Away from the busy rush of Somerset House, away from the mobs of photographers, willing subjects and flashing lights, Teatum Jones chose to retreat to a secret room behind large wood-panelled doors. This wasn’t any room, but the official personal office of Arthur Liberty himself, which still retains the charm of it’s original design. Completely hidden away from the public in the Mock Tudor labyrinth that is Liberty, I was directed down a panelled hall before reaching the beautiful presentation Teatum Jones had prepared.
One thing I have loved doing this London Fashion Week is talking to design duos. There is something incredibly sweet about how each designer will talk about the other when you interview them, complimenting them endlessly. As soon as I entered the room, I was introduced to Rob Jones, who immediately beamed when he heard I was reviewing the presentation for Amelia’s Magazine. After giving his thanks to the Amelia’s Magazine team for all the continued support and gorgeous illustrations from the last review, he began to talk me through the intriguing collection.
These Ravensbourne College of Design and Central Saint Martin’s graduates began to work together due to their mutual love for escapism and the power of a story, which is how this collection began. Rob Jones described how they start with a ‘screenplay’ when working on a collection, and this one began from looking at the menacing and dark qualities to fairytales. ‘I found it interesting that stories we read to children deal with such dark and frightening themes. It made me think about how I’d react if a fairytale was re-told in a newspaper today, would I see it differently?‘ Rob Jones and Catherine Teatum were drawn to the mix of innocence and frighteningly dark folklore, wanting to explore the underlying beauty in something considered traditionally sinister.
I was immediately drawn to the intricate prints, swirling with dark reds, bright pinks and forest greens, highlighted with touches of neon. Rob Jones and Catherine Teatum pointed out how these beautiful floral-like patterns were actually cut-up crime scene photography from the 1940’s. I was immediately surprised, which I couldn’t hide. Really? But they were such beautiful prints… suddenly I saw the numbered markers police use for blood spatters, dropped weapons, or worse. The thought sunk in…and it made sense. In a strange way, it felt nice to know, like being let in on a secret or the thrill of when the murderer almost catches someone in a horror movie. In order to place such a dark theme on clothing in a lighter way, a harlequin diamond pattern was used instead of simply overlaying the imagery.
Other items of clothes glittered and shimmered, almost like childhood dress-up clothes, or to mimic the magic of fairytales and shining sweets like that shown in the film created for the collection, currently showing on the Teatum Joneswebsite. Although several mannequins displayed the collection in the centre of the room, it wasn’t until I saw the models that I noticed that most of the clothing had large pockets, even in the more formal dresses. One of the models commented on how relaxed she felt, resting her hands in the silk pockets of her neon yellow dress.
This team have found a perfect niche for womenswear that is considered and subtle, yet attention-grabbing. Alluring without being obvious. The midi length of the dresses and nipped-in light fabrics allow the wearer to be feminine in a relaxed way. It’s clear that the Teatum Jones woman is at ease with herself, a modern-day enchantress with a penchant for neon, skilled design and something a little wickedly different. The warm and positive outlook of these designers created an unforgettable London Fashion Week presentation experience; a drop of magical escapism from the busy London Fashion Week storm.
Theremin viruoso, pillPamelia Kurstin teams up with award-winning composer, pianist, multi-instrumentalist and producer Pete Drungle in this premier live performance in a lovely Dalston setting. Kurstin creates layer-upon-layer of exotic otherworldly noises and haunting improvised melodies, with an almost operatic, voice-like quality. A sound to behold!
Tuesday 13th October, Alan Pownall, Pure Groove
This guy looks set to be the next young Londoner to make it big. All the credentials are there; signed to Young & Lost, backup by Adele, DJ support provided by Laura Marling, has opened for Florence & the Machine and he does a blinding cover of Beyonce’s Singles Ladies, above. Not to name drop or anything.
Wednesday 14th October, David Gest, Hammersmith Apollo
This is so bizarre, that it’s got Amelia’s Magazine’s backing. Weirdo Gest hosts an evening of acts including classic soul and R&B singer, Ben E ‘Stand By Me’ King, free newspaper pin-up Peter Doherty and indie boys, The Rumble Strips, above. You couldn’t make this stuff up.
