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Amelia’s Magazine | The 3rd Annual Fashioning the Future Awards

Caryn Franklin hosting the ceremony, by Antonia Parker

The third annual Fashioning the Future Awards took place last Thursday, where guests from the world of fashion, business and sustainable living came together to celebrate international sustainable fashion talent. Supported by the United Nations, the awards promote students who produce fashion with conscience.

The setting for this glamorous occasion – the East Wintergarden, part of the Canary Wharf complex – seemed a little unusual in the wake of the current financial crisis, and it’s not the first destination I’d think of if I wanted to host a conscious do. But, I was to learn, that Canary Wharf are committed to environmental issues. The Canary Wharf Group is, in fact, one of the country’s top ‘green’ companies.

Two of the finalists’ work by Joana Faria

Inside the venue, a load of wooden cogs had been dotted around the room, on which frozen models posed for the duration of the evening. Large zoetropes descended from the ceiling, requiring manmade kinetic power to operate that involved guests turning winches in order for them to animate. Drinks flowed and there was no obvious stage or focal point, creating a strange but enjoyable atmosphere that allowed guests to freely mingle amongst the spools and lights.

All photography by Matt Bramford

Circular tubes also hung from the celing, a little lower than average height, in which guests could stand, head fully immersed inside, and listen to interviews with the shortlisted nominees while looking a little silly. It all made for good fun and took the sometimes stifling atmosphere of these kind of events quickly away.

The ceremony itself was delayed in the hope that the members of the celebrity judging panel who could make it (Erin O’Connor and Lucy Siegle had already pulled out for unspecified reasons) would eventually show up. It was repeatedly announced that Jo Wood and BFC chairman Harold Tillman were, together, stuck in traffic. Eventually the producers of the awards gave up and the show commenced, glamourously hosted by fashion protagonist Caryn Franklin. The lights dimmed and Caryn took her place in the centre of the room under one of the zoetropes. Guests were invited to sit, anywhere, or stand to view the ceremony.

Jo Wood and Harold Tillman stuck in traffic by Gareth A Hopkins

Five awards were presented across a diverse range of subjects, including design and innovation, under this year’s theme: Biodiversity.

One of the finalists’ work by Jaymie O Callaghan

Unique Balance
Sara Emilie Terp Hansen scooped the coveted prize for Unique Balance with her intriguing and aesthetically brilliant collection made from cork. The judges said Sara Emilie had ‘found an opportunity to utilise an unexpected material in a fashion context, allowing nature to dictate design.’ It was quite the striking collection and Sara, one of the only recipients to collect her award in person, looked heartwarmingly shocked to receive the award.

One of the finalists’ work by Justyna Sowa

Unique Materials and Processes
The second award, for Unique Materials and Processes, was due to be presented by the aforementioned Jo Wood. Guests still hoped she would leg it in last minute and snatch the mic, but still no joy. Massive props must go to Alex McIntosh from the Centre for Sustainable Fashion who took to the stage (metaphorically speaking as there wasn’t one, of course) and presented also absent Evelyn Lebis‘ wearable light collection with the award.

One of the finalists’ work by Katrina Conquista

Unique Enterprise
Australian Alice Payne scooped the Enterprise award for her conceptual approach to business. ‘Think Lifecycle’ is a sort of social media platform for big companies, allowing them to harness environmental sustainability across the entire business. No, I didn’t completely understand it either, but I did like her spider diagrams.

Unique Design
LCF graduate Lara Torres picked up the award for Unique Design. Professor Frances Corner OBE, head of the LCF, said ‘ironically the design category was the hardest to judge; it’s very hard not to fixate on the idea that the winning entry has to be a perfectly realised garment’. In fact, it wasn’t – Lara’s entry examined the role of the fashion designer in modern society and the relationship we have with the clothing we wear.

The Body Shop One to Watch Award
The final award, presented by Ann Massal, International Brand Director of The Body Shop, went to Ashley Brock, who had flown all the way from the USA for the occasion. Eek. It was a sort of all-encompassing award for the prize student who hadn’t been acknowledged in the other categories. Ashley’s collection showed how ‘seemingly obsolete garments can be re-purposed’.

Erin O’ Connor realxing in the shower and Jo Wood stuck in traffic by Antonia Parker

And so the awards were wrapped up with a brief catwalk show where models stood up from their spools, sashayed around the room and then formed an imposing group under the centre spotlight. Still no sign of Jo Wood or Harold Tillman. It was a marvellous ceremony – genuinely unique – and a celebration of wearable sustainable fashion. I did wonder if it was entirely appropriate that these two were sitting in a car somewhere when they were supposed to be part of an environmentally-aware event (why they didn’t just get out of their bloody cars and get on the bloody tube is beyond me) but infact it didn’t matter; it made the evening entirely about the fashion, the winners, and the real message.

Written by Matt Bramford on Wednesday November 16th, 2011 10:07 am

Categories ,Alex McIntosh, ,Alice Payne, ,Ann Massal, ,Antonia Parker, ,BFC, ,Biodiversity, ,Canary Wharf, ,Caryn Franklin, ,Centre for Sustainable Fashion, ,Ceremony, ,East Wintergarden, ,Enterprise, ,environmental, ,Erin O’ Connor, ,ethical, ,Evelyn Lebis, ,fashion, ,Fashion the Future Awards, ,Frances Corner OBE, ,Gareth A Hopkins, ,green, ,Harold Tillman, ,Jaymie O’Callaghan, ,Jo Wood, ,Joana Faria, ,Justyna Sowa, ,Katrina Conquista, ,Lara Torres, ,LCF, ,London College of Fashion, ,Lucy Siegle, ,Matt Bramford, ,Sara Emilie Terp Hansen, ,The Body Shop, ,unique, ,united nations, ,Womenswear, ,Zoetropes

Amelia’s Magazine | Pre- London Fashion Week S/S 2011 On Schedule Womenswear, Part One: New Designers

London Fashion Week Illustration by teabelle

This September London Fashion Week enters the courtyard of Somerset House for its third season. Over the next week Amelia’s Magazine will be previewing both the on and off schedules, viagra 40mg naming the designers to firmly keep your eyes on.

For our first preview we have selected designers who have been showing solo for less than six seasons and have already caused quite a stir within the fashion industry.

Hannah Marshall

You may already be aware of Hannah Marshall’s darkly bold shapes without being aware that you are watching a Hannah Marshall in Florence and the Machine’s music video: The Drumming Song. As an introduction it does not prepare you for the exquisite inkiness of Marshall’s colour palate or embrace of the female figure her clothes propose.

