Vita Gottlieb A/W 2014 by xplusyequalshttp://www.xplusyequals.co.uk.
Since taking part in Fashion Fringe as a finalist in 2013, new designer Vita Gottlieb has been busy refining her unique vision, taking multiple influences from across the world and melding them into incredible constructions and beautifully tailored dresses. Her love for the environment is carried through into every aspect of her business; working with ethical suppliers, keeping wastage to a minimum and giving 10% of profits to charities. Here’s a sneak (illustrated) preview of the new A/W 2014 collection.
Three things that I notice looking at your mood boards for the new collection: caging, owl, snail shell – how do these things and ideas impact the new collection?
Actually the owl and shell (it’s a mollusk) are there just as general mood images – I often have images piled up and all over the walls, just to aid the dreaming! But in a more focused mindset it’s just the collection images. For AW14 I was looking at cages, birds, palaces in India, in particular an old ruined Maharaja’s palace I visited in my gap year- and the idea of Grace Jones roaming through the palace with birds flying in and out of the ruins. I’m always taken with the juxtaposing strength against something more delicate or falling apart. There’s always a bit of an imaginary landscape in my concepts but also I imagine a character in a film and draw inspiration from what I perceive they will do and feel.
Sketches by Vita Gottlieb.
You’re showing at Fashion Scout for the first time, how did this come about and what are you most nervous about?
I applied and got in! It’s so great to get to show with Fashion Scout as they support really innovative designers who go onto do big things in the industry, so it’s very exciting. At the moment the studio is quite relaxed as the collection is done, but we’re planning all the practical tasks before the show – casting, music, accessories, etc, plus organising sales documentation and planning some trade shows, also finalising production and deliveries for SS14 – the business side of things are always more nerve-wracking. I’m a bit nervous of the show though, that’s natural – mainly as it’s the first time as a designer that you see the whole collection worn together, and it’s a bit of a reveal – I just hope it’s coherent.
How have you achieved the technical details of the Caged collection? It sounds very complex!
Some pieces were very complex and technical but quite a lot of the collection is more commercial – I’m really aiming with this collection to break into new markets and territories and for it to do well on the sales side of things. But the fun stuff is always making the press pieces for editorial, you can really get creative and treat the materials in a more purely sculptural, instinctive way – I love that process, it’s one of my favourite parts in a collection’s development.
It seems only yesterday that you made the decision to enter the world of fashion and already you are onto your fourth collection… what have you learnt along the way?
So much, mainly about running a business. I ran a production company before and a gallery but both on a really small scale – this industry has taught me a huge amount about management – of people, time, juggling the various departments in the business. And about how to edit, to focus, and remain in the moment with whatever task you’re doing. It’s a huge, huge workload, but I’m learning to compartmentalize more and really hone in on something until it’s done as well as it can be. And I’ve learnt I really need space and time for myself, which is a rarity in this business! So something I’m working on achieving from next season on.
Written by Amelia Gregory on Friday February 14th, 2014 8:37 am
We ran a preview of Vita Gottlieb’s fourth collection, so I had an inkling of what to expect from the Fashion Fringe finalist before she took to the Fashion Scout catwalk for the first time for a stunning rendition of what she does best: combining sumptuous textiles with an intriguing silhouette.
Vita Gottlieb names this collection Caged, after an imaginary film featuring Grace Jones in a Majaraja’s palace. The idea of birds in flight at sunset (this would obviously be a beautiful cinematic experience) influenced the romantic warmth of the fiery colour palette, with prints and textiles rich in multi-coloured spice hues. A more literal interpretation came in the form of birds floating across a pretty landscape print.
The caged theme appeared in a skirt and jacket made up entirely of strips, and appeared in more commercial form as glossy black bindings, highlighting womanly curves. Alongside skin tight separates there were also boxy jackets and eye-catching layered maxi skirts. Furled scarfs gave detail to the neck, buckled arm cuffs added edge and sheer and textured black fabrics were rendered especially stunning with the addition of multi coloured appliqué details. The show closed with a magnificent yellow dress, split to the upper thigh and resplendent with a dramatic zig-zag design.
All photography by Amelia Gregory.
Written by Amelia Gregory on Monday March 3rd, 2014 5:17 pm
I’ve known of Vita Gottlieb through mutual friends for many years so when I bumped into her recently it was something of a surprise to hear of plans to launch herself as a fashion designer, having worked previously in fine art, film and textile design. I was then really happy to discover (via facebook, where else?) that she had been shortlisted as a finalist for this season’s Fashion Fringe. Here she describes the incredible journey she has made: inspiring stuff for all would be fashion designers!
You are a textile designer by training – how difficult was it to become a fashion designer? Where did you learn to think in terms of putting your textiles on the body?