Thursday 15th October, Micachu, Scala
Guildhall-trained Micachu triumphantly brings her alt.pop grime-y electro self along with The London Sinfonietta on the tour of her dazzlingly inventive debut album, ‘Jewellery.’ Support comes from fellow sonic pioneers and Mercury music prize nominated, The Invisible.
Friday 16th October, The Slits, ULU
Amelia’s Magazine are overjoyed to have the original female punk band back – read the album review here – and think this gig will be unmissable. Support is in the form of chaotic, darkwave pop from former Test-Icicles man Rory Brattwell’s new band Kasms and instrument-swapping, all-gal group Pens.
Saturday 17th October, Kit & Cutter, The Deptford Arms
Venture to the South East and you will experience the most unique night out of your life. Playing at this ramshackle folk night are north London husband-and-wife duo Webb and Hall singing unaccompanied traditional Irish and American songs presented in a warm and beguiling way, ably assisted by folk activist and banjo player Hicks.
Sunday 18th October, Oxjam, New Cross Inn
Staying South East, why not pay your dues to Oxjam and check out Rubella, punky girl rockers fond of dressing in school along with riffy alt.rockers We The Faceless and pop-punkers Stick Man Army. That’ll round your gigging week off nicely.
Theremin viruoso, Pamelia Kurstin teams up with award-winning composer, pianist, multi-instrumentalist and producer Pete Drungle in this premier live performance in a lovely Dalston setting. Kurstin creates layer-upon-layer of exotic otherworldly noises and haunting improvised melodies, with an almost operatic, voice-like quality. A sound to behold!
This guy looks set to be the next young Londoner to make it big. All the credentials are there; signed to Young & Lost, backed by Adele, DJ support provided by Laura Marling, has opened for Florence & the Machine and he does a blinding cover of Beyonce’s Singles Ladies, above. Not to name drop or anything.
This is so bizarre, that it’s got Amelia’s Magazine’s backing. Weirdo Gest hosts an evening of music including classic soul and R&B singer, Ben E ‘Stand By Me’ King, free newspaper pin-up Peter Doherty and indie boys, The Rumble Strips, above. You couldn’t make this stuff up.
Amelia’s Magazine are overjoyed to have the original female punk band back on our stereos – read the album review here – and think this gig will be unmissable. Support is in the form of chaotic, darkwave pop from former Test Icicles man Rory Brattwell’s new band Kasms and instrument-swapping, all-gal group Pens.
Venture to this South East and you will experience the most unique night out of your life. Playing at this ramshackle folk night are north London husband-and-wife duo Peta Webb and Ken Hall singing unaccompanied traditional Irish and American songs presented in a warm and beguiling way, ably assisted by folk activist and banjo player Ed Hicks.
Staying South East, why not pay your dues to Oxjam and check out Rubella, punky girl rockers fond of dressing in school uniform, along with riffy alt.rockers We The Faceless and pop-punkers Stick Man Army. That’ll round your gigging week off nicely.
Under the name of X-Lion Tamer, case Edinburgh-based artist, visit webTony Taylor, likes to create 80s-tinged pop songs about romance, friendship and, eh, suicide. He once said his music sounds like, ‘the ending credits of low budget 80s teen movies – played on your mate’s Amiga’. A bit like a John Hughes film, if Erasure and Junior Boys had been asked to do the music. I met up with him in a Swedish bar to talk pop.
What type of music would you say you make?
I say it’s pop. Other people sometimes call it electro, or electro pop, or dance or synthpop, but I think it’s straight pop. I just happen to use electronic instruments when I play.
What do you think makes a good pop song?
There are two types really, aren’t there? There’s the love songs; the ones that say ‘I love you’, ‘I have loved you’, or ‘I want to love you’, then there’s the songs that want you to get down to, get funky. Something like ‘Holiday’ by Madonna – it’s exactly that. It’s a naked, fun time, party record. I try to make party records that have a sense of loss or emotion to them.
Madonna is one of your favourite artists. Who else do you like?
Erasure, Yazoo, Cyndi Lauper – I like clean sounds, and I tend to like stuff with that 80s analogue synth vibe to it. I like to pick from lots of genres though. I’m just as happy to listen to old Belinda Carlisle as the new Fuck Buttons 7”. I take influences from all kinds of music – stuff you’d hear in clubs, soundtracks to 80s movies, Burt Bacharach… There’s no such thing as a guilty pleasure; you either like something or you don’t.