Hannah Marshall by Naomi Law

Watching her S/S 2010 show in an old post office building in Holborn, look was breathtaking. As the models stalked through the space, viagra approved the inky blue effervesced in the dim lighting. Marshall’s A/W 2010 named ‘An Army of Me’ was a continuation of stark cuts along the shoulders, waists enhanced or lost by the cut of jacket alongside bodycon dresses produced in luscious velvet.

Mary Katrantzou

Mary Katrantzou has been experimenting with the boundary pushing possibilities of digital print since her A/W show 2009. The occasional harshness of the prints are softened through Katrantzou’s application of the technique to silk.

The collections are a celebration of the decorative and her clothes are littered with references to the excess of the Baroque or the Rocco periods of art and architectural history.

Mary Katrantzou by Meeralee

However it would be a mistake to confuse these prints as a gimmick, Katrantzou’s interest spreads to the cut of the dress, producing a series of structural tailoring which serve embellish the texture of her designs from short frocks to elegant gowns. Amelia’s Magazine welcomes the break from the increasing dominance of minimalism.

Michael van der Ham

Michael Van Der Ham’s described his a/w 2010 collection of dresses as 3D collages, through which multiple fashion references were stated by an insatiable contrast of colours, fabrics and textures. During graduate season earlier this year his design influence could be felt across the catwalks. What will s/s 2011 bring for van der Haam?

Michael van der Ham by Lulu Biazus

Louise Gray

Central Saint Martins MA Graduate, Louise Gray was a recipient of Lulu Kennedy’s and Fashion East’s ever on the button talent for spotting innovative designers. Gray showed with Fashion East for three seasons, before staging solo presentations with the support of NewGen.

A Louise Gray exhibition begins life at London Fashion Week almost completely bare, before exploding in riotious colour as the exquisite detritus from her presentations fill the space. The clothes, a combination of traditional stitch and embroidery create intriguing collections.

Louise Gray by Jessica Stokes

Amelia’s Magazine’s are delighted by Gray’s decision to stage the collection on a catwalk at On|Off for S/S 2011.

David Koma and Holly Fulton

For S/S 2011 Holly Fulton and David Koma. will share a catwalk, Amelia’s Magazine have been watching Koma since his debut as Fashion Scout’s merit winner a year ago this September and cannot wait to see what the designer holds in store.

David Koma by Stuart Whitton

Holly Fulton first blasted onto the scene as part of Fashion East for two seasons, before launching her successful solo a/w 10 collection at London Fashion Week in February 2010. Fulton’s monochromatic colour palate was interspersed with a healthy dose of pop art.

Holly Fulton by Francesca Bourne

The clothes structure referenced the Fulton’s interest in off duty/on duty French daywear crossed with the elegance of Dr Zavargo. Amelia’s Magazine found ourselves bewitched by the bold graphic prints bordering on the illustrative that adorned the collection.

Fashion East

For ten incredible years Fashion East have been at the forefront of spotting and supporting graduates who develop into ‘the’ sought-after designers of our generation.

Heikki by Gemma Randall

This year’s crop are as delectable as ever as Lulu Kennedy introduces Saint Martins MA graduate Simone Rocha and fellow Royal College Graduates Felicity Brown and Heikki Salone.

The excitement of a Fashion East catwalk lies in their ability to reinvent what it is to be feminine and this season is no exception.

For a/w 2010 Heikki Salone presented the tomboy, dressed in black cobwebbed knitwear, that you would wear until it crumbles finished with DM boots. A look -potentially- for fans of Janey from MTV’s hit TV series Daria.

Felicity Brown and Simone Rocha by Gareth A Hopkins

Felicity Brown’s delectable designs are a lesson in vibrant romanticism, a feat not surprising considering her training at Alberta Ferretti, Loewe, Lanvin and Mulberry.

In contrast Simone Rocha’s monochrome MA collection displayed structured modern cuts interspersed with a playful nod towards femininity by her inclusion of netted fuchsia headpieces.

Amelia’s Magazine wait with baited breath to see all of the aforementioned designers collections for s/s 2011.

Written by Sally Mumby-Croft on Tuesday September 7th, 2010 4:00 pm

Categories ,BFC, ,David Koma, ,Fashion East, ,Felicity Brown, ,Francesca Bourne, ,Gareth A Hopkins, ,Gemma Randall, ,Hannah Marshall, ,Heikki Salone, ,Holly Fulton, ,Jessica Stokes, ,lfw, ,London Fashion Week, ,Louise Gray, ,Lulu Biazus, ,Lulu Kennedy, ,Mary Katrantzou, ,Meeralee, ,Michael van der Ham, ,Naomi Law, ,On Schedule, ,Simone Rocha, ,Stuart Whitton, ,Teabell, ,teabelle

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

In the prelude to September’s London Fashion Week, website 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, 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, 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, Bora 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 last season, 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 addition to London Fashion Week.

Illustration by Gemma Randall

Photographs by Sally Mumby-Croft

Written by Sally Mumby-Croft on Friday September 17th, 2010 11:41 pm

Categories ,Amelia Gregory, ,Amelia’s Magazine, ,BFC, ,Bora Aksu, ,british fashion council, ,LFW SS2011 SS 2011, ,London Fashion Week, ,Romantic

Amelia’s Magazine | Osman: London Fashion Week S/S 2013 Catwalk Review

Osman S/S 2013 by Krister Selin

And so it was to Osman to ‘close’ my fashion week, as it were. It was getting late on the Tuesday and, frankly, I couldn’t be arsed to trek to Somerset House. I had a heap of work to do and the thought of going all that way to watch models walk in front of me twice for five minutes was almost too much to bear. In the end, I decided to go, obviously; I’m so glad I did.

Osman S/S 2013 by Antonia Parker

I had a rubbish seat but enjoyed watching people skid on Kuoni-sponsored A3 Osman lookbooks as I waited for the show to start. The catwalk had been adorned with a huge black rope, crossing above the bit where the models come out and trailing up both sides of the catwalk. Osman‘s got a bit of a reputation for putting on a good show and I liked the drama that this backdrop was already creating. There was a lot of fuss on the catwalk before proceedings began – Corinne Bailey Rae was one of many guests that had photographers in a flash bulb frenzy. But it was Osman‘s unique and vibrant colour palette and fashion-forward sense of shape that would really get the crowd going.

All photography by Matt Bramford

Incredible hues of pink and blue appeared before us. Osman Yousefzada always has a crafted ability to whet our appetites for the next summer while the current one is slipping away from us. Strong and dynamic shape was this season’s key theme – angular cuts were aplenty. Kimono shapes with a modern twist were teamed with high-waisted shorts, followed by tailored coats that curved to reveal more short shorts.

