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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Swedish School of Textiles MA

LFW Swedish School of Textiles Salisa Phuwanawijak SS 2012 by Claire Kearns

Salisa Phuwanawijak for Swedish School of Textiles by Claire Kearns

‘Twenty one designers’ I’m told by one of the PR people at the Swedish School of Textiles Show at Vauxhall Fashion Scout. The familiar room feels like it is getting ready to assume the role of a sauna and I’m afraid I may melt away. So the idea of sitting through a showcase from twenty-one designers is beginning to feel a little like a punishment.

Anna Lidstrom Swedish School of Textiles S/S 2012 London Fashion Week by Akeela Bhattay

Anna Lidstrom - Swedish School of Textiles S/S 2012 London Fashion Week by Akeela Bhattay

But as the first models in pastel notebook necklaces and cubed foam ensembles appear on the catwalk, buy more about my previous qualms are quelled and I excitedly snap away with my now bruised camera (I had managed to drop it on a concrete floor at another show); I’m hoping it’s not damaged internally, cure much.

Swedish School of Textiles Anna Lidstrom LFW SS 12 by Barb Royal

Anna Lidstrom for Swedish School of Textiles S/S 2012 by Barb Royal

I’m sitting at the very beginning of the catwalk and beside me, malady on the floor, sits a hipster photographer with his fancy camera who decides it’s a good idea to poke me and demand that I move my bag. I ignore him and he shoves my belongings away whilst muttering unmentionables under his breath. I’m spouting much worse at him in silence. I’m not the only person he’s offended though; as the models take their places at the start of the catwalk, he harangues them with his personal requests “stand here,” and “look at me” and exclaims “oh very sexy!” A few of the models ignore him, but others look like they might burst in to tears. If he were not twice my size, I’d slap him on their behalf, but all I can do is stare lasers into the back of his obnoxious skull.

Laura Clausen - Swedish School of Textiles S/S 2012 London Fashion Week by Akeela Bhattay

The never dull showcase advances and after a fantastic variety of fabrics, textures and ideas from seventeen BA students and a lustrous collection from Ida Klamborn, the MA students close the show. Anna Lidstrom is first with a collection that uses unconventional textiles to challenge the illusory ‘ideal’ female silhouette. The garments that really stand out are the accordion pleat skirt that brings to mind the common lampshade. Accompanying the skirt is a bottle green blouse made from a plastic of some kind. Taking pride of place in the collection is an eighties-esque party dress, again in a synthetic plastic like fabric. It is accompanied by the eighties essential denim jacket and a giant angular foam bangle.

Swedish School of Textiles Anna Lidstrom LFW SS 12 by Barb Royal

Sarah Turkelsson for Swedish School of Textiles S/S 2012 by Barb Royal

Laura Clausen presents a collection that invites the audience to reflect on the concept of body modifications and deformities. She does this by offering garments that are abnormally angled or exaggerated in certain places, such as the chest.

Salisa Phuwanawajik - Swedish School of Textiles S/S 2012 London Fashion Week by Akeela Bhattay

Probably my favourite from the MA collective are the designs of Salisa Phuwanawijak. The juxtaposition of the simple and complex are evident in her collection, with her use of primary colours and her strict use of one colour per garment and yet each garment is structured completely contrary to the traditional method of working with the natural silhouette of the human body. Rather she has challenged herself to use a specific amount of pieces on each garment and has attached them in a multitude of techniques, making each garment multi-dimensional.

Sarah Torkelsson - Swedish School of Textiles S/S 2012 London Fashion Week by Akeela Bhattay

The show concludes with Sarah Torkkelsson’s collection of ‘moving’ garments. Playing with fabrics that have a rhythmic element to them, Sarah’s collection explores how different fabrics create the illusion of transition and expression. The dresses remind me of immense dishevelled birds. I’m not sure how I feel about them and strangely; I have the suspicion the designer intended for that ambivalent reaction.

Swedish School of Textiles S/S 2012 London Fashion Week by Akeela Bhattay

I’m very slightly disappointed that the MA designers haven’t surmounted the BA students’ work, but although it’s been a rather long show, over-all it has has been much fun.

All photography by Akeela Bhattay

Watch the show here.

Swedish School of Textiles SS12 Full Show from VAUXHALL FASHION SCOUT on Vimeo.

Read more about the BA students in Matt Bramford’s review here.

