Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Day Catwalk Review: James Small


James Small S/S 2012 by Milly Jackson

I arrived at the James Small show pretty early – such is the bonkers London Fashion Week schedule that some shows overlap and then you’re left with huge gaps in your day. I joined the small but perfectly formed queue and waited for a pal to arrive. The show was delayed, prescription I was informed, because of the knock-on effect of late-runners throughout the day. The queue eventually began moving a mere 20 minutes late, and just as we were about to be let in, we were halted by an impossibly gorgeous PR girl. Her colleague came over and whispered ‘Kate’s imminent, we should hold the queue‘. Now, I don’t know if it was the pint I’d just enjoyed or the onset stir-crazy sensation I was experiencing after 6 days of shows, but I started sweating profusely. It couldn’t be, could it? ‘Calm down, Matt’ I internally repeated. It can’t be. She wouldn’t. It might be a code word. It might be Kate Adie.


Kate Moss by Antonia Parker

Eventually, after much discussion, it was decided that we should be allowed in because this mysterious Kate hadn’t yet arrived. We were escorted individually up the grand staircase of the Freemasons Hall, this Vauxhall Fashion Scout venue, and assigned seats on the front row. Seating was heavily policed, and I enjoyed the personal escort, but it was taking bloody ages and another show downstairs was set to take place pretty soon afterwards. Jaime Winstone, looking incredible with a silver grandma up-do and vertiginous heels, entered the room and was seated with little fuss. Now I love Jaime Winstone, but if ‘Kate’ was a codename for Jaime Winstone, I was about to go berserk.


Kate Moss by Claire Kearns


Kate Moss by Gilly Rochester

The personal escort service soon turned into a scrum; somebody had clearly realised that it just wasn’t practical. I let out a huge sigh as I said to my friend ‘Well, Kate clearly isn’t coming.’ ‘What?’ my friend replied, ‘she’s over there!’ I turned to my left to study the front row. Somehow I had missed the arrival of Meg Matthews, Sadie Frost, Annabelle Neilson, James Brown, Jamie Hince and… Kate Moss. Kate FREAKIN’ Moss!


All photography by Matt Bramford

There was little fuss as I struggled to fight the urge to jump out of my seat, leap across the catwalk, gather Kate up in my arms and force her to take my hand in marriage. It all happened so quickly, and of course, now Kate had arrived, the show must go on.


James Small S/S 2012 by Gabriel Ayala

It was tricky to concentrate on the show knowing that My Kate was mere feet away, but being the consummate professional that I am, I took up my camera and started to study the clothes, being carefully to take a picture of Kate in between each look. The fashion on offer was actually great, and I don’t know why I was thinking that it might not be. The secondary venue at Fashion Scout is actually much nicer – a dark wood arch divides the old stone room, dark wood lines the floor and majestic chandeliers hover above the revellers. Models appear almost out of nowhere. You do lose sight of the models as they bound through the arch, unfortunately, but this ensured enough time to snap Kate excessively.


James Small S/S 2012 by Sam Parr

Hysteria mounted thanks to the special guests: Kate and her entourage whooped and cheered every look and wolf-whistled translucent shirts, which sent roars of laughter through the room. Last season’s sharp tailoring continued this time around, but had been given a more casual feel for the discerning gentleman who manages to looking devastatingly cool without any real effort during the summer months.


James Small S/S 2012 by Milly Jackson

Small’s mainstay silk shirts had been jazzed up with the aforementioned translucency, and romantic florals with an air of Liberty were the most aesthetically appealing pieces in the collection, particularly a shirt/shorts combination with identical print. I’m not sure I’d get away with it, but the model did with aplomb.

Small‘s sharp tailoring was dressed down with white ankle-high sports socks and Vans in varying colours – when I read this on the press release I wasn’t so sure about it, but seeing it in the flesh allowed it to make sense. Rich colours: plum and royal blue, and luxe materials: silk and velvet, made this collection Small‘s most sophisticated yet. Retaining an edge above his competitors with leopard print and camouflage short shorts, it’s Small’s sharp cuts and sophisticated tailoring that really set him above the rest. That and his stellar front row, of course.

Categories ,Annabelle Neilson, ,Antonia Parker, ,catwalk, ,Claire Kearns, ,combat, ,fashion, ,Floral prints, ,Freemasons’ Hall, ,Front Row, ,Gabriel Ayala, ,Gilly Rochester, ,illustration, ,James Brown, ,James Small, ,Jamie Hince, ,Kate Moss, ,Leopard Print, ,liberty, ,London Fashion Week, ,Meg Matthews, ,menswear, ,MenswearSS12, ,Milly Jackson, ,review, ,S/S 2012, ,Sadie Frost, ,Sam Parr, ,Silks, ,tailoring, ,The Kills, ,Translucent, ,Vans, ,Vauxhall Fashion Scout

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Jayne Pierson (featuring Pierson Lawlor)


Jayne Pierson S/S 2012, order illustrated by Gareth A Hopkins

Oof, visit this site I love a new fashion week site. I took a Boris from the action at Somerset House all the way to Old Street to see Jayne Pierson‘s show at the LSO St Luke’s venue. This historic Anglican church is almost three hundred years old, buy information pills and was rescued by the LSO when controversial plans to turn the beauty into offices were proposed. Thank heavens.


Jayne Pierson S/S 2012, illustrated by Tina Reidy

The church is set in a beautiful garden, and as I sweated my way through it, I thought what a romantic setting for a fashion show. These are thoughts I only have when suffering from sleep deprivation and RFSI (Repetitive Fashion Show Injury). Inside, some of the former glory has gone to make way for inevitable modernisations, but the imposing ceiling and cold stone walls still exist. A catwalk had been temporarily constructed where the aisle would once have been, and a film played on loop at the end of a photography shoot starring a rather dishy ballet dancer. It was all very exciting.