Osman S/S 2013 by Krister Selin

The collection progressed with embroidered love heart patterns. The same bold silhouettes were decorated with this beautiful design, having a slightly religious effect on certain dramatic overcoats. Brightly coloured hearts brought black garments to life while complimenting the blue and pink numbers.

More drama came later with Osman‘s unique forms: scooping necklines, wide sleeves, geometric patterns on tops, thick strips of fabric wrapped around models’ shoulders like shawls, sexily revealing only the collarbone.

Osman S/S 2013 by Antonia Parker

Less rigid looks followed with flowing skirts and fabric casually slung around models’ necks, but never without a hint of structure – tapered and cropped trousers defining many looks.

A few all black numbers heightened the drama towards the end – I particularly liked an all-in-one cape worn like a hood over skin-tight shiny trousers and a racy dress cut all the way up to the hip with bondage-like corsetry.

My favourite look was the penultimate outfit consisting of a white upper half with fabric draped all the way to the floor, following the model as she swaggered. It had all the qualities of Osman exuberance – femininity, drama and masses of sex appeal. I bet Osman fans new and old can’t bloody wait to get this stuff on come next year.

Written by Matt Bramford on Wednesday September 26th, 2012 10:16 am

Categories ,Antonia Parker, ,BFC, ,Blue, ,Bondage, ,catwalk, ,colour, ,Corinne Bailey Rae, ,embroidery, ,hearts, ,Krister Selin, ,Kuoni, ,London Fashion Week, ,Matt Bramford, ,Osman Yousefzada, ,pink, ,review, ,S/S 2013, ,Somerset House, ,SS13, ,Tuesday, ,Womenswear

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

Hannah Marshall S/S 2011, viagra 60mg cure illustrated by Erica Sharp

For S/S 2011 Hannah Marshall began with an elegant (though incredibly high in production value) film in keeping with the designer’s singular aesthetic.

For Spring Summer 2011 Hannah Marshall strayed into the world of soft colour, this after the first model strode down the catwalk in one of the collections strongest designs, a sheer dress that draped to the floor. The jackets for S/S 2011 remain delicately architecture, the shoulders still prominent appeared less fierce but remained purposeful. Hannah Marshall designs strong clothes to be worn by strong personalities.

The title of last season’s show: Army of Me, and it is almost impossible to think of a more apt title, for a collection so intrinsically linked to the vision and physical presence of the designer. This is not to a fault – though one can feel daunted by the possibility in inhabiting the clothes – but a testament to Hannah Marshall that her aesthetic after three seasons of participating in London Fashion Week is so strong. Another designer that conveys a similar sense of strength in her collections identity is the ever fantastic Louise Gray.

Illustration by Erica Sharp

The catwalk presentation was split into two halves, it being the second section in which a soft cream first appeared from backstage. Whilst the addition of ‘colour’ may have been a challenge to the designers colour palate, it was welcomed. The pattern designs remained loyal, as structural rectangle ruffles adorned the sleeves of the signature blazer and the neckline of dresses.

The collection of blouses and a jumpsuit which appeared in the presentation were unified in the embracement sheer material. The heaviest detailing on these garments appeared around the collar and buttons, enhancing the vulnerable visibility of the models flesh.

At times evocative of the 1980s were clothes were a constant symbol of wealth, the restrained addition of colour from Marshall leaves the viewer intrigued for the designer’s direction for A/W 2011.

Paul Costelloe S/S 2011, viagra order illustrated by Natsuki Otani

So the circus has begun, view the Big Top (the BFC Marquee) is up surrounded by bizarrely dressed clowns, cheap and trapeze artists swing from the roof of Somerset House. Okay, that last one isn’t true, but you get the picture!

I haven’t had a bloody chance to write anything yet, and Amelia has beaten me to it with a review of fashion week S/S 2011′s opener – Paul Costelloe. But, while I have the chance, I thought I’d throw my tuppence worth in, too.

For the past six years, Paul Costelloe has had the rather unenviable task of opening the proceedings. I arrived super early, as I always do – I woke up actually asking if Santa had been, I was so excited I presumed it must be Christmas. Anyway, I joined the queue for Costelloe, in which the mean age must have been approximately 68. It was a crimplene snake. These lovely old dears were desperate to get inside (I suppose you can never be too careful, especially in this chilly weather) and, rather unfashionably, we were ushered inside on time.

Now I am familiar with Costelloe’s work, but the relationship between his collections and his audience totally and uttrerly baffles me. One by one, the first models of S/S 2011 strutted down the catwalk wearing fresh, well cut and contemporary clothes. So why do grannies in knits flock to see this? I got chatting to two gorgeous old dears who, with their enthusiastic clapping and cheering, almost threatened to steal my attention from the show. They thought every frock was ‘bloody gorgeous’ and cries of ‘Oooh, that’s STUNNING’ were heard from all sides.

My two lovely ladies, on the right during the finale

illustrated by Natsuki Otani

The show itself was a treat from start to finish, for a number of reasons. The styling was great, with bright red lipstick, back-combed hair piled atop models heads (a look Costelloe is famed for) and the soundtrack was summery and fun, featuring Eliza Doolittle’s recent hit Pack Up.

The clothes were wonderful, featuring contemporary curves with emphasis on waists, oversized bows and playful graphic prints. Such fun. I particularly like everything about this following model and her outfit, whose face and hair do reminded me of Evangelista in naughty George Michael’s Too Funky video.

The show, however, had the most bizarre ending. Six awkward looking blokes dressed to the nines in suits cautiously eased their way up the catwalk. They all looked alike and I instantly guessed that they were brothers. It turns out Mr Costelloe isnt just good at fashion, he also is a dab hand and breeding too. If you’ve already read Amelia’s review, then apologies, but SIX SONS! Bloody hell! SIX SONS! Imagine. My dad has four and went grey in his thirties. I can only imagine that Paul Costelloe is a devout Catholic or didn’t have a television at home. How does he find the time to produce such an exciting and polished collection with this sextet? Lord knows.

I’m with Amelia on the menswear – I probably wouldn’t wear it and it’s a long way away from the masses of creative talent we’ll see on menswear day next week. But, if his collections develop like his womenswear has over the seasons, I’m sure I’ll be changing my mind pretty swiftly!

