Amelia’s Magazine | The H&M Garden Collection

Hello mother nature, visit web H&M calling…. 

Answering to the needs of so many already environmentally conscious shoppers, and those of mother nature, H&M are making their attempt to join the eco-friendly race and making sure we all know about it. A multitude of high street brands have approached the environmentally-friendly route but some with little success. What the average High Street consumer normally gets are increased prices, due to the new fabrics the brand has to source, and the design lacking in quality and variety compared with it’s non eco-friendly competitors. Sometimes the obstacle of incorporating unharmful dyeing techniques isn’t always cost effective enough.  

Luckily none of this is evident in H&M’s new The Garden Collection available from the 25th March 2010. Exhilarating Summer brights boost the collection with everything you could want from a high street Spring/Summer collection. This is an exciting step for one of the most predominate and successful brands on our High Streets, and those around the world. For H&M the beginning of eco-friendly clothing didn’t start here – they’ve been using organic cotton in some of their clothing since 2004 and have invested much time and money into finding and developing fabrics which are sustainable. It’s only now that they’re shouting about it, and for good reason.

The amount of attention inputted in style, texture and colour seems to be delicately balanced between every piece in the collection. There’s also a good varied range of clothing styles, making it accessible to a variety of ages and body shapes. It’s safe to say the collection has a very floral, feminine theme, running from bright and extravagant, to subtle and elegant; draping, flowing and layering create a variety of textures and shapes on the body, complimenting the female form. Best of all – the price points for this collection are no different to those of the rest of H&M – cost effective and guilt free, exactly how fashion should be!

One of the most noticeable pieces in the collection has to be a red strapless dress, sold out in most stores already, beautifully adorned with recycled polyester chiffon roses, with a fitted elegant bodice, romantic and playful in design. 

Excitingly to see is the use of the new fabric Tencel, hyped up by the press to be the next best thing in the development of mother nature friendly fabrics. It is beautiful to the touch and I predict it will be a favourite addition to many wardrobes from now on; it blends the gaps nicely between the recycled polyester, organic cotton, and linen in the collection. 

It’s always great to hear of a brand continuing to mould themselves into the eco-friendly world of fashion, and hopefully this is the start of something continuous and an idea which will be planted in the minds of the suits of the fashion world. So lets start showing these brands that what we want is fashion with a conscience, all of the time, and that if they want our hard-earned pennies then they need to earn them by working hard to make our home a better place to live.

Categories ,eco, ,H&M, ,High Street, ,Recycled Fabrics, ,The Garden Collection

Similar Posts:






Amelia’s Magazine | The H&M Garden Collection

Hello mother nature, H&M calling…. 

Answering to the needs of so many already environmentally conscious shoppers, and those of mother nature, H&M are making their attempt to join the eco-friendly race and making sure we all know about it. A multitude of high street brands have approached the environmentally-friendly route but some with little success. What the average High Street consumer normally gets are increased prices, due to the new fabrics the brand has to source, and the design lacking in quality and variety compared with it’s non eco-friendly competitors. Sometimes the obstacle of incorporating unharmful dyeing techniques isn’t always cost effective enough.  

Luckily none of this is evident in H&M’s new The Garden Collection available from the 25th March 2010. Exhilarating Summer brights boost the collection with everything you could want from a high street Spring/Summer collection. This is an exciting step for one of the most predominate and successful brands on our High Streets, and those around the world. For H&M the beginning of eco-friendly clothing didn’t start here – they’ve been using organic cotton in some of their clothing since 2004 and have invested much time and money into finding and developing fabrics which are sustainable. It’s only now that they’re shouting about it, and for good reason.

The amount of attention inputted in style, texture and colour seems to be delicately balanced between every piece in the collection. There’s also a good varied range of clothing styles, making it accessible to a variety of ages and body shapes. It’s safe to say the collection has a very floral, feminine theme, running from bright and extravagant, to subtle and elegant; draping, flowing and layering create a variety of textures and shapes on the body, complimenting the female form. Best of all – the price points for this collection are no different to those of the rest of H&M – cost effective and guilt free, exactly how fashion should be!

One of the most noticeable pieces in the collection has to be a red strapless dress, sold out in most stores already, beautifully adorned with recycled polyester chiffon roses, with a fitted elegant bodice, romantic and playful in design. 

Excitingly to see is the use of the new fabric Tencel, hyped up by the press to be the next best thing in the development of mother nature friendly fabrics. It is beautiful to the touch and I predict it will be a favourite addition to many wardrobes from now on; it blends the gaps nicely between the recycled polyester, organic cotton, and linen in the collection. 

It’s always great to hear of a brand continuing to mould themselves into the eco-friendly world of fashion, and hopefully this is the start of something continuous and an idea which will be planted in the minds of the suits of the fashion world. So lets start showing these brands that what we want is fashion with a conscience, all of the time, and that if they want our hard-earned pennies then they need to earn them by working hard to make our home a better place to live.



Categories ,eco, ,H&M, ,High Street, ,Recycled Fabrics, ,The Garden Collection

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

Jena Theo Matilde SazioJena.Theo LFW A/W 2011, seek rx Illustration by Matilde Sazio

I was ushered in through the door by a geezer of a Londoner chap, sick straight through to a high heeled officious lady, then again to the very highest heels clinking their way to the front row to show me my seat. There were bags on my seat. Bags filled with goodies. Splendid. The lady next to me was bouncing her baby on her knee, as said baby was knawing on a pain au chocolat. “Nice earmuffs” I said to the tiny fashionista, pointing towards her penguin earmuffs on her head. “To protect her from the sound. It can get very loud. But she does love it here. Loves the shows.” How much do I want a chilled out, cute baby like her. Also, cool mother! I know mothers who wouldn’t take their child to Tescos for fear of its screaming the flourescently lit shed down. I looked around properly, and saw straight backed women before me. Unsmiling, with notepads on their laps and twitter at their fingertips. No one was without a smart phone. Comfortingly others were holding cameras possibly at the same level as mine, not everyone had the enormous lensed beasts. This made me feel infinitely better about my black device with sand trapped in the lens from every holiday in the last three years and glitter from an explosion of glitter at a festival last year. It makes me slightly sad to see it sprinkle on my lap when I take the lens cap off. Nostalgic particles… To the left, I felt like I was getting an immense tan however from the mad, bright white, highly lit, flashing, mini bulb, sensation. It was just INTENSE; magic eye, transfixing, blinding… The lady next to me shielded the left hand side of her face for a bit. We briefly discussed the perils of giant screens of mini light bulbs. SUCH a drag. Then it all went dark and we were treated to intro music as the anticipation was allowed to be built. Dum, dum, dum….dum… dum. EXCITED. Most of the opposite front row remained attached to the twit or without expression.

Karina Yarv
Jena.Theo LFW A/W 2011, Illustration by Karina Yarv

The darkness remained for a while, and I felt my heart start to beat harder. You know when as a child (/adult), at a theme park, you have just queued to get onto a ride that begins in the dark? You’re kind of scared but excited, not really sure how it will turn out? Yes, that. That was what it felt like. I was half expecting for the floor to drop and to experience a heart in my mouth sensation, as gravity stole my nerves. Child next door was heckling, all ready for the experience to begin. She’s not worried her mother assures me, as a seasoned show-goer why would she be? Well, indeed. This does not compare to my 80s Sussex upbringing. I spent being three and four devoted to my pink bomber jacket and all in one waterproof jumpsuit number. Was it the 80s? Was it me? Is there any hope? I apoligise, enough pondering! The show began.

Jena.Theo_LFW_MattBramford_006 Jena.Theo_LFW_MattBramford_007Jena.Theo_LFW_MattBramford_008Jena.Theo_LFW_MattBramford_004Jena.Theo_LFW_MattBramford_003
Photography by Matt Bramford

I was pleased to see that what was being presented was completely wearable. Definitely in London. Perhaps less so in Bristol – it was slightly ‘too’ urban for the West Country. However, if I had a choice (and el cash), some of those pieces would be getting worn in Falfael King and that secret bar we’ve been meaning to go to for a while… at least supper club. Or – ah see, I kind of want to move to London again. Don’t get the wrong impression of Briz, I beg you. Anyway digressing again- the show was very charcoal, black and cream orientated. The models all had black stripes across their eyes and otherwise bare faces. This made them look like mysterious, moody superheros. I liked it, as it really set of the simple coloured, pieces; the models all expressionless (course), their masks and the movement of the light or dark pieces worked together perfectly. It felt like we were on the sea, with norwegian heroines. Swishing slowly about, their heels never falter, their gaze exact, the path has been set and the grey skies are dappled with stars, as the storm takes hold. These strong warriors will take us with their capes flowing behind them, their hair dancing in the wind.

Jena.Theo Valkyrie by Matilde SazioJena.Theo LFW A/W 2011, Illustration by Matilde Sazio

My favourite piece was one with an almost bustling at the back, flowing down to the ground, in one swipe. The front was a mini, the back was the drama, the fantasy. I would love to wear this one standing at the front of a ship. Not a ferry, a ship. The collection; Valkyrie, refers to a band of celestial female figures who decide to die in the field of battle. So 300, in a sense, but with women. Strong, ethereal women.

