three pieces of advice would you offer someone who is starting out as an illustrator/artist?
I don’t really see myself as an illustrator and haven’t worked as one apart from illustrating my book but as an artist I would say do what pleases you and don’t worry about what other people may think, work very, very hard and don’t give up if it makes you happy!

Jessica Albarn’s book ‘The Boy in the Oak’ is now available in bookstores worldwide.

(All images courtesy of Jessica Albarn)

Like most girly girls growing up, buy my bedroom was decorated with various shades of baby pink and faerie-inspired memorabilia. I had faerie bedspreads, faerie lampshades, faerie candles, faerie wind chimes (no, really) – I had no idea of the concept of taking things too far. If there was an image of one of those illuminated delicate, dainty little figures slapped onto anything (including mugs and toilet rolls), it had to be mine.

Although I have since grown out of my faerie-loving phase (and into other crazy obsessions my good friends will tell you!), the child in me still gravitates towards stories about magical otherworldly beings, the innocence of youth, and pretty much anything that takes me back to my childhood. It is for this reason that when I was asked to do a feature on Jessica Albarn’s storybook, The Boy in the Oak, it was with a resounding ‘yes’ that I answered. However, it turns out that the faeries I would be writing about aren’t the good ones that I used to wrap around me to protect me as I slept.

Written and illustrated by Jessica, the artist tells the fantastical story of a young lonely boy who amuses himself by trampling on flowers, tearing the limbs off trees, and traumatising the creatures in the garden of his family home. As his play becomes increasingly cruel until one day, the faeries that inhabit a giant oak tree, which is also the passageway to the Kingdom of Faerie, at the bottom of his garden cast a spell and trap him in the magical oak.

The narrative is accompanied by fine, detailed sketches of spindly creatures, faeries and emotive facial expressions (the faces of the two protagonists in her story are based on her son Rudy and daughter Lola). Insects are introduced throughout the text and appear on most pages of the book, which Jessica weaves into the fabric of her story, somehow managing to make them appear more beautiful than creepy, through her gentle artistic strokes. The result is a dreamy, melancholic and rather sinister yet magical tale for adults and children alike.

When did you first decide that you wanted to become an artist?
I have always loved drawing but I guess I decided that I wanted to be an artist when I was about 15 yrs old.

How long did it take you to produce the illustrations and story for this book?
There were gaps along the way but it’s taken about four years from the birth of the idea to fruition.

If you could be any fairy tale character, who would you be and why?
I would be the little girl in Baba Yaga, beating the witch and escaping adversity.

What has been your proudest achievement to date?
Succeeding in getting my book published.

Jessica Albarn’s book ‘The Boy in the Oak’ is now available in bookstores worldwide.

(All images courtesy of Jessica Albarn)

Like most girly girls growing up, search my bedroom was decorated with various shades of baby pink and faerie-inspired memorabilia (I say most, but the latter could have just been me). I had faerie bedspreads, faerie lampshades, faerie candles, faerie wind chimes (no, really) – I had no idea of the concept of taking things too far. If there was an image of one of those illuminated delicate, dainty little figures slapped onto anything (including mugs and toilet rolls), it had to be mine.

Although I have since grown out of my faerie-loving phase (and into other crazy obsessions my good friends will tell you!), the child in me still gravitates towards stories about magical otherworldly beings, the innocence of youth, and pretty much anything that takes me back to my childhood. It is for this reason that when I was asked to do a feature on Jessica Albarn’s storybook, The Boy in the Oak, it was with a resounding ‘yes’ that I answered. However, it turns out that the faeries I would be writing about aren’t the good ones that I used to wrap around me to protect me as I slept.

Written and illustrated by Jessica, the artist tells the fantastical story of a young lonely boy who amuses himself by trampling on flowers, tearing the limbs off trees, and traumatising the creatures in the garden of his family home. As his play grows more cruel day by day, the faeries that inhabit a giant oak tree, which is also the passageway to the Kingdom of Faerie, at the bottom of his garden become increasingly unsettled until eventually, they cast a spell on him, trapping the boy in the magical oak.

On the eve of the launch of her first storybook ever, Amelia’s Magazine finds a quiet moment to talk to the very talented artist (who also happens to be Damon Albarn’s sister) about her artistic influences, her rural upbringing, her alter ego faerie tale character and her biggest career challenge to date…

When did you first decide that you wanted to become an artist?
I have always loved drawing but I guess I decided that I wanted to be an artist when I was about 15 yrs old.

How long did it take you to produce the illustrations and story for this book?
There were gaps along the way but it’s taken about four years from the birth of the idea to fruition.