Paul Costelloe menswear, illustrated to look far better than it was, by Natsuki Otani

Written by Matt Bramford on Saturday September 18th, 2010 4:24 pm

Categories ,BFC, ,british fashion council, ,catwalk, ,Linda Evangelista, ,London Fashion Week, ,Paul Costelloe, ,review, ,S/S 2011, ,Six sons

Amelia’s Magazine | London Fashion Week S/S 2011 Preview – A few more favourites…

Mr and Mrs Collingham, case illustrated by Krister Selin

When my oldest pal Lydia announced her engagement and subsequent wedding, I struggled to imagine her having a generic do with a meringue dress and posed pictures. Her list of likes include folk and rock music, vintage fashion and living a sustainable day-to-day life. So it was no surprise when she declared that her wedding would take place in the woods.

I apologise in advance if this article may seem a little self-indulgent, and the truth is, it probably is. Well, sod it.

Lydia and Nathan

Lydia and Nathan’s day began at the local town hall, with a low key ceremony. I had been so nervous about my continous blubbing throughout, but as The Beatles’ Love Me Do skipped on an old portable CD player, my tears turned to laughter. Lydia entered in a floor length Grecian-inspired dress with an artificial pose of sunflowers. Blimey, these civil ceremonies don’t last long do they? Before I knew it, they were Mr and Mrs Collingham and we were ushered outside to pose on the lawn. (Is it a civil ceremony when you get married at a registry office? I hope so).

Camping! Illustrated by Natasha Thompson

Anyway, the festivities began. Car-sharing had been arranged prior to the day (unfortunately there isn’t any easier way of getting around our small network of tiny villages) and guests had been discouraged from travelling from overseas. We arrived at the reception, set in our friend Alice’s beautiful garden. Lydia and Nathan are really fortunate to have such lovely friends who already take sustainability and climate change very seriously. The newlyweds had tried to create a festival vibe, whilst keeping carbon emisions to a minimum. We were all camping! A little camping area had been set up at the entrance to the woods, where tents had been pitched, and for a split second I could have been at any of the summer festivals – coloured tapers adorned the trees and homemade signs with directions had been painted.

Next up – food and booze. The food was incredible, and all locally sourced to reduce environmental impact. Organic elderflower champagne was provided as a reception drink, served with delicious vegan canapés. A delicious hog roast, provided by local butchers, was layed on for the meat eaters, but the menu was, by and large, vegan. Lydia’s mum had made a gorgeous mushroom en croute to accompany Ecoworks’ delicious selection of salads and nut roasts, and some of the vegatables had been sourced right here from the gardens!

The food! Illustrated by Kayleigh Bluck

Ecoworks is a community organisation based in Nottinghamshire with ‘the interests of people and the environment at its heart’. They work on conservation and restoration projects and run the FRESH project, which champions regeneration, education in sustainability and health.

They also run courses that encourage people to grow the good stuff and eat sustainably. Their Harvest Café van (a gorgeous converted vintage Citroën H van, no less) caters at festivals and events and specialises in vegetarian and vegan food, They provided spuds in the evening, with chilli or dahl, and a veggie breakfast the following day. I didn’t manage any of the latter because I had the world’s worst hangover, but I’m told it was a delight…

Lydia and Nathan’s dog Polly even managed to get in on the action, dressed to the nines in a ruffle of sunflowers…

Illustration of Polly by Naomi Law

I’m always hot for a Stella McCartney shoe – especially sourced on eBay at a bargain price. You can put the girl in the woods, but she’ll still wear hot shoes. AND Stella would have been proud. Sorry, I couldn’t resist… arrrrr!

Illustration by Michelle Urvall Nyrén

And so, very quickly, the afternoon turned to the evening and it was time to party, after taking a visit to one of the garden’s many eco loos. A total shock for many, this was. Wails of ‘Is that really where I go to the bloody lav?’ could be heard in the camping area, but just about everybody got used to it pretty quickly. One guest, who shall remain nameless, was even caught photographing down one…

Hay bales covered in vintage blankets created space for guests to mingle, while the epicentre was The Dome.

This recycled space appeared like a vision of the future from the 1960s, and Alice’s mum kindly informed me that it used to operate as a swimming pool cover. It was in here that local live bands played, including the wonderful 10 O’clock Horses – a suitable blend of folk, rock, roots and punk. Lydia and Nathan had their first dance to this band’s first song (as I stood aghast) and then we all had a good ol’ jig.

10 O’clock Horses, illustrated by Jaymie O’Callaghan

Candles lit the gardens, which was a bit of a struggle to begin with but we all soon got used to it and danced into the small hours. And so after a few too many organic beers and far too much shameful dancing on my behalf, it was time for bed. What a fabulous, fabulous day.

We retired to our tents, and Lydia and Nathan skipped off to their tepee to consumate their marriage…

Lydia and Nathan in front of their teepee, photographed by Paul Saxby

I have no idea if they did or not.
David Longshaw

For Spring Summer 2011, seek David Longshaw says he was inspired by ‘chav dogs, information pills feathers and a ruffle or two and a story I wrote’. The tale apparently describes the outcome when some hoodies break into a stately home and end up dressing up in period clothing. I am waiting with baited breath to see the results! Don’t miss David’s upcoming round up of London Fashion Week exclusively for Amelia’s Magazine.

Eudon Choi

A/W 2010, photographed by Matt Bramford

Eudon Choi has been much talked-about over the six months that have passed since the last London Fashion Week. As well as being awarded Vauxhall Fashion Scout’s Merit Award, he was named as a winner of the BFC Elle Talent Launch Pad. His Merit Award collection has been greatly anticipated; expect industrial references, masculine tailoring and military embellishments, cutting an edgy yet sophisticated silhouette.

Bernard Chandran

A/W 2010, photographed by Matt Bramford

Malaysia’s Prince of Fashion, Bernard Chandran, continued to impress with his powerful, glimmering A/W 2010 collection. Glamour prevailed; power shoulders were paired with luxe beading, sequins, feathers and exposed backs, providing the ultimate in wearable opulence. Look out for Lady Gaga and Florence Welch queuing up for his fresh flamboyance.

Eley Kishimoto

A/W 2010, photographed by Matt Bramford

Eley Kishimoto never fail to impress with their unmistakable graphic prints. Expect another eclectic mix for S/S 2011, with inspiration cited as “imitation, 3D on 2D and clothes drying on a rack”. After a notably scaled-down, pop-up shop presence last Fashion Week, it will be interesting to see what they show this time at Shoreditch Studios.

Ziad Ghanem

Ziad Ghanem couture, illustrated by Joana Faria

When Matt Bramford recently interviewed couturier Ziad Ghanem for Amelia’s Magazine, he revealed that he has been making a film for his new collection. After February’s show-stopping runway performance from Immodesty Blaize, the onscreen unveiling of his latest collection is eagerly anticipated.

