Corrie Nielsen – AmeliasMagazine

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

The My Beautiful Fashion venue is once again this season at the Old Sorting Office – a cavernous venue with an eery feeling of days gone by. The ethereal atmosphere suited Corrie Nielsen‘s show perfectly. I hadn’t heard of Corrie until last season, try and her sculpted numbers with huge nods to the past really took my breath away, visit web so I was excited to see what she’d come up with this time around.

Illustration by Claire Kearns

The Old Sorting Office has been adorned with hundreds of large light bulbs that hang from the ceiling – everybody who came in marvelled at the installation and most of the chit-chat from the front row was lightbulb related. I went with Chief Amelia and we sat at opposite ends to avoid taking the same pictures.

A/W’s latest trend – taking dire photographs on an iPad (!) and getting in the way of people who are actually trying to take good photographs. Anybody with an iPad – don’t do it. You look like a berk, you get in everybody’s way and you know that you will only end up looking on other websites such as this one that publish photographs that don’t look like my 7 year old niece painted them with her feet. Oof!

Goodie bags included yet more hair products (I really should start growing my hair to make use of all these freebies) and a huge slab of Starbucks cake that made me feel ill just looking at it, but which I then spent the entire day longing for and regretting my decision to leave behind.

Illustrations by Joana Faria

Sparse music meant the show was to begin. Models appeared from behind the brutalist entrance, walking at a snail’s pace to add even more mystery to this dramatic collection. The lighting, consisting of the bulbs and some harsh studio lights at the end of the runway supplied yet more drama as each of the models was illuminated in a ghostly fashion, giving Corrie Nielsen‘s magical contours even more life.

Photograph by Matt Bramford

Corrie Nielson SS 2011 review-photo by amelia

Photography by Amelia Gregory

A move towards more commercial pieces appeared first, which was a little surprising after last season’s outing, but not disappointing in the slightest; and by no means commercial in a high-street sense. Crisp shirts and tailored trousers had a marginal hint of Nielsen, a blouson-sleeved shirt with a synched back and huge pleated trousers was one of my favourite looks.

Illustration by Claire Kearns

Photography by Matt Bramford

As the show progressed, so did Nielsen’s bravery and inimitable silhouettes. Flattering trenches wrapped tightly around the models in luxurious gold silks were Westwood-esque, and pussy bow waist ties added a touch of glamour. A lemon sorbet creation with huge puff sleeves and a tulip waistline managed to be both futuristic and neoclassical at the same time. That pretty much somes up Corrie’s appeal – marrying Edwardian hairstyling with futuristic shapes resulted in a unique and exciting collection. Loved it!

Illustration by Kirsty McGill

Photography by Matt Bramford

Corrie Nielsen takes a bow, photography by Amelia Gregory

Written by Matt Bramford on Sunday September 18th, 2011 9:57 am

Categories ,Amelia Gregory, ,catwalk, ,Claire Kearns, ,Contour, ,Corrie Nielsen, ,Edwardian, ,Ethereal, ,fashion, ,Forward PR, ,Futuristic, ,ipad, ,Joana Faria, ,London Fashion Week, ,Matt Bramford, ,My Beautiful Fashion, ,Old Sorting Office, ,review, ,S/S 2012, ,Silhouette, ,Starbucks, ,Vivienne Westwood, ,Womenswear

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

Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, find buy information pills illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

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Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

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Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, a thrown out of her castle, princess. What did she do to be ejected? For me, although more Elizabethan perhaps in design than Victorian, this was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story.

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Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress was BLACK. It reminded me of Queen Victoria herself, mixed with Queen Elizabeth I. Then with the addition of Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. Together with the most over-ruffled, incredible dress, fit for a QUEEN, it was an explosion. Black as the darkest night, but with a slight shine, like the moon reflecting, the material was reminiscent of a glassy ocean at night. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

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Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’

I hope you see what I mean.

Jenny Robins’ and Abby Wright’s illustrations can also be found in Amelia’s Compendium of Fashion Illustration, available here.

Written by Helen Martin on Monday February 21st, 2011 8:53 pm

Categories ,1800s, ,1900s, ,19th century, ,60s, ,Abby Wright, ,black, ,blonde, ,Corrie Nielsen, ,Elizabeth I, ,Elizabethan, ,Feminine, ,fitted, ,gothic, ,headbands, ,Helen Martin, ,heroine, ,Jenny Robins, ,lfw, ,LFW A/W 2011, ,models, ,pencil skirt, ,Queen, ,Queen Victoria, ,Red, ,teal, ,Tess of the D’Urbervilles, ,Thomas Hardy, ,Vivienne Westwood, ,Wuthering Heights, ,Yorkshire Moors

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

Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, find buy information pills illustration by Abby Wright

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

CorrieNielsen_LFW_MattBramford_020 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

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Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

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Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

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Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

I hope you see what I mean.

Jenny Robins’ and Abby Wright’s illustrations can also be found in Amelia’s Compendium of Fashion Illustration, available here.