If you could be any fairy tale character, who would you be and why?
I would be the little girl in Baba Yaga, beating the witch and escaping adversity.

What has been your proudest achievement to date?
Succeeding in getting my book published.

Jessica Albarn’s book ‘The Boy in the Oak’ is now available in bookstores worldwide.

(All images courtesy of Jessica Albarn)

Illustration by Stéphanie Thieullent

I love the Portico Rooms at Somerset House. Up an elaborate sweeping staircase, ask here lies a relatively small room in which I’ve seen some of my favourite presentations: Lou Dalton’s salon show a year ago, cialis 40mg both this and last season’s Orla Kiely presentations, and now Craig Lawrence’s presentation this weekend.

Presentations are my preferred preference to catwalk shows. You don’t have to fight for a seat, you can see the clothing and craftsmanship in close-up (particularly applicable with Craig’s astonishing knitwear) and, most importantly, they always have cakes.

This was no exception – just look at this table packed with the stuff. Delicious! Shame I decided on a cream-filled whoopie rather than something edible in front of fashion folk like a delicious slice of tiffin. Cue cream-covered chops, sloppy eating and and a general unfashionable mess. Ah, well.

Craig’s presentation was simple but oh so elegant. Three models perched around sculptural furniture wearing his latest offerings. I wonder how the pay-scale for models differs between catwalks and presentations? Surely sashaying to the end of a runway, striking a pose and then walking back is far easier than having people with zoom lenses oggle your pores and walk in circles around you? It’s a wonder they don’t fall over. They are good at looking into your camera though. Look at this one! She wurrrrks it. Give her a pay rise!

Craig Lawrence has quickly established himself as a man of exquisite craftsmanship, skill and style. I simply adore these floor length knitted numbers. Seeing them up close, you really develop an appreciation for the quality. I imagine that the wool he uses is of a high calibre, but staring closely at his pieces is quite something – hypnotic weaves create beautiful, rich textures.

Illustration by Stéphanie Thieullent

The colours were industrial and pewter was the mainstay, with the occasion flourish of varying greens and white. This all white number rustled as the model moved around the room, and it’s only when you see garments like this move that you realise their full potential. She does look a bit like she’s been through a paper shredder, though. God I hope she hadn’t.

Also on display was a strikingly beautiful and somewhat haunting film, which was actually all I thought I was going to see – the static models were a massive bonus. The black and white film was shot by Ben Toms and styled by Dazed & Confused’s Katie Shillingford. Bloody hard to photograph.

At first glance, it appeared to be a collection of photographs – a model stands stock still in a variety of poses on rocks and in the sea. It’s only when you watch for a little while you realise it is actually a film – you notice the hair flickering slightly from the wind, or the almost still waves of the ocean moving back and forth. It really brought the collection to life. Plus it was edited beautifully – by our own Sally Mumby Croft, no less!

You can see the film (and I suggest you do) here.

All photography by Matt Bramford

Jasper Conran - Lea Wade
Jasper Conran by Lea Wade.

It’s hard to know what to say about Jasper. I certainly wasn’t expecting the earth to move, ask but it’s always nice to come out of a fashion show pleasantly surprised as I did after Paul Costelloe’s extremely strong opener to London Fashion Week.

LFW Jasper Conran by Anna Hancock Young
Jasper Conran by Anna Hancock-Young.

Perhaps Jasper needs to take a leaf out of Paul’s book – it seems that clothes your mum would be comfortable in at a wedding are no longer in, viagra dosage even with the more conservative crowd. And what was with the uncomfortable cheesy grins and hideous wide-brimmed netting hats? The styling and choice of models only served to emphasise the Debenhams factor, and I’m sorry but if I wanted high street on a catwalk I’d hot foot it down to Lakeside shopping centre.

Jasper Conran - Lea Wade
Jasper Conran by Lea Wade.

However, all of this aside, much of the clothing was very sweet and (of course) I couldn’t fault its wearability. Straight up and down monochrome quickly gave way to the most citrus of hues in pleated swing skirts and dresses. The signature print – a painterly 40s inspired beach scene – was featured on the invite and on only one little sundress.

LFW Jasper Conran by Anna Hancock Young
Jasper Conran by Anna Hancock-Young.

Jasper Conran can clearly cut a great garment, so it’s just a shame he doesn’t push the boat out a bit more for London Fashion Week. Here’s hoping for more next time around.

Jasper Conran SS2011 photo by Amelia Gregory

Written by Amelia Gregory on Thursday September 23rd, 2010 12:52 pm

Categories ,Anna Hancock-Young, ,BFC Tent, ,Jasper Conran, ,Lea Wade, ,lfw, ,London Fashion Week, ,Somerset House

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

Romina Karamanea SS2011 photo by Amelia Gregory
Romina Karamanea skirt by Joana Faria
Romina Karamanea by Joana Faria.

