Catwalk review

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Carlotta Gherzi for Sado

by


Illustration by Avril Kelly

Finally escaping the intermittent drizzle, shop medications I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, information pills pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Enter structured jackets embellished with heraldic embroidery and printed silk skirts, jumpsuits and dresses in autumn colours, burnt orange and berry red. The prints vary, from pretty paisleys to luxurious leopard print. I’m not usually attracted to animal print, but I’m longing for the paisley meets leopard print dress, sporting blue silk detail on the neck and shoulders. It’s simple and elegant but not at all banal. High necks, low cinched waists and midi length skirts in vivid blue and red make for graceful dresses that suggest a marriage of Victoriana and 1970s styles. Bold and neutral colours follow, sheathed in dazzling gems that revive nostalgia for the 1950s.


Live catwalk illustration by Jenny Robins

The colours fade into cloudy greys, biscuit beiges and ice blues for the inconspicuous in you and luxurious brocades make up beautiful jackets, not unlike those gentlemen’s smoking jackets of a bygone vintage era. The catwalk darkens and we’re engulfed in black. Black lace, black wool, black silk – all combine to forge pretty, yet formal, dresses and blouses. I’m rarely taken in by designs in black, but these really are lovely. The vintage inspired shoes and patterned tights play a key part in the presentation, complimenting a largely conservative but beautiful collection.

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay

Illustration by Avril Kelly

Finally escaping the intermittent drizzle, remedy I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, pilule pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, unhealthy I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Enter structured jackets embellished with heraldic embroidery and printed silk skirts, jumpsuits and dresses in autumn colours, burnt orange and berry red. The prints vary, from pretty paisleys to luxurious leopard print. I’m not usually attracted to animal print, but I’m longing for the paisley meets leopard print dress, sporting blue silk detail on the neck and shoulders. It’s simple and elegant but not at all banal. High necks, low cinched waists and midi length skirts in vivid blue and red make for graceful dresses that suggest a marriage of Victoriana and 1970s styles. Bold and neutral colours follow, sheathed in dazzling gems that revive nostalgia for the 1950s.


Live catwalk illustration by Jenny Robins

The colours fade into cloudy greys, biscuit beiges and ice blues for the inconspicuous in you and luxurious brocades make up beautiful jackets, not unlike those gentlemen’s smoking jackets of a bygone vintage era. The catwalk darkens and we’re engulfed in black. Black lace, black wool, black silk – all combine to forge pretty, yet formal, dresses and blouses. I’m rarely taken in by designs in black, but these really are lovely. The vintage inspired shoes and patterned tights play a key part in the presentation, complimenting a largely conservative but beautiful collection.

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay


Illustration by Emma Block

When I asked a friend for London Fashion Week advice, physician I was told that I would need a pair of sensible shoes and a pair of killer heels. On my way to Carlotta Gherzi for SADO at Vauxhall Fashion Scout, visit this site my killer heels were safely stashed in my official London Fashion Week tote bag and my sensible brogues were getting soaked. I attempted to power walk through the rain in a ladylike manner, decease which resulted in something resembling a trot, and made my way towards the impressive and mysterious Freemasons Hall.


Illustration by Natasha Thompson

This was to be my first show I had attended solo, and I was very conscious of being late. I waited in-line with some reassuringly non-scary fashion types, and when I said I was from Amelia’s Magazine I was immediately whisked away to the front row. As an occupier of a coveted A- list seat, I was entitled to a Fashion Scout goodie bag, which included a bottle of water, a Vauxhall notepad (surprisingly quite nice) and a can of hair shine spray. People around me chatted, but I was only focused on my sketchbook. As I waited in eager anticipation, feet resting on the edge of the white catwalk, the lights began to dim.

Gherzi’s collection, named ‘Frozen Flora’, “for the wicked gal whose secret dream is to be the ice queen”, started with distinctly wearable, rather delicious pieces in soft tones reminiscent of mochas and iced lattes.

I quickly realised what a fantastic seat I had; taking unobstructed photos was effortless and if I had been creepy and inappropriate I definitely could have touched the models. I was definitely close enough to tell that texture was a big element in Gherzi’s work. Silks were draped and ruched, metallic fabrics pleated into undulating waves, and my favourite had to be the beautiful organic wool that appeared almost quilted.


Illustration by Emma Block

The make-up on the models was minimal, with only subtle white highlights in the area between eye and nose, and hair had a crisply ironed in crease in the middle of its lengths. The choice of music was poppy, and tunes included the likes of Snow Patrol and Plan B.

As the show went on, richly textured blacks and pleated metallic greys crept into the soft, otherwise neutral tones of the clothes, rather like the sun going down on an icy day. Shimmering dresses shone like a cold night sky full of stars, with the occasional snug grey sheepskin cape. By this point I had already compiled a mental shopping list of pieces I’d like to own.


Illustration by Natasha Thompson

Gherzi has designed her own floral prints, which looked like sparkling jewels, and featured in both of asymmetric, flowing silk numbers and short paneled dresses. All of Gherzi’s pieces struck me as very feminine and incredibly wearable. The textured wool capes and jackets were a particular favourite of mine, as they were stylish statement pieces guaranteed to keep you toasty warm on the most miserable of London days. Gherzi herself says, “A female of distinction always looks her best, when she’s completely at ease whatever the weather throws at her”, I’ve got to say I rather agree with her. 

The final piece was a full length sparkling creation worthy of any ice queen or red carpet starlet; low cut at the back, empire line and ruched across the bust, with subtle hints of pink glitter.

As the show ended, models cascaded on to the runway along with the heavily pregnant, and very lovely looking, Carlotta Gherzi herself, and the crowd erupted into applause. 

All photography by Emma Block

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

Written by Emma Block on Wednesday March 2nd, 2011 6:33 pm

Categories ,A/W 2011, ,Carlotta Gherzi, ,Catwalk review, ,Emma Block, ,fashion, ,floral, ,lfw, ,London Fashion Week, ,Natasha Thompson, ,Vauxhall Fahsion Scout

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Osman (by Naomi)

by


Illustration by Jenny Robins

I remember blogging about Eun Jeong eons ago, order enticed by her pretty minimalism with a crisp all-white palette one season. For me, sickness she most certainly stood out amongst even the top hot-ticketers of London Fashion Week and I had an inkling she wouldn’t be a one-seasoner. I was therefore thrilled and curious upon bagging an invitation to one of her two fashion shows in Covent Garden during fashion week.??

I sat next to a lovely blogger named Hannah Newton of London Town’s a go go in another clever catwalk invention of a loop around the room, with audience-members sitting on rows inside and outside of the square. We both shamelessly ruffled through our large goody bags with tiny goodies – cosmetics and a little heart-shaped purse by Kipling. And we didn’t bother with ‘acting the part of a fashionista’ all nonchalant and ‘oh! I get free overpriced make-up on a daily basis, sweetheart. It’s no biggie.’  We’re students and we were blooming happy with our freebies.??

We just knew that the intimate set-up would result in bagging some great up-close shots of the clothes and getting a good look at the detail and fabric. Then, after a long wait sitting by the runway (as is always the way with fashion shows), 1930s music was suddenly bouncing off the walls and the models took to the oddly-shaped catwalk.

It looked to me as if the collection had been inspired by Britain in war-time. Every model wore bronzed make-up with bronzed skin all over their body and the clothes themselves were British in many respects – pleats and wool and ruffles with lady-like cuts all over the joint. There were elegant camel-coloured coats and full-skirts that began at the waist and dropped to the floor in pressed pleats.

Bows and lace were everywhere. They both seem to be a common theme this season. Delicate bows were placed on skinny leather waist-belts and thick white lace acted as beautiful underskirts.

It wasn’t all classic tea-party tailoring, however. There were a fair few twists and turns along the way. Pleated skirts bore asymmetric ruffles and tails down one side and a certain set of dresses definitely seemed to stand-out amongst the thick fabrics and classic lady-wear – bright yellow numbers that screamed out an utterly architectural print, resembling the San Francisco Bridge.