I actually trained in the more theoretical area of art history – then did an MA in Fine Art – it was here I started to experiment with my illustrative and graphical sketches, putting them into prints and wall hangings. It seemed natural to move into textiles from there and then translate these 2-D forms into 3-D with fashion. I’ve always needed to work with my hands and love the direct process of designing textile prints, then using these to design on the body. The prints inform the process and I absolutely love it. Finally I feel I can use and be inspired by all my passions – film, art, stories, travel and wilderness.
Vita Gottlieb A/W 2012.
Prior to that you also worked in film and gained a degree in fine art. What do you think led you to fashion after so many years in other design disciplines?
I suppose I like to slow-cook things! Sometimes you need a bit of time to work through all the peripheral ambitions and come slowly into settling on something that feels right and at the right time. I don’t think I would have been good in the fashion industry in my early 20s – I was quite sensitive and volatile, and probably would have been swallowed up or waylaid by it all! I love film and always will but ultimately wanted to be in control of a more contained aesthetic, and with fashion, you really can make things happen in an exciting, organic way. It’s akin to being an artist – it’s your vision, your story, but you need to communicate this message clearly in order to make it happen. Art and film will always feed into my work though, through the creation of story and mood, the use of print and fabric manipulation. I’ve also always loved texture, the feel and emotion of strong colour, of materials themselves. Fashion seems to encapsulate all of these things in such a magical way.
Vita Gottlieb A/W 2012.
What did you learn from your years working in interiors that you have been able to apply to your fashion designs?
For around 3 years I free-lanced as a textile designer in both the interiors market and also, I designed and made my own accessories for the body which sold at trade and public fairs. The biggest learning curve from that for me has been understanding how to translate ideas from the graphic ‘doodles’ I was making in textile print – which had a flat, albeit malleable substrate – into a conversation with construction, silhouette, movement. The amazing thing for me now is witnessing how much the 3-dimensional form in the movement of fabric can really alter my thinking on a design. It’s wonderful to watch it develop through sketches, into a pattern, all the protos and finally, to see a garment on a real body is just so exciting.
What makes your scarf collection so unique?
I’d say my use of colour, graphic repeat prints and intricate detail. They’re trans-seasonal, so can be worn with anything and by anyone all year round.
What was the inspiration behind your A/W 2012 collection?
AW12 was inspired by elements of the forest floor and the tactile quality of bark, moss, the underside of mushrooms. I had this image of a disenchanted forest filled with creeping lianas and the raw-edged, tactile textures of fallen leaves. Also, the colours of dusk. Dusk and moonlight, magic hour – I think these qualities of light will form a puncture through many collections to come.
Vita Gottlieb S/S 2012 Nightbird (illustrated preview by Vita).
What was the process of being picked for Fashion Fringe? Where did it all start?!
It’s been an amazing journey so far! It started with a question – should I really apply? Do I have a chance? I thought it was a no until I woke up one day and just said to myself ‘there’s nothing to lose’ – classic, really. Something in the way the criteria for entry was written gave me hope as it seemed to me to encapsulate everything I wanted my label to be. It’s incredible to have got this far! I remember the day Christopher Bailey called, personally, to say I was a Semi-Finalist; I was in New York at the time and literally jumped around the room I was in. Being announced as a Finalist was one of those moments I won’t forget – the elation, nerves, and fear! I think I’m more afraid of success than I am of failure, much as I want and am working for it – but there’s no looking back now. The team at Fashion Fringe have been amazing and so supportive throughout, which amongst many other things has made the whole process such a joy and privilege.
Vita Gottlieb S/S 2012 Tamsin (illustrated preview by Vita)
I can’t wait to see your new collection: the description sounds incredibly romantic and dreamy – are you a dreamer? What’s the best dream you’ve ever had?
Oh, man, I am a consummate dreamer! Both day and night. Reverie is a favourite hobby of mine. Often I dream of flying through the universe, diving in and out of colours and natural patterns of movement – sometimes I go back in time and poke about cobbled alleys and strange places. Always there’s a lot of movement, colour and music. I wake up shaking from the images sometimes. But it’s so much a part of me.
The collection will layer eastern and western references – what motifs have you taken from each place, and how have you mixed them up?
SS13 is inspired in part by Paul Poiret‘s 1911 party ‘Thousand and Second Night‘, where guests were asked to wear Persian dress and indulge in dancing in the moonlight… I love the idea of layering Eastern influences into Western ideas; some of the prints are inspired by and use motifs from Georges Barbier‘s early twentieth century illustrations. I also thought about moonlight as a mood and infused some of the colours of that hour, just after dusk, in an imaginary city full of minarets and flickering lights. In terms of Western influences, I’ve tried to create a bit of a puncture through accessories and silhouettes.