What about your lyrics? Although you call them party records, ‘Neon Hearts’ is about feeling empty inside, ‘Life Support Machine’ is about suicide letters, and ‘I Said Stop’ is about a bad break-up.
I like the idea of making melodically driven pop music, that sounds quite melancholy, but is uplifting at the same time. Music can be immediate and catchy, but that doesn’t mean it can’t have any depth. I like big hooks, and big melodies that will stick in your head, but I try to combine them with lyrics that aren’t throwaway. I love British music’s ability to do that. People like The Smiths, The Auteurs or Hefner, they all do stuff that sounds quite joyful on the surface, but underneath it’s quite heartfelt.
So do you think British pop and say, American pop, are very different?
A lot of British pop is very kitchen sink. It’s not necessarily positive, and it really focuses on the day to day stuff. It’s just some guy who’s sitting in his flat feeling miserable. The American stuff often feels more widescreen, it makes you think of rolling prairies and wide open spaces.
And you prefer the British approach?
Yeah, I like down to earth lyrics, but then giving them a bit of glamour with some electro and pop sounds. I also try to avoid earnestness. I hate that in music.
You seem to be building up a good following in Scotland now. You’ve come a long way from that gig you did last year in a pub where you spilled a pint over your laptop during your first song…
Yeah. That was embarrassing. [laughs] But actually it was probably the best thing I ever did. I ended up claiming a better laptop through my insurance. So, career wise it was pretty clever.
The ancient Serbian forests and dark folkloric characters provided a bottomless source of imagery for Marko Mitanovski’s black leather creations.
The slow pace of the models allowed for detailed gazing at the leather laces crowned with furry antlers. The designs were reminiscent of Ebony tree nymphs crossed with the witch whose poisoned apple sent Snow White to slumberland.
According to Mitanovski the outfits were the result of a 15 strong studio team who ruched, beaded and laced scaled-up versions of Elizabethan collars shaping them into skirts, capes and collars.
Vintage beauty stylists from Nina’s Hair Parlour wrapped the life-size foam antlers in hair, elevating the looks to showpiece status. Mitanovski kept the production of the designs local by sourcing materials from local manufacturers and having his accessories, shoes and bags produced in Belgrade.
The performance was set to the sounds of (his favorite) a Nirvana track, reworked by his friends’ quartet.
A sweet compliment to Mitanovski’s rich palette was Hermione DePaula’s hand painted chiffon washes in nude, caramel and ivories. The body was displayed through delicate shapes created by frayed and tightly clustered burgundy chiffon collars over bodysuits and billowing trousers.
The pieces possessed a sensual magnetism that appears in accordance to the inspiration for the collection. DePaula started by looking atthe ultra realistic life-sized wax models used in the teaching of medicine. These dolls were often made with real hair and wore ornamental jewellery, DePaula was inspired by these wax “Venus’ multi-colored interior with removable parts that reveal the mystery of the inner workings of the female body.” The idea was taken a step further by dubbing the collection “Las Venus” in a nod to tabloid fascination with celebrity.
Dean Quinn, whom we spotted at CSM’s BA show this spring brought his graduate collection of Blade Runner inspired beaded suits ( i implore you to fight the urge to think of Elvis onesies right now) in film noir blacks and whites.
Sharp satin suits with the occasional exaggerated shoulder were detailed with domino tracks of beads. The porcupine beads were, as much great art is, an accident of miscalculation. When threaded too tight the little beads are forced to stand on end. A delicate thing to control but a great effect.
Wildcard designer Ada Zanditon produced haexagons in a geometric bleu blanc rouge of cocoon coats, high waisted trousers and cropped tops. Her beehive inspired collection carried the theme through heavy cottons, silks and folded organza petals.
Lisa Stannard, diagnosischeapest Emesha S/S 2010
Emesha is created by Emese Nagy, look who was named after the lead lady in a myth about the creation of the Hungarian kingdom. She grew up between Hungary and the United States before moving to London, for sale all of which has made her very open-minded and observant. My travels have been a great inspiration to me as a designer. She particularly likes the quirky style of places such as Shoreditch in east London.
