estethica

Amelia’s Magazine | The London Fashion Week Virgin: Estethica Review

by

Illustration by Avril Kelly http://cargocollective.com/avrilkelly

There’s something about coming out of the Tube in an area you’ve never been to before. I realise this is an extremely London-centric point, order but bear with me – when you find yourself spat out onto a brand new street it’s like discovering a different city. But then you look up and see the familiar roundel and you know that yes, it’s still London. It’s interesting how so many of us seem to come to London to experience its variety, only to entrench ourselves in one specific part of the city. Some (who, me?) may even develop a few prejudices about certain other parts of the city too, as if London were some sort of microcosm of the world … Oh actually that last bit’s about right, isn’t it. ‘There is in London all that life can afford,’ Samuel Johnson famously said, and it’s very true. But still, going all the way to Clapham on a Saturday morning? SOUTH London? Really!

But last weekend I went to Clapham for the very first time, because that’s where the Papered Parlour is and I’d been looking forward to their silversmithing class for weeks. I resurfaced from the Tube at Clapham Common, curiously peeking around while the nice man with the coffee cart ground beans from scratch to make my espresso. The Papered Parlour is just up the road, hidden behind a plain door in a side street. Claire and Louise, the workshop’s founders, weren’t there, but my fellow would-be smithers and I were welcomed by Hana and our teacher, Caren Hartley.

Upcycled jewellery by Madi http://www.madiillustration.co.uk

Jewellery upcycling, or recycling of old items, was the theme for last Saturday’s seminar. We each poured out our bags of old, neglected jewellery, hoping Caren would be able to help us make something usable out of it. I’d brought two rings I was hoping to fix, having broken both of them within weeks of each other after having worn them every day for years. I’d also brought some broken brooches my grandma had given me, as well as a few other pieces I weren’t wearing. Having just told the group we could not use heat on any item that wasn’t pure silver or gold, Caren shook her head at my beloved moonstone ring. ‘You can’t heat anything with a gemstone as it will break,’ Caren said. Araldite glue it is, then.

My mother’s old floral pendant also got the brush-off from Caren: ‘That’s pewter, it would melt before you could do anything with it.’ This is the main danger when working with old jewellery, as you haven’t made it yourself and hence you can’t be completely sure about the metal composition. Caren studied the pendant, curved and prone to annoying swinging, concluding: ‘You could flatten it, with the mallet.’ Mallet! I was expecting delicate tools, tiny adjustments and boiling frustration, but it turns out silversmithing includes plenty of hammer action.

Caren Hartley

The next few hours went by in a flash. After my mallet fun I got the little pliers and snippers, changing the broken grandma brooches into pendants. Rough edges were smoothed down with the metal files – silver is quite soft when you’re working with it. Silversmithing is also a surprisingly dirty activity, with the suds from my hands running black as I washed before the cake break. It can be dangerous too – judging by the fact they made us sign some sort of release before letting us use the saw.

Make do and mend by Naomi Law http://www.nimlawdraws.co.uk

Halfway through the day we were introduced to the blowtorch, used not only to join pieces of metal together but also to prepare silver to be worked on. Heating up the metal to reach ‘the cherry red temperature’ loosens the molecules within the silver, Caren explained, meaning you can work on it. My main task with the blowtorch was to mend my ring, a little lady who wraps her legs around your finger. I’d got the ring half price at a craft fair nearly ten years ago, and worn it every day until the poor girl broke her leg about two years ago. High street silversmiths didn’t seem very keen on sorting this for me though, and now that I’ve seen how it’s done I can see why: it’s fiddly.

I put on the leather apron and the protective goggles, ready for the big moment. ‘Now, angle the flame away from me, as I will be holding the leg piece,’ Caren said as I lit the torch, wondering if she gets paid extra if a student maims her. But as the little lady turned cherry under the blue flame, everyone’s digits remained intact and the leg was back where it belonged. Okay, so it sticks out a bit more than it did before, but a little tap of the hammer and Bob’s your uncle.

Caren and Eva by Avril Kelly http://cargocollective.com/avrilkelly

Detail

I left the Papered Parlour with eight new pieces of jewellery, having altered or mended old things I either couldn’t or wouldn’t wear. My hands were aching as I counted up change for another espresso from the cart, about to go back to the familiar side of the river. As I stood on the platform waiting for my train, I absent-mindedly ran my thumb along the lady-ring. She’s back, and I fixed her all by myself.

Result

The Papered Parlour is in Clapham: 7 Prescott Place, London SW4 6BS. For more information about the spring workshop schedule see our listing – there are more silversmithing workshops to come, plus printmaking, sewing, photography, quilting and how to make your own shoes. Also, the Papered Parlour is putting on two mini-festivals at the V&A Museum of Childhood in Bethnal Green this spring: ‘Ethical fashion in the age of austerity’ tonight (3 March) and ‘It’s your write!’ next month (7 April) – for more detail see our listing here.


Illustration by Avril Kelly

There’s something about coming out of the Tube in an area you’ve never been to before. I realise this is an extremely London-centric point, treat but bear with me – when you find yourself spat out onto a brand new street it’s like discovering a different city. But then you look up and see the familiar roundel and you know that yes, buy it’s still London. It’s interesting how so many of us seem to come to London to experience its variety, only to entrench ourselves in one specific part of the city. Some (who, me?) may even develop a few prejudices about certain other parts of the city too, as if London were some sort of microcosm of the world … Oh actually that last bit’s about right, isn’t it. ‘There is in London all that life can afford,’ Samuel Johnson famously said, and it’s very true. But still, going all the way to Clapham on a Saturday morning? SOUTH London? Really!

But last weekend I went to Clapham for the very first time, because that’s where the Papered Parlour is and I’d been looking forward to their silversmithing class for weeks. I resurfaced from the Tube at Clapham Common, curiously peeking around while the nice man with the coffee cart ground beans from scratch to make my espresso. The Papered Parlour is just up the road, hidden behind a plain door in a side street. Claire and Louise, the workshop’s founders, weren’t there, but my fellow would-be smithers and I were welcomed by Hana and our teacher, Caren Hartley.


Upcycled jewellery by Madi

Jewellery upcycling, or recycling of old items, was the theme for last Saturday’s seminar. We each poured out our bags of old, neglected jewellery, hoping Caren would be able to help us make something usable out of it. I’d brought two rings I was hoping to fix, having broken both of them within weeks of each other after having worn them every day for years. I’d also brought some broken brooches my grandma had given me, as well as a few other pieces I weren’t wearing. Having just told the group we could not use heat on any item that wasn’t pure silver or gold, Caren shook her head at my beloved moonstone ring. ‘You can’t heat anything with a gemstone as it will break,’ Caren said. Araldite glue it is, then.

My mother’s old floral pendant also got the brush-off from Caren: ‘That’s pewter, it would melt before you could do anything with it.’ This is the main danger when working with old jewellery, as you haven’t made it yourself and hence you can’t be completely sure about the metal composition. Caren studied the pendant, curved and prone to annoying swinging, concluding: ‘You could flatten it, with the mallet.’ Mallet! I was expecting delicate tools, tiny adjustments and boiling frustration, but it turns out silversmithing includes plenty of hammer action.


Caren Hartley

The next few hours went by in a flash. After my mallet fun I got the little pliers and snippers, changing the broken grandma brooches into pendants. Rough edges were smoothed down with the metal files – silver is quite soft when you’re working with it. Silversmithing is also a surprisingly dirty activity, with the suds from my hands running black as I washed before the cake break. It can be dangerous too – judging by the fact they made us sign some sort of release before letting us use the saw.


The blue flame by Naomi Law

Halfway through the day we were introduced to the blowtorch, used not only to join pieces of metal together but also to prepare silver to be worked on. Heating up the metal to reach ‘the cherry red temperature’ loosens the molecules within the silver, Caren explained, meaning you can work on it. My main task with the blowtorch was to mend my ring, a little lady who wraps her legs around your finger. I’d got the ring half price at a craft fair nearly ten years ago, and worn it every day until the poor girl broke her leg about two years ago. High street silversmiths didn’t seem very keen on sorting this for me though, and now that I’ve seen how it’s done I can see why: it’s fiddly.

I put on the leather apron and the protective goggles, ready for the big moment. ‘Now, angle the flame away from me, as I will be holding the leg piece,’ Caren said as I lit the torch, wondering if she gets paid extra if a student maims her. But as the little lady turned cherry under the blue flame, everyone’s digits remained intact and the leg was back where it belonged. Okay, so it sticks out a bit more than it did before, but a little tap of the hammer and Bob’s your uncle.


Caren and Eva by Avril Kelly

I left the Papered Parlour with eight new pieces of jewellery, having altered or mended old things I either couldn’t or wouldn’t wear. My hands were aching as I counted up change for another espresso from the cart, about to go back to the familiar side of the river. As I stood on the platform waiting for my train, I absent-mindedly ran my thumb along the lady-ring. She’s back, and I fixed her all by myself.


Result

The Papered Parlour is in Clapham: 7 Prescott Place, London SW4 6BS. For more information about the spring workshop schedule see our listing – there are more silversmithing workshops to come, plus printmaking, sewing, photography, quilting and how to make your own shoes. Also, the Papered Parlour is putting on two mini-festivals at the V&A Museum of Childhood in Bethnal Green this spring: ‘Ethical fashion in the age of austerity’ tonight (3 March) and ‘It’s your write!’ next month (7 April) – for more detail see our listing here.