Photography by Amelia Gregory

The show eventually started after the mandatory bunfight for seats and flashbulb shower for Pandemonia. A man whose name I didn’t have a chance to write down explained that, this season, Jayne Pierson had worked with the ballet and we were in for a treat. The models were to be ballet dancers. I almost audibly ‘whooped’ at how refreshing it all was.


Jayne Pierson S/S 2012, illustrated by Gabriel Ayala

Models appeared cheekily from behind a partition, moving gracefully down the catwalk en pointe. I know this is one of life’s wonders and people train for years to get this right, but it doesn’t half make me cringe (perhaps that’s Black Swan‘s influence, too). I imagine the agony you put your body through to achieve such a graceful poise.


Photography by Matt Bramford

A mixture of male and female models appeared, wearing Jayne Piersons S/S 2012 collection. This was clearly a collection influenced by dance and drama of all kind. They floated past, some faster than others, some acting a little like they might have been drinking, but nonetheless looking equally as beautiful. The theatrics, as splendid as they were, did distract a little from the clothes, and it’s only since I’ve reviewed my pictures that I’ve got a real flavour for what Jayne Pierson has produced this season.


Jayne Pierson S/S 2012, illustrated by Gilly Rochester

Jayne Pierson‘s now statement shapes flooded the catwalk; exaggerated shoulders, tight waists. Corsets in high-gloss leather were playfully applied to looser garments in similar colours. Micro shorts were leather. A muted graphic print was used on a dangerous bikini and a halterneck onesie. Modest pastel vests had been sexed up with black pom-pom like shoulder details. A bodycon dress carried theatrical orange fringing; sophistication, glamour and exquisite craftsmanship evident in every piece.


Jayne Pierson S/S 2012, illustrated by Gareth A Hopkins

Jayne Pierson‘s clever use of material and colour was as evident as it has been during her five fashion week outings. Leathers, suedes and silks all flow organically throughout this cohesive collection, helped along by a colour palette of stone, taupe, grey, champagne and sand.


Photography by Amelia Gregory

I’m not sure if it was the Royal Ballet dancing element having an influence, but the clothes were very dramatic, and I did wonder what they might look like modelled in the usual fashion. But a finale that brought the dancers pairing up to perform some dramatic lifts really raised eyebrows and audible gasps echoed around St Luke’s. Sitting across from me, it was clear Caryn Franklin loved it. And I did too.


Photography by Matt Bramford

Categories ,Amelia, ,ballet, ,Black Swan, ,Caryn Franklin, ,catwalk, ,dance, ,Derek Lawlor, ,drama, ,En Pointe, ,Front Row, ,Gabriel Ayala, ,Gareth A Hopkins, ,Gilly Rochester, ,Jayne Pierson, ,leather, ,LSO St Luke’s, ,Matt Bramford, ,Onesie, ,Pandemonia, ,review, ,RFSI, ,Royal Ballet, ,S/S 2012, ,Suede, ,Tina Reidy, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Masha Ma

Masha Ma SS 2012 1 by Marta Spendowska
Masha Ma S/S 2012 by Marta Spendowska

She concluded her MA in Womenswear at Central Saint Martins only three years ago, page but Masha Ma has already a made a name for herself amongst London Fashion Week goers, visit web and is even one of Amelia Gregory’s favourites! True story. We therefore, capsule of course, made our way back to Vauxhall Fashion Scout to see what she’d been up to and what her S/S 2012 range had to offer.

Masha Ma SS 2011 review-003

Masha Ma SS 2011 review-004

In our interview with the award-winning designer last August, just prior to her London Fashion Week debut, Masha described her design agenda as ‘chic, modern arrogance and semi-couture’. Since then, we’ve seen her work evolve from her exquisite take on classic chic to what Amelia and I witnessed on that Saturday morning; a futuristic, bold mission into the female silhouette with accomplished fashion-forward detail.

Masha Ma SS 2012 by Meagan Morrison 1
Masha Ma S/S 2012 by Meagan Morrison

Inspired by the reconstruction of the famous Palace of Versailles, France, the collection displayed a combination of disciplined colours and textures juxtaposed with distressed sheers and unfinished edges. Most looks were slim, elegant, elongated assemblies with a tough sportswear vibe running throughout, complete with strategically placed zips, head gear and androgynous tailoring.

Masha Ma SS 2011 review-011

Masha Ma SS 2011 review-014

Masha Ma SS 2011 review-015

Masha Ma S/S 2012 by Kassie Berry
Masha Ma S/S 2012 by Kassie Berry

The show began with icy ensembles of muted blues and green pieces in numerous tones of mint and sea foam. For me, it was a stunning colour pallette which illuminated upon a delicate canvas of fluid silks, satins and sheers. These light references to an underwater odyssey (helped along by the gentle water sounds on the soundtrack) blended in-and-out amongst the Palace-inspired printed pieces. Thematically, the consistency did seem to lack. This, however, didn’t prevent me from finding the collection’s many contrasting elements equally delightful.

Masha Ma SS 2012 by Meagan Morrison 2
Masha Ma S/S 2012 by Meagan Morrison

Masha Ma SS 2011 review-022

Masha Ma SS 2011 review-023

Masha Ma SS 2011 review-033

Sheer white gauze skimmed down legs and clung loosely around calves, whilst delicate tight-pleated mini skater skirts in mint tones swayed across thighs. It was an unusually sexy composition that contrasted with smart, high-necked tailored shirts. Intelligent construction existed in the zipping together of a-symetric skirt and dress layers with other zips utilised as shaping detail to flatter the figure. The female silohuette was considered, embraced and pushed to new boundaries.

