Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Michael Van Der Ham (by Amelia)

Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, order sickness having tried in vain for several seasons to get tickets, doctor 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 didn’t last because it soon became apparent that the magazine was going to dominate my time and energy, so now big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow
Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent times 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 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in tones of 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 supremo Georgia Hardinge.

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 sexily louche and accessories included big bangles and spiky neckpieces.

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 girls that looked more like real women.

This is one happy bunny to have at last seen a Mark Fast show.
Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, pharmacy having tried in vain for several seasons to get tickets, here 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 didn’t last because it soon became apparent that the magazine was going to dominate my time and energy, sildenafil so now big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow
Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent times 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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in tones of 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 supremo Georgia Hardinge.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
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 sexily louche and accessories included big bangles and spiky neckpieces.

Mark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
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 girls that looked more like real women.

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

This is one happy bunny to have at last seen a Mark Fast show.
Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, rx having tried in vain for several seasons to get tickets, case 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 didn’t last because it soon became apparent that the magazine was going to dominate my time and energy, more about so now big bags of ethically dyed rare breed wool sit languishing in my parents attic.

Mark Fast A/W 2011 by Michaela Meadow
Mark Fast A/W 2011 by Michaela Meadow.

Knitwear has been overlooked by high fashion for a long time, but in recent times 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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

This season he worked predominantly in merino wool in tones of 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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
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 girls that looked more like real women.

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

This is one happy bunny to have at last seen a Mark Fast show.
Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, prescription having tried in vain for several seasons to get tickets, remedy 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, stomach 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
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011 by Liam McMahon
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

This is one happy bunny to have at last seen a Mark Fast show.
Mark Fast A/W 2011 by Liam McMahon
Mark Fast A/W 2011 by Liam McMahon.

I cannot tell a lie, more about having tried in vain for several seasons to get tickets, no rx 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
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011 by Liam McMahon
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
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 GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia GregoryMark Fast A/W 2011. Photography by Amelia Gregory
Mark Fast A/W 2011. Photography by Amelia Gregory.

This is one happy bunny to have at last seen a Mark Fast show.
Michael Van Der Ham A/W 2011 by Jenny Lloyd
Michael Van Der Ham A/W 2011 by Jenny Lloyd.

Michael Van Der Ham was held at the New Gen space in Billingsgate, visit this site and in the queue I bumped into *name drop alert* Courtney of Forward PR, rx Jeff Garner of Prophetik, Louisa of Cent Magazine and Jessica of Vogue. Usually I just slink in and out of shows as fast as possible, so it was nice to have a friendly little crew to hang out with as we made the most of free food laid on courtesy of Topshop… glasses of champagne, or juice… and creamy butternut squash risotto served in dinky little pots: quite possibly the best risotto I have ever tasted.

Michael Van Der Ham A/W 2011 by Avril Kelly
Michael Van Der Ham A/W 2011 by Avril Kelly.

This was only Michael Van Der Ham‘s second stand alone show, and as we were ushered in to our seats I was left wondering why the hell it had been so hard to get tickets for New Gen shows… the Billingsgate venue is huge, and the PR girls had to hurry standing tickets into seats as the lights went down. It was not exactly busy for either of the shows that I attended here, so it’s a shame that allocation of tickets was so tight.

Michael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia Gregory
Michael Van Der Ham A/W 2011 by Katie HarnettMichael Van Der Ham A/W 2011 by Katie Harnett
Michael Van Der Ham A/W 2011 by Katie Harnett.

Michael Van Der Ham has made his name from a unique cut and paste approach to fashion. Last season he mashed up all sorts of clashing fabrics to create something universally lauded but perhaps not wholly wearable. This season he appeared to address the commerciality question, so first out onto the catwalk came a series of eminently desirable velvet outfits in a range of jewel brights. Each one featured his signature asymmetric draped tailoring, but rendered all in one shade: delicious rose, fuchsia, lime, turquoise and orange.

Michael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011 by Madi
Michael Van Der Ham A/W 2011 by Madi.

From then on in we were in more familiar territory: assorted fabric panels and intarsia knitwear inspired by vintage floral paisleys in 70s style shades of purple and orange, complete with accents of lurex. Heavily tasseled trousers were fun for editorial but of questionable taste for the buying public; far more successful were the wide legged high waisted trousers worn with panelled wool crop jackets.

Michael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011 by Avril KellyMichael Van Der Ham A/W 2011 by Avril Kelly.
Michael Van Der Ham A/W 2011 by Avril Kelly.

But for me the standouts were unquestionably the range of sumptuous velvet dresses. Want. One. Experimenting with more wearable concepts suits Michael Van Der Ham well.

Michael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia GregoryMichael Van Der Ham A/W 2011. Photography by Amelia Gregory
Michael Van Der Ham A/W 2011. Photography by Amelia Gregory.

Michael Van Der Ham A/W 2011 by Avril Kelly
Michael Van Der Ham A/W 2011 by Avril Kelly.

You can read Jemma Crow’s review of this show here and see more of Katie Harnett’s work in Amelia’s Compendium of Fashion Illustration.

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Assymetrical, ,Avril Kelly, ,Billingsgate, ,Cent Magazine, ,Champagne, ,Courtney Blackman, ,Forward PR, ,Intarsia, ,Jeff Garner, ,Jemma Crow, ,Jenny Lloyd, ,Jessica Bumpus, ,Katie Harnett, ,Louisa Lau, ,Lurex, ,Madi, ,Madi Illustrates, ,Michael van der Ham, ,New Gen, ,Old Billingsgate, ,Prophetik, ,Risotto, ,topshop, ,vogue

Similar Posts:






Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Michael Van Der Ham

Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Ellie Sutton
Paul Costelloe A/W 2011 by Ellie Sutton.

Those in the business know that I took quite a few years off from attending the shows, medicine but I’ve been gradually creeping back into LFW and this season Amelia’s Magazine really has been out in force. I’ve attended a record number of catwalk shows and presentations, capsule leaving me very little time to actually write or edit photos and commission illustrations. Meanwhile, my wonderful team of contributors have been working their collective butt off. With the result that this is our third blog post about Paul Costelloe… and only my first. And it’s a WEEK since the shows started. Tut tut.

Paul Costelloe A/W 2011 by Antonia Parker
Antonia-Parker-A-W-2011-Paul-Costelloe-A
Paul Costelloe A/W 2011 by Antonia Parker.

Last season Paul really cemented his comeback with a well received opener to S/S LFW – which would explain why this show was so much better attended than the last… good words can spread like wildfire in fashion land. This season he did it again, despite rumours swirling around on the day that the label went into receivership recently – a quick google search revealing that a new backer in the form of Calvelex was unveiled on the same day of his A/W show. This time it was not his sons but his towering opera singing red-haired daughter that Paul sent down the catwalk. Does he have anymore offspring squirrelled around somewhere? If not, who will he call on to do the familial duties next season?!

Paul Costelloe A-W 2011-daughter Jessica
Paul’s daughter Jessica opened the show. All photography by Amelia Gregory.

Once Amazonian daughter Jessica had left with a cocky smile it was down to business as four pink pyramid-haired ladies strode onto the catwalk en masse, resplendent in emerald and fern green boucle tweed and textured metallic silks swinging coat dresses.

