Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Lu Flux (reprise)

LFW Holly Fulton by KAYLEIGH BLUCK
Holly Fulton by Kayleigh Bluck.

For S/S 2011 Holly Fulton took inspiration from Joan Collins and 60s cruise wear as her “ladies” went on a fantastical tour of luxury living in all the most chic resorts: Monaco, nurse Egypt, Brazil, Hollywood. If this woman exists in reality she would surely be the most shallow creature on the planet, but such is the way of fashion: it thrives on escapism.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

holly fulton by Michelle Urvall Nyrén
holly fulton by Michelle Urvall Nyrén
Holly Fulton by Michelle Urvall Nyrén.

This was the first Holly Fulton catwalk show I’ve attended, and being a fan I was intrigued to see how her aesthetic has held up in a year when her influence on the high street has been massive – particularly where large jewellery is concerned.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton by Aniela Murphy
Holly Fulton by Aniela Murphy.

The show started strongly with a bright orange cracked paving print blouse atop a tiered fringed pencil skirt before giving way to a look that I would say took as much inspiration from the flared shapes of the 70s as it did the decade before. Yellow skater style flared skirts featured laser cut cocktail patterns. Heels were so high one model was forced to remove hers for the finale.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
LFW Holly Fulton by KAYLEIGH BLUCK
Holly Fulton by Kayleigh Bluck.

Holly is at her strongest when she puts together Aztec, Aboriginal and Memphis School inspired appliques on the front of long panels. Flares, shift dresses and maxi skirts provided ample opportunity for this, accessorised with the usual fabulous necklaces and decorated clutch bags. They were accompanied by suitably luxe big earrings and big hair.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory

The collection only started to falter once towards the end, when Holly sent a few dresses down the runway that seemed obviously tacked on to appease sponsors Swarovski. Goodness knows why she decided to finish on these less polished numbers, instead of interspersing them through the whole show.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton by Aniela Murphy
Holly Fulton by Aniela Murphy.

Like David Koma before her Holly used python, this time in its natural colouring as part of heavily textured patterning so that it was less obvious from afar. Maybe a luxury feel demands some kind of obvious domination over the rest of the world, but I’m not sure I like this new trend towards exotic animal skins. Other than his blip she remains an innovative and individual designer who’s very definitely one step ahead of her imitators.

Holly Fulton SS2011 photo by Amelia Gregory

LFW Holly Fulton by KAYLEIGH BLUCK
Holly Fulton by Kayleigh Bluck.

For S/S 2011 Holly Fulton took inspiration from Joan Collins and 60s cruise wear as her “ladies” went on a fantastical tour of luxury living in all the most chic resorts: Monaco, and Egypt, Brazil, Hollywood. If this woman exists in reality she would surely be the most shallow creature on the planet, but such is the way of fashion: it thrives on escapism.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

holly fulton by Michelle Urvall Nyrén
holly fulton by Michelle Urvall Nyrén
Holly Fulton by Michelle Urvall Nyrén.

This was the first Holly Fulton catwalk show I’ve attended, and being a fan I was intrigued to see how her aesthetic has held up in a year when her influence on the high street has been massive – particularly where large jewellery is concerned.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton by Aniela Murphy
Holly Fulton by Aniela Murphy.

The show started strongly with a bright orange cracked paving print blouse atop a tiered fringed pencil skirt before giving way to a look that I would say took as much inspiration from the flared shapes of the 70s as it did the decade before. Yellow skater style flared skirts featured laser cut cocktail patterns. Heels were so high one model was forced to remove hers for the finale.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
LFW Holly Fulton by KAYLEIGH BLUCK
Holly Fulton by Kayleigh Bluck.

Holly is at her strongest when she puts together Aztec, Aboriginal and Memphis School inspired appliques on the front of long panels. Flares, shift dresses and maxi skirts provided ample opportunity for this, accessorised with the usual fabulous necklaces and decorated clutch bags. They were accompanied by suitably luxe big earrings and big hair.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory

The collection only started to falter once towards the end, when Holly sent a few dresses down the runway that seemed obviously tacked on to appease sponsors Swarovski. Goodness knows why she decided to finish on these less polished numbers, instead of interspersing them through the whole show.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton by Aniela Murphy
Holly Fulton by Aniela Murphy.

Like David Koma before her Holly used python, this time in its natural colouring as part of heavily textured patterning so that it was less obvious from afar. Maybe a luxury feel demands some kind of obvious domination over the rest of the world, but I’m not sure I like this new trend towards exotic animal skins. Other than his blip she remains an innovative and individual designer who’s very definitely one step ahead of her imitators.

Holly Fulton SS2011 photo by Amelia Gregory

LFW Holly Fulton by KAYLEIGH BLUCK
Holly Fulton by Kayleigh Bluck.

For S/S 2011 Holly Fulton took inspiration from Joan Collins and 60s cruise wear as her “ladies” went on a fantastical tour of luxury living in all the most chic resorts: Monaco, troche Egypt, more about Brazil, Hollywood. If this woman exists in reality she would surely be the most shallow creature on the planet, but such is the way of fashion: it thrives on escapism.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

holly fulton by Michelle Urvall Nyrén
holly fulton by Michelle Urvall Nyrén
Holly Fulton by Michelle Urvall Nyrén.

This was the first Holly Fulton catwalk show I’ve attended, and being a fan I was intrigued to see how her aesthetic has held up in a year when her influence on the high street has been massive – particularly where large jewellery is concerned.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton by Aniela Murphy
Holly Fulton by Aniela Murphy.