You are an avid fan of Pinterest – how do you use it to collate and filter your ideas?
Yes, I love it as it’s such an easy way of keeping all your ideas and inspirations in once place. I’m a real sketchbook hoarder and keep everything I sketch or write in books at home or in the studio – but Pinterest I use more for general interest inspiration. And for food porn, it’s great for that!
In fact you are quite internet savvy all around, why do you think (as an up and coming designer) it’s important to be so visible on social media networks? Do you plan to sell all your collections online?
Being social-media savvy doesn’t necessarily come naturally and I was definitely a Facebook/Twitter abstainer for a LONG time. But once I’d set up my business I recognised just how useful it can be and have become a lot more interactive now. It’s mainly for business but I try to pepper what I post with some personal and quirky content too. I think it’s important not to forget that there is a person behind the label and to inject some personality into it all. As an emerging designer I think it’s imperative to use social media to maximise your profile – and to keep in touch with what your potential customers want, that’s key too. Currently I sell my scarves online but yes, eventually I do plan on selling the collections too. It’s exciting to see what the internet can realise for my label – you can’t ignore it anymore!
I believe you are a foodie – what is your must have edible delight whilst working on your new collection?
Ah, I am definitely a foodie! I’ve always loved food – eating, cooking, everything really. I read recipe books as pleasure. Hmm, must-have edible delight? Hard to say as I love so many things – Asian flavours, home-cooked, big, flavoursome dishes, vegetables from the garden (one radish, this year..no time to garden!), things like shepherd’s pie and fresh peas or glazed salmon in honey, mirin and lime. Don’t get me started! But it has to be savoury, I’m not really inclined toward sweet things.
Can you give us any hints as to what to expect in your Fashion Fringe catwalk show? (music… casting.. atmosphere etc)
I believe you’ll be there, so, you will have to wait and see, Amelia!
What are your hopes for the future?
I’d like to build a successful, well-regarded and creative womenswear label, branching out with a diffusion line, travel lifestyle and perhaps lingerie. One day I’d love to open a kind of eco-lodge in a hot tropical country by the sea. You see, I am a dreamer! More locally, I’m interested in collaboration with other artists and creative professionals, making fashion films, happenings and shows, and see the future as a very exciting thing.
The organised chaos of London Fashion Week has begun (NB: at the time of writing, find it was the end of the second day) and apart from the excitement at spotting various London boutique owners, pills mild celebrities and the increasing chances of seeing a model stumble from the heady heights of unstable shoes. The week is of course, about FASHION.
From the stalwarts of John Rocha and Betty Jackson to the increasing number of designers titled as “ones to watch,” it is a (to put it mildly) a frantic dash from venue to queue to venue to queue and back to the BFC for a quick cuppa before starting all over again. London Fashion Week is an incredibly enjoyable dash to get to all the events in time, but a dash none the less.
On Friday (17th September 2010) Amelia’s Magazine had the pleasure of touching base with Eun Jeong’s S/S 11 static presentation in the alcoves of the Russell Chambers in Covent Garden. The designer’s studio presentation was set amidst the odd jumble of relics frequently obtained during the industrious weeks leading up to London Fashion Week.
The press pack moved hapazadly through the three rooms of the exhibition documenting the clothes positioned on mannikins or the exceptionally pretty seated or standing models who occupied the fringes of the space, within and enclosed by the detritus of the design process.
One of the presentation rooms consisted entirely of props painted white, which rather effectively set off the crystal-embellished shoes. The white dresses saw a return to the draping with which Eun Jeung won the Fashion Fringe award in 2008.
The main room – whose entrance was achieved after a brisk walk up five flights of stairs – where the models were positioned, produced an eye catching jumpsuit, whose beautifully delicate floral pattern was reminiscent of Future Classics.
The third attic room occupied solely by mannikins included a dress which resonated in its simplicity. The tunic was completed by intricate black beading contrasted with delicate drapes across the breadth of the dress.
Looking at the standard of Eon Jeung’s designs for S/S 2011, it is hard to believe that it was only a few years ago Eun Jeong graduated from THAT Central Saint Martin’s MA.
During the lead up to the S/S 2011 collections, Amelia’s Magazine heard the rather exciting news that Eun Jeong is also an illustrator – Eun we would love to see your drawings!
Winners of Fashion Fringe 2011: Fyodor Golan S/S 2012 by Antonia Parker
If you’ve read Matt’s or my account of The Swedish School of Textiles show at Fashion Scout, dosage you’ll know it went on for an insanely long time. This means I’m ridiculously (half an hour!) late for Fashion Fringe, which is showing on the opposite side of the WC2 postcode, near Trafalgar Square. Once again I wonder if London Fashion Week organisers have conferred to place shows at nonsensical distances from each other just so that the frustration of the press may create humorous fodder for them.
