Emmi Ojala – AmeliasMagazine

Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Leutton Postle

Leutton Postle S/S12 by Alia Gargum Leutton Postle LFW S/S12 illustration by Alia Gargum

Upon checking some of Leutton Postle’s previous work I became really excited about the prospect of going to see their first London Fashion Week show and collection: I could see it featured turf-like groups of cable ties sprouting out of hooded garments in various places and I have always used them a lot in my work. A few months ago I spotted a glorious neckpiece made out of cable ties in a high street store window display, information pills so seeing them in Leutton Postle‘s work further confirmed my suspicion that cable ties might just be having a fashion moment.

Leutton Postle LFW S/S12 photo by Amelia Gregory
All photography by Amelia Gregory.

Being a newbie to London Fashion Week I could have waited happily for hours in the queue but actually the show was delayed only by half an hour or so, which is pretty good I hear. I followed the crowd into Freemasons’ Hall (Vauxhall Fashion Scout’s venue) and picked up a spot next to the pro photographers at the end of the runway, a decision which made my experience much more intense. As soon as the models came out it was not the soundtrack to the show that I heard but the constant clicking from such a large number of cameras gathered near me; and to me that was just as thrilling.

Leutton Postle LFW S/S12 photo by Amelia Gregory

Leutton Postle S/S12 LFW by Gemma Sheldrake
Leutton Postle S/S 2012 by Gemma Sheldrake

Behind the luxury knitwear label Leutton Postle are designers Sam Leutton and Jenny Postle, both Central Saint Martins graduates – upon graduating Jenny had her MA AW11 collection snapped up by London’s Browns Focus and Sam went to China to work with knitwear innovators Stoll. Their pieces are truly original with a couture quality and they suggest time-consuming experimentation with knitwear design. I felt that in the colourful, intricate and eccentric designs of their collaborative label there was a real enjoyment of craft and play.

Leutton Postle LFW S/S12 by Sam Parr
Leutton Postle S/S 2012 by Sam Parr

Leutton Postle LFW S/S12 photo by Amelia Gregory

Leutton Postle10 LFW S/S12 photo by Amelia Gregory
Leutton Postle LFW S/S12 by Emmi Ojala
Leutton Postle S/S 2012 by Emmi Ojala

Apart from the fact that the collection was very colourful, which has a natural appeal to me personally, the patchwork element was another thing I really enjoyed and it made me think that perhaps in the future, when all designers might have to use mainly scraps and leftovers or recycle fabrics for their designs, it would not be that bad at all if you had Leutton Postle’s talent and imagination! In a way parts of the clothes did seem like they had been constructed from random bits and pieces, put together really cleverly.

Leutton Postle10 LFW S/S12 photo by Amelia Gregory

Extra elements of colourful playfulness were added to the show by the models’ make up which looked like they had just eaten from a bowl of multicoloured paint soup and then not wiped themselves properly, but it was a shame that some of the models’ faces did not match all that wonderful colour happiness, maybe the soup was not that good…

Leutton Postle LFW S/S12 show 'Baby Fashionista' photo by Maria Papadimitriou
There was also a very colourful toddler in the front row, photography by Maria Papadimitriou

Leutton Postle LFW S/S12 photo by Amelia Gregory

The designers Sam Leutton and Jenny Postle photo by Amelia Gregory
The designers themselves, however, looked very cheery and beautiful when they came out at the end to wave at an audience that was clapping in a very colourful way indeed!

Written by Maria Papadimitriou on Sunday September 18th, 2011 12:56 pm

Categories ,Alia Gargum, ,Amelia Gregory, ,Browns Focus, ,catwalk show, ,colour, ,couture, ,craft, ,Emmi Ojala, ,fashion, ,Fashion Designer, ,Fashion Illustration, ,Freemasons’ Hall, ,Gemma Sheldrake, ,Jenny Postle, ,knitwear, ,Leutton Postle, ,London Fashion Week, ,Make-up, ,Maria Papadimitriou, ,Merit Winner, ,photography, ,Sam Leutton, ,Sam Parr, ,Stoll, ,Vauxhall Fashion Scout

Amelia’s Magazine | London Fashion Week S/S 2012: Catwalk Review: Holly Fulton

Holly Fulton S/S 2012 by Megan Thomas

Holly Fulton S/S 2012 by Megan Thomas

I was blown away by Holly’s debut in A/W 2009 – a collection of designs influenced by my favourite movement, generic art deco. Mix that with jewel colours, rx luxurious materials and contemporary shapes, and I don’t see what there isn’t to love. When my ticket arrived, I didn’t care that it was standing, I was in that queue at 1.30pm, ready and waiting. I checked Twitter before the show, and saw that Marie Davies, the Junior Fashion Editor at Drapers had tweeted details from the show notes as being ‘dressed for Vegas but holidaying in Margate’, and that she was expecting ‘fruit machines and neon lights’. I thought that Holly’s previous collections had already channelled a little bit of Vegas ‘glamour’, but what would come of the British seaside resort combination?

Holly Fulton S/S 2012 by Geiko Louve

Holly Fulton S/S 2012 by Geiko Louve

When I got into the BFC Tent, I was determined to ensure that I got a good spot to take photos of Holly’s creations. I found myself at the end of the catwalk, and deliberated on where to stand – floor, or step, floor or step. The lady next to me, also holding a camera, smiled at me, and made way for me to stand next to her. I asked her if she had spotted who was on the front row (Hilary Alexander flying the Fulton flag in one of her printed dresses). She told me that she hadn’t noticed anyone, and that Holly was one of the few shows she attended, and solely because of her ‘pretty special’ jewellery. Suddenly, this lady’s name came to me, Julia Hutton-Squire, the editor of Adorn London, a jewellery-dedicated website that I read religiously. She was welcoming and friendly, and it was a pleasure to meet and enjoy the show with her.

Holly Fulton S/S 2012 by Miranda Williams

Holly Fulton S/S 2012 – All photography by Miranda Williams

In the darkness, the Aeroplane remix of the Cassius song The Sound of Violence began to play, a favourite of mine, so a very good start. To match this upbeat tempo, Holly opened her show with a signature bright canary yellow look. A pair of wide cut trousers, detailed with a black deco print, and a short sleeve checkerboard pattern top, in the same colours. And straight off, some jewellery! As the model walked, a huge pair of sea shell hoop earrings swung from her ears. Holly’s press release had said the show would take some influences from the sea, shell grottoes actually… were sea themed accessories going to be it? Mermaid-models having finished dressing in their eclectic outfits, to load themselves up with the spoils of the sea bed? Fantastic!

