Hardy Amies

Amelia’s Magazine | London Fashion Week S/S 2011 Preview: Menswear Day

by


Wintle, viagra order A/W 2010, illustrated by Antonia Parker

So it’s the last day of womenswear today, which means no more frocks and no more tits and arse. This is good. The womenswear press will jet off to Milan but London Fashion Week isn’t over – it’s MENSWEAR DAY tomorrow!

To celebrate, I’ve put together a list of the best of the best that we’ll be looking out for. This is by no means exclusive, because menswear day is usually pretty wonderful from start to finish. I pretty much like everything. I haven’t even touched on Matthew Miller, Morgan Allen Oliver, Christopher Shannon, KTZ, Hardy Amies, Tim Soar or Mr Hare. But, here we go anyway. In no particular order:

Carolyn Massey

Illustration by Paolo Caravello

I was hoping by now to have interviewed Carolyn Massey, but it’s a testament to her success that I haven’t managed to pin her down as yet. She only works around the sodding corner from my gaff, but it’s proven impossible in the run up to fashion week, so hopefully I’ll catch up with her when things slow down a bit (Oh my, how I’m looking forward to things slowing down a bit!)
Carolyn is easily one of my favourite menswear designers and she has an unparalleled approach to how men dress with her discrete military references and intelligent cuts. She describes a Carolyn Massey man as ‘someone with excellent taste, of course.’

E. Tautz

Illustration by Gabriel Alaya

E. Tautz, under the direction of Patrick Grant, is the epitome of Saville Row tailoring. His collections transport us to the golden age of tailoring’s most famous avenue; his cutting is second to none, his styling is extraordinary and he combines, with ease, classic English dressing with wit. Last year’s double-breasted jackets and three-piece suits had the menswear press practically falling over themselves.

Lou Dalton

Illustration by Kellie Black

I first saw Lou Dalton‘s work exactly a year ago at her salon show in the Portico Rooms, and what jolly good fun I had viewing her diminutive models sporting jazzed-up tricornes and luxurious knitwear. Last season saw Lou produce a more mature collection, featuring more great knitwear and exquisite tailored suits in vibrant tartan. Oh, I wish I’d bought that suit, I could swan around in it tomorrow. Damn.

Omar Kashoura

Illustration by Naomi Law

Omar Kashoura first caught my attention when Amelia and I caught his fantastic presentation last year in a swanky bar off the Strand. It was a superb setting in which his tailoring slotted in perfectly – dynamic suits with an exotic twist in all sorts of lovely pastel colours made for great photographs and an even better wardrobe. He’s quite rightly received NEWGEN sponsorship this year, so I am sure he’ll dazzle us again.

JW Anderson

Illustration by Chris Morris

JW Anderson has gone from strength to strength since his debut, er, whenever it was. He’s launched womenswear this year, which I haven’t seen yet, but his collections for men have been the highlight of menswear day for the past two seasons. Last season’s punk-inspired collection avoided being cheesy and instead showcased JW’s eye for styling and a fashion-forward aesthetic. The collection had it all – tartans, knits, bombers, love hearts, the lot. I can’t wait to see what he’ll come up with this year.

Sibling

Illustration by Rob Wallace

I’m sure you’re all familiar with Sibling. They really do make the most amazing knits, don’t they? Last year’s quirky striped numbers with hypnotic cartoon eyes were presented as part of the MAN installations and were by far the most enjoyable. This will be their fifth collection, and if last year’s contrasting graphic patterns and vibrant greens are anything to go by, we’re in for a treat this time around. It’s fun, it’s progressive, and it’s inspired by Frankenstein and zombies. What more could you want?

Wintle
It appears that Wintle isn’t showing this season, well not in London anyway. Bit of a shame, but last year I commissioned these beautiful illustrations by our Antonia Parker. I didn’t manage to post them last year, and I’ve been guilt ridden ever since. I’ve been worried sick and I haven’t slept. So, to quash my anxiety, I’m posting them now. Enjoy!