Luckily I’m not one that insists on wearing heels at fashion week (or ever), so I’m able to run comfortably – well, as comfortably as one can in the relentless monsoon like rain and when one is wearing a wholly impractical maxi dress (I suppose that eclipses my wise footwear choice).
8 Northumberland Avenue is not easy to find, especially when the familiar sight of an impatient queue has vanished, leaving no sign that reveals ‘catwalk show here!’ So after zipping across the street twice, I finally stumble upon, quite literally, the Fashion Fringe venue. I’m out of breath and drowning in rain and sweat (not quite how I’d wanted to present myself), but I’m here and it appears the show hasn’t started yet. Phew.
My Fashion Fringe invite gets a scrutinising glance before someone is told to get a wristband on me and rush me into the arena. More running and I’m there. “You can stand anywhere at the back,” I’m told – this guy obviously hasn’t scrutinised my invite. I proceed to find my seat and of course, as luck would have it, my view is being obscured by those of a superior height. I complain about my predicament to my new neighbouring friends; they’re writing for a publication in Toronto and tell me they “loveAmelia’s Magazine“.
A fuss is being made of a couple of celebrities as they make their predictable late entrance and ‘flash flash, snap snap’ croon those domineering cameras. Damn it, I can’t see from where I’m sat, so naturally I take to the raised runway to peer at Claudia Schiffer and Roland Mauret, this year’s Fashion Fringe judges. The photographers are been ushered away, but I take my chance and ask Claudia and Roland if I may take a picture – “of course,” they agree and I triumphantly click the shutter on my camera.
The show is about to start and I can hear a voice shouting, “Quiet please!” I take a seat on the floor, knowing it’s the only way I’m going to get any half-decent pictures of the show. Sat across from me, Hilary Alexander offers me a smile and I hope it’s because she approves of my determination rather pitying my plight.
First up is the endearing partnership Fyodor Golan with their spring summer collection ‘Flowers of evil’, inspired by the anthology of the same title by Charles Baudelaire. The showcase narrates the story of a nymph (I’m guessing she’s a water nymph by the appearance of the straggly, uncombed, just out of the river after a star light dip hair the models are wearing) that experiences an excruciating metamorphosis.
The transition begins with her appearing in symbolic white, in contrasting textures; the strong and the delicate. Stencilled into the garments are birds as if signalling the fair creature’s desire to take flight and be free, whilst the gleaming gold choker that threatens to asphyxiate her, pulling her in to a world that promises contentment only in death.
As nature supports her frail demeanour, life appears brighter and the progressing metamorphosis reveals itself in form of a white dress veneered in vividly coloured blossom. The neck shackle however, remains, unforgiving.
The transformation sees the nymph freeing herself from the shackles of her former life and enjoying the dangerous opulence of the new and the darkest ebbs of human nature, but the shackle now replaced by her very own hair appears to reveal that she has become her own enemy. Golan Frydman and Fyodor Podgorny have clearly put a lot of thought in to the theatrical element of the show and this is very much evident as their nymph’s painful transition into maturity is depicted by an older than average model – not a common sight at fashion week, so a high-five to them!
The finale presents the protagonist in a severely structured, yet elegant black gown that trails the catwalk. Her head is held high, but her face hidden by a staggering collar, beautiful but all consuming. It’s a tragic tale and a timeless one, but the collection itself hasn’t quite enthralled me.
Fashion Fringe Runner-up: Heidi Leung S/S 2012 by Antonia Parker
After that dramatic performance, Heidi Leung’s collection inspired by Orientalism (‘East Asia and the Middle East’ highlights the press release) and 60s holiday photos appears a far more light-hearted an affair. The colour palette of lively greens, oranges and yellows, combined with a neutralising tan and blue and white checks incite summer days on sandy beaches, neon beach-balls and a nearly cloudless sky and picnics on a luscious green field dotted with pretty flora. The hair is styled simply; straight and easy with a prominent centre parting and the make-up complements with sixties’ neutrals and accentuated eyes.
I’m a massive fan of layering, but if you’re not, Leung’s collection is going to be wearisome to comprehend. Every outfit appears to be made up of at least three layers; sixties style gingham undies (which I love), a chiffon overlay with a mandarin collar and a loose cape or a coat to complete the look.