My first experience of London Fashion Week was less in at the deep end with the big kids, click and more of a splash about in the shallow end with armbands on. And actually, I found it a rather favourable place in which to position myself.

My task was to skulk around the Estethica and Ecoluxe show rooms and report back on some of my favourite designs, a task I undertook with gusto. Anyone who reads my personal blog will know that I adore beautiful ethically made clothes. So I jumped/squealed at the chance to meet some of the designers and see the clothes up close. I have been watching the rise and shine of some of the new ethical designers with interest, having been introduced to many of them via Amelia’s book (which of course you have bought, yes? Yes?)

My first hurdle in getting to Estethica involved ‘borrowing’ a friends pass and hoping that no one would look at the name on the badge and question my gender when I beeped in. I was a tad nervous approaching Somerset House, but was buoyed on by ‘West End Girls’ which popped onto shuffle at the most opportune moment for the final bit of the walk. I bloody love it when shuffle gets it right. So it was with a strut that I entered Somerset house aided by the Pet Shop Boys, my trusty Spanx and one too many soya latte’s.

My second hurdle was actually finding the room. Directions typically included: “You’re in entirely the wrong place. You need to turn round, go back downstairs and outside, then enter through one of two doors, left again….” I think I went cross eyed. It was located in a particularly awkward spot, which was a shame as the rooms contained some marvellous work. But the getting lost, trekking up and down stairs and being stomped on by lethal platform wedges was worth it. The quality of some of the designs was inspiring and innovative, easily rivalling their ‘non ethical’ neighbours.

I had kind of hoped that I’d be able to blend in with the crowd, take notes and snap pictures before skulking on, but I quickly realised that this would be nigh on impossible.  I soon found myself confabulating with some of the friendly designers and PR people. I was repeatedly asked if I had a card. I didn’t. Rookie error. Lesson learned for next time.  Stall holders craned to read my badge as I smiled sheepishly and surreptitiously covered it with my scarf. I was nervous so wondered around with a slightly creepy perma-grin, but thankfully most of the participants had heard of Amelia’s Magazine so far from being rebuffed, I had a very warm welcome. PHEW.

Ok- on to the clothes. I met lot of lovely people and saw some beautifully crafted clothes, but here are just a few of my favourites.

The jewellery of Little Glass Clementine caught my eye before I had even entered the room, and like a magpie, I was beckoned in by it. Necklaces are made from a marvellous concoction of found objects; from bird skulls and bottle tops, to bath plugs and plastic toys.  They are totally unique, slightly mad (in the bestest of ways) and utterly covetable. Little Glass Clementine is featured in Amelia’s book. See an extract of the interview here .

Goodone pulled me in next, with their soft jersey bodycon dresses and thick woollen belts that begged to be handled. I loved the combination of figure hugging dresses with drapey, overized pieces too, all made from recycled, end of roll and salvaged materials. Feminine yet bolshy. Ace. Goodone are featured in Amelia’s book, see an extract of the interview here:


Illustration by Natasha Thompson

There is something irresistible to me about Joanna Cave’s delicate filigree jewellery. Inspired by ballet and old Art Nouveau costumes, the pieces are delicate and girly yet dramatic and bold. They are made from recycled sterling silver, ethically sourced pearls and vintage ribbon. Joanna cave jewellery is featured in Amelia’s book, see an extract of the interview here:

Actualy, I was pretty spoiled on the jewellery front. Kumvana Gomani uses old bottles and recycled aluminium to create gorgeous long necklaces and pretty earings.


Illustration by Alison Day

The North Circular, an ethical knitwear company, inhabited the corner of one of the rooms, filling it with an impressive alluring installation involving a huge bundle of sheeps wool and TV’s. Apparently the video was showing a piece called ‘metamorphosis’ with Lily Cole in it, but I managed to miss it. Truthfully, muted colours are not my thing, but the pieces were luxurious to feel and beautifully crafted, using British ethically sourced wool.


Illustration by Alison Haines

I loved this bright Pink Ciel dress. Just the right balance of smart and sexy.  All Ciel fabrics are carefully sourced to be as ethical as possible. Sarah Ratty, the founder of Ciel and chair of the Ethical fashion Forum was warm and friendly, and a long time friend of Amelia’s Magazine. She is featured in Amelia’s book, you can read an extract of her interview here.

Illustration by Avril kelly

I have to say that, despite the fact that the person in the stall seemed too busy to talk, I fell in love with Max Jenny. My favourite pieces were their colourful cape’s, for the following reasons.  They are waterproof; this satisfies my northern fell-walking roots. They are capes; this satisfies my Drama Queen roots. Amazingly their products are made from recycled PET bottles, which satisfies my inner hippie. Tick, tick. tick. MaxJenny is featured in Amelia’s Compedium of Fashion Illustration.


Illustration by Matilde Sazio

Lu Flux’s designs also caught my eye. I have always loved their use of colour and therefore loved this colourful leather rucksack. By working with salvaged, vintage and organic fabrics, that combine pleats, knitting and patchwork, the collection makes something new out of something old. .Lu Flux is featured in Amelia’s Compedium of Fashion Illustration. You can read an extract of their interview here.


Photograph by Damian Ucieda Cortes

Tara St James made use of copper pipe work in her gorgeous, chunky jewellery, and I also loved the blanket capes too. Chic and snuggley. Good for campsites and cocktails, bonus.


Photograph by Lauren Bilanko

And then I was out the door again, navigating Somerset House’s warren like corridors. I presumed I’d be surrounded by long legged, anorexic, bitchy looking women. I did see some ultra skinny, unhealthy looking people, which will always sadden me, but there were also plenty of healthy looking amazingly dressed people there too. In fact, I enjoyed the London Fashion Week street style stuff as much as the main show photo’s (perhaps sacrilegious?). But what really struck me was that people were, well, NICE. And mostly normal. Which I have to say I wasn’t expecting.

Next up, I’ll be reviewing Ecoluxe. You can buy Amelia’s Compendium of Fashion Illustration (featuring the very best in ethical fashion design) RIGHT HERE.

Written by Hannah Bullivant on Thursday March 3rd, 2011 9:57 am

Categories ,4 Equal Sides, ,ACOFI, ,Alison Day, ,Alison Haines, ,Amelia’s Compendium of Fashion Illustration, ,Avril Kelly, ,ciel, ,Ecoluxe, ,estethica, ,esthetica, ,goodone, ,Hannah Bullivant, ,Joanna Cave, ,Kumvana Gomani, ,lfw, ,Lily Cole, ,Little Glass Clementine, ,London Fashion Week, ,Lu Flux, ,Matilde Sazio, ,Max Jenny, ,Maxjenny, ,Natasha Thompson, ,pet shop boys, ,Somerset House, ,Soya Latte, ,Spanks, ,Tara St James, ,The North Circular

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Amelia’s Magazine | The London Fashion Week Virgin: Estethica Review

by

My first experience of London Fashion Week was less in at the deep end with the big kids, and more of a splash about in the shallow end with armbands on. And actually, I found it a rather favourable place in which to position myself.

My task was to skulk around the Estethica and Ecoluxe show rooms and report back on some of my favourite designs, a task I undertook with gusto. Anyone who reads my personal blog will know that I adore beautiful ethically made clothes. So I jumped/squealed at the chance to meet some of the designers and see the clothes up close. I have been watching the rise and shine of some of the new ethical designers with interest, having been introduced to many of them via Amelia’s book (which of course you have bought, yes? Yes?)

My first hurdle in getting to Estethica involved ‘borrowing’ a friends pass and hoping that no one would look at the name on the badge and question my gender when I beeped in. I was a tad nervous approaching Somerset House, but was buoyed on by ‘West End Girls’ which popped onto shuffle at the most opportune moment for the final bit of the walk. I bloody love it when shuffle gets it right. So it was with a strut that I entered Somerset house aided by the Pet Shop Boys, my trusty Spanx and one too many soya latte’s.

My second hurdle was actually finding the room. Directions typically included: “You’re in entirely the wrong place. You need to turn round, go back downstairs and outside, then enter through one of two doors, left again….” I think I went cross eyed. It was located in a particularly awkward spot, which was a shame as the rooms contained some marvellous work. But the getting lost, trekking up and down stairs and being stomped on by lethal platform wedges was worth it. The quality of some of the designs was inspiring and innovative, easily rivalling their ‘non ethical’ neighbours.

I had kind of hoped that I’d be able to blend in with the crowd, take notes and snap pictures before skulking on, but I quickly realised that this would be nigh on impossible.  I soon found myself confabulating with some of the friendly designers and PR people. I was repeatedly asked if I had a card. I didn’t. Rookie error. Lesson learned for next time.  Stall holders craned to read my badge as I smiled sheepishly and surreptitiously covered it with my scarf. I was nervous so wondered around with a slightly creepy perma-grin, but thankfully most of the participants had heard of Amelia’s Magazine so far from being rebuffed, I had a very warm welcome. PHEW.

Ok- on to the clothes. I met lot of lovely people and saw some beautifully crafted clothes, but here are just a few of my favourites.

The jewellery of Little Glass Clementine caught my eye before I had even entered the room, and like a magpie, I was beckoned in by it. Necklaces are made from a marvellous concoction of found objects; from bird skulls and bottle tops, to bath plugs and plastic toys.  They are totally unique, slightly mad (in the bestest of ways) and utterly covetable. Little Glass Clementine is featured in Amelia’s book. See an extract of the interview here .