Paul Costelloe A/W 2011 by jenny robins
Paul Costelloe A/W 2011 by Jenny Robins.

The collection swiftly moved through a spectrum of mustards, oranges and red checks on big collared dresses, boxy crop jackets and mini skater skirts, interspersed by the odd splash of luxurious menswear – my favourite being a sumptuous deep red velvet jacket. Swing shapes, splashy flower prints, cowl necks and big collars were the order of the day. Extremely delish, and very more-ish.

LFW A-W 2011-Paul Costelloe family

I managed to sneak a quick photo of Paul Costelloe as he was leaving Somerset House with his massive brood, Paul himself resplendent in a pair of sparkling white pumps.

Paul Costelloe A/W 2011 by Ellie Sutton
Paul Costelloe A/W 2011 by Ellie Sutton.

Those in the business know that I took quite a few years off from attending the shows, medicine but I’ve been gradually creeping back into LFW and this season Amelia’s Magazine really has been out in force. I’ve attended a record number of catwalk shows and presentations, shop leaving me very little time to actually write or edit photos and commission illustrations. Meanwhile, view my wonderful team of contributors have been working their collective butt off. With the result that this is our third blog post about Paul Costelloe… and only my first. And it’s a WEEK since the shows started. Tut tut.

Paul Costelloe A/W 2011 by Antonia Parker
Antonia-Parker-A-W-2011-Paul-Costelloe-A
Paul Costelloe A/W 2011 by Antonia Parker.

Last season Paul really cemented his comeback with a well received opener to S/S LFW – which would explain why this show was so much better attended than the last… good words can spread like wildfire in fashion land. This season he did it again, despite rumours swirling around on the day that the label went into receivership recently – a quick google search revealing that a new backer in the form of Calvelex was unveiled on the same day of his A/W show. This time it was not his sons but his towering opera singing red-haired daughter that Paul sent down the catwalk. Does he have anymore offspring squirrelled around somewhere? If not, who will he call on to do the familial duties next season?!

Paul Costelloe A-W 2011-daughter Jessica
Paul’s daughter Jessica opened the show. All photography by Amelia Gregory.

Once Amazonian daughter Jessica had left with a cocky smile it was down to business as four pink pyramid-haired ladies strode onto the catwalk en masse, resplendent in emerald and fern green boucle tweed and textured metallic silks swinging coat dresses.

Paul Costelloe A/W 2011 by jenny robins
Paul Costelloe A/W 2011 by Jenny Robins.

The collection swiftly moved through a spectrum of mustards, oranges and red checks on big collared dresses, boxy crop jackets and mini skater skirts, interspersed by the odd splash of luxurious menswear – my favourite being a sumptuous deep red velvet jacket. Swing shapes, splashy flower prints, cowl necks and big collars were the order of the day. Extremely delish, and very more-ish.

LFW A-W 2011-Paul Costelloe family

I managed to sneak a quick photo of Paul Costelloe as he was leaving Somerset House with his massive brood, Paul himself resplendent in a pair of sparkling white pumps.
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011. All photography by Amelia Gregory.

You can see more of Antonia Parker and Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Paul Costelloe A/W 2011 by Ellie Sutton
Paul Costelloe A/W 2011 by Ellie Sutton.

Those in the business know that I took quite a few years off from attending the shows, thumb but I’ve been gradually creeping back into LFW and this season Amelia’s Magazine really has been out in force. I’ve attended a record number of catwalk shows and presentations, no rx leaving me very little time to actually write or edit photos and commission illustrations. Meanwhile, rx my wonderful team of contributors have been working their collective butt off. With the result that this is our third blog post about Paul Costelloe… and only my first. And it’s a WEEK since the shows started. Tut tut.

Paul Costelloe A/W 2011 by Antonia Parker
Antonia-Parker-A-W-2011-Paul-Costelloe-A
Paul Costelloe A/W 2011 by Antonia Parker.

Last season Paul really cemented his comeback with a well received opener to S/S LFW – which would explain why this show was so much better attended than the last… good words can spread like wildfire in fashion land. This season he did it again, despite rumours swirling around on the day that the label went into receivership recently – a quick google search revealing that a new backer in the form of Calvelex was unveiled on the same day of his A/W show. This time it was not his sons but his towering opera singing red-haired daughter that Paul sent down the catwalk. Does he have anymore offspring squirrelled around somewhere? If not, who will he call on to do the familial duties next season?!

Paul Costelloe A-W 2011-daughter Jessica
Paul’s daughter Jessica opened the show. Photography by Amelia Gregory.

Once Amazonian daughter Jessica had left with a cocky smile it was down to business as four pink pyramid-haired ladies strode onto the catwalk en masse, resplendent in emerald and fern green boucle tweed and textured metallic silks swinging coat dresses.

Paul Costelloe A/W 2011 by jenny robins
Paul Costelloe A/W 2011 by Jenny Robins.

The collection swiftly moved through a spectrum of mustards, oranges and red checks on big collared dresses, boxy crop jackets and mini skater skirts, interspersed by the odd splash of luxurious menswear – my favourite being a sumptuous deep red velvet jacket. Swing shapes, splashy flower prints, cowl necks and big collars were the order of the day. Extremely delish, and very more-ish.

LFW A-W 2011-Paul Costelloe family

I managed to sneak a quick photo of Paul Costelloe as he was leaving Somerset House with his massive brood, Paul himself resplendent in a pair of sparkling white pumps.

Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011. All photography by Amelia Gregory.

Read Matt Bramford’s review of the show here, and Jemma Crow’s review here. You can see more of Antonia Parker and Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Paul Costelloe A/W 2011 by Ellie Sutton
Paul Costelloe A/W 2011 by Ellie Sutton.

Those in the business know that I took quite a few years off from attending the shows, thumb but I’ve been gradually creeping back into LFW and this season Amelia’s Magazine really has been out in force. I’ve attended a record number of catwalk shows and presentations, sales leaving me very little time to actually write or edit photos and commission illustrations. Meanwhile, thumb my wonderful team of contributors have been working their collective butt off. With the result that this is our third blog post about Paul Costelloe… and only my first. And it’s a WEEK since the shows started. Tut tut.

Paul Costelloe A/W 2011 by Antonia Parker
Antonia-Parker-A-W-2011-Paul-Costelloe-A
Paul Costelloe A/W 2011 by Antonia Parker.

Last season Paul really cemented his comeback with a well received opener to S/S LFW – which would explain why this show seemed so much better attended than the last… good words can spread like wildfire in fashion land. This season he did it again, despite rumours swirling around on the day that the label went into receivership recently – a quick google search revealing that a new backer in the form of Calvelex was unveiled on the same day of his A/W show. This time it was not his sons but his towering opera singing red-haired daughter that Paul sent down the catwalk. Does he have anymore offspring squirrelled around somewhere? If not, who will he call on to do the familial duties next season?!

Paul Costelloe A-W 2011-daughter Jessica
Paul’s daughter Jessica opened the show. Photography by Amelia Gregory.

Once Amazonian daughter Jessica had left with a cocky smile it was down to business as four pink pyramid-haired ladies strode onto the catwalk en masse, resplendent in emerald and fern green boucle tweed and textured metallic silks swinging coat dresses.

