Amelia’s Magazine | The Golden Thread Awards at Fashion Week Poland A/W 2011: Colourful Patterns

Jo Cheung_Sofie Gauden Golden Thread AW 2011
Sofie Gauden AW 2011 by Jo Cheung.

Very few Golden Thread designers really embraced colour and pattern. But these ones did.

Natalia Paliy Golden Thread Poland Fashion Week AW 2011 by Michalis Christodoulou
Natalia Paliy AW 2011 by Michalis Christodoulou.

Natalia Paliy
Natalia Paliy Golden Thread Fashion Week Poland AW 2011Natalia Paliy Golden Thread Fashion Week Poland AW 2011Natalia Paliy Golden Thread Fashion Week Poland AW 2011Natalia Paliy Golden Thread Fashion Week Poland AW 2011Natalia Paliy Golden Thread Fashion Week Poland AW 2011Natalia Paliy Golden Thread Fashion Week Poland AW 2011Natalia Paliy Golden Thread Fashion Week Poland AW 2011Natalia Paliy Golden Thread Fashion Week Poland AW 2011Natalia Paliy Golden Thread Fashion Week Poland AW 2011
Natalia Paliy really set her own pace with a happy tune mashup and an eager parade of smiling models in summery flower prints sent straight down to the end of the catwalk in a phalanx. The styling was bloody awful but the prints were rather lovely underneath it all… who knows if she was responsible for them herself? And was this really Fall/Winter I ask you?!

Domi Grzybek by Hannah Simpson
Domi Grzybek by Hannah Simpson.

Domi Grzybek
Domi Grzybek Golden Thread Fashion Week Poland AW 2011Domi Grzybek Golden Thread Fashion Week Poland AW 2011Domi Grzybek Golden Thread Fashion Week Poland AW 2011Domi Grzybek Golden Thread Fashion Week Poland AW 2011Domi Grzybek Golden Thread Fashion Week Poland AW 2011Domi Grzybek Golden Thread Fashion Week Poland AW 2011Domi Grzybek Golden Thread Fashion Week Poland AW 2011
Domi Grzybek paraded coral fitted jackets with gold sequin pants, viagra 100mg slouchy 80s influenced numbers with wide shoulders, viagra drop crotch nappy pants, plastic capes and patchwork body con dresses which had the air of Holly Fulton and Christopher Kane some seasons back. I liked the colour palette, but there was a major problem with poor tailoring: badly fitted bodycon dresses are never a good plan.

Katharina Kubiak
Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011Katharina Kubiak Golden Thread Fashion Week Poland AW 2011
Katharina Kubiak‘s over the top womenswear styling was a total dog’s dinner but her printed mix and match aesthetic worked well on shorts suits for men. I liked them a lot… now she just needs to concentrate on what she does best.

Sofie Gauden Golden Thread AW 2011Jo Cheung
Sofie Gauden AW 2011 by Jo Cheung.

Sofie Gaudaen
Sofie Gaudaen Golden Thread Fashion Week Poland AW 2011Sofie Gaudaen Golden Thread Fashion Week Poland AW 2011Sofie Gaudaen Golden Thread Fashion Week Poland AW 2011Sofie Gaudaen Golden Thread Fashion Week Poland AW 2011Sofie Gaudaen Golden Thread Fashion Week Poland AW 2011Sofie Gaudaen Golden Thread Fashion Week Poland AW 2011Sofie Gaudaen Golden Thread Fashion Week Poland AW 2011
Sofie Gaudaen ended the evening with a collection of neon rave shamans: barefooted models sporting plenty of feathers and fringing. I loved the colours but it was not the strongest showing of the night to end on…

Categories ,A/W 2011, ,Christopher Kane, ,colour, ,Domi Grzybek, ,Fashion Philosophy Fashion Week Poland, ,Fashion Week Poland, ,Hannah Simpson, ,Holly Fulton, ,Jo Cheung, ,Katharina Kubiak, ,Lodz, ,Natalia Paliy, ,poland, ,Polish, ,Premiere Vision, ,Pret-a-porter, ,print, ,Shamen, ,Sofie Gaudaen, ,Sofie Gauden, ,Stock vodka, ,Szałapot, ,The Golden Thread, ,Złota Nitka

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Amelia’s Magazine | Nova Chiu: London Fashion Week A/W 2012 Ones to Watch Preview

Nova Chiu S/S 2012 by Dana Bocai

Nova Chiu S/S 2012 by Dana Bocai

Nova Chiu’s creations look like they’ve leapt straight off the pages of ancient fairytales. Strong, architecturally inspired silhouettes burst with colour, texture, beads and print. Her LCF graduate collection was a case of Art reflecting reality, as Nova drew inspiration from her birthplace, the Yunnan province of China, also known as the ‘mystical, earthly paradise’ that is Shangri-La. The aptly named Shangri-Ladida collection mixed traditional Chinese and contemporary dressmaking methods, winning the prestigious Collection of The Year award and creating a buzz of interest around what the designer will do next.

Nova Chiu by Cassandra Mayers

All photography courtesy of Nova Chiu

Chiu will be starting as a brand-new designer this London Fashion Week, but that doesn’t mean she’s new to fashion. Nova has worked for big-name designers such as Anna Sui, Richard Nicoll, and Matthew Williamson, who are all known for their use of colour, texture and shape.

Nova Chiu by Abi Hall

Nova Chiu by Abi Hall

For her graduate collection, Nova Chui drew inspiration from China for more reasons than it being her birthplace. Feeling that although China produces most of the clothes sold around the world, not much is known about traditional and contemporary Chinese fashion. Nova decided she wanted to unveil unknown Chinese culture through her work, mixing traditional and contemporary techniques together in a collection fit for a modern-day princess.