Written by Akeela Bhattay on Thursday September 22nd, 2011 5:29 pm

Categories ,17th September, ,Anna Forsman, ,Anna Lidstrom, ,BFC, ,british fashion council, ,Clara Flygare, ,designers, ,Elin Eng (strom), ,Freja Sundber, ,g Stina Eklund, ,Ida Klamborn, ,Isabella Falkirk, ,Josephine Strid, ,Laura Clausen, ,lfw, ,Linda Larsson, ,Linnea Woxinger Skold, ,London Fashion Week, ,Louise Arkelund, ,Maja Dixdotter, ,Malina Nordin, ,Mari Miltvedt, ,Per Axen, ,S/S 2012, ,Salisa Phuwanawikjak, ,Sarah Torkelsson, ,Sofi Svensson, ,Somerset House, ,SS12, ,students, ,sweden, ,Swedish School of Textiles, ,Teresa Jaksetic, ,Vauxhall Fashion Scout

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 2012 Catwalk Review: Toni & Guy – Hair Meets Wardrobe

Naomi Campbell, salve illustrated by Phoebe Kirk

So fashion week (unofficially) kicked off early this S/S 2012 season with a Thursday night show-cum-product launch from purveyors of the faukhawk, Toni & Guy. I had no idea what to expect from this. Well, clearly I imagined there’d be a fair few hair dos on display – but would it take the form of a normal runway show? What would the fashion be like? Would I leave desperate to dash to my nearest T&G salon? I was soon to find out.

Toni & Guy, illustrated by Gareth A Hopkins

Inside the uninspiring BFC tent within the awe-inspiring Somerset House, we were treated to champagne, Pimm’s and traumatic canapés that make it entirely impossible to look attractive whilst throwing them in your gob. I was starving though, so I did my best ‘I-don’t-even-care-about-looking-attractive’ face whilst hoovering them up. Inside the tent we were rewarded with pretty decent seats, an enormous goodie bag featuring the new Toni & Guy Hair Meets Wardrobe range, and a crisp A4 sheet detailing what was about to happen. I scanned down it and thought I read ‘with an introduction by Naomi Campbell’. I read through it again. I hadn’t been mistaken; ‘with an introduction by NAOMI CAMPBELL‘. There it was, in black and white. Really? The Naomi Campbell? Yikes.

Naomi Campbell, illustrated by Sally Jane Thompson

A scrum ensued when Olivia Palermo took her Frow seat right in front of us: flash after flash left a permanent glare on my eyeballs. She was joined by Matthew Williamson in a rather stylish hat, with yet more flashbulbs going off at record speed.

Olivia Palermo, illustrated by The Lovely Wars

The lights dimmed and an X-Factor-style voiceover requested we welcome NAOMI CAMPBELL. Not much of an ask, let’s face it. Out she sashayed to huge cheers, and I could actually feel one of my legs wobbling. I write the next sentence with caution and hide behind my screen to avoid any airborne mobile phones, but our Naomi isn’t the best public speaker. I can’t imagine she’d spent much time rehearsing, but she fluffed her way through it, referring to Hair Meets Wardrobe as ‘Meet the Wardrobe’, at which I chuckled. Having said that, a woman like Naomi could read the Yellow Pages aloud and I’d still be completely mesmerised.

All photography by Matt Bramford

On with the show, and a video popped up on the big screen showing some of nature’s finest matches: fish ‘n’ chips, gin and tonic and so on – I think they were getting at that hair and wardrobe are quiet important together – a concept not brand new to fashion. The show was then divided into four sections (the four components of the new Toni & Guy brand): classic, casual, glamour and creative.

Classic

Illustration by Gilly Rochester

The classic section featured 1960s-esque natural beauties with slick hair styles. Croydon facelifts were popular – a hairstyle that will never go out of fashion.

Casual
I loved the ‘casual’ section, and can’t wait to mess up my locks with the sea salt spray we were given. Sexy bedroom hair, that I’ve since seen on numerous catwalks, was presented in a variety of ways, from backcombed scruffy heaps piled atop models’ heads, to long natural styles with uneven plaits.

Glamour

Illustration by Gilly Rochester

T&G cranked up the glamour for what was by far my favourite portion of the show. 1920s tight waves walked alongside big, big backcombed locks and modern interpretations of the pompadour. Sexy, smokey eye make-up and flowing frocks brought the looks together perfectly.

Creative

Illustration by Gareth A Hopkins

This is praps what Toni&Guy are essentially known for – and I have to admit that I was expecting much more of this from the show. Y’know – the kind of hairstyle popular with Diesel-clad punters from Leeds. A couple of spiked coloured numbers felt a bit dated in the mix of all that glamour and sophistication, but a Louise Brooks-esque severe bob soon turned things around. A few cartoonish styles at the end brought a welcomed bit of fun.

Previous fashion editor of Tatler, Charlie Anderson, had styled the show and had married striking outfits with each of the hairstyles. it’s difficult to focus on hair alone when you’re used to watching models parade backwards and forwards, but the clothes (apart from the final pieces) were cool enough to bring the barnets to life without stealing the show. These were my final thoughts as another pap scrum formed where Naomi had taken her seat.