Masha Ma SS 2011 review-053

Masha Ma SS 2011 review-056

Masha Ma SS 2011 review-063

Masha Ma SS 2012 by Marta Spendowska
Masha Ma S/S 2012 by Marta Spendowska

Amongst my favourite pieces were the breathtakingly skilled coats that dominated the show, pre-finale. Original and dramatic in design, yet extremely wearable for the Spring/Summer seasons, I was being seduced into the idea of owning one of Masha‘s beautifully crafted outerwear pieces. (The matte-white one took my fancy; a girl can always dream.)

Masha Ma SS 2011 review-076

Masha Ma SS 2011 review-086

Masha Ma SS 2011 review-096

Masha Ma SS 2011 review-127

Masha Ma SS 2011 review-131

Masha Ma SS 2011 review-132
All photography by Amelia Gregory

As opposed to the radical design ethic that is so deep-seated in London fashion today, observing a collection so fine in detail and delicate in reference is something rare and refreshing. In her return to London Fashion Week for her third solo collection, Ma didn’t disappoint. In fact, it extended our vision as to her dress-making capabilities. With the art direction intriguing and beautifully illustrated, the construction unique and the detail impeccable, Masha Ma certainly (and, perhaps, unknowingly) reaffirmed herself as one of Amelia’s Magazine‘s firm favourites.

Categories ,Amelia Gregory, ,Blue, ,france, ,Freemasons’ Hall, ,Front Row, ,Georgia Takacs, ,lfw, ,LFW S/S 2012, ,LFW S/S12, ,London Fashion Week, ,London Fashion Week S/S 2012, ,London Fashion Week S/S12, ,Marta Spendowska, ,Masha Ma, ,Masha Ma S/S 2012, ,Masha Ma S/S12, ,Meagan Morrison, ,Palace of Versailles, ,pleats, ,print, ,sportswear, ,Vauxhall Fashion Scout

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


PPQ S/S 2012, pharm illustrated by Tina Reidy

What a difference a season makes. This time six months ago I was still moaning to my insufferable friends about how I had waited for almost an hour in the freezing cold waiting to get into the PPQ show only to hear the music began and the burley bouncer announce than no one else would be allowed entry. If I had had the energy, capsule I would have gone wild.


PPQ S/S 2012, illustrated by Naomi Law
 
This time around was a different story, and I Frowed with my home boy James who I had advised to wear his TEAM GINGE vest in the hope that Nicola Roberts of Girls Aloud fame would be in attendance, clock his ensemble and, I don’t know, praps marry him. Unfortunately she wasn’t there, but this was a PPQ show: a guaranteed celeb draw, so we waited patiently while a Sugababe, Pandemonia, Erin O’ Connor and Peaches Geldof took to their seats – the paps going insane for the latter who had gone pretty much unnoticed at the earlier Felder Felder show.


PPQ S/S 2012, illustrated by Tina Reidy


All photography by Matt Bramford

It’s always fun fun fun at PPQ and this season was no exception. A selection of 1990s party hits such as Felix’s Don’t You Want Me and Technotronic’s Pump Up The Jam blasted from the sound system as super sexy models sashayed before us with that kind of confidence that would make even a boiler suit seem arousing. I’m not sure if it’s just the shows I’ve been to, but I’m overjoyed to say that there’s plenty of fuller, sexier models around this season. One at Felder Felder, modelling a slinky black bikini, had the hugest breasts I’ve seen on the catwalk since Ziad Ghanem’s A/W 2010 offering. Love that.






The first look brought a hint of 1990s Chanel – a cotton bouclé number with delicate silk fringing and a pencil skirt. More Chanel-esque pieces followed, but they’d been sexed up with cream tights that featured all sorts of embellishments – jewels, ribbon, embroidery.


PPQ S/S 2012, illustrated by Alia Gargum

Next came denim for Lee, so tight you might refer to it as ‘spray on’ if you were a berk. A Texan tuxedo was one of my favourite looks in the entire show, teamed with another pastel blue bouclé jacket worn like a cape. Models were all-American blonde with full red lips; my GOD it was a relief to see some models with sex appeal. Some of them this season have been dire. If I were being paid to walk up and down a runway in clothes like this (chances unlikely) I would most certainly be able to swish it up a bit.


PPQ S/S 2012, illustrated by Jessika Tarr

Cute pastel dresses were up next in mint and blush – a more demure offering – soon forgotten when the PPQ crest prints arrived – a sort of monogram for the club kid generation rather than the Bond Street elite. I LOVED this. It evoked that inimitable and glorious 1990s Versace period when Claudia and Naomi and Cindy frolicked in wild prints and enormous gold jewellery (GOD I could Google image those pictures ALL DAY) – but PPQ somehow made it seem as fresh as if it were brand new. I particularly liked the marriage of a blazer, micro skirt, vanity bag and ankle boot all in a PPQ crest/rose print. Daniella Westbrook would go BERSERK for this garb.


PPQ S/S 2012, illustrated by Naomi Law


Erin caught me pointing my camera in the opposite direction to the model…

Bodycon prints followed, giving the already confident models so much sex appeal that I wouldn’t have been surprised if an orgy had kicked off on row D. Zorro masks worn with straw hats added a hint of kink, and then came blouson blouses, encrusted belt buckles, more embroidery, leather harnesses with playful crystals in primary colours, pearl earrings, bondage tights, more vanity handbags, more denim – it was wonderfully exhausting and by far my favourite show of the day. Nobody parties like PPQ.