The show started strongly with a bright orange cracked paving print blouse atop a tiered fringed pencil skirt before giving way to a look that I would say took as much inspiration from the flared shapes of the 70s as it did the decade before. Yellow skater style flared skirts featured laser cut cocktail patterns. Heels were so high one model was forced to remove hers for the finale.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
LFW Holly Fulton by KAYLEIGH BLUCK
Holly Fulton by Kayleigh Bluck.

Holly is at her strongest when she puts together Aztec, Aboriginal and Memphis School inspired appliques on the front of long panels. Flares, shift dresses and maxi skirts provided ample opportunity for this, accessorised with the usual fabulous necklaces and decorated clutch bags. They were accompanied by suitably luxe big earrings and big hair.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory

The collection only started to falter once towards the end, when Holly sent a few dresses down the runway that seemed obviously tacked on to appease sponsors Swarovski. Goodness knows why she decided to finish on these less polished numbers, instead of interspersing them through the whole show.

Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton SS2011 photo by Amelia Gregory
Holly Fulton by Aniela Murphy
Holly Fulton by Aniela Murphy.

Like David Koma before her Holly used python, this time in its natural colouring as part of heavily textured patterning so that it was less obvious from afar. Maybe a luxury feel demands some kind of obvious domination over the rest of the world, but I’m not sure I like this new trend towards exotic animal skins (see my David Koma blog for more on this). Other than his blip she remains an innovative and individual designer who’s very definitely one step ahead of her imitators.

Holly Fulton SS2011 photo by Amelia Gregory


Illustration by Gemma Randall

I was so excited to see what progressive knitwear label Sibling would produce this season, sildenafil after featuring the brand in our menswear preview, sick that I legged it up the stairs to The Portico Rooms at Somerset House, almost tripping at the top. Such is the effect of scrambling around Somerset House to see labels that you love.

Luckily I escaped any kind of fall or serious injury. Inside the room, a large crowd had all ready formed to see what was on offer from Collection 5. Yet again Sibling had produced a quirky range of witty knits: a selection of sweaters with influences such as punk, Pop Art, and, erm, Tourettes?

Each piece offers a statement to the wearer. Large-scale polka dot patterns featured heavily in this collection, while Pop Art-esque stars appear in different scales. Static mannequins bore eery face masks, which featured a range of expletives. The highlight with Sibling is always the vibrancy of the colours – neon greens last season had this season been replaced with red and shades of blue.


Illustration by Gemma Randall

The show pieces, away from these inspired jazzy numbers, were a collaboration with zany artists Sue Noble and Tim Webster. Black jersey tracksuits had been embroidered with reflective tape to feature such profanities as ‘WANKER’ ‘SOD OFF’, C U Next Tuesday and, my personal favourite, ‘TAKE MY TITS.’ Oh, here we go again, I thought to myself…

Alongside the collection, a film by Alasdair McLellan and styled by Max Pearmain played on loop. This oozed style and featured a scallyish skinhead smoking, larking in the park and generally knocking around insalubrious areas. It was one of the best fashion films I caught this season, by far. Reminiscent of scenes from This Is England, the film was more punk than Pop Art, but it was a delight to watch. Enjoy:

SIBLING C5 film by ALASDAIR McLELLAN from SIBLING LONDON on Vimeo.

Knitwear for men can be quite elitist, with editors salivating over crew neck numbers that lack imagination. But if you’re after something with a little more punch, there ain’t anybody packing it like Sibling.

All photography by Matt Bramford

Illustration by Gemma Randall

I was so excited to see what progressive knitwear label Sibling would produce this season, more about after featuring the brand in our menswear preview, information pills that I legged it up the stairs to The Portico Rooms at Somerset House, view almost tripping at the top. Such is the effect of scrambling around Somerset House to see labels that you love.

Luckily I escaped any kind of fall or serious injury. Inside the room, a large crowd had all ready formed to see what was on offer from Collection 5. Yet again Sibling had produced a quirky range of witty knits: a selection of sweaters with influences such as punk, Pop Art, and, erm, Tourettes?

Each piece offers a statement to the wearer. Large-scale polka dot patterns featured heavily in this collection, while Pop Art-esque stars appear in different scales. Static mannequins bore eery face masks, which featured a range of expletives. The highlight with Sibling is always the vibrancy of the colours – neon greens last season had this season been replaced with red and shades of blue.


Illustration by Gemma Randall

The show pieces, away from these inspired jazzy numbers, were a collaboration with zany artists Sue Noble and Tim Webster. Black jersey tracksuits had been embroidered with reflective tape to feature such profanities as ‘WANKER’ ‘SOD OFF’, C U Next Tuesday and, my personal favourite, ‘TAKE MY TITS.’ Oh, here we go again, I thought to myself…

Alongside the collection, a film by Alasdair McLellan and styled by Max Pearmain played on loop. This oozed style and featured a scallyish skinhead smoking, larking in the park and generally knocking around insalubrious areas. It was one of the best fashion films I caught this season, by far. Reminiscent of scenes from This Is England, the film was more punk than Pop Art, but it was a delight to watch. Enjoy:

SIBLING C5 film by ALASDAIR McLELLAN from SIBLING LONDON on Vimeo.

Knitwear for men can be quite elitist, with editors salivating over crew neck numbers that lack imagination. But if you’re after something with a little more punch, there ain’t anybody packing it like Sibling.

All photography by Matt Bramford


Illustration by Gemma Randall

I was so excited to see what progressive knitwear label Sibling would produce this season, viagra after featuring the brand in our menswear preview, and that I legged it up the stairs to The Portico Rooms at Somerset House, information pills almost tripping at the top. Such is the effect of scrambling around Somerset House to see labels that you love.