All photography by Matt Bramford

Written by Matt Bramford on Saturday September 17th, 2011 2:21 pm

Categories ,BFC, ,Casual, ,Charlie Anderson, ,Classic, ,Creative, ,fashion, ,Fauxhawk, ,Gareth A Hopkins, ,Gilly Rochester, ,Glamour, ,Hair, ,Hair Meets Wardrobe, ,London Fashion Week, ,Louise Brooks, ,Naomi Campbell, ,Phoebe Kirk, ,Pimm’s, ,S/S 2012, ,Sally Jane Thompson, ,Somerset House, ,The X Factor Voice Over Man, ,Toni & Guy

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

Hannah Marshall S/S 2011, check 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, doctor after the first model strode down the catwalk in one of the collections strongest designs, physician 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.

Written by Sally Mumby-Croft on Saturday September 18th, 2010 12:15 am

Categories ,180s, ,BFC, ,black, ,british fashion council, ,Erica Sharp, ,film, ,Hannah Marshall, ,London Fashion Week, ,S/S 2011, ,Somerset House

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Toni & Guy – Hair Meets Wardrobe

Naomi Campbell, salve illustrated by Phoebe Kirk

Toni & Guy, illustrated by Gareth A Hopkins

Naomi Campbell, illustrated by Sally Jane Thompson

Olivia Palermo, illustrated by The Lovely Wars

All photography by Matt Bramford

Classic

Illustration by Gilly Rochester

The classic section featured 1960s-esque natural beauties with slick hair styles. Croydon facelifts were popular – a hairstyle that will never go out of fashion.

Glamour

Illustration by Gilly Rochester

Creative

Illustration by Gareth A Hopkins

All photography by Matt Bramford

Written by Matt Bramford on Saturday September 17th, 2011 2:21 pm

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

Illustration by Andrea Peterson

As part of Designers Remix, physician designer Charlotte Eskildsen, who is creative director of the enterprise published their signature collection last week. After winning the prestigious Danish Design Guldknappen award she has become a force to be reckoned with in international fashion since starting the line in 2002. Her S/S 2011 collection ‘Liquid Sky’ is inspired by cloud formations.

Draped fabrics. Origami folds. A flash orange dress. Scraped back hair tied in tight knots. The show, more about held in the Portico rooms was one of my favourites of the week. Like many others, it stuck strongly to a muted colour range, beginning with pieces in greys, creams and blacks. Small details like the delicate lace insets and just-seen underskirts pulled the collection together extremely well.

Charlotte’s skill lies in how well she collects the fabric together and makes it hang. Ruffles on the shoulders of her cream dresses are restrained and kept from looking fussy, the great bright orange dress (which I desperately want) is understated in all other ways bar the colour and the waterfall collars on the jackets carried the theme of softness through even on heavier fabrics.

Illustration by Andrea Peterson

The collection ranged from smart black dresses, to sand toned wafty jackets and ruffled party frocks in various shades of cream. This is a collection that is just good, I can’t put my finger on an exact feature or piece that puts it into a higher category for me and I think that’s why I like it. More than just a wearable summer collection, it mars together a floaty casual look with added details of specialness without being over the top.

Illustration by Andrea Peterson

As part of Designers Remix, viagra 100mg designer Charlotte Eskildsen, who is creative director of the enterprise published their signature collection last week. After winning the prestigious Danish Design Guldknappen award she has become a force to be reckoned with in international fashion since starting the line in 2002. Her S/S 2011 collection ‘Liquid Sky’ is inspired by cloud formations.

Draped fabrics. Origami folds. A flash orange dress. Scraped back hair tied in tight knots. The show, held in the Portico rooms was one of my favourites of the week. Like many others, it stuck strongly to a muted colour range, beginning with pieces in greys, creams and blacks. Small details like the delicate lace insets and just-seen underskirts pulled the collection together extremely well.

Illustration by Andrea Peterson

The clothes ranged from smart black dresses, to sand toned wafty jackets and ruffled party frocks in various shades of cream. This is a collection that is just good. I can’t put my finger on an exact feature or piece that puts it into a higher category for me and I think that’s why I like it. More than just a wearable summer collection, it mars together a floaty casual look with added details of specialness without being over the top. If I wanted to sound very fashiony I would call it perfect ‘understated chic’, but hopefully I’ve described it better than that!

Illustration by Katie Harnett

Ten days is a long time to reflect on a catwalk show, purchase by this point in time, London has finished, Milan has finished and Paris started last night, which means this post is a bit late, coming a long time after the BFC tent has been removed from the courtyard of Somerset House. In the interim I have been struggling for the words to describe Kinder Aggugini’s ‘Africa’ inspired show as at the moment, it appears designers and their copy writers, forget Africa is not simply a place somewhere called ‘Africa,’ but a complex continent subdivided via colonial rule. consisting of multiple languages and cultures. But for the purposes of fashion, Africa has been relegated to Tiger skins and “super fantastic” Safari outfits. For a supposedly fashion forward industry; fashion is (un)surprisingly chained to peculiarly conservative ideas of wealth and escapism.