Written by Naomi Law on Thursday September 16th, 2010 3:00 pm

Categories ,A/W 2010, ,Bernard Chandran, ,BFC, ,british fashion council, ,David Longshaw, ,Eley Kishimoto, ,Elle Magazine, ,Eudon Choi, ,illustrations, ,Joana Faria, ,lfw, ,London Fashion Week, ,Matt Bramford, ,Naomi Law, ,preview, ,S/S 2011, ,Ziad Ghanem

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Bora Aksu

Bora Aksu S/S 2012 by Gareth A Hopkins.

Nicola Roberts was once more amongst the attendees for The Unknown, online which promised an entire narrative within the collection. Ever the romantic, tadalafil Bora Aksu discovered four old postcards in a Geneva antiques market. Initially attracted to the beautiful Edwardian imagery, it was to be the words written on the back that would inspire him the most. Written by a young lady named Rose, the postcards disclosed her love for Charles… and left Bora wondering what happened to this great romance of over one hundred years ago. And thus he embarked on The Unknown.

Bora Aksu S/S 2012 by Karla Pérez aka Geiko Louve.

Bora Aksu SS 2011 review-photo by Amelia Gregory

Bora Aksu S/S 2012 by Gareth A Hopkins.

Lighting low, the show began with a group of models who emerged en masse at the head of the runway, each dressed head to toe in shades of cream and beige with their heads wrapped in flowery garlands. Before them the catwalk (with no riser this season) was strewn with autumnal petals. Short puff skirts paired with crisp sleeveless blouses gave way to columns of tulle and net, all with signature Bora Aksu detailing. The demure colouring left me with the impression of an Edwardian schoolgirl who had been caught in her undies, but amongst this were some very wearable separates that should sell well in the real world.

Bora Aksu S/S 2012 by Megan Thomas.

With a splash of sea blue roped detailing the collection moved onto sophisticated blacks and navy blues. Sweeping dresses with ribbon seam details emphasised womanly curves and curved necklines riffed on the current mania for all things pan collared. Sheer fabrics gave a glimpse of nipple, a common theme of this fashion week.

Bora Aksu SS 2011 review-photo by Amelia Gregory

Bora Aksu S/S 2012 by June Chanpoomidole.

I prefer my Bora with a bit more colour and structure, but this was an elegant collection that showed off Bora Aksu‘s love of all things Edwardian. It was also an excellent showcase for his new venture into the realm of hosiery. In the goodie bags were a pair of very special Bora Aksu branded tights, the rolling fishnet emulating the curved seams of his clothes: a perfect way to own a piece of Bora for a fraction of the cost of a whole outfit. Over the next few days I spotted many a pair of Bora clad legs on the front row, so it looks like he’s onto a winner.

Written by Amelia Gregory on Wednesday September 21st, 2011 2:11 pm

Categories ,Antique, ,Beige, ,BFC, ,Bora Aksu, ,Charles, ,Cream, ,Edwardian, ,Gareth A Hopkins, ,Geiko Louve, ,Geneva, ,Hosiery, ,June Chanpoomidole, ,June Sees, ,Karla Perez, ,lfw, ,London Fashion Week, ,Megan Thomas, ,Nicola Roberts, ,Nipples, ,Pan Collars, ,postcards, ,Romantic, ,Rose, ,S/S 2012, ,Sheer, ,Somerset House, ,The Unknown, ,tights

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Fashion Fringe

Fyodor Golan Winners of Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker
Winners of Fashion Fringe 2011: Fyodor Golan S/S 2012 by Antonia Parker

If you’ve read Matt’s or my account of The Swedish School of Textiles show at Fashion Scout, dosage you’ll know it went on for an insanely long time. This means I’m ridiculously (half an hour!) late for Fashion Fringe, which is showing on the opposite side of the WC2 postcode, near Trafalgar Square. Once again I wonder if London Fashion Week organisers have conferred to place shows at nonsensical distances from each other just so that the frustration of the press may create humorous fodder for them.

Luckily I’m not one that insists on wearing heels at fashion week (or ever), so I’m able to run comfortably – well, as comfortably as one can in the relentless monsoon like rain and when one is wearing a wholly impractical maxi dress (I suppose that eclipses my wise footwear choice).

8 Northumberland Avenue is not easy to find, especially when the familiar sight of an impatient queue has vanished, leaving no sign that reveals ‘catwalk show here!’ So after zipping across the street twice, I finally stumble upon, quite literally, the Fashion Fringe venue. I’m out of breath and drowning in rain and sweat (not quite how I’d wanted to present myself), but I’m here and it appears the show hasn’t started yet. Phew.

Claudia Schiffer & Roland Mouret Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

My Fashion Fringe invite gets a scrutinising glance before someone is told to get a wristband on me and rush me into the arena. More running and I’m there. “You can stand anywhere at the back,” I’m told – this guy obviously hasn’t scrutinised my invite. I proceed to find my seat and of course, as luck would have it, my view is being obscured by those of a superior height. I complain about my predicament to my new neighbouring friends; they’re writing for a publication in Toronto and tell me they “love Amelia’s Magazine“.

Fyodor Golan Claudia Schiffer Roland Mauret Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

The winners of Fashion Fringe 2011 Fyodor Golan with judges Claudia Schiffer and Roland Mauret.

A fuss is being made of a couple of celebrities as they make their predictable late entrance and ‘flash flash, snap snap’ croon those domineering cameras. Damn it, I can’t see from where I’m sat, so naturally I take to the raised runway to peer at Claudia Schiffer and Roland Mauret, this year’s Fashion Fringe judges. The photographers are been ushered away, but I take my chance and ask Claudia and Roland if I may take a picture – “of course,” they agree and I triumphantly click the shutter on my camera.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay 1

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The show is about to start and I can hear a voice shouting, “Quiet please!” I take a seat on the floor, knowing it’s the only way I’m going to get any half-decent pictures of the show. Sat across from me, Hilary Alexander offers me a smile and I hope it’s because she approves of my determination rather pitying my plight.

First up is the endearing partnership Fyodor Golan with their spring summer collection ‘Flowers of evil’, inspired by the anthology of the same title by Charles Baudelaire. The showcase narrates the story of a nymph (I’m guessing she’s a water nymph by the appearance of the straggly, uncombed, just out of the river after a star light dip hair the models are wearing) that experiences an excruciating metamorphosis.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The transition begins with her appearing in symbolic white, in contrasting textures; the strong and the delicate. Stencilled into the garments are birds as if signalling the fair creature’s desire to take flight and be free, whilst the gleaming gold choker that threatens to asphyxiate her, pulling her in to a world that promises contentment only in death.