Luckily I escaped any kind of fall or serious injury. Inside the room, a large crowd had all ready formed to see what was on offer from Collection 5. Yet again Sibling had produced a quirky range of witty knits: a selection of sweaters with influences such as punk, Pop Art, and, erm, Tourettes?

Each piece offers a statement to the wearer. Large-scale polka dot patterns featured heavily in this collection, while Pop Art-esque stars appear in different scales. Static mannequins bore eery face masks, which featured a range of expletives. The highlight with Sibling is always the vibrancy of the colours – neon greens last season had this season been replaced with red and shades of blue.


Illustration by Gemma Randall

The show pieces, away from these inspired jazzy numbers, were a collaboration with zany artists Sue Noble and Tim Webster. Black jersey tracksuits had been embroidered with reflective tape to feature such profanities as ‘WANKER’ ‘SOD OFF’, C U Next Tuesday and, my personal favourite, ‘TAKE MY TITS.’ Oh, here we go again, I thought to myself…

Alongside the collection, a film by Alasdair McLellan and styled by Max Pearmain played on loop. This oozed style and featured a scallyish skinhead smoking, larking in the park and generally knocking around insalubrious areas. It was one of the best fashion films I caught this season, by far. Reminiscent of scenes from This Is England, the film was more punk than Pop Art, but it was a delight to watch. Enjoy:

SIBLING C5 film by ALASDAIR McLELLAN from SIBLING LONDON on Vimeo.

Knitwear for men can be quite elitist, with editors salivating over crew neck numbers that lack imagination. But if you’re after something with a little more punch, there ain’t anybody packing it like Sibling.

All photography by Matt Bramford


Illustration by Gemma Randall

I was so excited to see what progressive knitwear label Sibling would produce this season, information pills after featuring the brand in our menswear preview, that I legged it up the stairs to the Portico Rooms, almost tripping at the top. Such is the effect of scrambling around Somerset House to see labels that you love.

Luckily I escaped any kind of fall or serious injury. Inside the room, a large crowd had all ready formed to see what was on offer from Collection 5. Yet again Sibling had produced a quirky range of witty knits: a selection of sweaters with influences such as punk, Pop Art, and, erm, Tourettes?

Each piece offers a statement to the wearer. Large-scale polka dot patterns featured heavily in this collection, while Pop Art-esque stars appear in different scales. Static mannequins bore eery face masks, which featured a range of expletives. The highlight with Sibling is always the vibrancy of the colours – neon greens last season had this season been replaced with red and shades of blue.


Illustration by Gemma Randall

The show pieces, away from these inspired jazzy numbers, were a collaboration with zany artists Tim Noble and Sue Webster. Black jersey tracksuits had been embroidered with reflective tape to feature such profanities as ‘WANKER’ ‘SOD OFF’, C U Next Tuesday and, my personal favourite, ‘TAKE MY TITS.’ Oh, here we go again, I thought to myself…

Alongside the collection, a film by Alasdair McLellan and styled by Max Pearmain played on loop. This oozed style and featured a scallyish skinhead smoking, larking in the park and generally knocking around insalubrious areas. It was one of the best fashion films I caught this season, by far. Reminiscent of scenes from This Is England, the film was more punk than Pop Art, but it was a delight to watch. Enjoy:

SIBLING C5 film by ALASDAIR McLELLAN from SIBLING LONDON on Vimeo.

Knitwear for men can be quite elitist, with editors salivating over crew neck numbers that lack imagination. But if you’re after something with a little more punch, there ain’t anybody packing it like Sibling.

All photography by Matt Bramford

For those of us looking for clothes we could really see our butts in next spring, pharm Elliott J Frieze hit the spot. Everything was accessible. Everything was wearable. Minus the blue lipstick.

Looking at the catwalk, I saw city-worker-attends-summer-garden-party. It was all laid-back utility workwear with trench coats, jumpsuits and easy dresses. Luxe-fabric and sexy tailoring were what then brought the elegance and bold femininity to the overall look.

It was a soft attempt to celebrate all that is quintessentially British – tailoring, textiles and all. However, I think a little more Vivienne Westwood Anglo-Oomph would have pulled it all together perfectly. Delicate gingham was used as well as duchess satins and a lot of cotton. But a little more tweed or tartan wouldn’t have gone amiss.

The male models (bless them) were also assigned the blue and white sparkling lipstick. Their wardrobe consisted of quirky, structured waistcoats and embroidered jackets. Everything was tailored well but a care-free feel ran strongly throughout. The clothes were, in a word, fun.

Then, in amongst the funky French house music (which I LOVED) and strange-lipstick action, something very random happened. The lights went down and ‘ooh lala’ beats faded to Doris Day echoing ‘When I Fall in Love’. Her sweet voice silenced the audience until a mysterious lady in head-to-toe satin appeared and sauntered, VERY slowly, up and down the catwalk. Turned out that this strange saunter was none other than actress Anna Popplewell, muse and friend to Frieze. Her smiling blue lips (yes, she too was victimised) appeared for a second time when Frieze stepped onto the catwalk holding her hand to receiving his endless applause. The audience’s reaction was pretty lively. To the point that an excitable man in camel chased Frieze & muse up the catwalk to get a close-up photo.  Now that’s dedication.

I imagine they’d have needed numerous crates of hairspray to prep the models for this show – hair was big. Very big. The towering quiffs and pulled-back tumbling curls added sixties glam and style to a traditional English foundation.

Half of the front row at Elliott J Frieze were occupied by friends and family – a pain to all fashionistas (who were lusting after those front row goodie bags) but, ultimately, a testament to this designer staying true to his roots and his British heritage (with added glamfactor).

