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Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Cooperative Designs

In our pre- London Fashion Week interview with Cooperative Designs , here the design duo discussed the incredible presentations they produced for S/S 2010 (Bauhaus) and A/W 2010;

“With a presentation we have the opportunity to design the entire event, we try to encapsulate the feel of the collection as an real experience for our guests. This season we are showing at the Groucho Club, and we have some really exciting plans!”

These were the words of Annalisa Dunn and upon entering the packed out Groucho Club, it was the designers had produced something rather special. It was a scene straight from one of my favourite books, Evelyn Waugh’s satiric love affair with London’s upper classes: Vile Bodies (or Bright Young Things to give the book it’s film title).

Utilising the ever-so-shabby, but rather wonderful art deco setting of the Groucho Club, the set designed by David White encouraged the “good time” atmosphere that was infectious from the moment you walked in.

In the centre of the room alongside the live piano, the models were arranged as in a frieze so beloved of traditional painting. Holding their position, they laughed and smiled as cameras snapped Cooperative Designs’ celebrated structural and incredibly textural knitwear. This year saw the introduction of raffia and jersey into their material repertoire.

Illustration by Michelle Urvall Nyrén

A Cooperative Designs presentation is a sought after event, by the time I had to leave, a one in one out policy had been implemented, as the upstairs room overflowed with admirers. The fantastic glasses adorning the models were made in collaboration with Alex Cunningham and the intriguing ready-for-the-beach wedges were in association with Flip Flop. As fitting such a special event many of the audience came dressed in previous seasons, making the clothes more covetable for the ease in which they are worn.

Illustration by Michelle Urvall Nyrén

Ever captivated by the fabrics and shapes used by Cooperative Designs, it was a delight to discuss their design process with Annalisa:

“Dorothee has more of a womenswear background then me, she has developed a process she calls Primary pattern cutting. Pieces are designed as flat graphic angular shapes then left to drape and distort on the body. This process particularly suits knitwear, as it has such great drape and stretch properties.”

A more apt title could not be found, for the presentation was titled Bollywood Babylon, which in turn was inspired by artist Kenneth Anger’s books; Hollywood Babylon 1 and 2 in which the writer records the debauchery of 1920′s Hollywood actors. This reviewer is particularly enamored with the art deco inspired print adorning the S/S 2011 collection, oh to join the easy revelry of this imagined film set created by Cooperative Designs!

Photographs by Amy Gwatkin

Written by Sally Mumby-Croft on Sunday September 19th, 2010 3:04 pm

Categories ,Alex Cunningham, ,Amy Gwatkin, ,Art Deco, ,Bollywood, ,Bright Young Things, ,Cooperative Designs, ,David White, ,Flip Flop, ,Kenneth Anger, ,lfw, ,piano, ,S/S 2011, ,SS11, ,the groucho club, ,Vile Bodies

Amelia’s Magazine | London Fashion Week A/W 2010 Catwalk Review: Cooperative Designs

Caroline Charles drew quite the crowd on the first day of London Fashion Week. Her AW10 collection specifically drew my attention due to the vast variety on offer; with the collection separated two key sections; day and evening.

Shiny leather hats lightened the mood with a playful edge, stomach along with large sunglasses, there and fur coats. Fur was present throughout samples in scarves and hats too, making the statement that it is most definitely set to be big once again come next winter. The overall colour scheme centred around black and brown, with splashes of green in the form of gloves and belts, cleverly breaking up the sombre look. Pattern was everywhere, ranging from lines, checks and tweeds, leaning towards nature-inspired prints.

Images courtesy of Fashion156.

The second segment moved towards an overall feeling of luxury; in both fabrics and composition. Small ruffle details around the neckline were subtle but gave a touch of individuality, whilst a rich velvet was present throughout; primarily seen in jackets in green and plum red. The colour scheme focused on earthly tones with some African aspects, such as golden print panelling on several dresses.

Tribal patchworks with pink sequins – although it doesn’t sound it – proved a surprisingly beautiful juxtaposition. Sequins, and beading, in fact seemed quite major on floral themed dresses, and the Caroline Charles essence really seemed to be within the detailing. Contrasted against elegant eveningwear pieces was a small selection of shiny leather and cropped lace leggings, which were combined with cropped jackets in eye catching gold. Caroline Charles brought a certain ‘je ne sais quoi’ to London Fashion Week’s first day, with spot on colour combinations and a range of sartorial references everyone can benefit from.