Being a socially sensitive type who wants to help others it was natural that she took an ethical stance for her brand especially as she began to understand more about the origins and manufacturing of clothing. As a strict vegetarian she doesn’t use fur or leather in her designs, case and only natural materials. An internship at Vivienne Westwood taught her about precision in complicated patterns, and at Jasper Conran she was given the confidence to create a collection from start to finish. I was involved in all the stages of production which gave me a good insight into how the final garment comes together…
Read the rest of this interview with Emesha 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.
Emesha is created by Emese Nagy, erectile who was named after the lead lady in a myth about the creation of the Hungarian kingdom. She grew up between Hungary and the United States before moving to London, troche all of which has made her very open-minded and observant. My travels have been a great inspiration to me as a designer. She particularly likes the quirky style of places such as Shoreditch in east London.
Being a socially sensitive type who wants to help others it was natural that she took an ethical stance for her brand especially as she began to understand more about the origins and manufacturing of clothing. As a strict vegetarian she doesn’t use fur or leather in her designs, seek and only natural materials. An internship at Vivienne Westwood taught her about precision in complicated patterns, and at Jasper Conran she was given the confidence to create a collection from start to finish. I was involved in all the stages of production which gave me a good insight into how the final garment comes together…
Read the rest of this interview with Emesha 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. adiposity Emesha S/S 2010″ title=”Lisa Stannard, online Emesha S/S 2010″ width=”480″ height=”576″ class=”alignnone size-full wp-image-32247″ />
Emesha S/S 2010 by Lisa Stannard.
Emesha is created by Emese Nagy, approved who was named after the lead lady in a myth about the creation of the Hungarian kingdom. She grew up between Hungary and the United States before moving to London, all of which has made her very open-minded and observant. My travels have been a great inspiration to me as a designer. She particularly likes the quirky style of places such as Shoreditch in east London.
Being a socially sensitive type who wants to help others it was natural that she took an ethical stance for her brand especially as she began to understand more about the origins and manufacturing of clothing. As a strict vegetarian she doesn’t use fur or leather in her designs, and only natural materials. An internship at Vivienne Westwood taught her about precision in complicated patterns, and at Jasper Conran she was given the confidence to create a collection from start to finish. I was involved in all the stages of production which gave me a good insight into how the final garment comes together…
Read the rest of this interview with Emesha 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. rx Emesha S/S 2010″ title=”Lisa Stannard, buy Emesha S/S 2010″ width=”480″ height=”576″ class=”alignnone size-full wp-image-32247″ />
Emesha S/S 2010 by Lisa Stannard.
Emesha is created by Emese Nagy, pill who was named after the lead lady in a myth about the creation of the Hungarian kingdom. She grew up between Hungary and the United States before moving to London, all of which has made her very open-minded and observant. My travels have been a great inspiration to me as a designer. She particularly likes the quirky style of places such as Shoreditch in east London.
Being a socially sensitive type who wants to help others it was natural that she took an ethical stance for her brand especially as she began to understand more about the origins and manufacturing of clothing. As a strict vegetarian she doesn’t use fur or leather in her designs, and only natural materials. An internship at Vivienne Westwood taught her about precision in complicated patterns, and at Jasper Conran she was given the confidence to create a collection from start to finish. I was involved in all the stages of production which gave me a good insight into how the final garment comes together…
Jewellery from tyres.
I have always been attracted to colourful, sildenafil shiny, fun pieces of old broken jewellery, toys and bottle tops; stuff that others would consider rubbish or of no use. It doesn’t make ecological or economic sense to manufacture new materials when there is so much out there already. Reusing materials changes the way you design because it forces you to work within the limits of the material you have and I am constantly on the lookout for new waste materials to use. One day my friend had a puncture, and seeing potential in the rubber ring of the inner tube I had a go at chopping it up and immediately knew I was onto something.
Elegance in rubber.
I create designs based on what the rubber wants me to do, playing with the natural shapes when it is cut up in different ways. Making repetitive cuts in graduated sizes of inner tubes rings seems to result in designs that imitate naturally occurring organic patterns; similar to those found in wings, feathers, leaves, shells or even waves. My signature pieces are based on cutting the tube in a specific way, from which I figure out how I can make something to complement the human form…
adiposity Emesha S/S 2010″ title=”Lisa Stannard, 