I think I could take quite a bit from Frieze for my spring/summer 2011 wardrobe. Powder blues and yellows – definitely. Gingham  – maybe a little. I think I would even try out that ultra-huge hair. But I will never, I repeat, NEVER wear blue lipstick. I think I’ll leave that particular Elliott J Frieze look.

All photography by Jemma Crow

For those of us looking for clothes we could really see our butts in next spring, viagra Elliott J Frieze hit the spot. Everything was accessible. Everything was wearable. Minus the blue lipstick.

Looking at the catwalk, more about I saw city-worker-attends-summer-garden-party. It was all laid-back utility workwear with trench coats, jumpsuits and easy dresses. Luxe-fabric and sexy tailoring were what then brought the elegance and bold femininity to the overall look.

It was a soft attempt to celebrate all that is quintessentially British – tailoring, textiles and all. However, I think a little more Vivienne Westwood Anglo-Oomph would have pulled it all together perfectly. Delicate gingham was used as well as duchess satins and a lot of cotton. But a little more tweed or tartan wouldn’t have gone amiss.

The male models (bless them) were also assigned the blue and white sparkling lipstick. Their wardrobe consisted of quirky, structured waistcoats and embroidered jackets. Everything was tailored well but a care-free feel ran strongly throughout. The clothes were, in a word, fun.

Then, in amongst the funky French house music (which I LOVED) and strange-lipstick action, something very random happened. The lights went down and ‘ooh lala’ beats faded to Doris Day echoing ‘When I Fall in Love’. Her sweet voice silenced the audience until a mysterious lady in head-to-toe satin appeared and sauntered, VERY slowly, up and down the catwalk. Turned out that this strange saunter was none other than actress Anna Popplewell, muse and friend to Frieze. Her smiling blue lips (yes, she too was victimised) appeared for a second time when Frieze stepped onto the catwalk holding her hand to receiving his endless applause. The audience’s reaction was pretty lively. To the point that an excitable man in camel chased Frieze & muse up the catwalk to get a close-up photo.  Now that’s dedication.

I imagine they’d have needed numerous crates of hairspray to prep the models for this show – hair was big. Very big. The towering quiffs and pulled-back tumbling curls added sixties glam and style to a traditional English foundation.

Half of the front row at Elliott J Frieze were occupied by friends and family – a pain to all fashionistas (who were lusting after those front row goodie bags) but, ultimately, a testament to this designer staying true to his roots and his British heritage (with added glamfactor).

I think I could take quite a bit from Frieze for my spring/summer 2011 wardrobe. Powder blues and yellows – definitely. Gingham  – maybe a little. I think I would even try out that ultra-huge hair. But I will never, I repeat, NEVER wear blue lipstick. I think I’ll leave that particular Elliott J Frieze look.

All photography by Jemma Crow

For those of us looking for clothes we could really see our butts in next spring, sildenafil Elliott J Frieze hit the spot. Everything was accessible. Everything was wearable. Minus the blue lipstick.

Looking at the catwalk, price I saw city-worker-attends-summer-garden-party. It was all laid-back utility workwear with trench coats, jumpsuits and easy dresses. Luxe-fabric and sexy tailoring were what then brought the elegance and bold femininity to the overall look.

It was a soft attempt to celebrate all that is quintessentially British – tailoring, textiles and all. However, I think a little more Vivienne Westwood Anglo-Oomph would have pulled it all together perfectly. Delicate gingham was used as well as duchess satins and a lot of cotton. But a little more tweed or tartan wouldn’t have gone amiss.

The male models (bless them) were also assigned the blue and white sparkling lipstick. Their wardrobe consisted of quirky, structured waistcoats and embroidered jackets. Everything was tailored well but a care-free feel ran strongly throughout. The clothes were, in a word, fun.

Then, in amongst the funky French house music (which I LOVED) and strange-lipstick action, something very random happened. The lights went down and ‘ooh lala’ beats faded to Doris Day echoing ‘When I Fall in Love’. Her sweet voice silenced the audience until a mysterious lady in head-to-toe satin appeared and sauntered, VERY slowly, up and down the catwalk. Turned out that this strange saunter was none other than actress Anna Popplewell, muse and friend to Frieze. Her smiling blue lips (yes, she too was victimised) appeared for a second time when Frieze stepped onto the catwalk holding her hand to receiving his endless applause. The audience’s reaction was pretty lively. To the point that an excitable man in camel chased Frieze & muse up the catwalk to get a close-up photo.  Now that’s dedication.

I imagine they’d have needed numerous crates of hairspray to prep the models for this show – hair was big. Very big. The towering quiffs and pulled-back tumbling curls added sixties glam and style to a traditional English foundation.

Half of the front row at Elliott J Frieze were occupied by friends and family – a pain to all fashionistas (who were lusting after those front row goodie bags) but, ultimately, a testament to this designer staying true to his roots and his British heritage (with added glamfactor).

I think I could take quite a bit from Frieze for my spring/summer 2011 wardrobe. Powder blues and yellows – definitely. Gingham  – maybe a little. I think I would even try out that ultra-huge hair. But I will never, I repeat, NEVER wear blue lipstick. I think I’ll leave that particular Elliott J Frieze look.

All photography by Jemma Crow

For those of us looking for clothes we could really see our butts in next spring, nurse Elliott J Frieze hit the spot. Everything was accessible. Everything was wearable. Minus the blue lipstick.

Looking at the catwalk, website like this I saw city-worker-attends-summer-garden-party. It was all laid-back utility workwear with trench coats, jumpsuits and easy dresses. Luxe-fabric and sexy tailoring were what then brought the elegance and bold femininity to the overall look.