Leung also combines crochet and embroidery within her collection, revealing an element of couture (in its original sense) and the use of ancient handicrafts. The crocheted and embroidered pieces sit upon gingham foundations and hang from the neck. I must say these pieces resemble table runners I’m sure reside on an antique oak table somewhere, in the parlour of a country cottage where a village tea party is being enjoyed. I love this collection.
My favourite pieces include the frilly three quarter pants, reminiscent of undergarments of a past era, the knitwear, pleated tops and skirts and the long, softly moving, elegant coats. And have I mentioned the footwear? Okay, so a platform shoe covered in pastel coloured rosettes and secured with a transparent covering may not be the most flattering of foot accessories, but think about how much fun they’d be to wear? They’ve made me smile and I’m only looking at them.
Nabil Nayal is the final Fashion Fringe contestant showing his collection titled ‘All the Riches She Deserves’. The collection conveys the story of a wealthy heroine who is taken to safety as her mansion of splendour burns to the ground at dawn. The make-up and hair conform to the narrative with captivating smoky eyes and voluminous, gracefully wild locks; a look inspired by the 1970s.
Fashion Fringe Runner-up: Nabil Nayal S/S 2012 by Antonia Parker
The colours that empower the collection echo the tones of smoke, fire and ash and perfectly cloak the strong, modern and feminine silhouettes. Nayal’s innovative construction of his collection boasts a myriad of wonderfully cultivated techniques and the use of a whole host of fabrics and textures. The Syrian born and Sheffield raised designer uses soft leathers, luxury silk jacquards and transparent fabrics such as organza and chiffon to concoct a dynamic presence, a characteristic each of his pieces flaunt.
Nayal’s love and admiration for the fashions of the Elizabethan era are manifested in the bulbous ruffs of his magnificent capes, whilst his appetite for elegance is evident in the long, flowing gowns, most notably the kimono style dress in antique gold lace. The tailored tulip dresses and skirts endeavour to promote a sense of a strong, ambitious, feminine character that never fails to look chic.
Of all the competitors, I believe Nabil Nayal’s design appear the most expertly put together and the commercial aspect of fashion design has clearly been considered. I can certainly see the entire collection being bought and it adhering to the taste of many women, but would I wear the fastidiously put together collection? My desire for colour and eccentricity says “no”.
In contrast to my response to Fyodor Golan’s narrative, Nayal’s narrative isn’t one that I (or many others, I’m sure) can empathise with – I mean, how many of us enjoy power and wealth and the promise of a silk lined, jewel encrusted safety net, lest we fall?
I’m ready to mosey on home by the time the show ends; I’m exhausted and feeling a little faint (where’s the Vitamin Water when you need it?), but instead of being lead out of the venue, guests are taken down into the basement where the Fashion Fringe after-party is getting under way. I’ve never understood why these parties happily offer alcoholic beverages, but never provide decent non-alcoholic beverages. I feel like I’m being persecuted for being a non-drinker as I sip my medicinal tasting One Water.
A flurry of excitement commands the attention of the crowd; Claudia Schiffer, Roland Mauret and Colin McDowell take to the stage. A moment of silence, then Fyodor Golan are announced the winners of Fashion Fringe 2011. I hadn’t expected it, but I’m impressed that the judges haven’t simply been dragooned into championing the familiar and the chary. I’m very curious to see what Fyodor Golan will be delivering to the world of fashion in the future; I wonder if I could persuade them to create a collection around the poem ‘Lamia’ by Keats?
I remember blogging about Eun Jeong eons ago, drugs enticed by her pretty minimalism with a crisp all-white palette one season. For me, web she most certainly stood out amongst even the top hot-ticketers of London Fashion Week and I had an inkling she wouldn’t be a one-seasoner. I was therefore thrilled and curious upon bagging an invitation to one of her two fashion shows in Covent Garden during fashion week.??
All photography by Georgia Takacs
I sat next to a lovely blogger named Hannah Newton of London Town’s a go go in another clever catwalk invention of a loop around the room, order with audience-members sitting on rows inside and outside of the square. We both shamelessly ruffled through our large goody bags with tiny goodies – cosmetics and a little heart-shaped purse by Kipling. And we didn’t bother with ‘acting the part of a fashionista’ all nonchalant and ‘oh! I get free overpriced make-up on a daily basis, sweetheart. It’s no biggie.’ We’re students and we were blooming happy with our freebies.??
We just knew that the intimate set-up would result in bagging some great up-close shots of the clothes and getting a good look at the detail and fabric. Then, after a long wait sitting by the runway (as is always the way with fashion shows), 1930s music was suddenly bouncing off the walls and the models took to the oddly-shaped catwalk.
It looked to me as if the collection had been inspired by Britain in war-time. Every model wore bronzed make-up with bronzed skin all over their body and the clothes themselves were British in many respects – pleats and wool and ruffles with lady-like cuts all over the joint. There were elegant camel-coloured coats and full-skirts that began at the waist and dropped to the floor in pressed pleats.