Holly Fulton S/S 2012 by Miranda Williams

Holly’s Versace influences became clear over the next few looks – when I spotted a peek of zebra print in a clutch bag that a model wearing a retro style brown and orange printed playsuit carried with her. This animal print stood out, in the middle of the looks, and worked as the collection’s most Vegas-fabulous designs. The first was a zebra print bomber jacket, cropped enough to rise and show an enviable flat stomach, which was paired with a white mini skirt, printed with an art deco and zebra pattern. The second was a flowing, European-esque jumpsuit, teamed with those shell earrings again. In a later look, a zebra pattern strapless top was worn underneath a white patent leather mini skirt, which was embroidered with a beautiful red coral design. This strapless top, from my position, looked like silk, but I learned later that it was actually intarsia knit, and part of a collaboration with Caerlee Mills, a Scottish textile mill who produced a number of pieces for this collection. Looking back at the photos from the show, these pieces are now easy to spot, but it is only with close inspection that you can see they are knitted and not printed silk. I loved the combination of these woven materials with Holly’s usual printed silks.

Holly Fulton S/S 2012 by Emmi Ojala

Holly Fulton S/S 2012 by Emmi Ojala

The exotic vibe carried on, with Holly presenting some of her signature body-con mini dresses and a couple of sexy swimwear looks. Holly also cited the work of American photographer Slim Aarons as an influence, who notably took photos of the social elite. It is his 1960’s pool-scene photos that reverberate in this collection. I was previously familiar with Aaron’s work, as one of my favourite jewellery designers, Merle O’Grady, was influenced by the same set of photos for her S/S 2011 collection. The photos are supremely kitsch and stylish, and I would recommend that you go and check them out. The bandeau swimwear was great, a nice addition for the range – although the white and black deco print bikini was worn by the most gorgeous model, and it was actually her I couldn’t keep my eyes off, rather than the bikini!

Holly Fulton S/S 2012 by Miranda Williams

On either side of the swimwear, were some fantastic mini dresses that were adorned with pop colour fringing, macramé beads and sequins. The sea theme continued through with shell, coral and wave prints popping over the dresses in blue and pink hues. This was definitely a show that said ‘Welcome to Summer‘. All Holly needed to top these off was a fantastic pair of shades – and there were Cutler and Gross to step in with some pretty special acetate sunnies to complete the look.

Holly Fulton S/S 2012 by Joana Faria

Holly Fulton S/S 2012 by Joana Faria

Holly loves a contrast, and we spanned a decade to the 1970’s with some silk wide leg trousers and a grand flowing maxi dress in sea flora prints. These were stark black, mixed with electric turquoise and would work as a glam evening choice. The continued narrative of prints, the sea, animal or natural, really helped bring this collection together. The illustrations of the coral, the seahorses, and the waves were kitsch, playing back to Slim Aaron’s photography. These looks also made the best of the Louboutin mules in patent black. It really is Holly’s choice of accessories that make her stand out for me – this run saw glossy totes, angular bags, in monochrome checks, studded cuffs, and of course the necklaces, which have become part of the Holly Fulton signature as much as the mini dresses.

Holly Fulton S/S 2012 by Miranda Williams
The show closed with a short mini shift, that came down the catwalk as a delicious offering of influences all at once – tribal zebra, delicate sea shells, and clashing colours, orange, black and white, finished off with dreamy pink tones. Add the pink sea shell earrings and patent peep toe shoes, and it was signature Holly Fulton.

Some critics may say that this collection didn’t see Holly push any boundaries, and show us something new, but for me it was a confident show, and she is building an aesthetic that her brand will no doubt grow steadily and successfully upon. Let’s give dues to a designer who can make the unlikely combinations of sequin, fringing and body con work with seashells, zebra print and Vegas influences. For me it was fantastic Fulton.

Written by Miranda Williams on Friday September 23rd, 2011 11:58 am

Categories ,1960s, ,1970s, ,Aaron Slims, ,accessories, ,Adorn London, ,Art Deco, ,bodycon, ,Caerlee Mills, ,cassius, ,Cutler and Gross, ,Drapers, ,Emmi Ojala, ,fashion, ,Geiko Louve, ,Hilary Alexander, ,Holly Fulton, ,jewellery, ,Joana Faria, ,knit, ,lfw, ,London Fashion Week, ,Louboutin, ,Megan Thomas, ,Merle O’Grady, ,Merle O’Grady, ,print, ,rca, ,S/S 2012, ,scotland, ,Slim Aarons, ,Swimwear, ,twitter, ,Vegas, ,Versace, ,Womenswear

Amelia’s Magazine | London Fashion Week S/S 2012: Catwalk Review: Holly Fulton

Holly Fulton S/S 2012 by Megan Thomas

Holly Fulton S/S 2012 by Megan Thomas

Holly Fulton S/S 2012 by Geiko Louve

Holly Fulton S/S 2012 by Geiko Louve

Holly Fulton S/S 2012 by Miranda Williams

Holly Fulton S/S 2012 – All photography by Miranda Williams

Holly Fulton S/S 2012 by Miranda Williams

Holly Fulton S/S 2012 by Emmi Ojala

Holly Fulton S/S 2012 by Emmi Ojala

Holly Fulton S/S 2012 by Miranda Williams

Holly Fulton S/S 2012 by Joana Faria

Holly Fulton S/S 2012 by Joana Faria

Written by Miranda Williams on Friday September 23rd, 2011 11:58 am

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Spijkers en Spijkers

Spijkers en Spijkers S/S 2012 by Emmi Ojala

Spijkers en Spijkers S/S 2012 by Emmi Ojala

I’d found myself in unfamiliar surroundings for this show, drug over in West London at the Show Space on Grosvenor Place. The queue outside had been pleasantly short, and I was ushered smoothly into the building, with none of the usual cattle herding behaviour experienced at other London Fashion Week shows. The room was grand, with decorative white walls and high ceilings. I read from the press release that the inspiration was the Middle Eastern tale One Thousand and One Nights – a story about a young girl who uses her wits to enchant and win over a King. I wasn’t overly familiar with the Spijkers sister’s work, but had previously read Sally Mumby-Croft’s review of the sisters’ S/S 2011 collection, and was excited at the prospect of some opulent Persian splendour on a Saturday afternoon.

Spijkers en Spijkers photo by Tim Adey
Photography by Tim Adey.

The show was running late, by about 10 minutes, and I got chatting to the girl next to me, an illustrator from Access Fashion, about the rush to get over here from Somerset House from the Ashish show. This down time was ruined by a chirpy PR girl, who perhaps could sense I was slightly hungover, and playing on this vulnerable state, kept asking me and my new illustrator friend to shuffle up and down on the very wobbly bench. She tried joking and laughing, but on the 4th move, with no new people to be seated, it wasn’t amusing anymore, and I scared her off with a look, and a fierce rattle of the bag of popcorn I’d found in my goody bag.