Jena.Theo_LFW_MattBramford_002Jena.Theo_LFW_MattBramford_001 Jena.Theo_LFW_MattBramford_005
Photography by Matt Bramford

Jena.Theo have managged to combine the mythology with the urban reality. Fantasy has been embraced, with opulence in mind, the designs are sumptuous, yet strong. Fit for women going into battle with the ice of Scandinavia and the luxuriousness of a cashmere bustle behind them. And why not mix up the hemlines, paint black across our eyes and march like amazonian creations girls. We are women. Watch us gracefully, cooly and quietly move, like we believe we are mighty. We are. For designs that were indeed simple, they were deserving of their sparkling lights.
Gemma Milly-Prophetik-A-W11
Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

A long queue waited for me outside of Freemason’s Hall. Initially I considered sauntering in through the door I first came across, pill but after peering in I discovered that in fact there was only a Vauxhall car in there and a couple of security men. Instead there was the aforementioned queue, pill just round the corner. I spotted Akeela, Katie and Sarah of Scribble fame in the line and promptly hit them all with my enormous goodie bag from Jena.Theo. As I was excitable, my accompanying movements were erratic and thus the thwacking continued until I decided to destroy the bag and had a look at the contents. Delicious. The standing and nattering continued before our coloured stickers were called forwards. I thanked Amelia power as we were marched straight in and positioned in the second row. Ooo a mini orchestra to the left.

Prophetik_Abby_Wright_LFW
Prophetik LFW A/W 2011 Collection, illustration by Abby Wright

Chat for ages it seems before it all goes dark. Then a blonde bobbed lady came out and started ‘haaaa’ing. More high pitched than Enya, but similarly Lord Of The Rings magical. WHAT to expect. Well, in truth I had an idea, the press sheet announced that this was ‘Artist Wonderment’. This can only mean we are entering the fantasy land of the designer. Happily, as I read on, it would appear that Prophetik have been inspired by all the magic of the past. And I DO so love a good period drama. I quote: ‘The season exudes the freedom from the pretense of being what we would become, fleeing from egotism into the wonderment of an artist.’ Prophetik are very fond of liberty and protection of our world, through being all-sustainable. Tennessee’s Jeff Garner, who designs the fashion lifestyle brand, wants to bring an awareness of the repercussions of the clothing business, to everyone they can reach.

Gemma_Milly-Prophetik2-A-W11
Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

Then violin lady, Analiza Ching came out, short skirted, her hair flicking around. Violinsts always look pretty cool I think, especially when they are jumping around, confidently using the strings to produce feisty sounds. After more hair and body kinetic energy, Miss Violinst went and joined the Benjamin Ellin orchestra. Then the models started streaming out in their Louis XV inspired outfits. With long dresses, corseted and delicate detailing. The colours were soft and the fabric consisted of ripped silks, organic velour, as well as 100 year old southern quilts, courtesy of Jeff Garner’s great grandmother, Lola. Interestingly cactus silk was also introduced, made from the agave plant. The pieces looked heavy and purposeful as they swept past. Similar to the dresses you find in fashion museums, a bit starchy and very thick. However, Prophetik‘s collection, as opposed to the historic pieces, had a woodland feel to them, connecting them to the earthy message and principles of the designer.

Prophetik_LFW_MattBramford_198Prophetik_LFW_MattBramford_188Prophetik_LFW_MattBramford_142Prophetik_LFW_MattBramford_131Prophetik_LFW_MattBramford_104Prophetik_LFW_MattBramford_098Prophetik_LFW_MattBramford_078Prophetik_LFW_MattBramford_068Prophetik_LFW_MattBramford_044Prophetik_LFW_MattBramford_040Prophetik_LFW_MattBramford_024
Prophetik LFW A/W 2011 Collection, photography by Matt Bramford

“He’s grease lightning isn’t he?” The ladies behind me complained, as they were unable to get a shot of the red-headed male model on the catwalk. With his long hair slicked back, quilted buttoned up jackets and three quarter length trousers, I wished he would next come out mounted on a horse. Perhaps with one of the angel lady beings, riding side saddle and looking into the middle distance – because that’s where the magic is, clearly. The men all looked serious and officious in their luxurious outfits. Like Prince’s, they wore the natural colours with a regal air about them. I can certainly imagine some of my Hereford friends cracking out these jackets round the fire this Autumn. Residing in woods, yurts and buses, they whole heartedly are ‘woodland creatures’. Much like these, pretty imps and fairies. The Prince, the carpenter and the folk singer, sit within the trees, stars sparkling and dragonflies dancing.

There were a few dresses that I fell in love with. This included the midi length halter dress with boots – most of the outfits were worn with flat boots – I imagine for easy action in the woods. They complimented the dresses, stopping the over pretty factor. All hair was slicked to the ears and then waved, faces pale and natural. I also loved the female tailcoats, tight to the waist then full to the thigh and featuring turned up cuffs, curling at the top. All with embroidered edges and in deep, or pastel colours. Then the floor length, corseted, strapless, rich purple dress, complete with a train was divine. As was a stunning mossy green and cream empire line dress. It was a modern, eco Austen esque, Regency beauty; so graceful. The strapless and halterneck dresses were lighter than the embroidered pieces, many of which billowed in layers to the floor, and were more reminiscent of the Tudor 16th century period.

Helen Martin Prophetik
THE Prophetik DRESS. Photo by Helen Martin

I must say, the absolutely MOST fantastic dress of them ALL was a white ostrich feather creation. I want to get married and wear this ostrich BEAUTY. Like the white, angelic creation from the sky, she swept in and the whole audience gasped. I’d like to think she was saved by birds after being orphaned through the enemy’s shots. Then nurtured by the birds before she emerged, into the woods. And the woodland creatures danced in merriment, for she had been saved, and she was beautiful. Red-headed man will hopefully slow his canter to a trot, then dismount, his nonchalent stare becoming a transfixed (gruff) stare. He loved her already.

Gemma Milly and Abby Wright have their illustrations in Amelia’s Compendium of Fashion Illustration, available here.

Categories ,Abby Wright, ,ACOFI, ,Akeela, ,Amelia, ,Analiza Ching, ,Benjamin Ellin, ,eco, ,folk, ,Gemma Millie, ,Helen Martin, ,Katie Antoniou, ,lfw, ,LFW A/W 2011, ,Lola, ,Louis XV, ,marriage, ,Matt Bramford, ,Orchestra, ,planet, ,prince, ,Princess, ,Prophetik, ,Sarah Scribbles, ,sustainable, ,Tennessee, ,vauxhall, ,Violin, ,woodland creatures

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

Gemma Milly-Prophetik-A-W11
Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

A long queue waited for me outside of Freemason’s Hall. Initially I considered sauntering in through the door I first came across, but after peering in I discovered that in fact there was only a Vauxhall car in there and a couple of security men. Instead there was the aforementioned queue, just round the corner. I spotted Akeela, Katie and Sarah of Scribble fame in the line and promptly hit them all with my enormous goodie bag from Jena.Theo. As I was excitable, my accompanying movements were erratic and thus the thwacking continued until I decided to destroy the bag and had a look at the contents. Delicious. The standing and nattering continued before our coloured stickers were called forwards. I thanked Amelia power as we were marched straight in and positioned in the second row. Ooo a mini orchestra to the left.

Prophetik_Abby_Wright_LFW
Prophetik LFW A/W 2011 Collection, illustration by Abby Wright

Chat for ages it seems before it all goes dark. Then a blonde bobbed lady came out and started ‘haaaa’ing. More high pitched than Enya, but similarly Lord Of The Rings magical. WHAT to expect. Well, in truth I had an idea, the press sheet announced that this was ‘Artist Wonderment’. This can only mean we are entering the fantasy land of the designer. Happily, as I read on, it would appear that Prophetik have been inspired by all the magic of the past. And I DO so love a good period drama. I quote: ‘The season exudes the freedom from the pretense of being what we would become, fleeing from egotism into the wonderment of an artist.’ Prophetik are very fond of liberty and protection of our world, through being all-sustainable. Tennessee’s Jeff Garner, who designs the fashion lifestyle brand, wants to bring an awareness of the repercussions of the clothing business, to everyone they can reach.

Gemma_Milly-Prophetik2-A-W11
Prophetik LFW A/W 20011 Collection illustration by Gemma Milly

Then violin lady, Analiza Ching came out, short skirted, her hair flicking around. Violinsts always look pretty cool I think, especially when they are jumping around, confidently using the strings to produce feisty sounds. After more hair and body kinetic energy, Miss Violinst went and joined the Benjamin Ellin orchestra. Then the models started streaming out in their Louis XV inspired outfits. With long dresses, corseted and delicate detailing. The colours were soft and the fabric consisted of ripped silks, organic velour, as well as 100 year old southern quilts, courtesy of Jeff Garner’s great grandmother, Lola. Interestingly cactus silk was also introduced, made from the agave plant. The pieces looked heavy and purposeful as they swept past. Similar to the dresses you find in fashion museums, a bit starchy and very thick. However, Prophetik’s collection, as opposed to the historic pieces, had a woodland feel to them, connecting them to the earthy message and principles of the designer.