Paul Costelloe A/W 2011 by jenny robins
Paul Costelloe A/W 2011 by Jenny Robins.

The collection swiftly moved through a spectrum of mustards, oranges and red checks on big collared dresses, boxy crop jackets and mini skater skirts, interspersed by the odd splash of luxurious menswear – my favourite being a sumptuous deep red velvet jacket. Swing shapes, splashy flower prints, cowl necks and big collars were the order of the day. Extremely delish, and very more-ish.

LFW A-W 2011-Paul Costelloe family

I managed to sneak a quick photo of Paul Costelloe as he was leaving Somerset House with his massive brood, Paul himself resplendent in a pair of sparkling white pumps.

Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011. All photography by Amelia Gregory.

Read Matt Bramford’s review of the show here, and Jemma Crow’s review here. You can see more of Antonia Parker and Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Paul Costelloe A/W 2011 by Ellie Sutton
Paul Costelloe A/W 2011 by Ellie Sutton.

Those in the business know that I took quite a few years off from attending the shows, viagra dosage but I’ve been gradually creeping back into LFW and this season Amelia’s Magazine really has been out in force. I’ve attended a record number of catwalk shows and presentations, find leaving me very little time to actually write or edit photos and commission illustrations. Meanwhile, my wonderful team of contributors have been working their collective butt off. With the result that this is our third blog post about Paul Costelloe… and only my first. And it’s a WEEK since the shows started. Tut tut.

Paul Costelloe A/W 2011 by Antonia Parker
Antonia-Parker-A-W-2011-Paul-Costelloe-A
Paul Costelloe A/W 2011 by Antonia Parker.

Last season Paul really cemented his comeback with a well received opener to S/S LFW – which would explain why this show seemed so much better attended than the last… good words can spread like wildfire in fashion land. This season he did it again, despite rumours swirling around on the day that the label went into receivership recently – a quick google search revealing that a new backer in the form of Calvelex was unveiled on the same day of his A/W show. This time it was not his sons but his towering opera singing red-haired daughter that Paul sent down the catwalk. Does he have anymore offspring squirrelled around somewhere? If not, who will he call on to do the familial duties next season?!

Paul Costelloe A-W 2011-daughter Jessica
Paul’s daughter Jessica opened the show. Photography by Amelia Gregory.

Once Amazonian daughter Jessica had left with a cocky smile it was down to business as four pink pyramid-haired ladies strode onto the catwalk en masse, resplendent in emerald and fern green boucle tweed and textured metallic silks swinging coat dresses.

Paul Costelloe A/W 2011 by jenny robins
Paul Costelloe A/W 2011 by Jenny Robins.

The collection swiftly moved through a spectrum of mustards, oranges and red checks on big collared dresses, boxy crop jackets and mini skater skirts, interspersed by the odd splash of luxurious menswear – my favourite being a sumptuous deep red velvet jacket. Swing shapes, splashy flower prints, cowl necks and big collars were the order of the day. Extremely delish, and very more-ish.

LFW A-W 2011-Paul Costelloe family

I managed to sneak a quick photo of Paul Costelloe as he was leaving Somerset House with his massive brood, Paul himself resplendent in a pair of sparkling white pumps.

Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011. All photography by Amelia Gregory.

Read Matt Bramford’s review of the show here, and Jemma Crow’s review here. You can see more of Antonia Parker and Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Paul Costelloe A/W 2011 by Ellie Sutton
Paul Costelloe A/W 2011 by Ellie Sutton.

Those in the business know that I took quite a few years off from attending the shows, but I’ve been gradually creeping back into LFW and this season Amelia’s Magazine really has been out in force. I’ve attended a record number of catwalk shows and presentations, order leaving me very little time to actually write or edit photos and commission illustrations. Meanwhile, my wonderful team of contributors have been working their collective butt off. With the result that this is our third blog post about Paul Costelloe… and only my first. And it’s a WEEK since the shows started. Tut tut.

Paul Costelloe A/W 2011 by Antonia Parker
Antonia-Parker-A-W-2011-Paul-Costelloe-A
Paul Costelloe A/W 2011 by Antonia Parker.

Last season Paul really cemented his comeback with a well received opener to S/S LFW – which would explain why this show seemed so much better attended than the last… good words can spread like wildfire in fashion land. This season he did it again, despite rumours swirling around on the day that the label went into receivership recently – a quick google search revealing that a new backer in the form of Calvelex was unveiled on the same day of his A/W show. This time it was not his sons but his towering opera singing flame-haired daughter that Paul sent down the catwalk. Does he have anymore offspring squirrelled around somewhere? If not, who the hell will do the familial duty next season?

Paul Costelloe A-W 2011-daughter Jessica
Paul’s daughter Jessica opened the show. Photography by Amelia Gregory.

Once Amazonian daughter Jessica had left centre stage with a cocky little smile it was down to business as four pink pyramid-haired ladies strode onto the catwalk en masse, resplendent in emerald and fern green boucle tweed and textured metallic silks swinging coat dresses.

Paul Costelloe A/W 2011 by jenny robins
Paul Costelloe A/W 2011 by Jenny Robins.

The collection swiftly moved through a spectrum of mustards, oranges and red checks on big collared dresses, boxy crop jackets and mini skater skirts, interspersed by the odd splash of luxurious menswear – my favourite being a sumptuous deep red velvet jacket. Swing shapes, splashy flower prints, cowl necks and big collars were the order of the day. Extremely delish, and very more-ish.

Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory

Paul Costelloe A/W 2011. All photography by Amelia Gregory.LFW A-W 2011-Paul Costelloe family
I managed to sneak a quick photo of Paul Costelloe as he was leaving Somerset House with his massive brood, Paul himself resplendent in a pair of sparkling white pumps.

Read Matt Bramford’s review of the show here, and Jemma Crow’s review here. You can see more of Antonia Parker and Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Paul Costelloe A/W 2011 by Ellie Sutton
Paul Costelloe A/W 2011 by Ellie Sutton.

Those in the business know that I took quite a few years off from attending the shows, prostate but I’ve been gradually creeping back into LFW and this season Amelia’s Magazine really has been out in force. I’ve attended a record number of catwalk shows and presentations, tadalafil leaving me very little time to actually write or edit photos and commission illustrations. Meanwhile, recipe my wonderful team of contributors have been working their collective butt off. With the result that this is our third blog post about Paul Costelloe… and only my first. And it’s a WEEK since the shows started. Tut tut.

Paul Costelloe A/W 2011 by Antonia Parker
Antonia-Parker-A-W-2011-Paul-Costelloe-A
Paul Costelloe A/W 2011 by Antonia Parker.

Last season Paul really cemented his comeback with a well received opener to S/S LFW – which would explain why this show seemed so much better attended than the last… good words can spread like wildfire in fashion land. This season he did it again, despite rumours swirling around on the day that the label went into receivership recently – a quick google search revealing that a new backer in the form of Calvelex was unveiled on the same day of his A/W show. This time it was not his sons but his towering opera singing flame-haired daughter that Paul sent down the catwalk. Does he have anymore offspring squirrelled around somewhere? If not, who the hell will do the familial duty next season?

Paul Costelloe A-W 2011-daughter Jessica
Paul’s daughter Jessica opened the show. Photography by Amelia Gregory.