Spijkers en Spijkers S/S 2012 by Miranda Williams

All photography by Miranda Williams

The lights finally dimmed, and I was surprised. The first look was an ivory and black star panelled dress with a fringed hem. It was completed with a wide head scarf, which also had the heavy black fringe. This look emanted the style of early 1930′s flappers, not a Persian Queen as I had expected. Nevermind I thought, as the next look pleased – a tapered leg pantsuit with an oversized silk satin blazer, again in ivory and black, which had a sort of Katherine Hepburn feel to it.

Spijkers en Spijkers S/S 2012 by Gilly Rochester

As the looks continued, I understood that the collection was deeply dress focussed, and alot of the intricately panelled dresses looked like sophisticated underwear to me. With an added tease, cheeky hemlines were split right up to the top of the thigh, and the silk twill and satins of the bias cut dresses clung neatly to the models bodies. This was definitely more F. Scott Fitzgerald, but it didn’t matter, I was enchanted by the glamorous flapper girls walking before me. The models were also completely gorgeous – and the romantic styling helped. Their hair was tousled, and they were made up with a slick of lime green eye shadow, glossy bronze cheeks and neutral lips. Perfect.

Spijkers en Spijkers S/S 2012 by Miranda Williams

One of the first looks that I really liked was a beautiful deep cut satin dress, in cream and ivory. It was made up from diamond shaped panels, and didn’t cling to the body, but held against it, showing chest, but just the right amount. This was also featured with one of the heavily tasselled headscarves, which became a real addition to each outfit. Creatively draped around the models head’s, I did understand some reference to the exotic Middle East with these accessories. Pop colours were also brought in as the palette developed on from the base of black and ivory, with the addition of coral and lime green.

Spijkers en Spijkers photo by Tim Adey

Star panels emblazoned the front and sides of most of the looks, in neutral creams and ivories, but also in black and silver. I much preferred this detail when the star panels were in the muted colours, across some of the simpler silk dresses. As I felt there was a sort of costume effect in some of the looks that had the bright silver stars splashed across the chest. The metal chains on the back of the dresses were a clever and fine detail, acting as both the construction and decoration of each. This reminded me of the costumes of exotic dancers, with gold chains wound around their bodies and limbs, attached to their clothes, and doubling as ornamentation.

Spijkers en Spijkers photo by Tim Adey

Vibrant colours filtered through towards the end of the run – pink, and also a colour that seems to be very on trend for S/S 2012, purple. One of the signature looks was a purple silk satin dress, with thin straps, lime green panels and a pink star on the right side of the chest. Worlds apart from my usual choice of black, and more black, I thought it was simple, super pretty, but importantly, fun. Another detail that the Spijkers sisters used in excess, and which has appeared across other catwalks this year was tassels. They were heavy and stitched onto to the bottom of hems. They added great movement to the dresses, with the addition of one or two splits running up the front legs of dresses, helping the fringing to sway with every pace.

Spijkers en Spijkers S/S 2012 by Miranda Williams

What I felt really worked in the collection were the loose fitting jumpsuits with crinkle silk satin blazers, and simple cut dresses with fewer panels. These were classic shapes that were sleek and sophisticated. I wasn’t so keen on the last couple of looks – which introduced brown linen, in a blazer jacket and a pair of ¾ length trousers. It felt out of place in the collection – was it a last minute addition for another fabric or element? Bit of an odd choice I thought. However, the shoes were great – high platforms with black or metallic star panels that screamed 1970′s glamour!

Although the show had lacked the richness of the Persian fairy tale I had read about, it certainly brought a taste of the compelling and hedonistic 1930’s. Since the labels conception in 2000, the sisters have become known for their use of graphic prints and colours, and they certainly delivered on that level. They have not strayed from their ‘signature’ style – which worked in its own charming way. Truus and Riet Spijkers showed a S/S 2012 collection that was feminine and fluid, wearable and well designed pieces, which looked as beautiful from the back as it did from the front.

Written by Miranda Williams on Tuesday September 20th, 2011 12:35 pm

Categories ,1930s, ,1970s, ,Emmi Ojala, ,fashion, ,Gilly Rochester, ,Glamour, ,Grosvenor Place, ,Katherine Hepburn, ,lfw, ,London Fashion Week, ,London Fashion Week S/S 2012, ,One Thousand and One Nights, ,Persian, ,Persian Queen, ,Popcorn, ,S/S 2012, ,Sally Mumby-Croft, ,Show Space, ,Somerset House, ,Spijkers en Spijkers, ,The Show Space

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Alice Palmer

Illustration by Jo Cheung

So after a rollercoaster six days, capsule for sale Menswear Day and London Fashion Week drew to a close with hip-store Kokon To Zai’s label, KTZ, and what would be my final show of this season. I absolutely loved what they did last season, and I couldn’t wait to see what they’d come up with next.

All photography by Matt Bramford

A heavily policed front row meant me and illustrator Gareth took seats on the second, but I managed to get on the end so that my pictures would make it look like I was Frowing all along. I was bloody exhausted and feeling very sorry for myself, and I couldn’t help but wish that they’d just get on with it and stop papping people wearing pig masks. My legs wobbled and I struggled to keep my eyes open, but when the music started and the first look appeared, I quickly forgot my woes.

Illustration by June Chanpoomidole

Illustration by Thomas Leadbetter

Memphis-inspired fashion? I thought I’d died and gone to heaven. A pumpin’ soundtrack blasted from the PA system as gorgeous models (more women than men, but who cares?) sashayed up and down the length of the BFC tent. Stripes were a plenty on figure-hugging dresses with sweetheart necklines that feature extra flaps in that Pop Art/Memphis splatter pattern. Vibrant primary colours made black dresses playful: such a sophisticated, considered collection expertly styled by wonder-styilst Anna Trevelyan.

A whole load of other influences filtered into this power collection – the womenswear referenced power dressing from the 1980s (think Dynasty) and Mondrian’s prints; the menswear also digging up the eighties with (faux!) fur lapels and broad shoulders.

Illustration by Abby Wright

I have to admit, I did prefer the womenswear – it was far more wearable for fashion-forward ladies and it oozed sex appeal with dresses cut above the knee and details in all the right places to emphasise the curves. The menswear featured striped balaclavas topped with pom-poms, acrylic brooches which referenced the womenswear, over-sized imposing puffa jackets and graphic-print trousers. But it’ll be the womenswear that cements Kokontozai’s place as one of London’s hottest design duos.

Illustration by Lesley Barnes

Huge orb-like creations were worn on wrists, picking out patterns from lapels. And, oh, the cuts! Dynamic pieces of fabric were layered onto classic tailored pieces to give them a seriously sexy aesthetic. This was a collection that was playful but sophisticated at the same – a really difficult challenge to pull off.