Prophetik_LFW_MattBramford_198Prophetik_LFW_MattBramford_188Prophetik_LFW_MattBramford_142Prophetik_LFW_MattBramford_131Prophetik_LFW_MattBramford_104Prophetik_LFW_MattBramford_098Prophetik_LFW_MattBramford_078Prophetik_LFW_MattBramford_068Prophetik_LFW_MattBramford_044Prophetik_LFW_MattBramford_040Prophetik_LFW_MattBramford_024
Prophetik LFW A/W 2011 Collection, photography by Matt Bramford

“He’s grease lightning isn’t he?” The ladies behind me complained, as they were unable to get a shot of the red-headed male model on the catwalk. With his long hair slicked back, quilted buttoned up jackets and three quarter length trousers, I wished he would next come out mounted on a horse. Perhaps with one of the angel lady beings, riding side saddle and looking into the middle distance – because that’s where the magic is, clearly. The men all looked serious and officious in their luxurious outfits. Like Prince’s, they wore the natural colours with a regal air about them. I can certainly imagine some of my Hereford friends cracking out these jackets round the fire this Autumn. Residing in woods, yurts and buses, they whole heartedly are ‘woodland creatures’. Much like these, pretty imps and fairies. The Prince, the carpenter and the folk singer, sit within the trees, stars sparkling and dragonflies dancing.

There were a few dresses that I fell in love with. This included the midi length halter dress with boots – most of the outfits were worn with flat boots – I imagine for easy action in the woods. They complimented the dresses, stopping the over pretty factor. All hair was slicked to the ears and then waved, faces pale and natural. I also loved the female tailcoats, tight to the waist then full to the thigh and featuring turned up cuffs, curling at the top. All with embroidered edges and in deep, or pastel colours. Then the floor length, corseted, strapless, rich purple dress, complete with a train was divine. As was a stunning mossy green and cream empire line dress. It was a modern, eco Austen esque, Regency beauty; so graceful. The strapless and halterneck dresses were lighter than the embroidered pieces, many of which billowed in layers to the floor, and were more reminiscent of the Tudor 16th century period.

Helen Martin Prophetik
THE Prophetik DRESS. Photo by Helen Martin

I must say, the absolutely MOST fantastic dress of them ALL was a white ostrich feather creation. I want to get married and wear this ostrich BEAUTY. Like the white, angelic creation from the sky, she swept in and the whole audience gasped. I’d like to think she was saved by birds after being orphaned through the enemy’s shots. Then nurtured by the birds before she emerged, into the woods. And the woodland creatures danced in merriment, for she had been saved, and she was beautiful. Red-headed man will hopefully slow his canter to a trot, then dismount, his nonchalent stare becoming a transfixed (gruff) stare. He loved her already.

Gemma Milly and Abby Wright have their illustrations in Amelia’s Compendium of Fashion Illustration, available here.

Categories ,Abby Wright, ,ACOFI, ,Akeela, ,Amelia, ,Analiza Ching, ,Benjamin Ellin, ,eco, ,folk, ,Gemma Millie, ,Helen Martin, ,Katie Antoniou, ,lfw, ,LFW A/W 2011, ,Lola, ,Louis XV, ,marriage, ,Matt Bramford, ,Orchestra, ,planet, ,prince, ,Princess, ,Prophetik, ,Sarah Scribbles, ,sustainable, ,Tennessee, ,vauxhall, ,Violin, ,woodland creatures

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Amelia’s Magazine | Lazy Summer Days with Handmade Ethical Clothing from Lowie

Lowie by Emma Jardine
Lowie by Emma Jardine.

Lowie was set up by Bronwyn Lowenthal – born in the UK, site raised in Tanzania, with Jewish roots and a Welsh name. She was trained in marketing and went on to become brand manager for Ben Sherman before setting up Lowie nine years ago, which she started by importing Turkish made hats and socks to sell in Portobello Market. She quickly realised that there was a niche for brightly coloured handmade knitwear and found a supplier to produce larger quantities for her in Hong Kong.

I Love Lowie handmade ethical clothing, Kathryn Edwards
I Love Lowie handmade ethical clothing by Kathryn Edwards.

Lowie Playsuit by Alejandra Espino
Lowie Playsuit by Alejandra Espino.

Lowie Parlour Dress
The Lowie Parlour Dress.

Lowie has now expanded into ‘wovens’ – pretty cotton fabrics that feature darling floral sprig prints, all printed in a fair-trade factory in India. These are made into flirty dresses with full skirts and nipped in waists and cute little playsuits. The brand is sold in Heals, Anthropologie and ASOS to name but a few.

Lowie by Avril Kelly
Lowie by Avril Kelly.

Lowie Crochet Bow Dress by Michalis Christodoulou
Lowie Crochet Bow Dress by Michalis Christodoulou.

Lowie didn’t start life as a specifically eco brand but has gradually moved in that direction over the years. At one point Lowie was the only brand producing eco knitwear in jewel bright colours, so they have helped to lead the market away from boring ethical neutrals, opening the door for some of the much more exciting eco fashions that are around today.

Lowie by Jane Young
Lowie by Jane Young.

Lowie culotte playsuit
The Lowie Culotte Playsuit.

All wool jumpers and accessories are now made in China from wool that is produced in Australia. Although all Lowie cotton products are organic the wool is not, so they are currently looking into new types of eco yarns, for example those made from bamboo, which can feel as good or even nicer than wool.

Press Days March 2011-Lowie red bow
A close up of the bow detailing at press days.

Press Days March 2011-Lowie
A couple of the Lowie girls looking pretty in Lowie dresses. Hannah on the left manages the studio.

In the meantime Bronwyn travels overseas a few times a year to overlook factories and ensure production fits ethical fair-trade standards – all clothes are manufactured by home workers who run small domestic workshops in their living space.

Press Days March 2011-cupcakes Forward PR
A totally self indulgent photo of cupcakes at the Lowie press day. Just because they were so pretty.

You can find the new Lowie collection on their website. I absolutely adore the breezy Lowie style, especially for summer.

Categories ,Alejandra Espino, ,Anthropologie, ,ASOS, ,australia, ,Avril Kelly, ,Bamboo, ,Ben Sherman, ,China, ,cotton, ,cupcakes, ,Dresses, ,eco, ,Eco fashion, ,Emma Jardine, ,ethical, ,fairtrade, ,florals, ,Forward PR, ,handmade, ,Hannah, ,Heals, ,Hong Kong, ,India, ,Jane Young, ,Kathryn Edwards, ,knitwear, ,London Kills Me, ,Lowie, ,Michalis Christodoulou, ,Playsuits, ,Portobello Market, ,Press days, ,print, ,Turkey, ,Welsh, ,wool

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Amelia’s Magazine | Lazy Summer Days with Handmade Ethical Clothing from Lowie

Lowie by Emma Jardine
Lowie by Emma Jardine.

Lowie was set up by Bronwyn Lowenthal – born in the UK, site raised in Tanzania, with Jewish roots and a Welsh name. She was trained in marketing and went on to become brand manager for Ben Sherman before setting up Lowie nine years ago, which she started by importing Turkish made hats and socks to sell in Portobello Market. She quickly realised that there was a niche for brightly coloured handmade knitwear and found a supplier to produce larger quantities for her in Hong Kong.

I Love Lowie handmade ethical clothing, Kathryn Edwards
I Love Lowie handmade ethical clothing by Kathryn Edwards.

Lowie Playsuit by Alejandra Espino
Lowie Playsuit by Alejandra Espino.

Lowie Parlour Dress
The Lowie Parlour Dress.

Lowie has now expanded into ‘wovens’ – pretty cotton fabrics that feature darling floral sprig prints, all printed in a fair-trade factory in India. These are made into flirty dresses with full skirts and nipped in waists and cute little playsuits. The brand is sold in Heals, Anthropologie and ASOS to name but a few.

Lowie by Avril Kelly
Lowie by Avril Kelly.

Lowie Crochet Bow Dress by Michalis Christodoulou
Lowie Crochet Bow Dress by Michalis Christodoulou.

Lowie didn’t start life as a specifically eco brand but has gradually moved in that direction over the years. At one point Lowie was the only brand producing eco knitwear in jewel bright colours, so they have helped to lead the market away from boring ethical neutrals, opening the door for some of the much more exciting eco fashions that are around today.

Lowie by Jane Young
Lowie by Jane Young.

Lowie culotte playsuit
The Lowie Culotte Playsuit.

All wool jumpers and accessories are now made in China from wool that is produced in Australia. Although all Lowie cotton products are organic the wool is not, so they are currently looking into new types of eco yarns, for example those made from bamboo, which can feel as good or even nicer than wool.

Press Days March 2011-Lowie red bow
A close up of the bow detailing at press days.

Press Days March 2011-Lowie
A couple of the Lowie girls looking pretty in Lowie dresses. Hannah on the left manages the studio.

In the meantime Bronwyn travels overseas a few times a year to overlook factories and ensure production fits ethical fair-trade standards – all clothes are manufactured by home workers who run small domestic workshops in their living space.

Press Days March 2011-cupcakes Forward PR
A totally self indulgent photo of cupcakes at the Lowie press day. Just because they were so pretty.

You can find the new Lowie collection on their website. I absolutely adore the breezy Lowie style, especially for summer.