Shiny leather hats lightened the mood with a playful edge, pill along with large sunglasses, information pills and fur coats. Fur was present throughout samples in scarves and hats too, making the statement that it is most definitely set to be big once again come next winter. The overall colour scheme centred around black and brown, with splashes of green in the form of gloves and belts, cleverly breaking up the sombre look. Pattern was everywhere, ranging from lines, checks and tweeds, leaning towards nature-inspired prints.

Images courtesy of Fashion156.

Early on a Sunday Morning, viagra order Cooperative Designs were to be found in the quiet backstreets of Charing Cross. Following on from last season’s epic Bahaus Inspired set the design duo produced another stellar presentation. The ground floor walls of Proud Central Gallery were adorned in portraits of the clothes worn and made unique by the likes of Fred Butler and Louise Gray.

The ability of these designs to transform the wearer and be transformed by the wearer themselves was continued in the fanzine accompanying the presentation. Featuring work by collaborators such as Amy Gwatkin, treat Fumi Nagaska, Gillian Wilkins, Pavel Ivancic and Alex Cunningham to name but a few, the magazine shows the clothes how they need to be born, whilst retaining that London essence of endless creativity.

On the back wall of the upstairs gallery, a beautiful film of the new collection was provided courtesy of the designers: Annalisa Dunn and Dorothee Hagemann and White Night Films. Set within a corridor, the monochrome print adorning the walls was designed by David White. The additional graphic lines set off Cooperative Designs’ Autumn Winter Collection, whilst the camera captured the fluidity of graphic print on knitted fabric. The innovative patterns mesmerising, not surprising for a team who designed for Hussein Chalayan Autumn Winter 2008 and 9, following this in 2010 with a collaboration for Stefanel.

Downstairs it was a delight to discover the live presentation, occuring against the wallpaper featured in the film, in the flesh the clothes became startling, finished off with the bold jewellery from Corrie Williamson and head pieces provided by Noel Stewart.

In particular I love the sense of play that arises from these designs, dresses, cardigans contain exaggerated proportions, pushing the seams of tradition dress, Cooperative Designs offer the opportunity to layer upon layer or to wear one stand alone dramatic piece. From the quality each season so far, the productions are nothing short of an investment.

Thanks to Katie Harnett for the wonderful illustrations.

Written by Sally Mumby-Croft on Monday February 22nd, 2010 9:53 am

Categories ,Alex Cunningham, ,Amy Gwatkin, ,Autumn Winter 2010, ,Cooperative Designs, ,David White, ,Fred Butler, ,Fumi Nagaska, ,Graphic Prints, ,knitwear, ,lfw, ,London Fashion Week, ,Louise Gray, ,Presentations, ,Proud Central Gallery, ,teabelle, ,The Magnet Agency

Amelia’s Magazine | An interview with Ross Paul Keenan, menswear designer

Illustration by Gareth A Hopkins

Graduate menswear designer and Savile Row trained Ross Paul Keenan has proven to be a huge success. His first collection was shown at Graduate Fashion Week and his second chosen to be shown at London Fashion Week. Beginning at The University of East London, thumb studying fashion, this his craftsmanship and attention to unique detailing was spotted at GFW and, as he explains, will be a career-defining highlight.

Firstly, and most importantly, when you heard the news that you would be showing your GFW collection at London Fashion Week, what was your initial feeling? I hear you were in California at the time…
Yeah, that’s right. It was a great feeling to know that I would be showing as part of London Fashion Week. It’s most designers dream to show in London and to be given that opportunity was amazing.

You have mentioned before that your ‘Up To the Nines’ collection was ‘rebelling against traditional tailoring’. Where did you get the inspiration from?
From being on Savile Row, I learned how to use all the cutting and construction methods used in ‘traditional’ menswear and galvanized this with my designs. My design research came from rebelling against tradition and looking into riots. It was a kind of Savile Row tailor goes to a West Ham v. Millwall game. (Laughs) That was where the inspiration began.

Illustration by Darren Fletcher

I loved the black floor-length coat and cropped shirts. What is behind these particular pieces?
It’s still looking into rebelling and questioning the idea of traditions. All of the collection came from my own curiosity… asking why it had to be done that way and what if I did it this way. The white cross over shirt with the braces came from looking into police riot uniforms; protecting the chest and hiding weapons.