Illustration by Valerie Pezeron

I loved EVERYTHING about it. I can’t put it into words, so just have a look at the pictures. Oh, and read Amelia’s more comprehensive and articulate review here!

You can see more from Jo Cheung, June Chanpoomidole, Abby Wright and Lesley Barnes in Amelia’s Compendium of Fashion Illustration!

Marnie for Ziad Ghanem A/W 2011 by Tigz Rice
Marnie Scarlet for Ziad Ghanem A/W 2011 by Tigz Rice.

Ziad Ghanem‘s Never End, salve Never End, troche Never End was one of those hotly tipped shows that all my contributors were desperate to go to so I was promised performance catwalking at its best. What I hadn’t expected was to land a prime seat right opposite Boy George, looking remarkably svelte next to Daniel Lismore.

Boy George and Daniel Lismore. Photography by Amelia Gregory.

I remember the allure of Karma Chameleon, back when a dodgy video was sufficient accompaniment for pop songs of such genius. Colour by Numbers was actually the VERY FIRST album that I owned, given to me by my aunt on good old cassette tape.

But then, ah, the show!!! This collection was inspired by a horror video game called Silent Hill and the work of Romantic painter John Henry Fuseli, and it explored themes of gothic romance. The press release states that the same garment viewed in a dark, gothic context by one viewer will be interpreted as romantic and liberating by the next.

Ziad Ghanem A/W 2011. Photography by Amelia Gregory
Ziad Ghanem A/W 2011 by Jessica Holt.

The show opened with a stunning piece of performance, as a red-headed model appeared in gothic Tim Burton-esque make up, black skirts tumbling as she grew before our eyes into a 12 foot monster burlesque bride waving great green feathered fans. Thereafter followed a series of printed, billowing capes and tightly corseted dresses, all accessorised with veils, reddened eyes, cracked cheeks and Joker smiles. Apparently Ziad asked each model to choose their own favourite horror film make up for the show.

Ziad Ghanem A/W 2011. Photography by Amelia Gregory
Ziad Ghanem A/W 2011 by Jamie McGregor.

Androgynous models wore chiffon and beaded dresses, a spooky ghost couple trailed still more netting behind as they faced the photographers together. Amidst the drama cleverly made outfits showcased traditional haute couture skills using bias cut vintage silk chiffons and duchess satin that flowed around the body.

Ziad Ghanem A/W 2011. Photography by Amelia Gregory
Ziad Ghanem A/W 2011 by The Lovely Wars.

A white faced creature smeared its face with black paint and make up took a turn towards our feathered friends: blue winged eyes echoing the giant bird prints on winged dresses. Out stepped a ballet dancer on pointe, edging down the catwalk in frilled lilac, her skull face shrouded in grey. As she retreated backwards a series of busty ladies swept down the catwalk in eminently wearable multi coloured chiffon dresses: amongst them walked transvestites, burlesque artists and a giant lady in grey. I particularly adored the bustle backed electric fuchsia number that emphasised every womanly curve.

Ziad Ghanem A/W 2011. Photography by Amelia Gregory
Ziad Ghanem A/W 2011 by The Lovely Wars.

Taking the art of the catwalk to fantastical heights, Ziad Ghanem proved that his shows really are worth the hype, with or without the added bonus of an 80s pop idol in a fabulous yellow fedora. You can read more about his unique selection of models here.

Ziad Ghanem A/W 2011. Photography by Amelia Gregory.

You can also read Florence Massey’s review of the Ziad Ghanem show here.

Alice Palmer A/W 2011 by Maria Papadimitriou.

Glaswegian Alice Palmer makes extravagantly shaped knitwear. Now based in London, medical she demonstrated her ‘polyhedra knitting’ skills to the max with her Into the Void collection. The press release cites the minimalism of Anish Kapoor, side effects the eccentric dreams of flying machine enthusiast Gustav Mesmer, who invented an Umbrella Helicopter, and Black Sabbath as diverse influences, but you’d be hard pushed to identify them in anything more than the loosest of contexts.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Alice Palmer A/W 2011 by Gilly Rochester
Alice Palmer A/W 2011 by Gilly Rochester.

Abstracted shapes in monochrome and muted gold were the basis of Into the Void, extended and furled from the body in stunning 3D folds like the skin of an exotic ridged lizard. Large dangling flaps resembled the armoured scales of a dinosaur as they capsized down low cut backs, or heaved forwards like ruptured innards. Hair was layered high on top of the head, and eyes pronounced with winged eyebrows in severest black. Tight fitting dresses with a geometric pattern like rippling water were amongst the most desirable in terms of wearability.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory
Alice Palmer A/W 2011 by Emmi Ojala.

I was particularly captivated by the amazing spike jewellery which came bobbing seductively past me at eye level on wrists, and around necks, and dangling in great stacked globes off fingers. It was created by Karen-Ann Dicken of Oread Jewellery, a fellow Glaswegian who trained at the Royal College of Art. For this catwalk show she lent her Geo designs, made from steel, silver, semi-precious stones and cubic zirconia.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia Gregory Karen-Ann Dicken geo necklace
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void stylist, the lovely Rebekah Roy. All photography by Amelia Gregory.

You can view more work by Emmi Ojala in my first book, Amelia’s Anthology of Illustration, available here.

Written by Amelia Gregory on Wednesday March 16th, 2011 1:09 pm

Categories ,Alice Palmer, ,Amelia’s Anthology of Illustration, ,Anish Kapoor, ,architectural, ,Black Sabbath, ,Cubic Zirconia, ,Daniel Lismore, ,Emmi Ojala, ,Fashion Scout, ,Geo Designs, ,Geo Necklace, ,geometric, ,Gilly Rochester, ,glasgow, ,Gustav Mesmer, ,Into the Void, ,Karen-Ann Dicken, ,knitwear, ,lfw, ,Maria Papadimitriou, ,minimalism, ,monochrome, ,Oread Jewellery, ,Polyhedra Knitting, ,Rebekah Roy, ,Royal College of Art, ,Silver, ,Slowly the Eggs, ,Steel, ,Umbrella Helicopter

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: DAKS (by Nick)

Bunmi Koko A/W 2011. Photography by Amelia Gregory

Daks A/W 2011 by Maria Papadimitriou.

Half past six on a Saturday morning will see me in either two places, physician going to bed following a heavy night out, cost or firmly in bed oblivious to the world around. Never will you find me rousing myself from slumber and blindly stumbling into the shower. That is unless its Fashion Week. DAKs is up there with Aquascutum and Burberry as a great heritage brand, so why it gets the painful nine a.m. slot on a the Saturday morning I have no idea. After all, fashion week and the insane parties has only just begun and any intention of this year being good and pacing one’s self has flown out the window by eleven o’clock and/or your third cocktail the night before.