Written by Matt Bramford on Tuesday September 21st, 2010 3:44 pm

Categories ,A/W 2010, ,Antonia Parker, ,Carolyn Massey, ,Chris Morris, ,Christopher Shannon, ,E. Tautz, ,Gabriel Ayala, ,Hardy Amies, ,JW Anderson, ,Kellie Black, ,knitwear, ,London Fashion Week, ,Lou Dalton, ,Man, ,Matthew Miller, ,menswear, ,Morgan Allen Oliver, ,Mr Hare, ,Naomi Law, ,Omar Kashoura, ,Paolo Caravello, ,preview, ,Rob Wallace, ,S/S 2011, ,Sibling, ,Somerset House, ,tailoring, ,Tim Soar, ,Wintle

Similar Posts:






Amelia’s Magazine | Hartnell to Amies: Couture by Royal Appointment at the Fashion and Textile Museum

by


Norman Hartnell by Gemma Champ

2012 has been a pretty regal year in the UK, from the pomp and ceremony of the Queen’s Diamond Jubilee to Queen Liz (sort of) parachuting from a helicopter at the London Olympic Games. What better way to round that off than with a glorious celebration of the golden age of British couture at the Fashion and Textile Museum?


Norman Hartnell photographed by Norman Parkinson

Hartnell & Amies: Couture by Royal Appointment might just be one of my favourite FTM exhibition. A rare celebration of our own couturiers, the exhibition charts the rise of fashion greats Norman Hartnell, Hardy Amies and milliner Frederick Fox pre and post war.


Norman Hartnell by Anna Wand

Sir Norman Hartnell was born in London in 1901. At only 22, with financial help from his father and support from his sister, the fashion legend opened his first salon in Mayfair in 1923. Up until then, pretty much, British fashion was stuffy; we’d got a rep for exquisite tailoring but womenswear aired on the side of boring. Hartnell shook things up with his maverick collections, featuring lavish embroidery and a distinct form of luxury in comparison to the mundanity of wholesale clothing at that time.


Norman Hartnell by Gemma Champ

But it was during the austerity of post-war Britain where Hartnell had the most impact. Amidst the grey despair Hartnell dazzled with his couture collections, going on to design Queen Elizabeth‘s wedding dress in 1947 and the glorious coronation gown, featuring intricate and embellished motifs to represent each Commonwealth state, now famous internationally by Cecil Beaton‘s iconic photographs.


Norman Hartnell by Anna Wand

In this exhibition, there’s much to see of Hartnell‘s breathtaking evening gowns. Equally and if not more interesting are his utility pieces of the post-war era: striking suits that broke the boundaries of rationed fashion. These examples, like grey and blue two-piece suits, brought the style and glamour of 1950s Paris to London while still conforming to strict fabric regulations.


Hardy Amies by Gemma Champ

In the modern era, the baton was passed to Hardy Amies, who began his career at British tailors Lachasse before launching his own label. Amies is perhaps more famous for his luxurious no.14 Savile Row menswear than couture frocks, but it was the award of Royal Warrant of dressmaker in 1955 that propelled Amies to fame, designing the outfit worn by the Queen for her official Silver Jubilee portrait, immortalised on countless mugs, tea towels, biscuit tins, Andy Warhol prints and in the history books.


Hardy Amies by Norman Parkinson


Hardy Amies by Sandra Contreras

The exhibition brings together these two British fashion major players with ease. The focus is as much on the style of individual items as it is telling a story, and the exhibition fuses together the craftsmanship and expertise of Hartnell and Amies beautifully, presenting much of their work side by side.

Upstairs, small cabinets pay tribute to the work of milliner Frederick Fox. Australian-born, but with a strong British aesthetic, Fox might best be known for the tulip hat worn by the queen during Silver Jubilee celebrations in 1977 – a now iconic piece of millinery: revolutionary then, god-awful now, but a great arrow in this exhibition’s bow. It’s presented alongside a number of Fox‘s other pieces, many with a more fashion-forward edge worn by celebrities and royalty alike.

There’s also a host of other artefacts to glare at as you make your way around the museum, including personal notes between the Queen and her tailors, sketches by both designers, jewellery, shoes and books. 2013 also marks legendary fashion photographer Norman Parkinson‘s 100th birthday. The lecture room upstairs in the FTM hosts a series of Parkinson photographs of British fashion designers, including Hartnell and Amies and many other greats. It’s definitely worth a look and is the perfect conclusion to this landmark exhibition.

All images © Norman Parkinson Limited/Courtesy Norman Parkinson Archive.

Written by Matt Bramford on Friday December 7th, 2012 12:28 pm

Categories ,Anna Wand, ,Bermondsey, ,couture, ,Fashion and Textile Museum, ,Frederick Fox, ,Gemma Champ, ,Hardy Amies, ,Matt Bramford, ,Monarchy, ,Norman Hartnell, ,royalty, ,Sandra Contreras

Similar Posts:






Amelia’s Magazine | Vintage at Goodwood Review, by vintage enthusiast and fashion blogger Maria Domican

by


All photography by Maria Domican

I was nervous upon arriving at Vintage at Goodwood… Nervous because I had called in sick to work, nervous because I had been hearing bad press about the event and mainly nervous because I had no idea what to expect.

I have to admit, no matter how fashionable, arty and eco driven a festival is, a major emphasis has always been on being drunk and having a great, if somewhat crazy time… I couldn’t imagine myself getting wasted on ‘classic cocktails’ or ‘gin and tonics’, parading around campsites in my beloved vintage treasures and sleeping through bands in a dusty heap at Goodwood. Apparently that was exactly the crowd that organiser Wayne Hemingway was eager to discourage, not wanting those “out on the lash that leave a load of empty tins at their ripped tent”.

Goodwood was billed as ‘the first of what will be an annual music and fashion led celebration of creative British cool’ ‘The new festival of Britain’. But what was it? A vintage Fashion Fair? An exhibition? Or a festival? Featuring music, art, fashion, film and design I was puzzled as to how it would all come together.

None the less I was excited… I had packed a few of my 2nd favourite dresses (the dirt was still a worry!) far too many hats (and yes I carried them in a vintage hat box) and even two matching vintage parasols, for my friend and I to parade around with; in short, more than I would usually take on a week long holiday.

Upon arrival we were greeted by a red carpet and the famous British High Street. Made up like a spaghetti western, all wooden fronted shops, I felt like I had wandered onto a film set. The high street catered for the big brands: John Lewis, The Body Shop and Dr. Martins all had large stores with all the facilities of any other high street shop. It also was the home for the vintage cinema, a traditional British pub and even an Indian take away! The draw of the festival to many though – the vintage stalls – were down the two side streets in tents. These were much more bazaar-like in style; small cramped lines of tents exploding with clothes, accessories, and when it rained (which it did a lot) crammed in people unable to move.


Vintage shopping at Goodwood.

Bands such as The Faces, Buzzcocks, Heaven 17 and the Noisettes entertained the crowds but it was the fashion that was the main draw of the festival. Workshops taught sewing and knitting while Hardy Amies and Pearl and Daisy Lowe were among those with runway shows.


The Noisettes on the main stage.


Pearl and Daisy Lowe at their runway show.

Divided into eras, the festival celebrated five decades of British cool, with each area having a different ‘curator’ (supposed experts in that field).


The 1970s and 1980s zone curated by Greg Wilson featured a warehouse with interactive graffiti wall and a roller disco.

Also in the 1970s era was Eddie Miller’s Soul Casino nightclub – replicating a mid 70s ballroom and reminiscent of many a bad wedding reception, complete with 1970s swirly carpet, sprung dance floor, pool tables and low lighting – it was here that Wayne Hemingway performed his own DJ set on the Sunday.


Wayne Hemingway

The emphasis of the festival was definitely the 1940s and 1950s, however, with the majority of outfits being so themed and with one of the highlights being leading percussionist, producer and 1940s enthusiast Snowboy’s Tanqueray sponsored ‘Torch Club’: a 1940’s style supper club which served 3 course meals over the weekend, with waiter service and a full orchestra playing while you eat. Behind the club forties allotments and land girls held guess-the-weight-of-the-pumpkin competitions and the guys from The Chap held an Olympian event with cucumber sandwich tossing and tug-o-moustache.


Cucumber sandwich tossing at The Chap Olympiad


Moustache tug-o-war

Still in its first year, the festival organisers have room for improvement before next year’s. The website promised ‘an unparalleled attention to design and organisational detail’ which is a little optimistic considering the press pass debacle. Still, this was upheld in areas such as the attention to period detail in all shops and stages and that all events were first come first served and not fully booked up beforehand.
It’s possible the press pass debacle was a result of the PR company giving all 150 staff free weekend and camping tickets… of which apparently only 8 were used!

One stall holder also complained that they felt the festival had been miss-sold as they thought that the vintage stalls were going to be on the main high street not crammed into the side tents.

Whilst a lot of events over the weekend such as dance classes and the cinema were free, the main grumbles were still about the commercial emphasis of the festival, Bonham’s high profile auction, chain stores and a huge emphasis on shopping and spending money left a lot of people disgruntled, but apparently still willing to spend; Oxfam reportedly made £1000 in the first half hour of opening! Lily Allen’s no-show to launch ‘Lucy in Disguise’ was probably a blessing in disguise as it prevented the focus of the weekend from being celebrity.