It was a soft attempt to celebrate all that is quintessentially British – tailoring, textiles and all. However, I think a little more Vivienne Westwood Anglo-Oomph would have pulled it all together perfectly. Delicate gingham was used as well as duchess satins and a lot of cotton. But a little more tweed or tartan wouldn’t have gone amiss.

The male models (bless them) were also assigned the blue and white sparkling lipstick. Their wardrobe consisted of quirky, structured waistcoats and embroidered jackets. Everything was tailored well but a care-free feel ran strongly throughout. The clothes were, in a word, fun.

Then, in amongst the funky French house music (which I LOVED) and strange-lipstick action, something very random happened. The lights went down and ‘ooh lala’ beats faded to Doris Day echoing ‘When I Fall in Love’. Her sweet voice silenced the audience until a mysterious lady in head-to-toe satin appeared and sauntered, VERY slowly, up and down the catwalk. Turned out that this strange saunter was none other than actress Anna Popplewell, muse and friend to Frieze. Her smiling blue lips (yes, she too was victimised) appeared for a second time when Frieze stepped onto the catwalk holding her hand to receiving his endless applause. The audience’s reaction was pretty lively. To the point that an excitable man in camel chased Frieze & muse up the catwalk to get a close-up photo.  Now that’s dedication.

I imagine they’d have needed numerous crates of hairspray to prep the models for this show – hair was big. Very big. The towering quiffs and pulled-back tumbling curls added sixties glam and style to a traditional English foundation.

Half of the front row at Elliott J Frieze were occupied by friends and family – a pain to all fashionistas (who were lusting after those front row goodie bags) but, ultimately, a testament to this designer staying true to his roots and his British heritage (with added glamfactor).

I think I could take quite a bit from Frieze for my spring/summer 2011 wardrobe. Powder blues and yellows – definitely. Gingham  – maybe a little. I think I would even try out that ultra-huge hair. But I will never, I repeat, NEVER wear blue lipstick. I think I’ll leave that particular Elliott J Frieze look.

All photography by Jemma Crow

Lu-Flux-by-David-Merta
Lu Flux by David Merta.

The Lu Flux presentation was one that suffered slightly from inexperience. On arrival at an upmarket Soho members’ club on Greek Street we were ushered into the back garden where we were left twiddling our thumbs until the presentation started. Fortunately I didn’t accept the offer of an expensive members’ drink from a loitering waitress, ailment and a short time later we were shown into the darkened arches of the chapel.

Lu Flux SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

As we walked through the doorway we remained uncertain of what to do until Lu eagerly ushered everyone into the darkened recesses of the church, what is ed tea served in one corner, and delightful miniature home made fairy cakes in another, all served by ladies in last season’s applique lion dress. I’m not usually a fan of cupcakes but hunger persuaded me to try these ones and they were very yummy and nice, made by Yummy Nice in fact.

LFW-LUFLUX-JOCHEUNG Rob Logan
Rob Logan models Lu Flux, by Jo Cheung.

I immediately spotted my friend Rob, who had been asked to model a very fetching outfit of navy polka dot shirt, green trousers, yellow socks and blue shoes and clearly thought he would get away with it unnoticed by pesky mates such as me who are bound to take the piss (just a tiny bit). He should have known better with me loitering around the fashion world.

Lu Flux SS2011 Rob Logan photo by Amelia Gregory
Lu Flux SS2011 Rob Logan photo by Amelia Gregory
Rob chats with some of the other models and takes a look through the charming illustrated look book.

It was a wonderful setting to show a collection but my heart sank almost immediately. No decent lighting. How then to take good photos? Flash simply never looks as nice in a setting such as this. It’s so so important to consider what you want to achieve from a show or presentation, but aside from introducing buyers and press to your collection it must surely be to ensure that fabulous images find their way out into the universe. It’s not that much to hire decent studio lights and they are a massive boon.

Lu Flux photo by Amelia gregory
Lu Flux photo by Amelia gregory

Lu had staged a delightful little scenario, whereby the models were able to move about and take their turn to be drawn by one of the illustrators who has contributed a lovely updated china plate pattern to her latest collection. Lu described how it features not only herself and her boyfriend but also their dog and various other assorted friends – I thought it found a particularly fetching home on a shorts suit for men. As the live sketches were finished they were hung from a clothes line to be admired by the visitors.

Lu Flux SS2011 photo by Amelia gregory
Lu Flux SS2011 photo by Amelia gregory

Lu Flux creations are wonderfully playful without being too childish and I love the way that she makes the most of the smallest of details. This colourful collection featured gorgeous embroidered pockets, origami inspired folds, looped ribbons and one off appliqued shoes done in collaboration with Green Shoes of Devon.

Lu Flux SS2011 Green Shoes photo by Amelia Gregory
Lu Flux SS2011 Green Shoes photo by Amelia Gregory
Lu Flux SS2011 Green Shoes photo by Amelia Gregory
Lu Flux in collaboration with Green Shoes.

Lu-Flux-shoes-by-David-Merta
Lu Flux by David Merta.

Despite a few teething problems it’s great to see that a few ethical designers are making a real effort to present their collections in an inspiring way that sets them alongside the bigger names of LFW. For it is only when ethical thinking starts to permeate the more mainstream byways of fashion, as standard practice, that things will really start to change for the better.

Lu Flux SS2011 photo by Amelia gregory
A close up of the china plate pattern.

You can read Sally Mumby-Croft’s review of the same presentation here.