Illustration by Gemma Randall

It was not ‘Africa’ which inspired Kinder but a European idea of Africa, an idea which often fills the pages of Vogue’s distasteful summer fashion shoots of caucasian models in ‘Colonial Explorer’ inspired outfits striding the Safari. In a twist for a Spring Summer collection inspired by Africa, the catwalk featured Linen Jackets with trousers to match alongside simple shift dresses. The most exciting thing that appeared on the catwalk were the cardboard hats made by the fantastic Stephen Jones.

Fashion survives and feeds on escapist desires, Dior encapsulated a sense of jubilance with his “New Look” after years of rationing. Whether you want to or not we buy into the idea that what we wear is a projection of our opinions. As a result an entire industry (the High Street,the Ateliers and the Fashion Press) has developed to transform ideas created on the catwalk into the trends currently seen dominating shop window displays. Suddenly have an urge to feel like a pre-Second World War pilot? Then why not buy the Burberry inspired aviator jacket?

Illustration by Gemma Randall

Since Kinder’s show, London has finished, Milan began and ended and Paris is in the process of starting. The month of Spring Summer is drawing to a close. Trend spotters who have been waiting eagle eyed for clues to what we will be wearing next season, will have produced trend forecasts. The main problem, lies not with the designers such as (Sorry to keep using you as an example!) Kinder Aggugini who are transcribing their inspiration into garments, but with the increasing dislocation between clothes and the wearer. Fast Fashion means you can be one look tomorrow and another tomorrow, resulting in the constant plundering of the 70′s,60′s,50′s etc aesthetic. Catwalk shows can be absolutely beautiful and there were moments in Aggugini’s show of breathtaking draping alongside playfully deconstructed jacket hems and the aforementioned collaboration with Stephen Jones was exquisite.

Illustration by Katie Harnett

Written by Sally Mumby-Croft on Wednesday September 29th, 2010 10:57 am

Categories ,africa, ,BFC, ,catwalk, ,kinder aggugini, ,Leopard Print, ,Linen, ,London Fashion Week, ,Safari, ,Stephen Jones

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

Una Burke A/W 2011. Photography by Amelia Gregory

Una Burke A/W 2011 by Joy Chokchai.

I really don’t know what it is about fashion that attracts so many people with a dark sensibility. Is it because an obsession with the way we look can easily tip into self flagellation? Maybe for striving but somehow never attaining perfection? Punishment, tadalafil pain and even death are a major inspiration for all sorts of fashionable creativity… and ideas provoked by S&M were present in spades at this LFW, visit this site as always.

It featured scenes of a semi clad model in a dungeon – opening her eyes in gory close up before grappling her way towards the light and a crowd of bemused onlookers.

In cabinets we were invited to admire the bondage inspired pieces up close, presented alongside grainy black and white photos, stills from the film. Her website cites her stated aim “to create leather objects which are both visually captivating and technically challenging.” Úna Burke inhabits that grey area between art and fashion – making wearable art. Using traditional techniques, there is undoubtedly a fine sense of craftsmanship to her work. All well and good for a bit of sex play, but this kind of presentation leaves me wondering – what exactly is the market for this? Can one make a living this way? Or must one diversify into slightly more commercial pieces to survive? Witness the Maria Francesca Pepe exhibition a few days later…

You can read Matthew Bramford’s complimentary review of the same presentation right here.

Una Burke A/W 2011 by Joy Chokchai.

I really don’t know what it is about fashion that attracts so many people with a dark sensibility. Is it because an obsession with the way we look can easily tip into self flagellation? Maybe for striving but somehow never attaining perfection? Punishment, purchase pain and even death are a major inspiration for all sorts of fashionable creativity… and ideas provoked by S&M were present in spades at this LFW, find as always.

Una Burke A/W 2011. Photography by Amelia Gregory

Úna Burke presented her leatherwear collection at Fashion Scout accompanied by a somewhat disturbing film that my more erudite boyfriend informed me was similar to the work of Bjork’s one time other half Matthew Barney. It featured scenes of a semi clad model in a dungeon – opening her eyes in gory close up before grappling her way towards the light and a crowd of bemused onlookers.

Una Burke A/W 2011. Photography by Amelia Gregory.

In cabinets we were invited to admire the bondage inspired pieces up close, splayed out and presented alongside grainy black and white photos, stills from the film. Her website cites her stated aim “to create leather objects which are both visually captivating and technically challenging.” Úna Burke inhabits that grey area between art and fashion – making wearable art. Using traditional techniques, there is undoubtedly a fine sense of craftsmanship to her work. All well and good for a bit of sex play, but this kind of presentation leaves me wondering – what exactly is the market for this? Can one make a living this way? Or must one diversify into slightly more commercial pieces to survive? Witness the Maria Francesca Pepe exhibition a few days later…

You can read Matthew Bramford’s complimentary review of the same presentation right here.

Una Burke A/W 2011 by Joy Chokchai.