Goodone pulled me in next, with their soft jersey bodycon dresses and thick woollen belts that begged to be handled. I loved the combination of figure hugging dresses with drapey, overized pieces too, all made from recycled, end of roll and salvaged materials. Feminine yet bolshy. Ace. Goodone are featured in Amelia’s book, see an extract of the interview here:


Illustration by Natasha Thompson

There is something irresistible to me about Joanna Cave’s delicate filigree jewellery. Inspired by ballet and old Art Nouveau costumes, the pieces are delicate and girly yet dramatic and bold. They are made from recycled sterling silver, ethically sourced pearls and vintage ribbon. Joanna cave jewellery is featured in Amelia’s book, see an extract of the interview here:

Actualy, I was pretty spoiled on the jewellery front. Kumvana Gomani uses old bottles and recycled aluminium to create gorgeous long necklaces and pretty earings.


Illustration by Alison Day

The North Circular, an ethical knitwear company, inhabited the corner of one of the rooms, filling it with an impressive alluring installation involving a huge bundle of sheeps wool and TV’s. Apparently the video was showing a piece called ‘metamorphosis’ with Lily Cole in it, but I managed to miss it. Truthfully, muted colours are not my thing, but the pieces were luxurious to feel and beautifully crafted, using British ethically sourced wool.


Illustration by Alison Haines

I loved this bright Pink Ciel dress. Just the right balance of smart and sexy.  All Ciel fabrics are carefully sourced to be as ethical as possible. Sarah Ratty, the founder of Ciel and chair of the Ethical fashion Forum was warm and friendly, and a long time friend of Amelia’s Magazine. She is featured in Amelia’s book, you can read an extract of her interview here.

Illustration by Avril kelly

I have to say that, despite the fact that the person in the stall seemed too busy to talk, I fell in love with Max Jenny. My favourite pieces were their colourful cape’s, for the following reasons.  They are waterproof; this satisfies my northern fell-walking roots. They are capes; this satisfies my Drama Queen roots. Amazingly their products are made from recycled PET bottles, which satisfies my inner hippie. Tick, tick. tick. MaxJenny is featured in Amelia’s Compedium of Fashion Illustration.


Illustration by Matilde Sazio

Lu Flux’s designs also caught my eye. I have always loved their use of colour and therefore loved this colourful leather rucksack. By working with salvaged, vintage and organic fabrics, that combine pleats, knitting and patchwork, the collection makes something new out of something old. .Lu Flux is featured in Amelia’s Compedium of Fashion Illustration. You can read an extract of their interview here.


Photograph by Damian Ucieda Cortes

Tara St James made use of copper pipe work in her gorgeous, chunky jewellery, and I also loved the blanket capes too. Chic and snuggley. Good for campsites and cocktails, bonus.


Photograph by Lauren Bilanko

And then I was out the door again, navigating Somerset House’s warren like corridors. I presumed I’d be surrounded by long legged, anorexic, bitchy looking women. I did see some ultra skinny, unhealthy looking people, which will always sadden me, but there were also plenty of healthy looking amazingly dressed people there too. In fact, I enjoyed the London Fashion Week street style stuff as much as the main show photo’s (perhaps sacrilegious?). But what really struck me was that people were, well, NICE. And mostly normal. Which I have to say I wasn’t expecting.

Next up, I’ll be reviewing Ecoluxe. You can buy Amelia’s Compendium of Fashion Illustration (featuring the very best in ethical fashion design) RIGHT HERE.

Written by Hannah Bullivant on Thursday March 3rd, 2011 9:57 am

Categories ,4 Equal Sides, ,ACOFI, ,Alison Day, ,Alison Haines, ,Amelia’s Compendium of Fashion Illustration, ,Avril Kelly, ,ciel, ,Ecoluxe, ,estethica, ,esthetica, ,goodone, ,Hannah Bullivant, ,Joanna Cave, ,Kumvana Gomani, ,lfw, ,Lily Cole, ,Little Glass Clementine, ,London Fashion Week, ,Lu Flux, ,Matilde Sazio, ,Max Jenny, ,Maxjenny, ,Natasha Thompson, ,pet shop boys, ,Somerset House, ,Soya Latte, ,Spanks, ,Tara St James, ,The North Circular

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Amelia’s Magazine | London Fashion Week S/S 2012 Showroom Review: EcoLuxe London

by

'Ecolooks' EcoLuxe London Exhibition LFW SS12 by Maria Papadimitriou aka Slowly The Eggs

‘Ecolooks’ by Maria Papadimitriou aka Slowly The Eggs

I was hugely excited that during this London Fashion Week I had the opportunity not only to go and see but also exhibit at the EcoLuxe London exhibition that took place in a beautiful space on the ground floor of the Kingsway Hall Hotel almost next to the Vauxhall Fashion Scout’s Freemasons’ Hall. Ecoluxe London takes place twice a year during London Fashion Week and is a non-profit platform that promotes fashion related ecoluxury brands and aims to raise awareness of ecological issues with the public. Its organisers, information pills Stamo and Elena Garcia, who are sustainable womenswear designers themselves, featured over 40 brands this year and EcoLuxe London is growing every year – here’s only a few examples that took my fancy!

EcoLuxe London LFW SS12 Lucy Harvey Ethical Stylist

EcoLuxe London LFW SS12 Ethical Stylist Lucy Harvey and Hetty Rose

Ethical stylist Lucy Harvey styling shoe designer Hetty Rose with a Plastic Seconds headpiece and necklace.

Upon entering the exhibition visitors were greeted by superbly talented stylist Lucy Harvey and her assistant Charlie Divall, who offered to upstyle them with various pieces from the exhibitors’ tables and then photograph them and tweet about it. I thought in this way Lucy offered a really fun, interactive introduction to the exhibition and a great way of promoting both the designers’ and the visitors’ work.

EcoLuxe London LFW SS12 Lupe Castro wearing Supported by Rain and Plastic Seconds

Stylist Lupe Castro styled by Lucy Harvey with a Supported by Rain coat and a Plastic Seconds headpiece, photo by Charlie Divall

Walking further into the exhibition the first thing to catch my eye was a series of gloriously colourful raincoats by Maria Ampatielou’s new brand Supported by Rain – seen above. Made of recycled umbrellas and end-of-roll waterproof fabrics, these raincoats are not only beautiful but also cleverly fold into their own pockets or hoods, whose insides have remained dry, so that you can put them back into your bag without any soaked diary dramas!

STAMO EcoLuxe London LFW SS12 by Celine Elliott

By Stamo S/S 2012 by Celine Elliott

EcoLuxe London LFW SS12 STAMO belt

By Stamo, which featured in Amelia’s Compendium of Fashion Illustration, is another brand I enjoyed especially because of the theatricality in the designs and the extensive use of found and recycled materials whose original form is often retained – as seen in this bullet belt.

INALA LONDON EcoLuxe London LFW SS12 by Caire Kearns

INALA London S/S 2012 by Claire Kearns

My neighbour exhibitor Alani Gibbon of INALA London showed some designs which were a natural hit with me becuase of their bright colours, but they further impressed me with their cleverness and versatility. For example a hooded short dress could be turned around and worn as an all-in-one playsuit! Not to mention the use of pulped eucalyptus fabric which felt amazing to touch.

OUTSIDER Ecoluxe London LFW SS12 by Maria Papadimitriou aka Slowly The Eggs

Outsider Fashion S/S 2012 by Maria Papadimitriou aka Slowly The Eggs

I was thrilled to see the brand Outsider winning the JP Selects womenwear award at the end of the show as they stongly promote the notion that ‘ethical’ fashion should just look like very good fashion with their range of classic but very stylish designs.

HEMYCA EcoLuxe London LFW SS12 by Celine Elliott

Hemyca S/S 2012 by Celine Elliott

Hemyca is a multi award winning brand and I was most attracted by this beautifully tailored matching dress and coat.

LFW SS2012 Agnes Valentine Ecoluxe London by Maria Papadimitriou aka Slowly The Eggs

Agnes Valentine S/S 2012 by Maria Papadimitriou aka Slowly The Eggs

Along with Hemyca above, whom I was not aware of, it was great to discover my dream swimsuit designer Agnes Valentine! The brand sources fine italian eco fabrics and their designs are minimal and classic but with bold colours and very feminine indeed.

EcoLuxe London LFW SS12 Hetty Rose shoes

EcoLuxe London LFW SS12 Hetty Rose shoes worn by Alice Wilby

It was an honour to meet another ACOFI designer Hetty Rose whose fun bespoke shoes are made using vintage Japanese kimono fabrics, Alice Wilby from Futurefrock modelled this pair and did not want to take them off!

EcoLuxe London LFW SS12 Golden Grass Company clutch

Next to Hetty Rose I found the friendly couple behind the Golden Grass Company who design jewellery and accessories for native artisans in Brazil to make out of a naturally golden, light and durable fibre, which is grown without chemicals or pesticides, under fair trade standards – LOVED this clutch!

EcoLuxe London LFW SS12 Monique Luttin headpiece

Sharing a table with me was Monique Luttin who makes intriguing headpieces using offcuts or vintage fabrics and found objects – I particularly liked this bird scull one which has a tribal, ritualistic element to it.

EcoLuxe London LFW SS12 Palstic Seconds printer packaging pendand

And finally a piece from the Plastic Seconds recycled jewellery collection I exhibited made out of the plastic, colourful bits one finds when unpacking a new printer…

As Hannah Bullivant pointed out in a previous post on EcoLuxe London, hopefully sustainable practices in fashion design will become mainstream and the brands that are still termed ‘ethical’ will no longer have to exhibit in separate showrooms and sections such as EcoLuxe or Estethica. Hopefully soon.