Categories ,cupcakes, ,David Merta, ,Devon, ,ethical, ,Green Shoes, ,Jo Cheung, ,lfw, ,London Fashion Week, ,Lu Flux, ,Rob Logan, ,Soho, ,Yummy Nice

Similar Posts:






Amelia’s Magazine | Travelling to Denmark aboard the Dana Sirena cruise ferry.


Illustration by Antonia Parker

Well, store they’d really gone to town with this season’s menswear installations. Menswear Day is great, but it’s bloody hard work – you get five days to absorb what’s on offer for women, but only one for the guys – even though the quality and breadth of talent is just as vast.

So in between shows I managed to leg it around the installations, taking photographs, collecting press releases, bumping into people I knew and desperately tried not to steal Mr Hare shoes, all at the same time. It was hard work, I tell ya.

Katie Eary



I LOVE Katie Eary‘s work and this year was no exception. Moving away from skeletal masks and those joke glasses that have me in stitches whenever I see a pair, this season saw Katie collaborate with Lonsdale to create a 1950s boxing scene. It was GREAT – genuine boxers in Katie’s leopard-skin silk shorts, jewel-encrusted boxing helmets and embellished gloves fought on one side of the space behind traditional boxing ring ropes. A genuine coach jeered in his East End accent and Katie, resplendent in a leopard-skin number herself, styled the models/boxers like a glamorous ringside moll.



Tartans featured as boxers rested in the other half of the installation, surrounded by red roses and walls covered in the same fabric. Despite being mesmerised by the shirtless boxers I did also notice some neat tailoring, studded trousers and yet more leopard skin numbers. Amazing.

Mr Hare



Delicious shoes. Again. What else to say? It’s hard to stand out designing shoes exclusively for men, I’m sure, unless you design panto clown shoes – but Mr Hare managed it again – this season presenting an entirely black collection (strange, I thought, for S/S). Suede, patent leather and reptile skin all featured.

Matthew Miller

I am seriously excited about interviewing Matthew Miller in the coming weeks, so keep an eye out for that. His unique fusing of modern tailoring with a sport-luxe aesthetic really gets me going. A model stood looking a little perplexed outside his little hut, wearing a double-breasted blazer in rich cotton with a banded white stripe straight through the middle. It seems this theme ran through his entire collection, giving well-tailored clothing a contemporary twist. Crisp white shirts with stripes are teamed with tailored shirts to achieve the MM look.

Omar Kashoura

Illustration by Antonia Parker

It’s no secret that I loved what Omar Kashoura had to offer last season, and it’s no surprise that he’d been awarded NEWGEN sponsorship this time around. Moving on from formal tailoring, this season he presented a more playful collection packed full of wit, humour and great checks.



A jazz band modelled the clothes, but every time I went in they were hanging around posing and not actually playing instruments (that modelling opportunity had obviously gone to their heads) but I’m told they were very good. Twill double-breasted blazers, some with piped lapels, toyed with the idea of English dressing, and whimsical handkerchiefs were placed in pockets. A general colour palette of tones of blue was enhanced with flashes of red and some pastel colours, while the models wore Edward Green shoes (HOT).

The rest of the room featured look-book shots (above) with hilarious catalogue-style captions – ‘Andreas looks comfortable in a viscose and cotton knitted vest with a zipper front…’

Christopher Raeburn


Christopher Raeburn fits into many categories, and his collection this year was his best outing yet. Spots were the key theme, as were coats of many colours. Read a little bit more about him in Amelia’s review here.

Baartmans and Siegel


Great colours up for grabs here, with pastel blue tapered trousers and silk scarves and navy trenches, teamed with pastel blue suede shoes. Ones to watch, I’d say, with their mix of European influences and luxurious fabrics.

Mattio Bigliardi

…wins the award for biggest jacket. Love this colour…

Christopher Shannon

Another season brings another collaboration with Eastpak, and even more silly bags, that I actually really like. The colours echoed his catwalk collection, featuring lemon, aqua and grey.

Morgan Allen Oliver


Last, but by no means least, Morgan delighted again this season with fabulous knitwear and polka dot shorts. As much as I loved his offerings in February, this time around he seems to have grown in sophistication and his collection seemed smarter and infinitely more wearable, while still maintaining that contemporary, humorous wit that we’re steadily gettting used to. Muted colours featured, along with luxurious-knit cardigans, spotted jumpers and said polka-dot shorts, modelled by previous fashion editor Jonno Ovans!

Dana-Sirena-by-Yelena-Bryksenkova
The Dana Sirena with her captain, more about by Yelena Bryksenkova.

When I was offered the opportunity to speak to designers in Copenhagen I jumped at the chance. And then, information pills of course, medications I realised that I would have to figure out how I could travel there without flying.

Grand house Scania
A typical Scandinavian country house. All photography by Amelia Gregory.

It’s not a great secret that I’m no big fan of flying. I haven’t gone so far as to vow never to fly again but I’ve taken a two year break without any serious life shattering consequences: I’m perfectly happy and don’t feel my life has been any less rewarding for my lack of carbon emissions.

I resolutely won’t fly short distances – and by that I mean anywhere that is within easy reach by some other form of transport. Train, coach, ferry, bike, pony, foot. There are many other ways to travel which don’t involve standing in line at some horrible airport then having my ears pop in utter agony as we breach the upper atmosphere. Watching a crap movie in some tiny uncomfortable seat whilst being fed disgusting airplane food? No siree, I do not miss flying one iota. In fact, I have developed quite a severe phobia of flying in recent years – I sit there several kilometres above the ground and think “Ye gods, I shouldn’t be here. It’s wrong. If I was meant to be this far above earth I would have been born with wings.” So I’m always in a vague panic, especially when it’s turbulent.