Watch the show here:

Categories ,1990s, ,Acid, ,BFC Tent, ,Cindy Crawford, ,Claudia Schiffer, ,Don’t You Want Me, ,fashion, ,Felix, ,Friday, ,Front Row, ,Lee, ,London Fashion Week, ,Monogram, ,Naomi Campbell, ,ppq, ,Pump Up The Jam, ,S/S 2012, ,Somerset House, ,Technotronic, ,Versace, ,Womenswear

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


PPQ S/S 2012, pharm illustrated by Tina Reidy

What a difference a season makes. This time six months ago I was still moaning to my insufferable friends about how I had waited for almost an hour in the freezing cold waiting to get into the PPQ show only to hear the music began and the burley bouncer announce than no one else would be allowed entry. If I had had the energy, capsule I would have gone wild.


PPQ S/S 2012, illustrated by Naomi Law
 
This time around was a different story, and I Frowed with my home boy James who I had advised to wear his TEAM GINGE vest in the hope that Nicola Roberts of Girls Aloud fame would be in attendance, clock his ensemble and, I don’t know, praps marry him. Unfortunately she wasn’t there, but this was a PPQ show: a guaranteed celeb draw, so we waited patiently while a Sugababe, Pandemonia, Erin O’ Connor and Peaches Geldof took to their seats – the paps going insane for the latter who had gone pretty much unnoticed at the earlier Felder Felder show.


PPQ S/S 2012, illustrated by Tina Reidy


All photography by Matt Bramford

It’s always fun fun fun at PPQ and this season was no exception. A selection of 1990s party hits such as Felix’s Don’t You Want Me and Technotronic’s Pump Up The Jam blasted from the sound system as super sexy models sashayed before us with that kind of confidence that would make even a boiler suit seem arousing. I’m not sure if it’s just the shows I’ve been to, but I’m overjoyed to say that there’s plenty of fuller, sexier models around this season. One at Felder Felder, modelling a slinky black bikini, had the hugest breasts I’ve seen on the catwalk since Ziad Ghanem’s A/W 2010 offering. Love that.






The first look brought a hint of 1990s Chanel – a cotton bouclé number with delicate silk fringing and a pencil skirt. More Chanel-esque pieces followed, but they’d been sexed up with cream tights that featured all sorts of embellishments – jewels, ribbon, embroidery.


PPQ S/S 2012, illustrated by Alia Gargum

Next came denim for Lee, so tight you might refer to it as ‘spray on’ if you were a berk. A Texan tuxedo was one of my favourite looks in the entire show, teamed with another pastel blue bouclé jacket worn like a cape. Models were all-American blonde with full red lips; my GOD it was a relief to see some models with sex appeal. Some of them this season have been dire. If I were being paid to walk up and down a runway in clothes like this (chances unlikely) I would most certainly be able to swish it up a bit.


PPQ S/S 2012, illustrated by Jessika Tarr

Cute pastel dresses were up next in mint and blush – a more demure offering – soon forgotten when the PPQ crest prints arrived – a sort of monogram for the club kid generation rather than the Bond Street elite. I LOVED this. It evoked that inimitable and glorious 1990s Versace period when Claudia and Naomi and Cindy frolicked in wild prints and enormous gold jewellery (GOD I could Google image those pictures ALL DAY) – but PPQ somehow made it seem as fresh as if it were brand new. I particularly liked the marriage of a blazer, micro skirt, vanity bag and ankle boot all in a PPQ crest/rose print. Daniella Westbrook would go BERSERK for this garb.


PPQ S/S 2012, illustrated by Naomi Law


Erin caught me pointing my camera in the opposite direction to the model…

Bodycon prints followed, giving the already confident models so much sex appeal that I wouldn’t have been surprised if an orgy had kicked off on row D. Zorro masks worn with straw hats added a hint of kink, and then came blouson blouses, encrusted belt buckles, more embroidery, leather harnesses with playful crystals in primary colours, pearl earrings, bondage tights, more vanity handbags, more denim – it was wonderfully exhausting and by far my favourite show of the day. Nobody parties like PPQ.





Watch the show here:

Categories ,1990s, ,Acid, ,BFC Tent, ,Cindy Crawford, ,Claudia Schiffer, ,Don’t You Want Me, ,fashion, ,Felix, ,Friday, ,Front Row, ,Lee, ,London Fashion Week, ,Monogram, ,Naomi Campbell, ,ppq, ,Pump Up The Jam, ,S/S 2012, ,Somerset House, ,Technotronic, ,Versace, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Swedish School of Textiles BA


Isabella Falkirk (BA) Graduate Collection, mind by Faye West

On Saturday evening a selection of students from the Swedish School of Textiles transported their graduate collections to our fair city to give us a taster. A year ago, graduating students from Sweden did the same thing and Amelia was bowled over by what was on display, so I was pretty eager to see what this year’s offering offered.

The Vauxhall Fashion Scout venue at Freemason’s Hall wasn’t packed wall to wall like it usually is, which suits me fine – I was only mildly sweating as opposed to my usual soaking-wet state. A glance down the running order while I waited for the show to start revealed that this was to be pretty epic – no less than 17 BA and 4 MA graduates. Here goes!

Isabella Falkirk
The show kicked off with Isabella Falkirk. Foam shapes took centre stage, squared off to control the contours of the female form. The model was essentially wearing a foam box. The aesthetic was pleasing, but the model looked miserable, and I did have to wonder to myself how viable or groundbreaking this show opener was. A similar creation followed atop a model’s head, and I wondered further; this wasn’t fashion to wear on a visit to the shops to pick up milk. Despite this, underneath the shock tactics was some extremely wearable and well-tailored formal attire – sleek trousers and well-cut blazers. A reaction to the strains of work, the collection finished with a conceptual jacket with four or five layers, showing Falkirks’ vision a little more clearly. I liked this piece a lot.


All photography by Matt Bramford

Per Axén
Next came chic and crisp tailoring courtesy of Per Axén, whose concept through the juxtaposition of materials was a little more commercial but equally as enjoyable. A leather cape flirted with cream free-flowing trousers that looked elegant and futuristic at the same time. Other leathers had been married with cottons for the same effect, and geometric shapes featured, a la Mondrian.

Freja Sundberg

Freja Sundberg‘s BA Graduate Collection, illustrated by Christina Demetriou

Up next came Freja Sundberg‘s homage to the working class people of Havana and their music and culture. A lively collection, it featured Cuban prints in a multitude of colours, plastic skirts and lively wigs with flashes of red. Statement jewellery also appeared, and the final piece, an extravagant gold silk dress with a discreet print, had been gathered with drawstrings and rucksack pulls. A real winner.


Sofi Svensson

Sofi Svensson (BA) Graduate Collection, by Faye West

The standout collection for its sheer bravery, conceptualism and bloody amazing craftsmanship, was Sofi Svensson’s masked creatures. Models appeared like they had landed from a Doctor Who novel, wearing ghoulish masks with eyeholes that became long, wide dresses. Each had been encrusted and embellished to the max – jewels, crystals, plastic objects and mirrors filled every piece of the garment. Again, this was fashion as expression and conception rather than as a commercial commodity. Breathtaking, too.

Maja Dixdotter
Maja‘s collection brought us back in to the real world a little, but was by no means boring. Beautiful pastel shades in lemon, lavender and blush were the colour palette. A structured jacket had been juxtaposed with a sheer micro dress, while a skirt and a top carried gorgeous flower details.

Linnéa Woxinger Sköld
Living creatures affect me in a way nothing else can,’ exclaims Linnéa Woxinger Sköld on the handout, ‘…and fashion, at its best, gets very close to this fascination. How close can I get?‘ Pretty close, love. Linnéa’s collection was a fusion of organic shapes and experimental materials. An unusual mint-coloured translucent number opened her showing, which had been gathered together working against the model’s body. A body-concious number followed, then other dresses with organic twists and turns. This was like something I’d never seen before, but I really liked it.

Elin Engström

Elin Engström‘s BA Graduate Collection, by Christina Demetriou

Questioning the conquer-all ethos of the suit and fashion’s fascination with it, Elin Engström presented an expertly tailored collection in monochrome. The first model appeared with a large tube covering her face that looked a bit like those things you put on dogs to stop them sniffing their arses (is that what they’re for?) and was teamed with a large cloak. Later came a onesie, in which the model’s arms were unable to escape. Wild vase-like shapes were worn over the eyes, creating an ethereal effect. More tailoring followed with horse-hair details, but the real showstopper was an embellished translucent jacket with matching strange-vase-like-sunglasses-thingies.

Ida Klamborn
Closing the BA section of the show in dramatic fashion, Ida Klamborn presented an all-red collection of floor-length numbers. The colour choice and use of grand fabrics made for a sophisticated, luxurious collection of pleated skirts and high-waisted trousers. Sweet.

At this point I was desperate for the loo, and I just couldn’t make up my mind if I thought attendee Jay from E4 show Dirty Sexy Things was attractive*. I do love seeing graduate shows – they have fewer constraints and no worries about commerciality. But during London Fashion Week, with so many shows to think about, I did find it a little exhausting. The show wasn’t over, though, and we quickly launched into the MA graduates – you can read all about them in Akeela‘s review here!

*I decided in the end that yes, he probably is.

Categories ,BA, ,catwalk, ,Christina Demetriou, ,Cuba, ,Dirty Sexy Things, ,Doctor Who, ,E4, ,Elin Engstöm, ,Fashion Design, ,Faye West, ,Freemasons’ Hall, ,Freja Sundberg, ,Front Row, ,Havana, ,Ida Klamborn, ,Isabella Falkirk, ,Jay, ,Linnea Woxinger Skold, ,London Fashion Week, ,ma, ,Maja Dixdotter, ,Matt Bramford, ,Mondrian, ,pastels, ,Per Axen, ,review, ,S/S 2012, ,Sofi Svensson, ,sweden, ,Swedish School of Textiles, ,Vauxhall Fashion Scout, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Ziad Ghanem


Ziad Ghanem S/S 2012 by Aysim Genc

In the hotbox that is Vauxhall Fashion Scout‘s Freemasons Hall venue, approved Ziad Ghanem was about to return to the catwalk in dramatic fashion, symptoms and we would not expect anything less. He’d already tweeted that he’d received up to 3000 ticket requests for his show, about it and while I’m not sure there were that many there, it was bloody packed. We were asked to make more and more room for new guests, to the point where I was almost spooning the girl sitting next to me. And it was SO HOT.


Marnie Scarlet for Ziad Ghanem S/S 2012 by Gilly Rochester

One guy, wearing an outfit only suitable for the front row, idled up and down the catwalk in the hope that someone lesser dressed would offer up his seat. Luckily they managed to squeeze him in a little further down from me. Thank God, I thought – imagine wearing a toilet seat on your head and having to sit fifth! Mortifying.

As I made eyes at Amelia across the catwalk, something rather dramatic happened in the photographer’s pit. A loud bang, as if somebody had fallen, came first – everybody spun to see what was going on. A girl was struggling to maintain her balance and let out a yelp and it was clear that there were some photographers missing. The guy sitting next to me was certain he’d seen fisticuffs; as the photographers vied for space, one had lamped another. It was all very confusing and a little distressing, not least to resist the urge to stand up and cry ‘FIGHT!‘ Ziad, being the gentleman that he is, took to Facebook post-show to offer any injured parties a free outfit. What a lovely man.