Nova Chiu by Dark Lens

Nova Chiu by Dark Lens

Nova’s background in Surface Textiles is evident in her choice of modern and traditional prints, embellishments, and fabrics. I love her use of different textiles and creativity with red and yellow faux fur, which she embroidered into or pressed prints onto. Not many people could whip up a traditional Chinese ‘ink and wash’ painting method and place it on cotton and nylon to such a fresh effect. Jade and wooden beads poke through faux fur and run along edges as decoration. Sequins and different types of bells were also embedded in the fabric, meaning a girl wearing Nova Chiu will most definitely be seen and heard.

Nova Chiu by Dana Bocai

Nova Chiu by Dana Bocai

The beauty of a graduate collection, and Nova’s in particular, is that burst of energy from the pages of a student sketchbook into a catwalk collection. With her sketchbook lovingly displayed on her website, visitors get a sneak peak at the work that went into her attention-grabbing graduate collection. The illustrator in me loves the detailed, feminine and surreal drawings Nova creates. This designer spends a lot of time illustrating.

Nova Chiu by Jo Ley

Nova Chiu by Jo Ley

Nova Chiu by Cassandra Mayers

This London Fashion Week, I truly cannot wait to see what Nova has in store. Will it be a development of the graduate collection or a complete change? I think we can predict more fascinating displays of her expertise and playfulness with surface textiles. I know I want to see more of her beaded and embellished faux fur; seeing shimmering stones poking out from candy-coloured fur reminds me of some type of fairytale animal. Whatever colour, inspiration, shape or customer she chooses to create for, I’m sure this London Fashion Week will be heaven on earth for Nova Chiu.

Nova Chiu by Jo Ley

Nova Chiu by Jo Ley

Nova Chiu will be debuting her A/W 2012 collection this London Fashion Week on Friday the 17th of February at the Vauxhall Fashion Scout Ones to Watch show

Categories ,A/W 2010, ,Abi Hall, ,Alia Gargum, ,Anna Sui, ,China, ,colour, ,Dana Bocai, ,Fashion Illustration, ,Faux Fur, ,Jo Ley, ,london, ,London College of Fashion, ,London Fashion Week, ,Matthew Williamson, ,Nova Chiu, ,Ones To Watch, ,Richard Nicholl, ,Shangri-Ladida, ,surface design, ,Vauxhall Fashion Scout, ,Womenswear

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Amelia’s Magazine | Nova Chiu: London Fashion Week A/W 2013 Catwalk Review

Nova Chiu AW2013 by Gaarte
Nova Chiu A/W 2013 by Gaarte

The ethereal eruption of colour and texture at Nova Chiu was a perfect way to end a tiring first day at London Fashion Week.

Nova Chiu AW 2013 by Amelia Gregory
Nova Chiu AW 2013-photo by Amelia Gregory
Nova Chiu AW 2013-photo by Amelia Gregory
Nova Chiu AW 2013 by Amelia Gregory
Nova Chiu AW 2013-photo by Amelia Gregory
All photography by Amelia Gregory.

Following last season’s showcase of a light and predominantly print-based collection, the house of Nova Chiu brought the label back to it’s roots of heavy embroidery and embellishments for A/W 2013.

Nova Chiu AW 2013 by Amelia Gregory
Nova Chiu AW 2013-photo by Amelia Gregory
Nova Chiu AW 2013-photo by Amelia Gregory
Nova Chiu AW 2013-photo by Amelia Gregory
Nova Chiu by Laura Hickman
Nova Chiu A/W 2013 by Laura Hickman

An immensely exciting colour palette was on display – a mix of piercing neons and rich earthy tones, much like The Electronic Super Highway’ by Korean-American artist Nam June Paik, an evident inspiration to the collection. Eclectic blends of material were also used – coloured leather, suede and horsehair blocks with embroideries and beaded trims, giving a three dimensional depth to the clothes.

Nova Chiu AW 2013-photo by Amelia Gregory
Nova Chiu AW 2013-photo by Amelia Gregory
Nova Chiu AW by Amelia Gregory
Nova Chiu AW by Amelia Gregory
Nova Chiu by Shy Illustrations
Nova Chiu A/W 2013 by Shy Illustrations

The garments coming down the runway were beautiful and meticulously crafted, but I found myself distracted by how bright the set lights were; unfortunately this made all the models skin look patchy with caked on foundation. Lighting aside, design duo Nova Chiu and Jeff Archer impressed with a dynamic collection that featured designs true to the label’s initial aesthetics and that are wearable enough to sell.

Categories ,A/W 2013, ,catwalk, ,collection, ,colour, ,fashion, ,Fashion Scout, ,Freemasons’ Hall, ,Gaarte, ,garments, ,illustration, ,Jeff Archer, ,Laura Hickman, ,london, ,London Fashion Week, ,Nam June Paik, ,Neon, ,Nova Chiu, ,runway, ,Shy Illustrations, ,Texture, ,The Electronic Super Highway

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


Osman S/S 2013 by Krister Selin

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


Osman S/S 2013 by Antonia Parker

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


All photography by Matt Bramford

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


Osman S/S 2013 by Krister Selin

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

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


Osman S/S 2013 by Antonia Parker

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

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

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

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

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

Leutton Postle S/S12 by Alia GargumLeutton Postle LFW S/S12 illustration by Alia Gargum

Upon checking some of Leutton Postle’s previous work I became really excited about the prospect of going to see their first London Fashion Week show and collection: I could see it featured turf-like groups of cable ties sprouting out of hooded garments in various places and I have always used them a lot in my work. A few months ago I spotted a glorious neckpiece made out of cable ties in a high street store window display, information pills so seeing them in Leutton Postle‘s work further confirmed my suspicion that cable ties might just be having a fashion moment.

Leutton Postle LFW S/S12 photo by Amelia Gregory
All photography by Amelia Gregory.