Denmark roadtrip copenhagen
A typical building in Copenhagen.

So it was that I happily set out to find another way to travel to Copenhagen for my Underwerket Projects talk on design and sustainability. Cruise ferry seemed the most obvious way to travel and one which I was eager to try, having heard very good things from activists who had travelled by boat to the Copenhagen Cop15 summit last December. I contacted DFDS Seaways to see whether they might be amenable to sponsoring a trip aboard their North Seas flagship the Dana Sirena, and was very pleased when they agreed to let me travel with my boyfriend and car. I had already planned that we would take a late summer holiday as well – it seemed sensible to make the most of the trip, though it is possible to take a cruise ferry to Esbjerg for a long weekend. If booked well in advance it’s not expensive either – a crossing for a car with two people costs from £139 each way – but I do recommend planning such a trip some months ahead.

Dana Sirena view deck
The back deck of the Dana Sirena, which also carries freight.

Catching the ferry to Denmark involved a short drive to Harwich, where we boarded the Dana Sirena with ease. I love boats… I love standing on deck to watch the cars load, then watching the ramps go up and feeling the wind in my hair as we leave the harbour and pick up speed. My job involves so much sedentary gazing at a computer screen that I grasp the chance to feel the elements on my skin when I can, and there’s nothing more elemental than travelling by sea: it’s so much more pleasant than being trapped in a cramped and airless cabin. As we left I noted lots of wind turbines laid out in a vast facility, an offshore crane ready to tow them to their destination. As an international port in a crucial location, Harwich is perfectly placed to build renewable technologies.

DFDS Seaways Dana Sirena Columbus Lounge by felice perkins
The Columbus Lounge Crooner by Felice Perkins.

Our cabin on the Dana Sirena had a sea view which meant we could assess the weather from the comfort of our own room – the cabins are small but eminently spacious for a relatively short journey. Although it takes approximately twenty hours to get to Esbjerg in Denmark much of that time is spent asleep, lulled by the motion of the waves.

Denmark Seven Seas buffet crabs dana sirena
Dana Sirena food
Denmark trip Seven Seas buffet Dana Sirena
The Dana Sirena Seven Seas restaurant buffet… yum.

For supper we ate yummy Danish food from the smorgasbord laid out in the Seven Seas restaurant, then sat in the Columbus Lounge with cocktails and a live crooner for company.

Cruise-Ship-by-Mina-Bach
Cruise Ship Singer by Mina Bach.

Cocktails are the same price as a pint of beer, fact fans, so you may as well eh? Certainly not the kind of laid back experience one can expect when travelling by plane.

Abby_Wright_Danish_Pudding
Danish Puddings by Abby Wright. The Danish are VERY good at puddings.

One of the biggest bonuses to travelling via cruise ferry is the opportunity to take your car with you. Or bikes; as people left the ferry with their touring bikes at the other end I felt a pang of envy, but the fact remains that the freedom of car travel remains unrivalled. We passed great colonies of seals basking on the sandy banks as we arrived at Esbjerg, where we disembarked immediately and headed east on completely clear roads. Denmark is small and there is very little traffic so it takes just a few hours to cross the islands and reach Copenhagen; from there it is but a quick hop over the bridge to Scania in Southern Sweden, where we also spent several delightful days exploring the countryside.

Scania Sweden campsite
Our campsite on the beautiful southern coast of Sweden.

Because we had a car we were able to visit lots of places that were well off the tourist track. In fact we hardly heard another English accent the entire time we were away – though of course we heard plenty of English because nearly all Scandinavians speak it perfectly. Taking the Dana Sirena to Denmark made us realise just how close Scandinavia is to the UK, something we had never really considered before but is obvious in the many historical links we share. My next blog will round up some of the best things to do if you take a cruise ferry holiday to Scandinavia in your car.

Land Art Funen
Land Art at Tickon Park near Tranakaer on a remote island of Langeland off the coast of Funen.

As we headed back to the port in Esbjerg a few weeks later we passed many British cars laden down with belongings. As well as being the perfect way to cut back on carbon emissions at a time when we desperately need to consider the effects of our individual and collective actions, a cruise ferry holiday allows for the freedom of a road trip. And yes, we managed to fill our car up too. But more on that in my next missive…

You can read about another journey aboard the Dana Sirena from the Man in Seat 61 here and book your trip aboard a cruise ferry at the DFDS Seaways website here.

Buffet chef by David Merta
Buffet chef in the Seven Seas restaurant by David Merta.

Categories ,Columbus Lounge, ,Cruise Ferry, ,Dana Sirena, ,David Merta, ,Denmark, ,DFDS Seaways, ,Esbjerg, ,Felice Perkins, ,Ferry, ,Funen, ,Harwich, ,Land Art, ,Man in Seat 61, ,Mina Bach., ,Offshore, ,scandinavia, ,Scania, ,Seven Seas restaurant, ,sustainability, ,sweden, ,Tickon Park, ,Tranakaer, ,Underwerket Projects, ,Wind Turbines, ,Yelena Bryksenkova

Similar Posts:






Amelia’s Magazine | Stornoway talk about playing at the 2011 Larmer Tree Festival, 13th-17th July in Dorset

Stornoway by Sally Jane Thompson
Stornoway by Sally Jane Thompson.

I’m really excited that Oxford indie folksters Stornoway will be playing on the bill at Larmer Tree Festival this year. Their lovely debut album Beachcomber’s Windowsill was released in May 2010 and although I didn’t get around to reviewing it I’ve been listening to it loads since then. We caught up with them in advance of this year’s festival madness.

stornoway by Michael van Kekem
Stornoway by Michael van Kekem.