Written by Helen Martin on Monday February 21st, 2011 8:53 pm

Amelia’s Magazine | Corrie Nielsen: London Fashion Week S/S 2013 Catwalk Preview Interview

Interview with Corrie Nielsen, Illustration by Rosa ad Carlotta Crepax, Illustrated Moodboard
Corrie Nielsen S/S 2012 preview by Rosa and Carlotta Crepax, Illustrated Moodboard.

Fashion designer Corrie Nielsen has been wowing us here at Amelia’s Magazine for a number of seasons so we were very excited to discover that for S/S 2013 she has worked in close partnership with Kew… here she describes how the collaboration came about and what we can expect from the new Kew inspired collection.

I am very excited about your upcoming S/S 2013 show, which was done in conjunction with Kew Gardens: how did this relationship come about?
I knew that I wanted to base the season on plants and flowers, so the Royal Botanic Gardens, Kew was the natural first port of call. It is one of my favourite spaces in London. The whole studio went to Kew together and we took countless photos, which are plastered all over the studio walls. My PR, Courtney Blackman, ended up meeting Kew’s Chairman of the Board at an event and if you know her, she makes things happen. The rest is history. They were really excited that my collection would be all about Kew.

Corrie Nielsen Corrie thinking about plants on a bench under a tree at Kew
Corrie Nielsen Peony 038_Pae_dau_ - from KEW ARCHIVE
Your interest in history is well known, how did you take inspiration from the original documentation of Charles Darwin’s journeys, which are stored in the Kew libraries?
After the first studio trip to Kew, I took a secondary trip with my business partners and that’s when we got to explore the seed libraries, browse through Darwin’s original letters, etc. I’m fascinated by the concept of Darwin’s ‘The Origin of the Species’ – seeing his letters was an unbelievable honour. I’ve taken that concept and really explored it by researching actual blueprints of plants and flowers. The complexity is staggering and in tranfering the research into the clothes, I’ve really had to employ serious engineering to some of my more sculpted pieces .

Corrie Nielsen Swarovski Collective by Catherine Moody
Corrie Nielsen S/S 2013 preview illustration by Catherine Moody.

Can we expect to see any other influences from Kew – for example are there any particular seeds, flowers, trees or other plants that have inspired the new collection?
Tulips, peony roses and even the Victorian glass houses of Kew influence the range.

Corrie Nielsen Stairs in a glass house at Kew
Corrie Nielsen One of my favourite shapes at Kew
How do you process this information? eg do you take photos and then create mood boards?
Photos, photos, photos and I study individual specimens. My studio walls are one giant mood board. I also research a lot online for further development once I have the concept in mind.

Corrie mood board
Corrie Nielsen The Peacock
How often have you visited Kew in preparation for this season’s catwalk show? Any particularly fond memories that you can share with us…
I’ve gone a couple of times and had a very friendly experience with one of the garden’s peacocks. Being able to go into the seed libraries and seeing all the varied specimens that Kew works with was staggering.

corrie mood
What kinds of fabrics feature in the new collection and where were they sourced from?
I’m working with a lot of silk: metal-infused silks, gradient silks and cotton and lightweight wool. I source most of my fabrics from France.

Corrie Nielsen Team Corrie Nielsen at Kew
What else can we expect from the show in terms of styling and production?
Rebekah Roy will be styling the show and for a second season, Emma Yeo will be creating headpieces. She’s so talented. AOFM Pro’s Yin Lee is doing the makeup again – I love working with her. She really gets the brand. TONI&GUY are doing the hair and we are working exclusively with M&P Models, so every single model on the catwalk will be from M&P. And lastly, once again my collection will be named after a Medieval Latin word…

Corrie Nielsen by Zulekha Lakeca.

Corrie Nielsen shows at the BFC space on Friday 14th September 2012. After London Fashion Week Corrie Nielsen will be exhibiting in Paris at Vendôme Luxury Tradeshow at Le Meurice Hotel, 75001.

Written by Amelia Gregory on Tuesday September 11th, 2012 9:31 am

Categories ,AOFM Pro, ,Catherine Moody, ,Charles Darwin, ,Corrie Nielsen, ,Courtney Blackman, ,Emma Yeo, ,Illustrated Moodboard, ,Kew, ,Le Meurice Hotel, ,M&P Models, ,Rebekah Roy, ,Rosa and Carlotta Crepax, ,Royal Botanic Gardens, ,The Origin of the Species, ,Vendôme Luxury Tradeshow, ,Yin Lee, ,Zulekha Lakeca

Amelia’s Magazine | Craig Green, MAN: London Collections: Men A/W 2014 Catwalk Review

Craig Green A/W 2014 by Avril Kelly

I’m a huge fan of Joyride, I go wild for The Look and there’s no denying that It Must Have Been Love is one of the greatest rock power ballads ever written, but my favourite Roxette song is, without a shadow of a doubt, Listen to Your Heart. I’m telling you. No question. So imagine the feeling of overwhelming pleasure that I experienced when Craig Green, last up on the Fashion East MAN roster, had chosen it to soundtrack his show.