I really don’t know what it is about fashion that attracts so many people with a dark sensibility. Is it because an obsession with the way we look can easily tip into self flagellation? Maybe encouraged by the desire to strive for but never being able to attain perfection? Punishment, advice pain and even death are a major inspiration for all sorts of fashionable creativity… and ideas provoked by S&M were present in spades at this LFW, as always.

Una Burke A/W 2011. Photography by Amelia Gregory

Una Burke A/W 2011. Photography by Amelia Gregory.

You can read Matthew Bramford’s complimentary review of the same presentation right here.

Una Burke A/W 2011 by Joy Chokchai.

I really don’t know what it is about fashion that attracts so many people with a dark sensibility. Is it because an obsession with the way we look can easily tip into self flagellation? Maybe encouraged by the desire to strive for but never being able to attain perfection? Punishment, sales pain and even death are a major inspiration for all sorts of fashionable creativity… and ideas provoked by S&M were present in spades at this LFW, sildenafil as always.

Una Burke A/W 2011. Photography by Amelia Gregory

Una Burke A/W 2011. Photography by Amelia Gregory.

You can read Matthew Bramford’s complimentary review of the same presentation right here.

Jaeger A/W 2011 by Madi.

Jaeger, find I’m afraid, viagra 60mg is one of those shows for which I lost the press release several weeks ago. That’s if there ever was one – but who needs a blurb anyway? Surely the clothes should be able to do the talking…

Jaeger A/W 2011. Photography by Amelia Gregory.
Jaeger A/W 2011 by Katherine Tromans.

Jaeger is a traditional brand that has managed to up the fashion style stakes with in house design team shake ups. The current creative director is Stuart Stockdale, malady who formerly worked for Pringle of Scotland amongst others. He’s been with Jaeger for several years now and after a prolonged period in the doldrums he has succeeded in reinvigorating the brand. What is it with British heritage fashion brands? They’re just so very good at reinventing themselves.

Jaeger A/W 2011. Photography by Amelia Gregory.
Jaeger A/W 2011 by Joana Faria.

It was under the clean lights of the BFC tent that Jaeger hit the catwalk, itself all clean lines and considered tailoring. Sharp, beautifully crisp well fitting garments ploughed out to meet the photographers. The collection was a delicious mix of autumnal colours: blocks of cinnamon, caramel, fallen leaf orange, paprika, mustard and moss gathering around punctual navy blues and sensible chocolate brown. Capacious leather bags and handheld clutches were the accessory of choice but I couldn’t keep my eyes off the shoes, cleverly styled with stripy woollen socks. Present and correct was the colour du jour – sharp bursts of orange red. Or on dazzling silky blouses a lip-smacking deep fuchsia pink. Yum.

Jaeger A/W 2011. Photography by Amelia Gregory.
Jaeger A/W 2011 by Zoe Georgiou.

This is what I would wear if I were a different kind of person: one who always looks immaculately turned out, whatever the occasion. And of course one who has a very nice steady stream of income. Working women in a certain type of job would do well to look to Jaeger for fabulous style and quality that won’t go out of fashion in a hurry.

Jaeger A/W 2011. Photography by Amelia Gregory.

As you can see, I got a bit hypnotised by the feet…

You can see more illustrations by Joana Faria and Katherine Tromans in Amelia’s Compendium of Fashion Illustration.

Written by Amelia Gregory on Tuesday March 8th, 2011 1:46 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,BFC, ,Heritage, ,Jaeger, ,Joana Faria, ,Katherine Tromans, ,Madi, ,Madi Illustrates, ,Pringle of Scotland, ,Somerset House, ,Stuart Stockdale, ,Zoe Georgiou

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Jasper Conran sketched by Jenny

mamuthones artwork

Having extensively researched the subject (well, purchase googled it) I’ve been able to establish that Mamuthones are pre-Christian masquerades dating back 2,000 years from Sardinia. As a musical project, Italy’s Mamuthones are no less mysterious, seeming as they do to tap into the same strand of unnerving mysticism as this ancient ritual. One thing is for sure though – any album that gives a credit in the sleeve notes for “screams and whispers” is worth a spin. Can things get any weirder? Of course they can! Further inspection of the sleeve notes reveals that one of the seven tracks, MJ74 was recorded in 1974. But wait, this is a debut album! What the bejesus is going on?

As it turns out, Mamuthones is the solo project of Alessio Gastaldello, founder of Italian psych pop mavericks Jennifer Gentle. Here he teams up with former bandmate Marco Fasolo on guitar and… 62 year old drummer Maurizio Boldrin, which is where MJ74 comes in. Boldrin actually recorded this track of monk-style chanting and cymbal chimes back in the 70s, and it’s testimony to the sheer otherwordly nature of Mamuthones’ vision that this happily sits side by side with a bunch of tracks recorded last Spring.