All photography by Maria Papadimitriou unless otherwise stated.

Written by Maria Papadimitriou on Wednesday September 28th, 2011 11:25 am

Categories ,Agnes Valentine, ,Alice Wilby, ,By Stamo, ,Celine Elliott, ,Charlie Divall, ,Claire Kearns, ,Classic, ,Coat, ,design, ,designer, ,Dress, ,ecodesign, ,Ecoluxe, ,Elena Garcia, ,estethica, ,Ethical brands, ,fashion, ,Feminine, ,Freemasons’ Hall, ,Futurefrock, ,Headpiece, ,Hemyca, ,Hetty Rose, ,Inala London, ,jewellery, ,Kingsway Hall Hotel, ,London Fashion Week, ,Lucy Harvey, ,Lupe Castro, ,Maria Papadimitriou, ,minimal, ,Monique Luttin Millinery, ,Outsider, ,Outsider Fashion, ,Plastic Seconds, ,Pulped Eucalyptus, ,Recycled Materials, ,shoes, ,Slow Fashion, ,Slowly the Eggs, ,Supported by Rain, ,Swimwear, ,tailoring, ,Vauxhall Fashion Scout, ,vintage, ,Womenswear

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Amelia’s Magazine | Nina Dolcetti: an interview with ethical shoe designer Elisalex Grunfeld de Castro

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Martina Spetlova S/S 2011 by Krister Selin
Martina Spetlova S/S 2011 by Krister Selin.

Fashion designer Martina Spetlova hails from Bohemia in the southern part of the Czech Republic. She studied Chemistry and Biology at university in Prague before coming to London where she was accepted onto a print design BA at Central Saint Martins, sickness despite the absence of a portfolio. Having recently graduated from her MA she is now working on her second collection. En route she has won several prestigious competitions. Studying for an MA at Central Saint Martins seems to open doors.

During her year out from Central Saint Martins she set up a fairtrade embroidery network with women in Pakistan, stuff spending six months living in the area to network between communities and fashion designers, which was great fun but also a lot of responsibility. There was an exhibition in London but sadly the project didn’t last much longer after she left. I am now busy with my own label but I hope to incorporate similar projects into my work in the future. Thanks to her print design background Martina is able to fund her label from the sale of her printed textile designs and she also teaches pattern cutting to a small group of ladies…

Read the rest of this interview and see more illustrations of Martina Spetlova’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.
Nina Dolcetti by Natsuki Otani
Nina Dolcetti by Natsuki Otani.

Were you already considering how to make ethical shoes whilst you were studying at Cordwainers?
Absolutely. I come from a family of ethical fashion pioneers (Orsola de Castro of From Somewhere is my Mum), doctor so it was a no-brainer for me. I know too much about the quantity of waste produced by the fashion industry and the exploitation of people and environment, medicine so of course I was set on running my label as ethically and morally as I could.

When did you first start to work with your signature wedge and what was the process of finding the perfect shape?
The first drawing I did of my signature curved wedge was in a quiet moment at my first Estethica exhibition at London Fashion Week in 2008, when I was eight months pregnant. The wave of inspiration for my next collection had just hit me and I was absorbed in my new designs. It wasn’t until much later that I realised that the curve of the wedge was the exact line, only reversed, of the instep. And thinking about it now, I think the pregnancy definitely had something to do with it too!

Where do you source your materials from? 
I source my offcuts from anywhere and everywhere. I’ve found amazing textured leathers in markets in Spain, been given boxes of beautiful offcuts from other designers, and raided bins in factories. I can find a use for even the smallest scraps. The vegetable tanned leather comes from Italy, and the heels and platforms in cork and wood are hand turned in Norfolk…

Read the rest of this interview and see more illustrations of Nina Dolcetti’s shoes 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 February 1st, 2011 3:32 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Cordwainers, ,Eco fashion, ,Elisalex Grunfeld de Castro, ,estethica, ,Ethical Fashion, ,footwear, ,From Somewhere, ,Laura Bailey, ,lfw, ,Natsuki Otani, ,Nina Dolcetti, ,Norfolk, ,Offcuts, ,Orsola De Castro, ,spain, ,vegetable tanning

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Amelia’s Magazine | Post-London Fashion Week Interview: Minna

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Masters of Reality return with their latest mind altered offering to master their, treat cialis 40mg well, reality.

Masters of Reality’s sixth and latest record Pine/Cross Dover is a welcome return of the classic American desert kings who have many rock and roll fingers in many Palm Desert pies. Although released in 2009, the record is making waves over in the UK now. Presented as two halves, the question is Pine/Cross Dover, their first record in five years, any good?

As a pretty big Queens of the Stone Age fan, I was keen to dip my toe into the pool of rock and branch away from my Tension Head (a track which has incidentally been on my top five records for the last decade), let my ears broaden their taste and listen to fellow desert rockers Masters of Reality, which although I was quite familiar with them I hadn’t fully appreciated. Main member and founder Chris Goss has produced many QOTSA records, and so it’s a clear lineage many make associating the two bands together. To my bountiful joy I was pleased with what I heard in the shape of Pine/Cross Dover, kicking off with King Richard TLH, epitomizing from the outset the classic chugga chugga desert rock sound in a nutshell. This song makes me want to get up to get down, swing my limbs around the room and air drum to the max. Which, after doing so left me injured, but on a futuristic trip through nostalgia at the cusp of the desert rocking it’s best.

Aside from the belting opener, stand out tracks include the blissful Always, pounding with its repetitive drum beats and guitar riffs commonly associated to bands in the Palm Desert scene. The instrumental Johnny’s Dream, broadens the sound and style of Masters of Reality to something more then what many have said to be within the realms of stoner rock. Johnny’s Dream is pure end credit music and an awakening to the bands’ previous explorations. Further tracks to download include Absinthe Jim and Me, and the juggernaut Up In It, with Dave Catching playing guest guitar on the former – a fellow member of the desert rock scene and collaborator to many Josh Homme projects, including touring with Eagles of Death Metal last year. Masters of Reality, who add a dash of dark riff house blues to complete their newest record, are for anyone who has overplayed their Queens of the Stone Age records (which does happen) and are after a darker and deeper foray into the light of desert rock at it’s best. Due to tour the UK supporting The Cult in early 2011, if you’re into psychedelic, desert rock and dirty riffs, this is a band you don’t want to miss.

Masters of reality Pine

Masters of Reality return with their latest mind altered offering to master their, price well, dosage reality. Their sixth and latest record Pine/Cross Dover is a welcome return of the classic American desert kings who have many rock and roll fingers in many Palm Desert pies. Although released in 2009, buy the record is making waves over in the UK now. Presented as two halves, the question is Pine/Cross Dover, their first record in five years, any good?

As a pretty big Queens of the Stone Age fan, I was keen to dip my toe into the pool of rock and branch away from my Tension Head (a track which has incidentally been on my top five records for the last decade), let my ears broaden their taste and listen to fellow desert rockers Masters of Reality, which although I was quite familiar with them I hadn’t fully appreciated. Main member and founder Chris Goss has produced many QOTSA records, and so it’s a clear lineage many make associating the two bands together. To my bountiful joy I was pleased with what I heard in the shape of Pine/Cross Dover, kicking off with King Richard TLH, epitomizing from the outset the classic chugga chugga desert rock sound in a nutshell. This song makes me want to get up to get down, swing my limbs around the room and air drum to the max. Which, after doing so left me injured, but on a futuristic trip through nostalgia at the cusp of the desert rocking it’s best.

Chris Goss
Chris Goss – something of a character!

Aside from the belting opener, stand out tracks include the blissful Always, pounding with its repetitive drum beats and guitar riffs commonly associated to bands in the Palm Desert scene. The instrumental Johnny’s Dream, broadens the sound and style of Masters of Reality to something more then what many have said to be within the realms of stoner rock. Johnny’s Dream is pure end credit music and an awakening to the bands’ previous explorations. Further tracks to download include Absinthe Jim and Me, and the juggernaut Up In It, with Dave Catching playing guest guitar on the former – a fellow member of the desert rock scene and collaborator to many Josh Homme projects, including touring with Eagles of Death Metal last year. Masters of Reality, who add a dash of dark riff house blues to complete their newest record, are for anyone who has overplayed their Queens of the Stone Age records (which does happen) and are after a darker and deeper foray into the light of desert rock at it’s best. Due to tour the UK supporting The Cult in early 2011, if you’re into psychedelic, desert rock and dirty riffs, this is a band you don’t want to miss.

Masters of reality Pine

Masters of Reality return with their latest mind altered offering to master their, approved well, approved reality. Their sixth and latest record Pine/Cross Dover is a welcome return of the classic American desert kings who have many rock and roll fingers in many Palm Desert pies. Although released in 2009, the record is making waves over in the UK now. Presented as two halves, the question is Pine/Cross Dover, their first record in five years, any good?