As nature supports her frail demeanour, life appears brighter and the progressing metamorphosis reveals itself in form of a white dress veneered in vividly coloured blossom. The neck shackle however, remains, unforgiving.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The transformation sees the nymph freeing herself from the shackles of her former life and enjoying the dangerous opulence of the new and the darkest ebbs of human nature, but the shackle now replaced by her very own hair appears to reveal that she has become her own enemy. Golan Frydman and Fyodor Podgorny have clearly put a lot of thought in to the theatrical element of the show and this is very much evident as their nymph’s painful transition into maturity is depicted by an older than average model – not a common sight at fashion week, so a high-five to them!

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay 8

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The finale presents the protagonist in a severely structured, yet elegant black gown that trails the catwalk. Her head is held high, but her face hidden by a staggering collar, beautiful but all consuming. It’s a tragic tale and a timeless one, but the collection itself hasn’t quite enthralled me.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker

Fashion Fringe Runner-up: Heidi Leung S/S 2012 by Antonia Parker

After that dramatic performance, Heidi Leung’s collection inspired by Orientalism (‘East Asia and the Middle East’ highlights the press release) and 60s holiday photos appears a far more light-hearted an affair. The colour palette of lively greens, oranges and yellows, combined with a neutralising tan and blue and white checks incite summer days on sandy beaches, neon beach-balls and a nearly cloudless sky and picnics on a luscious green field dotted with pretty flora. The hair is styled simply; straight and easy with a prominent centre parting and the make-up complements with sixties’ neutrals and accentuated eyes.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

I’m a massive fan of layering, but if you’re not, Leung’s collection is going to be wearisome to comprehend. Every outfit appears to be made up of at least three layers; sixties style gingham undies (which I love), a chiffon overlay with a mandarin collar and a loose cape or a coat to complete the look.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Leung also combines crochet and embroidery within her collection, revealing an element of couture (in its original sense) and the use of ancient handicrafts. The crocheted and embroidered pieces sit upon gingham foundations and hang from the neck. I must say these pieces resemble table runners I’m sure reside on an antique oak table somewhere, in the parlour of a country cottage where a village tea party is being enjoyed. I love this collection.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

My favourite pieces include the frilly three quarter pants, reminiscent of undergarments of a past era, the knitwear, pleated tops and skirts and the long, softly moving, elegant coats. And have I mentioned the footwear? Okay, so a platform shoe covered in pastel coloured rosettes and secured with a transparent covering may not be the most flattering of foot accessories, but think about how much fun they’d be to wear? They’ve made me smile and I’m only looking at them.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal is the final Fashion Fringe contestant showing his collection titled ‘All the Riches She Deserves’. The collection conveys the story of a wealthy heroine who is taken to safety as her mansion of splendour burns to the ground at dawn. The make-up and hair conform to the narrative with captivating smoky eyes and voluminous, gracefully wild locks; a look inspired by the 1970s.

Nabil Nayal Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker

Fashion Fringe Runner-up: Nabil Nayal S/S 2012 by Antonia Parker

The colours that empower the collection echo the tones of smoke, fire and ash and perfectly cloak the strong, modern and feminine silhouettes. Nayal’s innovative construction of his collection boasts a myriad of wonderfully cultivated techniques and the use of a whole host of fabrics and textures. The Syrian born and Sheffield raised designer uses soft leathers, luxury silk jacquards and transparent fabrics such as organza and chiffon to concoct a dynamic presence, a characteristic each of his pieces flaunt.

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nayal’s love and admiration for the fashions of the Elizabethan era are manifested in the bulbous ruffs of his magnificent capes, whilst his appetite for elegance is evident in the long, flowing gowns, most notably the kimono style dress in antique gold lace. The tailored tulip dresses and skirts endeavour to promote a sense of a strong, ambitious, feminine character that never fails to look chic.

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Of all the competitors, I believe Nabil Nayal’s design appear the most expertly put together and the commercial aspect of fashion design has clearly been considered. I can certainly see the entire collection being bought and it adhering to the taste of many women, but would I wear the fastidiously put together collection? My desire for colour and eccentricity says “no”.

In contrast to my response to Fyodor Golan’s narrative, Nayal’s narrative isn’t one that I (or many others, I’m sure) can empathise with – I mean, how many of us enjoy power and wealth and the promise of a silk lined, jewel encrusted safety net, lest we fall?

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

I’m ready to mosey on home by the time the show ends; I’m exhausted and feeling a little faint (where’s the Vitamin Water when you need it?), but instead of being lead out of the venue, guests are taken down into the basement where the Fashion Fringe after-party is getting under way. I’ve never understood why these parties happily offer alcoholic beverages, but never provide decent non-alcoholic beverages. I feel like I’m being persecuted for being a non-drinker as I sip my medicinal tasting One Water.

A flurry of excitement commands the attention of the crowd; Claudia Schiffer, Roland Mauret and Colin McDowell take to the stage. A moment of silence, then Fyodor Golan are announced the winners of Fashion Fringe 2011. I hadn’t expected it, but I’m impressed that the judges haven’t simply been dragooned into championing the familiar and the chary. I’m very curious to see what Fyodor Golan will be delivering to the world of fashion in the future; I wonder if I could persuade them to create a collection around the poem ‘Lamia’ by Keats?

Watch the show here.

All photography by Akeela Bhattay

Written by Akeela Bhattay on Sunday September 25th, 2011 4:32 pm

Categories ,1960s, ,2011, ,8 Northumberland Avenue, ,After-party, ,Akeela Bhattay, ,All the Riches She Deserves, ,Antonia Parker, ,BFC, ,British Fashion Co, ,Claudia Schiffer, ,Contestants, ,couture, ,crafts, ,crochet, ,East Asia, ,Elizabethan, ,embroidery, ,Fashion Fringe, ,Flowers of Evil, ,Fyodor Golan, ,Fyodor Podgorny, ,Golan Frydman, ,Good Relations PR, ,Heidi Leung, ,lfw, ,London Fashion Week, ,Metamorphosis, ,Middle East, ,Nabil Nayal, ,Nymph, ,Orientalism, ,Roland Mauret, ,Runners-up, ,S/S 2012, ,Swedish School, ,Trafalgar Square, ,transition, ,Vauxhall Fashion Scout, ,WC2, ,Winners

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Mark Fast

Mark Fast Spring/Summer 2012 by Marcus Reed
Mark Fast S/S 2012 by Marcus Reed

Mark Fast is a designer that sticks in peoples minds for a multitude of reasons. For some it’s his way of turning knitwear into an art form, viagra for others it’s how he creates some of the most recognisable figure-hugging yet conceptual dresses out there or his revolutionary steps in technique. Amelia herself is a massive knitwear fan, and raved about his work with merino wool in her review of Mark Fast‘s A/W 2011 collection at London Fashion Week. For me, it all started when I met a very funny and gently spoken fashion student who was creating knitwear for womenswear designer Bora Aksu back in 2006.