Photography by Amelia Gregory

There ain’t no better show suited to a bit of pre-start drama. After the hysteria had settled down and I’d lost a few more pounds in sweat (never a bad thing), the show commenced. This particular collection is inspired by profound Polish film Matka Joanna (Mother Joan); a dark tale of the demonic possession of nuns. Well, what were you expecting? Floaty floral dresses? I don’t think so.


Ziad Ghanem S/S 2012 by Rukmunal Hakim

It’s hard to describe what really happens at a Ziad show. You can’t say ‘the dresses were long’ or ‘the skirts were short’ because every piece is unique and that’s just how Ziad does it. We had a couple walk first, the gent in a cropped white organza jacket, the lady in a glamorous pale pink dress, both with flowers atop their heads and big red eyes.


Photography by Tim Adey

We had performance artist Mr Pustra, who skipped in wearing an exaggarated black ensemble and red PVC gloves, and Marnie Scarlet, wearing one of Ziad’s bridal creations – layer upon layer of white silk and tulle, teamed as any bride would with white PVC leggings. Marnie entered the arena with a PVC umbrella that showered her with rose petals when she opened it.


Photography by Matt Bramford

Intense colours are always the flavour of these shows – this time around monochrome and red threaded the collection together. We had a floor-length translucent number, worn sans underwear. The funny thing is I was thinking I hadn’t seen any vaginas this season after VaginaGate a year ago, and I thought to myself I really wish I hadn’t thought to myself that I hadn’t seen any vaginas, because I suspect that’s why I did.


Ziad Ghanem S/S 2012 by Helena Maratheftis

The rest of the couture pieces celebrated Ziad Ghanem‘s exceptional talent when it comes to making clothes, and it wasn’t all about spectacle. A fishtail gown with incredible lace detail brought audible gasps from the audience and had that timeless quality like the grand dressmakers that precede him. Of course, it was sexed up with leather gloves. Then came a selection of paint-splattered pieces in allsorts of vibrant colours that would have made for a complete collection (and were borderline wearable) if this had not been the mighty Ziad.

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory


Photography by Amelia Gregory

The show featured the usual roll call of weird and wonderful models, including DJ Jackee Word, dancer Laura Cherry (who modelled the aforementioned fishtail dress) and singer Tanya Valensi who looked fiece in a less whacky micro dress with incredible embellishment. My favourite model in this show (and in any, for that matter) has to be Ziad‘s ‘favourite niece’ Janet Younan. A girl aged no more than 10 or 11 sashayed down the catwalk like a bridesmaid from a fairytale with as much confidence and swagger as any other model could muster. The crowd went NUTS for this, and quite rightly – Janet really werked it and looked overjoyed when she brought her uncle out for a post-show bow.


Ziad Ghanem S/S 2012 by Claire Kearns

Amelia and I both remarked that this collection was a little less cohesive than previous seasons, but then this is Ziad Ghanem we’re talking about – master of craftsmanship, creator of drama and intensity and master couturier. Some of the shows you see begin with one outfit and change very little throughout, sometimes making you ponder if they’ve actually made a mistake and sent the same model in the same frock out twice. But you’d never get that at a Ziad Ghanem show – no way José. This was a celebration of haute fashion, of everybody’s beauty, and of a designer’s ability to do whatever the hell he likes.


Photography by Matt Bramford

Long live Ziad Ghanem.

Ziad Ghanem SS 2012 review

Watch the show in full here:

Categories ,Amelia, ,Aysim Genc, ,Claire Kearns, ,couture, ,Fight, ,film, ,Freemasons’ Hall, ,Front Row, ,Gilly Rochester, ,Helena Maratheftis, ,Jackee Word, ,Janet Younan, ,Laura Cherry, ,London Fashion Week, ,Marnie Scarlet, ,Matka Joanna, ,Matt Bramford, ,Mr Pustra, ,Nuns, ,Organza, ,Photographers Pit, ,Polish, ,review, ,Rukmunal Hakim, ,S/S 2012, ,SS12, ,Tanya Valensi, ,twitter, ,VaginaGate, ,Vaginas, ,Vauxhall Fashion Scout, ,Ziad Ghanem

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Ziad Ghanem


Ziad Ghanem S/S 2012 by Aysim Genc

In the hotbox that is Vauxhall Fashion Scout’s Freemasons Hall venue, Ziad Ghanem was about to return to the catwalk in dramatic fashion, and we would not expect anything less. He’d already tweeted that he’d received up to 3000 ticket requests for his show, and while I’m not sure there were that many there, it was bloody packed. We were asked to make more and more room for new guests, to the point where I was almost spooning the girl sitting next to me. And it was SO HOT.


Marnie Scarlet for Ziad Ghanem S/S 2012 by Gilly Rochester

One guy, wearing an outfit only suitable for the front row, idled up and down the catwalk in the hope that someone lesser dressed would offer up his seat. Luckily they managed to squeeze him in a little further down from me. Thank God, I thought – imagine wearing a toilet seat on your head and having to sit fifth! Mortifying.

As I made eyes at Amelia across the catwalk, something rather dramatic happened in the photographer’s pit. A loud bang, as if somebody had fallen, came first – everybody spun to see what was going on. A girl was struggling to maintain her balance and let out a yelp and it was clear that there were some photographers missing. The guy sitting next to me was certain he’d seen fisticuffs; as the photographers vied for space, one had lamped another. It was all very confusing and a little distressing, not least to resist the urge to stand up and cry ‘FIGHT!‘ Ziad, being the gentleman that he is, took to Facebook post-show to offer any injured parties a free outfit. What a lovely man.