As a pretty big Queens of the Stone Age fan, I was keen to dip my toe into the pool of rock and branch away from my Tension Head (a track which has incidentally been on my top five records for the last decade), let my ears broaden their taste and listen to fellow desert rockers Masters of Reality, which although I was quite familiar with them I hadn’t fully appreciated. Main member and founder Chris Goss has produced many QOTSA records, and so it’s a clear lineage many make associating the two bands together. To my bountiful joy I was pleased with what I heard in the shape of Pine/Cross Dover, kicking off with King Richard TLH, epitomizing from the outset the classic chugga chugga desert rock sound in a nutshell. This song makes me want to get up to get down, swing my limbs around the room and air drum to the max. Which, after doing so left me injured, but on a futuristic trip through nostalgia at the cusp of the desert rocking it’s best.

Chris Goss
Chris Goss – something of a character!

Aside from the belting opener, stand out tracks include the blissful Always, pounding with its repetitive drum beats and guitar riffs commonly associated to bands in the Palm Desert scene. The instrumental Johnny’s Dream, broadens the sound and style of Masters of Reality to something more then what many have said to be within the realms of stoner rock. Johnny’s Dream is pure end credit music and an awakening to the bands’ previous explorations. Further tracks to download include Absinthe Jim and Me, and the juggernaut Up In It, with Dave Catching playing guest guitar on the former – a fellow member of the desert rock scene and collaborator to many Josh Homme projects, including touring with Eagles of Death Metal last year. Masters of Reality, who add a dash of dark riff house blues to complete their newest record, are for anyone who has overplayed their Queens of the Stone Age records (which does happen) and are after a darker and deeper foray into the light of desert rock at it’s best. Due to tour the UK supporting The Cult in early 2011, if you’re into psychedelic, desert rock and dirty riffs, this is a band you don’t want to miss.


Illustration by Faye West

Recently in the midst of London Fashion Week (S/S 2011 already I hear you say?!) I had the chance to interview a designer who’s no stranger to the bi-annual tradition, buy nor Amelia’s Magazine. Her last interview with us took place before Fashion Week in February when the Minna brand was early in its second year and we have since seen her A/W 2010 collection provide a culmination of gothic lace and textured velvet loved by many.

But this year Minna was back to show at Estethica again, view so it was time to catch up with her whilst eyeing up her S/S 2011 look.


Minna at Estethica. All photography by Jemma Crow

So you’re back for another season within Esthetica, illness how do you think this collection is different to your others and what are you hoping to offer to the customer?
Well this season we are going back to what we do best; hand finished and truly-vintage looking pieces. We wanted each piece to look like it was a ‘one of a kind.’ This is something we achieve by tea dying vintage lace and leaving the hemlines slightly frayed. The end result is a collection of beautiful feminine pieces that are designed to suit every shape and size. I’m very excited about this collection as we’ve put into good use everything that we’ve learnt about the customer and what she wants for the past two years.


Illustration by Antonia Parker

Sounds exciting. So what has been you real drive and inspiration behind the SS11 collection?
Well I love summer so designing this collection is always the easiest for me and is always lots of fun; the only problem is that I had too many ideas to put into work. I suppose the inspiration me and my team worked from was based around the ‘Alice in Wonderland’ movie of which my daughter is a huge fan (and Minna herself could watch all day long), both other inspirations came from laid back summer afternoons in the South of France where I spend a lot of time with my family. I think it’s the slow pace of life there and the beautiful architecture to see that puts me into a creative mood.

The A/W 2010 looks on the website are beautiful and very gothic. The Claudia dress especially is amazing and very inspirational. Who do you see as your customer and where do you imagine her wearing the pieces? Is it something that you bear in mind when you create the look?
In the winter I am always craving darker pieces so that’s what I love to create for my customer. I also a big fan of creating pieces that are functional and think dresses are the perfect mix of functionality and fashion; that’s the reason there were no tops in my A/W 2010 collection. I think I directed [the collection] towards a more mature audience and I think it’s apparent that as I get older so does my design style. But it’s about not being too serious; I think its important to pay attention to the little details and the collar on the Claudia dress (very Peter Pan-esque) adds just the right amount of playfulness.

Too right that they’re not too serious (and who in fashion should be?!). I have a bit of a crush on that piece right now to kick start my autumn winter look. And from a (recently) London girl what do you think of the style in our capital? How does it compare with the Finnish style you experienced at home?
What I love about the Brits is that they’re not afraid of breaking the rules; and I’m a big believer that the rules are there to be broken. People over here aren’t just following the trends, they have their own individual style that they translate into so many different looks in their outfits. I think you’re lucky to have the British High Street here as it’s the best in the world; its cheap and accessible but it also makes it very hard for smaller brands to compete with the Primark and Topshop’s of the world.
Finland is completely different and it’s a very expensive and tricky market to break into but if you can crack it then Finnish customers are amongst the most loyal I know. In fact you can probably count on one hand the number of brands in the market. Weather is also a big issue out there though and the Finnish need like their pieces to be simple and serviceable whilst still following the trends. They have to be functional and people have to have a functional winter wardrobe to get through the seasons.
Saying this I am surprised every time I visit Finland again as there’s a new generation of fearless fashionista’s emerging who but their pieces over the internet and aren’t afraid to experiment with fashion. After all, Fashion should be fun and that’s what I try to create with my pieces and what I hope the customer gets from them too.

Thank you so much, Minna. Sounds like a great philosophy to have when looking at a collection and SS11 sounds like it will be a great year for you. I’m looking forward to it already! And put me on the list for a Claudia dress too, as you say everyone needs a functional winter wardrobe. Thanks and congratulations for London Fashion Week.

Written by Jemma Crow on Thursday October 14th, 2010 12:07 pm

Categories ,Antonia Parker, ,estethica, ,ethical, ,Faye West, ,finland, ,interview, ,lace, ,London Fashion Week, ,Minna, ,S/S 2011, ,vintage

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Amelia’s Magazine | Pre-London Fashion Week S/S 2011 Interview: Ada Zanditon and ADZ

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ADZ, pilule information pills illustrated by Jess Stokes

Whilst eco-couture has always been ahead of the times in terms of sustainability, it’s often been left behind in the style stakes, unable to compete with mainstream, high fashion. Gradually though, a new breed of designer has emerged who is equally concerned with creating a cutting edge aesthetic as they are utilising sustainable and organic materials.

At the forefront of this movement is Ada Zanditon, whose designs experiment with shape and texture in a way that is unsurprising once you learn that she originally interned with Alexander McQueen and Gareth Pugh. After establishing her own eco-luxury womenswear line in March 2008, Ada has gone on to raise awareness of everything from eco fashion to politics through the likes of the Think Act Vote campaign. Ada took the time to answer a few questions for us about the inspiration behind her new range ADZ, and the future of eco fashion. ? 


ADZ S/S 2011

You’ve really established yourself as a pioneer of eco-fashion, giving the movement a younger, sexier image than it had in the past. How did you go about this?  
I think that I had two very strong passions that I was determined to make work together – fashion and sustainability. I enjoy the innovative aspect that comes into every part of the process, my main how-to part of it I think comes from a basic viewpoint that anything is possible. It’s equally possible to make a beautiful fashionable dress from an ecological material as it is from one that is not. It’s equally possible to create fashion that considers its full life span and even decay as it is to create something that does not. It’s a question of awareness, choice and aesthetics. 

Tell us about your new collection, ADZ?  
ADZ by Ada Zanditon is the bridging line to my main collection, it’s contemporary, resort urban wear that combines strikingly unique prints with casual yet sophisticated pieces that are focussed around bold geometric detailing in fluid soft fabrics such as tencel, silk jersey and chiffon. The SS 2011 debut collection of ADZ is titled Nebulayan. My inspiration came from creating illustrations of satellite images of the Himalayas mountain range which I then layered with Hubble telescope imagery of deep space nebulae. We now have achieved the technology to see the Earth from space and also to see deep into outer space. I like the idea of contrasting these perspectives with each other. 


ADZ, illustrated by Aniela Murphy

How do you cope with the volume of work and your nerves in the build up to London Fashion Week? Any trade secrets?
I am always aware that I am so fortunate to be in the position to be running my own label, I don’t really want to complain. Everyday always has its challenges, but I try to see that as opportunity. I think gratitude is vastly underrated these days…. don’t you? 

Absolutely! Amelia’s magazine have always been a big fan of your illustrations, any plans to design your own prints based on your work?
Actually, all my prints are based on my illustration work and photography and as well as that I use watercolour then layer all these elements together. ? 


ADZ, illustrated by Natsuki Otani

Musician Viktoria Modesta is your muse; how did you end up working together? You’ll be contributing to her showcase next month; what will that involve?
Soon after we first met we found we had a good creative rapport. I think Viktoria has incredible elegance and style with a real sense of grace. As for the showcase – I don’t want to give to much away but it will be a great evening. 

How do you think the public can be convinced of the importance of sustainability? Do you think there is more designers, magazine editors and celebrities could be doing to highlight its significance?
I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change. However, I think that people can encourage and inspire, and have a really good try at convincing. What worries me, though, is that catastrophic events only really shake people into action. I think everyone in every walk of life can do more, no matter what you do.

To see the entire ADZ S/S 2011 collection, visit Ada’s website.
To read more about Think Act Vote, see our interview with Amisha Ghadiali here.

Written by Katie Antoniou on Wednesday September 1st, 2010 12:50 pm

Categories ,Ada Zanditon, ,ADZ, ,Alexander McQueen, ,Aniela Murphy, ,Bangladesh, ,estethica, ,ethical, ,fashion, ,Gareth Pugh, ,Himalayas, ,interview, ,Jess Stokes, ,London Fashion Week, ,Natsuki Otani, ,Nebulayan, ,S/S 2011, ,sustainability, ,Think Act Vote, ,Viktoria Modesta

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Amelia’s Magazine | London Fashion Week S/S 2011 Event Review: Estethica Brunch at Somerset House

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Illustration by Gabriel Ayala

So okay maybe fashion isn’t the most eco conscious industry (shallow, approved us?!) but Estethica is trying to change all that. And, ailment as if you didn’t know, drug 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.

Illustrated by Gareth Hopkins

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

Written by Jemma Crow on Monday September 20th, 2010 9:50 pm

Categories ,british fashion council, ,estethica, ,ethical, ,Fair Trade, ,Laura Bailey, ,London Fashion Week, ,MADE, ,Somerset House

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Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Ada Zanditon

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Illustration by Kellie Black

Illustration of Little Shilpa by Yelena Bryksenkova

Illustration of J Smith Esquire by Kellie Black

Illustration by Kellie Black

The Headonsim exhibition is hidden in the Embankment Galleries on the lower ground floor of Somerset house, medicine behind the BFC tent. I’ve been down there twice, once on Thursday and once yesterday – and both times it seemed very under attended. Actually, all the exhibitions around the scrum of the registration area seem very quiet but they are all well worth a look, even if it is just to take a closer look at some of the collections as I did upstairs for Louise Amstrup.

Curated by milliner extraordinaire Stephen Jones, the Headonism exhibition is all about the hats and is the only section of London Fashion Week to do so. There are only five exhibitors: J Smith, Little Shilpa, Noel Stewart, Piers Atkinson and Soren Bach, but the difference between the stands is remarkable. The xxxxx has no one manning it, nor does Little Shilpa – merely a book to leave details in and the only exhibitor to have put any real effort into their display is Piers Atkinson but more on him later. The importance of showcasing your wares appropriately at London Fashion Week is shockingly something that many have left to the last minute. Read xxx post on the displays upstairs to find out who did it well.

We were lucky enough to interview two of the exhibitors prior to the show, the first was J Smith Esquire. His exhibit is immediately to your right as you enter the exhibition, displaying his most recent foray into the high street market with a Mister Smith display of flat pack hats in colourful cut out leather. He told us about the collection: ‘Mister Smith is designed to be robust, accessible, affordable millinery with high design values, so everyone can have a J Smith Esquire hat’.

Illustration of J Smith Esquire by Kellie Black

Mixing together the ready-to-wear and couture, J Smiths talent shines with his main collections. Illuminated promises to be VERY eclectic, ‘(it’s) inspired by vintage Italian fashion papers to create a modern-day Edwardian couture, and yes, expect a very colourful collection!’

Illustration of Little Shilpa by Yelena Bryksenkova

Illustrations by Paolo Caravello

Monday saw the fourth day dawn on London Fashion Week and delightfully my first day of intriguing ethical fashion presentations. First up on No. 1 Greek Street was the delightful Lu Flux, try followed in the afternoon by – congratulations! – the Ethical Fashion Forum’s Innovation Award winner Ada Zanditon. –

All photographs by Sally Mumby-Croft

In the run up to London Fashion Week, stomach Katie Antoniou interviewed Ada Zanditon about the trials, tribulations and positive rewards of producing innovative ethical fashion. Often the problem lies in the assumption that ethical fashion is boring and unfashionable – that most heinous of sins! – a situation being speedily rectified with the continuing presence of Estethica’s exhibition and support of young designers exploring the possibility of sustainable fashion at London Fashion Week Exhibition.

Illustrations by Paolo Caravello

Starting at 2pm, Ada Zanditon’s presentation – which in the grand scheme of things was more of catwalk – displayed the designer’s incredible 3D textiles used to embellish the collection of pretty dresses. Utilising her presence at On|Off, Ada showcased the delectability of clothes made through using up-cycled materials. The outcome of which had the group of ladies behind me swooning.

Christopher Raeburn and Lu Flux, (whose review will be appearing later on today…) are but two of Ada Zanditon’s trailblazing contemporaries in the field of ethical fashion. All three designers are successfully proving there need be no distinction between ‘fashion’ and ‘ethical fashion.’

Surely it is time for all designers to take the ethics of their production lines into consideration: namely where the fabrics originate and who is physically making the clothes for commercial consumption.

Illustrations by Paolo Caravello

When answering Amelia’s Magazine’s final question , Zanditon touched upon the difficult reality of encouraging people to achieve not only sustainable fashion, but sustainable lives; “I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change.”

A common fault in humanities mentality is our failure to project successfully beyond today, nurtured as we are on natural resources being infinite. It is incredibly hard to convince worldwide populations’ materials are and will become finite, whilst items still appear in their thousands on shop floors. Perhaps it will take empty shelves to convince us of the perils of fast fashion.

Intriguingly Ada Zanditon uses geometric cutting to produce zero waste. Tell us how you do it Ada!

Written by Sally Mumby-Croft on Tuesday September 21st, 2010 12:18 pm

Categories ,Ada Zanditon, ,Alexander McQueen, ,Amelia Gregory, ,Amelia’s Magazine, ,Bloomsbury, ,Christopher Raeburn, ,Ecover, ,estethica, ,Ethical Fashion, ,Ethical Fashion Forum, ,Gareth Pugh, ,Innovative Design Awards, ,Katie Antoniou, ,London Fashion Week, ,Lu Flux, ,onoff, ,Somerset House, ,SS11, ,Upcycling

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Amelia’s Magazine | London Fashion Week A/W 2011 Preview: Rachel Freire

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Nick25
Gemma Milly_Nicholas Stevenson
Illustration by Gemma Milly

Nicholas sent me his CD and tape, approved accompanied by a lovely letter about living and musing about in Bristol. One of my favourite pastimes – we may have been staring into the same middle distance…! Like a quill pen into my heart, recipe I am a sucker for a personal letter. Especially on such nice paper. After reading his scribe, I listened to Nicholas’s album: Phantom Sweetheart, available now on Hilldrop Records.

phantom sweetheart cover by nicholas stevenson
Album Cover, Phantom Sweetheart, Illustration by Nicholas Stevenson

It’s a splendid listen. Thoughtful and wistful. It’s like a less brash (blah). It has a Californian, surf sound, mixed with a smattering of New York – and the mighty UK. This mixture of locations is perhaps a reflection of Nicholas’s various home locations from birth. Since my initial listen, I now enjoy playing the album when I’m in my own little zone, cleaning. Because you could be anywhere. And if you don’t overly want to be where you are right now, there’s your ride. This interesting, sentimental man will take you away. Or indeed in my present case, scrub that flat ‘til in shines like the summer sun reflecting in my – prematurely purchased, cat eyed – sunnies. I miss you sun. I’d like to meet him to discuss travel, home, love and art. Oh yes, he’s an illustrator too. As Nicholas was so eloquent in his letter, I thought an interview would be perfect. So here it follows:

Nicholas Stevenson with phantom

Could you introduce yourself for us Nicholas…?
Hi there, my name is Nicholas Stevenson and I’m a songwriter and illustrator.

Where are you from originally and where do you reside now?
I currently reside in Cambridgeshire, but I was born in Scotland, lived on an island in the Seychelles for a while, and then moved back to England. I’m also half American so I sometimes have a confusing accent; it’s all a bit confusing actually. I usually give people fake biographies about growing up in the North Pole or being found in the wilderness to avoid explaining the complicated truth…

The Aeroplane Darling cover by Nicholas Stevenson
EP Cover, The Aeroplane Darling, Illustration by Nicholas Stevenson

How long have you been playing music? Could you describe it?
It would be hard to say when I started making music, but I found a tape of myself shouting a song I made about giraffes aged four the other day. The music in the shape it is now probably started about three years ago when I moved away to go to Art College. I had a band in high school that made fuzzy alt rock like the Smashing Pumpkins, but when we went our separate ways I started recording songs on my own in my room. It’s a sort of alt folk sound, with lots of layers, and a big emphasis on melodies.

How long have you been illustrating? Could you describe your style?
I’ve been drawing a lot longer than I’ve been making music, but I don’t think I could ever have considered myself an illustrator up until the last couple of years. I try to make work that’s fun, mysterious and occasionally a bit unsettling where possible.

chase in a sketchbook by Nicholas Stevenson
Chase In A Sketchbook, Illustration by Nicholas Stevenson

Do you use your illustration and music to compliment/influence each other?
Most definitely. I think both of these activities really boil down to an urge for me to be story telling. Both my music and illustration usually revolves around some sort of implied narrative and it’s pretty common for a drawing to influence a lyric or vice versa.

What inspires your creativity, both re: music and illustration?
Cosmography, polar exploration, time travel, childhood, memory, feral children, miniature painting, amateurs and outsiders; a lot of things that I read about or places I visit. I try not to rule anything out as potential fodder for making stories and art about.

bayonets album sleeve
Bayonets Album Sleeve, Illustration by Nicholas Stevenson

Have you ever had a ‘phantom’ sweetheart?
Well not a sweetheart per-se, but in the Seychelles I had two childhood ghost friends called Coco and Silent. Coco lived in a palm tree, and Silent lived on an abandoned ship. They were both only a foot tall, and wore white sheets with eyeholes, although I think Silent wore a baseball cap. The name ‘Phantom Sweetheart’ came about partly because all of my records have had terms of endearment in the name (Dearest Monstrous, The Aeroplane Darling) and I wanted this album to be really ghostly and spectral. Phantom Sweetheart just seemed to be the perfect title.