Daks A/W 2011 by Gareth A Hopkins.

Still there I was sat with the lovely Jemma Crow (read her review here), both of still a little bit blearly eyed waiting for the show start. The plus side of such a ridiculous time is that there is hardly any scrum outside and its very simple to find your seats. The handy press release promised us a show reaching deep into the heritage of the brand. We were certainly not disappointed.

Daks A/W 2011 by Maria Papadimitriou.

There is a fine fine line between classic and dull, between a collection evoking a more refined time and place, and one that belongs in Evans. A criticism that had been overheard by a colleague at another show. Harsh doesn’t begin to cover it.

DAKS by Emmi Ojala.

Thankfully DAKS stayed exactly the right side of the line. Picture if you will a brisk stroll through the grounds of a loyal friends country estate, perhaps after a large Sunday roast complete with plenty of wine. Now picture all your friends sat around the massive log fire in the drawing room of this country house. Everyone should be wearing this collection. It was sophisticated without being stuffy, easy wearing without being trackies and hoodies.

Daks A/W 2011 by Gareth A Hopkins.

An bell shaped cape/dress in an oversized check was twinned with thick wool tights, quilted skirts navy with the house check as the lining, and chunky knits all exuded a relaxed and welcoming feel. Whilst the finale pieces of quilted full circle skirts mixed the English countryside with Paris’s New Look. Between the quilting and the knits were light satin skirts in royal blue, relaxed woolen trousers, and feminine blouses.

Daks A/W 2011 by Gareth A Hopkins.

As for the menswear, the public school boy in us all was not left out. Not a shred of denim in sight, instead relaxed almost pyjama like wool trousers in navy, brown and cream, were teamed with fitted knitwear. For the stroll around the grounds this season the DAKS has great trench coat and a Dr Who length scarf.

The collection had to draw to a close but it took with it a big chunk of my hangover, and left me wondering what the quickest way out of the capital would be.

You can see more work by Gareth A Hopkins in Amelia’s Compendium of Fashion Illustration.

Written by Nick Bain on Saturday March 5th, 2011 2:18 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Aquascutum, ,BFC, ,Burberry, ,daks, ,Dr Who, ,Emmi Ojala, ,Gareth A Hopkins, ,Heritage, ,Jemma Crow, ,lfw, ,London Fashion Week, ,Maria Papadimitriou, ,New Look, ,paris, ,Slowly the Eggs, ,Somerset House

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Jasper Conran

Illustration by Natasha Thompson

Autumn Winter 2010’s ‘DeCon’ is the second collection Masha Ma has shown at Vauxhall Fashion Scout, order her MA collection was bought by B Store and she has since gone from strength to strength, winning the Mouse Ji Best International Innovation Award at the 2009 CCDC China Contemporary Design Contest.

Illustration by Avril Kelly

Building on her predominantly white and silver ‘Icebreaker’ collection for Spring Summer 2011, Masha Ma used a subtle palette for Autumn Winter, injected with flashes of colour. Patent scarlet thigh high boots and contrast edged exposed zips complemented heavy yet tactile cashmere in a palette of dove grey, eggshell, scarlet, taupe and powder beige.

Illustrations by Maria del Carmen Smith

High-waisted pencil skirts, hourglass silhouettes, bright red lips and victory rolls added a touch of Mad Men, whilst sculpted waterfall folds, leather panelling and Swarovski elements kept the look contemporary and luxurious.

Masha Ma played with the subtle deconstruction and accentuation of the female form, pairing subtly flamboyant cascading shapes with fluid skin-tight elements. The union of contrasting textures and a striking palette created a captivating range of looks that left the audience wanting more.

Illustrations by Maria Papadimitriou

Flashes of scarlet were seen again in the form of cropped high gloss mitts; collars were all high; neatly rolled or delicately starched and geometric.
Figure-hugging skirts were zipped halfway to reveal a flash of pillarbox red; zipped boot sleeves revealed skyscraper spike heels. Hair was slicked back into soft buns and coiffed into twists over the ear.

Illustration by Natasha Thompson

All in all this was a refreshing and original collection, I’m sure I’m not the only one eagerly awaiting Masha Ma’s offering for Spring Summer 2012!

All photography by Naomi Law

You can see more of Natasha Thompson’s illustrations in Amelia’s Compendium of Fashion Illustration.

Illustration by Natasha Thompson

Autumn Winter 2010’s ‘DeCon’ is the second collection Masha Ma has shown at Vauxhall Fashion Scout, salve her MA collection was bought by bStore and she has since gone from strength to strength, winning the Mouse Ji Best International Innovation Award at the 2009 CCDC China Contemporary Design Contest.

Illustration by Avril Kelly

Illustrations by Maria del Carmen Smith

Illustrations by Maria Papadimitriou

Illustration by Natasha Thompson

All in all this was a refreshing and original collection, I’m sure I’m not the only one eagerly awaiting Masha Ma’s offering for Spring Summer 2012!

All photography by Naomi Law

You can see more of Natasha Thompson’s illustrations in Amelia’s Compendium of Fashion Illustration.

Illustration by Natasha Thompson

Autumn Winter 2011’s ‘DeCon’ is the second collection Masha Ma has shown at Vauxhall Fashion Scout; her MA collection was bought by bStore and she has since gone from strength to strength, salve winning the Mouse Ji Best International Innovation Award at the 2009 CCDC China Contemporary Design Contest.

Illustration by Avril Kelly

Building on her predominantly white and silver ‘Icebreaker’ collection for Spring Summer 2011, decease Masha Ma used a subtle palette for Autumn Winter, injected with flashes of colour. Patent scarlet thigh high boots and contrast edged exposed zips complemented heavy yet tactile cashmere in a palette of dove grey, eggshell, scarlet, taupe and powder beige.

Illustrations by Maria del Carmen Smith

Illustrations by Maria Papadimitriou

Illustration by Natasha Thompson

All in all this was a refreshing and original collection, I’m sure I’m not the only one eagerly awaiting Masha Ma’s offering for Spring Summer 2012!

All photography by Naomi Law

You can see more of Natasha Thompson’s illustrations in Amelia’s Compendium of Fashion Illustration.

Jasper Conran A/W 2011 by Emmi Ojala.

I’ll be honest writing this review has been a massive challenge. Shortly after enjoying the sublime craftsmanship, physician skills and undeniable beauty of Jasper’s show I ran to the On|Off venue and managed to get in to Charlie Le Mindu’s extravaganza. Had I written up Jasper before the manic sprint to Charlie I could have waxed lyrical on every piece. I remember being enthralled and excited by the collection. I even went backstage and saw the clothes up close. But the cold hard fact is that these two designers and as such shows, pills inhabit two very different worlds. After being left reeling and inspired by Charlie Le Mindu, it has been hard to do justice to Jasper Conran. For it was a stunning show.