For the past two seasons the good PRs for Romina Karamanea have ensured that there has been a ridiculously long queue of baying fashionistas gathered outside the venue before they will let anyone inside. And so it was that I found myself being battered around on the steps of the Freemasons’ Hall on Tuesday evening: it was late in the week and it wasn’t really what I wanted to deal with. My ex flatmate, diagnosis a stylist that I used to work for at The Face – we fell out – elbowed her way through with a bit of a hissy fit. I was seriously considering just calling it a day and going right home. But then security announced that it was “too late for stars” meaning that the complex sticker system on invites was about to be ditched, buy information pills and the PRs next to me agreed that the most important people were at the front anyway – that would include me! love it when I feel less of a pleb – and it all looked good to go.

Romina Karamanea pants by Joana Faria

Romina Karamanea by Joana Faria.

Ushered into one of the gorgeous upper halls I was seated only three chairs down from my nemesis, no rx who of course refused to acknowledge me. Which is just fine, our relationship never recovered after she moved out of my house and refused to pay her outstanding rent. But it did make me smile. Oh happy days. A funny little girl in latex stockings was placed between us and quickly presented me with her card and a badge. I had to spend the whole show trying to take photos around her as she leaned into the catwalk to take hers, but in the grand tradition of fashion week poseurs she sure was good at attracting attention.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

For this season Greek born, Central Saint Martins trained Romina looked to abstract expressionism for inspiration, though as her press release cheekily says, basically “the designer had popped to see her artist friend Hermes for a glass of wine.” Three colour stories of white, bluey green and red explored passionate brush strokes and the patterns of natural phenomena and geology. Opposing structures morphed into one garment, voluminous swathes of chiffon colliding with cleanly structured tailoring. My favourite pieces were undoubtedly the final ones, glorious rich red undergarments topped with sweeping patterned dresses. It was a big collection that included a smattering of menswear. Utterly divine.

Romina Karamanea by Joana Faria.

I wasn’t aware that Romina Karamanea was an advocate of sustainable design until I found a leaflet featuring her work in the basement at Esthetica, where the Centre for Sustainable Fashion had a corner stand showcasing some of the designers they work with. This organisation was set up by the London College of Fashion, with the aim of “challenging and provoking the established fashion system to work towards the goals of promoting human well being and respecting nature’s limits, whilst creating beauty and style.” Fashion designers are invited to attend workshops and one to one mentoring sessions about how to implement sustainable design practices and apparently Romina is one of their ambassadors, which is very exciting news.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

But a line in the first paragraph of her blurb immediately made my heart sink just a tiny bit. And not just because of the bad grammar. “Each piece is designed to be loved and kept forever getting better over-time, hopefully like the wearer.” Along with the notion of upcycling (now a far trendier way to say recycling in fashion circles) and making the most of factory waste – both of which I hasten to add are admirable choices when it comes to making fashion – creating clothes to be worn for a long time has become a bit of a get out quick clause for designers. It’s an easy statement to trot out because high fashion is invariably all about luxury and has a price tag to match. Not many people who invest in designer pieces are likely to throw away their purchases every season.

Romina Karamanea SS2011 photo by Amelia Gregory

All photography by Amelia Gregory.

But let’s just stop and think a bit more here. The reality is that these designers continue to show new collections, and we are inevitably urged to delve deep and create ourselves a new wardrobe each time a new season comes around. I only very rarely buy new clothes myself but I can’t claim to be completely removed from the process because I also get really excited about new creativity on the catwalks. It’s an innate human excitement that you can’t take away, but it’s what we do with that feeling that counts. Of course I am against throwaway mass produced fashion, but sustainability cannot be achieved merely by saying that people should treasure clothes forever, not whilst producing a new collection twice a year with no deeper links to sustainable practice.

Reading on, I applaud Romina Karamanea‘s efforts. She is careful to fully research her supply chain, reduce fabric waste, utilise low impact digital printing techniques and organic cottons. She’s an edgy designer with a big following who can really affect people’s perception of working in a sustainable way. But it’s interesting that none of this information was on the press release at the catwalk show, or on her website. It says a lot about how we still perceive an ethical imperative in design.
Romina Karamanea skirt by Joana Faria
Romina Karamanea by Joana Faria.