The Mamuthones by Ankolie
Illustration by Ankolie

So what exactly is Mamuthones’ vision? Well, be afraid, be very afraid – it takes all of the psych and none of the pop of Jennifer Gentle to create a truly foreboding mixture, where Boldrin’s pounding tribal drumbeats collide with monumental keyboard drones and, of course, whispers and screams. Tracks like Ota Benga recall the weirder end of the Syd Barrett-era Pink Floyd cannon, while A New Start could be from an (admittedly brilliantly produced) transcendental meditation CD.

So you could say something for everyone then? Well yes, if everyone has just woken up from an acid trip in rural Sardinia. But seriously, if you like your music weird and wonderful (and with a bit of ritualistic chanting – let’s face it, who doesn’t?) then you’ll love this. If you like your music safe and cosy, then watch out – you’re about to be terrified.

Mamuthones is out now on Boring Machines.

mamuthones artwork

Having extensively researched the subject (well, cost googled it) I’ve been able to establish that Mamuthones are pre-Christian masquerades dating back 2,000 years from Sardinia. As a musical project, Italy’s Mamuthones are no less mysterious, seeming as they do to tap into the same strand of unnerving mysticism as this ancient ritual. One thing is for sure though – any album that gives a credit in the sleeve notes for “screams and whispers” is worth a spin. Can things get any weirder? Of course they can! Further inspection of the sleeve notes reveals that one of the seven tracks, MJ74 was recorded in 1974. But wait, this is a debut album! What the bejesus is going on?

The Mamuthones by Ankolie
Illustration by Ankolie

Mamuthones is out now on Boring Machines.

jasper conran by jenny robins
All illustrations by Jenny Robins.

The man behind me in the queue to get into the Jasper Conran show was talking about buying a house in London Fields. Well bully for him as I had a seated ticket and skipped right past him when we got inside the BFC tent.

The queue for Jasper Conran A/W 2011 by Jenny Robins.

I hadn’t been in my seat long when by some pre-understood signal everyone moved forward into empty seats at the front. Had I been paying attention I might have been able to see the shoes when the show started, unhealthy but as I was halfway up the side of the runway my sketching time for each outfit was super limited. I wasn’t sure I liked my drawings at the time, for sale but when I came to edit them I realised I kind of love them so now you get to see them.

jasper conran 2 - lfw aw11 - jenny robins
Jasper Conran A/W 2011 by Jenny Robins.

The designs were I suppose ace in all the expected ways – clean lines, sexy perfect little joined panels, lovely wide necklines and sixties inspired shift dresses all in rich dark tones combined with a lot of clean white. There were some fairly ridiculous oversized plant pot hats going on which I wasn’t sure about. The final outfit had a crowd-ooohing stand up feather collar atop a long straight silhouette – classic.

Jasper Conran A/W 2011 by Jenny Robins.

Stars of the show for me were the fitted panelled jumpsuits with chunky round buckled belts – very Mrs. Peel. I thought they looked like felt but they may have been suede. Don’t quote me on it.

Jasper Conran A/W 2011 by Jenny Robins.

You can see lots more work by Jenny Robins in Amelia’s Compendium of Fashion Illustration and you can read Nick Bain’s review of Jasper Conran here

Written by Jenny Robins on Thursday March 17th, 2011 11:18 pm

Categories ,60s, ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,BFC, ,Jasper Conran, ,Jenny Robins, ,lfw, ,Mrs. Peel, ,Somerset House

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

Illustration by Natasha Thompson

Autumn Winter 2010’s ‘DeCon’ is the second collection Masha Ma has shown at Vauxhall Fashion Scout, order her MA collection was bought by B Store and she has since gone from strength to strength, winning the Mouse Ji Best International Innovation Award at the 2009 CCDC China Contemporary Design Contest.

Illustration by Avril Kelly

Building on her predominantly white and silver ‘Icebreaker’ collection for Spring Summer 2011, Masha Ma used a subtle palette for Autumn Winter, injected with flashes of colour. Patent scarlet thigh high boots and contrast edged exposed zips complemented heavy yet tactile cashmere in a palette of dove grey, eggshell, scarlet, taupe and powder beige.

Illustrations by Maria del Carmen Smith

High-waisted pencil skirts, hourglass silhouettes, bright red lips and victory rolls added a touch of Mad Men, whilst sculpted waterfall folds, leather panelling and Swarovski elements kept the look contemporary and luxurious.

Masha Ma played with the subtle deconstruction and accentuation of the female form, pairing subtly flamboyant cascading shapes with fluid skin-tight elements. The union of contrasting textures and a striking palette created a captivating range of looks that left the audience wanting more.

Illustrations by Maria Papadimitriou

Flashes of scarlet were seen again in the form of cropped high gloss mitts; collars were all high; neatly rolled or delicately starched and geometric.
Figure-hugging skirts were zipped halfway to reveal a flash of pillarbox red; zipped boot sleeves revealed skyscraper spike heels. Hair was slicked back into soft buns and coiffed into twists over the ear.