And what do you think about love and ‘being in love’ ? 
I think it’s a really nice special thing, I’m probably a bit of a softy and a romantic. It might seem like I’ve written a few songs from an anti-love position, but as Harvey Danger once said: “Happiness writes white”.

Have you been in love?
Oh yes mam.

hilldrop business card blank small
Hilldrop Business Cards, Illustration by Nicholas Stevenson

Who else is in your band?
Dan Lewis plays the drums, Tom Harrington plays the bass guitar and glockenspiel whilst Oliver Wilde plays lead guitar.

When/how did you get together?
I met Dan and Tom in Hereford where I was studying at Art College. My manager Joe introduced us and we started arranging my songs and got performing almost straight away as a three piece. Oliver joined the band just last autumn. He not only signed me to his label Hilldrop Records, but he also produced and recorded the album with me in his house in Bristol. We worked really closely together on Phantom Sweetheart and Oliver had a big impact on the way those songs turned out. Of course by the end he knew how to play them all back to front and it seemed like a no-brainer that he should come out on tour with us.

And who is your record label, and how did you get signed?
Hilldrop Records are my label. I think they requested I send them some of my demos in the mail over a year ago. They liked what they heard and I played some gigs for them and we hit it off pretty fast, I started making posters for their shows too. We were all coming from a similar direction and they were interested in promoting art and building it in to the performances. We’d got to know each other reasonably well by the time we decided to sign a contract and make the album.

hilldrop cult 1300_1300
Illustration by Nicholas Stevenson

What was it like going on tour? Did you get inspired?
It was a blast, definitely not glamorous, but great fun. Our car broke down on the way to a sold out show in Bakewell and we had to jettison half the gear and get a taxi. We arrived just in the nick of time with no drums or drummer, and played entirely unplugged to a wonderfully attentive packed room. We spent the night in a big old house; there were teddy bears in the beds. Bakewell is such an old fashioned and charming town (home to the bakewell tart) everyone was so kind and interesting there, it sort of inspired us to play more small places on tour. It doesn’t seem fair that the big cities get all the tour dates, where people can sometimes be so jaded towards the barrage of live music anyway.

Nick25

Where do you see yourself in ten years?
Hopefully doing the same things I’m doing now, but more masterfully. I’m fully aware I have a long way to go and lots of room to grow before I’m satisfied… I just hope I’m fortunate enough to find time for it all.

What about now, what is coming up for you?
At the moment I’m working on a sort of audio zine project called ‘Dead Arm’. It’s going to be a series of cassette tapes, each with a different set of new songs and sounds. Its quite fun telling myself to sit down and make a continuous twenty-minute tape, rather than getting too hung up on individual songs; it makes me less precious and hopefully more inventive. I’m quite excited to see where it goes… 
You can buy Phantom Sweetheart, on Hilldrop Records, here.

Gemma Milly_Nicholas Stevenson
Illustration by Gemma Milly

Nicholas sent me his CD and tape, ailment accompanied by a lovely letter about living and musing about in Bristol. One of my favourite pastimes – we may have been staring into the same middle distance…! Like a quill pen into my heart, buy more about I am a sucker for a personal letter. Especially on such nice paper. After reading his scribe, I listened to Nicholas’s album: Phantom Sweetheart, available now on Hilldrop Records.

phantom sweetheart cover by nicholas stevenson
Album Cover, Phantom Sweetheart, Illustration by Nicholas Stevenson

It’s a splendid listen. Thoughtful and wistful. It’s like a less brash (blah). It has a Californian, surf sound, mixed with a smattering of New York – and the mighty UK. This mixture of locations is perhaps a reflection of Nicholas’s various home locations from birth. Since my initial listen, I now enjoy playing the album when I’m in my own little zone, cleaning. Because you could be anywhere. And if you don’t overly want to be where you are right now, there’s your ride. This interesting, sentimental man will take you away. Or indeed in my present case, scrub that flat ‘til in shines like the summer sun reflecting in my – prematurely purchased, cat eyed – sunnies. I miss you sun. I’d like to meet him to discuss travel, home, love and art. Oh yes, he’s an illustrator too. As Nicholas was so eloquent in his letter, I thought an interview would be perfect. So here it follows:

Nicholas Stevenson with phantom

Could you introduce yourself for us Nicholas…?
Hi there, my name is Nicholas Stevenson and I’m a songwriter and illustrator.

Where are you from originally and where do you reside now?
I currently reside in Cambridgeshire, but I was born in Scotland, lived on an island in the Seychelles for a while, and then moved back to England. I’m also half American so I sometimes have a confusing accent; it’s all a bit confusing actually. I usually give people fake biographies about growing up in the North Pole or being found in the wilderness to avoid explaining the complicated truth…

The Aeroplane Darling cover by Nicholas Stevenson
EP Cover, The Aeroplane Darling, Illustration by Nicholas Stevenson

How long have you been playing music? Could you describe it?
It would be hard to say when I started making music, but I found a tape of myself shouting a song I made about giraffes aged four the other day. The music in the shape it is now probably started about three years ago when I moved away to go to Art College. I had a band in high school that made fuzzy alt rock like the Smashing Pumpkins, but when we went our separate ways I started recording songs on my own in my room. It’s a sort of alt folk sound, with lots of layers, and a big emphasis on melodies.

How long have you been illustrating? Could you describe your style?
I’ve been drawing a lot longer than I’ve been making music, but I don’t think I could ever have considered myself an illustrator up until the last couple of years. I try to make work that’s fun, mysterious and occasionally a bit unsettling where possible.

chase in a sketchbook by Nicholas Stevenson
Chase In A Sketchbook, Illustration by Nicholas Stevenson

Do you use your illustration and music to compliment/influence each other?
Most definitely. I think both of these activities really boil down to an urge for me to be story telling. Both my music and illustration usually revolves around some sort of implied narrative and it’s pretty common for a drawing to influence a lyric or vice versa.

What inspires your creativity, both re: music and illustration?
Cosmography, polar exploration, time travel, childhood, memory, feral children, miniature painting, amateurs and outsiders; a lot of things that I read about or places I visit. I try not to rule anything out as potential fodder for making stories and art about.

bayonets album sleeve
Bayonets Album Sleeve, Illustration by Nicholas Stevenson

Have you ever had a ‘phantom’ sweetheart?
Well not a sweetheart per-se, but in the Seychelles I had two childhood ghost friends called Coco and Silent. Coco lived in a palm tree, and Silent lived on an abandoned ship. They were both only a foot tall, and wore white sheets with eyeholes, although I think Silent wore a baseball cap. The name ‘Phantom Sweetheart’ came about partly because all of my records have had terms of endearment in the name (Dearest Monstrous, The Aeroplane Darling) and I wanted this album to be really ghostly and spectral. Phantom Sweetheart just seemed to be the perfect title.

And what do you think about love and ‘being in love’ ? 
I think it’s a really nice special thing, I’m probably a bit of a softy and a romantic. It might seem like I’ve written a few songs from an anti-love position, but as Harvey Danger once said: “Happiness writes white”.

Have you been in love?
Oh yes mam.

hilldrop business card blank small
Hilldrop Business Cards, Illustration by Nicholas Stevenson

Who else is in your band?
Dan Lewis plays the drums, Tom Harrington plays the bass guitar and glockenspiel whilst Oliver Wilde plays lead guitar.

When/how did you get together?
I met Dan and Tom in Hereford where I was studying at Art College. My manager Joe introduced us and we started arranging my songs and got performing almost straight away as a three piece. Oliver joined the band just last autumn. He not only signed me to his label Hilldrop Records, but he also produced and recorded the album with me in his house in Bristol. We worked really closely together on Phantom Sweetheart and Oliver had a big impact on the way those songs turned out. Of course by the end he knew how to play them all back to front and it seemed like a no-brainer that he should come out on tour with us.

And who is your record label, and how did you get signed?
Hilldrop Records are my label. I think they requested I send them some of my demos in the mail over a year ago. They liked what they heard and I played some gigs for them and we hit it off pretty fast, I started making posters for their shows too. We were all coming from a similar direction and they were interested in promoting art and building it in to the performances. We’d got to know each other reasonably well by the time we decided to sign a contract and make the album.

hilldrop cult 1300_1300
Illustration by Nicholas Stevenson

What was it like going on tour? Did you get inspired?
It was a blast, definitely not glamorous, but great fun. Our car broke down on the way to a sold out show in Bakewell and we had to jettison half the gear and get a taxi. We arrived just in the nick of time with no drums or drummer, and played entirely unplugged to a wonderfully attentive packed room. We spent the night in a big old house; there were teddy bears in the beds. Bakewell is such an old fashioned and charming town (home to the bakewell tart) everyone was so kind and interesting there, it sort of inspired us to play more small places on tour. It doesn’t seem fair that the big cities get all the tour dates, where people can sometimes be so jaded towards the barrage of live music anyway.

Nick25

Where do you see yourself in ten years?
Hopefully doing the same things I’m doing now, but more masterfully. I’m fully aware I have a long way to go and lots of room to grow before I’m satisfied… I just hope I’m fortunate enough to find time for it all.

What about now, what is coming up for you?
At the moment I’m working on a sort of audio zine project called ‘Dead Arm’. It’s going to be a series of cassette tapes, each with a different set of new songs and sounds. Its quite fun telling myself to sit down and make a continuous twenty-minute tape, rather than getting too hung up on individual songs; it makes me less precious and hopefully more inventive. I’m quite excited to see where it goes… 
You can buy Phantom Sweetheart, on Hilldrop Records, here.