For the past two seasons the good PRs for Romina Karamanea have ensured that there has been a ridiculously long queue of baying fashionistas gathered outside the venue before they will let anyone inside. And so it was that I found myself being battered around on the steps of the Freemasons’ Hall on Tuesday evening: it was late in the week and it wasn’t really what I wanted to deal with. My ex flatmate, mind a stylist that I used to work for at The Face – we fell out – elbowed her way through with a bit of a hissy fit. I was seriously considering just calling it a day and going right home. But then security announced that it was “too late for stars” meaning that the complex sticker system on invites was about to be ditched, and the PRs next to me agreed that the most important people were at the front anyway – that would include me! love it when I feel less of a pleb – and it all looked good to go.

Romina Karamanea pants by Joana Faria

Romina Karamanea by Joana Faria.

Ushered into one of the gorgeous upper halls I was seated only three chairs down from my nemesis, who of course refused to acknowledge me. Which is just fine, our relationship never recovered after she moved out of my house and refused to pay her outstanding rent. But it did make me smile. Oh happy days. A funny little girl in latex stockings was placed between us and quickly presented me with her card and a badge. I had to spend the whole show trying to take photos around her as she leaned into the catwalk to take hers, but in the grand tradition of fashion week poseurs she sure was good at attracting attention.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

Romina Karamanea by Joana Faria.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

Romina Karamanea SS2011 photo by Amelia Gregory

All photography by Amelia Gregory.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina Karamanea skirt by Joana Faria
Romina Karamanea by Joana Faria.

For the past two seasons the good PRs for Romina Karamanea have ensured that there has been a ridiculously long queue of baying fashionistas gathered outside the venue before they will let anyone inside. And so it was that I found myself being battered around on the steps of the Freemasons’ Hall on Tuesday evening: it was late in the week and it wasn’t really what I wanted to deal with. My ex flatmate, medical a stylist that I used to work for at The Face – we fell out – elbowed her way through with a bit of a hissy fit. I was seriously considering just calling it a day and going right home. But then security announced that it was “too late for stars” meaning that the complex sticker system on invites was about to be ditched, and the PRs next to me agreed that the most important people were at the front anyway – that would include me! love it when I feel less of a pleb – and it all looked good to go.

Romina Karamanea pants by Joana Faria

Romina Karamanea by Joana Faria.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

Romina Karamanea by Joana Faria.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

Romina Karamanea SS2011 photo by Amelia Gregory

All photography by Amelia Gregory.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina Karamanea skirt by Joana Faria
Romina Karamanea by Joana Faria.

For the past two seasons the good PRs for Romina Karamanea have ensured that there has been a ridiculously long queue of baying fashionistas gathered outside the venue before they will let anyone inside. And so it was that I found myself being battered around on the steps of the Freemasons’ Hall on Tuesday evening: it was late in the week and it wasn’t really what I wanted to deal with. My ex flatmate, capsule a stylist that I used to work for at The Face – we fell out – elbowed her way through with a bit of a hissy fit. I was seriously considering just calling it a day and going right home. But then security announced that it was “too late for stars” meaning that the complex sticker system on invites was about to be ditched, pilule and the PRs next to me agreed that the most important people were at the front anyway – that would include me! love it when I feel less of a pleb – and it all looked good to go.

Romina Karamanea pants by Joana Faria

Romina Karamanea by Joana Faria.

Ushered into one of the gorgeous upper halls I was seated only three chairs down from my nemesis, online who of course refused to acknowledge me. Which is just fine, our relationship never recovered after she moved out of my house and refused to pay her outstanding rent. But it did make me smile. Oh happy days. A funny little girl in latex stockings was placed between us and quickly presented me with her card and a badge. I had to spend the whole show trying to take photos around her as she leaned into the catwalk to take hers, but in the grand tradition of fashion week poseurs she sure was good at attracting attention.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

For this season Greek born, Central Saint Martins trained Romina looked to abstract expressionism for inspiration, though as her press release cheekily says, basically “the designer had popped to see her artist friend Hermes for a glass of wine.” Three colour stories of white, bluey green and red explored passionate brush strokes and the patterns of natural phenomena and geology. Opposing structures morphed into one garment, voluminous swathes of chiffon colliding with cleanly structured tailoring. It was a big collection that included a smattering of menswear but my favourite pieces were undoubtedly the final ones, glorious rich red undergarments topped with sweeping patterned dresses. Utterly divine.

Romina Karamanea by Joana Faria.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

Romina Karamanea SS2011 photo by Amelia Gregory

All photography by Amelia Gregory.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina Karamanea skirt by Joana Faria
Romina Karamanea by Joana Faria.