I hear there are some famous fans of your creations. How does that make you feel?
It’s nice to get a positive response for what you do; seeing people like your stuff and want to wear it makes it all worthwhile.

Were there any pieces in particular people said they liked?
I got really good positive feedback from all of the collection really. The trench coat with bucket pockets and bias cut waist coat seemed to be a favourite at Graduate Fashion Week and when I showed at the Design Museum, people seemed to like the riot shirt and asymmetric waistcoat- I guess different people like different things. But the overall reaction was really encouraging.

What is your favourite piece from the ‘UTTN’ collection?
It would probably have to be the suit. For me this captured the theme of the collection and what I was trying to achieve, with the inconsistent pinstripes and velvet waistcoat that wrapped over the jacket and flashes of floral pocketing which could be shown outside the trousers as well. The outfit was all made bespoke so the hand craftsmanship could be seen.

What are you planning to do next?
I’m just going to keep going, keeping designing and who knows. I’m not one of these people who make plans. Plans always get changed; if you make a plan you find yourself fighting so hard to stick to it that you are blind to other opportunities that could arise.

Illustration by Cat Palairet

Describe your style in your own words.
I would say stylishly simple, with clean lines and a neutral colour palette works most of the time. My style is quite similar to the kind of person I design for. For me, style is about timeless designs that could be locked in your wardrobe then one day you could decide to bring it out to wear it again. I was always collecting things as a kid and guess I’d like my clothes to become the same.

Who would you say you design for?
Modern gentlemen who want to prevail with confidence. Most men like getting dolled up as much as women, and appreciate a well made garment. After all, what gives you more confidence than walking down the street dressed to the nines?

Are there particular people who you admire in the industry or otherwise?
Lots, it would be too difficult to just pin point one. Everyone… don’t we all? Everyone you meet effects your life and inspires you. We all take inspiration from something but just might not know it. I look to different people for inspiration- my family and friends inspire me, artists, writers and people who can connect and communicate with other people through their work. Everything someone does has a story behind it and everyone that comes across this creates their own interpretation of it. And… oh yeah, I tend to day dream a lot. (Laughs) That’s where the best ideas come from- I drift off into my own little world quite often when I’m out and about.

What piece(s) would you wear from the ‘UTTN’ collection?
I’d wear everything; I’d like to think there is something for everyone in the collection. It’s great to see people using your designs with their own style. I sold two of the bias cut waistcoats a few weeks back; one guy, he wore it over the top of a t-shirt with jeans and I sold one to another guy who wore it with a pair of cords and a tweed jacket. It’s great to see people with different takes on my clothing.

So what’s next for Ross Paul Keenan?
I’m always working on new bits, but at the moment I have been working on a S/S 2011 collection. But it’s all about funding and it’s hard for young designers. The plan is to just keep going with the flow, even if a few bits get produced from the collection that’s all a step in the right direction and then next time a few more… Rome wasn’t built in a day!

Written by Jessica Lester on Wednesday November 10th, 2010 3:16 pm

Categories ,california, ,Cat Palairet, ,Darren Fletcher, ,Design Museum, ,Gareth A Hopkins, ,Gentlemen, ,Graduate Fashion Week, ,london, ,London Fashion Week, ,Millwall, ,Riots, ,Ross Paul Keenan, ,Savile Row, ,tailoring, ,University of East London, ,Up To The Nines, ,West Ham

Amelia’s Magazine | Album Review: Nicola Roberts – Cinderella’s Eyes

nicola-roberts-by-marta-spendowska
Nicola Roberts by Marta Spendowska.

Nicola Roberts has been slowing creeping into my consciousness… first there was the reinvention as a fashionista as we started to spot her sitting on the front row at London Fashion Week.

Cinderella's-Eyes-Nicola-Roberts-cover-art
Then there have been the two singles which steadfastly refuse to tread the usual girl band solo rubbish. Beat of My Drum features Nicola jumping around to a cracked up bass line courtesy of Diplo and Dimitri Tikovoi. With lyrics clearly inspired by her first ugly duckling days as the youngest member of Girls Aloud, seek it is resolutely individual.

Then came the genius pop tune that is Lucky Day, website like this produced by Canadian electropop group Dragonette and shot by indie director Stephen Agnes in New York with Nicola wearing just one outfit, information pills a ridiculously short floral tent dress.