Illustration by Natasha Thompson

All in all this was a refreshing and original collection, I’m sure I’m not the only one eagerly awaiting Masha Ma’s offering for Spring Summer 2012!

All photography by Naomi Law

You can see more of Natasha Thompson’s illustrations in Amelia’s Compendium of Fashion Illustration.

Illustration by Natasha Thompson

Autumn Winter 2010’s ‘DeCon’ is the second collection Masha Ma has shown at Vauxhall Fashion Scout, salve her MA collection was bought by bStore and she has since gone from strength to strength, winning the Mouse Ji Best International Innovation Award at the 2009 CCDC China Contemporary Design Contest.

Illustration by Avril Kelly

Illustrations by Maria del Carmen Smith

Illustrations by Maria Papadimitriou

Illustration by Natasha Thompson

All in all this was a refreshing and original collection, I’m sure I’m not the only one eagerly awaiting Masha Ma’s offering for Spring Summer 2012!

All photography by Naomi Law

You can see more of Natasha Thompson’s illustrations in Amelia’s Compendium of Fashion Illustration.

Illustration by Natasha Thompson

Autumn Winter 2011’s ‘DeCon’ is the second collection Masha Ma has shown at Vauxhall Fashion Scout; her MA collection was bought by bStore and she has since gone from strength to strength, salve winning the Mouse Ji Best International Innovation Award at the 2009 CCDC China Contemporary Design Contest.

Illustration by Avril Kelly

Building on her predominantly white and silver ‘Icebreaker’ collection for Spring Summer 2011, decease Masha Ma used a subtle palette for Autumn Winter, injected with flashes of colour. Patent scarlet thigh high boots and contrast edged exposed zips complemented heavy yet tactile cashmere in a palette of dove grey, eggshell, scarlet, taupe and powder beige.

Illustrations by Maria del Carmen Smith

Illustrations by Maria Papadimitriou

Illustration by Natasha Thompson

All in all this was a refreshing and original collection, I’m sure I’m not the only one eagerly awaiting Masha Ma’s offering for Spring Summer 2012!

All photography by Naomi Law

You can see more of Natasha Thompson’s illustrations in Amelia’s Compendium of Fashion Illustration.

Jasper Conran A/W 2011 by Emmi Ojala.

I’ll be honest writing this review has been a massive challenge. Shortly after enjoying the sublime craftsmanship, physician skills and undeniable beauty of Jasper’s show I ran to the On|Off venue and managed to get in to Charlie Le Mindu’s extravaganza. Had I written up Jasper before the manic sprint to Charlie I could have waxed lyrical on every piece. I remember being enthralled and excited by the collection. I even went backstage and saw the clothes up close. But the cold hard fact is that these two designers and as such shows, pills inhabit two very different worlds. After being left reeling and inspired by Charlie Le Mindu, it has been hard to do justice to Jasper Conran. For it was a stunning show.

Jasper Conran A/W 2011 by Kerri-Ann Hulme.

Last year Carnaby Street celebrated its fiftieth anniversary, rejoicing in a time when London was the centre of the trendiest youth movement at the time. Something tells me this has subconsciously filtered into the minds of several designers. The swinging sixties are back and the models at Jasper Conran definitely reflected this. A mix of Bardots, Shrimptons, and gamine girls filled the runway.

At first glance this collection was perhaps a little too literal in its inspiration. Barbarella meets fembot catsuits were there a plenty. However on closer inspection the craftsmanship that went into each piece was of an inordinately high order. Succeeding in simplicity and clean lines is no mean feat. This was no shock and awe show, allowing instead both the playful and sophisticated nature of the girls to shine through. So from a designers perspective seeing the precision binding and, the open seams held together with just the odd bartack here and there was beautiful.

Jasper Conran A/W 2011 by Kerri-Ann Hulme.

The muted chocolate, copper and aubergine tones balanced out the otherwise monochrome palette, and prevented the collection tipping over into a mere regurgitation of times gone by. Suede was laser cut to give a crocodile effect. Leather was cut into small squares that bounced playfully with model as she walked. The silhouette may have been familiar but the working of the fabric and the surface decoration was right up to date. In particular one minidress matt white sequins were mixed with opalescent ones to create an otherworldly reptilian skin. The final pieces consisted of light flowing chiffon dresses that continued the sixties feel and the playful element of the collection.

It’s been said that when a woman with cheap perfume walks past that’s all you smell, but when woman wearing a beautiful fragrance walks by you smell a beautiful woman. If the same can be said about clothes all you’ll see from this show are beautiful women.

Written by Nick Bain on Sunday March 6th, 2011 6:45 pm

Categories ,Barbarella, ,BFC, ,Brigitte Bardot, ,Carnaby Street, ,Charlie le Mindu, ,Emmi Ojala, ,Jasper Conran, ,Jean Shrimpton, ,Kerri-Ann Hulme, ,lfw, ,London Fashion Week, ,Somerset House

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

Masha Ma A/W 2011 by Liam McMa

Masha Ma A/W 2011 by Natsuki Otani.