Jasper Conran A/W 2011 by Kerri-Ann Hulme.

Last year Carnaby Street celebrated its fiftieth anniversary, rejoicing in a time when London was the centre of the trendiest youth movement at the time. Something tells me this has subconsciously filtered into the minds of several designers. The swinging sixties are back and the models at Jasper Conran definitely reflected this. A mix of Bardots, Shrimptons, and gamine girls filled the runway.

At first glance this collection was perhaps a little too literal in its inspiration. Barbarella meets fembot catsuits were there a plenty. However on closer inspection the craftsmanship that went into each piece was of an inordinately high order. Succeeding in simplicity and clean lines is no mean feat. This was no shock and awe show, allowing instead both the playful and sophisticated nature of the girls to shine through. So from a designers perspective seeing the precision binding and, the open seams held together with just the odd bartack here and there was beautiful.

Jasper Conran A/W 2011 by Kerri-Ann Hulme.

The muted chocolate, copper and aubergine tones balanced out the otherwise monochrome palette, and prevented the collection tipping over into a mere regurgitation of times gone by. Suede was laser cut to give a crocodile effect. Leather was cut into small squares that bounced playfully with model as she walked. The silhouette may have been familiar but the working of the fabric and the surface decoration was right up to date. In particular one minidress matt white sequins were mixed with opalescent ones to create an otherworldly reptilian skin. The final pieces consisted of light flowing chiffon dresses that continued the sixties feel and the playful element of the collection.

It’s been said that when a woman with cheap perfume walks past that’s all you smell, but when woman wearing a beautiful fragrance walks by you smell a beautiful woman. If the same can be said about clothes all you’ll see from this show are beautiful women.

Written by Nick Bain on Sunday March 6th, 2011 6:45 pm

Categories ,Barbarella, ,BFC, ,Brigitte Bardot, ,Carnaby Street, ,Charlie le Mindu, ,Emmi Ojala, ,Jasper Conran, ,Jean Shrimpton, ,Kerri-Ann Hulme, ,lfw, ,London Fashion Week, ,Somerset House

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Jean-Pierre Braganza (by Amelia)

thumb emilio
Emilio de la Morena by Faye West
Emilio de la Morena LFW A/W 2011 Collection: Illustration by Faye West

Apparently Emilio de la Morena has lengthened his silhouette. His pieces are now touching, viagra sale or over the knee, prostate ‘signalling a new direction that is stricter and more refined.’ The body con is still there of course, order remaining tighter than a wetsuit, and both wigglier and feistier than Mad Men’s, Joan. That’s exactly what the collection made me think of: Joan and Jessica Rabbit. This translates to: HOT… but sophisticated.

Red Charlotte Olympia shoes featured throughout the show. Now, I’ve always been a fan of red shoes. From ballet to sky scraping, red shoes are sweet vixens, minxes, all playful and naughty. But less; “stop it Roger” and more; “Roger I want champagne, oysters and Chanel. Get them!” She needs a man, not a wimp. She will wear her shoes in the bath, and probably won’t speak to Roger much before or after – whatever happens between them. She’s an old school dressed WOMAN, not a girl, and she expects to be treated with respect. Like the stroppier ones in James Bond films, this woman can kick some ass. And answer back with cutting looks and witty, snappy words.

Emilio de la Morena LFW A/W 2011 Collection: Photography by Amelia Gregory

Other Charlotte Olympia shoes included a suede ankle boot and platform sandals in three colours, black, red, powder pink and ivory. All utterly lust-worthy. Heaven. The colour palette mirrors Emilio de la Morena Autumn/Winter collection, which focuses on black, dark purple and RED. The sombre tones of this show, inspired by the work of the American photographer Francesca Woodman and the circumstances surrounding her suicide in New York, in 1981, aged just 22. Her photographs are hauntingly beautiful and predominantly black and white. Emilio de la Morena wanted to reflect these sad circumstances, with his use of passionate, bruised and mourning colours. These give way however, to ivory and powder pink, making for delicate prettiness, next to the block melancholy. Together, the designs look classy, serious and fantastic. I see these beautiful women by the graves of Italian gangsters, weeping. They are hard, stunning and controlled, but what they love – they adore with all their hearts.

Emilio de la Morena LFW A/W 2011 Collection: Photography by Amelia Gregory

Victoriana also featured within Emilio de la Morena’s collection, but with a modern, sheer twist. Bib decoration and high necklines created from sheer, frayed and tufted organza, make it lighter, sexier and contemporary. The longer length, wool pencil skirts also featured sheer organza. With panels, embroidered in swirling, zig zagging ribbon, created in the material, as well as silk inserts. The additions allowing for fluidity of movement.

The collection felt serious and respectfully attractive. Not flirty, terribly young, overly romantic or precocious. Instead very sensual and confident. The red stole the show. However, like red lipstick on a make up less face, it looked the most alluring, when it was paired with the other other colours. The eyes and lips are too much – alone they are beautiful. Such a bright red needed the other colours to avoid being lost, and to stand out as a solitary statement. And you know, if the three women were sobbing by the grave, each with an accent of red, just imagine… scandalous, stylish, powerful and mysterious RED.
Jean-Pierre Braganza by Catherine Askew
Jean-Pierre Braganza A/W 2011 by Catherine Askew.

Ponytails, cure red eye make up, pharm close fitting suits, black, lots of black. A male model with razor sharp cheekbones and a hilarious female model with superlative head throwing posing skills. This is what Jean-Pierre Braganza showed at the Northumberland House, a new grandiose LFW location.

Jean-Pierre Braganza A/W 2011 by Jane Young.

Northumberland House.

After loitering in the magnificent reception area we were ushered into the huge ballroom, passing by the backstage area which looked suspiciously like the back of a Hollywood film lot.

Jean-Pierre Braganza A/W 2011. Photography by Amelia Gregory

Jean-Pierre Braganza A/W 2011 by Kerri-Ann Hulme.

Positronyx was a sexily provocative collection dominated by sharp tailoring and beautiful pattern cutting in a predominantly monochrome palette, bar a nod to that boldest of colours, pillar box red. This cropped up in a dashing geometric tiger-like striped print and on bam bam look-at-me suits for both men and women, but it was across the breast and curving around the hips of a particularly stunning embroidered dress that it enthralled me most.

Jean-Pierre Braganza A/W 2011. Photography by Amelia Gregory

Jean-Pierre Braganza A/W 2011 by Emmi Ojala.

A quick scan of the show press release reveals that when designing Jean-Pierre Braganza had in mind strong female warrior leaders, perhaps existing in a future world where “tribal affiliation has replaced the current societal controls, and clothing becomes even more imperative for identity, security and culture.” He certainly designs for the bold and assertive lady – creating sexy armour that wouldn’t look out of place on the prowl at a cocktail party.

Jean-Pierre Braganza A/W 2011. Photography by Amelia Gregory

I was less keen on the sponsored fur elements. But let’s not mention those, eh? It was an otherwise fabulous collection.

Jean-Pierre Braganza A/W 2011. All photography by Amelia Gregory.

You can read Matt Bramford’s superb review here, and view more of Emmi Ojala’s work in Amelia’s Anthology of Illustration.

Written by Amelia Gregory on Monday February 28th, 2011 5:52 pm

Categories ,Amelia’s Anthology of Illustration, ,black, ,Catherine Askew, ,Emmi Ojala, ,Fur, ,Jane Young, ,Jean Pierre Braganza, ,Kerri-Ann Hulme, ,lfw, ,London Kills Me, ,Matt Bramford, ,Northumberland House, ,Positronyx

Amelia’s Magazine | Dem Collective: designed in Sweden by Annika Axelsson and Karin Stenmar

Ciel S/S 2011 by Jo Cheung
Sarah Ratty of Ciel was one of the first designers to engage in ethical practice in the UK. She set up the label Conscious Earthwear in the early 90’s before creating the Ciel brand in 2005. She currently also works as a design consultant and advises the Soil Association on sustainable issues.

How do you design your garments?
Each collection has its roots in the way I have developed as an eco fashion designer over the last twenty years. I usually start with fabrics, buy information pills then I think about what garment shapes will best fit into the current zeitgeist and I combine these with my own influences from contemporary art, travel, history and nature. I use as many innovative approaches as I can in fabrication and cutting techniques, as well as using the naturally diverse fabrics from a range of indigenous locations, which are made and developed in situ.

What is the best way to design ethically?
Within eco design there is inevitably some compromise but I always do my best to find the best materials to achieve the desired outcome. I use fairtrade materials and organic fabrics from factories in Europe and South America, all of which comply with fair labour laws as set out by Labour Behind the Label. We use azo-free dyes, which do not use harmful metal mordants to fix the colour. Heavy metals are highly polluting and contribute to toxic soil runoff if not treated correctly. We have recently started to bring some production back to the UK and we conduct a lot of our work via Skype to reduce our carbon footprint.

Ciel S/S 2011 by Jo Cheung.

Sarah Ratty set up the label Conscious Earthwear in the early 90’s before creating the Ciel brand in 2005, viagra buy which we profiled in the print version of Amelia’s Magazine. She currently also works as a design consultant and advises the Soil Association on sustainable issues.

How do you design your garments?
Each collection has its roots in the way I have developed as an eco fashion designer over the last twenty years. I usually start with fabrics, pilule then I think about what garment shapes will best fit into the current zeitgeist and I combine these with my own influences from contemporary art, travel, history and nature. I use as many innovative approaches as I can in fabrication and cutting techniques, as well as using the naturally diverse fabrics from a range of indigenous locations, which are made and developed in situ.

Sarah Ratty set up the label Conscious Earthwear in the early 90’s before creating the Ciel brand in 2005, and which we profiled in the print version of Amelia’s Magazine. She currently also works as a design consultant and advises the Soil Association on sustainable issues.

How do you design your garments?
Each collection has its roots in the way I have developed as an eco fashion designer over the last twenty years. I usually start with fabrics, diagnosis then I think about what garment shapes will best fit into the current zeitgeist and I combine these with my own influences from contemporary art, travel, history and nature. I use as many innovative approaches as I can in fabrication and cutting techniques, as well as using the naturally diverse fabrics from a range of indigenous locations, which are made and developed in situ.

Read the rest of this interview with Ciel in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Ciel S/S 2011 by Jo Cheung.

Sarah Ratty set up the label Conscious Earthwear in the early 90’s before creating the Ciel brand in 2005, information pills which we profiled in the print version of Amelia’s Magazine. She currently also works as a design consultant and advises the Soil Association on sustainable issues.

How do you design your garments?
Each collection has its roots in the way I have developed as an eco fashion designer over the last twenty years. I usually start with fabrics, viagra 40mg then I think about what garment shapes will best fit into the current zeitgeist and I combine these with my own influences from contemporary art, ampoule travel, history and nature. I use as many innovative approaches as I can in fabrication and cutting techniques, as well as using the naturally diverse fabrics from a range of indigenous locations, which are made and developed in situ.

You were founded in 2004, nurse with the aim of becoming a profitable company that treated people and environment fairly. How have you put this into practice?
We are very close to the whole production chain, sildenafil from the cotton fields in Gujarat to our ready-to-wear garments. We have also started our own garment factory in Sri Lanka, where we can ensure good salaries and working conditions. All our fabric is fairtrade certified and eco labelled.

What defines a Dem Collective garment?
The design is very important – we make good-looking clothes that customers want. To be frank, the least environmentally friendly garment is the one that no one wants to wear… so our clothing is basic, timeless, and of good quality. We are happy that our customers call us and tell us that a t-shirt they bought five years ago is still in use, and hasn’t fallen apart, or gone out of fashion.

Dem Collective by Michelle Urvall Nyren.

Who are the designers you work with? How do the collaborations happen?
It is an important part of the Dem Collective ethos to work with a string of different designers; Maja Jakobsson, Maria Andersson, Camilla Jernmark. Our latest collaboration is with Josefin Lassbo. Both Karin and myself are very open about our lack of design experience, so we like to work with others. Most of our collaborations start out with the designer contacting us.

Why is it a bad idea to use genetically modified cotton?
There is still not enough data on the impact of genetically modified crops on the environment, the soil and the people. But one thing we do know is that they provide three harvests a year and that is really draining on the soil, which means increased use of pesticides and chemicals. And designer seeds are hugely expensive so farmers are more likely to fall into debt…

Read the rest of this interview and see more illustrations of Dem Collective’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Written by Amelia Gregory on Tuesday January 18th, 2011 3:35 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Annika Axelsson, ,Camilla Jernmark, ,Chemicals, ,Cotton Fields, ,Dem Collective, ,Designer Seeds, ,Eco fashion, ,Ethical Fashion, ,fairtrade, ,Gujarat, ,Josefin Lassbo, ,Karin Stenmar, ,Maja Jakobsson, ,Maria Andersson, ,Michelle Urvall Nyrén, ,pesticides, ,Ready-to-wear, ,Sri Lanka, ,sweden, ,Timeless

Amelia’s Magazine | An interview with the charismatic front man of La Shark: Samuel Geronimo Deschamps

La Shark_emmi ojala
La Shark by Emmi Ojala.

If you’re living in the doldrums, cheapest drugs London based band La Shark may be just the cure for your bored eardrums. It’s been a rare occurrence to come across a band that gets me excited, dosage but La Shark has got me PUMPED. La Shark’s charismatic front man Samuel Geronimo Deschamps talks their latest single A Weapon, touring with Paloma Faith, what to expect (or not) from the band in the future and what makes people so opinionated about their music.

In a chance first encounter with the band in a botched effort to see another band, my friend and I unknowingly stumbled into and were consequentially treated to the delightful mix of poetry and music presented by The Soapbox Club, a monthly club night hosted by Derek Meins (now performing as The Agitator). La Shark, previously Le Shark (inconveniently also a clothing company of the same name), played a refreshingly quirky set: full of danceable, sing-a-long-able, get weird-able songs dripping with personality, enhanced by Samuel Geronimo Deschamps’ characteristically unusual delivery. It immediately incited an antsy excitement at first listen. Suspiciously good for a band we had just happened to stumble across. This was back in May of ’08 when the band wasn’t yet blogged about and they were still a mysterious, hidden gem: the type of band one likes to “discover” and adopt as their own. Flash forward two years and you’ll find a lot of people have now discovered the charm of La Shark. The five piece New Cross based band have secured themselves a spot on the underground music radar through their quirky pop tunes, buzzed about live performances, and a rep for being that peculiar artsy band touring with acts such as The Maccabees, Good Shoes and Paloma Faith.

The video for A Weapon.

The fresh and exciting vision of La Shark is really shaking things up. The band’s innovative approach to music has been dubbed a musical enigma, stumping just about anyone who has attempted to pigeonhole or categorize the band (Samuel Geronimo Deschamps, lead vocals; N.H.A. Buxton, drums; Lewis ‘Love’ Maynard, bass; Benjamin Francis Markham; Guitar, Sami El-Enany; keyboards). As a result, people are going nutty trying out appropriate terms (Vaudevillian Pop, Cabaret Pop, Freak Pop), searching for hints of something comparable to the whirring, whizzing, funhouse sound intermingled with a darker, off kilter, Vaudeville influence. During my phone chat with Deschamps, he suggests it’s because people like to be music critics, “At the end of the day they like to make sense of what they’re listening to and they like to go ‘I can hear a little bit of this in it and a little bit of this’. It’s their way of making sense of it.” He admits to finding comparisons interesting to hear, both negative and positive, as long as they aren’t consistently compared to one band or artist singularly. Otherwise, he stresses, “We’d be like ‘shit, we’re just ripping off a band that did this 25 years ago!’”

Talking Heads, David Bowie and Prince are some of the artists being thrown into the mix of the melting pot of genres from which La Shark draws inspiration, and to which they are compared. All of which can be noted on their single A Weapon (April, So Darn So) which is a new direction for the band: less dramatic, more groove. “Rather than releasing something old, we start off with something fresh and really truthful to us at the time” explain Deschamps, “We’ve been working a lot more on funk based dance music and working on interesting bass sounds.” While the band is experimenting with a step into something different, he points out they’re constantly reflecting on their material from the past so it’s still true to the band’s original aesthetic- what was once described as ‘riddle pop’.

La Shark by Katherine Tromans
Samuel Geronimo Deschamps by Katherine Tromans.

A portion of La Shark’s success can be credited to a reputation for their must-see highly energetic and theatrical live performances where the topsy turvy musical madness is visually and physically expressed – whether through the occasional painted face and costumes or Deschamps’ oh- so -deft dance moves. Controlling their set and giving the audience a journey is something La Shark focuses on experimenting with and building upon. “It’s about finding the balance between writing music that has sort of catchy pop credentials but also music that takes you into a new place, a new atmosphere that you’re not used to” he emphasizes, “It takes you out of your comfort zone musically and we see how that works live.”

Earlier this year, they took their live act on the road supporting the ever glamorous Paloma Faith on tour, which proved to be an intense experience for the band. However, the pressure of playing to large venues brought the guys together, “we felt like a unit for the first time… like one moving body of musicians moving together.” Whether loved or hated for their unconventionality, they gave it every last bit of energy they could. Deschamps notes his personal onstage strategy “dance until I’ve sweated a pint and hopefully people will be like ‘He can’t sing but at least he’s got a shit load of energy!’” With a live show he laughingly describes as “confrontational”, it has ruffled a few feathers. It’s not uncommon for his onstage persona (a French spouting, flame haired, ferociously vigorous madman- in the best way, of course), the band collectively, and/or the music to be misunderstood by the audience. “I feel very honest when I’m on stage- sometimes people completely misunderstand and make it something it’s not”, which has been a frustrating experience as newcomers to public scrutiny. But alas, Deschamps is not concerned, “At the end of the day, you just need a team of people whose opinions you really value”.

So what lies ahead for La Shark? The band is thinking about releasing a double sided EP to suit their two-sided musical tastes –part hip hop funk influenced dance tunes, part classically influenced, Edith Piaf-y drama. “Sometimes I just want to bring people into this world where they’re like ‘whoaa’ rather than them just whacking their heads”, says Deschamps of the forthcoming EP’s diversity. He does acknowledge the importance of the band finding the balance between skillfully executed eclecticism and confused, hot mess territory. The EP would act as a test drive so the band can gauge people’s reactions to both sides of La Shark’s musical personality. As for a potential future full length album, it’s possible there won’t be one. He explains “We might plan on releasing it in a different form…release one song a week, a year or something crazy like that. We don’t want to use the typical format, necessarily.”

Not pursuing the predictable path seems to be a theme for the band- which is exactly why La Shark has been piquing interest in otherwise jaded music followers of today. When not touring, the band can be found playing their own gigs or with Brazilian artist Cibelle (as a few La Shark band members are also members of Cibelle’s band, Los Stroboscopious Luminous). They also can be found at their monthly club night Deptford Darling where you can expect to hear an assortment of covers. “We want to do Changes by Tupac. We’re really into commercial nineties hip hop at the moment”, he laughs, “It’s different from us but so fucking catchy”. Whether covering 90s hip hop or absorbing the influence of the great French entertainer Maurice Chevalier, La Shark has a little bit of something for everyone. Whoever said less is more?

Written by Aimee O’Neill on Monday August 2nd, 2010 4:10 pm

Categories ,Cibelle, ,Deptford Darling, ,Emmi, ,Emmi Ojala, ,Good Shoes, ,interview, ,Katherine Tromans, ,La Shark, ,paloma faith, ,Samuel Geronimo Deschamps, ,The Maccabees, ,The Soapbox Club

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