Categories ,Alejandra Espino, ,Anthropologie, ,ASOS, ,australia, ,Avril Kelly, ,Bamboo, ,Ben Sherman, ,China, ,cotton, ,cupcakes, ,Dresses, ,eco, ,Eco fashion, ,Emma Jardine, ,ethical, ,fairtrade, ,florals, ,Forward PR, ,handmade, ,Hannah, ,Heals, ,Hong Kong, ,India, ,Jane Young, ,Kathryn Edwards, ,knitwear, ,London Kills Me, ,Lowie, ,Michalis Christodoulou, ,Playsuits, ,Portobello Market, ,Press days, ,print, ,Turkey, ,Welsh, ,wool

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Amelia’s Magazine | Hellen van Rees: London Fashion Week S/S 2013 Catwalk Review

Hellen Van Rees S/S 2013 by Kristina Vasiljeva
Hellen Van Rees S/S 2013 by Kristina Vasiljeva.

I was most delighted to read that Dutch designer Hellen van Rees uses recycled materials to create her innovative tweeds, which are hand crafted into sculptural garments. The Central Saint Martins graduate rounded off this season’s Ones to Watch with easily the most conceptual collection of the four.

Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Square2: Exploring Excitement melded the commercial and the avante garde in clever harmony: the squares of the title appearing as boxy protrusions on otherwise wearable cute tweed mini dresses. Using a colour palette of lemon, grey, dirty white and pale blue, the wilder creations with box hems or jutting shoulder pieces were surely not meant for everyday wear but I could imagine just about getting away with dresses decorated with smaller plastic appliques. Glossy plasticised tweed and raw edging provided contrasting textures, whilst cocks comb headdresses added further architectural interest. Designers such as Hellen van Rees are particularly exciting to follow, as they traverse the tricky line between artistic brilliance and the wearability that will make their fashion label a success.

Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Ones to Watch hellen van rees SS 2013 photography Amelia Gregory
Hellen van Rees S/S 2013. All photography by Amelia Gregory.

Categories ,Central Saint Martins, ,dutch, ,eco, ,Fashion Scout, ,Hellen van Rees, ,Kristina Vasiljeva, ,lfw, ,Ones To Watch, ,S/S 2013, ,Square2: Exploring Excitement, ,sustainable, ,Tweed

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Amelia’s Magazine | Dora Abodi AW15: London Fashion Week Catwalk Review

Dora Abodi AW15-photo by Amelia Gregory 2
Dora Abodi was inspired by the mythical winged Unicorn, the Unisus, presenting a fantastical collection of clothes paraded down the catwalk in front of a huge fibre glass model.

Dora Abodi AW15-photo by Amelia Gregory
Dora Abodi AW15-photo by Amelia Gregory
Dora Abodi AW15-photo by Amelia Gregory
Models wore dishevelled french plaits, lip rings and smudged eye make up, horns and white painted polka dot faces: suitably bold looks to accompany a strong collection. Quilting, patent textures, feathery layers, furry fabrics, midnight black: accessorised with the Unisus as a feature on the back of jackets or the front of sweatshirts, and then as a stunning repeat applique pattern on colourful flirty sheer dresses.

Dora Abodi AW15-photo by Amelia Gregory
Dora Abodi AW15-photo by Amelia Gregory
Dora Abodi AW15-photo by Amelia Gregory
Dora Abodi AW15-photo by Amelia Gregory
I particularly adored colourful abstract geometrics on a selection of gorgeous dresses: fish bottomed and swishy in metallic stripes. This was an extravagant collection with some beautiful key pieces. And now I know what a Unisus is.

All photography by Amelia Gregory.

Dora Abodi AW 15/16 from FASHION SCOUT on Vimeo.

Categories ,A/W 2015, ,AW15, ,Catwalk review, ,Dora Abodi, ,Fashion Scout, ,London Fashion Week, ,Unicorn, ,Unisus

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Amelia’s Magazine | EA Burns introduces new season jewellery collection Second Sights

1EABURNS FLIGHT CHAIN CHOKER
The new jewellery collection from Lizzie Burns is called Second Sights and features black marble effect Rhodoid, ethical diamonds and precious metal. It is a development of the previous Ancient Rites collection, created under the name EA Burns. Here she talks about the creation of her look book images, seen here.

EABURNS SEER BRACELET
‘I work closely with Steph (Sian Smith) on my images. She has a soft style naturalistic style which captures moments and people really well. I feel it really compliments and contrasts the geometric nature of my jewellery.

EABURNS TOTEM RING
When we met to discuss the shoot, my main priority was to put the the jewellery in context (of how I wear it), and we had common influences which we wanted to come across in the shoot. We wanted it relaxed with french(ish) vibe, and a conceptual element.

EABURNS SPHINX RING jpg
Shoots with Steph are always full of energy, the best shots are always those where the model is reacting to Steph, those which don’t look forced or posed. In the same way I wanted the hair, make and styling to look real and quite tomboy. The jewellery is hard, precise and angular, but the “girl” is a real woman.

EABURNS REVOLUTION HOOP EARRINGS
The collection is inspired by an amalgamation of ideas and influences. First is process- because I work ethically the first thing I think about before anything else is material- this limits my design as I experiment with what is possible first and apply my design influences second. This season I’ve redeveloped the way I make the Rhodoid pieces, buying thicker material and CNCing it (wheras before I was hand forming) this has allows me to create a wider variety of shapes, and fully cover one side in brass sheet creating a sleeker more minimal look. I’d say design-wise my influences would be a combination of modernist design, tribal patterns and minimal lines.’

1EABURNS SPAN THE DEPTHS EARRINGS
1EABURNS FORGE RING REVELATION BRACELET BW

You can buy the new collection from EA Burns here.

Categories ,Ancient Rites, ,EA Burns, ,Lizzie Burns, ,Rhodoid, ,Second Sights, ,Sian Smith

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Amelia’s Magazine | Enchanted Palace: A very fashionable exhibition at Kensington Palace

Another year, ed symptoms another bank holiday at the start of the summer, and another edition of the Dot-to-Dot Festival, a sprawling mess of bands and audience occupying venues and bars in cities up and down the land. This year sees it spread from birthplace Nottingham and second city Bristol to Manchester, taking in three regional centres that, it could be argued, have long lacked massive indie festivals to call their own and to ground their musical calendars.

Thanks to a snail-paced jam on the M1 we missed the first band of the day (Frontiers, in Rock City’s main hall) – instead, the day began for us in Rescue Rooms with the lads of The Cheek, who sadly fail to sparkle in the mood of the glorious sun twinkling down outside. Their name may bring to mind something skinny and sharp from the late 70s but the lead singer’s suit certainly didn’t. It looked like he’d borrowed it from his dad. Their poppy punk sound came across like a sort of watered-down Suede, which held my interest for all of ten minutes before I headed out for a wander.

YouTube Preview Image

Trent SU, the second-largest of the venues at the festival, had what seemed to be the most appealing consistency in acts, even if it meant foregoing Blood Red Shoes and Wild Beasts (both bands having appeared at previous editions of the festival, however, and both bands were, inevitably, awesome – also, it illustrates just how frequently Dot-to-Dot manages to pick out the next big bands mere months before they break).

Small Black were gracing the stage as we arrived – hailing from Long Island, they’re something of a blog darling in corners of the web and I can completely see why. Their music is a very carefully crafted pop that bears a resemblance to geographical cousins like Beach Fossils and Memory Tapes, bands that specialise in a kind of laid-back, fuzzy sort of sound. It’s instantly unlike anything specific that you’ll have heard before, but equally, instantly recognisable. The four lads manage to balance melancholy, longing, joy and ecstasy in a way last seen regularly in the films of John Hughes.

YouTube Preview Image

Upstairs in the bar, Islet were going through their usual routine of tearing up the stage. I’ve been an ardent fan of theirs since their lead singer screamed in my face back in March when they supported Los Campesinos! at the Koko in Camden – their bizarre mélange music, all drum circles and hollering and ambient noise and funk grooves and… oh, why bother describing when I can show demonstrate:

Back downstairs, and Washed Out (or, rather, New York resident Ernest Green) has taken to the stage with his tripped-out ambient house and his friends (and geographic neighbours) in Small Black join him, adding extra layers to his sound. The clash with Blood Red Shoes appeared to have left the audience numbers a touch low, but nobody there regretted their decision – there’s something of the madchester in Washed Out’s sound, like a chilled-out evening at the Haçienda (or at least how that would seem in my mind). A case could also be made for saying it sounds like Chicago house played on a tape player with low battery. The results, regardless, are wonderful.

YouTube Preview Image

The second of my 50-50 choices then came, and Liars won out over Wild Beasts – but can you blame me? The American art-punk band has doggedly refused to stick to any kind of consistent style, with their latest release, Sisterworld, yet another masterful addition to their discography. Lead singer Angus Andrews cuts a demented figure on stage, strutting and preening like a preaching Mick Jagger – his voice, the drawl of a doorstep drunk at 4am, smitten with violence, joyfully spitting the lyrics to ‘Scissor’ like some kind of mental declaration of war. Proper, proper good.

YouTube Preview Image

It is then, unfortunately, something of a timetabling error to follow this violent display with Beach House, a delicate washed-out band that would have sat much more comfortably next to, well, Washed Out. The audience, still somewhat full of bloodlust, is quickly bored and begins to dissipate, which is a terrible shame considering just how brilliant Victoria Legrand and Alex Scully’s sultry Kate-Bush-meets-a-shoegaze dreamscapes are.

YouTube Preview Image

I’ve written at length about how much I love Los Campesinos!, so for some of you it will be no surprise that I’m going to say that their set headlining at Trent SU was something of a triumph. I’m not being biased here, though, in all honesty – this really was a magnificent performance. The crowd, who all day had looked a little bit sun-frazzled and unable to conjure up much more than the occasional whoop (even during Liars there were visible signs of struggle during the rounds of applause), suddenly sparked into life. Jumping! Singing along! Gareth couldn’t have looked happier, and his usually awful singing was merely average. A definite peak for the day.

YouTube Preview Image

Had to take a quick break here, because at this point it had been something like 8 hours of standing up with neither break nor sustenance – I grabbed some a sandwich in the still-open Lee Rosy’s Tea Room, a wonderful establishment that’s at the heart of Nottingham’s alternative music and arts scene. Somewhat a shame, then, that this year it isn’t hosting the acoustic acts – Primavera Sound, held on the same weekend, appears to have snapped up many of the bands and artists who usually make it here, leaving us with a smaller-than-usual Dot-to-Dot. It is inescapable, too, to note that the festival is far from sold out. Usually leaving a venue for another is something of a risk – in previous years it has been impossible to see the headliners on any stage without waiting through several hours’ worth of bands beforehand. The breathing space is a welcome change, but the lack of people inevitably means that the festival feels less like a party.

Yuck took to the stage of the Bodega after midnight, looking every bit like they’d been enjoying the £3 pints of 7% cider in the bar downstairs for the past few hours. Already something of a convert to their cause, having seen them several times around London over the past few months, I’d been waxing lyrical to friends all day about their brand of borrowed-from-the-90s slacker rock. Their stage banter was a little dry, and their response to a call from an audience member for their closest thing to a hit, ‘Georgia’, was met with a deliberate omission of the song from the setlist, meaning that this was not exactly their most friendly appearance, but nevertheless it proved a decent gig.

YouTube Preview Image

Dot-to-Dot ends with Stealth putting on the last of the shows as the night turns slowly into early morning, and after fighting my way inside for the end of Casiokids’ brittle dance set I realised that my day (and my feet) were done. Another excellent bank holiday weekend festival – despite the smaller crowds and slightly smaller lineup, it’s still proving itself one of the most important festivals in the regions that host it, and it also provides an excellent way of kick-starting the festival season.

Another year, online another bank holiday at the start of the summer, treatment and another edition of the Dot-to-Dot Festival, a sprawling mess of bands and audience occupying venues and bars in cities up and down the land. This year sees it spread from birthplace Nottingham and second city Bristol to Manchester, taking in three regional centres that, it could be argued, have long lacked massive indie festivals to call their own and to ground their musical calendars.

Thanks to a snail-paced jam on the M1 we missed the first band of the day (Frontiers, in Rock City’s main hall) – instead, the day began for us in Rescue Rooms with the lads of The Cheek, who sadly fail to sparkle in the mood of the glorious sun twinkling down outside. Their name may bring to mind something skinny and sharp from the late 70s but the lead singer’s suit certainly didn’t. It looked like he’d borrowed it from his dad. Their poppy punk sound came across like a sort of watered-down Suede, which held my interest for all of ten minutes before I headed out for a wander.

YouTube Preview Image

Trent SU, the second-largest of the venues at the festival, had what seemed to be the most appealing consistency in acts, even if it meant foregoing Blood Red Shoes and Wild Beasts (both bands having appeared at previous editions of the festival, however, and both bands were, inevitably, awesome – also, it illustrates just how frequently Dot-to-Dot manages to pick out the next big bands mere months before they break).

Small Black were gracing the stage as we arrived – hailing from Long Island, they’re something of a blog darling in corners of the web and I can completely see why. Their music is a very carefully crafted pop that bears a resemblance to geographical cousins like Beach Fossils and Memory Tapes, bands that specialise in a kind of laid-back, fuzzy sort of sound. It’s instantly unlike anything specific that you’ll have heard before, but equally, instantly recognisable. The four lads manage to balance melancholy, longing, joy and ecstasy in a way last seen regularly in the films of John Hughes.

YouTube Preview Image

Upstairs in the bar, Islet were going through their usual routine of tearing up the stage. I’ve been an ardent fan of theirs since their lead singer screamed in my face back in March when they supported Los Campesinos! at the Koko in Camden – their bizarre mélange music, all drum circles and hollering and ambient noise and funk grooves and… oh, why bother describing when I can show demonstrate:

Back downstairs, and Washed Out (or, rather, New York resident Ernest Green) has taken to the stage with his tripped-out ambient house and his friends (and geographic neighbours) in Small Black join him, adding extra layers to his sound. The clash with Blood Red Shoes appeared to have left the audience numbers a touch low, but nobody there regretted their decision – there’s something of the madchester in Washed Out’s sound, like a chilled-out evening at the Haçienda (or at least how that would seem in my mind). A case could also be made for saying it sounds like Chicago house played on a tape player with low battery. The results, regardless, are wonderful.

YouTube Preview Image

The second of my 50-50 choices then came, and Liars won out over Wild Beasts – but can you blame me? The American art-punk band has doggedly refused to stick to any kind of consistent style, with their latest release, Sisterworld, yet another masterful addition to their discography. Lead singer Angus Andrews cuts a demented figure on stage, strutting and preening like a preaching Mick Jagger – his voice, the drawl of a doorstep drunk at 4am, smitten with violence, joyfully spitting the lyrics to ‘Scissor’ like some kind of mental declaration of war. Proper, proper good.

YouTube Preview Image

It is then, unfortunately, something of a timetabling error to follow this violent display with Beach House, a delicate washed-out band that would have sat much more comfortably next to, well, Washed Out. The audience, still somewhat full of bloodlust, is quickly bored and begins to dissipate, which is a terrible shame considering just how brilliant Victoria Legrand and Alex Scully’s sultry Kate-Bush-meets-a-shoegaze dreamscapes are.

YouTube Preview Image

I’ve written at length about how much I love Los Campesinos!, so for some of you it will be no surprise that I’m going to say that their set headlining at Trent SU was something of a triumph. I’m not being biased here, though, in all honesty – this really was a magnificent performance. The crowd, who all day had looked a little bit sun-frazzled and unable to conjure up much more than the occasional whoop (even during Liars there were visible signs of struggle during the rounds of applause), suddenly sparked into life. Jumping! Singing along! Gareth couldn’t have looked happier, and his usually awful singing was merely average. A definite peak for the day.

YouTube Preview Image

Had to take a quick break here, because at this point it had been something like 8 hours of standing up with neither break nor sustenance – I grabbed some a sandwich in the still-open Lee Rosy’s Tea Room, a wonderful establishment that’s at the heart of Nottingham’s alternative music and arts scene. Somewhat a shame, then, that this year it isn’t hosting the acoustic acts – Primavera Sound, held on the same weekend, appears to have snapped up many of the bands and artists who usually make it here, leaving us with a smaller-than-usual Dot-to-Dot. It is inescapable, too, to note that the festival is far from sold out. Usually leaving a venue for another is something of a risk – in previous years it has been impossible to see the headliners on any stage without waiting through several hours’ worth of bands beforehand. The breathing space is a welcome change, but the lack of people inevitably means that the festival feels less like a party.

Yuck took to the stage of the Bodega after midnight, looking every bit like they’d been enjoying the £3 pints of 7% cider in the bar downstairs for the past few hours. Already something of a convert to their cause, having seen them several times around London over the past few months, I’d been waxing lyrical to friends all day about their brand of borrowed-from-the-90s slacker rock. Their stage banter was a little dry, and their response to a call from an audience member for their closest thing to a hit, ‘Georgia’, was met with a deliberate omission of the song from the setlist, meaning that this was not exactly their most friendly appearance, but nevertheless it proved a decent gig.

YouTube Preview Image

Dot-to-Dot ends with Stealth putting on the last of the shows as the night turns slowly into early morning, and after fighting my way inside for the end of Casiokids’ brittle dance set I realised that my day (and my feet) were done. Another excellent bank holiday weekend festival – despite the smaller crowds and slightly smaller lineup, it’s still proving itself one of the most important festivals in the regions that host it, and it also provides an excellent way of kick-starting the festival season.

Another year, pilule another bank holiday at the start of the summer, and another edition of the Dot-to-Dot Festival, a sprawling mess of bands and audience occupying venues and bars in cities up and down the land. This year sees it spread from birthplace Nottingham and second city Bristol to Manchester, taking in three regional centres that, it could be argued, have long lacked massive indie festivals to call their own and to ground their musical calendars.

Thanks to a snail-paced jam on the M1 we missed the first band of the day (Frontiers, in Rock City’s main hall) – instead, the day began for us in Rescue Rooms with the lads of The Cheek, who sadly fail to sparkle in the mood of the glorious sun twinkling down outside. Their name may bring to mind something skinny and sharp from the late 70s but the lead singer’s suit certainly didn’t. It looked like he’d borrowed it from his dad. Their poppy punk sound came across like a sort of watered-down Suede, which held my interest for all of ten minutes before I headed out for a wander.

YouTube Preview Image

Trent SU, the second-largest of the venues at the festival, had what seemed to be the most appealing consistency in acts, even if it meant foregoing Blood Red Shoes and Wild Beasts (both bands having appeared at previous editions of the festival, however, and both bands were, inevitably, awesome – also, it illustrates just how frequently Dot-to-Dot manages to pick out the next big bands mere months before they break).

Small Black were gracing the stage as we arrived – hailing from Long Island, they’re something of a blog darling in corners of the web and I can completely see why. Their music is a very carefully crafted pop that bears a resemblance to geographical cousins like Beach Fossils and Memory Tapes, bands that specialise in a kind of laid-back, fuzzy sort of sound. It’s instantly unlike anything specific that you’ll have heard before, but equally, instantly recognisable. The four lads manage to balance melancholy, longing, joy and ecstasy in a way last seen regularly in the films of John Hughes.

YouTube Preview Image

Upstairs in the bar, Islet were going through their usual routine of tearing up the stage. I’ve been an ardent fan of theirs since their lead singer screamed in my face back in March when they supported Los Campesinos! at the Koko in Camden – their bizarre mélange music, all drum circles and hollering and ambient noise and funk grooves and… oh, why bother describing when I can show demonstrate:

Back downstairs, and Washed Out (or, rather, New York resident Ernest Green) has taken to the stage with his tripped-out ambient house and his friends (and geographic neighbours) in Small Black join him, adding extra layers to his sound. The clash with Blood Red Shoes appeared to have left the audience numbers a touch low, but nobody there regretted their decision – there’s something of the madchester in Washed Out’s sound, like a chilled-out evening at the Haçienda (or at least how that would seem in my mind). A case could also be made for saying it sounds like Chicago house played on a tape player with low battery. The results, regardless, are wonderful.

YouTube Preview Image

The second of my 50-50 choices then came, and Liars won out over Wild Beasts – but can you blame me? The American art-punk band has doggedly refused to stick to any kind of consistent style, with their latest release, Sisterworld, yet another masterful addition to their discography. Lead singer Angus Andrews cuts a demented figure on stage, strutting and preening like a preaching Mick Jagger – his voice, the drawl of a doorstep drunk at 4am, smitten with violence, joyfully spitting the lyrics to ‘Scissor’ like some kind of mental declaration of war. Proper, proper good.

YouTube Preview Image

It is then, unfortunately, something of a timetabling error to follow this violent display with Beach House, a delicate washed-out band that would have sat much more comfortably next to, well, Washed Out. The audience, still somewhat full of bloodlust, is quickly bored and begins to dissipate, which is a terrible shame considering just how brilliant Victoria Legrand and Alex Scully’s sultry Kate-Bush-meets-a-shoegaze dreamscapes are.

YouTube Preview Image

I’ve written at length about how much I love Los Campesinos!, so for some of you it will be no surprise that I’m going to say that their set headlining at Trent SU was something of a triumph. I’m not being biased here, though, in all honesty – this really was a magnificent performance. The crowd, who all day had looked a little bit sun-frazzled and unable to conjure up much more than the occasional whoop (even during Liars there were visible signs of struggle during the rounds of applause), suddenly sparked into life. Jumping! Singing along! Gareth couldn’t have looked happier, and his usually awful singing was merely average. A definite peak for the day.

YouTube Preview Image

Had to take a quick break here, because at this point it had been something like 8 hours of standing up with neither break nor sustenance – I grabbed some a sandwich in the still-open Lee Rosy’s Tea Room, a wonderful establishment that’s at the heart of Nottingham’s alternative music and arts scene. Somewhat a shame, then, that this year it isn’t hosting the acoustic acts – Primavera Sound, held on the same weekend, appears to have snapped up many of the bands and artists who usually make it here, leaving us with a smaller-than-usual Dot-to-Dot. It is inescapable, too, to note that the festival is far from sold out. Usually leaving a venue for another is something of a risk – in previous years it has been impossible to see the headliners on any stage without waiting through several hours’ worth of bands beforehand. The breathing space is a welcome change, but the lack of people inevitably means that the festival feels less like a party.

Yuck took to the stage of the Bodega after midnight, looking every bit like they’d been enjoying the £3 pints of 7% cider in the bar downstairs for the past few hours. Already something of a convert to their cause, having seen them several times around London over the past few months, I’d been waxing lyrical to friends all day about their brand of borrowed-from-the-90s slacker rock. Their stage banter was a little dry, and their response to a call from an audience member for their closest thing to a hit, ‘Georgia’, was met with a deliberate omission of the song from the setlist, meaning that this was not exactly their most friendly appearance, but nevertheless it proved a decent gig.

YouTube Preview Image

Dot-to-Dot ends with Stealth putting on the last of the shows as the night turns slowly into early morning, and after fighting my way inside for the end of Casiokids’ brittle dance set I realised that my day (and my feet) were done. Another excellent bank holiday weekend festival – despite the smaller crowds and slightly smaller lineup, it’s still proving itself one of the most important festivals in the regions that host it, and it also provides an excellent way of kick-starting the festival season.

Another year, link another bank holiday at the start of the summer, and another edition of the Dot-to-Dot Festival, a sprawling mess of bands and audience occupying venues and bars in cities up and down the land. This year sees it spread from birthplace Nottingham and second city Bristol to Manchester, taking in three regional centres that, it could be argued, have long lacked massive indie festivals to call their own and to ground their musical calendars.

Thanks to a snail-paced jam on the M1 we missed the first band of the day (Frontiers, in Rock City’s main hall) – instead, the day began for us in Rescue Rooms with the lads of The Cheek, who sadly fail to sparkle in the mood of the glorious sun twinkling down outside. Their name may bring to mind something skinny and sharp from the late 70s but the lead singer’s suit certainly didn’t. It looked like he’d borrowed it from his dad. Their poppy punk sound came across like a sort of watered-down Suede, which held my interest for all of ten minutes before I headed out for a wander.

YouTube Preview Image

Trent SU, the second-largest of the venues at the festival, had what seemed to be the most appealing consistency in acts, even if it meant foregoing Blood Red Shoes and Wild Beasts (both bands having appeared at previous editions of the festival, however, and both bands were, inevitably, awesome – also, it illustrates just how frequently Dot-to-Dot manages to pick out the next big bands mere months before they break).

Small Black were gracing the stage as we arrived – hailing from Long Island, they’re something of a blog darling in corners of the web and I can completely see why. Their music is a very carefully crafted pop that bears a resemblance to geographical cousins like Beach Fossils and Memory Tapes, bands that specialise in a kind of laid-back, fuzzy sort of sound. It’s instantly unlike anything specific that you’ll have heard before, but equally, instantly recognisable. The four lads manage to balance melancholy, longing, joy and ecstasy in a way last seen regularly in the films of John Hughes.

YouTube Preview Image

Upstairs in the bar, Islet were going through their usual routine of tearing up the stage. I’ve been an ardent fan of theirs since their lead singer screamed in my face back in March when they supported Los Campesinos! at the Koko in Camden – their bizarre mélange music, all drum circles and hollering and ambient noise and funk grooves and… oh, why bother describing when I can show demonstrate:

YouTube Preview Image

Back downstairs, and Washed Out (or, rather, New York resident Ernest Green) has taken to the stage with his tripped-out ambient house and his friends (and geographic neighbours) in Small Black join him, adding extra layers to his sound. The clash with Blood Red Shoes appeared to have left the audience numbers a touch low, but nobody there regretted their decision – there’s something of the madchester in Washed Out’s sound, like a chilled-out evening at the Haçienda (or at least how that would seem in my mind). A case could also be made for saying it sounds like Chicago house played on a tape player with low battery. The results, regardless, are wonderful.

YouTube Preview Image

The second of my 50-50 choices then came, and Liars won out over Wild Beasts – but can you blame me? The American art-punk band has doggedly refused to stick to any kind of consistent style, with their latest release, Sisterworld, yet another masterful addition to their discography. Lead singer Angus Andrews cuts a demented figure on stage, strutting and preening like a preaching Mick Jagger – his voice, the drawl of a doorstep drunk at 4am, smitten with violence, joyfully spitting the lyrics to ‘Scissor’ like some kind of mental declaration of war. Proper, proper good.

YouTube Preview Image

It is then, unfortunately, something of a timetabling error to follow this violent display with Beach House, a delicate washed-out band that would have sat much more comfortably next to, well, Washed Out. The audience, still somewhat full of bloodlust, is quickly bored and begins to dissipate, which is a terrible shame considering just how brilliant Victoria Legrand and Alex Scully’s sultry Kate-Bush-meets-a-shoegaze dreamscapes are.

YouTube Preview Image

I’ve written at length about how much I love Los Campesinos!, so for some of you it will be no surprise that I’m going to say that their set headlining at Trent SU was something of a triumph. I’m not being biased here, though, in all honesty – this really was a magnificent performance. The crowd, who all day had looked a little bit sun-frazzled and unable to conjure up much more than the occasional whoop (even during Liars there were visible signs of struggle during the rounds of applause), suddenly sparked into life. Jumping! Singing along! Gareth couldn’t have looked happier, and his usually awful singing was merely average. A definite peak for the day.

YouTube Preview Image

Had to take a quick break here, because at this point it had been something like 8 hours of standing up with neither break nor sustenance – I grabbed some a sandwich in the still-open Lee Rosy’s Tea Room, a wonderful establishment that’s at the heart of Nottingham’s alternative music and arts scene. Somewhat a shame, then, that this year it isn’t hosting the acoustic acts – Primavera Sound, held on the same weekend, appears to have snapped up many of the bands and artists who usually make it here, leaving us with a smaller-than-usual Dot-to-Dot. It is inescapable, too, to note that the festival is far from sold out. Usually leaving a venue for another is something of a risk – in previous years it has been impossible to see the headliners on any stage without waiting through several hours’ worth of bands beforehand. The breathing space is a welcome change, but the lack of people inevitably means that the festival feels less like a party.

Yuck took to the stage of the Bodega after midnight, looking every bit like they’d been enjoying the £3 pints of 7% cider in the bar downstairs for the past few hours. Already something of a convert to their cause, having seen them several times around London over the past few months, I’d been waxing lyrical to friends all day about their brand of borrowed-from-the-90s slacker rock. Their stage banter was a little dry, and their response to a call from an audience member for their closest thing to a hit, ‘Georgia’, was met with a deliberate omission of the song from the setlist, meaning that this was not exactly their most friendly appearance, but nevertheless it proved a decent gig.

YouTube Preview Image

Dot-to-Dot ends with Stealth putting on the last of the shows as the night turns slowly into early morning, and after fighting my way inside for the end of Casiokids’ brittle dance set I realised that my day (and my feet) were done. Another excellent bank holiday weekend festival – despite the smaller crowds and slightly smaller lineup, it’s still proving itself one of the most important festivals in the regions that host it, and it also provides an excellent way of kick-starting the festival season.

Another year, sale another bank holiday at the start of the summer, and another edition of the Dot-to-Dot Festival, a sprawling mess of bands and audience occupying venues and bars in cities up and down the land. This year sees it spread from birthplace Nottingham and second city Bristol to Manchester, taking in three regional centres that, it could be argued, have long lacked massive centrally-located indie festivals to call their own and to ground their musical calendars.

Thanks to a snail-paced jam on the M1 we missed the first band of the day (Frontiers, in Rock City’s main hall) – instead, the day began for us in Rescue Rooms with the lads of The Cheek, who sadly fail to sparkle in the mood of the glorious sun twinkling down outside. Their name may bring to mind something skinny and sharp from the late 70s but the lead singer’s suit certainly didn’t. It looked like he’d borrowed it from his dad. Their poppy punk sound came across like a sort of watered-down Suede, which held my interest for all of ten minutes before I headed out for a wander.

YouTube Preview Image

Trent SU, the second-largest of the venues at the festival, had what seemed to be the most appealing consistency in acts, even if it meant foregoing Blood Red Shoes and Wild Beasts (both bands having appeared at previous editions of the festival, however, and both bands were, inevitably, awesome – also, it illustrates just how frequently Dot-to-Dot manages to pick out the next big bands mere months before they break).

Small Black were gracing the stage as we arrived – hailing from Long Island, they’re something of a blog darling in corners of the web and I can completely see why. Their music is a very carefully crafted pop that bears a resemblance to geographical cousins like Beach Fossils and Memory Tapes, bands that specialise in a kind of laid-back, fuzzy sort of sound. It’s instantly unlike anything specific that you’ll have heard before, but equally, instantly recognisable. The four lads manage to balance melancholy, longing, joy and ecstasy in a way last seen regularly in the films of John Hughes.

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Upstairs in the bar, Islet were going through their usual routine of tearing up the stage. I’ve been an ardent fan of theirs since their lead singer screamed in my face back in March when they supported Los Campesinos! at the Koko in Camden – their bizarre mélange music, all drum circles and hollering and ambient noise and funk grooves and… oh, why bother with a description when I can offer a demonstration:

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Back downstairs, and Washed Out (or, rather, New York resident Ernest Green) has taken to the stage with his tripped-out ambient house and his friends (and geographic neighbours) in Small Black join him, adding extra layers to his sound. The clash with Blood Red Shoes appeared to have left the audience numbers a touch low, but nobody there regretted their decision – there’s something of the madchester in Washed Out’s sound, like a chilled-out evening at the Haçienda (or at least how that would seem in my mind). A case could also be made for saying it sounds like Chicago house played on a tape player with low battery. The results, regardless, are wonderful.

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The second of my 50-50 choices then came, and Liars won out over Wild Beasts – but can you blame me? The American art-punk band has doggedly refused to stick to any kind of consistent style, with their latest release, Sisterworld, yet another masterful addition to their discography. Lead singer Angus Andrews cuts a demented figure on stage, strutting and preening like a preaching Mick Jagger – his voice, the drawl of a doorstep drunk at 4am, smitten with violence, joyfully spitting the lyrics to ‘Scissor’ like some kind of mental declaration of war. Proper, proper good.

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It is then, unfortunately, something of a timetabling error to follow this violent display with Beach House, a delicate washed-out band that would have sat much more comfortably next to, well, Washed Out. The audience, still somewhat full of bloodlust, is quickly bored and begins to dissipate, which is a terrible shame considering just how brilliant Victoria Legrand and Alex Scully’s sultry Kate-Bush-meets-a-shoegaze dreamscapes are.

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I’ve written at length about how much I love Los Campesinos!, so for some of you it will be no surprise that I’m going to say that their set headlining at Trent SU was something of a triumph. I’m not being biased here, though, in all honesty – this really was a magnificent performance. The crowd, who all day had looked a little bit sun-frazzled and unable to conjure up much more than the occasional whoop (even during Liars there were visible signs of struggle during the rounds of applause), suddenly sparked into life. Jumping! Singing along! Gareth couldn’t have looked happier, and his usually awful singing was merely average. A definite peak for the day.

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Had to take a quick break here, because at this point it had been something like 8 hours of standing up with neither break nor sustenance – I grabbed some a sandwich in the still-open Lee Rosy’s Tea Room, a wonderful establishment that’s at the heart of Nottingham’s alternative music and arts scene. Somewhat a shame, then, that this year it isn’t hosting the acoustic acts – Primavera Sound, held on the same weekend, appears to have snapped up many of the bands and artists who usually make it here, leaving us with a smaller-than-usual Dot-to-Dot. It is inescapable, too, to note that the festival is far from sold out. Usually leaving a venue for another is something of a risk – in previous years it has been impossible to see the headliners on any stage without waiting through several hours’ worth of bands beforehand. The breathing space is a welcome change, but the lack of people inevitably means that the festival feels less like a party.

Yuck took to the stage of the Bodega after midnight, looking every bit like they’d been enjoying the £3 pints of 7% cider in the bar downstairs for the past few hours. Already something of a convert to their cause, having seen them several times around London over the past few months, I’d been waxing lyrical to friends all day about their brand of borrowed-from-the-90s slacker rock. Their stage banter was a little dry, and their response to a call from an audience member for their closest thing to a hit, ‘Georgia’, was met with a deliberate omission of the song from the setlist, meaning that this was not exactly their most friendly appearance, but nevertheless it proved a decent gig.

YouTube Preview Image

Dot-to-Dot ends with Stealth putting on the last of the shows as the night turns slowly into early morning, and after fighting my way inside for the end of Casiokids’ brittle dance set I realised that my day (and my feet) were done. Another excellent bank holiday weekend festival – despite the smaller crowds and slightly smaller lineup, it’s still proving itself one of the most important festivals in the regions that host it, and it also provides an excellent way of kick-starting the festival season.

Another year, viagra another bank holiday at the start of the summer, more about and another edition of the Dot-to-Dot Festival, rx a sprawling mess of bands and audience occupying venues and bars in cities up and down the land. This year sees it spread from birthplace Nottingham and second city Bristol to Manchester, taking in three regional centres that, it could be argued, have long lacked massive centrally-located indie festivals to call their own and to ground their musical calendars.

Thanks to a snail-paced jam on the M1 we missed the first band of the day (Frontiers, in Rock City’s main hall) – instead, the day began for us in Rescue Rooms with the lads of The Cheek, who sadly failed to sparkle in the mood of the glorious sun twinkling down outside. Their name may bring to mind something skinny and sharp from the late 70s but the lead singer’s suit certainly didn’t. It looked like he’d borrowed it from his dad. Their poppy punk sound came across like a sort of watered-down Suede, which held my interest for all of ten minutes before I headed out for a wander.

YouTube Preview Image

Trent SU, the second-largest of the venues at the festival, had what seemed to be the most appealing consistency in acts, even if it meant foregoing Blood Red Shoes and Wild Beasts (both bands having appeared at previous editions of the festival, however, and both bands were, inevitably, awesome – also, it illustrates just how frequently Dot-to-Dot manages to pick out the next big bands mere months before they break).

Small Black were gracing the stage as we arrived – hailing from Long Island, they’re something of a blog darling in corners of the web and I can completely see why. Their music is a very carefully crafted pop that bears a resemblance to geographical cousins like Beach Fossils and Memory Tapes, bands that specialise in a kind of laid-back, fuzzy sort of sound. It’s instantly unlike anything specific that you’ll have heard before, but equally, instantly recognisable. The four lads manage to balance melancholy, longing, joy and ecstasy in a way last seen regularly in the films of John Hughes.

YouTube Preview Image

Upstairs in the bar, Islet were going through their usual routine of tearing up the stage. I’ve been an ardent fan of theirs since their lead singer screamed in my face back in March when they supported Los Campesinos! at the Koko in Camden – their bizarre mélange music, all drum circles and hollering and ambient noise and funk grooves and… oh, why bother with a description when I can offer a demonstration:

YouTube Preview Image

Back downstairs, and Washed Out (or, rather, New York resident Ernest Green) has taken to the stage with his tripped-out ambient house and his friends (and geographic neighbours) in Small Black join him, adding extra layers to his sound. The clash with Blood Red Shoes appeared to have left the audience numbers a touch low, but nobody there regretted their decision – there’s something of the madchester in Washed Out’s sound, like a chilled-out evening at the Haçienda (or at least how that would seem in my mind). A case could also be made for saying it sounds like Chicago house played on a tape player with low battery. The results, regardless, are wonderful.

YouTube Preview Image

The second of my 50-50 choices then arrived, as Liars won out over Wild Beasts – but can you blame me? The American art-punk band has doggedly refused to stick to any kind of consistent style, with their latest release, Sisterworld, yet another masterful addition to their discography. Lead singer Angus Andrews cuts a demented figure on stage, strutting and preening like a preaching Mick Jagger – his voice, the drawl of a doorstep drunk at 4am, smitten with violence, joyfully spitting the lyrics to ‘Scissor’ like some kind of mental declaration of war. Proper, proper good.

YouTube Preview Image

It is then, unfortunately, something of a timetabling error to follow this violent display with Beach House, a delicate washed-out band that would have sat much more comfortably next to, well, Washed Out. The audience, still somewhat full of bloodlust, is quickly bored and begins to dissipate, which is a terrible shame considering just how brilliant Victoria Legrand and Alex Scully’s sultry Kate-Bush-meets-a-shoegaze dreamscapes are.

YouTube Preview Image

I’ve written at length about how much I love Los Campesinos!, so for some of you it will be no surprise that I’m going to say that their set headlining at Trent SU was something of a triumph. I’m not being biased here, though, in all honesty – this really was a magnificent performance. The crowd, who all day had looked a little bit sun-frazzled and unable to conjure up much more than the occasional whoop (even during Liars there were visible signs of struggle during the rounds of applause), suddenly sparked into life. Jumping! Singing along! Gareth couldn’t have looked happier, and his usually awful singing was merely average. A definite peak for the day.

YouTube Preview Image

Had to take a quick break here, because at this point it had been something like 8 hours of standing up with neither break nor sustenance – I grabbed some a sandwich in the still-open Lee Rosy’s Tea Room, a wonderful establishment that’s at the heart of Nottingham’s alternative music and arts scene. Somewhat a shame, then, that this year it isn’t hosting the acoustic acts – Primavera Sound, held on the same weekend, appears to have snapped up many of the bands and artists who usually make it here, leaving us with a smaller-than-usual Dot-to-Dot. It is inescapable, too, to note that the festival is far from sold out. Usually leaving a venue for another is something of a risk – in previous years it has been impossible to see the headliners on any stage without waiting through several hours’ worth of bands beforehand. The breathing space is a welcome change, but the lack of people inevitably means that the festival feels less like a party.

Yuck took to the stage of the Bodega after midnight, looking every bit like they’d been enjoying the £3 pints of 7% cider in the bar downstairs for the past few hours. Already something of a convert to their cause, having seen them several times around London over the past few months, I’d been waxing lyrical to friends all day about their brand of borrowed-from-the-90s slacker rock. Their stage banter was a little dry, and their response to a call from an audience member for their closest thing to a hit, ‘Georgia’, was met with a deliberate omission of the song from the setlist, meaning that this was not exactly their most friendly appearance, but nevertheless it proved a decent gig.

YouTube Preview Image

Dot-to-Dot ends with Stealth putting on the last of the shows as the night turns slowly into early morning, and after fighting my way inside for the end of Casiokids’ brittle dance set I realised that my day (and my feet) were done. Another excellent bank holiday weekend festival – despite the smaller crowds and slightly smaller lineup, it’s still proving itself one of the most important festivals in the regions that host it, and it also provides an excellent way of kick-starting the festival season.

Kensington Palace, pills illustrated by Aniela Murphy

Kensington Palace has been home to some of the most fashionable and glamorous women who ever lived. From Queen Caroline in the 17th century, who patronised many of the struggling artists and scientists of the time and always looked fabulous, right through to my favourite Royal, Princess Margaret – never seen at a party without a fag in one hand and a glass of mother’s ruin in the other.

So it’s no huge surprise that Historic Royal Palaces, keepers of Kensington, have decided to host a rather fashionable temporary exhibition while it renovates the Palace; temporarily for almost two years, that is.

I took a trip there last weekend with the other half and my parents. My parents are wonderful, I have to say, but they aren’t particularly into fashion; my mum was Miss Butlins 1979 – winning, I’m told, because of her fashionable swagger, but together with my father, they couldn’t care less about fashion. So I was a little concerned as to how they’d react to this exhibition – they dig a historic landmark but aren’t down with la mode.

The exhibition, however, successfully combines historical artefacts and new fashion pieces, created especially to occupy the rooms. All this is, of course, housed in the magnificent splendour of the Palace – it’s a win:win situation. We were even treated to a little bit of period dancing in the gardens, so the folks were smiling with glee before we’d even entered the building.

Several rooms are open for viewing. More traditional guests may be disappointed that the Palace’s most famous rooms and exhibitions, such as the royal dresses, are closed for the time being, but regular visitors and fashion fans will be delighted at this innovative and unique transformation of a landmark.

Attendees are provided with a map and quiz sheet – there are seven princesses to find (all previous residents, so don’t cheat on Wikipedia to find the answers first, you’ll spoil your fun!) You won’t be surprised to hear that the most recent is Princess Di – and one of her ensembles, in which she attended a dinner at Bucks Pal, hangs poignantly in a glass case surrounded by white feathers.

The rooms have been given rather pretentious titles, which at first hearing, sound somewhat superficial. As you spend time in each of the rooms, though, you soon discover that the names have incredible meaning. Take, for example, the first room – ‘The Room of Tears’. The centre piece is a specially-designed piece by fashion design duo Aminaka Wilmont – a lifeless mannequin lays elegantly, facing the ceiling, draped in Aminaka Wilmont’s creation of silk, embellished with hundreds and thousands of crystals. ‘We were really inspired by the sense of sorrow and sadness in the room,’ Marcus Wilmont said of his creation. It does hold sadness, but the essence of their piece, which lies like an illusion, provides an incredibly serene setting. The room is dedicated to [insert name of Princess here, when you’ve visited the exhibition!] whose tears were collected in glass bottles – some of which (the bottles, not the tears) are on display.


Aminaka Wilmont’s Dress of Tears, illustrated by Michelle Urvall Nyrén

Other rooms include a grand, sweeping staircase, at the top of which stands Dame Vivienne Westwood’s incredible creation. Westwood’s general themes, of aristocratic and royal dresses sexed up, tie in perfectly with the exhibition, and this was by far my favourite piece. An architectural feat, this sculpted number creates the illusion of a princess running down the stairs.


Vivienne Westwood’s Dress for a Rebellious Princess, illustrated by Natsuki Otani

There’s also fantastic creations by fresh London design talent – William Tempest gives his take on the longest reigning monarch’s bedroom – his piece hangs from the ceiling and is made up of thousands of origami birds, embodying the shapely figure of said Princess (sorry to be so vague, I really don’t want to give the game away!)

Boudicca have created metallic sculptural pieces that hang precariously from the ceiling, Stephen Jones showcases some of his finest millinery, inspired by a bust of Isaac Newton; and new kid on the block Echo Morgan has created an amazing sculptural piece – part mantua, part lantern, featuring the most wonderful illustrations.


Echo Morgan’s Dress of the World, illustrated by Natasha Thompson

At this exhibition, there’s much fun to be had. The addition of a game to discover each of the princesses is a fantastic touch, and a unique way of exploring this magnificent building. Go!

Open until January 2011. See Kensington Palace’s website here for all the details and to book tickets.

Categories ,Aminaka Willmont, ,Aniela Murphy, ,Boudicca, ,Buckingham Palace, ,Butlins, ,Dame Vivienne Westwood, ,Echo Morgan, ,Enchanted Palace, ,exhibition, ,fashion, ,Historic Royal Palaces, ,Isaac Newton, ,Kensington Palace, ,london, ,Mantua, ,Marcus Wilmont, ,Michelle Urvall Nyrén, ,millinery, ,Natasha Thompson, ,Natsuki Otani, ,Princess Diana, ,Princess Margaret, ,Queen Caroline, ,Stephen Jones, ,The Room of Tears, ,William Tempest

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