Once Amazonian daughter Jessica had left centre stage with a cocky little smile it was down to business as four pink pyramid-haired ladies strode onto the catwalk en masse, resplendent in emerald and fern green boucle tweed and textured metallic silks swinging coat dresses.

Paul Costelloe A/W 2011 by jenny robins
Paul Costelloe A/W 2011 by Jenny Robins.

The collection swiftly moved through a spectrum of mustards, oranges and red checks on big collared dresses, boxy crop jackets and mini skater skirts, interspersed by the odd splash of luxurious menswear – my favourite being a sumptuous deep red velvet jacket. Swing shapes, splashy flower prints, cowl necks and big collars were the order of the day. Extremely delish, and very more-ish.

Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory
Paul Costelloe A/W 2011 by Amelia Gregory

Paul Costelloe A/W 2011. All photography by Amelia Gregory.LFW A-W 2011-Paul Costelloe family
I managed to sneak a quick photo of Paul Costelloe as he was leaving Somerset House with his massive brood; Paul resplendent in a pair of sparkling new white pumps.

Read Matt Bramford’s review of the show here, and Jemma Crow’s review here. You can see more of Antonia Parker and Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

I spent London Fashion Week staying at my parent’s house. My childhood home with a new kitchen, buy information pills dog ‘brother’, central heating that works and a bath. I’m not going to lie, I enjoyed having my porridge made in the morning. Maple syrup on the side, and a herbal tea, packed lunch filled with snacks. That’s right, I lapped it up. Although Charlie is an excellent boy/man, there is nothing quite like the mother. However they live a few miles outside of Brighton, in a village. Thus the trek to London, the long days and write ups – intense. All because I LOVE it. I deliberated with coming to London for ONE show. But I have in my mind, ‘NO HELS! SAY NOT TO NOTHING!’ at all times. I’m following my writing dream after all. This causes me great pleasures and enormous pains. So, of course, one show or not, I was on that train to London Victoria. And am I glad I made the effort for Fashion Mode?

YES.

Three shows; three excellent shows. I’m going to split Fashion Mode into three posts, because each designer deserves the love. So we will start with Floriet Jayet. Initially I was slightly terrified and in awe of the models coming out. Nothing different to every show you might say. But, this was different, because the models had metal contraptions of their heads that made them look like a cross between special aliens and orthodontic patients. Four strips of silver metal came over their heads from the back, to touch their faces, with an enormous roller at the back. After my initial fear, I decided that they looked cool, as inevitably happens at LFW. See: ‘Urg… ahhh.. yah, I totally get that now. I want one.’ Although I’m not sure I would wear one of these creations, I would certainly consider wearing the dresses, which the metal complimented perfectly. Wiggle space lady, that’s what you are. With lasers from your eyes and hips.

Florian Jayet is a graduate in Biology which explains his science appreciative designs. The dresses featured strong shoulders, midi length skirts and padded fabrics. The shape of the woman is celebrated and appreciated as if it is meant to be seen and not covered – raw biology. The models remind me of those in Huxley’s; Brave New World. Perfect, angular and although feminine, are minus the romanticism and emotional sentimentality, that are sometimes conjured by designers. In a sense Jayet’s pieces are actually a mix of old and our vision of future ideologies. The restricted, but beautiful shapes of the 40s have been fused with modern and excessive details; i.e. the shoulders. The contemporary complimenting the past, and particularly French houses; Chanel and Dior. This makes for a very sophisticated and composed look. It made me want to look closer, at every detail, and know more. As opposed to held within the ruffles, the corset and the red heels, everything seemed so wrapped up, with the story inside. It was whimsical in its own way, but also impenetrable. These outfits are those that I would hope to find in the corner of a cafe in Paris, smoking, mysterious, alone – with a steely, but far away look.

I adored the padding details and the shrug wraps. The space lady, dressed for dinner. The long dresses had a Japanese feel to them, geisha like and graceful. Florian Jayet said that the focus is to create; ‘a fetish wardrobe, pieces that a woman can keep forever, bringing them out on special occasions when she needs to be propelled into confidence and strength.’ It’s fair to say that you would feel empowered wearing Jayet’s pieces. The creams and blacks, shoulders, padding and midi length skirts would have me stomping and demanding like a glossy magazine Editor with somewhere to be. However at the moment it’s more probable I would be in the cafe, with a cigarette and eyes reliving or hoping for something. With an unreadable face, it’s unclear as to whether that may or may not, or will ever happen.


Illustration by Artist Andrea

Well well well Michael Van Der Ham, online what a stunningly beautiful show you have. Velvet and sumptuous jewel colours are fast becoming the only thing to be seen in for A/W 2011 and Van Der Ham was no exception. Being his third season, approved the Dutch designer is known for his collaging of fabrics and this show, in the arched Topshop venue in Old Billingsgate, didn’t disappoint. And it was a first for the designer to show outerwear at one of his shows. Exciting times to come.

So the show opener was a vivid red velvet dress; think asymmetric to the extreme. With one sleeve cut long and one bare shoulder, the image was mirrored in the hemline with (you guessed it) one side short and one side longer. The cut detailing of the pieces was really well thought out and only showed how prolific a designer Van Der Ham will become.


Illustration by Artist Andrea

Although this was a collection mostly about the dresses (isn’t it always), there was a distinct presence of trousers. Now this season does seem to be all about the lady but there’s a small section of wider leg trousers coming through in sensual evening fabrics. Van Der Ham showed his in silky ochres and burnt oranges but the more stand out pieces were the fringed ballet pink trousers; delicious and the mad piece of the collection.

I just want to talk about the shoes for a second too. Not that they’re actually part of the designer’s collection but they complimented the pieces so well they’re already on my wish list. And they’re simply a pair of black suede wedge shoe boots but they made the legs look super long (not that they needed to) so a great choice to team with the dresses.

Showing a slightly more muted side the second half of the collection was a montage of (again) ballet pink chiffon skirts, black boiled wool jackets and silky blouses. The outerwear and the knits were the new foray for Van Der Ham which suited him well, definitely something to continue for the seasons to come.

I know I’ve said this before (only sparingly but still….) but this was one of my favourite collections by far this season. Everybody’s got to love a bit of velvet in fashion and when it’s dressed in the sumptuous colours that Michael Van Der Ham showed. And if its good enough for all of Team Guardian and Team Elle (who waltzed straight into the venue) then its good enough for me.

See more of Artist Andrea’s illustrations in Amelia’s Compendium of Fashion Illustration.

Categories ,A/W 2011, ,Artist Andrea, ,Catwalk review, ,Champagne, ,Elle, ,fashion, ,Fringing, ,Guardian, ,lfw, ,London Fashion Week, ,Michael van der Ham, ,Old Billingsgate, ,Risotto, ,topshop

Similar Posts:






Amelia’s Magazine | London Fashion Week A/W 2011, Presentation: Orla Kiely (by Helen)


Illustration by Joana Faria

If I ever meet Jean Pierre Braganza in person, physician price I might give him a little squeeze. His A/W 2011 show on Friday leaps right into my top 5 – and I’m writing this at the end of a very long and pretty stressful Day 3.