For the past two seasons the good PRs for Romina Karamanea have ensured that there has been a ridiculously long queue of baying fashionistas gathered outside the venue before they will let anyone inside. And so it was that I found myself being battered around on the steps of the Freemasons’ Hall on Tuesday evening: it was late in the week and it wasn’t really what I wanted to deal with. My ex flatmate, there a stylist that I used to work for at The Face – we fell out – elbowed her way through with a bit of a hissy fit. I was seriously considering just calling it a day and going right home. But then security announced that it was “too late for stars” meaning that the complex sticker system on invites was about to be ditched, website like this and the PRs next to me agreed that the most important people were at the front anyway – that would include me! love it when I feel less of a pleb – and it all looked good to go.

Romina Karamanea pants by Joana Faria

Romina Karamanea by Joana Faria.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

For this season Greek born, Central Saint Martins trained Romina looked to abstract expressionism for inspiration, though as her press release cheekily says, basically “the designer had popped to see her artist friend Hermes for a glass of wine.” Three colour stories of white, bluey green and red explored passionate brush strokes and the patterns of natural phenomena and geology. Opposing structures morphed into one garment, voluminous swathes of chiffon colliding with cleanly structured tailoring. It was a big collection that included a smattering of menswear but my favourite pieces were undoubtedly the final ones, glorious rich red undergarments topped with sweeping patterned dresses. Utterly divine.

Romina Karamanea by Joana Faria.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

Romina Karamanea SS2011 photo by Amelia Gregory

All photography by Amelia Gregory.

But let’s just stop and think a bit more here. The reality is that these designers continue to show new collections, and we are inevitably urged to delve deep and create ourselves a new wardrobe each time a new season comes around. I only very rarely buy new clothes myself but I can’t claim to be completely removed from the process because I also get really excited about new creativity on the catwalks. It’s an innate human excitement that you can’t take away, but it’s how we deal with that feeling that counts. Of course I am against throwaway mass produced fashion, but sustainability cannot be achieved merely by saying that people should treasure clothes forever, not whilst producing a new collection twice a year with no deeper links to sustainable practice.

Romina Karamanea SS2011 photo by Amelia Gregory

Reading on, I applaud Romina Karamanea‘s efforts. She is careful to fully research her supply chain, reduce fabric waste, utilise low impact digital printing techniques and organic cottons. She’s an edgy designer with a big following who can really affect people’s perception of working in a sustainable way. But it’s interesting that none of this information was on the press release for the catwalk show, or on her website. It says a lot about how we still perceive an ethical imperative in design.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina Karamanea skirt by Joana Faria
Romina Karamanea by Joana Faria.

For the past two seasons the good PRs for Romina Karamanea have ensured that there has been a ridiculously long queue of baying fashionistas gathered outside the venue before they will let anyone inside. And so it was that I found myself being battered around on the steps of the Freemasons’ Hall on Tuesday evening: it was late in the week and it wasn’t really what I wanted to deal with. My ex flatmate, sales a stylist that I used to work for at The Face – we fell out – elbowed her way through with a bit of a hissy fit. I was seriously considering just calling it a day and going right home. But then security announced that it was “too late for stars” meaning that the complex sticker system on invites was about to be ditched, dosage and the PRs next to me agreed that the most important people were at the front anyway – that would include me! love it when I feel less of a pleb – and it all looked good to go.

Romina Karamanea pants by Joana Faria

Romina Karamanea by Joana Faria.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

For this season Greek born, Central Saint Martins trained Romina looked to abstract expressionism for inspiration, though as her press release cheekily says, basically “the designer had popped to see her artist friend Hermes for a glass of wine.” Three colour stories of white, bluey green and red explored passionate brush strokes and the patterns of natural phenomena and geology. Opposing structures morphed into one garment, voluminous swathes of chiffon colliding with cleanly structured tailoring. It was a big collection that included a smattering of menswear but my favourite pieces were undoubtedly the final ones, glorious rich red undergarments topped with sweeping patterned dresses. Utterly divine.

Romina Karamanea by Joana Faria.

Romina Karamanea SS2011 photo by Amelia Gregory

Romina-Karamanea-by-Lisa-Stannard
Romina Karamanea by Lisa Stannard.

Romina Karamanea SS2011 photo by Amelia Gregory

All photography by Amelia Gregory.

But let’s just stop and think a bit more here. The reality is that these designers continue to show new collections, and we are inevitably urged to delve deep and create ourselves a new wardrobe each time a new season comes around. I only very rarely buy new clothes myself but I can’t claim to be completely removed from the process because I also get really excited about new creativity on the catwalks. It’s an innate human excitement that you can’t take away, but it’s how we deal with that feeling that counts. Of course I am against throwaway mass produced fashion, but sustainability cannot be achieved merely by saying that people should treasure clothes forever, not whilst producing a new collection twice a year with no deeper links to sustainable practice.