Bows and lace were everywhere. They both seem to be a common theme this season. Delicate bows were placed on skinny leather waist-belts and thick white lace acted as beautiful underskirts.
It wasn’t all classic tea-party tailoring, however. There were a fair few twists and turns along the way. Pleated skirts bore asymmetric ruffles and tails down one side and a certain set of dresses definitely seemed to stand-out amongst the thick fabrics and classic lady-wear – bright yellow numbers that screamed out an utterly architectural print, resembling the Golden Gate Bridge.
Jeong’s seemingly favourite design ethos of white white white reappeared this season with a fair few outfits almost entirely in creams and white that flowed down in thick luscious fabric – a pure and almost evangelical look that passed off beautifully.
I now know why I was taken with Eun Jeong right from her Fashion Fringe debut. Her clothes are beautiful, classic, unique and, most of all, wearable. I could, for example, most definitely see an strong office woman walking into work every day and turning heads in Eun Jeong’s statement-take on both the classical and the quintessentially British. I loved it.
Welcome to the Machine was inspired by Russian peasantry and aristocratic fashions… marrying tribal styles with extravagant embellishments to great effect. Stepping through a neon pink doorway models wore skater skirted dresses in beetle inspired metallic copper and green, heavy nose rings courtesy of designer Alexandra Druzhinin hanging over their mouths. Insects crawled across the waists of dresses, and the curving lines of their wings were echoed in the finely swept hair slicked to brows. At Fyodor Golan buns were tightly woven into peasant plaits.
These clothes are not for the faint hearted – there were heavy quilted metallic textures and pleated furls, followed by light as a feather lambswool or swinging tasselled skirts in wintery white. Punchy red provided dazzling relief from darker hues in the form of skater dresses, and my favourite look (in red) featured a sheer bodice with narrow strips of pleating curled over the bosom and shoulders.
The finale was preceded by a model who was somewhat inexplicably covered entirely in emerald green glitter – perhaps a reference to beetles too far… This was followed by a stunning pearlised white showpiece, with a weighty golden crown shrouded in netting that also covered the face.
Once again Fyodor Podgorny and Golan Frydman have proved themselves a fashionable proposition to be reckoned with, and I look forward to seeing how their artisanal creativity develops with each new season.
All photography by Amelia Gregory.
Written by Amelia Gregory on Sunday February 19th, 2012 12:12 am
I was very excited about this year’s Fashion Fringe: it’s always a great place to discover the talent of years to come (think Fyodor Golan and Corrie Nielsen) but this time there was also the chance that my acquaintance Vita Gottlieb might win. So it was with some anticipation that I took my seat for my last show of the season in the BFC tent at Somerset House.
First up was the collection from Haizhen Wang, with expert tailoring based on the tabard structures of Japanese armour and historical costumes alongside deconstructed asymmetrical layering in a graphic print. The garments came in a predominantly black colour palette with flashes of textured steel and rows of cobalt beading. Models wore Geisha influenced platform heels and severe haircuts or conical headgear. Haizhen Wang is a graduate of both the London School of Fashion and Central Saint Martins – since when he’s had a good grounding in the industry working with labels as diverse as Max Mara and All Saints.
Second up came the collection from Finnish designer Teija Eilola, who describes her inspiration thus: ‘A Finnish girl arrives at the party: shoes in her bag and a huge, crisp mackintosh over her little silk dress. On the way to the party she crossed a forest and a couple of fields.‘ In practice this meant a finely tailored range of sensible separates in muted mushroom and flesh tones. The range featured double breasted detailing on a short blouson sleeved trench coat and mini cropped version, rucheing on a demure bodice and plenty of capacious bags: an eye on brand extension already? Her sensible approach could be explained by the fact that until recently Teija Eilola was joint head of womenswear at Ted Baker. Prior to that she worked at smaller labels after graduating from the RCA.
Rounding up the trio was the work of relative newcomer Vita Gottlieb, who styled her models in high backcombed quiffs and classic courts. This was an exciting collection that successfully showcased her prowess in textile manipulation. High waisted pencil skirts featuring poured curves at the waist and elongating vertical ruches were paired with cape shouldered tops covered in subtle printed detail or sculptural spikes: all accessorised with bold leather jewellery embellished with metal rings and studs. Hers was the brightest colour palette of the three, although that wasn’t saying much as she had worked mainly in subtle golden tones and soft browns, highlighted with dashes of teal and luxurious red.