Jeong’s seemingly favourite design ethos of white white white reappeared this season with a fair few outfits almost entirely in creams and white that flowed down in thick luscious fabric – a pure and almost evangelical look that passed off beautifully.

I now know why I was taken with Eun Jeong right from her Fashion Fringe debut. Her clothes are beautiful, classic, unique and, most of all, wearable. I could, for example, most definitely see an strong office woman walking into work every day and turning heads in Eun Jeong’s statement-take on both the classical and the quintessentially British. I loved it.

Illustration by Jenny Robins

I remember blogging about Eun Jeong eons ago, find enticed by her pretty minimalism with a crisp all-white palette one season. For me, she most certainly stood out amongst even the top hot-ticketers of London Fashion Week and I had an inkling she wouldn’t be a one-seasoner. I was therefore thrilled and curious upon bagging an invitation to one of her two fashion shows in Covent Garden during fashion week.??


All photography by Georgia Takacs

I sat next to a lovely blogger named Hannah Newton of London Town’s a go go in another clever catwalk invention of a loop around the room, with audience-members sitting on rows inside and outside of the square. We both shamelessly ruffled through our large goody bags with tiny goodies – cosmetics and a little heart-shaped purse by Kipling. And we didn’t bother with ‘acting the part of a fashionista’ all nonchalant and ‘oh! I get free overpriced make-up on a daily basis, sweetheart. It’s no biggie.’  We’re students and we were blooming happy with our freebies.??


Illustration by Kerri-Ann Hulme

We just knew that the intimate set-up would result in bagging some great up-close shots of the clothes and getting a good look at the detail and fabric. Then, after a long wait sitting by the runway (as is always the way with fashion shows), 1930s music was suddenly bouncing off the walls and the models took to the oddly-shaped catwalk.

It looked to me as if the collection had been inspired by Britain in war-time. Every model wore bronzed make-up with bronzed skin all over their body and the clothes themselves were British in many respects – pleats and wool and ruffles with lady-like cuts all over the joint. There were elegant camel-coloured coats and full-skirts that began at the waist and dropped to the floor in pressed pleats.


Illustration by Madi Illustrates

Bows and lace were everywhere. They both seem to be a common theme this season. Delicate bows were placed on skinny leather waist-belts and thick white lace acted as beautiful underskirts.

It wasn’t all classic tea-party tailoring, however. There were a fair few twists and turns along the way. Pleated skirts bore asymmetric ruffles and tails down one side and a certain set of dresses definitely seemed to stand-out amongst the thick fabrics and classic lady-wear – bright yellow numbers that screamed out an utterly architectural print, resembling the San Francisco Bridge.

Jeong’s seemingly favourite design ethos of white white white reappeared this season with a fair few outfits almost entirely in creams and white that flowed down in thick luscious fabric – a pure and almost evangelical look that passed off beautifully.

I now know why I was taken with Eun Jeong right from her Fashion Fringe debut. Her clothes are beautiful, classic, unique and, most of all, wearable. I could, for example, most definitely see an strong office woman walking into work every day and turning heads in Eun Jeong’s statement-take on both the classical and the quintessentially British. I loved it.

See more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Jenny Robins

I remember blogging about Eun Jeong eons ago, sildenafil enticed by her pretty minimalism with a crisp all-white palette one season. For me, cost she most certainly stood out amongst even the top hot-ticketers of London Fashion Week and I had an inkling she wouldn’t be a one-seasoner. I was therefore thrilled and curious upon bagging an invitation to one of her two fashion shows in Covent Garden during fashion week.??


All photography by Georgia Takacs

I sat next to a lovely blogger named Hannah Newton of London Town’s a go go in another clever catwalk invention of a loop around the room, more about with audience-members sitting on rows inside and outside of the square. We both shamelessly ruffled through our large goody bags with tiny goodies – cosmetics and a little heart-shaped purse by Kipling. And we didn’t bother with ‘acting the part of a fashionista’ all nonchalant and ‘oh! I get free overpriced make-up on a daily basis, sweetheart. It’s no biggie.’  We’re students and we were blooming happy with our freebies.??


Illustration by Kerri-Ann Hulme

We just knew that the intimate set-up would result in bagging some great up-close shots of the clothes and getting a good look at the detail and fabric. Then, after a long wait sitting by the runway (as is always the way with fashion shows), 1930s music was suddenly bouncing off the walls and the models took to the oddly-shaped catwalk.

It looked to me as if the collection had been inspired by Britain in war-time. Every model wore bronzed make-up with bronzed skin all over their body and the clothes themselves were British in many respects – pleats and wool and ruffles with lady-like cuts all over the joint. There were elegant camel-coloured coats and full-skirts that began at the waist and dropped to the floor in pressed pleats.


Illustration by Madi Illustrates

Bows and lace were everywhere. They both seem to be a common theme this season. Delicate bows were placed on skinny leather waist-belts and thick white lace acted as beautiful underskirts.

It wasn’t all classic tea-party tailoring, however. There were a fair few twists and turns along the way. Pleated skirts bore asymmetric ruffles and tails down one side and a certain set of dresses definitely seemed to stand-out amongst the thick fabrics and classic lady-wear – bright yellow numbers that screamed out an utterly architectural print, resembling the Golden Gate Bridge.

Jeong’s seemingly favourite design ethos of white white white reappeared this season with a fair few outfits almost entirely in creams and white that flowed down in thick luscious fabric – a pure and almost evangelical look that passed off beautifully.

I now know why I was taken with Eun Jeong right from her Fashion Fringe debut. Her clothes are beautiful, classic, unique and, most of all, wearable. I could, for example, most definitely see an strong office woman walking into work every day and turning heads in Eun Jeong’s statement-take on both the classical and the quintessentially British. I loved it.

See more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Antonia Parker

Over at Osman, clinic sleek silhouettes glided gracefully down the beautiful blue ink-blotched catwalk on models sporting blunt Cleopatra bobs with eyelash-skimming fringes.


Illustrations by Alexandra Rolfe

Osman Yousefzada showed a sophisticated palette featuring lot of ivory and charcoal in sharp yet flowing shapes. Colour flooded in, and taking the form of feature linings and leather trims in rust, store scarlet, pale aqua, neon pink and lime. The show opened with a beautiful ivory dress, featuring a v-shaped accent to the bodice in bright cobalt, echoing the beauiful inky stripe printed on the catwalk itself.


Illustrations by Donya Todd

The chic and sharply flared wide leg trousers were particularly prominent, billowing around the models’ legs as they sashayed their way towards the photographers’ pit. I was sitting way back in the sixth row but semi-successfully found a gap in the rows of heads to capture some of the looks. Key pieces seemed to keep on coming; dresses with contrast-lined capelets, black leather with hot pink horizontal stripes, a Morticia-length charcoal wool dress, a leather-fronted blouse with bright orange floor-length tied tails to the back, the list goes on.


Illustration by Madi Illustrates


Illustrations by Kerri-Ann Hulme


Photography by Naomi Law

There was a hint of the 1960s with a-line shapes and geometric capped sleeves, but pattern or ornamentation was minimal, save for one striking orange chiffon dress with chocolate brown embroidery. The collection managed to make crayon brights into something more sophisticated – the careful balance of colour and monotone combined with expert tailoring in subtly varyied textures was sharp, modern and crisp.


Illustrations by Rachel Lewis

There were two show-stopping floor-length black dresses with dramatic fluffy sleeves so huge I assumed they must be fake fur (hence asking two of our illustrators to work from these designs). I was disgusted to discover later that Osman has made the vile decision to use real fur in his collections. It’s nasty enough that anyone would choose to use animal fur in the first place, but even harder to understand when they’re going to end up dyeing it a completely unnatural colour anyway. Unfortunately this took the shine off the collection, none of this next season thank you!