Photography by Amelia Gregory

There ain’t no better show suited to a bit of pre-start drama. After the hysteria had settled down and I’d lost a few more pounds in sweat (never a bad thing), the show commenced. This particular collection is inspired by profound Polish film Matka Joanna (Mother Joan); a dark tale of the demonic possession of nuns. Well, what were you expecting? Floaty floral dresses? I don’t think so.


Ziad Ghanem S/S 2012 by Rukmunal Hakim

It’s hard to describe what really happens at a Ziad show. You can’t say ‘the dresses were long’ or ‘the skirts were short’ because every piece is unique and that’s just how Ziad does it. We had a couple walk first, the gent in a cropped white organza jacket, the lady in a glamorous pale pink dress, both with flowers atop their heads and big red eyes.


Photography by Tim Adey

We had performance artist Mr Pustra, who skipped in wearing an exaggarated black ensemble and red PVC gloves, and Marnie Scarlet, wearing one of Ziad’s bridal creations – layer upon layer of white silk and tulle, teamed as any bride would with white PVC leggings. Marnie entered the arena with a PVC umbrella that showered her with rose petals when she opened it.


Photography by Matt Bramford

Intense colours are always the flavour of these shows – this time around monochrome and red threaded the collection together. We had a floor-length translucent number, worn sans underwear. The funny thing is I was thinking I hadn’t seen any vaginas this season after VaginaGate a year ago, and I thought to myself I really wish I hadn’t thought to myself that I hadn’t seen any vaginas, because I suspect that’s why I did.


Ziad Ghanem S/S 2012 by Helena Maratheftis

The rest of the couture pieces celebrated Ziad Ghanem’s exceptional talent when it comes to making clothes, and it wasn’t all about spectacle. A fishtail gown with incredible lace detail brought audible gasps from the audience and had that timeless quality like the grand dressmakers that precede him. Of course, it was sexed up with leather gloves. Then came a selection of paint-splattered pieces in allsorts of vibrant colours that would have made for a complete collection (and were borderline wearable) if this had not been the mighty Ziad.

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory

Ziad Ghanem SS 2012 review photo amelia gregory


Photography by Amelia Gregory

The show featured the usual roll call of weird and wonderful models, including DJ Jackee Word, dancer Laura Cherry (who modelled the aforementioned fishtail dress) and singer Tanya Valensi who looked fiece in a less whacky micro dress with incredible embellishment. My favourite model in this show (and in any, for that matter) has to be Ziad’s ‘favourite niece’ Janet Younan. A girl aged no more than 10 or 11 sashayed down the catwalk like a bridesmaid from a fairytale with as much confidence and swagger as any other model could muster. The crowd went NUTS for this, and quite rightly – Janet really werked it and looked overjoyed when she brought her uncle out for a post-show bow.


Ziad Ghanem S/S 2012 by Claire Kearns

Amelia and I both remarked that this collection was a little less cohesive than previous seasons, but then this is Ziad Ghanem we’re talking about – master of craftsmanship, creator of drama and intensity and master couturier. Some of the shows you see begin with one outfit and change very little throughout, sometimes making you ponder if they’ve actually made a mistake and sent the same model in the same frock out twice. But you’d never get that at a Ziad Ghanem show – no way José. This was a celebration of haute fashion, of everybody’s beauty, and of a designer’s ability to do whatever the hell he likes.


Photography by Matt Bramford

Long live Ziad Ghanem.

Ziad Ghanem SS 2012 review

Watch the show in full here:




Categories ,Amelia, ,Aysim Genc, ,Claire Kearns, ,couture, ,Fight, ,film, ,Freemasons’ Hall, ,Front Row, ,Gilly Rochester, ,Helena Maratheftis, ,Jackee Word, ,Janet Younan, ,Laura Cherry, ,London Fashion Week, ,Marnie Scarlet, ,Matka Joanna, ,Matt Bramford, ,Mr Pustra, ,Nuns, ,Organza, ,Photographers Pit, ,Polish, ,review, ,Rukmunal Hakim, ,S/S 2012, ,SS12, ,Tanya Valensi, ,twitter, ,VaginaGate, ,Vaginas, ,Vauxhall Fashion Scout, ,Ziad Ghanem

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Bernard Chandran


Bernard Chandran S/S 2012, capsule illustrated by Gabriel Ayala

I feel like myself and Bernard Chandran are good pals. He’d probably see it differently, but the first show I ever saw during a fashion week was his, and since then I haven’t missed a single one. I almost did this time – cruelly his show clashed with one of my other favourites, Jean Pierre Braganza. I was worried sick – who would I choose? In the end, the Amelia’s Magazine team had got JPB more than covered and I decided that I couldn’t miss Bernard after all.


Bernard Chandran S/S 2012, illustrated by Cruz

It’s a bloody good job I was so desperate to see it, because his show was at the Il Bottaccio venue on Grosvenor Place. If this doesn’t mean anything to you, it’s basically a 20 minute cycle by Boris from Somerset House, fashion week’s epicentre. It might not sound much, but when you’ve got less than twenty minutes to get there, it’s boiling hot on the Strand and rammed with buses churning emissions in your face and you’re prone to perspiration, it’s less than entirely ideal.






All photography by Matt Bramford

I arrived at the venue in a complete state. Perspiring, thirsty, hungry and miserable, I just wanted to get inside and get it over with. Luckily entrance was a breeze, and I found a good seat on which to waft my invite frantically and avoid glares from immaculate fashionos free of any perspiration. I sat next to Lida from The First To Know – I’ve spoken to her electronically a few times, and it was great to finally meet her. We chatted about a recent article of hers for the Ecologist where she speaks to Chandran about the lack of available craftsmanship in our country, and it’s definitely worth a read.