One of my favourite things during fashion week is getting to see interesting buildings that I never knew existed and wouldn’t normally take the slightest interest in. Braganza’s show was to take place at the ‘Show Space’ – part of one of those centuries-old hotels with Baroque interiors and branded soaps. Me and Amelia skipped the queue and sneaked inside to find the most beautiful chandeliers and lots of OTT dressed punters. The actual room in which the show was to take place was equally as decadent, save for the make-shift catwalk that looked like it could topple at any second – and the tiny gap down the side of said catwalk through which we all had to squeeze. ‘I predict a bottle neck’ I thought as we entered, and my premonition came true on the way out.


Illustrations by Krister Selin

A little wait ensued while it was ensured that every inch of carpet had somebody to occupy it, so I took a few snaps of the room and got a bit excited about the juxtaposition of this past interior and Braganza’s future aesthetic.

On with the show with bangin’ beats and gorgeous models wearing more gorgeous clothes. Masculine tailoring appeared first, dynamically cut and decorated with a transfixing splatter pattern in tonal greys. This pattern was set to become a theme, appearing in both menswear and womenswear. After only a few pieces I instantly thought that Braganza’s collections are always meticulous and polished – rich, full fabrics are combined with unique cuts and expert craftsmanship – the entire collection was technically faultless.

Models appeared one after the other, pausing a third of the way down the catwalk so we could all get a good look. I like this set up – much better for pictures (and I’ve really struggled with pictures this season – bloody A/W and it’s sea of dark colours).


Illustrations by Krister Selin

Branganza took the collection forward concentrating on luxe materials that have high aesthetic value: rich and heavy knits, leather and mohair; add a science-fiction influence and you’ve got a real fashion forward collection.

Geometric cuts featured patches of contrasting materials. Nautical stripes in monochrome contrasted with the smoothness of jersey; gents wore Cuban heels with their military tailoring with contrasting sleeves. Braganza has an incredible ability to combine leather architectural pieces with beautifully elegant silk frocks – sounds hideous on paper but as a collection it was completely coherent.


Illustration by Joana Faria

I usually can’t get it up for a predominantly black collection, but with Jean Pierre Braganza’s vision of the future I most certainly can. Bursts of lipstick red shook things up a bit: a gent’s suit with a synched back and skinny trousers that finished with points; embellished onto a mind-blowing shift dress; on short skirts. But it will be Braganza’s black that I remember this collection for: leather sleeves for gents and cutaway dresses in leather with a hint of bondage that oozed sex appeal for the ladies. Eyes peeled folks, this is what the future looks like.



Illustration by Joana Faria

If I ever meet Jean Pierre Braganza in person, stuff I might give him a little squeeze. His A/W 2011 show on Friday leaps right into my top 5 – and I’m writing this at the end of a very long and pretty stressful Day 3.

One of my favourite things during fashion week is getting to see interesting buildings that I never knew existed and wouldn’t normally take the slightest interest in. Braganza’s show was to take place at the ‘Show Space’ – part of one of those centuries-old hotels with Baroque interiors and branded soaps. Me and Amelia skipped the queue and sneaked inside to find the most beautiful chandeliers and lots of OTT dressed punters. The actual room in which the show was to take place was equally as decadent, prescription save for the make-shift catwalk that looked like it could topple at any second – and the tiny gap down the side of said catwalk through which we all had to squeeze. ‘I predict a bottle neck’ I thought as we entered, and my premonition came true on the way out.


Illustrations by Krister Selin

A little wait ensued while it was ensured that every inch of carpet had somebody to occupy it, so I took a few snaps of the room and got a bit excited about the juxtaposition of this past interior and Braganza’s future aesthetic.

On with the show with bangin’ beats and gorgeous models wearing more gorgeous clothes. Masculine tailoring appeared first, dynamically cut and decorated with a transfixing splatter pattern in tonal greys. This pattern was set to become a theme, appearing in both menswear and womenswear. After only a few pieces I instantly thought that Braganza’s collections are always meticulous and polished – rich, full fabrics are combined with unique cuts and expert craftsmanship – the entire collection was technically faultless.

Models appeared one after the other, pausing a third of the way down the catwalk so we could all get a good look. I like this set up – much better for pictures (and I’ve really struggled with pictures this season – bloody A/W and it’s sea of dark colours).


Illustrations by Krister Selin

Branganza took the collection forward concentrating on luxe materials that have high aesthetic value: rich and heavy knits, leather and mohair; add a science-fiction influence and you’ve got a real fashion forward collection.

Geometric cuts featured patches of contrasting materials. Nautical stripes in monochrome contrasted with the smoothness of jersey; gents wore Cuban heels with their military tailoring with contrasting sleeves. Braganza has an incredible ability to combine leather architectural pieces with beautifully elegant silk frocks – sounds hideous on paper but as a collection it was completely coherent.


Illustration by Joana Faria

I usually can’t get it up for a predominantly black collection, but with Jean Pierre Braganza’s vision of the future I most certainly can. Bursts of lipstick red shook things up a bit: a gent’s suit with a synched back and skinny trousers that finished with points; embellished onto a mind-blowing shift dress; on short skirts. But it will be Braganza’s black that I remember this collection for: leather sleeves for gents and cutaway dresses in leather with a hint of bondage that oozed sex appeal for the ladies. Eyes peeled folks, this is what the future looks like.

All photography by Matt Bramford

See more of Joana Faria and Krister Selin’s illustrations in Amelia’s Compendium of Fashion Illustration.

Illustration by Joana Faria

If I ever meet Jean Pierre Braganza in person, decease I might give him a little squeeze. His A/W 2011 show on Friday leaps right into my top 5 – and I’m writing this at the end of a very long and pretty stressful Day 3.

One of my favourite things during fashion week is getting to see interesting buildings that I never knew existed and wouldn’t normally take the slightest interest in. Braganza’s show was to take place at the ‘Show Space’ – part of one of those centuries-old hotels with Baroque interiors and branded soaps. Me and Amelia skipped the queue and sneaked inside to find the most beautiful chandeliers and lots of OTT dressed punters. The actual room in which the show was to take place was equally as decadent, save for the make-shift catwalk that looked like it could topple at any second – and the tiny gap down the side of said catwalk through which we all had to squeeze. ‘I predict a bottle neck’ I thought as we entered, and my premonition came true on the way out.


Illustrations by Krister Selin

A little wait ensued while it was ensured that every inch of carpet had somebody to occupy it, so I took a few snaps of the room and got a bit excited about the juxtaposition of this past interior and Braganza’s future aesthetic.

On with the show with bangin’ beats and gorgeous models wearing more gorgeous clothes. Masculine tailoring appeared first, dynamically cut and decorated with a transfixing splatter pattern in tonal greys. This pattern was set to become a theme, appearing in both menswear and womenswear. After only a few pieces I instantly thought that Braganza’s collections are always meticulous and polished – rich, full fabrics are combined with unique cuts and expert craftsmanship – the entire collection was technically faultless.

Models appeared one after the other, pausing a third of the way down the catwalk so we could all get a good look. I like this set up – much better for pictures (and I’ve really struggled with pictures this season – bloody A/W and it’s sea of dark colours).


Illustrations by Krister Selin

Branganza took the collection forward concentrating on luxe materials that have high aesthetic value: rich and heavy knits, leather and mohair; add a science-fiction influence and you’ve got a real fashion forward collection.