Masha Ma is undoubtedly one of my very favourite designers right now so it was with utmost dismay that I encountered a major logistical error early on Sunday morning. Which required me to hot foot it back to my house in order to pick up press releases for Amelia’s Compendium of Fashion Illustration in time for the opening of Ecoluxe. In the end I managed to scoot my way into the back of the Freemasons Hall just in time to see most of the show, sick although I had to make do with the sight of my contributors happily ensconced in the front row as I craned for a view from the back. Oh the ignominy.

Masha Ma A/W 2011 DeCon. Photography by Amelia Gregory
Masha Ma A/W 2011 by Liam McMahon.

Hers is a self-described “architectural” way of designing, web cutting swathes of fabric to hang in flattering folds. Following her all white S/S Icebreaker debut, buy information pills for DeCon Masha Ma explored elegant tailoring in pale duck egg blue, dusky rose, flinty grey and ice mint.

Masha Ma A/W 2011. Photography by Tim Adey.

Crepe, satin and organza curled into delicate scrolls on collars and hips; woollen waterfalls cascaded down the front of coats. All accessorised with the most amazing come-fuck-me pillar box red boots – over the thigh, shiny and skin tight.

Masha Ma A/W 2011 DeCon. Photography by Amelia Gregory.

Eyes peeped out from below side swept fringes: sexy secretaries in tight pencil skirts. High collars were a theme, either tightly rolled polo necks or carefully pleated to bring a touch of Renaissance drama to otherwise thoroughly modern outfits.

Masha Ma A/W 2011. Photography by Tim Adey.

The show finished on a couple of beautiful black outfits, which were given that all important lift thanks to red lipstick and gloss red fingerless gloves that complemented those amazing boots. Just glorious.

Masha Ma A/W 2011 DeCon. Photography by Amelia Gregory
That’s Naomi and Tim over there that is, taking much better photos than me. I couldn’t even see the boots. Jealous, moi? Not muchly…

Click here to read a review by the much better placed Naomi Law. You can see more of Natsuki Otani’s work in Amelia’s Compendium of Fashion Illustration.

Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, dosage having tried in vain for several seasons to get tickets, symptoms I was super excited to finally be in attendance at a Mark Fast show. Knitwear was my first love: I spent much of teens knitting 80s tastic jumpers and despite opting to specialise in printed textile design at university I eventually started a knitwear label at the same time as Amelia’s Magazine. Unfortunately it became apparent that the magazine was going to dominate my time and energy, so now my big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent years there have been encouraging signs of its resurgence – with designers such as Mark Fast, Cooperative Designs and Alice Palmer leading the way. Mark has become well known for sexy figure hugging pieces with dramatic details that he creates using specialised techniques.

Mark Fast A/W 2011. Photography by Amelia Gregory
Loving the fairy light look!

Mark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in oatmeal, beige, shades of orange and black to create ribbed and ridged bodycon numbers fit for the most glamourous cocktail party. He also worked in leather with Canadian retailer Danier to create complementary pieces that included sexy corseted tops, wide legged trousers and buttersoft crop jackets, worn with sheer fabric and swishing straps. High necks followed a familiar trend for A/W 2011, as did the use of deep orange. One particular standout piece was a massive round shouldered ridged cardigan that called to mind a similar piece by fellow design innovator Georgia Hardinge.

Mark Fast A/W 2011. Photography by Amelia Gregory.

Dresses and coats with plush shoulder bolsters worked especially well, as did the plump trim on a mini dress worn with a giant fluffy hat and platforms. Also of note was a swirling maxi skirted number with covered arms that only left the shoulders sexily bare. Boots were knee high and louche; accessories included big bangles and spiky neckpieces.

Mark Fast A/W 2011. Photography by Amelia Gregory.

The show ended on a showpiece backless leather hooded coat, trailing a huge train behind like a sweeping Hollywood baddie. Once more Mark Fast chose normal sized women to model his collection with the use of several “plus size” models. These lush beauties only served to emphasise the extreme skinniness of the few extremely bony girls included in the show. And the joy of it? These dresses arguably worked way better on the models of more normal size.

Mark Fast A/W 2011. Photography by Amelia Gregory.

This is one happy bunny to have at last seen a Mark Fast show.

Written by Amelia Gregory on Sunday March 13th, 2011 4:53 pm

Categories ,80s, ,Alice Palmer, ,BFC, ,canada, ,Cooperative Designs, ,Danier, ,Georgia Hardinge, ,knitwear, ,lfw, ,Liam McMahon, ,London Fashion Week, ,Mark Fast, ,Merino, ,Michaela Meadow, ,plus size, ,Somerset House, ,wool

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Swedish School of Textiles MA

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