Romina Karamanea SS2011 photo by Amelia Gregory

Reading on, I applaud Romina Karamanea‘s efforts. She is careful to fully research her supply chain, reduce fabric waste, utilise low impact digital printing techniques and organic cottons. She’s an edgy designer with a big following who can really affect people’s perception of working in a sustainable way. But it’s interesting that none of this information was on the press release for the catwalk show, or on her website. It says a lot about how we still perceive an ethical imperative in design.

Romina Karamanea SS2011 photo by Amelia Gregory

naomi-law-ktz
KTZ by Naomi Law.

Kokon To Zai is the cult Soho shop from whose loins the catwalk brand KTZ has sprung. Because I have been somewhat out of the loop I hadn’t actually connected the two together until I found KTZ on the stands in Somerset House. But suffice to say I used to borrow quite a lot of clothes from Kokon To Zai when I worked as a stylist so it was with somewhat excited anticipation that I made sure to attend just this one show on menswear Wednesday.

KTZ SS2011 photo by Amelia Gregory

All photography by Amelia Gregory.

aniela murphy ktz
KTZ by Aniela Murphy.

Well, online I say menswear Wednesday, more about but quite a few designers slipped a fair amount of womenswear onto the catwalk, more about and so it was with KTZ which seemed to be almost half and half. Though hard to tell, what with the inclusion of some gorgeous long haired male models.

KTZ SS2011 photo by Amelia Gregory

KTZ by Aniela Murphy.

The show was a whistlestop tour through monochrome and gold printed opulence, styled with golden crowns and huge colourful gems stacked across both male and female hands. Blazers met bodycon met baggy hoodies, just the kind of wearable bling that has me salivating like a hungry pug.

KTZ SS2011 photo by Amelia Gregory

naomi-law-ktz
KTZ by Naomi Law.

Sometimes I wish I was still a stylist just so that I could book these clothes out and have a play… but then I remember what the job really entailed: long hours of packhorse like drudgery. Maybe not then, but I’d love to sink my chops into some prime KTZ.

KTZ SS2011 photo by Amelia Gregory

Written by Amelia Gregory on Wednesday September 29th, 2010 6:54 pm

Categories ,Aniela Murphy, ,BFC Tent, ,Kokon To Zai, ,KTZ, ,lfw, ,London Fashion Week, ,Naomi Law, ,pugs, ,rings, ,Soho

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

LFW Jena.Theo catwalk show SS11

In the prelude to September’s London Fashion Week, nurse Amelia’s Magazine ran a series of interviews with designers and previews of designers to watch. One of these took the form of a conversation between Amelia and Bora Aksu, viagra a designer whose progression we love to watch and have followed since his graduation from that increasingly famous St Martins MA.

The interview (a must read) discusses Bora Aksu’s involvement with People Tree and the designer’s personal attempts to incorporate ethically sourced material in the main collection.

As aforementioned, viagra approved Bora’s shows are often magical and his Spring Summer 2011 collection was no exception, the designer signature material combinations were present on the dresses alongside the new additions of delicately tapered trousers.

Illustration by Gemma Randall

For S/S 11 Bora Aksu premiered his new collection as part of the always pleasing On|Off schedule (there are multiple schedules at London Fashion Week and after three seasons I am still getting my head around the numerous venues, times, places and dates!). Set in the basement of Victoria House, Bloomsbury Square, London Fashion Week“>Aksu produced a series of eerily romantic garments in which all the looks were completed by inky black lines on cream hosiery.

Illustration by Gemma Randall

A whimsical affair, each dress elaborated the models physical features through the application of delicate ruffles. Carefully crafted materials mimicked that of an anatomically deconstructed corset. The adorned dresses drew attention to Bora Aksu’s craft drawing the viewers eyes towards every seam, hem and contrasting material.

The collection celebrated the experience of wearing material, from lace panels to the injection of silver jacquard in a pair of beautifully cut trousers. Compared to S/S 10, S/S 2011 was a pared down collection, but as always the designer’s dress patterns intrigued the viewer’s eye.

The mainly muted collection contained moments of vivid saturation achieved by the addition of a beautiful deep red. As always Bora’s eye for collecting and studying discarded garments made this a very special collection and a lovely week to London Fashion Week.

Illustration by Gemma Randall

Photographs by Sally Mumby-Croft

Illustration by Faye West

Last London Fashion Week, information pills the Maria Grachvogel show was celebtastic, with Erin O’ connor and Yasmin Le Bon sitting front row. There seemed to be a lack of famous faces this time round, but it could be that they were driven away by the incessant ‘chirping crickets’ soundtrack which, as we waited for the show to start, began to grate on the soul. The natural world vibe seemed to be lost on the lady sitting next to me who was wearing what can only be described as an entire hind; despite it being so mild that I hadn’t even worn a jacket.