Larmer Tree is famed for the wild peacocks and mackaws that roam around the grounds. What kind of bird or animal would the band be for the day and why…
As a collective band perhaps we should be a group of choughs, information pills as that wouldn’t require too much of a transformation: they’re nothing particularly special to look at, diagnosis but they’re sociable, illness quick, and make an interesting noise….

YouTube Preview ImageI Saw You Blink

Have you been doing a lot of traveling as a band? How is life on the road and where is your favourite place to play and why?
Yes, we’ve just got back from our second European tour and in a few weeks we’re going back to the US. Thankfully the novelty of becoming travelling minstrels is a long way from wearing off yet! We continually feel like we’re on some mysterious musical holiday. Our favourite destination on our travels so far has probably been Berlin, even if we stayed in a dormitory. It’s an alternately kitsch, funny and dilapidated city – spiritually about as far from Oxford as you can get.

Stornoway by-David-Merta
Stornoway by David Merta.

The UK has an amazing festival scene – there are over 400 taking place this year! What do you think of UK festival crowds?
Please forgive the sweeping generalization, but people at festivals over here do tend to be gently eccentric, in the best possible way, and respond well to eccentricity, which is a highly appealing trait. It’s as if they’ve been waiting all year to be themselves!

YouTube Preview ImageWatching Birds

Any special collaborations you have coming up this year? What are your plans for 2011?
Right now we’re working on an exciting live collaboration with the North Sea Radio Orchestra – we’ll be performing with us at Somerset House this summer. Meanwhile, we’ve been working on various bits of recording collaborations with Kathryn Edwards and Anton Barbeau which should hopefully see light of day this year.

Stornaway by Claire Kearns
Stornaway by Claire Kearns.

What encouraged you to first start making music? Who were your earliest inspirations, musical and otherwise?
Co-incidentally it seems that we were all either forced or bribed to be musicians for as long as we can remember (we still are in a way). Early inspirations were Roy Orbison, Euros Childes, John Tavener, South African punkpop band Tweak, Arthur Scargill and Wizbit from Paul Daniels’ magic show.

YouTube Preview ImageZorbing

Lots of young musicians and performers attend Larmer Tree. Do you have any advice for those looking to break into the music industry?
As we never had some grand plan to follow, it’d be pretty disingenuous to come over as if we thought there was some surefire way of making things happen in the world of music! Don’t “plan” anything related to the music industry, as it’s in flux – just work on being the most versatile and sociable musician you can be and you’ll do just fine.

Stornoway by Sally Jane Thompson
Stornoway by Sally Jane Thompson.

Who are your most revered musicians and what do you find so inspiring about them? Have you ever met your idols and if so what was it like?
Brian and Jon’s first ever conversation was about Teenage Fanclub, as they had both been er teenage fans of the band. Anyone can do vocal harmonies, but Teenage Fanclub developed a signature three-part vocal sound over the years which is distinctive and special. We supported them last year in Camden and briefly met Norman Blake; although he seemed like a very modest, unassuming kind of guy, we were pretty tongue-tied and in awe.

YouTube Preview ImageBoats and Trains

You must have a lot of dedicated fans, what is the strangest thing a fan has ever done?
A girl once licked Brian’s shoe onstage in Milwaukee. She’s known as The Shoe Licker locally. Also, quite recently we were followed across Europe by a young fan we thought needed help, and then it emotionally blackmailed us into bringing it home. It wasn’t the same one as The Shoe Licker.

Stornoway by Camille Block
Stornoway by Camille Block.

What music are you listening to at the moment? Can you give us any tips on up and coming acts or hidden gems we may not have heard of?
We are listening to Caribou, Edward Sharpe and the Magnetic Zeros, Andrew Bird, Chapel Club and some new chap called Leadbelly.

Stornoway Phenakistiscope by Laura Frame
Stornoway Phenakistiscope by Laura Frame.

We’d recommend listening to Tom Williams and the Boat, Message to Bears, Spring Offensive and Otouto.

YouTube Preview ImageFuel Up, live on Jools Holland

What can we expect from your performance at Larmer Tree Festival?
We’ve been working hard on some new bits and pieces of music which we’re hoping to air at Larmer Tree. Last time we played at the festival Rob chickened out of his tap-dance, so fingers crossed it will happen this time. If not, Brian will regale you with endless facts about peacocks and mackaws; he might even write a song about them for the occasion.

Stornoway Live by Laura Frame
Stornoway Live by Laura Frame.

You can of course catch Stornoway playing on Saturday night at this year’s Larmer Tree. Read my full listing for Larmer Tree Festival here. It’s going to be a good one!

Categories ,Andrew Bird, ,Anton Barbeau, ,Arthur Scargill, ,Beachcomber’s Windowsill, ,Camille Block, ,caribou, ,Chapel Club, ,Choughs, ,Claire Kearns, ,David Merta, ,Edward Sharpe and the Magnetic Zeros, ,Euros Childes, ,folk, ,Indie, ,John Tavener, ,Kathryn Edwards, ,Larmer Tree Festival, ,Larmer Tree Gardens, ,Laura Frame, ,Leadbelly, ,Mackaws, ,Message to Bears, ,Michael van Kekem, ,Norman Blake, ,North Sea Radio Orchestra, ,Otouto, ,Oxford, ,Peacocks, ,Roy Orbison, ,Sally Jane Thompson, ,Spring Offensive, ,Stornoway, ,Teenage Fanclub, ,The Shoe Licker, ,Tom Williams and the Boat, ,Tweak, ,Wizbit

Similar Posts: