Graduate Fashion Week 2010

Amelia’s Magazine | Graduate Fashion Week 2010: Middlesex

by


Rebecca McClure, there check illustrated by Alli Coate

There was more than one graduate show going on during Tuesday evening… it was time for some Middlesex action. After Northampton, purchase they had some stiff competition to beat – but they pulled it out of the bag…

Hannah Ellis: A menswear collection almost turning the grown models back into child like beings in their long shorts. There were even braces, man capes and some stunning shirts cum cardigans all in beautiful hues of midnight blue and off white that made the whole collection slightly romantic when teamed with the pulled up socks and deck shoes. Perfect for a stroll along the river then a spot of croquet (or maybe I’ve been watching too much Brideshead Revisited). 

Liesemarie Schulte-Kitzing: This was a conceptual collection with a real vision. Mantilla-inspired headpieces veiled the models’ faces, complimenting a collection of intriguing design including a smooth, shapely vinyl waistcoat which had the apperance of wood. Accessories in the form of square rucksacks provided a refreshing change, as did shapeless floor-length smocks, with each piece embellished with a laser-cut flower pattern.

Jessica Shaw: Shaw’s collection was full of patchwork effects made up from a multitude of sheer fabrics. Some were big oversized checks and others were big and small polka dots but together they managed to complement each other. Throw in some sultry long dresses and chunky knits and the look is a whole collection of ambiguity.


 
Malene Oddershede Bach: This was a rocky look and do you know how we could tell that? The chunky black fringe extensions that the models were made to wear turned them into a mix between Karen O and Agyness Deyn. But the clothes made it too with printed maxi dresses teamed with a cropped biker jacket and oh so mini dresses complete with cut-out detailing on the arms. Even the longer skirts were sheer to add to the “so don’t give a damn” attitude. Rock and Roll indeed. 


Malene Oddershede Bach, illustrated by Pieter de Groot

Helen Carney: Carney’s collection featured fashionable muted colours and had a distinct industrial feel, glamorised with the addition of techinical yet soft exaggerated ruffs, which entombed one model from neck to waist and provided enhanced shoulders on another. Sophisticated, yet sexy.

Rebecca McClure: Special commendation needs to go to Rebecca McClure who designed American style mail box head pieces and even a white picket fence skirt. Maybe not so practical for the morning commute but the headpiece is definitely going straight on my ‘need not want’ list. 

The students at these shows have worked so hard and the collections they have produced are inspiring and beautiful. It looks like there’s a lot of good vibes for the future of British Fashion.

Images courtesy of catwalking.com

Written by Jemma Crow on Thursday June 10th, 2010 12:25 pm

Categories ,americana, ,Brideshead Revisted, ,British Fashion, ,Earls Court, ,Graduate Fashion Week 2010, ,Hannah Ellis, ,Jemma Crow, ,Jessica Shaw, ,london, ,Malene Oddershede Back, ,menswear, ,Middlesex, ,Picket Fence, ,Rebecca McClure, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: Northampton

by

It may have been the first ever International Show at Graduate Fashion Week, erectile but the designers did all they could to leave a lasting impression on London; collections came courtesy of universities spanning Europe with one show from students as far as Singapore.

The show launched with a strong start with Wolfgang Jarnach from the Akademie Mode & Design in Munich, ambulance his dark collection was made up of voluminous skirts and shoulders teamed with striking tailored jackets, cost topped off with a dramatic Count Dracula style cape.

In an equally theatrical fashion came Vicole Lang’s collection, which racked up the most air miles for GFW, coming in from the Lasalle College of the Arts in Singapore. The show kicked off with a distinctly fetishism theme opening with a PVC bandage body suit, but seemed to become more gradually demure with each outfit, until the stunning Balenciaga-esque spiked and padded dress closed her a collection in show-stopping fashion.

After Vicole’s electrifying garments, a much needed cool off came courtesy of Lidya Chrisfen’s collection which swished down the runway to the calming sounds of an ebbing tide. The neutral palette, twisted rope detailing and seashell embellishments brought to mind shipwrecks and desert islands, whilst the daringly cut, printed maxi dresses injected a touch of red-carpet glamour to the collection.

Wearability was an apparently unimportant factor for a number of the international designers, as spectators at Earl’s Court witnessed recurring ‘head coverings’ as opposed to headwear from several collections. This theme was kicked off by Linda, hailing from Singapore’s LaSalle College of the Arts, who sent a seemingly ‘blind’ model down the runway in a denim hooded thigh-skimming mini dress, which zipped up balaclava style to the top of her head.

Linda, illustrated by Lisa Billvik

The concept continued in Anna Sergnova’s collection, whose medieval-inspired garments were dreamt up in the halls of Saint Petersburg’s State University of Technology & Design. Four of her six garments completely covered the model’s faces with knight style armour, metal visors and chain-mail helmets, teamed with gauntlets and protective Balmain style padded hips and shoulders. Unfortunately the safety of the models was somewhat blighted by the towering heel-less wedges in which they were precariously balancing on as they walked the runway.

Anna Sergunova, illustrated by Aniela Murphy

Things only got stranger when Amsterdam Fashion Institute student, Floor Kolen’s creations took to the stage, she too showed a penchant for covering the eyes, this time through the medium of masks, rather scary looking plastic bird masks to be precise. She also took the acrylic route for a selection of her garments and accessories including a moulded bust style T-shirt, plastic feet shoes and demi-gloves which only covered the front part of the hand, but would nethertheless render the wearer helpless.

It is often the English that are often regarded as the most eccentric people in the world; but maybe it is time to rethink this stereotype, because actually stranger things can and certainly do happen – just ask the international designers at GFW. 

Images courtesy of catwalking.com

Garry Butterfield, viagra photographed by Matt Bramford

We are almost at the end of Graduate Fashion Week for another year, viagra but there’s still plenty of talent left to see. 

After hearing that one of the Northampton students, see Garry James Butterfield, had been snapped for Vogue by no other than Rankin I was intrigued to see how the show would pan out.

And it was a right old mix between the neutral pallets and technical draping (grey and navy was everywhere this year) and the ever so slightly eccentric. Perfect! 

Hayley Powell: Powell erred on the neutral side sticking to a delicious mix of chocolates, khaki and creamy silks. Even more enticing was the oversized proportions of the high waisted trousers shown with a tucked in top and tied up with a battered leather belt. Definitely a contender to take Chloé’s throne and a winner in my eyes, if only for featuring a beautiful pair of printed culottes. 


Hayley Powell, illustrated by Abi Daker

Lauren Dewer: Now the first look in this grouping didn’t have such an appeal but as the models waltzed out the bigger picture became clear. Using piping detail to create frills on skirts and structure on dresses, Dewer pulled off the bumblebee pallet and brought each individual piece together. To top it off, models sported yellow socks over their black tights, still a big look for autumn following on from London Fashion Week in February. 

James Cottle: This was the first menswear collection I’ve seen in a while designed by a man. I digress. Cottle pulls together a simplistic uniform of peg leg trousers worn rolled up with romantically bibbed shirts and easy grey marl tops. Finished off with desert boots, the look was so laid back and perfect, the only thing I want to know is what did the badges on the jackets say? A mystery.

Eleanor Burton: A flashback to Dynasty and Robert Palmer’s “Addicted to Love” video aren’t uncommon musings to conjure when watching Burton’s pieces stomp down the catwalk. It was red. It was Black. It was all about shoulders and bodysuits. Simple, yes; but totally wearable all the same. And it shows you don’t need the glitz and glamour to make a statement in fashion.  


Eleanor Burton, illustrated by Krister Sellin

Amy Robinson: Nirvana. One simple word that pretty much sums up Robinson’s nod to the 90s. It was grungy lace intertwined with silky vest tops and….cycling shorts? Ok so maybe that’s a piece best left on the catwalk but I’m ready to get me a pair of net curtains and start sewing… (Sorry Gran)! 


Amy Robinson, illustrated by Naomi Law

What was nice about the Northampton shows was that they had clearly planned the manoeuvres down to a T. Each designers end pose related to the theme and their collection, and the hair was swept cleanly on top of the head and finished intertwined with ribbon. Beautiful show, well done guys. 

Images courtesy of catwalking.com

Written by Jemma Crow on Thursday June 10th, 2010 10:44 am

Categories ,1980s, ,1990s, ,Addicted to Love, ,Amy Robinson, ,Chloe, ,Dynasty, ,Earls Court, ,Eleanor Burton, ,Garry James Butterfield, ,Graduate Fashion Week 2010, ,Hayley Powell, ,James Cottle, ,Lauren Dewer, ,london, ,menswear, ,nirvana, ,Rankin, ,Robert Palmer, ,vogue, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: Northampton

by

It may have been the first ever International Show at Graduate Fashion Week, erectile but the designers did all they could to leave a lasting impression on London; collections came courtesy of universities spanning Europe with one show from students as far as Singapore.

The show launched with a strong start with Wolfgang Jarnach from the Akademie Mode & Design in Munich, ambulance his dark collection was made up of voluminous skirts and shoulders teamed with striking tailored jackets, cost topped off with a dramatic Count Dracula style cape.

In an equally theatrical fashion came Vicole Lang’s collection, which racked up the most air miles for GFW, coming in from the Lasalle College of the Arts in Singapore. The show kicked off with a distinctly fetishism theme opening with a PVC bandage body suit, but seemed to become more gradually demure with each outfit, until the stunning Balenciaga-esque spiked and padded dress closed her a collection in show-stopping fashion.

After Vicole’s electrifying garments, a much needed cool off came courtesy of Lidya Chrisfen’s collection which swished down the runway to the calming sounds of an ebbing tide. The neutral palette, twisted rope detailing and seashell embellishments brought to mind shipwrecks and desert islands, whilst the daringly cut, printed maxi dresses injected a touch of red-carpet glamour to the collection.

Wearability was an apparently unimportant factor for a number of the international designers, as spectators at Earl’s Court witnessed recurring ‘head coverings’ as opposed to headwear from several collections. This theme was kicked off by Linda, hailing from Singapore’s LaSalle College of the Arts, who sent a seemingly ‘blind’ model down the runway in a denim hooded thigh-skimming mini dress, which zipped up balaclava style to the top of her head.

Linda, illustrated by Lisa Billvik

The concept continued in Anna Sergnova’s collection, whose medieval-inspired garments were dreamt up in the halls of Saint Petersburg’s State University of Technology & Design. Four of her six garments completely covered the model’s faces with knight style armour, metal visors and chain-mail helmets, teamed with gauntlets and protective Balmain style padded hips and shoulders. Unfortunately the safety of the models was somewhat blighted by the towering heel-less wedges in which they were precariously balancing on as they walked the runway.

Anna Sergunova, illustrated by Aniela Murphy

Things only got stranger when Amsterdam Fashion Institute student, Floor Kolen’s creations took to the stage, she too showed a penchant for covering the eyes, this time through the medium of masks, rather scary looking plastic bird masks to be precise. She also took the acrylic route for a selection of her garments and accessories including a moulded bust style T-shirt, plastic feet shoes and demi-gloves which only covered the front part of the hand, but would nethertheless render the wearer helpless.

It is often the English that are often regarded as the most eccentric people in the world; but maybe it is time to rethink this stereotype, because actually stranger things can and certainly do happen – just ask the international designers at GFW. 

Images courtesy of catwalking.com

Garry Butterfield, viagra photographed by Matt Bramford

We are almost at the end of Graduate Fashion Week for another year, viagra but there’s still plenty of talent left to see. 

After hearing that one of the Northampton students, see Garry James Butterfield, had been snapped for Vogue by no other than Rankin I was intrigued to see how the show would pan out.

And it was a right old mix between the neutral pallets and technical draping (grey and navy was everywhere this year) and the ever so slightly eccentric. Perfect! 

Hayley Powell: Powell erred on the neutral side sticking to a delicious mix of chocolates, khaki and creamy silks. Even more enticing was the oversized proportions of the high waisted trousers shown with a tucked in top and tied up with a battered leather belt. Definitely a contender to take Chloé’s throne and a winner in my eyes, if only for featuring a beautiful pair of printed culottes. 


Hayley Powell, illustrated by Abi Daker

Lauren Dewer: Now the first look in this grouping didn’t have such an appeal but as the models waltzed out the bigger picture became clear. Using piping detail to create frills on skirts and structure on dresses, Dewer pulled off the bumblebee pallet and brought each individual piece together. To top it off, models sported yellow socks over their black tights, still a big look for autumn following on from London Fashion Week in February. 

James Cottle: This was the first menswear collection I’ve seen in a while designed by a man. I digress. Cottle pulls together a simplistic uniform of peg leg trousers worn rolled up with romantically bibbed shirts and easy grey marl tops. Finished off with desert boots, the look was so laid back and perfect, the only thing I want to know is what did the badges on the jackets say? A mystery.

Eleanor Burton: A flashback to Dynasty and Robert Palmer’s “Addicted to Love” video aren’t uncommon musings to conjure when watching Burton’s pieces stomp down the catwalk. It was red. It was Black. It was all about shoulders and bodysuits. Simple, yes; but totally wearable all the same. And it shows you don’t need the glitz and glamour to make a statement in fashion.  


Eleanor Burton, illustrated by Krister Sellin

Amy Robinson: Nirvana. One simple word that pretty much sums up Robinson’s nod to the 90s. It was grungy lace intertwined with silky vest tops and….cycling shorts? Ok so maybe that’s a piece best left on the catwalk but I’m ready to get me a pair of net curtains and start sewing… (Sorry Gran)! 


Amy Robinson, illustrated by Naomi Law

What was nice about the Northampton shows was that they had clearly planned the manoeuvres down to a T. Each designers end pose related to the theme and their collection, and the hair was swept cleanly on top of the head and finished intertwined with ribbon. Beautiful show, well done guys. 

Images courtesy of catwalking.com

Written by Jemma Crow on Thursday June 10th, 2010 10:44 am

Categories ,1980s, ,1990s, ,Addicted to Love, ,Amy Robinson, ,Chloe, ,Dynasty, ,Earls Court, ,Eleanor Burton, ,Garry James Butterfield, ,Graduate Fashion Week 2010, ,Hayley Powell, ,James Cottle, ,Lauren Dewer, ,london, ,menswear, ,nirvana, ,Rankin, ,Robert Palmer, ,vogue, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: The Gala Show Finale!

by


Shinsuke Mitsuoka

The world of fashion is notoriously fickle and grabbing the attentions of a fashion crowd for any extended period of time seems tricky. Catwalk shows do their best with an array of light shows and thumping soundtracks which could sometimes do with a warning.

Nottingham Trent have prepared it all for their outing at Graduate Fashion Week with glossy door staff, medications designer goody bags and even a rather trendy loitering DJ (wearing a somewhat dubious puffa jacket). They’re raring to go, remedy but there’s just one cog in the works; a serious lack of bums on seats. Well, there is of course the age old excuse of being fashionably late, but even the pinched smiles of women ferrying around have started to crumble.

All becomes clear as a dull thudding bass infiltrates the theatre and the sound barrier takes a bashing as the trill of hundreds of screaming girls hit the roof. Apparently Tinie Tempah is a big deal (and from the glimpse I got, genuinely teeny Tinie). He’s had all of one song, which luckily for Nottingham Trent, he dispatches quickly, and soon a bustle of activity swells at the theatre doors. If Tinie didn’t make them ‘Pass Out’ (see what I did there? Here all week folks…) then the efforts of Nottingham Trent’s 2010 graduates will surely do their best to stun the senses. 

Nottingham Trent has a clear passion for encouraging students to experiment with unique techniques and textures in knitwear, producing a modern and varied aesthetic across the course. Their catwalk show oscillates between detailed, intricate knitwear and sleek takes on womenswear with bursts of energy injected at intervals by the likes of Emma Dick, showcasing sharp, graphic prints of televisions and arrows just at home in a museum of Pop Art as the runway. Integrated hoods give the look a futuristic feel but there’s a touch of the retro about her two-tone body con jumpsuit with a classic 1960s palette contrast between red and black.

Nottingham Trent keeps the volume turned up with Claire Hartley’s cutaway knitted one pieces, exposing flashes of green, yellow and red for a futuristic sci-fi look. Hartley’s dedication to forward thinking stretches beyond the aesthetics as she hopes to generate a new innovative, zero waste policy in manufacturing to ensure the sustainability and evolution of the clothes. 

By now Tinie’s long forgotten as each model stalks down the catwalk to puffa DJ’s painfully hip soundtrack. Nikki Lowe dazzles with gold lamé suits complete with built-in gloves worthy of an evil Jackie Collins penned character, but flashlight necklaces add a distinctive disco feel caught somewhere between the 1970s and the 1990s.

Miranda Boucher’s collection is a dark and luxurious celebration of femininity with plush midnight blue coats and velveteen details just obscuring the model’s modesty.  

Emma Philpot’s knitwear seems to grow from the models bodies, twisting and turning upon itself and forming knots and twists likes a chunky chainmail, while Tiffany Williams continues the fairytale edge with her menswear collection in dark, brooding colours and heavy volume that weigh on the shoulders as a hulking, masculine presence. Backs reveal shimmers of gold thread intertwined, adding a lighter side to the depth of her work. 
Jenna Harvey’s dresses change at every turn as each layer of tiny fabric is double printed and loosely set so as it moves a new picture is revealed. At times it feels like 3D glasses are needed just to keep up with the transformation before your eyes.

Meanwhile, Phoebe Thirlwall’s beautiful knitwear dresses, inspired by the intricacies of the skin, show a level of workmanship that is breathtaking under the lights of the catwalk. Each ribbed layer clings to the models with hundreds of different levels working together. Her hard work has clearly not gone unnoticed as her work was also photographed by renowned artist Rankin, a stunning portrait duly displayed in grand terms at Earl’s Court.


 
Izabela Targosz’s equestrian turn on tailoring injects some more colour into Nottingham Trent’s show, with jackets made with horsehair pockets and backs adding a silky but quirky feel. Riding hats are the natural yet perfect accessory to a collection that shows an equal strength in its attention to detail for an upheaval of the British tailored look. 

Shinsuke Matsuoka’s work is saved for the final spot and with the breathtaking effect of the garments, it’s easy to see why. Bondage style zips snake across panels of black hi-shine material; the sound of the clothes are a foreboding presence in themselves, but as six outfits stand together the models are transformed into an unnervingly attractive chain gang from the future. I’m not sure if it was this effect or not, but my camera also spluttered its final breaths at this point, perhaps overwhelmed by the power of Matsuoka’s collection.

In any case, it proved a spectacular way to end things and is not something I can imagine being trumped by Tinie any day soon.

Images courtesy of catwalking.com


Nicola Roberts, cheapest illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.


Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’


Hilary Alexander, illustrated by Amy Martino

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.


Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghastly white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.


Zandra Rhodes, illustrated by Paul Shinn

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.


Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.


Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.


Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’

Written by Matt Bramford on Friday June 11th, 2010 5:42 pm

Categories ,Alberta Ferretti, ,Amsterdam Fashion Institute, ,Anna Lee, ,Awards, ,Big cats, ,Britain’s Got Talent, ,Caryn Franklin, ,Diversity, ,Dylan Jones, ,Earls Court, ,Elle Magazine, ,Erin O’ Connor, ,Fashion Week, ,Gala Show, ,GFW, ,girls aloud, ,Gold Award, ,Graduate Fashion Week 2010, ,International Show, ,Kim Jones, ,london, ,Lorraine Candy, ,Manchester Metropolitan University, ,menswear, ,models, ,Naomi Dominique, ,Naomi New, ,Nicola Roberts, ,Northbrook College, ,Northumbria, ,Rebecca Thompson, ,Rhea Fields, ,River Island, ,Roya Hesam, ,Textiles Award, ,Ticker Tape, ,Womenswear, ,Zandra Rhodes

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Amelia’s Magazine | Graduate Fashion Week 2010: The Gala Show Finale!

by


Shinsuke Mitsuoka

The world of fashion is notoriously fickle and grabbing the attentions of a fashion crowd for any extended period of time seems tricky. Catwalk shows do their best with an array of light shows and thumping soundtracks which could sometimes do with a warning.

Nottingham Trent have prepared it all for their outing at Graduate Fashion Week with glossy door staff, medications designer goody bags and even a rather trendy loitering DJ (wearing a somewhat dubious puffa jacket). They’re raring to go, remedy but there’s just one cog in the works; a serious lack of bums on seats. Well, there is of course the age old excuse of being fashionably late, but even the pinched smiles of women ferrying around have started to crumble.

All becomes clear as a dull thudding bass infiltrates the theatre and the sound barrier takes a bashing as the trill of hundreds of screaming girls hit the roof. Apparently Tinie Tempah is a big deal (and from the glimpse I got, genuinely teeny Tinie). He’s had all of one song, which luckily for Nottingham Trent, he dispatches quickly, and soon a bustle of activity swells at the theatre doors. If Tinie didn’t make them ‘Pass Out’ (see what I did there? Here all week folks…) then the efforts of Nottingham Trent’s 2010 graduates will surely do their best to stun the senses. 

Nottingham Trent has a clear passion for encouraging students to experiment with unique techniques and textures in knitwear, producing a modern and varied aesthetic across the course. Their catwalk show oscillates between detailed, intricate knitwear and sleek takes on womenswear with bursts of energy injected at intervals by the likes of Emma Dick, showcasing sharp, graphic prints of televisions and arrows just at home in a museum of Pop Art as the runway. Integrated hoods give the look a futuristic feel but there’s a touch of the retro about her two-tone body con jumpsuit with a classic 1960s palette contrast between red and black.

Nottingham Trent keeps the volume turned up with Claire Hartley’s cutaway knitted one pieces, exposing flashes of green, yellow and red for a futuristic sci-fi look. Hartley’s dedication to forward thinking stretches beyond the aesthetics as she hopes to generate a new innovative, zero waste policy in manufacturing to ensure the sustainability and evolution of the clothes. 

By now Tinie’s long forgotten as each model stalks down the catwalk to puffa DJ’s painfully hip soundtrack. Nikki Lowe dazzles with gold lamé suits complete with built-in gloves worthy of an evil Jackie Collins penned character, but flashlight necklaces add a distinctive disco feel caught somewhere between the 1970s and the 1990s.

Miranda Boucher’s collection is a dark and luxurious celebration of femininity with plush midnight blue coats and velveteen details just obscuring the model’s modesty.  

Emma Philpot’s knitwear seems to grow from the models bodies, twisting and turning upon itself and forming knots and twists likes a chunky chainmail, while Tiffany Williams continues the fairytale edge with her menswear collection in dark, brooding colours and heavy volume that weigh on the shoulders as a hulking, masculine presence. Backs reveal shimmers of gold thread intertwined, adding a lighter side to the depth of her work. 
Jenna Harvey’s dresses change at every turn as each layer of tiny fabric is double printed and loosely set so as it moves a new picture is revealed. At times it feels like 3D glasses are needed just to keep up with the transformation before your eyes.

Meanwhile, Phoebe Thirlwall’s beautiful knitwear dresses, inspired by the intricacies of the skin, show a level of workmanship that is breathtaking under the lights of the catwalk. Each ribbed layer clings to the models with hundreds of different levels working together. Her hard work has clearly not gone unnoticed as her work was also photographed by renowned artist Rankin, a stunning portrait duly displayed in grand terms at Earl’s Court.


 
Izabela Targosz’s equestrian turn on tailoring injects some more colour into Nottingham Trent’s show, with jackets made with horsehair pockets and backs adding a silky but quirky feel. Riding hats are the natural yet perfect accessory to a collection that shows an equal strength in its attention to detail for an upheaval of the British tailored look. 

Shinsuke Matsuoka’s work is saved for the final spot and with the breathtaking effect of the garments, it’s easy to see why. Bondage style zips snake across panels of black hi-shine material; the sound of the clothes are a foreboding presence in themselves, but as six outfits stand together the models are transformed into an unnervingly attractive chain gang from the future. I’m not sure if it was this effect or not, but my camera also spluttered its final breaths at this point, perhaps overwhelmed by the power of Matsuoka’s collection.

In any case, it proved a spectacular way to end things and is not something I can imagine being trumped by Tinie any day soon.

Images courtesy of catwalking.com


Nicola Roberts, cheapest illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.


Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’


Hilary Alexander, illustrated by Amy Martino

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.


Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghastly white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.


Zandra Rhodes, illustrated by Paul Shinn

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.


Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.


Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.


Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’

Written by Matt Bramford on Friday June 11th, 2010 5:42 pm

Categories ,Alberta Ferretti, ,Amsterdam Fashion Institute, ,Anna Lee, ,Awards, ,Big cats, ,Britain’s Got Talent, ,Caryn Franklin, ,Diversity, ,Dylan Jones, ,Earls Court, ,Elle Magazine, ,Erin O’ Connor, ,Fashion Week, ,Gala Show, ,GFW, ,girls aloud, ,Gold Award, ,Graduate Fashion Week 2010, ,International Show, ,Kim Jones, ,london, ,Lorraine Candy, ,Manchester Metropolitan University, ,menswear, ,models, ,Naomi Dominique, ,Naomi New, ,Nicola Roberts, ,Northbrook College, ,Northumbria, ,Rebecca Thompson, ,Rhea Fields, ,River Island, ,Roya Hesam, ,Textiles Award, ,Ticker Tape, ,Womenswear, ,Zandra Rhodes

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Amelia’s Magazine | Graduate Fashion Week 2010: UCA Rochester

by

Joo-Hee Chun

Emma Box, illness illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.


Live catwalk illustrations by Tom Gilbert

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Written by Matt Bramford on Friday June 11th, 2010 11:03 am

Categories ,1970s, ,Abigail Daker, ,Alexa Papavasileiou, ,Anachee Sae Lee, ,Art Deco, ,Bad Girls, ,Body-con, ,Carla Grima, ,Catsuits, ,Chandelier, ,Chelsea Bravo, ,Cherelle Reid, ,Digital Prints, ,Donna Summer, ,Earls Court, ,Emma Box, ,Futurism, ,Gareth Pugh, ,God, ,Gold Award, ,Graduate Fashion Week 2010, ,Grecian, ,Hallam Burchett, ,Harem pants, ,Lesley Barnes, ,london, ,Lydia Vousvouni, ,Martin Margiela, ,menswear, ,Oliver Twist, ,Paper Mache, ,Rebecca Watson, ,Sherlock Holmes, ,UCA Rochester, ,Vicky Jolly, ,Victoriana, ,Waif, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: UCA Rochester

by

Joo-Hee Chun

Emma Box, illness illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.


Live catwalk illustrations by Tom Gilbert

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Written by Matt Bramford on Friday June 11th, 2010 11:03 am

Categories ,1970s, ,Abigail Daker, ,Alexa Papavasileiou, ,Anachee Sae Lee, ,Art Deco, ,Bad Girls, ,Body-con, ,Carla Grima, ,Catsuits, ,Chandelier, ,Chelsea Bravo, ,Cherelle Reid, ,Digital Prints, ,Donna Summer, ,Earls Court, ,Emma Box, ,Futurism, ,Gareth Pugh, ,God, ,Gold Award, ,Graduate Fashion Week 2010, ,Grecian, ,Hallam Burchett, ,Harem pants, ,Lesley Barnes, ,london, ,Lydia Vousvouni, ,Martin Margiela, ,menswear, ,Oliver Twist, ,Paper Mache, ,Rebecca Watson, ,Sherlock Holmes, ,UCA Rochester, ,Vicky Jolly, ,Victoriana, ,Waif, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: UCLAN Central Lancashire

by


Emma Box, find illustrated by Lesley Barnes

So, reigning champions (or at least winners of 2009 Gold Award) UCA Rochester took to the catwalks on Tuesday to show their wares in a bid to cling on to their title amongst the heavyweights we’d already seen at Graduate Fashion Week.

I’m very pleased to announce that they certainly put up a good fight. With a simple chandelier hung from the ceiling above the catwalk, the show began with a rather long romantic song – thank God too, because my guest was running late and he managed to sneak in during the song in the nick of time.

First up was Alexa Papavasileiou who presented a modest yet striking collection that packed a few discrete punches (okay, I’ll stop with the boxing metaphors now). Body-concious printed dresses with full-length sleeves wrapped models in organic suits, while drapes hung over the models creating flattering lines. The most interesting twist was the appearance of constructed stilettos which had a grungy, paper mache effect and gave this sleek collection an edgy twist.

Other escapades in weird and wonderful shoe design were brought to us by Lydia Vousvouni, whose deconstructed womenswear tailoring had a futuristic feel, teamed with crazy shoes that looked like art deco sculptures.


Lydia Vousvouni, illustrated by Abi Daker

Rebecca Watson in stark contrast dressed her models in very eery skeletal masks, bringing a little touch of death-glamour to the runway. The clothes in comparison were relatively simple, consisting of cropped-sleeve tops, two-tone leggings and some pretty neat tailoring.

More digital prints on the catwalk; this time in Emma Box’s structured collection. Micro-skirts and leggings in said prints were teamed with bolero-length jackets with exaggerated shoulders, giving models a dash of sex appeal and masses of style.

Digital prints again, from the Gareth-Pugh-esque Alex Oliver. Her models were transformed into futuristic creatures, with emphasis on shoulders (huge, huge shoulders). Catsuits or short dresses in a psychedelic print were teamed with leather jackets with scary spikes; the climax being a model with a Margiela-style eye covering as part of a hood. It was scary but sexy at the same time.


Alex Oliver, illustrated by Lesley Barnes

The first menswear collection from Rochester was that of Chelsea Bravo, whose models had the appearance of modern-day gladiators. Smock t-shirts with scoop necks emphasised muscular form and Chelsea’s palette of muted colours including sand, burgundy and blue had a sophisticated edge.

Vicky Jolly presented one of the most sophisticated collections I’ve seen this year. Her couturier-like craftsmanship created elegant dresses, with twists and turns in fabrics flattering the female form.


Vicky Jolly, illustrated by Alli Coate

Finally, after what felt like waiting for decades, Hallam Burchett ramped up the glamour factor to a big fat 10. Models sashayed and swished their hips to Donna Summer’s Bad Girls whilst wearing an all-green silky collection, embellished with dazzling crystals and accessorised with demi-gloves. Sod the tits or legs rule in Burchett’s short, short strapless dress and flaunt what you’ve got at the disco! This 1970s-inspired collection had the cuts and lines to make it contemporary, though.

More menswear now, from Anachee Sae Lee and Cherelle Reid. The former was a contemporary take on colloquial dressing and conjured up images of Sherlock Holmes, Oliver Twist, chimney sweeps and Victorian funeral directors all at the same time. High values in tailoring made this a tip-top collection, with fitted suits teamed with neck-bows and crisp shirts with bib detailing were accessorised with sleek shirt-armbands and porkpie hats.


Anachee Sae Lee, illustrated by Abi Daker

Cherelle Reid, whilst employing similar tailoring elements, was an entirely different look. In a strong micro-collection worthy of a slot in any upmarket store come Autumn Winter 2010, models wore silky harem pants which tapered tightly, low-cut v-neck tops and formal jackets. The craftsmanship look exquisite, but the pecs were a bit much *fans brow*

In amidst a whole load of futuristic and structured collections at GFW this year, a welcome breath of fresh air came from show closer Carla Grima. Her magical Grecian-inspired collection was a burst of much-needed colour, and while it wasn’t a clangy hipster spectacle like some show finales, it was understated glamour at its best. Each dress created an illusionary effect as it hung effortlessly from the models, flattering their waif figures.

Having written this post-Gala Show, I now know that UCA Rochester didn’t manage to hold onto their crown as Gold Award winners for 2010. Amongst so much incredible talent, it’s so difficult to stand out. Nevertheless, each collection was incredibly strong, astonishingly creative, and never, ever boring.

Rochester, you’re all winners anyway.

Danielle Reed, malady illustrated by Gabriel Ayala

The Central Lancashire show was an upbeat, approved patriotic affair. Models strutted down the catwalk to a stonking soundtrack provided by students from the performing arts department, and we waved collections along with the cute Union Jack flags left on each seat.  

The clothes were a lot of fun too – with the standout students playing around with conventional British icons – from Beefeaters and Big Ben to British school uniforms.  

Kirsty Stringfellow created interesting textures with her whimsical collection of knitted designs. Column dresses in thick, appliquéd floral cream ruched across the models’ chests like a curtain, and were adorned with sparkly crochet, printed lace and gold netting. Whilst some of the curtain-esque dresses seemed a little heavy, Stringfellow is clearly gifted at manipulating different textures – the fine-knit cream designs with intricate layers of ruffles were sheer romance.  


Kirsty Stringfellow, illustrated by Zarina Liew

On the other end of the scale, Danielle Reed and Rachel Wolstenhome both had fun with a tough, urban take on sportswear. Reed paired white bobby socks with black Dr. Martens, black grommet-laced waistcoats with slouchy joggers and manipulated aertex fabric into loose jumpsuits. The effect was a strong collection of grunge-inspired sportswear, with PVC fabrics and a monochrome palette adding a gothic edge.  


Danielle Reed, illustrated by Gabriel Ayala

Wolstenhome created the sole male collection on show, and her futuristic sportswear borrowed shapes and fabrics from a manner of sportswear, a mash up of scuba-esque one-pieces, foam hoods, and deconstructed jersey sweat pants, with cut-out holes and harem-style drapes and folds.  

Rachel Wolstenholme, illustrated by Aniela Murphy

A special mention should also go to Sunny Kular for her attempt to spice up school uniforms with Indian elements. We loved seeing that boring grey fabric we remember from our school days twisted into sari shapes, ties and blazers in Ikat prints and jackets emblazoned with a ‘Ganesh’ school badge.  


Sunny Kalar, illustrated by Donna McKenzie

But UCLAN’s strongest suits are clearly printed textiles, forming the basis of two of the most eye-catching collections.  

Jessica Thompson’s surreal collection of printed designs was full of quirky, cartoonish imagery, manipulated onto a spectrum of designs, from fitted shift dresses to sporty anoraks. Everything demanded attention, from the Beefeater printed slip that made the model into a marching drummer, to the dreamy shifts emblazoned with chimps and birds.

Some images were distorted into unrecognisable shapes and quirky patterns, forcing a closer look.  The final piece was a red, floor length printed mac, that looked like it was printed with moon craters – the coolest cover up for a rainy day.  


Jessica Thompson, illustrated by Gemma Milly

Saving the best till last – Sara Wadsworth’s amazing printed collection chimed with the patriotic mood. The whole collection was crafted in chiffon, printed with British icons – the Union Jack, Big Ben the London Eye and what looked like parts of Trafalgar Square, all blown up, re-sized, and patterned across wisps of fabric.


Sara Wadsworth, illustrated by Abi Daker

Wadsworth let the prints do the talking, choosing almost sheer chiffon in muted shades of grey, white and occasional splashes of olives and teal. Bright yellow bras peeked out from beneath the designs, ranging from floor length kaftans to a Vivienne Westwood-esque draped dress, and a sweet smock top and short combo. Who would have thought our most touristy landmarks could be re-imagined into such wearable designs?

Images courtesy of catwalking.com

Written by Lauren Smith on Friday June 11th, 2010 12:16 pm

Categories ,Appliqué, ,Beefeaters, ,Big Ben, ,british, ,Central Lancs, ,Danielle Reed, ,Dr. Martens, ,Earls Court, ,Ganesh, ,Graduate Fashion Week 2010, ,India, ,Jessica Thompson, ,Kirsty Stringfellow, ,knitwear, ,london, ,london eye, ,menswear, ,print, ,PVC, ,Rachel Wolstenholme, ,Sara Wadsworth, ,School Uniform, ,Sportwear, ,Sunny Kular, ,textiles, ,Tourism, ,Trafalgar Square, ,UCLan, ,Union Jack, ,Vivienne Westwood, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week: Birmingham and Salisbury

by


Vivienne Westwood, viagra illustrated by Kerry Lemon

While things like free booze and miniature pies are thoroughly good perks of a fashion week, it is also completely inevitable that you somehow manage to end up with hundreds of bits of paper and about six half-drunk bottles of water rolling around in your bag, and sure enough by the time I reached the Ravensbourne show I had unwittingly acquired three in the space of forty five minutes. Out of all the shows at Graduate Fashion Week, Ravensbourne is the hottest ticket – so hot, in fact, that only Vivienne bloody Westwood was in the audience. We found out afterwards that she’s working on a climate change television project with the college’s media course and went to support the fashion students. Her presence proved a bit of a personal distraction during the show and I seemed less concerned about what I was thinking than what she was thinking. It was a bit difficult to tell though.
 
Judging by the pleasantly psychotic combinations of ideas on show one can only presume that the class of Ravensbourne BA 2010 took a trip to the zoo on a cocktail of hallucinogens and then sat down to design their collections. With the extensive parade of animals on show it was like the four-footed refugees of Noah’s Ark had washed up on the beaches of Graduate Fashion Week – after a more muted and minimalist BA show from Central St Martins, it was a eye-popping joy to watch, with cartoons and pop art emerging as other pungent themes. The show was opened by Bobby Charles Abley with a menswear collection that proved children’s cartoons and bondage need not be two mutually alienating concepts, even if they are more than a little disturbing when thrown together. Speech bubble printed trousers, stuffed teddy bears and hoods with animal ears were paired with bondage straps in innocuous looking primary colours.
 
While Ravensbourne is particularly well known for producing amazing digital prints, Sera Ulger’s womenswear collection featured beautifully hand painted animal motifs on silk, featuring a crow, a lemur, a tarsier and an owl with its eyes in suggestive places on a selection of mohair dresses.


 
Ravensbourne took the Menswear Award for the second year in a row with Thomas Crisp’s elegantly tailored collection of leather and velvet jackets, based on Parisian street gangs in the late 1800s.


 
Amy Addison’s designs featured digital prints, miniskirts, thigh high socks and sleeves ending in boxing gloves…

…while Jessica Holmes’s cocktail dresses were emblazoned with ducks and Dumbos.


 
We’ve also come to expect a lot of accomplished knitwear. Harriet Clinch’s retro knitwear was basically a walking seventies ski lodge – simple jumpers and a star-spangled poncho with a vast selection of different knits thrown into the mix – stripes, bobbles, fair isle and cables, accessorised with sheepskin oven mitts and even a knitted camera. 

photographs courtesy of catwalking.com

Vivienne Westwood, case illustrated by Kerry Lemon

While things like free booze and miniature pies are thoroughly good perks of a fashion week, link it is also completely inevitable that you somehow manage to end up with hundreds of bits of paper and about six half-drunk bottles of water rolling around in your bag, and sure enough by the time I reached the Ravensbourne show I had unwittingly acquired three in the space of forty five minutes. Out of all the shows at Graduate Fashion Week, Ravensbourne is the hottest ticket – so hot, in fact, that only Vivienne bloody Westwood was in the audience. We found out afterwards that she’s working on a climate change television project with the college’s media course and went to support the fashion students. Her presence proved a bit of a personal distraction during the show and I seemed less concerned about what I was thinking than what she was thinking. It was a bit difficult to tell though.
 
Judging by the pleasantly psychotic combinations of ideas on show one can only presume that the class of Ravensbourne BA 2010 took a trip to the zoo on a cocktail of hallucinogens and then sat down to design their collections. With the extensive parade of animals on show it was like the four-footed refugees of Noah’s Ark had washed up on the beaches of Graduate Fashion Week – after a more muted and minimalist BA show from Central St Martins, it was a eye-popping joy to watch, with cartoons and pop art emerging as other pungent themes. The show was opened by Bobby Charles Abley with a menswear collection that proved children’s cartoons and bondage need not be two mutually alienating concepts, even if they are more than a little disturbing when thrown together. Speech bubble printed trousers, stuffed teddy bears and hoods with animal ears were paired with bondage straps in innocuous looking primary colours.
 
While Ravensbourne is particularly well known for producing amazing digital prints, Sera Ulger’s womenswear collection featured beautifully hand painted animal motifs on silk, featuring a crow, a lemur, a tarsier and an owl with its eyes in suggestive places on a selection of mohair dresses.


 
Ravensbourne took the Menswear Award for the second year in a row with Thomas Crisp’s elegantly tailored collection of leather and velvet jackets, based on Parisian street gangs in the late 1800s.


 
Amy Addison’s designs featured digital prints, miniskirts, thigh high socks and sleeves ending in boxing gloves…

…while Jessica Holmes’s cocktail dresses were emblazoned with ducks and Dumbos.


 
We’ve also come to expect a lot of accomplished knitwear. Harriet Clinch’s retro knitwear was basically a walking seventies ski lodge – simple jumpers and a star-spangled poncho with a vast selection of different knits thrown into the mix – stripes, bobbles, fair isle and cables, accessorised with sheepskin oven mitts and even a knitted camera. 

photographs courtesy of catwalking.com


Vivienne Westwood, this illustrated by Kerry Lemon

While things like free booze and miniature pies are thoroughly good perks of a fashion week, information pills it is also completely inevitable that you somehow manage to end up with hundreds of bits of paper and about six half-drunk bottles of water rolling around in your bag, what is ed and sure enough by the time I reached the Ravensbourne show I had unwittingly acquired three in the space of forty five minutes. Out of all the shows at Graduate Fashion Week, Ravensbourne is the hottest ticket – so hot, in fact, that only Vivienne bloody Westwood was in the audience. We found out afterwards that she’s working on a climate change television project with the college’s media course and went to support the fashion students. Her presence proved a bit of a personal distraction during the show and I seemed less concerned about what I was thinking than what she was thinking. It was a bit difficult to tell though.
 
Judging by the pleasantly psychotic combinations of ideas on show one can only presume that the class of Ravensbourne BA 2010 took a trip to the zoo on a cocktail of hallucinogens and then sat down to design their collections. With the extensive parade of animals on show it was like the four-footed refugees of Noah’s Ark had washed up on the beaches of Graduate Fashion Week – after a more muted and minimalist BA show from Central St Martins, it was a eye-popping joy to watch, with cartoons and pop art emerging as other pungent themes. The show was opened by Bobby Charles Abley with a menswear collection that proved children’s cartoons and bondage need not be two mutually alienating concepts, even if they are more than a little disturbing when thrown together. Speech bubble printed trousers, stuffed teddy bears and hoods with animal ears were paired with bondage straps in innocuous looking primary colours.
 
While Ravensbourne is particularly well known for producing amazing digital prints, Sera Ulger’s womenswear collection featured beautifully hand painted animal motifs on silk, featuring a crow, a lemur, a tarsier and an owl with its eyes in suggestive places on a selection of mohair dresses.


 
Ravensbourne took the Menswear Award for the second year in a row with Thomas Crisp’s elegantly tailored collection of leather and velvet jackets, based on Parisian street gangs in the late 1800s.


 
Amy Addison’s designs featured digital prints, miniskirts, thigh high socks and sleeves ending in boxing gloves…

…while Jessica Holmes’s cocktail dresses were emblazoned with ducks and Dumbos.


 
We’ve also come to expect a lot of accomplished knitwear. Harriet Clinch’s retro knitwear was basically a walking seventies ski lodge – simple jumpers and a star-spangled poncho with a vast selection of different knits thrown into the mix – stripes, bobbles, fair isle and cables, accessorised with sheepskin oven mitts and even a knitted camera. 

photographs courtesy of catwalking.com

After trying to rid myself of the triffid-like water bottles by drinking them, ampoule after the Ravensbourne show, search I spent most of the Birmingham and Salisbury-shared show needing the loo but at least there was an incredibly strong showing to keep me entertained, with knitwear to match the best of them. Birmingham’s Thomasin Gautier-Ollerenshaw’s menswear featured balaclavas, oversized coats and jumpers with cartoon characters and catchphrases.


 
Elsewhere, the show’s opener was Angela Stead with a fairytale Alice in Wonderland-style story with a tea cup handbag, rose headpieces, lace, and a dress made from patches of shredded, leaf-like fabric. 

 
Anna Russell’s flesh coloured collection of perforated leathers on pale, doll-like models was tight-fitting and delicate, and stood out in a sea of brash designs.

There were more teddy bears from Jessica Day in a collection that looked straight out of Marina Diamandis‘ wardrobe; again, it was like somebody had fallen into a child’s dressing up box…

…As opposed to, say, Joe Turvey’s models who looked like they had emerged with the rational parts of the their brain missing from a serial killer’s dressing up dungeon. Reminscent of Dior or Walter van Beirendonck, the collection was a disconcerting mix of wearable knits and sadistic-looking leather overalls styled with chilling masks and waist-cinching belts.


 
Wiltshire College followed, with Sophie Lowe’s rural and armour inspired collection one of knitted taffeta, sheepskin, and dip dye straw…

…while Rebecca Giddings’s work featured leather, shoulder pads and welding overalls, which seemed to be a case of Robin Hood meets Flashdance (which, incidentally, seems like a brilliant idea for a film.)

Across the board it seems there’s some childhood nostalgia going on – time to get raiding the attic to see what you can turn those old teddy bears into.

Written by Jonno Ovans on Tuesday June 22nd, 2010 4:34 pm

Categories ,Alice in Wonderland, ,Angela Stead, ,Anna Russell, ,Balaclavas, ,Birmingham, ,Earls Court, ,fashion, ,Graduate Fashion Week 2010, ,Jessica Day, ,Joe Turvey, ,knitwear, ,leather, ,london, ,Marina Diamandis, ,menswear, ,Rebecca Giddings, ,salisbury, ,Serial Killers, ,Sophie Lowe, ,Thomasin Gaultier-Ollerneshaw, ,Wiltshire College, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: Bath Spa

by


Nicola Roberts, dosage illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, viagra 60mg I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.


Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.


Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghaslty white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.


Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.


Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.


Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’


Nicola Roberts, viagra approved illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, medical I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.


Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.


Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghaslty white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.


Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.


Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.


Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’


Ruth Strugnell

Bath Spa’s electric and original collections show they’re not afraid to mix things up at Graduate Fashion Week. 

Bath Spa began with all guns blazing for their boutique show with Bournemouth, this web setting the scene with a soundtrack of haunting thunder and lightning. As suspense grew, page a model stepped into the spot light…with a lampshade on her head. As more models filtered onto the catwalk, Ruth Strugnell’s quirky eccentricity became clearer in garments that made the most of mismatching, from multicoloured socks to panels composed of various prints and wools. Despite looking like they might’ve had a tussle in a dressing up box, the models’ nipped in waists and cute, soft take on the harem pants added a sense of maturity and direction to the pieces.  

Jack Duffy mixed things up again with clashing prints and a melding of culture; oversize jackets suggested elements of Eastern tradition, whilst large, ornate collars mould themselves round the body into demi-hoods more befitting of European nobility. 

Thierry Davies’s hypnotic monochrome prints bend the mind but when paired with a neat, boxy jacket a line of harmony seems to be drawn amongst the chaos. Another perennial favourite of this year appears again – the jump-suit, this time spruced up with a dramatic contrast between blue and white sections. 

Jodie Clay’s garments varied from the loose, long hem of her black jacket to the glitz of a bespoke neckpiece and sheer blouse. The wardrobe of the 1920s women was re-examined in the modern context and energised with splashes of murky blues, but held an element of reticent class.

Natalie Ellis’s use of vintage fur coats and gloves reminded us of the staple role they played in the wardrobes of women gone by, but cropped double colour trousers were a reminder of Ellis’s unfailing dedication to modernity. Interesting shapes appeared on the body as high waisted trousers split cream khaki and black across the body, complimented by ethereal, floating blouses and fur barrel bags. 
*Here at Amelia’s Magazine we don’t advocate any wearing of fur at all, so we hope this is fake, otherwise, DON’T WEAR IT!*

Outi Silvola deconstructed apparel in the most immediate sense, repositioning collars, shoulders and buttons to give a mixed up feel that wouldn’t look out-of-place in Dover Street Market. A fully made collar placed forward on the body was a walking work of art. A shirt is at once open at yet concealing the figure, showing a careful appreciation of the simple practise of putting clothes on the human body. 

Photographs by Sally Mumby Croft

Written by Nina Joyce on Friday June 11th, 2010 5:03 pm

Categories ,1920s, ,art, ,Bath Spa, ,Dover Street Market, ,Earls Court, ,European nobility, ,Glitz, ,Gloves, ,Graduate Fashion Week 2010, ,Harem pants, ,Jack Duffy, ,Jodie Clay, ,Khaki, ,Lampshades, ,london, ,menswear, ,Natalie Ellis, ,Outi Silvola, ,Ruth Strugnell, ,Thierry Davies, ,vintage, ,Womenswear

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