Illustration by Antonia Parker

See more of Antonia Parker’s illustrations in Amelia’s Compendium of Fashion Illustration!

Written by Naomi Law on Wednesday March 9th, 2011 1:37 pm

Categories ,1960s, ,A/W 2011, ,Alexandra Rolfe, ,Antonia Parker, ,BFC, ,Brights, ,Catwalk review, ,Chic, ,Cleopatra, ,Cobalt, ,Donya Todd, ,fashion, ,Fur, ,Hot Pink, ,Kerri-Ann Hulme, ,London Fashion Week, ,Naomi Law, ,Osman Yousefzada, ,Rachel Lewis, ,Somerset House, ,Womenswear

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Carlotta Gherzi for Sado

by


Illustration by Avril Kelly

Finally escaping the intermittent drizzle, shop medications I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, information pills pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Enter structured jackets embellished with heraldic embroidery and printed silk skirts, jumpsuits and dresses in autumn colours, burnt orange and berry red. The prints vary, from pretty paisleys to luxurious leopard print. I’m not usually attracted to animal print, but I’m longing for the paisley meets leopard print dress, sporting blue silk detail on the neck and shoulders. It’s simple and elegant but not at all banal. High necks, low cinched waists and midi length skirts in vivid blue and red make for graceful dresses that suggest a marriage of Victoriana and 1970s styles. Bold and neutral colours follow, sheathed in dazzling gems that revive nostalgia for the 1950s.


Live catwalk illustration by Jenny Robins

The colours fade into cloudy greys, biscuit beiges and ice blues for the inconspicuous in you and luxurious brocades make up beautiful jackets, not unlike those gentlemen’s smoking jackets of a bygone vintage era. The catwalk darkens and we’re engulfed in black. Black lace, black wool, black silk – all combine to forge pretty, yet formal, dresses and blouses. I’m rarely taken in by designs in black, but these really are lovely. The vintage inspired shoes and patterned tights play a key part in the presentation, complimenting a largely conservative but beautiful collection.

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay

Illustration by Avril Kelly

Finally escaping the intermittent drizzle, remedy I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, pilule pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, unhealthy I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Enter structured jackets embellished with heraldic embroidery and printed silk skirts, jumpsuits and dresses in autumn colours, burnt orange and berry red. The prints vary, from pretty paisleys to luxurious leopard print. I’m not usually attracted to animal print, but I’m longing for the paisley meets leopard print dress, sporting blue silk detail on the neck and shoulders. It’s simple and elegant but not at all banal. High necks, low cinched waists and midi length skirts in vivid blue and red make for graceful dresses that suggest a marriage of Victoriana and 1970s styles. Bold and neutral colours follow, sheathed in dazzling gems that revive nostalgia for the 1950s.


Live catwalk illustration by Jenny Robins

The colours fade into cloudy greys, biscuit beiges and ice blues for the inconspicuous in you and luxurious brocades make up beautiful jackets, not unlike those gentlemen’s smoking jackets of a bygone vintage era. The catwalk darkens and we’re engulfed in black. Black lace, black wool, black silk – all combine to forge pretty, yet formal, dresses and blouses. I’m rarely taken in by designs in black, but these really are lovely. The vintage inspired shoes and patterned tights play a key part in the presentation, complimenting a largely conservative but beautiful collection.

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay


Illustration by Emma Block

When I asked a friend for London Fashion Week advice, physician I was told that I would need a pair of sensible shoes and a pair of killer heels. On my way to Carlotta Gherzi for SADO at Vauxhall Fashion Scout, visit this site my killer heels were safely stashed in my official London Fashion Week tote bag and my sensible brogues were getting soaked. I attempted to power walk through the rain in a ladylike manner, decease which resulted in something resembling a trot, and made my way towards the impressive and mysterious Freemasons Hall.


Illustration by Natasha Thompson

This was to be my first show I had attended solo, and I was very conscious of being late. I waited in-line with some reassuringly non-scary fashion types, and when I said I was from Amelia’s Magazine I was immediately whisked away to the front row. As an occupier of a coveted A- list seat, I was entitled to a Fashion Scout goodie bag, which included a bottle of water, a Vauxhall notepad (surprisingly quite nice) and a can of hair shine spray. People around me chatted, but I was only focused on my sketchbook. As I waited in eager anticipation, feet resting on the edge of the white catwalk, the lights began to dim.

Gherzi’s collection, named ‘Frozen Flora’, “for the wicked gal whose secret dream is to be the ice queen”, started with distinctly wearable, rather delicious pieces in soft tones reminiscent of mochas and iced lattes.

I quickly realised what a fantastic seat I had; taking unobstructed photos was effortless and if I had been creepy and inappropriate I definitely could have touched the models. I was definitely close enough to tell that texture was a big element in Gherzi’s work. Silks were draped and ruched, metallic fabrics pleated into undulating waves, and my favourite had to be the beautiful organic wool that appeared almost quilted.


Illustration by Emma Block

The make-up on the models was minimal, with only subtle white highlights in the area between eye and nose, and hair had a crisply ironed in crease in the middle of its lengths. The choice of music was poppy, and tunes included the likes of Snow Patrol and Plan B.

As the show went on, richly textured blacks and pleated metallic greys crept into the soft, otherwise neutral tones of the clothes, rather like the sun going down on an icy day. Shimmering dresses shone like a cold night sky full of stars, with the occasional snug grey sheepskin cape. By this point I had already compiled a mental shopping list of pieces I’d like to own.


Illustration by Natasha Thompson

Gherzi has designed her own floral prints, which looked like sparkling jewels, and featured in both of asymmetric, flowing silk numbers and short paneled dresses. All of Gherzi’s pieces struck me as very feminine and incredibly wearable. The textured wool capes and jackets were a particular favourite of mine, as they were stylish statement pieces guaranteed to keep you toasty warm on the most miserable of London days. Gherzi herself says, “A female of distinction always looks her best, when she’s completely at ease whatever the weather throws at her”, I’ve got to say I rather agree with her. 

The final piece was a full length sparkling creation worthy of any ice queen or red carpet starlet; low cut at the back, empire line and ruched across the bust, with subtle hints of pink glitter.

As the show ended, models cascaded on to the runway along with the heavily pregnant, and very lovely looking, Carlotta Gherzi herself, and the crowd erupted into applause. 

All photography by Emma Block

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

Written by Emma Block on Wednesday March 2nd, 2011 6:33 pm

Categories ,A/W 2011, ,Carlotta Gherzi, ,Catwalk review, ,Emma Block, ,fashion, ,floral, ,lfw, ,London Fashion Week, ,Natasha Thompson, ,Vauxhall Fahsion Scout

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Paul Costelloe (by Matt)

by

Jena.Theo Valkyrie by Matilde Sazio
Jena Theo Matilde SazioJena.Theo LFW A/W 2011, abortion Illustration by Matilde Sazio

I was ushered in through the door by a geezer of a Londoner chap, viagra order straight through to a high heeled officious lady, find then again to the very highest heels clinking their way to the front row to show me my seat. There were bags on my seat. Bags filled with goodies. Splendid. The lady next to me was bouncing her baby on her knee, as said baby was knawing on a pain au chocolat. “Nice earmuffs” I said to her, pointing towards her penguin earmuffs on her head. “To protect her from the sound. It can get very loud. But she does love it here. Loves the shows.” How much do I want a chilled out, cute baby like her. Also, cool mother! I know mothers who wouldn’t take their child to Tescos for fear of its screaming the flourescently lit shed down. To the left, was a mad, bright white, highly lit, flashing, mini bulb, sensation. Magic eyes, transfixing, blinding… The lady next to me shields her eyes for a bit, because of the intensity! Then it all went dark and we were treated to intro music as the anticipation built. Dum, dum, dum….dum… dum. EXCITED.

Karina Yarv
Jena.Theo LFW A/W 2011, Illustration by Karina Yarv

The show began. I was pleased to see that what was being presented was completely wearable. Definitely in London. Perhaps less so in Bristol – it was slightly ‘too’ urban for the West Country. However, if I had a choice (and el cash), some of those pieces would be getting worn in Falfael King and that secret bar we’ve been meaning to go to for a while… at least supper club. Or – ah see, I kind of want to move to London- again. Don’t get the wrong impression of Briz, I beg you. Anyway, the show was very charcoal, black and cream orientated. The models all had black stripes across their eyes and otherwise bare faces. This made them look like mysterious, moody superheros. I liked it, as it really set of the simple coloured, pieces; the models all expressionless (course), their masks and the movement of the light or dark pieces worked together perfectly. It felt like we were on the sea, with norwegian heroines. Swishing slowly about, their heels never falter, their gaze exact, the path has been set and the grey skies are dappled with stars, as the storm takes hold. These strong warriors will take us with their capes flowing behind them, their hair dancing in the wind.

Jena.Theo LFW A/W 2011, Illustration by Matilde Sazio

My favourite piece was one with an almost bustling at the back, flowing down to the ground, in one swipe. The front was a mini, the back was the drama, the fantasy.
Jena Theo Matilde SazioJena.Theo LFW A/W 2011, order Illustration by Matilde Sazio

I was ushered in through the door by a geezer of a Londoner chap, straight through to a high heeled officious lady, then again to the very highest heels clinking their way to the front row to show me my seat. There were bags on my seat. Bags filled with goodies. Splendid. The lady next to me was bouncing her baby on her knee, as said baby was knawing on a pain au chocolat. “Nice earmuffs” I said to her, pointing towards her penguin earmuffs on her head. “To protect her from the sound. It can get very loud. But she does love it here. Loves the shows.” How much do I want a chilled out, cute baby like her. Also, cool mother! I know mothers who wouldn’t take their child to Tescos for fear of its screaming the flourescently lit shed down. To the left, was a mad, bright white, highly lit, flashing, mini bulb, sensation. Magic eyes, transfixing, blinding… The lady next to me shields her eyes for a bit, because of the intensity! Then it all went dark and we were treated to intro music as the anticipation built. Dum, dum, dum….dum… dum. EXCITED.

Karina Yarv
Jena.Theo LFW A/W 2011, Illustration by Karina Yarv

The show began. I was pleased to see that what was being presented was completely wearable. Definitely in London. Perhaps less so in Bristol – it was slightly ‘too’ urban for the West Country. However, if I had a choice (and el cash), some of those pieces would be getting worn in Falfael King and that secret bar we’ve been meaning to go to for a while… at least supper club. Or – ah see, I kind of want to move to London- again. Don’t get the wrong impression of Briz, I beg you. Anyway, the show was very charcoal, black and cream orientated. The models all had black stripes across their eyes and otherwise bare faces. This made them look like mysterious, moody superheros. I liked it, as it really set of the simple coloured, pieces; the models all expressionless (course), their masks and the movement of the light or dark pieces worked together perfectly. It felt like we were on the sea, with norwegian heroines. Swishing slowly about, their heels never falter, their gaze exact, the path has been set and the grey skies are dappled with stars, as the storm takes hold. These strong warriors will take us with their capes flowing behind them, their hair dancing in the wind.

Jena.Theo Valkyrie by Matilde SazioJena.Theo LFW A/W 2011, Illustration by Matilde Sazio

My favourite piece was one with an almost bustling at the back, flowing down to the ground, in one swipe. The front was a mini, the back was the drama, the fantasy.
Jena Theo Matilde SazioJena.Theo LFW A/W 2011, no rx Illustration by Matilde Sazio

I was ushered in through the door by a geezer of a Londoner chap, side effects straight through to a high heeled officious lady, then again to the very highest heels clinking their way to the front row to show me my seat. There were bags on my seat. Bags filled with goodies. Splendid. The lady next to me was bouncing her baby on her knee, as said baby was knawing on a pain au chocolat. “Nice earmuffs” I said to her, pointing towards her penguin earmuffs on her head. “To protect her from the sound. It can get very loud. But she does love it here. Loves the shows.” How much do I want a chilled out, cute baby like her. Also, cool mother! I know mothers who wouldn’t take their child to Tescos for fear of its screaming the flourescently lit shed down. To the left, was a mad, bright white, highly lit, flashing, mini bulb, sensation. Magic eyes, transfixing, blinding… The lady next to me shields her eyes for a bit, because of the intensity! Then it all went dark and we were treated to intro music as the anticipation built. Dum, dum, dum….dum… dum. EXCITED.

Karina Yarv
Jena.Theo LFW A/W 2011, Illustration by Karina Yarv

The show began. I was pleased to see that what was being presented was completely wearable. Definitely in London. Perhaps less so in Bristol – it was slightly ‘too’ urban for the West Country. However, if I had a choice (and el cash), some of those pieces would be getting worn in Falfael King and that secret bar we’ve been meaning to go to for a while… at least supper club. Or – ah see, I kind of want to move to London- again. Don’t get the wrong impression of Briz, I beg you. Anyway, the show was very charcoal, black and cream orientated. The models all had black stripes across their eyes and otherwise bare faces. This made them look like mysterious, moody superheros. I liked it, as it really set of the simple coloured, pieces; the models all expressionless (course), their masks and the movement of the light or dark pieces worked together perfectly. It felt like we were on the sea, with norwegian heroines. Swishing slowly about, their heels never falter, their gaze exact, the path has been set and the grey skies are dappled with stars, as the storm takes hold. These strong warriors will take us with their capes flowing behind them, their hair dancing in the wind.

Jena.Theo Valkyrie by Matilde SazioJena.Theo LFW A/W 2011, Illustration by Matilde Sazio

My favourite piece was one with an almost bustling at the back, flowing down to the ground, in one swipe. The front was a mini, the back was the drama, the fantasy. I would love to wear this one standing at the front of a ship. Not a ferry, a ship. Jena.Theo designs were indeed simple, but they are deserving of their sparkling lights.

Illustration by Maria Papadimitriou

I’ll never say a bad word about Mr Paul Costelloe. His was the first on-schedule show I ever saw, for sale back in 2008. It was a disaster – you can read my review here (my have we come a long way with our fashion week reviews). Despite that particular experience being pretty traumatic, diagnosis I always look forward to what he’ll present us each season, and I genuinely believe he’s the most underrated designer on the schedule – AND he always gets that hideous graveyard 9.30am opening slot. Anyway, enough of the pity, I’m sure he gets along just fine.


Paul Costelloe chatting outside the tent, post-show. All photography by Matt Bramford

Of course, this wouldn’t be fashion week without a cycling trauma, and it was on Friday morning that my back brake completely went so I was left only with the front one, guaranteed to send me flying over the handlebars should I actually need to stop. A quick trip into miserable Evans Cycles soon sorted this but meant I had to dash like a lunatic to Somerset House and just managed to leg it inside before the show started.


Illustration by Lesley Barnes

I was disappointed not to be saddled up against those two lovely old dears I met last time – this time I endured a rather unforgiving fashion blogger. I tend to stand at the top of one of the aisles to secure good pictures, but said fashion blogger deemed it acceptable to stand in front of me. I politely explained that I had chosen that spot on purpose, and I would really appreciate it if she’d take her enormous Mulberry bag and ridiculously large coat somewhere else. She moved an inch to the left. Cheers, then!

God I’m going on a bit, aren’t I? Well, the show itself was brilliant. This season saw Costelloe move in a more sophisticated direction. The catwalk was awash with luxurious tweeds and tartans in vibrant colours. Structured twin-sets with a contemporary edge stood side-by-side a-line dresses in unusual materials; delicious floral prints were teamed with cropped blazers, while hints of military on more a-line dresses were complimented with a roaring forties/fabulous fifties soundtrack of Bobby Darin and The Andrews Sisters (maybe). Poker-straight red wigs added a sexy, playful edge to what is a more mature range of womenswear.