Geometric cuts featured patches of contrasting materials. Nautical stripes in monochrome contrasted with the smoothness of jersey; gents wore Cuban heels with their military tailoring with contrasting sleeves. Braganza has an incredible ability to combine leather architectural pieces with beautifully elegant silk frocks – sounds hideous on paper but as a collection it was completely coherent.


Illustration by Joana Faria

I usually can’t get it up for a predominantly black collection, but with Jean Pierre Braganza’s vision of the future I most certainly can. Bursts of lipstick red shook things up a bit: a gent’s suit with a synched back and skinny trousers that finished with points; embellished onto a mind-blowing shift dress; on short skirts. But it will be Braganza’s black that I remember this collection for: leather sleeves for gents and cutaway dresses in leather with a hint of bondage that oozed sex appeal for the ladies. Eyes peeled folks, this is what the future looks like.

All photography by Matt Bramford

See more of Joana Faria and Krister Selin’s illustrations in Amelia’s Compendium of Fashion Illustration.

Illustration by Joana Faria

If I ever meet Jean Pierre Braganza in person, viagra I might give him a little squeeze. His A/W 2011 show on Friday leaps right into my top 5 – and I’m writing this at the end of a very long and pretty stressful Day 3.

One of my favourite things during fashion week is getting to see interesting buildings that I never knew existed and wouldn’t normally take the slightest interest in. Braganza’s show was to take place at the ‘Show Space‘ – part of one of those centuries-old hotels with Baroque interiors and branded soaps. Me and Amelia skipped the queue and sneaked inside to find the most beautiful chandeliers and lots of OTT dressed punters. The actual room in which the show was to take place was equally as decadent, save for the make-shift catwalk that looked like it could topple at any second – and the tiny gap down the side of said catwalk through which we all had to squeeze. ‘I predict a bottle neck’ I thought as we entered, and my premonition came true on the way out.


Illustrations by Krister Selin

A little wait ensued while it was ensured that every inch of carpet had somebody to occupy it, so I took a few snaps of the room and got a bit excited about the juxtaposition of this past interior and Braganza’s future aesthetic.

On with the show with bangin’ beats and gorgeous models wearing more gorgeous clothes. Masculine tailoring appeared first, dynamically cut and decorated with a transfixing splatter pattern in tonal greys. This pattern was set to become a theme, appearing in both menswear and womenswear. After only a few pieces I instantly thought that Braganza’s collections are always meticulous and polished – rich, full fabrics are combined with unique cuts and expert craftsmanship – the entire collection was technically faultless.

Models appeared one after the other, pausing a third of the way down the catwalk so we could all get a good look. I like this set up – much better for pictures (and I’ve really struggled with pictures this season – bloody A/W and it’s sea of dark colours).


Illustrations by Krister Selin

Branganza took the collection forward concentrating on luxe materials that have high aesthetic value: rich and heavy knits, leather and mohair; add a science-fiction influence and you’ve got a real fashion forward collection.

Geometric cuts featured patches of contrasting materials. Nautical stripes in monochrome contrasted with the smoothness of jersey; gents wore Cuban heels with their military tailoring with contrasting sleeves. Braganza has an incredible ability to combine leather architectural pieces with beautifully elegant silk frocks – sounds hideous on paper but as a collection it was completely coherent.


Illustration by Joana Faria

I usually can’t get it up for a predominantly black collection, but with Jean Pierre Braganza’s vision of the future I most certainly can. Bursts of lipstick red shook things up a bit: a gent’s suit with a synched back and skinny trousers that finished with points; embellished onto a mind-blowing shift dress; on short skirts. But it will be Braganza’s black that I remember this collection for: leather sleeves for gents and cutaway dresses in leather with a hint of bondage that oozed sex appeal for the ladies. Eyes peeled folks, this is what the future looks like.

All photography by Matt Bramford

See more of Joana Faria and Krister Selin’s illustrations in Amelia’s Compendium of Fashion Illustration.
ORLA_KYELI_by_Joana_Faria_2

Orla Kiely LFW A/W Collection, order illustration by Joana Faria

Initially I got stuck in the lift with a delivery man, information pills and then a very tanned lady. Apparently you are not supposed to use the lift at London Fashion Week. I don’t normally use the lift (thighs), sick but to be honest, I was unsure as to how to get to the Portico Rooms, where Orla Kiely was showing her short films, and there was an arrow towards the lift. Anyway, tanned lady assisted me in getting in and consequently missed her lift and was forced to take the stairs. She was lovely. I entered the little room to find three sheds, twig trees, pretty stools, lots of stuffed birds (real?) and strange bird/nature music, wafting.

Orla_Kiely_by_Matilde_Sazio

Orla Kiely LFW A/W 2011, illusration by Matilde Sazio

I wish I could say that I wafted around the room, and I tried to put be exhibition faced, but I had to move around people, twigs in my hair and face and then birds – just there. *SQUAWK* Perhaps now would be the time to say I am scared of birds.

orla_kiely_by_avril_kelly

Orla Kiely LFW A/W 2011, illustration by Avril Kelly

A dyed, dark haired boy with a strong side parting came up to me, straight backed and carrying a tray of champagne. Luckily for him the tray had little grooves so the stems came out the bottom to avoid spillage. Sadly for me, I couldn’t see how to access le bubbly. “How do I… ah, thanks”. I clutched my champagne at its stem. Although I saw most people holding their glasses around the fatter bit. I was told this was wrong to do by a man at a ‘ra’ party when I was 15. I also thought this was wrong/bad etiquette/heats liquid with hand warmth? But it does look better, holding champs at the fatter bit…rearrange hand. I smiled at a lady who had a few people round her and was smiling in my direction. She saw me though, and it vanished. Denied! I later heard her say she was the Editor of a Homes magazine and she got her photo taken amongst the twig trees. My time at BBC Homes and Antiques, as an intern, came rushing back to me.

Orla_Kiely_Bag_by_Matilde_Sazio

Orla Kiely LFW A/W 2011, illusration by Matilde Sazio

I meandered about. LOVED the girls in Orla Kiely outfits, plastered to the walls. Although Orla Kiely heavily reminds me of women in Clifton (affluent part of Bristol), and Bath, sauntering about, I think her designs look excellent on younger women. With 60s influences, and pretty detailing, they’re perfect and easy to wear creations, that are FAR from some of preconceived ideas. Most of the aforementioned women only ever really wear the bags, to be fair. And to see the full outfits, with the pretty shoes, natural colours and high hemlines, I was in lust with Orla! Less the birds.

ORLA_KYELI_by_Joana_Faria_1

Orla Kiely LFW A/W Collection, illustration by Joana Faria

I had a little chat with the champagne boy, as I had no chance of speaking to Ms Editor, she wouldn’t appreciate one of my own designed business cards (they’re amazing). He said the films had been on rotation since 7am, which is fiiiine, but the soundtrack (i.e. birds), was a tad repetitive. We discussed our day. He asked if I was in ‘the business’. I replied: “Mmmm, writer.” I felt bad for not asking him if he was in the business, but as I sat on an Orla bench, decided that he was a poet who had escaped Burnley.