To begin with it was hard to spot the influence of Nature in the collection; there were far too many nude, caramel and pale silver numbers for my liking; which I should have expected given words like ‘minimalism’ and ‘chic simplicity’ that were bandied around in the press blurb. Not until the appearance of a canary yellow fishtail gown did anything make me sit up and take notice; hair and make-up being equally bland…sorry, I mean ‘minimalist’.

Illustration by Faye West

Kingfisher blue pieces brightened up the collection and the final few numbers bearing ‘wolf,’ ‘moth wing’ and ‘phoenix’ artwork had me almost converted. Organic greens and a fiery orange against deep blue really did evoke a reflection of the environment, unlike the opening pieces of the collection which were all a bit on the beige side.

Illustration by Faye West

I guess if you have the body of a ballerina and the face of a supermodel you might be able to throw on a paper thin, nude dress that clings to you as you walk; and whilst the effect of the chiffon and silk as the models moved was beautiful, I fail to see it being a look many women could pull off. The prints however were truly striking, and would flatter many more skin tones than the pale, caramel palette.

Paul Costelloe S/S 2011 LFW photo by Amelia Gregory
All photography by Amelia Gregory

London Fashion Week opened with a collective bemused giggle when the well dressed crowd of a certain age overheard stressed shouting backstage at the Paul Costelloe show. This elder statesman of British fashion is not a designer that I’ve ever really paid attention to before, cure and I’m wondering why that is?

Paul Costelloe S/S 2011 LFW photo by Amelia Gregory

lfw paulcostelloe lemclennan
Paul Costelloe by LE Mclennan.

His was a delightful show, order featuring darling flared skater and layered tulip shape skirts bedecked in dainty digital prints and accessorised with some fabulous bottom bows and some bright pink lipstick. It was all shown with big back combed hair and a jaunty bounce. And the best thing? It was all eminently wearable.

Paul Costelloe S/S 2011 LFW photo by Amelia Gregory

LFW-Paul-Costelloe-Helena-Maratheftis
Paul Costelloe by Helena Maratheftis.

I wasn’t so enamoured of his menswear. I am sure it was beautifully cut but some was pretty conservative, ed though the shorts were a cute touch and I liked the floral print shirts and the splashes of colour.

Paul Costelloe S/S 2011 LFW photo by Amelia Gregory

LFW Paul Costelloe Sine Skau

Paul Costelloe by Sine Skau.

The show ended with woops from the audience as his paraded down the catwalk. I’ll just say that again: SIX sons. SIX. Did you get that. He has SIX sons. We were all marvelling at this fact after the show, when it was pointed out that he is Irish. Still, as someone said, “doesn’t he have a TV?”

Paul Costelloe S/S 2011 LFW photo by Amelia Gregory

Two of his sons take to the catwalk.

Definitely a designer to check out if you’ve never thought of doing so before.

Paul Costelloe S/S 2011 LFW photo by Amelia Gregory

Written by Amelia Gregory on Saturday September 18th, 2010 12:55 pm

Categories ,BFC Tent, ,Helena Maratheftis, ,LE Mclennan, ,lfw, ,London Fashion Week, ,Paul Costelloe, ,Sine Skau, ,Somerset House

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Ann-Sofie Back | Atelje

Ann Sofie Back S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | BACK S/S 2012 illustrated by Dee Andrews

It’s 7 pm on the first day of London Fashion Week and the rapid advent of my first catwalk show clash; do I see Ashley Isham or Ann-Sofie Back | Atelje? I’m not familiar with either, case though as I clearly requested these invites, I’m sure both must have appealed to me in some form or other. A quick look through past look books online and I’m still undecided. I spy the locations for each show and my mind is made up; Ann-Sofie Back | Atelje at the BFC tent it is. I refuse to walk all the way to Il Bottaccio (again) – one of this season’s London Fashion Week venues, located miles (well maybe just under two miles) away from the hosting venue, Somerset House. If nothing else, it’s a sensible choice and means little time spent queuing and the acquisition of a front row seat.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Michael of Anastasia and Duck comes and sits next to me and chats enthusiastically about Back’s previous London Fashion Week shows and the theatrical element to them; fear inducing ghosts and zombies I’m informed. Not many designers take advantage of the opportunity to stage a memorable avant-garde show, so I’m now super excited to experience this one.