By now everyone will know that Haizhen Wang won the award, presented by guest judge Christopher Bailey of Burberry. But I of course think it should have gone to Vita Gottlieb; her tailoring may not have been as clean and precise as the others, but her experimental approach won hands down; resulting in an innovative collection that showed great promise for the future. Read my exclusive pre show interview with Vita Gottlieb here.
Written by Amelia Gregory on Monday October 15th, 2012 10:08 pm
The day started off with London transport, buyvisit this site as usual, doctor ruining my life. The district line was delayed/suspended/just took bloody ages, meaning that I missed the first show I intended on seeing. This was due to over-crowding at South Kensington, as Fashion Week started during half term week, cue 6 million children/parents/tourists trying to get to the Natural History Museum, along with the fashionistas….not a good mix.
By the time I got to the BFC tent, the fashion pack were filing in for the Esthetica launch. Esthetica is the only show of its kind in the world, dedicated to celebrating ethical designers. Noir kicked things off to the not-so-subtle sounds of Hole’s Celebrity Skin, with a polished but edgy collection of, perhaps obviously, black clothes. There was then a drastic music change, a choir singing Creep by Radiohead, a strangely haunting rendition to accompany the more delicate shape of the second half of the collection. With the much quieter musical accompaniment, the unfamiliar sound of hundreds of camera shutters going off can be heard and fittingly adds to the ethereal quality.
Best discovery of the day? The Fashion Bus! When I was told about it, it conjured up images of a magical, playdays-style bus of couture. In reality it’s a coach with London Fashion Week written down the side but still, it served its purpose of getting us from the main South Kensington location to the Hippodrome in Leicester Square, without having to cross the path of my arch-enemy, London transport.
The reason we trekked across town was for Ashish. And it was completely worth it, as what unfolded was far more than just a fashion show. There was live music provided by VV Brown (wearing a dress from the collection), acrobats, a big circus setting and clowns….well, not actual clowns but the pom-poms on some of the looks combined with the hyper colour clash styling surely owed a debt to Coco somewhere along the line.
And here are some snaps of what we’ll all be wearing come Autumn:
Perhaps not that last one so much…
Particular note should be taken of the amazing wedged, animal print shoe boots that all the models – and VV Brown were sporting:
This show was brilliant escapism, with some very wearable individual pieces once you separate them out from the styling. It felt like an afternoon at the circus, rather than just a fashion show, and in such a competitive week, Ashish has ensured that his show will be one everyone remembers this season.
It’s funny seeing the different crowds the different shows draw. The morning started off at the Margaret Howell studio, sick where the British establishment of fashion journalists turned out to see her A/W 09 collection. It was very, stomach well Margaret Howell, order country cosy, duffel coats, blues/greys, some cute over the knees socks and silks mixed with wools. A well put together, safe collection.
I was, excitingly, sitting opposite Alexandra Shulman though, which did take up most of my attention. British Vogue has been wiping the floor with American Vogue in recent times, and it was thrilling to be in such close proximity to her, lets face it, what fashion journalist doesn’t secretly want to be editor of Vogue?
Now onto the different crowd part. Across town, in a swanky church in Marylebone, a full scale production was taking place in aid of the Qasimi A/W 09 show. Not so much journalism elite, more, well Simon Le Bon. But his presence was so to be explained as the show began…
Melinda Neunie was also there and here’s her review of the show:
“I must say the Qasimi team managed to pull in quite an impressive crowd. Their pre-show champagne reception outside the beautiful St Mary’s Church was ablaze with bold prints and bright colours, with attendees clearly taking advantage of the nicer weather.
The catwalk show was equally remarkable. Set against an exotic woodland backdrop, Qasimi propelled us into a world of fantasy, romance and passion with their A/W 09 collection. The all black luxury range exuded wealth, elegance and sophistication through sumptuous cashmere and Italian silks complete with gleaming outsized diamond accessories.
An opera sound track opened the show alongside a fantastically poised Erin O’Connor clad in a sculptured corset gown and extravagant feathered headdress. The model was closely followed by Lily Cole, Yasmin Le Bon and Jade Parfitt.
Draping gowns, corset tops and intricate stitching dominated the show, which was closed by the spectacular Carmen Dell’Orifice who couldn’t help but give us a cheeky bum shake on her way out.”
We didn’t recognise final model Carmen Dell’Orifice but everyone else did as she got whoops and cheers as she sashayed down the catwalk. The show was not at all what I was expecting, but it was epic! Seeing those famed models in the flesh, the dramatic music and, as Music Editor Prudence put it, the general Zoolander quality of it made it entertaining in the extreme.
Classic Horace is synonymous with distressed hand washed leather and oversized separates, and there was plenty of that to be seen. Baggy trousers contrasted with beautifully cut jackets, all accessorised with leather totes and large knitted scarves.
Entwisle and Hales continue to play with the idea of gender in their designs. Pale-faced men in tunic dresses followed women in combat boots down the catwalk to pulsing rock beats. The collection is said to embody the spirit of 18th century monks, and the modesty of a monk’s attire was reflected in the voluminous hoods and clean monochromatic palette.
Such an abundance of black layers and boots could have become repetitive, but thankfully vibrant plaid prints provided bursts of colour, evocative of London’s punk heritage. It’s small wonder Horace has built up such a cult following.
Lebanese born designer Hass Idriss showed his first collection at London Fashion Week yesterday to a very odd crowd at Belgravia’s Il Bottaccio. I say odd because the majority of the black-clad crowd sported face-lifts, symptoms and I was amongst a very small percentage of the audience who weren’t wearing any make-up (yep, the boys did too – some even applying YSL lip gloss as a pre-show fixer).
They were, however, resplendent and I’d like to thank the fabulous woman who sat three seats down from me on the front line wearing the largest, roundest hat possible. Differing from the usual up and down runway, Idriss presented his collection in an L-shaped room, with myself and the mad hatter on the second, final arm of the catwalk. I am nursing a bad case of RSI in my neck this morning as I type: straining around that hat was quite a feat.
Visual obstacles aside, Idriss’ collection was a brave and opulent one. Credit crunch? What credit crunch?
Inspiration for this first collection had been drawn from Hans Christian Andersen’s Little Mermaid. The show kicked off with a booming soundtrack and two airbrushed-gold Adonises slowly glided along the runway, followed by the first model who hopped in a skin-tight fish tail dress, aided by the Adonises and a pair of gold embelished crutches (mermaid overkill, I’d say – and a little bit silly. I mean, honestly!)
Gradually the collection grew in maturity whilst retaining the theme of the sea – luxurious weightless fabrics such as organza and tulle were enriched with sea water pearls and Swarovski crystals, reminiscent of early John Galliano for Dior Couture.
The palette was mixed, ranging from organic pastel colours, golds and creams, through to shocking reds with black to contrast. A brave craftsman, Idriss pushed his capabilities to their limits across a range of techniques, heavily reliant on embroidery to the highest standard. Cuts were quite disparate – some gowns were a-line or floated gently to the floor whilst others were sculpted around the body with severe hems. The black satin and velvet mini dress with a charcoal chapel train, titled ‘The Mermaid’, was a particular highlight.
Throughout, most of the ensembles were hits, especially with the whooping audience. A couple of misses, though – and the award for unwearability goes to this little number – a plastic transparent poncho with beaded corals (and blood, sweat and tears according to the press handout). Hans Christian Andersen will be turning in his grave. Bonkers. Overall, a daring and immodest first outing for Hass Idriss. Keep a look out in the future – you saw him here first.
At 9.15 on a Sunday morning, stomach it seemed only the most diligent (and probably least hungover) of the fashion clan that made an appearance at the Betty Jackson show. It was worth the early rise, case to say the least.
We were bombarded with a visual palette of textures, soft colours and hemlines; resembling a painting whose medium changed by the paint stroke, from smooth watercolours to thick, rougher oils to scratchy pencils. Betty Jackson kept her collection airy, light and colourful- perhaps in an effort to float past or ward off next winter’s approaching cold and heavy credit crunch scenario.
Main colour themes drifted from cupcake and candy pastels to darker, richer shades;conjuring up autumnal images- like those in Monet’s more wintry landscapes. Fur, frills and subdued shades were combined in adorable, snappy pencil skirt and blouse/knitwear combos, very Audrey Hepburn in Breakfast at Tiffany’s.
Jewellery was designed exclusively for Betty Jackson by Alexis Bittar, this included hand carved, hand painted lucite earrings and necklaces, whose sheer extravagance reminded us of Edie Sedgwick’s outrageous choice in accessories.
Purple tights and red belts are two of the most notable components of the collection, while some of the models wore versatile backpacks- probably Jackson’s effort to incorporate utility in what is becoming a very non-frivolous time.
Statement coats and fur boleros were thrown in for the warmth factor. Best model of the show was hands down, Jourdan Dunn.
Betty Jackson believes that “every new collection presents a new challenge, but most people feel more confident and sexy if they are comfortable” and we can see a huge representation of this in her latest designs, the bright and often outrageous colour schemes are juxtaposed in a variety of simple styles- which maintains the conservative nature of her clothes. These are garments that not only appear comfortable, but also versatile- they are not only adaptable to real, working life but also pieces you could and will wear for seasons to come.
Written by Audrey Rogers on Monday February 23rd, 2009 10:38 pm