Bernard Chandran S/S 2012, illustrated by Gabriel Ayala

Bernard’s invite featured a duplicated picture of a glamorous woman from the 1950s. I had already guessed (naturally, as myself and Bernard are so friendly) that it was his mother. She had the same delicate bone structure and exotic appeal. It turns out that these two subjects – the 1950s and the matriarch of the Chandran dynasty – where Bernard’s inspiration this season.





The show featured many of Bernard’s now signature styles, but this time he’d cranked up the glamour factor and it really suited his unique dedication to sculpture and proportion.


Bernard Chandran S/S 2012, illustrated by Cruz

Look after look brought glamour, sophistication, elegant craftsmanship and a unique approach to dynamic cutting. Floor-length silk numbers, beautifully simple, sat happily with futuristic blazers with angular oversized lapels and a-line dresses with feather panels. The colour palette was a varied as it could be – pale pinks and blues, gold, silver, and vivid cobalt and fuchsia. Chandran’s evident bravery in his use of colour was a dominant feature once again.

It was quite a mix, and that’s what I quite like about Chandran; you can’t label his collections with this season’s buzz words and you could try to squeeze him into a box but he’ll burst out of it, wearing feathers and glittered fabrics and assymetric cuts (metapohrically speaking, of course).





The finale brought a stunning black model onto the catwalk wearing a red-carpet finest – a dazzling body-con number with a sweetheart neckline and a fishtail train. Delicate petal shapes in a complimentary colour had been applied all over the frock, teamed with high-gloss evening gloves. The model glided past us oozing sex appeal with a look of confidence that only this sort of piece can give.





Bernard, you didn’t let me down. Until next time, pal…

Categories ,1950s, ,Bernard Chandran, ,Boris Bikes, ,catwalk, ,Cruz, ,Feathers, ,First To Know, ,Front Row, ,Gabriel Ayala, ,Glamour, ,Glitter, ,Grosvenor Place, ,Il Bottaccio, ,Lida Hujic, ,London Fashion Week, ,Off Schedule, ,Pop PR, ,review, ,S/S 2012, ,Sweat, ,the ecologist, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Christian Blanken

Christian Blanken SS12 by Gareth A Hopkins

Christian Blanken S/S 2012 by Gareth A Hopkins

This presentation in particular was enjoyable from the start. Away from the rush and fuss of the main tent, pharmacy I went to explore the bright and beautiful Portico Rooms of Somerset House to find the Christian Blanken show. As I lined up, I got a peek at the other designer exhibitions and took in the quiet calm of the wooden floors and neo-classical architecture.

Christian Blanken S/S 2012 by Rosa and Carlotta

All photography by Rosa & Carlotta Crepax of Illustrated Moodboard

I was ushered inside a room set up with some impressive-looking mirrored panels, I took a seat and got my sketchbook and pens ready for what Mr Blanken had to show us. As the lights slightly dimmed and the music began to start I got my third compliment of the day on my Bora Aksu patterned ‘Angel’ tights which were a front-row goody bag gift and have left me wanting more from his new hosiery and accessory range.

Christian Blanken SS 2012 by Gilly Rochester

Christian Blanken S/S 2012 by Gilly Rochester

Christian Blanken has a very clean and cool vision for Spring/Summer 2012, defined by shades of grey, mink, and black and occasional shots of soft coral. He really developed his sharp and luxe look with an artful use of heavy ruching and sportswear-like silhouettes.

Christian Blanken S/S 2012 illustrated by Kate Eldridge

Christian Blanken S/S 2012 by Kate Eldridge

Christian Blanken S/S 2012 by Rosa and Carlotta
Christian Blanken S/S 2012 by Rosa and Carlotta
It was all undoubtedly feminine, but not as you’d recognise it. Ruching? Sparkle? Soft silks and pale colours? Sweet, but not in the hands of Christian Blanken. I have never been a big fan of sweet, and like Christian count strong-silhouette designers like Azzedine Alaia and Helmut Lang as two of my favourites, but would most definitely embrace this wearable version of it for S/S 2012.

Christian-Blanken S/S 2012 illustrated by Alia Gargum

Christian-Blanken S/S 2012 by Alia Gargum

Inspired by the new Swarovski Elements ceramics collection, stingrays (which worked beautifully in print), bonded textiles and leathers, this collection is for those that appreciate tailoring, detail, and good fabrics. Christian sourced materials from Italy to get the best he could while following his aim of creating the ideal modern wardrobe without an impossible price range.

Christian Blanken S/S 2012 illustrated by Ada Jusic

Christian Blanken S/S 2012 illustrated by Ada Jusic

The show itself was even relaxing to draw; the clean lines, slicked-back hair and sharp tailoring flowed easily along the page. Even the latecomers that kept walking into the show space and were momentarily reflected in the cleverly designed set along with the models didn’t disrupt the calm.

Christian Blanken S/S 2012 by Rosa & Carlotta Crepax
As the show ended and I left the room, I felt curious to see what this Dutch-born designer comes up with next. Anyone who can make ruching and sparkle also behave in such a strong and structured way deserves attention, which he seemed to be in for as I strolled past the long line already patiently waiting for the next show.

Categories ,Ada Jusic, ,Alia Gargum, ,Azzedine Alaia, ,Bora Aksu, ,Christian Blanken, ,Clean Lines, ,Coral, ,Feminine, ,Front Row, ,Gareth A Hopkins, ,Gilly Rochester, ,Goddy Bag, ,Helmut Lang, ,Hoisery, ,Illustrated Moodboard, ,Kate Eldridge, ,London Fashion Week, ,Rosa & Carlotta Crepax, ,Set Design, ,Sparkle, ,Sportwear, ,Spring/Summer 2012, ,Swarovski, ,Sweet

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