Rachel Freire S/S 2011, site illustrated by Krister Selin

‘I’m terrible at interviews’ I announce shortly after arriving at Rachel Freire‘s East London studio. A bit of a melodramatic introduction, viagra 60mg maybe; but as I now sit staring at my notes which resemble the scribbles of a toddler I now know why I said it.

My trouble is that I just like to listen to people. I get lost in conversation and forget to write anything down. I refuse to record interviews because I hate the sound of my own voice and I find it a bit of a distraction, viagra sale so my erratic notes are all I have to record our meeting. Sometimes, if I meet up with somebody and they don’t say much, I can manage it; when I meet people like Rachel Freire – gorgeous, mesmerising, opinionated, articulate – I’m left with nothing.


A/W 2010, illustrated by Abby Wright

Rachel is based at the Dace Road studios, home also to the likes of Christopher Raeburn (featured in ACOFI) and Rui Leonardes. Ex-tennants include Mark Fast and Mary Kantrantzou who’ve now moved to Shacklewell Studios, aka hipster central, but despite her successes, Rachel’s staying put. I meet her on a grey Saturday afternoon, she’s been up for most of the night, but you wouldn’t notice despite her protests.

”Whoever says January is a dead month is LYING!’ Rachel exclaims as she makes the tea. I do find that I get on better with people who drink lots of tea. I just don’t trust people who don’t like it. I know, as she gives them a stir, that we’re going to get along. We sit at a big oak desk in the centre of the studio, Rachel lights a cigarette and we begin our conversation. I ask Rachel how it’s going, and she seems pretty positive. She has an army of interns and creates ‘a sense of family’ in her studio, which is adorned with all sorts of interesting antiquities like skulls and baseball paraphernalia. A sign above the door, Rachel’s mantra, reads ‘IF IN DOUBT, SPRAYPAINT IT GOLD,’ a statement I wholeheartedly agree with.


A/W 2010, illustrated by Naomi Law

Rachel brands herself as a ‘costumier’ who happened to fall into fashion, which explains her unique and innovative approach to dressing. ‘I’ll never lose track of my costumier routes,’ she tells me, ‘I’m pretty anti-fashion. It dictates what we wear and how we feel, and I’ve never subscribed to that.’ Her models ‘need to have an arse’ and she’s conscious of the responsibility a fashion designer must adopt, whether that be ethical or environmental. ‘I am the cheapest person!’ Rachel admits, ‘but I will never shop in Primark. I look at the clothes and think ‘somebody suffered for this’. I want customers to hold things knowing somebody’s crafted it – that something is special.’


S/S 2011, illustrated by Gemma Milly

Rachel won’t compromise. She’s staying true to herself and won’t put her name on anything that she hasn’t rigourously vetted and knows exactly where everything has come from. Rachel is as much an ethical designer as any of the Estethica designers – if not more so. She values the work of other people and believes that you ‘have to be ethical in so many different ways’. How you treat your interns, where you source your fabrics, how you communicate with suppliers – all these things, Rachel believes, are necessary for good business, not just opting for ethical fabrics.


S/S 2011, illustrated by Bex Glover

Rachel’s previous collections provide sculptural, architectural pieces with innovative techniques (read all about her glow-in-the-dark S/S 2011 collection here) and it seems A/W 2011 will be even more exciting. As we chat about the boy Rachel’s texting and get mixed up with whose tea is whose (easy mistake – Rachel’s recently got a new mug but the Queen of Fucking Everything option she’s given me still has sentimental value) we’re surrounded by leather nipples. REAL nipples.

Rachel and her team of merry men (and women) have been hard at work in the previous weeks to marry them together to make roses. They’re absolutely beautiful to touch and look at but there’s something rather unsettling about them. ‘That’s my aesthetic!’ Rachel declares.

A sneak peek at some of the fabrics, techniques and colours Rachel’s preparing to show this week:


A/W 2010, illustrated by Joana Faria

Rachel’s also working with Ecco, who are developing processes for leather manufacturing for couture houses. Rachel has devoted a lot of her time visiting the Netherlands tannery working alongside them in their quest to transform how we produce and approach leather goods. ‘I’m obsessed with materials!’ Rachel tells me. ‘It’s much nicer to make a jacket out of something that you’ve had an input in from the start.’ She shows me a new process she’s working on (damned if I can remember the name) which gives leather an ethereal ripple-like pattern that looks as if it’s been photoshopped. I’m speechless, and we both sit caressing it for a while until I can think of something to say.


S/S 2011, illustrated by Yelena Bryksenkova

So what’s up next for Rachel? Well, A/W 2011 looks set to be her bravest collection yet, and I had a sneak peek at some of the fabrics, textures, techniques and cuts she’s working on. On a grander scale, she ‘loves to teach’ and wants to establish a system where the efforts of designers to instil good practises and skills into their army of interns is recognised. She describes mainstay teaching as ‘box ticking’ and, as someone whose never done what she was told to do, feels there’s more to give in a studio-based environment than anything in the classroom. I hear ya, love.

Rachel’s excited about the future. She plans to dazzle once a year at the A/W 2011 shows while maintaining commissions with an ever-expanding roster of clients and other projects during the rest of the year. She also wants to live on a boat and explore costume design in cinema. She references Jean Paul Gaultier‘s work on flicks like The Fifth Element and is excited by the prospect of applying her unique aesthetic to film. It all comes down to financing. ‘Money dictates and creates a standard,’ Rachel tells me. ‘The system to support new designers is very small, but I won’t compromise my values. I’m here to stay.’

I should bloody hope so.

Rachel’s original draqing for her collaboration with Neurotica:

All photography by Matt Bramford

Written by Matt Bramford on Wednesday February 16th, 2011 6:16 pm

Categories ,A/W 2011, ,Abby Wright, ,Bloody Gray, ,Christopher Raeburn, ,Dace Road studios, ,East London, ,Ecco, ,estethica, ,Fifth Element, ,Gemma Milly, ,Gold, ,Jean Paul Gaultier, ,Joana Faria, ,Krister Selin, ,London Fashion Week, ,Mark Fast, ,Mary Kantrantzou, ,Naomi Law, ,Netherlands, ,Nipples, ,Rachel Freire, ,Rui Leonardes, ,Yelena Bryksenkova

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Amelia’s Magazine | London Fashion Week A/W 2014: Somerset House exhibition stands report

by

Jo Hayes Ward jewellery

Before I finish my coverage of London Fashion Week for another season here is a quick pictorial round up of my favourite exhibition finds… gathered from the exhibition space at Somerset House and beyond. At the main stands I only managed to get around the first floor, where I found lots of great jewellery, as always. Jo Hayes Ward goes from strength to strength with her amazing CAD designed jewellery – despite giving birth to her second child just three months ago. These kinetic earrings and pendant have fine articulated parts so that they twinkle beautifully when you move.

Cleo Mercury collar

Cleo Mercury silk scarf

Cleo Ferin Mercury makes colourful accessories with a playful edge. Her decorated collars offer a quirky alternative to wearing a necklace, and I love this shaped silk tiger scarf.

Alice Cicolini rings

I first noticed Alice Cicolini jewellery last season, but had the opportunity to meet the designer herself this time round. This talented lady is also an art curator and a mum; I absolutely adore the unique way she combines precious gems and colourful enamel, designed by herself and made by artisans in India. Sadly I didn’t get a good photo myself so the one above is taken from her website.

Imogen Belfield necklaces

I particularly like the new gem set Imogen Belfield jewels. Just check out that multi-layered chain!

Rachel Entwistle flint bracelet

Rachel Entwistle’s collection was full of desirable pieces such as the silver flint bracelet shown above.

Lily Kamper necklace

Lily Kamper continues to impress with her art deco inspired perspex jewels. New for this season: resins that look like marble, ombre colourings and inlaid sapphires. Lush.

K2 knitwear design

There were many familiar designers in the showrooms but I made a few exciting new discoveries including K2TOG or Knit 2 Together, a designer with a ‘waste not want not’ attitude and one of Estethica‘s Emerging Talents. Central Saint Martins graduate Katie Jones upcycles old aran jumpers with the application of bright embellishments inspired by European folk art. Very cool.

Over on the NewGen stands I was also very impressed by the work of South London based Irish designer Danielle Romeril, who has found a way to combine normally unrelated fabrics to create her own interesting silhouette with lots of tactile detail. Definitely one to watch in coming seasons: I apologise that I did not get a decent photo of this one either, but do take a peek at the video of her collection above.

Beautiful soul display LFW

Over at the Me Hotel I admired the pretty display by Beautiful Soul, part of the Felicities PR presentation.

George Styler knitwear

Finally, it was great to see the work of George Styler up close at the new designers installation at Freemasons’ Hall. Read my review of his catwalk show here.

Next up: finds at the off schedule Off Strand show at the Hoxton Gallery.

Written by Amelia Gregory on Thursday March 6th, 2014 10:59 am

Categories ,A/W 2014, ,Alice Cicolini, ,Beautiful Soul, ,CAD, ,Cleo Ferin Mercury, ,Danielle Romeril, ,estethica, ,exhibition, ,Felicities PR, ,George Styler, ,Imogen Belfield, ,K2TOG, ,Katie Jones, ,Knit 2 Together, ,Lily Kamper, ,London Fashion Week, ,Me Hotel, ,Newgen, ,Rachel Entwistle, ,Report, ,review, ,Somerset House

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