Mark Fast Spring/Summer 2012 by CharlotteHoyle
Mark Fast S/S 2012 by Charlotte Hoyle

Since then, Mark has rocked some headlines with his catwalk shows; causing a fashion stir for his use of plus-sized and curvier models such as Crystal Renn and Hayley Morley consistently each season (his first use of plus-sized models allegedly causing members of his team to walk out). At the time, I remember a sudden explosion of people talking about Fast, even friends who never ‘got’ fashion week before knew his name. There are countless designers who create figure-hugging sartorial magic on the catwalk, but a distance is created when you realise that normal women come in all different shapes and sizes, which stops me from seeing a fantastically chic friend or myself in the clothes. I can always appreciate the raw beauty and skill involved in a good catwalk show, as you’d admire a work of art; but don’t always see it as something accessible for this reason. Mark blew all of this out of the water by proving that his knitted dresses could also hug the curve of real hips and flatter the roundness of a fuller bust.

Mark Fast Spring/Summer 2012 by Amelia Gregory Mark Fast Spring/Summer by Amelia Gregory
Mark Fast S/S 2012, all photography by Amelia Gregory

I lined up for the show with endless other fashion editors and buyers for what looked like was going to be a very packed event. Fashion editor and style magpie Anna Dello Russo fluttered by in a shimmer of current season Prada oversized paillette dress and snakeskin boots, which have an incredible curved heel to them, catching my eye despite of my aversion to real snakeskin. Model Liberty Ross, Tallulah Harlech (daughter of modelling legend Lady Amanda Harlech) and modelling pop songstress Eliza Doolittle were in the front row, with Eliza catching a lot of attention from the paparazzi in a very short (presumably Mark Fast) black dress. I had to smile when she pretended to ignore them but continued posing as she caught up with a friend.

Mark Fast Spring/Summer 2012 by Kristina Vasiljeva
Mark Fast S/S 2012 by Kristina Vasiljeva

Mark Fast Spring/Summer 2012 by Amelia Gregory

As I was shown to my seat, there were a lot of people running around including a production or show manager yelling ‘showing in 5 MINUTES!’ in my ear as I scurried past. There definitely was something in the air before this show, a palpable heated excitement radiating from every person in the presentation space. Suddenly, the press release I was reading through seemed incredibly apt. The collection was inspired by ‘desert mirages and tropical exoticism’ with colours taken from a desert landscape and the movement of a sandstorm providing a starting point for the clothes. I began to feel hotter, as if all the anticipation had brought the desert heat into the show, making me forget all about the blustery autumn weather outside. I was then asked to shuffle over to make room for a lady who turned out to be a very nice Condé Nast street style photographer. She spotted my pens and sketchbook, poised for drawing, and chatted to me about how enchanting it is to watch Vogue creative director extraordinaire Grace Coddington (who I loved in The September Issue) sketch live at catwalk shows. As we talked illustration and photography, the lights began to dim and a sultry summer track mixed with electro beats began to play.

Mark Fast Spring/Summer 2012 by Amelia Gregory

Orange-tinged lights especially set up for this show around the catwalk began to shine and fade in time with the sharp metallic-sounding music, and then settled to glow intermittently as the first model made her way onto the catwalk. An off the shoulder knitted top and skirt in the lightest possible shade of sand with equally light detailing and undone strands that trailed along the arms of the model as she moved made it out along the catwalk. The photographer next to me sighed a little breath of relief and delight along with most of the room. The pale gold colours made me reminisce over the sunlight you get in the summer, while the 1920s finger-waved and bobbed hair gave the clothes a bit of vintage glamour. The shoes, thanks to Mr Christian Louboutin, brought the look back around to the modern day. T-bar wedges and heels with incredibly huge platforms in gold, pink, black and orange to match the clothes also had little details like spiked studs and rubber straps, which reminded me of jelly shoes.

Mark Fast Spring/Summer 2012 by Amelia Gregory

More dresses in the same colours but with a variety of shapes you would normally associate with formal wear such as a fishtail gown (which the model almost fell over in) and a practically see-through floor-length number came along. Cleverly re-worked in a luxe version of macramé-style knotting, the silhouettes held their structure but had a light, summery softness to them. Sheer finer-knit dresses were placed over golden knitted bikinis, subtly showing off their delicate intricacy.

Mark Fast Spring/Summer 2012 by Amelia Gregory

Although the audience was already clearly wowed by the pale gold creations, several pieces came out that made me hold my breath in amazement. The first was a dress with a structured top and then a signature Mark Fast bottom half completely made out of golden loose strands, which moved like nothing I’ve ever seen in my life. Movement on this scale is hard enough to capture in a garment, let alone getting it to a point where it’s flattering. But the weight and lengths of the string-like strands moved perfectly in harmony with the model, never losing her shape but seemingly dancing around her. It was like Mark had actually gone out and captured a little sandstorm of gold, and then attached it to a dress in the most flattering way possible. The model and the others that followed her with similar garments couldn’t help having a little something extra in the way they walked. I began to fantasize about how it must feel to wear something quite so incredible, and luckily was snapped out of it by what came next.

Mark Fast Spring/Summer 2012 by Amelia Gregory

After some acid-yellow and Lucozade-orange dresses with a similar lightness but no less ‘feminine with an edge’ fabulousness, I got a shock that made me want to elbow the photographer next to me in eagerness (luckily I held back, realising that almost knocking the poor girl off the bench in a rush of excitement wouldn’t be the best thing to do).

Mark Fast Spring/Summer 2012 illustrated by Gareth A Hopkins

Mark Fast S/S 2012 by Gareth A Hopkins

Mark Fast Spring/Summer 2012 by Amelia Gregory

At first, I thought I was imagining it, but then I remembered the painterly pattern on my show invite and realised that I was indeed seeing the first bit of print in a Mark Fast show. Printed on neoprene, that wetsuit fabric that fashion houses have been using for a while and love for summer, the pattern circled necklines, sleeves and hemlines, gradually fading out. It was completely unexpected and I love the way Mark just gave print a little try, modestly put it on a few dresses but was obviously proud enough to use it for the invitation.