The ‘Glamping’ was on all accounts also seen to be a big disappointment. Situated at the bottom of the hill in the woods this area quickly became a muddy bog with the torrential rain and at £1200 for a tent with an airbed was seen as a complete rip off by many who didn’t even have hot showers. The same was true of the pods which had to move some people to tents due to complaints about size and not being able to stand up.


Glamorous campers.

For the regular campers, though, there were no problems. Many vintage tents, bunting strewn camps and campervans were on a chalk based slope which quickly drained and dressing rooms with full length mirrors and power points enabled everyone to dress up.


Dressing up rooms. Photography by Madeleine Lowry

…And dress up they did! Whilst the day trippers favoured fancy dress over true vintage and stuck to the high street, the weekend crowd were the highlight of the festival. A huge ego-boosting weekend, everyone went out of their way to compliment each other on their outfits and a general blitz spirit coupled with the friendly campsite and interactive nature of events ensured that everyone was quick to make new friends.

Overall the weekend offered an overwhelming range of activities to take part in or witness, and hopefully with the kinks ironed out before next year, things can only get better for Goodwood.



Fashion at Goodwood.

You can read our insightful preview of Vintage at Goodwood here, and Amelia’s experience of the festival here.



Written by Maria Domican on Tuesday August 17th, 2010 1:16 pm


Categories ,1940s, ,1950s, ,1960s, ,1970s, ,1980s, ,art, ,British cool, ,British High Street, ,Buzzcocks, ,Cocktails, ,daisy lowe, ,Dr. Martins, ,Eddie Miller, ,fashion, ,Gin & Tonic, ,Glamping, ,Hardy Amies, ,Heaven 17, ,Indian takeaway, ,John Lewis, ,lily allen, ,Lucy in Disguise, ,music, ,Noisettes, ,Olympiad, ,oxfam, ,Parasols, ,Pearl Lowe, ,Snowboy, ,Soul Casino, ,Tanqueray, ,The Blitz, ,The Body Shop, ,The Chap, ,The Faces, ,Vintage at Goodwood, ,Wayne Hemmingway

Similar Posts:

Bookmark this:
  • Facebook
  • Twitter
  • MySpace
  • del.icio.us
  • StumbleUpon
  • Digg
  • E-mail this story to a friend!
  • Technorati
  • LinkedIn

Amelia’s Magazine | Vintage at Goodwood Review, by vintage enthusiast and fashion blogger Maria Domican

by


All photography by Maria Domican

I was nervous upon arriving at Vintage at Goodwood… Nervous because I had called in sick to work, more about this nervous because I had been hearing bad press about the event and mainly nervous because I had no idea what to expect.

I have to admit, web no matter how fashionable, arty and eco driven a festival is, a major emphasis has always been on being drunk and having a great, if somewhat crazy time… I couldn’t imagine myself getting wasted on ‘classic cocktails’ or ‘gin and tonics’, parading around campsites in my beloved vintage treasures and sleeping through bands in a dusty heap at Goodwood. Apparently that was exactly the crowd that organiser Wayne Hemingway was eager to discourage, not wanting those “out on the lash that leave a load of empty tins at their ripped tent”.

Goodwood was billed as ‘the first of what will be an annual music and fashion led celebration of creative British cool’ ‘The new festival of Britain’. But what was it? A vintage Fashion Fair? An exhibition? Or a festival? Featuring music, art, fashion, film and design I was puzzled as to how it would all come together.

None the less I was excited… I had packed a few of my 2nd favourite dresses (the dirt was still a worry!) far too many hats (and yes I carried them in a vintage hat box) and even two matching vintage parasols, for my friend and I to parade around with; in short, more than I would usually take on a week long holiday.

Upon arrival we were greeted by a red carpet and the famous British High Street. Made up like a spaghetti western, all wooden fronted shops, I felt like I had wandered onto a film set. The high street catered for the big brands: John Lewis, The Body Shop and Dr. Martins all had large stores with all the facilities of any other high street shop. It also was the home for the vintage cinema, a traditional British pub and even an Indian take away! The draw of the festival to many though – the vintage stalls – were down the two side streets in tents. These were much more bazaar-like in style; small cramped lines of tents exploding with clothes, accessories, and when it rained (which it did a lot) crammed in people unable to move.


Vintage shopping at Goodwood.

Bands such as The Faces, Buzzcocks, Heaven 17 and the Noisettes entertained the crowds but it was the fashion that was the main draw of the festival. Workshops taught sewing and knitting while Hardy Amies and Pearl and Daisy Lowe were among those with runway shows.


The Noisettes on the main stage.


Pearl and Daisy Lowe at their runway show.

Divided into eras, the festival celebrated five decades of British cool, with each area having a different ‘curator’ (supposed experts in that field).


The 1970s and 1980s zone curated by Greg Wilson featured a warehouse with interactive graffiti wall and a roller disco.

Also in the 1970s era was Eddie Miller’s Soul Casino nightclub – replicating a mid 70s ballroom and reminiscent of many a bad wedding reception, complete with 1970s swirly carpet, sprung dance floor, pool tables and low lighting – it was here that Wayne Hemingway performed his own DJ set on the Sunday.


Wayne Hemingway

The emphasis of the festival was definitely the 1940s and 1950s, however, with the majority of outfits being so themed and with one of the highlights being leading percussionist, producer and 1940s enthusiast Snowboy’s Tanqueray sponsored ‘Torch Club’: a 1940’s style supper club which served 3 course meals over the weekend, with waiter service and a full orchestra playing while you eat. Behind the club forties allotments and land girls held guess-the-weight-of-the-pumpkin competitions and the guys from The Chap held an Olympian event with cucumber sandwich tossing and tug-o-moustache.


Cucumber sandwich tossing at The Chap Olympiad


Moustache tug-o-war

Still in its first year, the festival organisers have room for improvement before next year’s. The website promised ‘an unparalleled attention to design and organisational detail’ which is a little optimistic considering the press pass debacle. Still, this was upheld in areas such as the attention to period detail in all shops and stages and that all events were first come first served and not fully booked up beforehand.
It’s possible the press pass debacle was a result of the PR company giving all 150 staff free weekend and camping tickets… of which apparently only 8 were used!

One stall holder also complained that they felt the festival had been miss-sold as they thought that the vintage stalls were going to be on the main high street not crammed into the side tents.

Whilst a lot of events over the weekend such as dance classes and the cinema were free, the main grumbles were still about the commercial emphasis of the festival, Bonham’s high profile auction, chain stores and a huge emphasis on shopping and spending money left a lot of people disgruntled, but apparently still willing to spend; Oxfam reportedly made £1000 in the first half hour of opening! Lily Allen‘s no-show to launch ‘Lucy in Disguise’ was probably a blessing in disguise as it prevented the focus of the weekend from being celebrity.

The ‘Glamping’ was on all accounts also seen to be a big disappointment. Situated at the bottom of the hill in the woods this area quickly became a muddy bog with the torrential rain and at £1200 for a tent with an airbed was seen as a complete rip off by many who didn’t even have hot showers. The same was true of the pods which had to move some people to tents due to complaints about size and not being able to stand up.


Glamorous campers.

For the regular campers, though, there were no problems. Many vintage tents, bunting strewn camps and campervans were on a chalk based slope which quickly drained and dressing rooms with full length mirrors and power points enabled everyone to dress up.


Dressing up rooms. Photography by Madeleine Lowry

…And dress up they did! Whilst the day trippers favoured fancy dress over true vintage and stuck to the high street, the weekend crowd were the highlight of the festival. A huge ego-boosting weekend, everyone went out of their way to compliment each other on their outfits and a general blitz spirit coupled with the friendly campsite and interactive nature of events ensured that everyone was quick to make new friends.

Overall the weekend offered an overwhelming range of activities to take part in or witness, and hopefully with the kinks ironed out before next year, things can only get better for Goodwood.



Fashion at Goodwood.

You can read our insightful preview of Vintage at Goodwood here, and Amelia’s experience of the festival here.

Written by Maria Domican on Tuesday August 17th, 2010 1:16 pm

Categories ,1940s, ,1950s, ,1960s, ,1970s, ,1980s, ,art, ,British cool, ,British High Street, ,Buzzcocks, ,Cocktails, ,daisy lowe, ,Dr. Martins, ,Eddie Miller, ,fashion, ,Gin & Tonic, ,Glamping, ,Hardy Amies, ,Heaven 17, ,Indian takeaway, ,John Lewis, ,lily allen, ,Lucy in Disguise, ,music, ,Noisettes, ,Olympiad, ,oxfam, ,Parasols, ,Pearl Lowe, ,Snowboy, ,Soul Casino, ,Tanqueray, ,The Blitz, ,The Body Shop, ,The Chap, ,The Faces, ,Vintage at Goodwood, ,Wayne Hemmingway

Similar Posts: