Elliott J Frieze – AmeliasMagazine

Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Elliott J Frieze (by Georgia)

Image courtesy of Ascher

On Tuesday I went to see a beautiful collection of scarves from Ascher London, clinic presented in a suite at Number One Aldwych. Marking their first collection of scarves in thirty years, the collection consists of some brand new designs sitting alongside classic designs from the Ascher library, reworked in new colourways.

Ascher was founded as a fabric house in 1947; their fabrics graced the catwalks of an amazing list of couturiers including Dior, Yves Saint Laurent, Givenchy, Schiaparelli, Lanvin and Mary Quant. A husband and wife team, Lida designed and Zika printed the fabrics.

Rose Pom Pom, designed by Ascher studio, was featured prominently in a collection of dresses in Christian Dior’s 1954 collection

Fabric shortages during the Second World War lead to a rise in the popularity of colourful headscarves as an easy way to liven up dull uniforms. During the 1940s Ascher took advantage of this trend, initially reproducing nineteenth-century prints in vivid new colourways.

A selection of scarves from the Ascher archive

Later, they became the first studio to approach and join forces with artists to produce scarves from illustrations and paintings, boasting another impressive list of those involved: Matisse, Derain, Berard, Moore, Cocteau, Nicholson and Sutherland.

Image courtesy of Ascher

Sam Ascher, grandson of Lida and Zika, talked me through the current collection along with some vintage scarves and artwork from the Ascher archive. This included a rare opportunity to see some original and never-used ink illustrations by Cecil Beaton, complete with his handwritten instructions outlining the repeat pattern.

All of the scarves are made in Italy using luxurious silk twill, silk chiffon, cashmere and modal with hand rolled edges and the quality is immediately apparent.

Screen printing (rather than digital printing) allows the designs to be reproduced exactly, so that each design is as perfect as if it had been hand-painted. Some multi tonal scarves are produced using up to ten screens, ensuring each of the artists’ original brushstrokes is retained in perfect detail. There is definitely no cutting of corners where Ascher is concerned.

The collection look book features an illustrated guide of How To Wear Your Ascher Scarf. Names like The Sports Car and The Parisian Loop conjure up images of glamorous femme fatales racing around the Home Counties in classic cars. The whole collection captures the optimistic glamour and elegance of the post-war era.

Images courtesy of Ascher

One of the scarves designed by Henry Moore is described in the look book as Bridging the gap between fashion and fine art, Aschers designs are described as equally at home in a frame or worn on an evening out.

The designs were celebrated with a retrospective at the V&A back in 1987 and they are still held in many museum collections, evident by the two Henry Moore wall hangings on display, which I was told had been unexpectedly sent over by the Tate that morning.

All photography by Naomi Law, unless otherwise stated

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

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

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

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

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

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

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

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

All photography by Jemma Crow

Written by Georgia Takacs on Monday September 27th, 2010 2:55 pm

Categories ,Anglomania, ,Anna Popplewell, ,Blue Lips, ,Doris Day, ,Elliott J Frieze, ,London Fashion Week, ,menswear, ,S/S 2011, ,Vauxhall Fashion Scout, ,Vivienne Westwood, ,When I Fall In Love, ,Womenswear

Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Elliott J Frieze

So ok maybe fashion isn’t the most eco conscious industry (shallow, us?!) but Estethica is trying to change all that. And, ask as if you didn’t know, it has been for the past four years. Keep up now.

So to celebrate their dedication to producing fair trade clothes for the fashionable crowd they held a brunch at London Fashion Week S/S 11 on Sunday morning (who doesn’t love a glass of fair trade champagne before breakfast?) in Somerset House surrounded by the designers the initiative supports.

And despite starting half an hour late (a room full of fashionista’s sure does heat up) it was an inspiring speech on the perils of how some retailers are bad and some are ever so good. So good in fact that they look after their farmers whilst still making us look good in the clothes we are wearing. Supported by Monsoon, the scheme aims to push eco-fashion to its boundaries by ensuring that their fresh young designer are as creative and relevant to the fashion industry as possible whilst retaining their own creative style.

And a fashion brunch wouldn’t be complete without a speech from the spokesperson; step up to the microphone Miss Laura Bailey! Coincidently the model/designer/writer is launching a collection for Made (by the people for the people) following on from her trip to Africa to experience the work that goes into the pieces first hand. And as a fashion conscious retailer, Made always does some beautiful simple pieces (remember that skull necklace from the Alexa Chung collection) so its no surprise that Bailey has some cute but kitsch earrings and rings to flaunt in her wares.

Illustration by Gabriel Ayala

When they’re doing such a good thing then it can never be wrong. Right!

Blue lips. Lipstick. Even on the male models. Wrong or right?
Well Elliot J Frieze certainly thought it was right when he sent his models sashaying down the catwalk wearing “cool blue” on their smackers. And all only in his second season at London Fashion Week S/S 11. Brave move.

But actually Frieze always packs his shows with a little something extra; last season Jacquette Wheeler and Amber Le Bon were models du jour and this season see’s an appearance from Chronicles of Narnia actress (and muse) Anna Popplewell.

Of the actual collection though I wasn’t convinced. A mixture of Menswear and Womenswear the pieces were part utility and part work wear. No joke, illness models wore dishevelled ties over striped shirts and clashed them with gingham dirndl skirts all in a palette of “powder shades of lemon and blueberry sherbet, medications hard boiled peppermints coupled with vibrant shades of fruit nougat for trimmings.” All a bit too saccharine for my liking. Top that off with a male model in a cropped powder blue jacket and something was not quite right.

Although Frieze did pull it back with his classic tailored trench coats and dresses; something of a speciality due to his known skill of “driving the boundaries of classic tailoring.”
I don’t think it was the aim though to send a model down the catwalk with her dress undone. Poor girl had to keep it together with her hand behind her back all the way down. All in a days work for a fashion designer!

Despite the sickly colour palette Frieze pulled together a collection that was rounded and made sense whilst sticking to his “British Heritage.” Taking his final walk down the catwalk Frieze surprised us all by joining the models in their love of blue lips. Cheeky scamp. But even more surprisingly (for Frieze and us) one spectator felt compelled to jump out of their seat and accost him for a photo before he walked off stage. Even though slightly stunned (and who wouldn’t be…..security!) Frieze ever the professional made the most of the impromptu photo op and posed with his muse. Lets not write off this one yet.
Illustrated by Gareth Hopkins

Of the actual collection though I wasn’t convinced. A mixture of Menswear and Womenswear the pieces were part utility and part work wear. No joke, pharm models wore dishevelled ties over striped shirts and clashed them with gingham dirndl skirts all in a palette of “powder shades of lemon and blueberry sherbet, hard boiled peppermints coupled with vibrant shades of fruit nougat for trimmings.” All a bit too saccharine for my liking. Top that off with a male model in a cropped powder blue jacket and something was not quite right.

Although Frieze did pull it back with his classic tailored trench coats and dresses; something of a speciality due to his known skill of “driving the boundaries of classic tailoring.”

I don’t think it was the aim though to send a model down the catwalk with her dress undone. Poor girl had to keep it together with her hand behind her back all the way down. All in a days work for a fashion designer!

A fashion mistake….not a new trend

Illustration by Jaymie O’Callaghan

Written by Jemma Crow on Monday September 20th, 2010 10:56 pm

Categories ,Elliott J Frieze, ,London Fashion Week, ,Somerset House, ,Vauxhall Fashion Scout

Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Elliott J Frieze

Illustration by Gabriel Ayala

When they’re doing such a good thing then it can never be wrong. Right!

Although Frieze did pull it back with his classic tailored trench coats and dresses; something of a speciality due to his known skill of “driving the boundaries of classic tailoring.”

A fashion mistake….not a new trend

Illustration by Jaymie O’Callaghan

Written by Jemma Crow on Monday September 20th, 2010 10:56 pm

Categories ,Elliott J Frieze, ,London Fashion Week, ,Somerset House, ,Vauxhall Fashion Scout

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Elliott J Frieze (by Matt)

Kirsty Ward A/W 2011 by YesGo Illustration.

Every season I eagerly anticipate Fashion Scout’s Ones to Watch because it is invariably a wonderful place to discover raw talent before everyone else does. This season we even ran a preview to prompt early onset salivating.

Kirsty Ward A/W 2011 by Charlotte Hoyle.

Unfortunately I was late to arrive and had to make do with an abysmal spot at the back, visit this site ambulance hence my far from fabulous photography. The perils of an action packed opening day to LFW. I do apologise.

Kirsty Ward A/W 2011 by June Chanpoomidole.

Straight off the starting blocks was Kirsty Ward, page who first came to our attention when she created jewellery for boyfriend David Longshaw when he himself showed as part of Ones to Watch a year ago. Last season she created her first collection, drugs on view at the static stands at Fashion Scout… and I knew straight away I’d discovered something very special.

Kirsty Ward A/W 2011. Photography by Amelia Gregory
Kirsty Ward A/W 2011 by Charlotte Hoyle.

Needless to say Kirsty Ward‘s first foray onto the catwalk proper did not disappoint. Working in a range of materials she kept to her sculpted best, whilst also working with new ideas such as the sheer asymmetric flip sided shirt.

Kirsty Ward A/W 2011. Photography by Amelia Gregory
Kirsty Ward A/W 2011 by Gilly Rochester.

As ever the jewellery was an integral part of her designs, sometimes embedded within the fabric, but always well considered. When I spoke to Kirsty at the stands she talked of her ongoing love with everyday household items: coat hangers and miniature hinges get her in an excitable tizz. But there’s no single clear influence in an innovative collection that will no doubt stand the test of time – one stand out piece was inspired by the shape of a Stormtrooper mask, albeit not through any conscious decision. Amusingly she tried to use as many “sick colours” as possible and was almost disappointed that fashionistas have been referring to her colour palette as “autumnal.” I love Kirsty Ward’s vision and an interview with this talented lady is long overdue….

Anja Mlakar A/W 2011. Photography by Amelia Gregory
Anja Mlakar A/W 2011 by Karolina Burdon.

Coming second we were treated to Anja Mlakar‘s collection, which was a confident showing of bouncy tulip skirted dresses in pastels, red and black. Cutaways were a big feature, and I liked the styling with what looked like round padded foam belts, roughly tied at the waist. Definitely an intriguing proposition.

Anja Mlakar A/W 2011. Photography by Amelia Gregory
Anje Mlakar A/W 2011 by Charlotte Hoyle.

Next up was possibly my least favourite, simply because I am not a minimal kind of gal: no offence intended. Tze Goh works in a kind of compacted foam jersey material that can be easily sculpted into shapes which stand proud of the body.

Tze Goh A/W 2011. Photography by Amelia Gregory
Tze Goh A/W 2011 by Sarah Wharton.

Capes, hairy and smooth, were the order of the day – in steely greys, deep purples and heathery blues.

Sara Bro-Jorgensen A/W 2011 by Charlotte Hoyle.

Lastly Sara Bro-Jorgensen created an intriguing collection using trompe l’oeil print and intarsia techniques to play with definitions of clothing. One outfit featured the imprint of a tuxedo, accessorised with a bow tie and knitted hood. She replicated her beloved leather jacket in intarsia, (it also features as part of the collection), using an old 1960s knitting machine available only at the Royal College of Art (the bonus of being an alumni).

Sara Bro-Jorgensen A/W 2011 by Maria Papadimitriou.

At her exhibition stand she freely admitted that she is not sure how she can reproduce the look commercially. Sometimes, it seems, old technology really is best. My favourite outfit was a trompe l’oeil intarsia cape dress out of which the model’s arms protruded frontways, encased in creamy childlike mittens. I wouldn’t recommend adopting such a stance of an evening on the town but on the catwalk this styling was a lot of fun.

Sara Bro-Jorgensen A/W 2011 by Stellabombella.

Sara Bro-Jorgensen A/W 2011. Photography by Amelia Gregory
Sara Bro-Jorgensen A/W 2011. All photography by Amelia Gregory.

Read Florence Massey’s review here. You can see more of June Chanpoomidole’s work in Amelia’s Compendium of Fashion Illustration.

Illustration by Bryony Crane

From Bernard Chandran’s glorious and vibrant show at The Show Space, sildenafil it was a mere moment to hot-foot it around the corner to Elliott J Frieze’s show at the Charing Cross Hotel. Now, I can’t deny that I’ve spent many an evening down the unsavoury alley at the side of this grand building, but I had assumed that it was a pretty generic, sterile hotel. It is, in fact, quite something – grand sweeping staircases and rows of rooms with Baroque decoration and plush carpets. I love this about fashion week – being able to enter buildings you didn’t know existed is a real treat.

Illustration by Jo Cheung

Ushered into a side room and handed a glass of champagne, I met up with contributor Georgia and a little later Amelia, and a charming woman led us to our seats. This wasn’t an ordinary catwalk – in one of the larger rooms a circular catwalk had been formed with the use of chairs – pretty much all front row, with models to come out at one end. It was a real shame to see seats unfilled – when a designer has put so much work into a collection (as we were about to discover) it’s pretty heartbreaking to see that people just can’t be bothered to turn up. But the arrangement meant that Amelia (sitting opposite me) and I could narcissistically take pictures of each other, which made the waiting time pass very quickly indeed!

When the first model appeared, it was a little chaotic. Racing in front of us, models took a brief pause at the end, then sprinted around the other side, then back across the front, then around the other side, returning back down the middle and occasionally colliding with the next model out. It was a nightmare to decide where to point my camera, and I left with a bit of a headache. But, it’s easy to become tired of watching models walk backwards and forwards, so to see them turning and navigating their diminutive, hot frames around a room became captivating.

Illustration by Bryony Crane

The collection started with some exciting corduroy tailoring in a natural cream colour. High-waisted trousers with enormous waistbands and double-breasted macs appeared on the ladies; for the gents the fabric had been tailored into trousers and a onesie with buckle details and an unsettling camel-toe…

Next up came luscious camel coats for both genders with a deep brown lining – the lady wore hers open as she swaggered in a floppy hat, the gent had his firmly fastened with a thick belt that synched in the waist. If I had any money, I would probably buy this.

Illustration by Jo Cheung

After a bit more chocolate tailoring, styled with chic aviator sunglasses, came the show piece – a grey multi-layer dress that swept the floor as the model walked. A definite winner, if you ask me.

Elliott finished the collection with some classic black looks – body concious dresses for women and structured tailoring for the guys. The whole aesthetic nodded to the Seventies and the women especially oozed sex appeal with figure-hugging outfits and super-chic styling.

All photography by Matt Bramford

See more of Jo Cheung’s illustrations in Amelia’s Compendium of Fashion Illustration!

Written by Matt Bramford on Wednesday March 2nd, 2011 5:07 pm

Categories ,1970s, ,A/W 2011, ,Bryony Crane, ,Catwalk review, ,Charing Cross Hotel, ,Corduroy, ,Elliott J Frieze, ,fashion, ,Jo Cheung, ,lfw, ,London Fashion Week, ,Matt Bramford

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Elliott J. Frieze

Anja Maklar by Madi

Ones to Watch is always one of my favourite parts of London Fashion Week, viagra four fresh designers, more about one after another and always packed to the rafters it’s a really nice way to see contrasting styles. Generally it’s a mixed bag, more about read our preview here and last year’s review here. Famous spots in the audience were Susie Bubble and Laura Santamaria.

Anja Maklar

The designer presented a collection of pastels, with cut out and overlap details. In answer to Matt’s pondering in his write up of the designer, she has indeed developed some of the key styles which were seen in her SS11 show, in particular the laser cut detail and the triangle shape of her dresses.

This was a fun, pleasantly pastel, colourful collection with plenty to keep the audience interested.

Kirsty Ward

Kirsty Ward by Anne N’Toko

This is definitely a designer to keep your eye on. Part of a growing crop of young graduates who really bring jewellery into their collections, her AW11 offering was brimming with sparkly adornments and beautiful cut clothes. In particular, the use of cut out panels throughout, was very effective.

A palette with gold, bronze and brown, the autumnal colours were accented with sudden all-in-white outfits and stunning oversized necklaces. A favourite for me was the mesh bronze dress, which caught the light beautifully as the model walked down the catwalk.

Sara Bro Jorgensen

Sara Bro Jorgensen by Joe Turvey

Definitely my favourite collection out of the four, Jorgensen has a hint of Mark Fast and Laura Theiss about her designs but has added an edgier, rocky feel to knitted yarns.

Mostly black, her collection showcased knitted dresses with lots of hanging threads and beads. There were also some highly covetable leggings with shiny black slivers of PVC running down the middle of the leg.

My favourite part of the collection, however, was the cute headgear sported by all the models. Little knitted caps in black and dark blue were worn with nearly every single look.

As well as the black, white knitted cardigans and dresses were worn with grey, splatter print swingy trousers and shorts. The black versus white theme was continued with trompe l’oeil printed dresses complete with tuxedo jacket, waistcoat, shirt and bow tiees.

Tze Gogh

Tze Gogh by Joe Turvey

The last of our Ones to Watch is Tze Gogh who graduated from Parsons in New York and then completed his masters at Central Saint Martins.

Slightly disappointing for me in terms of pushing boundaries, Gogh’s collection was understated, with clean simple lines in block colours of midnight blue, husky grey and black. The structured coats, dresses and jackets cleverly retained their shape as the models walked and I would love to know what material he uses, but I couldn’t help feeling that more could have been done to make the collection stand out.

However, I do applaud how he has retained from over designing his clothes and has kept a minimal aesthetic.

Illustration by Mina Bach

If I could taste something as delish for the mouth as Elliott J. Frieze is for the eyes, cialis 40mg I’d eat it up so fast that time may go backwards. It’s my second LFW show of newcomer Elliott J. Frieze and I’m seriously beginning to LOVE this guy. Like, shop true sartorial love. His work needs to be up there with the best on the BFC Catwalk. NEEDS.

Illustration by Matilde Sazio

Saying that, approved however, he did bag a rather delectable venue anyway. Especially for his third London Fashion Week show. It was a bit of an epic walk in the rain down the entire length of the Strand, but for the beautiful Charing Cross Hotel? Well worth it. And with free champagne, who’s complaining? Not me. Well actually, me a bit… I thought ‘Great! Bit of bubbly will numb my stabbing sore throat’ – WRONG. (Note To All – 1 in 2 people at fashion week are ill like moi). After a sneaky chat with someone in the production team, Amelia, Matt and I got first dibs on seats, as well as a lovely lady from Grazia. She lent me a lush pen that had me wishing she’d forget to ask for it back. We spread ourselves amongst the front rows for different perspectives and then it was the hipsters turn to pick-and-choose. It sure felt good to have one-up on them this time! The crowds then gushed in with one lady’s hat towering tall above them all. We couldn’t help staring in the champagne reception, it genuinely looked like a Philip Treacy. Jealous.

Illustration by Kerriann Hulme

The runway for the show was unique in that it snaked around the room, this insanely beautiful ornate room. A gleaming chandelier hung high over our heads, for goodness sake. And velvet and marble was coming in from all directions. So were the clothes as luxe as the location?

Illustration by Natsuki Otani

HELL yes, they were. The collection, once again, embodied his natural design ethos, paying homage to classic British Tailoring intertwined with sexy modernity. I remember this creepy boy from my childhood wore green corduroy trousers to school everyday, so I usually REPELL corduroy. However, Elliott J. Frieze has officially turned me with suitable injections of camel-coloured corduroy – think pencil skirts and jacket details. Lush.

The whole colour pallette was perfection on the eyes. Frieze centred it around a combination of ‘caffeine mixtures’ represented by Latte, Mochas and Expresso. Considering i’m a die-hard lover of anything coffee-flavoured, this must be why i wanted to eat the collection up! Everything was very well co-ordinated.

Frieze drove the boundaries of his classic British foundations with cocktail dresses made from lambswool and a long beautiful dress that was constructed by some of the most impressive jersey draping I have EVER seen. No wonder he’s dressed such power-women as Yasmini Le Bon, Lily Cole & Erin O’ Connor.

The idea is that the look reflects Elliott’s story from Country to City. From all those old-fashioned favourite textures to a bit of spectacular cinching, draping and tucking to prepare the country Lord/Lady for the London ratrace!

Much inspiration was taken from the 1970s. Therefore, just like last season, hair was big, curly and volumnous. Suitable additions of sunglasses courtesy of Persol and gloves by Southcombe set the whole look off, creating a powerful and sexy image.

If I wasn’t currently a student and could afford to invest in any up-and-coming designer, I would go straight to Elliott J. Frieze! He’s my definate one-to-watch so, if I were you, I’d keep an eye on him.

Photos by Georgia Takacs

Written by Georgia Takacs on Tuesday February 22nd, 2011 12:59 pm

Categories ,A/W 201, ,Elliott J Frieze, ,kerriann hulme, ,lfw, ,Matilde Sazio, ,Mina Bach., ,Natsuki Otani

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