Mark Fast Spring/Summer 2012 by Marcus Reed
Mark Fast S/S 2012 by Marcus Reed

Mark Fast Spring/Summer 2012 by Amelia Gregory

All in all, the show was very relaxed, sultry, modern and seductive while sporadically a little bit younger than before with the cute baby doll type dresses alongside the dramatic-but-comfortable grown-up gowns. There were some black dresses and two-pieces expertly styled with Linda Farrow sunglasses and jewellery from both Pebble and Renee Lindell (stacks of thick bangles looked perfect for summer) as was the rest of the collection. Quite a few garments were like summer versions of his previous winter collections made from heavier wool. It was almost like someone said ‘well I bet that body-con knitted dress business wouldn’t work in summer’ and Mark replied ‘oh yeah?’ by finding an entirely new and light-as-air way of knitting.

Mark Fast Spring/Summer 2012 by Amelia Gregory

On the way out of the show, the cynic in me thought that were was actually a lot of repetition from previous seasons in the necklines, silhouettes and structured knits. However as hot-footed it to another show, I thought about why I expected there to be something so completely different this time around. I admittedly had high expectations of the show, but it was such a standout collection, and little details like structure and shape created by embroidering shimmering petals of sequins into the knitwear didn’t disappoint. I suddenly thought, what is so wrong with sticking with what you’re good at? Mark has now built up a signature style where so much can be developed from, why should he change drastically each season? The promise of prints and ever-developing strides in knitwear are keeping me interested, and if Mark continues to keep his fans I can see his brand following in the steps of Azzedine Alaïa, who practically invented sexy dressing with a twist through his figure-hugging cut-out womenswear in the 1980s and is still going strong. I was genuinely surprised by what this clever designer delivered, and no doubt will be panting in anticipation for the next season with everyone else.

Play the video and watch the show.

Written by Alia Gargum on Wednesday September 21st, 2011 7:20 pm

Categories ,Alia Gargum, ,Amelia Gregory, ,Anna Dello Russo, ,Azzedine Alaia, ,BFC, ,Bora Aksu, ,catwalk, ,Charlotte Hoyle, ,Condé Nast, ,Crystal Renn, ,Eliza Doolittle, ,Gareth A Hopkins, ,Grace Coddington, ,Hayley Morley, ,knitwear, ,Kristina Vasiljeva, ,Liberty Ross, ,London Fashion Week, ,Marcus Reed, ,Mark Fast, ,print, ,S/S 2012, ,Somerset House, ,Spring/Summer 2012, ,Tallulah Harlech, ,The September Issue, ,Womenswear

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Mary Katrantzou

Mary Katrantzou S/S 2012 by Joana Faria

I don’t usually do much during fashion week on Mondays and Tuesdays. That’s because I have a day job. But when Amelia offered me tickets to Michael Van Der Ham during Monday lunchtime and Mary Katrantzou on Tuesday morning, no rx I couldn’t resist. It would be a push – a swift Boris from Southwark with moments to spare, see but I thought hell, side effects I’ll give it a go.

Mary Katrantzou S/S 2012 by Lesley Barnes

By the time I arrived at Waterloo on Tuesday morning, a queue of standing ticket owners had already formed. Christ, these queues don’t half drag you down. I stood puffing on a cigarette as photographers run down the line to take pictures, interns offer The Daily and other free stuff while a whole host of people in enormous heels leg it inside. ‘Why am I bothering?!’ I thought to myself. Well, it only took the first look to appear at the start of Katrantzou‘s show to make me realise.

All photography by Matt Bramford

I didn’t have a hope in hell of getting my hand on a press release, lest a seat or one of Mary’s covetable, seasonal goodie bags, this time in black with a gorgeous fuchsia print (from what I could see). So I looked around the cavernous old Eurostar station for clues as to what Katrantzou might deliver this season. I didn’t have to look far. The entire runway had been transformed with a vast bank of erect carnations, framed from the back by a huge metal structure; a stark juxtaposition of natural and industrial which was to prevail as Katrantzou‘s inspiration for this stunning collection.

Mary Katrantzou S/S 2012 by Karolina Burdon

I took a spot next to the photographer’s pit, manoeuvring behind anybody that looked remotely short – some mean feat at fashion week. The show started pretty soon after I finally entered the venue, which was literal music to my ears. It’s so easy to see why Mary Katrantzou has built up such an enormous following. What a breathtaking collection! I vaguely remember a quote in an interview that Katrantzou gave saying that she was worried if she pushed it any further, nobody would wear her clothes. Well there was no shortage of fans here today.

I’m so pleased I caught this show, despite my horrendous view: Katrantzou’s fascination with artificial against organic had been magically infused into this bright and bold collection. Digital prints featuring abstract elements of tin cans, microphones and car parts were the mainstay on mid-length dresses with translucent trains floating from the back. Saturated colours of all kinds – burnt organ, plum, greens, yellows, hot pink and cyan were aplenty, as if they had been painted onto the garments as the models wore them. You would be forgiven for thinking that it was all a bit of a mismatch, but discreet changes in cut and colour and the dramatic setting brought the collection together wonderfully.

Mary Katrantzou S/S 2012 by Joana Faria

Mary‘s inimitable cocktail dresses this time seemed a little softer; dresses that began from one shoulder nipped in at the waist before blossoming out again to create an ideal silhouette. Katrantzou also showed sharp tailoring with blazers and trousers that were married together with the same vivid colours and abstract prints. But it will be the dynamic cutting of dresses and the breathtaking finale – a bias cut creation made entirely from brightly colour metals – that we’ll remember this collection for.

Mary Katrantzou S/S 2012 by Lesley Barnes

At the risk of sounding like an absolute berk, it was a real fashion moment. And I never say that. I left reeling. I’m sure the BFC are bending over backwards to keep Mary on our London Fashion Week schedule, but I fear it won’t be long before, like our other exceptional talent, she flies the nest to meet the demands of the global fashion market. For now, though, I feel privileged to have witnessed such an phenomenal display of world class fashion.

All photography by Matt Bramford

See the show here:

Written by Matt Bramford on Sunday September 25th, 2011 2:12 pm

Categories ,BFC, ,catwalk, ,Christian Louboutin, ,Digital Prints, ,Eurostar Terminal, ,fashion, ,Joana Faria, ,Karolina Burdon, ,Lesley Barnes, ,London Fashion Week, ,Machine, ,Man made, ,Mary Katrantzou, ,Matt Bramford, ,metallics, ,nature, ,organic, ,review, ,S/S 2012, ,SS12, ,tailoring, ,Topshop Space, ,Waterloo

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