Ann-Sofie Back S/S 2012 London Fashion Week by Geiko Louve

Ann-Sofie Back | BACK S/S 2012 illustrated by Karla Perez aka Geiko Louve

So soon after the show commences, I’m a tad disappointed with the non-drama of the show, though if I’d read the press-release before, instead of after the show, the seemingly non-theatrical element would have made complete sense. This is because Ann-Sofie Back’s Atelje collection is inspired by religion and traditional Lutheran values coined Jantelagen; a set of axioms that frown upon and discourage success, conspicuousness, pride and satisfaction and acuity amongst other things:

The law of Jante
1. Thou shalt not believe thou art something.
2. Thou shalt not believe thou art as good as we.
3. Thou shalt not believe thou art more wise than we.
4. Thou shalt not fancy thyself better than we.
5. Thou shalt not believe thou knowest more than we.
6. Thou shalt not believe thou art greater than we.
7. Thou shalt not believe thou amountest to anything.
8. Thou shalt not laugh at us.
9. Thou shalt not believe that anyone is concerned with thee.
10. Thou shalt not believe thou canst teach us anything.
From Aksel Sandemose’s 1933 novel ‘En flygtning krydser sit spor’ (A Fugitive Crosses His Tracks)

Ann Sofie Back | Atelje S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | Atelje S/S 2012 illustrated by Dee Andrews

With Sweden being one of the most secularized countries in the world, these rules akin to the ideals of communism, appear contradictory to the character of the Nordic country. But it appears that Jantelagen is very much embedded into Swedish culture, economics and politics and is taken rather seriously.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back doesn’t do savory inspiration; her collections are always a creative battle against or a fight for awareness of some form of oppression/suppression or other and the spring-summer collection is no different; a rebellion against Jantelagen.

Ann Sofie Back | Atelje S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | Atelje S/S 2012 illustrated by Dee Andrews

The garments appear almost two-dimensional in their simple paper like forms; crisp, clear and severe. The colours are neutral: white, sand, ink black and office blue maintaining the illusion of inconspicuousness. However, the acute stripes, the use of flattering soft and iridescent organza and careful features such as pin-tucks and precise folds and creases all offend the Jantelagen commandments by being defiant, boldly standing out and exuding confidence. I rarely wear mute colours, but the white apron dress and white skirt and stripy top ensemble would most definitely find a home in my wardrobe.

Ann-Sofie Back | Atelje S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

Ann-Sofie Back’s BACK collection certainly acquiesces far more to conventional inconspicuous and unostentatious fashion. Linen is the ruling fabric in the collection and is constructed into simple, loose shapes, but almost always accessoriesed with the signature motif, the skinny belt, inspired by – wait for it… Spaghetti! The knitwear is unpretentious and though I can’t touch the the fabrics and see how they feel, I have a feeling they would be a pleasure to wear.

Ann-Sofie Back | BACK S/S 2012 London Fashion Week by Akeela Bhattay

My favourites in the BACK line are; the spacious hot pink linen dress and the long blue pleated skirt, very wearable, very chic. The collections haven’t blown my mind though the ideas behind them have certainly provoked curiosity, but they do however have commercial value.

Play the video and watch the show.

All photography by Akeela Bhattay

Written by Akeela Bhattay on Friday September 23rd, 2011 12:03 pm

Categories ,Akeela Bhattay, ,Ann-Sofie Back, ,Article, ,Atelje, ,BFC Tent, ,british fashion council, ,catwalk show, ,Dee Andrews, ,designer, ,fashion, ,Frugal, ,Functional, ,Geiko Louve, ,God, ,illustrations, ,Intellectual, ,Jantelagen, ,LFW S/S 2012, ,London Fashion Week, ,Neautral colours, ,Oppression, ,Rebel, ,religion, ,review, ,September, ,simple, ,Somerset House, ,SS12, ,Suppression, ,sweden, ,swedish designer, ,Swedish Fashion, ,theatre, ,Venue

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Ann-Sofie Back | Atelje

Ann Sofie Back S/S 2012 London Fashion Week by Dee Andrews

Ann-Sofie Back | BACK S/S 2012 illustrated by Dee Andrews

It’s 7 pm on the first day of London Fashion Week and the rapid advent of my first catwalk show clash; do I see Ashley Isham or Ann-Sofie Back | Atelje? I’m not familiar with either, though as I clearly requested these invites, I’m sure both must have appealed to me in some form or other. A quick look through past look books online and I’m still undecided. I spy the locations for each show and my mind is made up; Ann-Sofie Back | Atelje at the BFC tent it is. I refuse to walk all the way to Il Bottaccio (again) – one of this season’s London Fashion Week venues, located miles (well maybe just under two miles) away from the hosting venue, Somerset House. If nothing else, it’s a sensible choice and means little time spent queuing and the acquisition of a front row seat.