Last season I wasn’t that struck on the menswear, but this year I am ALL OVER IT. Again, taking a more sophisticated direction, sharp suits (in similar tartans and tweeds to those seen on the girls) were aplenty. Floor length coats and double-breasted blazers really complimented the womenswear. Contrasting trousers in really bright colours were paired with tame blazers, allowing Costelloe’s men to be quirky but smart at the same time.


Illustration by Maria Papadimitriou

It was a massive collection – the biggest I saw during the day – but each piece had been carefully selected to compliment the next and never was it boring. The only way I could have enjoyed the show more was if Unforgiving Fashion Blogger hadn’t been such a knob. Hilariously she was fighting for my prime photographer’s spot to take pictures with her Blackberry! Well, I ask you.

Another great outing for PC, though. Long may he reign – in a sea of often miserable A/W 2011 dark collections, his whimsical approach and playful colours are a ray of sunshine.

All photography by Matt Bramford

Written by Matt Bramford on Saturday February 19th, 2011 11:32 am

Categories ,1940s, ,1950s, ,A/W 2011, ,Bobby Darin, ,british fashion council, ,Catwalk review, ,Lesley Barnes, ,London Fashion Week, ,Maria Papadimitriou, ,Matt Bramford, ,Paul Costelloe, ,Ray of sunshine, ,Tartan, ,The Andrews Sisters, ,Tweed

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

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Illustration by Avril Kelly

Finally escaping the intermittent drizzle, pilule I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, here pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, viagra 40mg I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Enter structured jackets embellished with heraldic embroidery and printed silk skirts, jumpsuits and dresses in autumn colours, burnt orange and berry red. The prints vary, from pretty paisleys to luxurious leopard print. I’m not usually attracted to animal print, but I’m longing for the paisley meets leopard print dress, sporting blue silk detail on the neck and shoulders. It’s simple and elegant but not at all banal. High necks, low cinched waists and midi length skirts in vivid blue and red make for graceful dresses that suggest a marriage of Victoriana and 1970s styles. Bold and neutral colours follow, sheathed in dazzling gems that revive nostalgia for the 1950s.


Live catwalk illustration by Jenny Robins

The colours fade into cloudy greys, biscuit beiges and ice blues for the inconspicuous in you and luxurious brocades make up beautiful jackets, not unlike those gentlemen’s smoking jackets of a bygone vintage era. The catwalk darkens and we’re engulfed in black. Black lace, black wool, black silk – all combine to forge pretty, yet formal, dresses and blouses. I’m rarely taken in by designs in black, but these really are lovely. The vintage inspired shoes and patterned tights play a key part in the presentation, complimenting a largely conservative but beautiful collection.

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay

Written by Akeela Bhattay on Friday February 25th, 2011 5:32 pm

Categories ,A/W 2011, ,Avril Kelly, ,Catwalk review, ,Classic, ,Clements Ribeiro, ,Ethical Fashion, ,Formal, ,Inacio Ribeiro, ,Jenny Robins, ,lfw, ,London Fashion Week, ,Northumberland House, ,Suzanne Clements, ,The Show Space, ,Upcycling, ,vintage

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Amelia’s Magazine | London Fashion Week A/W 2011 Menswear Day Catwalk Review: D.GNAK by KANG.D

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Illustration by Romain Lambert-Louis

It’s good thing it’s starting to feel like spring outside, rx as listening to Lulu and the Lampshades in the dead of winter strikes me as being something akin to torture. This is music that makes me want to ride my bicycle along gravel roads, healing slurping down iced lollies and squinting as the sunshine pokes through my eyelashes.

There is a lot of sweetness to Lulu and the Lampshades – starting with the playfulness of the name itself, link down to the music which is a bucketful of sunshine. At least that was my first impression, before I listened to the new ‘Cold Water’ EP. The only thing I’d heard of the London-based foursome before was ‘Feet to the sky’, a cheery little number with an even cheerier video, but for a release with just four tracks, ‘Cold Water’ does an impressive job of delivering diversity.

Illustration by Matilde Sazio

My favourite thing about Lulu and the Lampshades is probably main singer Luisa Gerstein’s voice – a rich, chocolatey sound which makes you think of bigger songs and swoonier music productions. But the stripped back style of the Lulu songs do an excellent job of accompanying Luisa. The overall effect is something akin to listening to your favourite act playing at a musical, just a few feet away and it feels like they‘re playing just for you.

It certainly sounds like the Lulus having fun though, skipping along (or at least that’s what it sounds like) on the title track ’Cold Water’. Although the lyrics tell a more complex story: ’I hate to be wrapped in cotton although I think it’s better for me / Yes I see there’s trouble but it’s proven to me I’m better off this way’ … I’m not sure if the music and lyrics are mismatched, or if Luisa is simply the happiest when causing a bit of trouble?

Illustration by Mhairi-stella McEwan

Illustration by Sarah Matthews

The video to ‘Cups’, or ‘You’re gonna miss me’, has had over half a million YouTube hits, as Luisa and Heloise banging those plastic beakers into the kitchen table really needs to be seen. ‘Cups’ started out as a routine Louisa learnt at percussion class, combined with new verses and a chorus from a traditional folk song. The result is a lovely little ’all together now’ call-and-response song, but it’s that cup action that has us all going Whoa Lulu! Have a look:

‘I’ll keep my demons underground if it keeps you smiling’, Luisa sings as ‘Demons’ start. Although the flute and glockenspiel keeps things light, the darker undertones are definitely there now, both in terms of lyrics and tone. ‘Cause you’ve punctured me / I’ve ruptured at the seams and though its strange for me / I’ll do my best to keep the rest from falling out’ … But there is something fairytale-like about it too, like the stories about witches and evil creatures that we like because it gives us a chill down our backs.

‘Moccasin Mile’ mixes vocal harmonies, ukulele and some nifty drumstick action as the tempos change. ‘If you can’t be good then please be careful,’ Luisa sings … But then the flute comes in again at the chorus, as Lulu regulars Luisa, Heloise, Jemma and Dan were joined by flutist Isobel to add some extra ‘dance around the maypole’ feeling. And that’s it – four tracks are done and Lulu and the Lampshades have certainly managed to whet our appetites for a full-length album. As well as a dip in a lake that’s still a little too cold, before skipping on home with sunburnt cheeks.

Illustration by Matilde Sazio

Illustration by Sarah Matthews

‘Cold Water’ by Lulu and the Lampshades is out now on Moshi Moshi. Have a look at the website for the current gig schedule, or see the YouTube channel for more music videos.

Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, information pills I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.


Contributor Georgia with Paul Weller

I bumped into contributor Georgia Takacs there and we headed into the venue, more about sitting on opposite sides so not to get the same pictures. As we sat down, she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.


Illustration by Joana Faria

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.


All photography by Matt Bramford

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.


Illustration by Rob Wallace

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Savile Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.

See more of Joana Faria’s illustrations in Amelia’s Compendium of Fashion Illustration!

Written by Matt Bramford on Friday March 11th, 2011 1:06 pm

Categories ,A/W 2011, ,Catwalk review, ,D.GNAK, ,Dong Jun Kang, ,Freemasons’ Hall, ,George Orwell, ,Joana Faria, ,KANG.D, ,London Fashion Week, ,ma, ,Menswear Day, ,Nineteen Eighty Four, ,Oliver John Quinn, ,Paul Weller, ,Rob Wallace, ,Savile Row, ,Sherlock Holmes, ,tailoring, ,Unfinished, ,Utilitarian, ,Vauxhall Fashion Scout, ,Winston Smith

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

by


Illustration by Avril Kelly

Finally escaping the intermittent drizzle, pilule I find myself standing in a beautiful hall within the restored Northumberland House in Trafalgar Square. The ornate ceiling is touching the sky and the splendour of its Victorian past hushes the crowd. The audience here appears slightly subdued. Notepads out, here pens uncapped and eyes focused on the catwalk. Tiptoeing at the back, viagra 40mg I strain to view the runway. I’m anticipating what Suzanne Clements and Inacio Ribeiro will bring to the catwalk to tease our fashion palettes. Spotlights alight causing the last of the whispers to subside and all gaze expectantly at the white path ahead, as the soundtrack strikes.

Enter structured jackets embellished with heraldic embroidery and printed silk skirts, jumpsuits and dresses in autumn colours, burnt orange and berry red. The prints vary, from pretty paisleys to luxurious leopard print. I’m not usually attracted to animal print, but I’m longing for the paisley meets leopard print dress, sporting blue silk detail on the neck and shoulders. It’s simple and elegant but not at all banal. High necks, low cinched waists and midi length skirts in vivid blue and red make for graceful dresses that suggest a marriage of Victoriana and 1970s styles. Bold and neutral colours follow, sheathed in dazzling gems that revive nostalgia for the 1950s.


Live catwalk illustration by Jenny Robins

The colours fade into cloudy greys, biscuit beiges and ice blues for the inconspicuous in you and luxurious brocades make up beautiful jackets, not unlike those gentlemen’s smoking jackets of a bygone vintage era. The catwalk darkens and we’re engulfed in black. Black lace, black wool, black silk – all combine to forge pretty, yet formal, dresses and blouses. I’m rarely taken in by designs in black, but these really are lovely. The vintage inspired shoes and patterned tights play a key part in the presentation, complimenting a largely conservative but beautiful collection.

My height has failed me and my photographs are painfully poor, but I leave contented and pleased to have spied a wonderful show.

All photography by Akeela Bhattay

Written by Akeela Bhattay on Friday February 25th, 2011 5:32 pm

Categories ,A/W 2011, ,Avril Kelly, ,Catwalk review, ,Classic, ,Clements Ribeiro, ,Ethical Fashion, ,Formal, ,Inacio Ribeiro, ,Jenny Robins, ,lfw, ,London Fashion Week, ,Northumberland House, ,Suzanne Clements, ,The Show Space, ,Upcycling, ,vintage

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

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I’ve always had a personal love of Betty Jackson’s clothes, web this web she was one of the first big designers that I got my ticket to see and there’s something that resonates there as an old friend I suppose. Jackson’s collections do always leave me in complete awe too; true they’re not always the most controversial but but that doesn’t mean you can call them boring.

And boom out walked the first model to a mix up of Neil Diamond’s “Girl you’ll be a Woman soon” and David Bowie’s “John I’m only Dancing” wearing a fusion of camel (thought it was gone last season well it’s back) and red. Instantly it’s a hit!

Betty Jackson at London Fashion Week AW11
Illustration by Lisa Stannard

Betty Jackson at London Fashion Week AW11Illustration by Bryony Crane

It definitely was a collection that allowed us to be our most womanly, abortion full of midi length skirts and dresses in the aforementioned respectable reds (a colour I’ve always loved but never really worn for some strange reason) but Jackson mixed up the ladylikeness of the whole thing by teaming ever look with white tights or thigh high socks. Now that’s certainly not an accessory that all of us can pull off without looking like a doll or a small child but when teamed with a midi leaving just the calves on show (i.e. the thinnest part of the leg) then I think we can all work it. Or try at least.

Betty Jackson at London Fashion Week AW11Photography by Jemma Crow

Moving through the collection though Jackson showed a different side to the look with 90’s-esque grungy striped knits and fleece jackets. Yep I did just say fleece! Do you remember the ones you were made to wear as a small child walking through parks? Well this is nothing like that thank god; in fact this is posh fleeces in long line jackets but still I say wear with caution, it looks good on the catwalk but real life may throw up some slightly different conclusions.

Betty Jackson at London Fashion Week AW11Photography by Jemma Crow

Now there was a neutral element to some pieces too. It wasn’t quite a full camel look but more of a darker shade of pale in the shape of mohair coats and cinched in dresses with waist belts. On the opposite end of the scale was the black lace maxi skirts and chiffon dresses and lace jumpers. Maybe not such a practical choice for every day as Jackson paraded them worn with nothing underneath….I’m sure that would be a no so attractive occasion for cold nipples to do their worst.

Betty Jackson at London Fashion Week AW11Photography by Jemma Crow

Betty Jackson at London Fashion Week AW11Illustration by Bryony Crane

A definite thing to note from Jackson for winter though is that this season is going to be a bright one. Others have shown us variations on mulberry and dusky pinks but there’s no doubt that red is a key look too. Wear it with pride and white tights with platform patent shoes. Slightly reminiscent of childhood dressing but then maybe that’s why it’s such a perfect combination.

Betty Jackson at London Fashion Week AW11Illustration by Lisa Stannard

Betty Jackson at London Fashion Week AW11Photography by Jemma Crow

And of course what would a catwalk show be without it’s celebs; we got ours in the form of none other than T4’s Jameela Jamil who’s quicly becoming part of the fashion A List as Alexa Chung rose to the dizzy heights from the same path. But that girl has the longest legs I have ever seen. Wearing a super cute tangerine mini lantern dress and leopard print heels all I could stare at were her legs. But at least the paparazzi were pleased.

Jameela Jamil at Betty Jackson London Fashion Week AW11Illustration by Bryony Crane

Thanks very much to Bryony Crane and Lisa Stannard for their illustrations. More of their work can be found in Amelia’s Compendium of Fashion Illustration
LFW Paul Costelloe AW2011 by Krister Selin
Paul Costelloe by Krister Selin

And it’s off! In fact it was Paul Coselloe that kicked off the eponymous London Fashion Week for AW11 and he didn’t disappoint. Well how could he with Janice Dickinson on the front row! With a modernised version of “In The Mood” as his soundtrack he sent his daughter down the catwalk to start the show in a loving fatherly way. Aww sweet. But I digress; lets get back to the clothes: mini dresses in bright pink hues, order glitzy jacquard mixed with bobbed pink wigs and very wearable men’s suits were the call of the morning interspersed with some mustard suits and patterned palazzo pants. The opening look was a quartet of emerald green swing dresses, a style Costelloe is famous for and knows he does well. And its safe to say (after New York Fashion Week too) that Mulberry, and its various guises, is the colour to be seen in. Teamed with oversized checks and damson tights its perfect for next Autumn moving on from the 70s colours of Summer. It looks like the earthy tones are here to stay but this time there’s more to them than variations on beige.

LFW Paul Costelloe AW2011 by Krister SelinIllustration by Krister Selin

On the side Costelloe has mused about designing airline uniforms (is there really a desire to that?) and the not so subtle hint in his collection was perhaps the boxy swing suits with bracelet sleeves and flirty mini skirts. Who knows maybe we’ll see the staff of BA sashaying down the walk way in a Paul Costelloe burnt orange suit set. Then again maybe not quite what he had in mind…. in all seriousness though congratulations to Costelloe who has opened LFW for his 10th year and still brings wearable pieces straight off the catwalk that still have a fashion appeal. What a perfect opening to a very busy week, and of course Janice Dickenson waving to her friend as he took his bow was a not so subtle closer.

All illustrations by Krister Selin and more of his work can be found in Amelia’s Compendium of Fashion Illustration.

Illustrations by Jaymie O’Callaghan

Daks was always going to be a good old English Heritage show and I think some of the looks may be my favourite of the season.
In particular one thing to definitely note for A/W 2011 is silk skirt with bum covering jumper and tan leather waist belt. Oh so simple but very effective. Imagine a cosy retreat in the good old English countryside sitting around a log fire and you’re pretty much there.

Although the colours were mostly muted I loved the splash of snooker table green on a chunky jumper interspersed with navy trims. This wasn’t really a collection for trousers; it was all about the skirts. Special commendation goes to the lovely lovely full versions in slightly quilted materials (think Barbour jackets) worn with tucked in round neck jumpers and again the trusty leather waist belt. It really was a feminine figure Daks was accentuating and it played to the best of their ability.

The boys were well catered for too as fisherman knit jumpers and long chunky scarves were all in the repertoire created by Filippo Scuffi who learned from the brand heritage designs to create a familiar feel to this AW11 collection. In fact it was probably why the checked capes and traditional tweeds felt so comforting, drugs like an old friend, price they’d been around us before.

The show itself was quite a change from last season too, discount where I’m reliably informed that spectators had to move forward several rows to fill the venue but this year there was none of that. Standing room only was allowed at the catwalk in Somerset House; what a turnaround for the classic brand.

In fact I had high hopes for the show even before I saw it. When the invite arrived in a slick black envelope with a lux gold inside I was very impressed and the black and gold patterning on the invitation itself made me feel very special. What do you mean everyone got one?! So when you’re planning your next country house retreat make like Daks and you’re sure to look like something out of a fashion editorial. When there’s a colour palette of Navy, Green, Brown and Neutral undertones it’s always a fashion win.

And it seems the general consensus is that Daks has done good. Exploring their heritage and updating it for the 21st century is something they can run with again, and for a brand that started out in 1894 with bespoke tailoring that’s a big achievement. And with the instantly recognisable ‘House Check’ running through in a series of blanket capes, shirts and skirts its sure to get them noticed.

And as a brand that I would have never associated with liking myself before I am a convert; ok so maybe not an actual convert at designer prices but I will be channeling them on a tighter budget I promise. A lovely positive start to the Saturday shows.

Written by Jemma Crow on Wednesday February 23rd, 2011 1:06 pm

Categories ,A/W 2011, ,Catwalk review, ,check, ,country, ,daks, ,filippo scuffi, ,fisherman jumper, ,lfw, ,London Fashion Week, ,royal, ,skil skirt, ,Somerset House

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Elliott J Frieze (by Matt)

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Kirsty Ward A/W 2011 by YesGo Illustration
Kirsty Ward A/W 2011 by YesGo Illustration.

Every season I eagerly anticipate Fashion Scout’s Ones to Watch because it is invariably a wonderful place to discover raw talent before everyone else does. This season we even ran a preview to prompt early onset salivating.

Kirsty Ward A/W 2011 by Charlotte Hoyle
Kirsty Ward A/W 2011 by Charlotte Hoyle.

Unfortunately I was late to arrive and had to make do with an abysmal spot at the back, visit this site ambulance hence my far from fabulous photography. The perils of an action packed opening day to LFW. I do apologise.

Kirsty Ward A/W 2011 by June ChanpoomidoleKirsty Ward A/W 2011 by June Chanpoomidole
Kirsty Ward A/W 2011 by June Chanpoomidole.

Straight off the starting blocks was Kirsty Ward, page who first came to our attention when she created jewellery for boyfriend David Longshaw when he himself showed as part of Ones to Watch a year ago. Last season she created her first collection, drugs on view at the static stands at Fashion Scout… and I knew straight away I’d discovered something very special.

Kirsty Ward A/W 2011. Photography by Amelia GregoryKirsty Ward A/W 2011. Photography by Amelia GregoryKirsty Ward A/W 2011. Photography by Amelia GregoryKirsty Ward A/W 2011. Photography by Amelia GregoryKirsty Ward A/W 2011 by Charlotte HoyleKirsty Ward A/W 2011 by Charlotte Hoyle
Kirsty Ward A/W 2011 by Charlotte Hoyle.

Needless to say Kirsty Ward‘s first foray onto the catwalk proper did not disappoint. Working in a range of materials she kept to her sculpted best, whilst also working with new ideas such as the sheer asymmetric flip sided shirt.

Kirsty Ward A/W 2011. Photography by Amelia GregoryKirsty Ward A/W 2011. Photography by Amelia GregoryKirsty Ward A/W 2011. Photography by Amelia GregoryKirsty Ward A/W 2011 by Gilly Rochester
Kirsty Ward A/W 2011 by Gilly Rochester.

As ever the jewellery was an integral part of her designs, sometimes embedded within the fabric, but always well considered. When I spoke to Kirsty at the stands she talked of her ongoing love with everyday household items: coat hangers and miniature hinges get her in an excitable tizz. But there’s no single clear influence in an innovative collection that will no doubt stand the test of time – one stand out piece was inspired by the shape of a Stormtrooper mask, albeit not through any conscious decision. Amusingly she tried to use as many “sick colours” as possible and was almost disappointed that fashionistas have been referring to her colour palette as “autumnal.” I love Kirsty Ward’s vision and an interview with this talented lady is long overdue….

Anja Mlakar A/W 2011. Photography by Amelia GregoryAnja Mlakar A/W 2011. Photography by Amelia GregoryAnja Mlakar A/W 2011. Photography by Amelia GregoryAnja Mlakar A/W 2011 by Karolina Burdon
Anja Mlakar A/W 2011 by Karolina Burdon.

Coming second we were treated to Anja Mlakar‘s collection, which was a confident showing of bouncy tulip skirted dresses in pastels, red and black. Cutaways were a big feature, and I liked the styling with what looked like round padded foam belts, roughly tied at the waist. Definitely an intriguing proposition.

Anja Mlakar A/W 2011. Photography by Amelia GregoryAnja Mlakar A/W 2011. Photography by Amelia GregoryAnje Mlakar A/W 2011 by Charlotte HoyleAnje Mlakar A/W 2011 by Charlotte HoyleAnje Mlakar A/W 2011 by Charlotte Hoyle
Anje Mlakar A/W 2011 by Charlotte Hoyle.

Next up was possibly my least favourite, simply because I am not a minimal kind of gal: no offence intended. Tze Goh works in a kind of compacted foam jersey material that can be easily sculpted into shapes which stand proud of the body.

Tze Goh A/W 2011. Photography by Amelia GregoryTze Goh A/W 2011 by Sarah Wharton
Tze Goh A/W 2011 by Sarah Wharton.

Capes, hairy and smooth, were the order of the day – in steely greys, deep purples and heathery blues.

Sara Bro-Jorgensen A/W 2011 by Charlotte Hoyle
Sara Bro-Jorgensen A/W 2011 by Charlotte Hoyle.

Lastly Sara Bro-Jorgensen created an intriguing collection using trompe l’oeil print and intarsia techniques to play with definitions of clothing. One outfit featured the imprint of a tuxedo, accessorised with a bow tie and knitted hood. She replicated her beloved leather jacket in intarsia, (it also features as part of the collection), using an old 1960s knitting machine available only at the Royal College of Art (the bonus of being an alumni).

Sara Bro-Jorgensen A/W 2011 by Maria Papadimitriou
Sara Bro-Jorgensen A/W 2011 by Maria Papadimitriou.

At her exhibition stand she freely admitted that she is not sure how she can reproduce the look commercially. Sometimes, it seems, old technology really is best. My favourite outfit was a trompe l’oeil intarsia cape dress out of which the model’s arms protruded frontways, encased in creamy childlike mittens. I wouldn’t recommend adopting such a stance of an evening on the town but on the catwalk this styling was a lot of fun.

Sara Bro-Jorgensen A/W 2011 by StellabombellaSara Bro-Jorgensen A/W 2011 by StellabombellaSara Bro-Jorgensen A/W 2011 by Stellabombella
Sara Bro-Jorgensen A/W 2011 by Stellabombella.

Sara Bro-Jorgensen A/W 2011. Photography by Amelia GregorySara Bro-Jorgensen A/W 2011. Photography by Amelia GregorySara Bro-Jorgensen A/W 2011. Photography by Amelia Gregory
Sara Bro-Jorgensen A/W 2011. All photography by Amelia Gregory.

Read Florence Massey’s review here. You can see more of June Chanpoomidole’s work in Amelia’s Compendium of Fashion Illustration.

Illustration by Bryony Crane

From Bernard Chandran’s glorious and vibrant show at The Show Space, sildenafil it was a mere moment to hot-foot it around the corner to Elliott J Frieze’s show at the Charing Cross Hotel. Now, I can’t deny that I’ve spent many an evening down the unsavoury alley at the side of this grand building, but I had assumed that it was a pretty generic, sterile hotel. It is, in fact, quite something – grand sweeping staircases and rows of rooms with Baroque decoration and plush carpets. I love this about fashion week – being able to enter buildings you didn’t know existed is a real treat.


Illustration by Jo Cheung

Ushered into a side room and handed a glass of champagne, I met up with contributor Georgia and a little later Amelia, and a charming woman led us to our seats. This wasn’t an ordinary catwalk – in one of the larger rooms a circular catwalk had been formed with the use of chairs – pretty much all front row, with models to come out at one end. It was a real shame to see seats unfilled – when a designer has put so much work into a collection (as we were about to discover) it’s pretty heartbreaking to see that people just can’t be bothered to turn up. But the arrangement meant that Amelia (sitting opposite me) and I could narcissistically take pictures of each other, which made the waiting time pass very quickly indeed!

When the first model appeared, it was a little chaotic. Racing in front of us, models took a brief pause at the end, then sprinted around the other side, then back across the front, then around the other side, returning back down the middle and occasionally colliding with the next model out. It was a nightmare to decide where to point my camera, and I left with a bit of a headache. But, it’s easy to become tired of watching models walk backwards and forwards, so to see them turning and navigating their diminutive, hot frames around a room became captivating.


Illustration by Bryony Crane

The collection started with some exciting corduroy tailoring in a natural cream colour. High-waisted trousers with enormous waistbands and double-breasted macs appeared on the ladies; for the gents the fabric had been tailored into trousers and a onesie with buckle details and an unsettling camel-toe…

Next up came luscious camel coats for both genders with a deep brown lining – the lady wore hers open as she swaggered in a floppy hat, the gent had his firmly fastened with a thick belt that synched in the waist. If I had any money, I would probably buy this.


Illustration by Jo Cheung

After a bit more chocolate tailoring, styled with chic aviator sunglasses, came the show piece – a grey multi-layer dress that swept the floor as the model walked. A definite winner, if you ask me.

Elliott finished the collection with some classic black looks – body concious dresses for women and structured tailoring for the guys. The whole aesthetic nodded to the Seventies and the women especially oozed sex appeal with figure-hugging outfits and super-chic styling.

All photography by Matt Bramford

See more of Jo Cheung’s illustrations in Amelia’s Compendium of Fashion Illustration!

Written by Matt Bramford on Wednesday March 2nd, 2011 5:07 pm

Categories ,1970s, ,A/W 2011, ,Bryony Crane, ,Catwalk review, ,Charing Cross Hotel, ,Corduroy, ,Elliott J Frieze, ,fashion, ,Jo Cheung, ,lfw, ,London Fashion Week, ,Matt Bramford

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

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Illustration by Erica Sharp

So Designers Remix is the project of Charlotte Eskildsen who has designed for the woman with an “avant garde angle on sophistication” whatever that means. But her collection wasn’t shown in the archetypical fashion show setting that everyone has – no, website like this look this was a living presentation. Now without being snobbish these ‘presentations’ can sometimes be frankly boring, but this was just a bit different. Generally these designers displays their wares on some pretty coat hangers and expects you to coo over it whilst placing a few press releases on windowsills.

But Designers Remix was done a little differently with real life models. Walking into the Portico Rooms in Somerset House you’re struck by two of the aforementioned posing together in front of a painted pillar with the highest fully coiffed beehives I’ve seen in a long time. Sporting a ruffled dress in a satin material maybe best saved for the high street it’s wasn’t the key piece I was expecting to see, but the frilled coat she was standing next to (on a model don’t worry) was very Celine-chic: minimlist and camel.


Live illustrations by Jenny Robins

The inspiration for her pieces was the Palais Royal in Paris; she looked at mixing the look of the elaborate architecture with the striped columns in the courtyard. And the ruffles on the above dress and coat were inspired by the Tuleries Garden and, ironically, French Poodles? Ok so this is very avant-garde. As you walked around the live exhibition, the pieces appealed to my taste more and more. A navy blue column coat with dainty silver buttons was stunning (collarless and mid-length is what you need for A/W 2011) whilst a silky draped tangerine dress stood out from the otherwise minimal colour palette. Strangely though, it was the clothes on the hangers that appealed to me more than the pieces shown on the models.

A rack of butter-soft leather and suede mix jackets (known as the Bilbao) and grey ribbed jumpers (known as the Kissher) with point detailing on the sleeves was so perfect I wanted to throw it on right that minute. As seen at Daks, the look du jour for A/W 2011 will be thick jumpers over silky skirts so Eskilden is right on-trend with her thinking. The pieces seemed quite disjointed as if they weren’t part of the same collection, though – as lovely as they were.


Illustration by Erica Sharp

There was definitely lots of beautiful pieces from the designer, and as my first time seeing her collection, I’m impressed if not a little bit confused. Eskilden works with the feminine shape to tailor the pieces and has an imperative knack for getting drapes falling beautifully down the body. I think it’s the concept that confuses me; sometimes fashion is just too clever for its own good.

All photography by Jemma Crow


Illustrations by Joe Turvey

Oh-how-well we know Erdem for those bold florals of his, no rx shining through to the forefront of every London Fashion Week – regardless of whether they’re ‘on trend’ or not. Luckily for him, website like this a couple of years ago his Spring/Summer floral collection ticked all the trend boxes and seduced many eyes in his direction, website including my own. And now? Well, one really had to be there, in the overflowing frenzy that was his A/W show at University of Westminster on Monday, to understand just how important Erdem Moralioglu has become.

Anna Wintour. Hilary Alexander. Sarah Mower. Rebecca Lowthorpe. It was a congregation of the some of the world’s most powerful fashion figures. The bigwigs passed me whilst I stood at the front of the Standing Tickets queue for a mere HOUR. Hence why you wear comfy shoes to London Fashion Week, people. It is, of course, extremely hard to get hundreds into a venue within a small period of time, but all-in-all entrance to the show was a bit of a nightmare. As celebs such as Alexa Chung, Olivia Palermo and Sam Cam swanned-on through to comfy seats at the front row, countless numbers of us were stood in the cold. Unfortunately, this is the way of fashion, but it would prove worth it.

Standing at the front of the queue, I was expecting a spectacular view, be-it standing up! However, most of us with standing tickets, including me, were placed on a balcony high above the catwalk with only a few being able to see anything! The clothes that graced the catwalk as the lights dimmed made-up for the disappointment.

Classical music with a heavy base boomed across the space, with a catwalk that zig-zagged around the large room. Every inch of every garment was either saturated in bold print or soaked in bright, block colour, with blue, pink and purple dominating the palette. Every model was elevated by killer high-heel red footwear courstesy of Nicholas Kirkwood. The look was girly, but powerfully imposing.

The dresses were so jaw-droppingly elegant it was as if they were made solely for the red carpet. It was all floor-skimming shimmering fabric with classy high-necks and sexy low-backs. And not forgetting the long gloves in matching print to complete. The style was ever-so ladylike with many shorter dresses baring a pencil-skirt finish.

Erdem, once again, took his trademark florals in a new direction with a more blended print design that looked almost as if it had come straight-off a Monet masterpiece. After the final stretch of models had sauntered off the runway, the designer himself peeked out from the curtain with a smile and disappeared, just-in time to recieve the huge cheers and applaud from the star-studded crowd. A well-deserved appreciation for one of London Fashion Week’s most-loved designers.

Written by Georgia Takacs on Friday February 25th, 2011 5:00 pm

Categories ,A/W 2011, ,Alexa Chung, ,Anna Wintour, ,Catwalk review, ,Erdem, ,fashion, ,floral, ,Hilary Alexander, ,London Fashion Week, ,Monet, ,Nicholas Kirkwood, ,Olivia Palermo, ,Rebecca Lowthorpe, ,samantha cameron, ,Sarah Mower

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