Orla_kiely_2_by_avril_kelly

Orla Kiely LFW A/W 2011, illustration by Avril Kelly

I saw that the films were being shown in the sheds. I considered leaning on the side of the shed, as no one seemed to be sitting inside them. But instead decided to sit inside, on a stool, in the shed. It felt like one of those watch places you find on walks. Then: ARG!! A MASSIVE stuffed OWL was looking straight at me. Out the shed.

ORLA_KYELI_by_Joana_Faria_3

Orla Kiely LFW A/W Collection, illustration by Joana Faria

The video was purposefully flickery and sweet, with the models in greens and creams, wandering about their vintage filled houses. I won’t lie; I wanted the house/clothes dearly. They looked so contented, slightly robotic, but perfect.

Orla_Kiely_A-W_2011LFW_A-W_2011-Orla_Kiely-4LFW_A-W_2011-Orla_Kiely-2LFW_A-W_2011-Orla_Kiely-3LFW_A-W_2011-Orla_KielyLFW_A-W_2011-Orla_Kiely-1
Orla Kiely LFW A/W 2011, photography by Amelia Gregory

It seems that lighter, floatier fabrics took hold for Orla Kiely’s S/S 2011 collection, as Orla said: For ready-to-wear, there is silk organza mesh partywear; sheer fabrics have played a large part in the collection. Some prints also have abstract references to apples and pears. Within bags and accessories, I have designed leather backpacks and my debut sunglasses range.” But, heavier fabrics have returned for A/W, with beautiful, thick coats, short, wool dresses and A Line skirts, knitted skirt suits and 70s influenced belted loose jersey dresses and bell sleeves. All worn with black socks and ankle strapped shoes. Thick knit long cardigans or 60s trenches also feature, whilst the make up is subtle, allowing the deep teals, greens and light browns to take the focus. And of course promoting the simple, pretty, easy to wear, natural style of Orla Kiely.

I was transfixed by the video for a little while – the music was quite liable to do this – and then, although tempted to sit and drink more champagne on a pretty stool, I wandered off out the correct door.

Joana Faria’s Illustrations can also be found in Amelia’s Compendium of Fashion Illustration, available here.

Categories ,60s, ,70s, ,Avril Kelly, ,BBC Homes and Antiques, ,Benches, ,birds, ,Champagne, ,Helen Martin, ,Irish, ,Joanna Faria, ,lfw, ,LFW A/W 2011, ,LFW Presentation, ,lift, ,Matilde Sazio, ,Orla Kiely, ,Portico Rooms, ,Presentation, ,Pretty, ,Sheds, ,Stools, ,twigs, ,video

Similar Posts:






Amelia’s Magazine | London Fashion Week A/W 2011, Presentation: Orla Kiely (by Helen)

ORLA_KYELI_by_Joana_Faria_2

Orla Kiely LFW A/W Collection, illustration by Joana Faria

Initially I got stuck in the lift with a delivery man, and then a very tanned lady. Apparently you are not supposed to use the lift at London Fashion Week. I don’t normally use the lift (thighs), but to be honest, I was unsure as to how to get to the Portico Rooms, where Orla Kiely was showing her short films, and there was an arrow towards the lift. Anyway, tanned lady assisted me in getting in and consequently missed her lift and was forced to take the stairs. She was lovely. I entered the little room to find three sheds, twig trees, pretty stools, lots of stuffed birds (real?) and strange bird/nature music, wafting.

Orla_Kiely_by_Matilde_Sazio

Orla Kiely LFW A/W 2011, illusration by Matilde Sazio

I wish I could say that I wafted around the room, and I tried to put be exhibition faced, but I had to move around people, twigs in my hair and face and then birds – just there. *SQUAWK* Perhaps now would be the time to say I am scared of birds.

orla_kiely_by_avril_kelly

Orla Kiely LFW A/W 2011, illustration by Avril Kelly

A dyed, dark haired boy with a strong side parting came up to me, straight backed and carrying a tray of champagne. Luckily for him the tray had little grooves so the stems came out the bottom to avoid spillage. Sadly for me, I couldn’t see how to access le bubbly. “How do I… ah, thanks”. I clutched my champagne at its stem. Although I saw most people holding their glasses around the fatter bit. I was told this was wrong to do by a man at a ‘ra’ party when I was 15. I also thought this was wrong/bad etiquette/heats liquid with hand warmth? But it does look better, holding champs at the fatter bit…rearrange hand. I smiled at a lady who had a few people round her and was smiling in my direction. She saw me though, and it vanished. Denied! I later heard her say she was the Editor of a Homes magazine and she got her photo taken amongst the twig trees. My time at BBC Homes and Antiques, as an intern, came rushing back to me.

Orla_Kiely_Bag_by_Matilde_Sazio

Orla Kiely LFW A/W 2011, illusration by Matilde Sazio

I meandered about. LOVED the girls in Orla Kiely outfits, plastered to the walls. Although Orla Kiely heavily reminds me of women in Clifton (affluent part of Bristol), and Bath, sauntering about, I think her designs look excellent on younger women. With 60s influences, and pretty detailing, they’re perfect and easy to wear creations, that are FAR from some of preconceived ideas. Most of the aforementioned women only ever really wear the bags, to be fair. And to see the full outfits, with the pretty shoes, natural colours and high hemlines, I was in lust with Orla! Less the birds.

ORLA_KYELI_by_Joana_Faria_1

Orla Kiely LFW A/W Collection, illustration by Joana Faria

I had a little chat with the champagne boy, as I had no chance of speaking to Ms Editor, she wouldn’t appreciate one of my own designed business cards (they’re amazing). He said the films had been on rotation since 7am, which is fiiiine, but the soundtrack (i.e. birds), was a tad repetitive. We discussed our day. He asked if I was in ‘the business’. I replied: “Mmmm, writer.” I felt bad for not asking him if he was in the business, but as I sat on an Orla bench, decided that he was a poet who had escaped Burnley.

Orla_kiely_2_by_avril_kelly

Orla Kiely LFW A/W 2011, illustration by Avril Kelly

I saw that the films were being shown in the sheds. I considered leaning on the side of the shed, as no one seemed to be sitting inside them. But instead decided to sit inside, on a stool, in the shed. It felt like one of those watch places you find on walks. Then: ARG!! A MASSIVE stuffed OWL was looking straight at me. Out the shed.

ORLA_KYELI_by_Joana_Faria_3

Orla Kiely LFW A/W Collection, illustration by Joana Faria

The video was purposefully flickery and sweet, with the models in greens and creams, wandering about their vintage filled houses. I won’t lie; I wanted the house/clothes dearly. They looked so contented, slightly robotic, but perfect.

Orla_Kiely_A-W_2011LFW_A-W_2011-Orla_Kiely-4LFW_A-W_2011-Orla_Kiely-2LFW_A-W_2011-Orla_Kiely-3LFW_A-W_2011-Orla_KielyLFW_A-W_2011-Orla_Kiely-1
Orla Kiely LFW A/W 2011, photography by Amelia Gregory

It seems that lighter, floatier fabrics took hold for Orla Kiely’s S/S 2011 collection, as Orla said: For ready-to-wear, there is silk organza mesh partywear; sheer fabrics have played a large part in the collection. Some prints also have abstract references to apples and pears. Within bags and accessories, I have designed leather backpacks and my debut sunglasses range.” But, heavier fabrics have returned for A/W, with beautiful, thick coats, short, wool dresses and A Line skirts, knitted skirt suits and 70s influenced belted loose jersey dresses and bell sleeves. All worn with black socks and ankle strapped shoes. Thick knit long cardigans or 60s trenches also feature, whilst the make up is subtle, allowing the deep teals, greens and light browns to take the focus. And of course promoting the simple, pretty, easy to wear, natural style of Orla Kiely.