I could barely focus my camera as those magical, haunting opening bars played. When Marie starts belting it out I almost lost it, but managed to get a grip in the name of fashion journalism. The song created a sombre mood and this collection seemed a bit sorrowful, too: gone were the conceptual fabric planks and box rucksacks that earned Green a Designs of the Year nomination; gone were last season’s psychedelic sculptures that gave his critics the middle finger.

No, this collection seemed like a progressive, grown-up step for Green. To suggest that he’d lost his way would be missing the point – utilitarian leather harnesses replaced the artistic sculptures but still toyed with the silhouette, and hand-painted prints that steer clear of anything over-digital continued the Craig Green story.

Models wearing head to toe black gowns that brushed along the floor cut almost cardinal-like figures. Not a single piece gave any indication as to what the models’ bodies looked like under their robes. Black cottons, leather and shimmery fabrics worked together effortlessly. The mesmerising print in varying tones of yellow, orange and blue created the illusion that similar garments were completely different to their monochrome counterparts.

While this might hint at a more commercial direction, whatever Craig produces will continue to inspire. I can’t wait to see what happens when he steps out solo next season.

Written by Matt Bramford on Friday January 17th, 2014 5:34 pm

Categories ,A/W 2014, ,Avril Kelly, ,AW14, ,catwalk, ,Craig Green, ,Fashion East, ,LCMAW2014, ,london, ,London Collections Men, ,Man, ,Matt Bramford, ,review, ,Roxette

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

Haizhen Wang S/S 2013 by Faye West.

I was very excited about this year’s Fashion Fringe: it’s always a great place to discover the talent of years to come (think Fyodor Golan and Corrie Nielsen) but this time there was also the chance that my acquaintance Vita Gottlieb might win. So it was with some anticipation that I took my seat for my last show of the season in the BFC tent at Somerset House.

Haizhen Wang S/S 2013 by Lo Parkin.

Fashion Fringe SS 2013 Haizhen Wang photography by Amelia Gregory

First up was the collection from Haizhen Wang, with expert tailoring based on the tabard structures of Japanese armour and historical costumes alongside deconstructed asymmetrical layering in a graphic print. The garments came in a predominantly black colour palette with flashes of textured steel and rows of cobalt beading. Models wore Geisha influenced platform heels and severe haircuts or conical headgear. Haizhen Wang is a graduate of both the London School of Fashion and Central Saint Martins – since when he’s had a good grounding in the industry working with labels as diverse as Max Mara and All Saints.

Teija Eilola S/S 2013 by Lo Parkin.

Fashion Fringe SS 2013 Teija Eilola photography by Amelia Gregory

Second up came the collection from Finnish designer Teija Eilola, who describes her inspiration thus: ‘A Finnish girl arrives at the party: shoes in her bag and a huge, crisp mackintosh over her little silk dress. On the way to the party she crossed a forest and a couple of fields.‘ In practice this meant a finely tailored range of sensible separates in muted mushroom and flesh tones. The range featured double breasted detailing on a short blouson sleeved trench coat and mini cropped version, rucheing on a demure bodice and plenty of capacious bags: an eye on brand extension already? Her sensible approach could be explained by the fact that until recently Teija Eilola was joint head of womenswear at Ted Baker. Prior to that she worked at smaller labels after graduating from the RCA.

Vita Gottlieb S/S 2013 by Lo Parkin.

Fashion Fringe SS 2013 Vita Gottlieb photography by Amelia Gregory

Rounding up the trio was the work of relative newcomer Vita Gottlieb, who styled her models in high backcombed quiffs and classic courts. This was an exciting collection that successfully showcased her prowess in textile manipulation. High waisted pencil skirts featuring poured curves at the waist and elongating vertical ruches were paired with cape shouldered tops covered in subtle printed detail or sculptural spikes: all accessorised with bold leather jewellery embellished with metal rings and studs. Hers was the brightest colour palette of the three, although that wasn’t saying much as she had worked mainly in subtle golden tones and soft browns, highlighted with dashes of teal and luxurious red.

Fashion Fringe SS 2013 Vita Gottlieb photography by Amelia Gregory
By now everyone will know that Haizhen Wang won the award, presented by guest judge Christopher Bailey of Burberry. But I of course think it should have gone to Vita Gottlieb; her tailoring may not have been as clean and precise as the others, but her experimental approach won hands down; resulting in an innovative collection that showed great promise for the future. Read my exclusive pre show interview with Vita Gottlieb here.

Written by Amelia Gregory on Monday October 15th, 2012 10:08 pm

Categories ,All Saints, ,Burberry, ,Central Saint Martins, ,Christopher Bailey, ,Corrie Nielsen, ,Fashion Fringe, ,Faye West, ,Fyodor Golan, ,Haizhen Wang, ,Lo Parkin, ,London School of Fashion. RCA, ,Max Mara, ,Somerset House, ,Ted Baker, ,Teija Eilola, ,Vita Gottlieb

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