Now for the album: Yo Yo gleans its big retro sound from many an 80s pop anthem. Cinderella’s Eyes is a more obviously pop record, though it benefits from some particularly high episodes where Nicola sounds the spit of Kate Bush (no really). Porcelain Heart is another big and potentially commercial dance number.

Nicola-Roberts-by-Lizzie-Mary-Cullen
Nicola Roberts by Lizzie Mary Cullen.

Then comes her collaboration with the magnificent Metronomy; I benefits from a typically off kilter arrangement which begins with ethnic sounding plinky plonks that slowly creep to life. The track never shies away from Nicola’s occasionally shrill falsetto, instead toying languidly with it before fading out.

Nicola-Roberts--Red-Dress
Everybody’s Got To Learn Sometime, originally by The Korgis, is the only cover on an album that is otherwise entirely penned by Nicola herself. She manages to give the 80s track a suitably modern electro twist and it is on this that her voice sounds at its best. Say it Out Loud is another floor filler with a driving beat that builds to a nice crescendo before dying away in a Euro stylee. Gladiator sticks with the same sort of dance vibe, but with the addition of some quite bonkers lyrics.

Nicola Roberts by Dana Bocai.

The Metronomy glitches are back with Fish Out Of Water, another song that harks back to Nicola’s less confident days. Take a Bite is a truly great tune, a real fighting anthem: check these lyrics. ‘Get your teeth round this open wide, Eyes bigger than your belly tonight, If you think you’re hard take a bite‘ and ‘Just because you’re twice the size of me, Doesn’t mean I’m scared of World War III, Sit back and grab a cup of tea, I’m gonna kick your arse now in 3D‘ As she states, ‘Everybody’s got a limit alright‘ and it looks like this deceptively frail looking woman reached hers some time ago.

Nicola Roberts Mushroom
The album ends on a the most downbeat song. Sticks & Stones covers Nicola’s hardest times as the most derided member of the band. ‘How funny that I was too young for so many things, Yet you thought I’d cope with being told I’m ugly.’

Nicola Roberts by David White.

I’ve always loved clever pop music and Cinderella’s Eyes most definitely fits the bill – it’s a great slice of off kilter ballsiness from the most singular and talented member of Girls Aloud.

Nicola Roberts Bench
It has been quite something to watch Nicola Roberts‘ transformation since Girls Aloud won Popstars: The Rivals nearly ten years ago. Looking back at the young girl who hid behind a thick smothering of fake tan, who could have predicted this outcome? Certainly not I… life really is full of surprises.

Cinderella’s Eyes is out now on Polydor. You can hear the whole album streamed here. But before you go, check out this brilliant b-side for Beat of My Drum.

Disco, Blisters & A Comedown.

Written by Amelia Gregory on Saturday October 15th, 2011 12:20 am

Categories ,80s, ,Beat of My Drum, ,Cinderella’s Eyes, ,Dana Bocai, ,David White, ,Dimitri Tikovoi, ,Diplo, ,Dragonette, ,electropop, ,Everybody’s Got To Learn Sometime, ,girls aloud, ,Kate Bush, ,Lizzie Mary Cullen, ,London Fashion Week, ,Lucky Day, ,Marta Spendowska, ,metronomy, ,Nicola Roberts, ,Polydor, ,Popstars: The Rivals, ,Sound of the Underground, ,Stephen Agnes, ,The Korgis

Amelia’s Magazine | Album Review: Nicola Roberts – Cinderella’s Eyes

nicola-roberts-by-marta-spendowska
Nicola Roberts by Marta Spendowska.

Nicola Roberts has been slowing creeping into my consciousness… first there was the reinvention as a fashionista as we started to spot her sitting on the front row at London Fashion Week.

Then came the genius pop tune that is Lucky Day, produced by Canadian electropop group Dragonette and shot by indie director Stephen Agnes in New York with Nicola wearing just one outfit, a ridiculously short floral tent dress.

Nicola-Roberts-by-Lizzie-Mary-Cullen
Nicola Roberts by Lizzie Mary Cullen.

Nicola Roberts by Dana Bocai.

Nicola Roberts by David White.

Cinderella’s Eyes is out now on Polydor. You can hear the whole album streamed here. But before you go, check out this brilliant b-side for Beat of My Drum.

Disco, Blisters & A Comedown.

Written by Amelia Gregory on Saturday October 15th, 2011 12:20 am

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