Being a newbie to London Fashion Week I could have waited happily for hours in the queue but actually the show was delayed only by half an hour or so, which is pretty good I hear. I followed the crowd into Freemasons’ Hall (Vauxhall Fashion Scout’s venue) and picked up a spot next to the pro photographers at the end of the runway, a decision which made my experience much more intense. As soon as the models came out it was not the soundtrack to the show that I heard but the constant clicking from such a large number of cameras gathered near me; and to me that was just as thrilling.

Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle S/S12 LFW by Gemma Sheldrake
Leutton Postle S/S 2012 by Gemma Sheldrake

Behind the luxury knitwear label Leutton Postle are designers Sam Leutton and Jenny Postle, both Central Saint Martins graduates – upon graduating Jenny had her MA AW11 collection snapped up by London’s Browns Focus and Sam went to China to work with knitwear innovators Stoll. Their pieces are truly original with a couture quality and they suggest time-consuming experimentation with knitwear design. I felt that in the colourful, intricate and eccentric designs of their collaborative label there was a real enjoyment of craft and play.

Leutton Postle LFW S/S12 by Sam Parr
Leutton Postle S/S 2012 by Sam Parr

Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 by Emmi Ojala
Leutton Postle S/S 2012 by Emmi Ojala

Apart from the fact that the collection was very colourful, which has a natural appeal to me personally, the patchwork element was another thing I really enjoyed and it made me think that perhaps in the future, when all designers might have to use mainly scraps and leftovers or recycle fabrics for their designs, it would not be that bad at all if you had Leutton Postle’s talent and imagination! In a way parts of the clothes did seem like they had been constructed from random bits and pieces, put together really cleverly.

Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Extra elements of colourful playfulness were added to the show by the models’ make up which looked like they had just eaten from a bowl of multicoloured paint soup and then not wiped themselves properly, but it was a shame that some of the models’ faces did not match all that wonderful colour happiness, maybe the soup was not that good…

Leutton Postle LFW S/S12 show 'Baby Fashionista' photo by Maria Papadimitriou
There was also a very colourful toddler in the front row, photography by Maria Papadimitriou

Leutton Postle LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 photo by Amelia Gregory
The designers Sam Leutton and Jenny Postle photo by Amelia Gregory
The designers themselves, however, looked very cheery and beautiful when they came out at the end to wave at an audience that was clapping in a very colourful way indeed!

Categories ,Alia Gargum, ,Amelia Gregory, ,Browns Focus, ,catwalk show, ,colour, ,couture, ,craft, ,Emmi Ojala, ,fashion, ,Fashion Designer, ,Fashion Illustration, ,Freemasons’ Hall, ,Gemma Sheldrake, ,Jenny Postle, ,knitwear, ,Leutton Postle, ,London Fashion Week, ,Make-up, ,Maria Papadimitriou, ,Merit Winner, ,photography, ,Sam Leutton, ,Sam Parr, ,Stoll, ,Vauxhall Fashion Scout

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Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Bernard Chandran (by Helen)

Eudon_Choi_BY_Avril_Kelly
I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, page but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, discount involved an all in one – I think, check I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful.
Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, illness illustration by Karolina Burdon
I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly
The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful.
Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, abortion illustration by Karolina Burdon
I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, this but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly
The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, healing illustration by Karolina Burdon
I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, order but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly
The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, information pills illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, shop but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, advice illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder. The look was very together. Like the women who carry small tubes of expensive moisturiser and have ipad covers made from baby goat leather. And an actual ipad or four. The woman who is organised and controlled. Wears Chanel’s Red No.5 lipstick and doesn’t mind a bit of hard business with her espresso. She doesn’t even have time to look at you up and down darling, she’s too busy looking ahead.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, this site illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, information pills but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, information pills involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and was tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. These were looser, most strapless or with a single knotted strap, over the shoulder. The look was very together. Like the women who carry small tubes of expensive moisturiser and have ipad covers made from baby goat leather. And an actual ipad or four.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved. Organised and controlled, a wearer of Chanel’s Red No.5 lipstick. She positively thrives over a bit of hard business with her espresso. Not a second to spare, she doesn’t even have time to look you up and down darling. Too busy looking ahead.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, ambulance illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and was tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. These were looser, most strapless or with a single knotted strap, over the shoulder. The look was very together. Like the women who carry small tubes of expensive moisturiser and have ipad covers made from baby goat leather. And an actual ipad, or four.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved. Organised and controlled, a wearer of Chanel’s Red No.5 lipstick. She positively thrives over a bit of hard business with her espresso. Not a second to spare, she doesn’t even have time to look you up and down darling. Too busy looking ahead.

emma_block_chandran_2_AW11

Bernard Chandran LFW A/W 2011, pilule illustration by Emma Block

I’d call the day: ‘mizzley’. This is a term I robbed from the Cornish, as it so aptly describes the mix of misty rain, murk and the consequential frizzy hair. Joy. Thus standing in the rain, not so fun. Luckily the power of the coloured sticker, whizzed me and my companion for the day, illustrator Emma Block, straight through the monster doors. We were seated in a grand hall. A ballroom, a destination for pretty dresses, pizazz and parties. How fitting that Bernard Chandron is promising so many modern twists to this whole ball swirling around the room, soiree into the small hours, affair.

‘With a futuristic yet luxurious feel, the designs are functional and sexy with an effortless edge. Known for his sharp cuts and innovative silohettes, we see new refinements in the cut. The silohettes are structured, with nipped in waistlines. The sleeves are inspired by sportwear but given a chic treatment.’

Bernard_Chandran_by_Madi

Bernard Chandran LFW A/W 2011, illustration by Madi Illustrates

I don’t normally quote press releases, but I kept reading this paragraph over and over. Imagining the designs. I do adore some future luxury, don’t you? I mean, what is it? Sounds modern. In my mind I was thinking distinctly ball like. I was hoping for some edgy, sporty dancing numbers. They’d be so perfect in this chandelier rammed, gold edged haven. After I had finished pondering on this, I realised, with a half empty hall, there was obviously going to be a wait before the show started. So I arranged my English weather paraphrenalia again, before checking I hadn’t lost my camera another four times. Then had a proper look around. I saw the gentleman who appears to be a fixture on the front row. Always enormous, with the sheer quantity of his multi-coloured/fabric type layers, and looking distinctly as if he has just eaten something vile. Relatively old, I hold on to the hope that he was a lesser known design extradordinaire in the 60s. With a shop somewhere on King’s Road, he left to live in a caravan in Peru, before returning in the 90s. To kick some fashion ass. And take up the FROW. You just know he has been wearing velvet slippers and long, silk dressing gowns as everyday wear since ‘The Start’.

I asked Emma if she could see anyone she recognised. Perhaps a super, hot shot Editor, or a celebrity? She said she could only see Matt Bramford. I say only, but in reality, we both acknowledged his obvious celebrity. He couldn’t see us however (and DO people wave at LFW?). In the row before us, a lady sat with enormous, spiked shoulders. I looked down and Emma had drawn her, beautifully. I looked down at my own notebook, with bizarre doodles and random words ‘TEAL’, ‘GOTHIC’, ‘POW’, etc. strewn all over it. Hmmm.

emma_block_chandran_AW11

Bernard Chandran LFW A/W 2011, illustration by Emma Block

It was nice being with Emma, who was very excited to see her first show. I couldn’t wait to see her illustration in full action as well. And eventually, it went dark. Then stayed dark for absolutely ages, before super cool music started banging out and the models began their parade. Clearly unafraid of colour, Chandran‘s pieces were bold; organges, pinks, reds and electric blue, with black punctuating the pops of colours. Everything felt structured, indeed – like space – but also fun and actually joyously fluid. Some of the pieces had a little dominatrix vibe, with zips, points and tighter structures. Most of these were fitted close to the body and pencil shaped. A number also came with a hard, curvy little peplum, sticking out on one side, adding to the futuristic vibe and pizazz. In contrast, if the aforementioned fitted dresses were the futuristic, luxury space women, the show’s feathered dresses were the residents of a brightly coloured planet, like Bond’s Dr No. Juxtaposing the closely fitted pieces,Chandran‘s show featured a few of these utterly gorgeous feather pieces. These were looser, shorter, and came with the addition of beautiful movement. The tiny, brightly coloured feathers danced together with the strides of the models. With a life of their own, they were swirling, liberating and modern. These dresses stood out for me.

Chandran uses leather, silk, wool, velvet, jersey and lace. He also uses a top stiching technique, which involves the mixing and matching of fabrics to create tartans. One of which in the show, involved a diamond cross hatch effect, and was coloured grey, with black detailing. This was a stand alone, gorgeous dress, but it also complimented the bright pallette, and thus would look utterly fantastic with super bright shoes. Detailing was also very evident in Chandran‘s show. Zips, 3D buttons and the peplums, strongly featured throughout. The overall look was a strong, confident woman. Unafraid of the future, she wears unusual details, with innate attitude, and colour with relish. Bright inspiration, I wondered how Emma would replicate the strength of colour and movement with her pencils. Sure that she would with ease. Her eyes were alert with all that they had seen. I took a photo of her by the catwalk and we wandered off for a cup of tea down the road. Shame London looked so grey today.

Categories ,Bernard Chandran, ,colour, ,Emma Block, ,fashion, ,Helen Martin, ,lace, ,leather, ,lfw, ,LFW 2011, ,LFW A/W 2011, ,Madi Illustrates, ,Matt Bramford, ,Northumberland House

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Amelia’s Magazine | Lesley Craze Gallery: Christmas Late Night Opening 2011

Photography preseves a moment forever – it marks and preserves time as it has been spent. It is, information pills to draw Barthes into the conversation, a memento mori. Amy Gwatkin’s photographs (BA Editorial Photography, Brighton) blur the boundaries between fashion, editorial and fine art. Amy’s frequently updated blog documents shoots, time spent in the studio with models or other-sometimes-coffee-relative-activities, and has an incredible talent for turning personal adventures into moments representing a snapshop of a life.

An exhibition late last year – Interior Politics – and the launch of a new website introduced me to Amy’s exploration into the minuite obsqure moments that life has to offer. More recently Amy has been experimenting with film, and has kindly taken the time to answer questions for Amelia’s Magazines.

Amy! When and why did you first pick up a stills camera?

Because using the film camera involved waiting on unrealiable people! And I instantly loved it. I was supposed to do something more bookish at uni, but the minute I found a camera I was smitten. I had been obsessed with fashion since I could toddle into my grandma’s/mum’s wardrobes; suddenly I had found a way that I could make imagery without having any drawing ability!

LIGHT from Amy Gwatkin on Vimeo.

Recently you’ve been experimenting with video: debuting with a video of the Cooperative Designs S/S 2010 Collection at London Fashion Week to the recent Light submitted as part of the Shaded View of Fashion, Fashion Film Festival – What inspired the expansion from static to moving?

I always wanted to make films…. Photography offered a way of making images that wasn’t reliant on other people. I’m still a total megalomaniac though! Very often it’s literally just me and a camera.

Showstudio have been attempting to develop the moving fashion photograph since the inception of their website, I love both the static and the moving – What are your favourite fashion videos?

I loved Ruth Hogben’s spanking movie. Sunshowers by Elisha Smith-Leverock. Chris Cunningham’s Flora film for Gucci. Gwendoline by Jez Tozer. And the men’s Dior one in a corridor, was it Dior? It was on Nowness and it was lush. I find at lot of fashion films very hit or miss though – the best were the re-edited Guy Bourdin footage that was on SHOWstudio, that I could, and do, watch over and over and over….

What made you decide to set up your blog? What do you think the advantages are of a blog vs a website?

Originally it was to give me some online presence as my old website was out of date and my new one was being built…then I just really got into it. I like that the blog can have more laidback images, where I have less of a professional front to put up. But I love how clean and tidy the site is.

Collage for the Cooperative Design Zine produced as part of London Fashion Week February 2010

You appear to be quite involved with the internet from your great twitter feed to your blog – what advantages do you think the system of blogs and twitter has created for photographers and fellow creatives?

Well, I guess it opens up little internet wormholes you wouldn’t have known about before…although I can follow a link and find myself, 2 hours later, marvelling at how many photographers there are doing the same sort of thing.

It’s a good platform for self promotion, though it does blur the line between business and pleasure a little uncomfortably at times

Do you streetcast your models?

I often see people on the street that I’m too nervous to ask! But sometimes I overcome my nerves long enough to street cast. I think I have a few characteristics I like, though its hard to nail them in words. A certain bad-temperedness maybe.

Your photograph reflects both fine art and fashion photographic interests – could you tell Amelia’s readers more about the photographs recently exhibited? (I’m thinking of the Familiarity breeds contempt and Modern Miniture series)

Familiarity Breeds Contempt is an extension of my long term project tentatively titled The Housewife – it’s hopefully the start of a longer project exploring sexuality, fantasy and what goes on behind closed doors. Which is also what Modern Miniatures was about in a way – only without the overt sexuality. I have a interest in the domestic, with other people’s domestic/private space, putting myself in them, and also, if I’m honest, with the risk involved in contacting strange men on the internet, asking them to get naked, and them taking pictures of me standing on them etc…

With fashion how do you make the decision between colour or black and white? Does it Matter?

I’m always trying to make things b/w, without sounding mental/pretentious/partially sighted, I see better in b/w. sometimes there’s someone else’s prerogative to take into account, like a client etc. black and white can sometimes make things instantly nostalgic and a bit too soft or romantic. Depends on the situation, but there are few where b/w doesn’t rock in my opinion!

Photograph for Corrie Williamson

Favourite photographers/people to work with/Set designers/fashion designers?

I rarely DON’T have a wicked time on shoots.

Sets – Alex Cunningham, David White’s sets for Coop a/w10/11 were mint
Designers – Cooperative Designs, Scott Ramsay Kyle, Corrie Williamson, Fred Butler, Atalanta Weller
Photograhers I admire – Wee Gee, Helmut Newton, Collier Schorr, Les Krims, Duane Michals, David Armstrong among MANY others!

What is it like being a london based photographer?

Fun! Busy. Forces you to work a lot to make ends meet, which can wear you down. Over saturated. Very youth orientated

What accompanies you in the studio?

My crappy selection of music! I always download the weirdest selection of stuff. Some proper howlers on there, but sometimes you have to listen to the Outhere Brothers. Also the lovely Anna Leader and Bella Fenning with whom I share my space.

What do you hope your photographs convey?

Tough…. I find it quite hard to look back, to edit etc, but having to do my website forced me to do that, and there is a certain strength in the characters I hope. I know some of the shots are quite moody, or gentle, but I don’t like it when models look too winsome or fashion-fierce or posed. Hopefully somewhere between the two, though I do seem to shout things like ‘you’re at a bus stop!’ or ‘You’re a sexy eel!’

How do your shoots come together?

Mostly ideas from films, dreams, or pacing the streets of London which is my fave thing to do. Or maybe a drunken overenthusiastic chat with friends

What are your plans for the future?

Hmm….more pics. More films, maybe a move to proper films with dialogue and a plot!

Born in Peterborough but escaped to London after a 3 year stint studying in the wild terrain of Wales. Currently, medications I’m the Buying Assistant for Jewellery and Accessories at Liberty. I like mint tea, vintage playsuits, F. Scott Fitzgerald novels, and hunting for treasure in charity shops. One day I plan to write my memoirs in Barcelona, but until then I will continue to build up a collection of vintage clothing, worthy of a wing in the V&A.

John Moore's anodised aluminium earrings by Janneke de Jong

John Moore anodised aluminium earrings by Janneke De Jong

It’s the evening of Thursday 8th December, stomach a rainy night, and I’m peering through the windows of the Lesley Craze gallery with anticipation. The windows are currently decorated with a glittering Christmas tree, jewels nestled in its branches, but it’s those it holds inside I am interested in. I have visited the gallery quite a few times in the last year, originally drawn in by the work of a personal favourite, Wendy Ramshaw. Earlier in the week, I had received an invitation for a special Christmas late night opening, and as always, intrigued to see what they have in, I’ve come along for a look, and a welcoming glass of wine.

I’m always surprised when I mention the gallery in conversation, to find out that many people are unaware of it’s presence. I credit the gallery with being well curated, well presented and the staff as always smiling and helpful. The glass cabinets are always gleaming with wares, and as I wander down to the lower room, my attention is grabbed by a huge cabinet that contains the work of John Moore.

John Moore earrings by Miranda Williams

John Moore earrings by Miranda Williams

Moore, now based in Brighton, is without a doubt, the embodiment of the label ‘jewellery artist’. With a degree in 3D design, his work is wearable art. The gallery was showing work from two of his collections, but it was the 5 pairs of earrings that enchanted me. These are part of his ‘Elytra‘ collection – an eyecatching range of brightly coloured anodised aluminium designs.

Moore worked on this collection whilst in his final year at university, and is inspired by nature and natural forms. I found some great images of birds feathers on his website; the vibrant colours of the exotic plumes now reflected in his Elytra collection. Apparently the shape was initally inspired by a beetles wing, an influence that you can also identify in the gleaming colour of the treated aluminium. His statement earrings are wondrous. They also hide a secret feature. They can be reversed by passing the top hoop through the opposite end of the drop, to invert the metal petals, or feathers. Combined with their emphasis on colour, they fit perfectly into the S/S 2012 trend for large, statement earrings.

Thomas David Bangles by Karolina Burdon

Thomas David bangles by Karolina Burdon

I spotted a familiar collection of work that I had seen at New Designers earlier this year, a bangle set from Sheffield Hallam graduate Tom Wilson, who works under the brand name Thomas David. His designs are dark and moody – blackened copper bangles, which have been made to look like corrugated card – industrial and hard wearing. I also really like the intricate patterns in the bangle collection made from stainless steel and birch plywood. Inspired by now retro spirograph kits, they remind me of when I was a child and plastering pieces of paper with concentric circles. Tom’s designs are a converse combination, tough and uniform, but detailed and delicate.

Ebony Revolution rings courtesy of Simone Brewster

Ebony Revolution rings, photo courtesy of Simone Brewster

British designer Simone Brewster’s Ebony Revolution rings are the perfect example of her influences from African woodwork and geometric forms. She graduated from the RCA, and I first came across her work when she designed a copper necklace for the store DARKROOM, as part of a charity event in June this year called Love from Darkroom. The rings are made from materials such as ebony, tulipwood, copper, bronze and leather. I also like her large necklaces, which are like Art Deco murals.

Maud Traon Rings by Stephanie Brown

Maud Traon rings by Stephanie Brown

On one of my previous visits to the gallery, I was wowed by Maud Traon’s rings for obvious reasons. Her designs conjure up thoughts of My Little Pony on a strong acid trip. The rings demand attention – pops of neon colours, sprayed with glitter, and sometimes mixed with star shapes, or kitsch toy objects. Maud likes to explore the relationship between the idea of value and wearability.

The rings are made from combinations of materials such as clay and copper. I’m not exactly sure just how wearable these are for most, bulky, and often extended height, but they certainly will please those who like their jewellery to be noticed, and would be a great addition to any collection.

Dorothy Erickson brunhilde collar by Karolina Burdon

Dorothy Erickson brunhilde collar by Karolina Burdon

The work of Western Australian born and trained jeweller Dorothy Erickson is always a pleasure to see. She is known for her ‘kinetic’ jewellery, or body pieces as they are alternatively called. She makes jewellery for the body that includes the wearer as part of the principal design – the jewellery reacts to the wearer’s every move.

I really love the articulated metal choker and bracelet, which reminds me of jewels to be found in collections at the British Museum, or vintage YSL pieces. Chunky, bold and well crafted – I’d wear this necklace and feel empowered. The gold clasp, paired with the silver metal, makes it even more special, a combination that I’m not always a fan of, but works so well here.

Dorothy Erickson bracelet by Fay Newman

Dorothy Erickson bracelet by Fay Newman

One of Erickson’s main inspirations is the unique flora of her native Australia, which has helped to produce the beautiful designs of her precious stone rings. She is also influenced by the work of Viennese painter Gustav Klimt. Big solid rocks hold a firm place in these rings, but they are elegant and refined.

Wendy Ramshaw Geometric Earrings by Sam Parr

Wendy Ramshaw Geometric Earrings by Sam Parr

Last but certainly not least, Wendy Ramshaw’s selection of works continues to wow me. Wendy is one of Britain’s best known jewellers, and looked up to by many other well-known designers such as Dorothy Erickson. She was born in Sunderland, studied illustration and fabric design in Newcastle, and then undertook postgraduate studied at Central Saint Martins.

Wendy’s signature designs are her divine ring sets, made up from abstract designs in precious metals and finished with gemstones. The stands they are frequently displayed on have also become ornamental designs in their own right.

Wendy_Ramshaw_Necklace_by_Sam_Parr

Wendy Ramshaw Lucciole Necklace by Sam Parr

Her designs are heavily influenced by geometry, and as a fan of this, I always find myself lusting after her geometric gold drop earrings. Made with gemstones such as amethyst, pink tourmaline, blue topaz, and fire opal, they are a gorgeous combination of colour. A design that I had not seen before, the Lucciole necklace, a blown glass ball run through with gold thread was fantastic.

So from one champion of contemporary jewellery, back to another, I urge you all to take a visit to the Lesley Craze Gallery, and enjoy the great selection of work from British, and global, designers.

Categories ,Central Saint Martins, ,Christmas, ,Clerkenwell, ,colour, ,craft, ,David Bowie, ,Dorothy Erickson, ,Earrings, ,fashion, ,Fay Newman, ,Feathers, ,Gold, ,Gustav Klimt, ,Janneke de Jong, ,jewellery, ,John Moore, ,Karolina Burdon, ,Lesley Craze Gallery, ,Maud Traon, ,metal, ,S/S 2012, ,Simone Brewster, ,Thomas David, ,Wendy Ramshaw

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Amelia’s Magazine | Fashion Philosophy Fashion Week Poland S/S 2012 in Łódź: Custo Barcelona


Custo Barcelona S/S 2012 by Novemto Komo.

Custo Barcelona has not registered massively on my radar beyond a vague knowledge that it’s a super colourful brand, but I must confess that the Custo Barcelona show, which opened the main schedule at Fashion Week Poland, was a fabulously fun affair. It was indeed a riot of pattern and colour, but according to my esteemed international colleagues this season it was far more restrained than usual.

Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona S/S 2012. All photography by Amelia Gregory.

Male and female models marched out two by two in matching outfits before breaking out alone. The collection featured a multitude of different fabrics layered on top of each other, and covered every possible summer garment, from sexy cutout patchwork bikinis to suiting and hoodies.

Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Shoes for women were particularly spectacular with spiked heels like the ridged back of a Stegosaurus, a touch echoed on the sides of swimsuits. The collection featured darling purse belts slung over hips and amazing digital prints that were hard to determine but possibly featured horses’ eyes encrusted with sequins. Embellishment abounded.

Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
I’ve always been partial to a bit of bright and lairy menswear so I particularly enjoyed some of the fab Custo Barcelona suits, with crazy metallic stripes and amazing sunburst patterns.

Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Later on designer Custodio Dalmau himself joined us for a meal in a Polish restaurant. God only knows what he made of the outlandish behaviour of some of the international crew, letting off steam after a long day at the shows.

Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custo Barcelona Fashion Week Poland SS 2012-photography by Amelia Gregory
Custodio Dalmau of Custo Barcelona. All photography by Amelia Gregory.

Categories ,Bikinis, ,colour, ,Custo Barcelona, ,Custodio Dalmau, ,Digital Print, ,Embellishment, ,Fashion Philosophy Fashion Week Poland, ,Lodz, ,Novemto Komo, ,Patchwork, ,Purse Belts, ,Stegosaurus

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Amelia’s Magazine | An Interview with Jewellery Designer Kate Sibley, talking about her ‘Future Jewellery’ Collection

Kate Sibley Jewellery by Laura Griffin
Kate Sibley Jewellery by Laura Griffin

When I first looked at images of Kate Sibley’s stone ‘paper’ Future Jewellery I was reminded of a gorgeous book I fell in love with a few years ago called ‘The Paper Jewelry Collection: Easy to wear and ready to make pop out artwear’. It features beautiful patterns printed on variously shaped paper which you can remove from the book and fold in different ways to create eye catching jewellery pieces. I still have this book and, like Kate Sibley’s jewellery, find it hugely inspiring. Both push boundaries in terms of what form jewellery pieces can have and what materials they are made of – the latter being especially crucial at the moment in terms of sustainability. The limited edition pieces by Kate Sibley are transitory and deliberately have a short lifespan, agreeing with the fast fashion trend. Yet the jewellery, made from non-toxic stone ‘paper’, can be infinitely recycled or safely composted at the end of its life, leaving no negative imprint on the environment. Here Kate Sibley shares with us a little about the context, inspirations and processes behind her origami-like jewellery collection.

Kate Sibley Jewellery Necklaces group

You started out as a graphic designer, how did you become interested in jewellery design specifically and decide to do an MA at Central Saint Martins?
My undergraduate degree was in eco design and design studies at Goldsmiths College where my final piece was in fact a jewellery collection. The graphics route was purely by chance and a result of the experience I gained on work placements while still at university. It became a logical career path upon graduation as it gave me the opportunity to make money as a practicing designer. After several years of full time employment I took the step to become a freelance graphic designer which enabled me to focus more on other creative interests including my jewellery. I then applied to continue my studies at Central St Martins as it would provide me with a network of mentors and place me in a stimulating environment to further develop my ideas.

Kate Sibley Necklace
Kate Sibley Necklace
How does your graphic design background influence your jewellery collections?
My decision to work with paper for my latest collection was born out of my desire to question the fast fashion industry and explore sustainable materials and systems. After a year of intensive materials research the logical path took me to the stone paper I use today. Having a deep knowledge of graphics and print enabled me to really explore a unique approach to my jewellery where I had very few restrictions. I could explore, colour, tone, pattern and form in a way that you can’t with traditional jewellery making processes. It also had its problems as it makes it incredibly hard to make decisions when your options are endless so you need to be confident in your ideas and follow them through with conviction.

Kate Sibley Jewellery by Isher Dhiman
Kate Sibley Jewellery by Isher Dhiman

Could you tell us a bit more about the ‘Cradle to Cradle’ theory and closed loop systems and the influence they’ve had on your work?
The term Cradle to Cradle refers to a designed system where commercial productivity and sustainability can co-exist and benefit one another. This is achieved by ensuring that products and materials are designed to fit onto a biological and/or a technical system – closed loop. A biological system refers to materials that can harmlessly decompose and return to the earth providing nourishment rather than toxic landfill, whereas a technical system is one based on materials being reprocessed repeatedly without degradation or any loss in quality. Cradle to Cradle has influenced my work greatly. What I like is that it provides a rational and practical solution to a sustainable future whilst celebrating abundance and creativity. Rather than the consumer being half-heartedly encouraged to change their consumer behavior, the ball is firmly in the court of designers and manufacturers to design better products. It is a challenge, but designers like myself thrive on creative challenges.
My current collection is designed with materials that fit within both a biological and a technical cycle.

Kate Sibley Pin
Where do you source the paper from which your current collection is made?
I source the paper from a supplier in Europe as it is not available in the UK.

v
Kate Sibley Jewellery by Polly Stopforth

Where did you learn to fold so beautifully and by what process do you apply the eye catching patterns and colours on the pieces?
Strangely I’ve always had a fascination with folding paper. I think it’s something to do with pushing a material to its limits and really exploring it’s potential. The techniques and folds I’ve used to produce this collection have all been developed by myself as a way to overcome design issues and to form the shapes and structures I wanted. The colour and patterns are screen printed by myself.

Kate Sibley Necklace
You are the co-director of the design studio Sibley Grove with your husband Jeremy Grove. How do the other design disciplines the studio is involved in impact your jewellery work? Is working with diverse worlds helping your creative juices?
Running the design studio alongside developing my jewellery collections is hard work, but I enjoy it as I thrive on being busy and productive. We work across several disciplines, interior design, architecture, graphics and product, and I find all of these areas inspire my jewellery because they expose me to materials and processes I might not otherwise come across. The jewellery also positively influences the rest of the work our studio does, because it is a platform to be more experimental and try new things, but on a smaller scale.

Kate Sibley Future Jewellery Necklace by Shy Illustrations
Kate Sibley Future Jewellery Necklace by Shy Illustrations

In terms of fashion and jewellery design what are your inspirations?
My inspirations for this collection have mainly come from the art deco architecture of downtown Manhattan, where I am particularly attracted to the repeat patterns that are made with tiling, patterns cast into building facades and the forms made by railings and ironwork. In general though, my inspirations can come from anywhere, from the detailing on a train seat, to the beauty of an insects wing.

Kate Sibley Earrings
Kate Sibley Earrings
Kate Sibley Earrings
For your near future collections do you plan to explore more folding techniques and continue the use of ‘paper’ or can you reveal some more sustainable materials you have in mind using?
This collection of earrings will evolve into other shapes and colours, which will be released each fashion season, but all future pieces will fit into the universal earring clasp. I am interested in exploring other ways of printing on and texturing the surface of the paper material, and feel there is great potential to explore this further. I intend for the collection to grow and to release necklaces, bangles and brooches in the future. I am always researching new and interesting materials and have a growing collection which I will certainly experiment with in the future.

Kate Sibley Jewellery by Katie Allen
Kate Sibley Jewellery by Katie Allen

How could one become the owner of one of your beautiful pieces?
At the moment I am accepting commissions to produce bespoke pieces of any scale. This specific collection will be launched for sale in the new year and you will be able to buy pieces through a number of galleries and shops. You can contact us through our website www.sibleygrove.com, or at studio@sibleygrove.com to be added to our mailing list for further updates, or to talk about commissioning possibilities.

Categories ,Central Saint Martins, ,colour, ,Cradle to Cradle, ,Designer’s Block, ,Earrings, ,Eco-Design, ,fashion, ,Fast Fashion, ,Folding, ,geometric, ,Gold Leaf, ,goldsmiths, ,Graphic Design, ,Isher Dhiman, ,jewellery, ,Jewellery Collection, ,Kate Sibley, ,Katie Allen, ,Laura Griffin, ,Maria Papadimitriou, ,Necklaces, ,origami, ,paper, ,pattern, ,Polly Stopforth, ,Printing, ,screenprinting, ,Shy Illustrations, ,Sibley Grove, ,Stone Paper, ,Sustainable Fashion, ,Sustainable Materilas

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Amelia’s Magazine | What Does Colour Mean To You? Submit Your Story For A Chance To Make A Film And Win £250

This is Orange by Sarah Edmonds
This is Orange by Sarah Edmonds.

A recent chat with friends led to a discussion about what colour we intrinsically ‘were’. Fascinatingly we all agreed on the colours that came to mind, as if subconsciously they were obvious to us all. Colour is absolutely intrinsic to the way we feel, the way we look and the way we act. And for illustrators and artists it plays an enormous part in the creation of work. Of course many of us see colours differently (a huge amount of men, for instance, suffer some form of colour blindness) and colours also mean different things to different people. Why, for instance, do I love bright red and green, but dislike orange brown? I find it absolutely fascinating.

Now a major lifestyle brand is planning to collect stories of how people have been positively impacted by colour. They would like to know what your relationship is with a particular colour, what three words you would associate with it, and what kind of details from your life, your culture and your home have played a part in your opinion of that colour. To get involved you can submit your story as words, photography and video: the most compelling one will be filmed by leading film makers Blair & Oliver and edited into a short documentary about how colour has affected lives. If you submit the best story you’ll win £250.

What better way to get you inspired than a series of illustrations exploring what colour means to some of my contributors. To take part in this open callout send your stories to renewalstories@redant.com along with your contact details. The deadline for submission is 1st March 2013.

Green-by-CissyHu
Green by Cissy Hu. When I see green, my eyelashes will become a forest. The creatures of imagination will come out and play. Everything goes lively above the lake of heart (the eyes).

The Colour Pink by Christine Charnock
The Colour Pink by Christine Charnock. The colour pink has so many beautiful and versatile shades – from vibrant and bold, to calming and subdued. In the natural world, the colour pink is present in many fascinating forms. The sky of a sunset, flora and fauna, and the flamingo bird are particularly memorable and beautiful examples. Pink always seems to create a positive, uplifting and cheerful vibe, and this is one of the reasons why I adore this colour.

green is such a relaxing colour by Joanna Boyle
Green is such a relaxing colour by Joanna Boyle. My favourite time of year is spring time, when everything starts to get green after months of rain and cold. I associate the colour green with feeling calm and refreshed. As a result I love visiting green houses and like to keep lots of plants in my flat!

Turquoise Planet by Laura Redburn
Turquoise Planet by Laura Redburn. I absolutely love all colours, and colour is my world. Turquoise is my favourite, though. It both gives me energy and keeps me calm. I like to always have this colour around me because it also helps me feel creative but not overwhelmed. I feel as if there’s something magical about it that other colours don’t possess. To me it’s representative of earth and life.

Yellow Portrait of Silvia Pezzati by Rosa Crepax, Illustrated Moodboard
Yellow Portrait of Silvia Pezzati by Rosa Crepax, Illustrated Moodboard. My friend Silvia is the ‘yellowest’ person I know. Yellow is a very happy colour, I’ve always associated it with sunshine, cheerfulness and intellectual creativity. She is enthusiastic about everything, warm, bright and she actually smiles sun!

Green by Gemma Hampton
Green by Gemma Hampton. Green is my favourite colour. To me, it represents growth and freedom. As a keen gardener, I am forever fascinated when planting a seed and watching it spring into life, growing stronger and healthier by the day. I enjoy studying this process of development and feel a deep sense of satisfaction in the knowledge that I am nurturing this new life. 

Red by Gemma Cotterell
Red by Gemma Cotterell. I chose to illustrate red shown as a ‘mothers love’ – to me the colour projects power, warmth, love, strength, passion, and permanence. The beating heart is life itself, protected unconditionally by the flowering cactus, which symbolises maternal love.

Categories ,Blair & Oliver, ,Christine Charnock, ,Cissy Hu, ,colour, ,Colour blindness, ,competition, ,film, ,Gemma Cotterell, ,Gemma Hampton, ,Illustrated Moodboard, ,Joanna Boyle, ,Laura Redburn, ,Open Callout, ,Rosa Crepax, ,Sarah Edmonds, ,Silvia Pezzati

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