I was transfixed by the video for a little while – the music was quite liable to do this – and then, although tempted to sit and drink more champagne on a pretty stool, I wandered off out the correct door.

Joana Faria’s Illustrations can also be found in Amelia’s Compendium of Fashion Illustration, available here.



Categories ,60s, ,70s, ,Avril Kelly, ,BBC Homes and Antiques, ,Benches, ,birds, ,Champagne, ,Helen Martin, ,Irish, ,Joanna Faria, ,lfw, ,LFW A/W 2011, ,LFW Presentation, ,lift, ,Matilde Sazio, ,Orla Kiely, ,Portico Rooms, ,Presentation, ,Pretty, ,Sheds, ,Stools, ,twigs, ,video

Similar Posts:




























Amelia’s Magazine | A Review of 50 Fabulous Frocks at the Fashion Museum, Bath

Fashion Museum, Bath, 50FF Review
Illustration of 1900s champagne fancy dress costume, unknown maker, by Freddy Thorn.

Like any good birthday bash, it begins with champagne; a bottle of 1904 Veuve Clicquot to be exact, taking the form of an elaborate Edwardian fancy dress ensemble.

Recently listed by CNN as one of the top ten fashion museums in the world, Bath’s Fashion Museum has come a long way since its creation by Doris Langley Moore and the Bath City Council in 1963. This is a varied exhibition, featuring 50 of the fashion museums ‘greatest hits’ with dresses spanning across the ages, from one of the oldest dresses in any UK museum (a 1660 piece affectionately known as the ‘Silver Tissue Dress’) to a fresh-off-the-catwalk 2012 Louis Vuitton piece. Eveningwear sits comfortably by poolside attire, sportswear next to corsets; each dress a snapshot of fashion history.

5 dresses at 50 Fabulous Frocks exhibition, Fashion Museum, Bath
Illustration of 5 of the 50 dresses by May Van Milllingen.

There are plenty of ‘celebrity’ frocks here: a Christian Dior dress from the 1950s, a Chanel from the 1960s and a Jean-Paul Gaultier from the 1990s just a few of the gems in this collection. With dresses that have graced the pages of Vogue alongside cages and crinolines, these pieces form a dynamic exhibit exploring dresses across the centuries.

Black lace Rocha dress now part of 50 Fabulous Frocks Exhibition
Red lace Erdem Dress on Catwalk
Photos of red and navy lace Erdem and black Rocha dress by Chris Moore.

An ostrich feather 1960s Yves Saint Laurent concoction made for ballerina Margot Fonteyn catches my eye as does a Dame Vivienne Westwood regency style dress nestled among the kinds of dresses it’s emulating. A 1940s pink Mickey Mouse aertex dress sits next to a polka-dot housecoat lined with gingham and there’s even a wedding dress from the 1890s among the ranks. These clothes are famous; there’s a red mini dress worn by Ernestine Carter, a former Fashion Editor of The Sunday Times, as well as an Ossie Clark dress literally taken straight out of a David Hockney, Tate painting.

Dress by Poiret part of 50 Fabulous Frocks Exhibition.
Alexander McQueen dress from 50 Fabulous Frocks exhibition
50 Fabulous Frocks  cream silk dress
Photos of Poirot dress, Alexander McQueen dress and cream silk ball gown provided by Fashion Museum, Bath & North East Somerset Council.

I go to the exhibit twice, once with my friends on a sunny Saturday and we whizz through it in true tourist fashion (pun intentional) as I snap a few photos. We amble through the corsets and cages, pantsuits and Burberry raincoats, quickly and hungrily. We notice a group of young female museum-goers all wearing the same outfit in alternate colours, each one clad in a pair of converse paired with brightly coloured jeans. I note that in this exhibit, the tables have turned, and the dresses, behind the security of their glass cases, are the audience for our own catwalk as we prance back and forth.

3 dresses at Fashion Museum, Bath
A Vivienne Westwood dress (centre) alongside two dresses from the late 1800s, illustration by Karolina Burdon.

The second time I go by myself on a rainy Sunday and I listen to every single commentary for each dress, writing notes as I go. The other gallery-folk are, like the dresses, a melting pot: families with young children; a few fashion students drawing the dresses in their sketchbooks. Amongst the chatter I can hear loud, excited French. Thirty or so people come and go while I examine the collection.

Bath Fashion Museum, Georgian
Wall text at Fashion Museum, Bath
50 Fabulous Frocks Dresses Bath Fashion Museum
50 Fabulous Frocks
50FF Dresses, 50 Fabulous Frocks Dresses Bath Fashion Museum
50 Fabulous Frocks Exhibition, Fashion Museum, Bath
All photography by Jessica Cook.

While I sit on the floor sucking the end of my pen and agonising over the spelling of ‘Vuitton’, there is a mother and her two children in the museum providing an alternative narrative to the info handsets. “Mummy, what is it?” says child no1. The mother pauses for a second as though thrown off balance by the question, “It’s dresses from the last 50 years,” she says, which is wrong, and I feel the same wince I had as a kid when I first realised that parents aren’t infallible. The exhibition is a celebration that the Fashion Museum is 50 years young, but the dresses themselves span across the ages as far back as the 1600s. Her mistake is understandable, as the date underneath the sign does read 1963- 2013 after all.

50 FF 3 of 50 Fabulous Frocks, Fashion Museum
Red wool mini dress by André Courrèges, black Ossie Clark gown and 1930s evening dress, illustration by Gareth A Hopkins.

Wow!” says child no2 as he reaches a dress from the 1800s. “Isn’t it amazing?” says the mother, her eyes alight. “Just like mummy used to wear,” she says pointing at a short, red little number. The children press their faces against the glass as though they are looking into the past.

Woman in champagne dress
Photo of champagne bottle dress provided by Fashion Museum, Bath & North East Somerset Council.

The 50 Fabulous Frocks exhibition at the Fashion Museum, Bath is open from 2 February 2013 to the 31st December 2013. Entry is £2.

Categories ,50 Fabulous Frocks, ,Alexander McQueen, ,Bath, ,Bath City Council, ,Birthday, ,celebration, ,Champagne, ,Christian Dior, ,CNN, ,corset, ,David Hockney, ,Doris Langley Moore, ,Dresses, ,Edwardian, ,Erdem, ,Ernestine Carter, ,Eveningwear, ,exhibit, ,fashion, ,Fashion Museum, ,Freddy Thorn, ,Gareth A Hopkins, ,history, ,Jean Paul Gaultier, ,Karolina Burdon, ,Louis Vuitton, ,Margot Fonteyn, ,May van Millingen, ,Mickey Mouse, ,museum, ,Ossie Clark, ,Silver Tissue Dress, ,Tate, ,The Sunday Times, ,Veuve Clicquot, ,Vivienne Westwood, ,vogue, ,Wedding Dress, ,Yves Saint Laurent

Similar Posts: