Hilary Alexander

Amelia’s Magazine | The 2013 FAD Awards: London Fashion Week Catwalk Review

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Stephanie Kitchen by Warren Clarke

The Fashion Awareness Direct (FAD) Awards are always an end-of-fashion-week treat. After five days of the freshest fashion talent dominating the catwalks at the Fashion Scout venue, FAD looks even further into the future at the best of the country’s undergraduate talent, based each season around a different theme.


Louis Anderson-Bythell – all photography by Matt Bramford

There could be no better a theme in this age of global change and austerity than ‘Future Optimism‘, which was the brief for this year’s students. Over 100 undergraduates submitted work for the competition, with fifteen entries showcased at this climatic event.


Anna Kim by Gabriel Ayala

Here’s a quick photographic rundown of the fifteen entries:

MATTHEW O’BRIEN

LUCINDA ROBERTS

STEPHANOS KONSTANTIOU


Stephanos Konstantiou by Laura Hickman

ROBERT MILLS

STEPHANIE KITCHEN

JOSEPH HORTON

CHELSEY CROSSLAND

LOUIS ANDERSON-BYTHELL

AYSHA SIMPSON

NNEKA OKORIE

KIMBERLEY PHILLIPS

LAURA CHITTENDEN

ANNA KIM

ESTELA NEVINSKAITE

MORWENNA DARWELL

And so on to the winners. It must have been a tough job for Hilary Alexander, Fashion Scout’s Martyn Roberts, Topshops’ Geraldine O’Brien, FAD’s Claire Muldoon and our pal Milly Jackson (who won the 2011 Award) to choose a winner.


Sitting at the end of the catwalk is fantastic for shots of models but not so fantastic if the awards action takes place at the opposite end.

One of my personal favourites, Nneka Okorie‘s glorious menswear, took one of the runner up prizes. Her slick trench-coats with digital printing techniques brought both expert tailoring and vivid colours to the catwalk and I loved the discrete details of city skylights on a backpack and trouser hems.

Stephanos Konstantiou took the other runner up prize with his futuristic neoprene collection with rigid cutaway details. His laser-cut houndstooth pattern was completely original, and I enjoyed the sharp silhouettes that his collection projected. Nneka and Stephanos both take home five hundred quid and an industry placement. Well done, pals!

The winner, described by Hilary Alexander as ‘unanimous’ and ‘one to watch’ for the coming seasons, was, deservedly, Stephanie Kitchen. A final year student at Bath Spa University (always a good show at Graduate Fashion Week), Stephanie’s innovative cycle wear earned cheers when it first appeared at the beginning of the show and rapturous applause when it was announced Stephanie had won. This collection brought together wearability, sustainability, style and functionality all in one. The cycle sunglasses were a hit, too.

Stephanie wins £1000 and an industry placement and her designs were also shown at London Fashion Weekend. I don’t think this will be the last time we see Stephanie on the London fashion catwalks.


Winner Stephanie Kitchen by Milly Jackson for FAD

Written by Matt Bramford on Monday February 25th, 2013 11:50 am

Categories ,2013, ,Anna Kim, ,Awards, ,Aysha Simpson, ,BA, ,catwalk, ,Chelsey Crossland, ,Estela Nevinskaite, ,FAD, ,Fashion Scout, ,Freemasons’ Hall, ,Gabriel Ayala, ,Hilary Alexander, ,Joseph Horton, ,Kimberley Phillips, ,Laura Chittenden, ,Laura Hickman, ,London Fashion Week, ,Louis Anderson-Bythell, ,Lucinda Roberts, ,Matt Bramford, ,Matthew O’Brien, ,menswear, ,Milly Jackson, ,Morwenna Darwell, ,Nneka Okorie, ,review, ,Robert Mills, ,Stephanie Kitchen, ,Stephanos Konstantinou, ,students, ,sustainability, ,undergraduate, ,Warren Clarke, ,Womenswear

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Amelia’s Magazine | Real People do the Catwalk

by

realpeople1

(Photograph by Natasha Caruana)

Last night I was delighted to be invited to the ICA for an emphatic catwalk show with a difference. The event was organised by former designer Elaine Foster-Gandey; director of Designer Sales UK.

Elaine developed Real People do the Catwalk after hosting a fashion show which included both dancers and models on stage. “I asked my customers about it and they said they related to the dancers and not the models”.

Spurred by this Elaine set about putting together a pioneering show to further the arguement that replacing super-thin models with people who reflect society could lead to increased sales for the fashion industry.

icacatwalk13

The show opened in silence with the models resembling extras from Scream in their attire of long black robes and white masks. Each model first vocalised how they felt the fashion industry related to them, stomach cheap followed by revealing their beautifully styled outfits and their real identities.

therealfaceofbritain

(Photograph by Natasha Caruana)

The driving force behind the model casting to show the fashion industry that different body shapes can be celebrated in fashion shows and advertising campaigns.

“It is about not creating an elite world where no one else can join in,” Explained Elaine. “So many people want a chance, but know that because they are five foot tall, or a size 14-16, they never will have.” The models featured within the show ranged from a 6’1” Drag Artiste to a 5’4” male; dress sizes 8 to 20 and ages between 25 to 60+.

What I enjoyed most about the show was the diversity and celebration of the models differences. It was fresh and modern with all the models having poise, confidence and importantly a great sense of humour. Their
good spirits and sense of fun gave the show an electric atmosphere.

icacatwalk8

The models’ charismatic personalities brought out something unique in the clothes that might not have been projected if worn by a ‘normal’ model. Whether this is because they were real people displaying how the clothes would fit on our own bodies or down to their insurmountable energy and passion for highlighting an issue intricately linked to the size zero debate.

Afterwards there was a riveting post-show debate featuring: Elaine Foster-Gandey; Real People do the Catwalk organiser, writer Dariush Alavi; Eleni Renton, founder of Leni’s Model Management; Hilary Alexander, esteemed fashion director at The Daily Telegraph and was chaired by writer and broadcaster Bidisha.

icacatwalk12

The debate began by Dariush Alavi somewhat controversially enquiring as to why Real People do the Catwalk
was produced to “enact a traditional fashion show.” Suggesting that by keeping the traditional format, could anything change by replacing the models with real people as it is not the models who are at fault but the stage on which they stand. Alavi suggested doing away with the catwalk altogether.

This prompted both Hilary Alexander and a member of the audience to defend the catwalk as “fashion’s world stage” and looked back to a John Galliano show where the entire collection was presented on an overhead track of basic clothes hangers. Dariush’s response suggested making models obsolete and displaying clothes on a fashion conveyer belt went down like a lead balloon. The audience and the rest of the panel remained sceptical of high fashion designers considering a presentation that in a format is more commonly associated with The Generation Game.

realpeople3

(Photograph by Natasha Caruana)

Questions were raised about the morality of the fashion industry and the spotlight on the size zero debate intensified. Hilary spoke about the Telegraph not facing the same constraints from advertisers as glossy fashion titles and said that the newspaper’s “aim to strike a balance between real people and models and actively try to include both types of woman in spreads… the oldest woman we’ve ever featured was 94.”

Panellist Eleni Renton mentioned that the Editor of UK Vogue Alexandra Shulman spoke out against size zero in June accusing designers of making magazines hire models with “jutting bones and no breasts or hips” by supplying them with “minuscule” garments for their photo shoots. She claimed that Vogue frequently “retouched” photographs to make models look larger. In response Hilary questioned whether things had begun to change at UK Vogue as they still fail to represent body diversity within their pages, suggesting it would become apparent what their real stance on size zero is over the coming months.

realpeople2

(photograph by Natasha Caruana)

Elaine added that whilst magazine images are not healthy for women, they have a considerable impact on impressionable teenagers who start to believe they need to emulate perfect bodies in order to be considered beautiful and successful.

“Look around, everything we see is airbrushed… these aren’t real images.”

To emphasise her point Elaine spoke of teenagers being more body conscious than any generation before citing her own children as an example: “I have a six-year-old daughter and 11 and 15-year-old stepdaughters who are constantly looking in the mirror. My stepdaughters are so skinny and so conscious about what they eat and what they see in the media. They are constantly aware of body image issues. It is a big issue for adolescent girls and boys.”

icacatwalk14

The panel and audience agreed that the media are responsible for putting different demographics into the mainstream and popularising diversity, and that they have a moral responsibility to society to not glamorise super skinny body shapes. Elaine believes that there has “been a spike in our body consciousness” in recent years and we have turned into a society “afraid of flesh, hair and wrinkles”.

Eleni, director of Leni’s Model Management only works with girls “who are sizes 8 to 12… They are the type of girls you see in the street and think, ‘I would like a body like hers.”

As the debate drew to a close the supermodel era was discussed, with Hilary citing that the greats in the industry: Linda, Kate and Naomi all had personality, and that was what made them famous, rather than their figures. On the flip side other great supermodels such as Cindy Crawford, Christy Turlington and Sophie Dahl were celebrated for having curves.

Through the conversations it became apparent that the only modern day equivalent of a curvaceous celebrity pushing the boundaries of what is acceptable in mainstream is Beth Ditto, who won LOVE magazine a prestigious industry award for her iconic nude cover

love-magazine

The overall outcome was for women to take responsibility for themselves and their bodies and actively promote positive body attitudes to their daughters, friends and grandchildren. Everyone agreed that while it is easy to blame the media for the size zero trend, consumers need to use our buying power to actively challenge the fashion industry into reconsidering their design practices and elitism.

I left the ICA feeling very empowered, wanting to help revolutionise the fashion industry from the outside in.

Written by Creative-Idle on Thursday October 22nd, 2009 3:10 pm

Categories ,Bidisha, ,Dariush Alavi, ,Designer Sales UK, ,Dove Real Beauty Campaign, ,Elaine Foster-Gandey, ,Eleni Renton, ,Hilary Alexander, ,ica, ,Kate Moss, ,Leni’s Model Management, ,London Fashion Week, ,Mark Fast, ,Naomi Cambell, ,Real People do the Catwalk ICA, ,Size Zero Debate, ,The Daily Telegraph, ,The Guardian

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Amelia’s Magazine | Real People do the Catwalk

by

realpeople1

(Photograph by Natasha Caruana)

Last night I was delighted to be invited to the ICA for an emphatic catwalk show with a difference. The event was organised by former designer Elaine Foster-Gandey; director of Designer Sales UK.

Elaine developed Real People do the Catwalk after hosting a fashion show which included both dancers and models on stage. “I asked my customers about it and they said they related to the dancers and not the models”.

Spurred by this Elaine set about putting together a pioneering show to further the arguement that replacing super-thin models with people who reflect society could lead to increased sales for the fashion industry.

icacatwalk13

The show opened in silence with the models resembling extras from Scream in their attire of long black robes and white masks. Each model first vocalised how they felt the fashion industry related to them, followed by revealing their beautifully styled outfits and their real identities.

therealfaceofbritain

(Photograph by Natasha Caruana)

The driving force behind the model casting to show the fashion industry that different body shapes can be celebrated in fashion shows and advertising campaigns.

“It is about not creating an elite world where no one else can join in,” Explained Elaine. “So many people want a chance, but know that because they are five foot tall, or a size 14-16, they never will have.” The models featured within the show ranged from a 6’1” Drag Artiste to a 5’4” male; dress sizes 8 to 20 and ages between 25 to 60+.

What I enjoyed most about the show was the diversity and celebration of the models differences. It was fresh and modern with all the models having poise, confidence and importantly a great sense of humour. Their
good spirits and sense of fun gave the show an electric atmosphere.

icacatwalk8

The models’ charismatic personalities brought out something unique in the clothes that might not have been projected if worn by a ‘normal’ model. Whether this is because they were real people displaying how the clothes would fit on our own bodies or down to their insurmountable energy and passion for highlighting an issue intricately linked to the size zero debate.

Afterwards there was a riveting post-show debate featuring: Elaine Foster-Gandey; Real People do the Catwalk organiser, writer Dariush Alavi; Eleni Renton, founder of Leni’s Model Management; Hilary Alexander, esteemed fashion director at The Daily Telegraph and was chaired by writer and broadcaster Bidisha.

icacatwalk12

The debate began by Dariush Alavi somewhat controversially enquiring as to why Real People do the Catwalk
was produced to “enact a traditional fashion show.” Suggesting that by keeping the traditional format, could anything change by replacing the models with real people as it is not the models who are at fault but the stage on which they stand. Alavi suggested doing away with the catwalk altogether.

This prompted both Hilary Alexander and a member of the audience to defend the catwalk as “fashion’s world stage” and looked back to a John Galliano show where the entire collection was presented on an overhead track of basic clothes hangers. Dariush’s response suggested making models obsolete and displaying clothes on a fashion conveyer belt went down like a lead balloon. The audience and the rest of the panel remained sceptical of high fashion designers considering a presentation that in a format is more commonly associated with The Generation Game.

realpeople3

(Photograph by Natasha Caruana)

Questions were raised about the morality of the fashion industry and the spotlight on the size zero debate intensified. Hilary spoke about the Telegraph not facing the same constraints from advertisers as glossy fashion titles and said that the newspaper’s “aim to strike a balance between real people and models and actively try to include both types of woman in spreads… the oldest woman we’ve ever featured was 94.”

Panellist Eleni Renton mentioned that the Editor of UK Vogue Alexandra Shulman spoke out against size zero in June accusing designers of making magazines hire models with “jutting bones and no breasts or hips” by supplying them with “minuscule” garments for their photo shoots. She claimed that Vogue frequently “retouched” photographs to make models look larger. In response Hilary questioned whether things had begun to change at UK Vogue as they still fail to represent body diversity within their pages, suggesting it would become apparent what their real stance on size zero is over the coming months.

realpeople2

(photograph by Natasha Caruana)

Elaine added that whilst magazine images are not healthy for women, they have a considerable impact on impressionable teenagers who start to believe they need to emulate perfect bodies in order to be considered beautiful and successful.

“Look around, everything we see is airbrushed… these aren’t real images.”

To emphasise her point Elaine spoke of teenagers being more body conscious than any generation before citing her own children as an example: “I have a six-year-old daughter and 11 and 15-year-old stepdaughters who are constantly looking in the mirror. My stepdaughters are so skinny and so conscious about what they eat and what they see in the media. They are constantly aware of body image issues. It is a big issue for adolescent girls and boys.”

icacatwalk14

The panel and audience agreed that the media are responsible for putting different demographics into the mainstream and popularising diversity, and that they have a moral responsibility to society to not glamorise super skinny body shapes. Elaine believes that there has “been a spike in our body consciousness” in recent years and we have turned into a society “afraid of flesh, hair and wrinkles”.

Eleni, director of Leni’s Model Management only works with girls “who are sizes 8 to 12… They are the type of girls you see in the street and think, ‘I would like a body like hers.”

As the debate drew to a close the supermodel era was discussed, with Hilary citing that the greats in the industry: Linda, Kate and Naomi all had personality, and that was what made them famous, rather than their figures. On the flip side other great supermodels such as Cindy Crawford, Christy Turlington and Sophie Dahl were celebrated for having curves.

Through the conversations it became apparent that the only modern day equivalent of a curvaceous celebrity pushing the boundaries of what is acceptable in mainstream is Beth Ditto, who won LOVE magazine a prestigious industry award for her iconic nude cover

love-magazine

The overall outcome was for women to take responsibility for themselves and their bodies and actively promote positive body attitudes to their daughters, friends and grandchildren. Everyone agreed that while it is easy to blame the media for the size zero trend, consumers need to use our buying power to actively challenge the fashion industry into reconsidering their design practices and elitism.

I left the ICA feeling very empowered, wanting to help revolutionise the fashion industry from the outside in.

Written by Creative-Idle on Thursday October 22nd, 2009 3:10 pm

Categories ,Bidisha, ,Dariush Alavi, ,Designer Sales UK, ,Dove Real Beauty Campaign, ,Elaine Foster-Gandey, ,Eleni Renton, ,Hilary Alexander, ,ica, ,Kate Moss, ,Leni’s Model Management, ,London Fashion Week, ,Mark Fast, ,Naomi Cambell, ,Real People do the Catwalk ICA, ,Size Zero Debate, ,The Daily Telegraph, ,The Guardian

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Jean-Pierre Braganza

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Jean Pierre Braganza SS 2012 by t.reidyJean Pierre Braganza S/S 2012 illustration by t.reidy

This show was definitely a bit of a calmer affair from the start, which can’t be said for every show at the first day of London Fashion Week where there was some customary elbowing and shoving out of the way. As I went to find my seat I spotted fashion writer legends Hilary Alexander and Colin McDowell having a good chat and a giggle together in the front row with Hilary wearing some very sensible yet awesome leopard-print Converse trainers. It was a big comfort to see all the top fashion editors mostly rocking comfortable-yet-cool footwear in fluoro colours or a flashy pattern, as I’d also opted for a pair of flats and was therefore still able to walk instead of hobble to the last show by the end of day.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012. All photography by Amelia Gregory

London-born (then brought up in Canada) Jean-Pierre Braganza has been a favourite of mine since my fashion illustrator student days when I modelled for my exceptionally cool japanese stylist classmate and got to wear a pair of extra-long cream leggings and a lot of crazy makeup plus a Kate Bush-esque wig (I was convinced I looked like an exotic bag lady, but my classmate was onto something with the wig as Jean-Pierre did have a few tracks by Kate in the show). Although I obviously was by no means making waves in the fashion world, what stuck in my mind was the interesting use of ruching along the lower leg that created a strong yet feminine look that gathered the extra length into an interesting shape. And, that was also way before leggings became a normal part of an outfit and were overdone to the extent they are now. Jean-Pierre has since stuck to his aesthetic of creating sculpture-like garments, making him best known for constructed tailoring with a bit of an edge.

Jean Pierre Braganza S/S 2012 by Helena Maratheftis
Jean Pierre Braganza S/S 2012 by Helena Maratheftis

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory

As the lights dimmed and the usual loud ‘shhhs’ came from somewhere (I always wonder if this is the PR people or just people like me who’d rather not have yelling over the music) I was able to give the press release a quick read. A trip to Cornwall is where the idea for the collection started; blue skies and fluffy cornish clouds (which made me also think about yummy fluffy Cornish ice-cream) contrasted with the sharp lines found in sculptures by Barbara Hepworth and works by Ben Nicholson. As a thumping song from the latest Daft Punk Tron movie soundtrack started up I wondered just how Jean-Pierre was going to mix this with inspiration from the Art-Deco area with ‘technological aspiration’ and industrial rock.

Jean-Pierre Braganza S/S 2012 illustration by Claire Kearns
Jean-Pierre Braganza S/S 2012 by Claire Kearns

Girls stomped out in time to the electro-inspired music with a bit of strong blush on the cheek and hair pulled into a high but loose ponytail, which was then given a sculptural fishtail braid by the Toni & Guy session team. I bumped into of one of the models after the show, Odile from Select (she was being photographed and kept snapping into various model-perfect poses in about 0.3 of a second, incredible to see first-hand) who loved the hair so much she was going to keep it in all day. The first look out was a shift dress with a bit of a flapper silhouette and contrasting cut-out dotted panels that created an amazing effect when the models moved. Touché Mr Braganza, you’ve done it again. I loved the sharp lines around the panels, giving the dress shape (reminding me of Tron-like outfits with lit-up panels from the movie) and a strong but pretty look perfectly complimenting the figure. Very nice to see a dress you can just throw on and immediately look very sculptural and tailored.

Jean Pierre Braganza S/S '12 by Amelia Gregory
Jean Pierre Braganza SS 2011 by Amelia Gregory
The shoes, made by Jean-Pierre for Dune, (so perhaps you’ll see them or a version of them to buy next season) were very high and very unsuitable for the everyday but my goodness they packed a punch. Black detailing was contrasted against pale lemon, bright blood red or even caramel and prints to match the dresses. The ridiculously high peep-toe heels did however come into form on the catwalk, elevating the part-dress part-sculpture girls to a skyscraper level and almost turning their legs into a plinth from which the clothes could be artfully exhibited.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012 shoes photographed by Amelia Gregory
Jean Pierre Braganza SS 2012 by Amelia Gregory
Jean-Pierre Braganza S/S 12 shoes by Amelia Gregory
This collection definitely had a lot in it that I loved. Jean-Pierre did sexy cut-outs, which I previously felt puts too much on show and a bit too in-your-face, but in his hands they became petal-soft panels that skimmed curves and held everything in place. They looked almost demure, passing the ‘test’ in where I try to picture myself wearing the dress or shorts or whatever and wonder if I actually would wear it out somewhere nice. It was soft tailoring and sculptural shapes with a feminine yet slightly dark side, which I liked. A lot. There were some gorgeous draped dresses too that reminded me a little of the Spring/Sumer 2010 ‘Dolche Far Niente’ collection by Chalayan but I felt the fabric didn’t have that much to cling to with the slimmer models; some curvier ladies would have worked it better.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012 photo by Amelia Gregory
A tailored suit or two later, I was admiring the necklaces and gawping over just how high the shoes were when without expecting it, I was completely smitten. It was a dress, but not just any dress. As a lover and illustrator of fashion, I know what colours, shapes and silhouettes will tick my boxes, but I go weak at the knees for a bit of monochrome. I just can’t help it. Blame it on having an architect dad, blame it on the way Comme des Garçons and Chanel use it, blame it on whatever you like because I don’t know why but it always gets me. And this dress got me in a bite-my-lip, ‘damn that’s amazing it’s like wearing a sculpture and can I have it now please’ kind of way. So, I was minding my business scribbling notes and wondering what the grand Hilary Alexander thought of all this when my favourite dress of the show walked out and into, well, yes into my heart. I love it when someone creates with real thought and real skills, and when that thing created is something you can wear, well let’s just say it’s a good thing my budget is no-where near being able to buy stuff like this as I think I’d just stare at it for ages.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S '12 by Amelia Gregory
Jean-Pierre Braganza S/S '12 illustrated by Alia Gargum
Jean-Pierre-Braganza S/S 2012 by Alia Gargum

The dress was the same as the first ‘modern day flapper girl’ dress on the catwalk, but in white with black lines that gloriously framed the figure. A long black line travelled from the neckline down to the hemline, where it met the other lines that framed the hips and outlined the shoulders. It was sexy in a very understated and fresh way, but was by no means casual, and I loved it. I loved that you’d just be able to slip it on, that it would go with anything, and details like the dropped hem at the back means you’d never have to worry about it was too short when you bent over to pick something up or when pulling some 20s-meets-futuristic shapes on the dance floor.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean-Pierre Braganza S/S '12 by Marcus Reed
Jean-Pierre-Braganza S/S 2012 by Marcus Reed.

After the dress, I did see a nice silky jumpsuit or two and some lovely patterns that reminded me of shards of coloured glass as well as some very clever details like slightly off-set arm holes but I couldn’t help thinking about the dress. Before I knew it, Jean-Pierre was giving us a little wave from the start of the catwalk and everyone began to file out of the BFC show space. The press release mentioned fashion being ‘about capturing emotion in a glance’, and I would insert some overtly poetic line echoing this, but when it comes down to it I loved a dress so much that it made the hairs on the back of my neck stand up. Mr Braganza, I think you truly merit a ‘job well done’ on this collection.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory

Play the video and watch the show.

Written by Alia Gargum on Sunday September 18th, 2011 6:57 pm

Categories ,1920s, ,Art Deco, ,Barbara Hepworth, ,Ben Nicholson, ,chanel, ,Claire Kearns, ,Colin McDowell, ,converse, ,Cornwall, ,cut-outs, ,Daft Punk, ,Dune, ,electro, ,fishtail plait, ,high heels, ,Hilary Alexander, ,Hussein Chalayan, ,Industrial Rock, ,Kate Bush, ,Leopard Print, ,London Fashion Week, ,Marcus Reed, ,Modern Tailoring, ,monochrome, ,S/S 2012, ,Select Models, ,structured, ,t.reidy, ,Toni & Guy, ,Tron, ,Womenswear

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

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John Rocha SS 2012 by Sarah Harman
John Rocha S/S 2012 by Sarah Harman

Harold Tillman, information pills Hilary Alexander and James Goldstein were just a few of the fashion bigwigs to take their prime seating positions in anticipation of the latest John Rocha collection. This was much the same scenario when I attended Rocha’s show last season and the high-flying professionals seem to have become a favoured crowd for Rocha’s front row. And it’s not surprising when, information pills needless to say, cure the designer is a long-standing, treasured feature of London Fashion Week who is widely celebrated and, most of all, respected.

John Rocha by Duilio Marconi 1

John Rocha SS 2012 by Duilio Marconi 2

Model Abbey Lee Kershaw opened the show and took to the runway in the opening outfit. Sporting an all-black voluminous textured dress, her entrance had photographers’ flashes illuminating the BFC tent. Kershaw, who was finally dubbed a supermodel this year by V magazine, had also been presented as a key feature in Rocha’s A/W 2011 show back in February, suggesting that Rocha has seemingly taken quite a shine to the 24 year-old Australian.

John Rocha SS 2012 LFW by Nicola Ellen 2
John Rocha S/S 2012 by Nicola Ellen

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

Also just like last season, (Rocha loves his traditions!) the models were styled with wind-swept nymph hair and long braided plaits. Make-up was minimal, pure and simple with pale fresh-faced skin and nude colouring; an overall effortless ethereal look to compliment John Rocha’s signature design ethic.

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

Much to their delight, I’m sure, John Rocha was one designer that gave models’ skinny-pins a short break from killer heels. In their place were black platformed flat sandals, adding an updated feminine grunge look (minus all the pain!).

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

Rocha SS 2012 LFW by Nicola Ellen 1
John Rocha S/S 2012 by Nicola Ellen

To name a few of the many more intricacies that went into Rocha’s elaborately crafted collection, ribbons were attached to hair and hung long next to plaits and all models sported either wire or feather headdresses. The problem with this idea was that because Abbey had opened the show in a wired headdress with black feathers, I was almost convinced that a major fashion disaster had occurred. Models were appearing with bare wire headdresses; no feathers. They looked absolutely bizarre so I naturally assumed that their feathers must have fallen off. What a nightmare, I thought. This wasn’t the case at all. It was purposeful. Just John Rocha keeping us on our toes, I suppose.

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

Just as was the case with his A/W11 collection, the colour palette was ultra-minimal with neutral tones dominating throughout. In fact, there were only three colours on the agenda; all rich-black ensembles led to cream creations which then led to head-to-toe stark white. With only black, cream and white, the focus shifted away from colour to texture instead. Texture was intricately and ornately crafted with Abbey’s opening black raffia dress, raw raffia that made up other ensembles, loops of black rubber and Lurex threads intertwined in the cream and white garments.

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha Catwalk LFW by Nicola Ellen jpg
John Rocha S/S 2012 by Nicola Ellen

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

John Rocha SS 2012 by Duilio Marconi

Towering tall over John Rocha, Abbey Lee Kershaw once again led the Hong Kong born designer down the catwalk for another of his gracious finales. And, as has become tradition, he placed a kiss on Abbey‘s cheek at the feet of the snapping papz, and then John Rocha was off, thanking and bowing to the audience as he went.

John Rocha SS 2012 by Duilio Marconi
All photography by Duilio Marconi

Written by Georgia Takacs on Thursday September 29th, 2011 12:13 pm

Categories ,Abbey Lee Kershaw, ,Amelia’s Magazine, ,BFC Catwalk Space, ,BFC Showspace, ,BFC Tent, ,black, ,british fashion council, ,Cream, ,Debenhams Rocha, ,Duilio Marconi, ,Georgia Takacs, ,Harold Tillman, ,Headdresses, ,Hilary Alexander, ,Hong Kong, ,James Goldstein, ,John Rocha, ,lfw, ,LFW S/S 2012, ,LFW S/S12, ,London Fashion Week, ,London Fashion Week S/S 2012, ,London Fashion Week S/S12, ,Lurex, ,Myth, ,Mythologies, ,Myths, ,Nicola Ellen, ,Nymphs, ,Raffia, ,Rubber, ,S/S 2012, ,Sarah Harman, ,Simone Rocha, ,Somerset House, ,Texture, ,Warriors, ,White

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Michael Van Der Ham

by

Michael Van Der Ham by Joe Turvey
Michael van der Ham S/S 2012 by Joe Turvey

You can tell that Michael has fun with his designs; much like, troche say, fellow Newgen designers Louise Gray and Meadham Kirchhoff. He seems to have a less disciplined and somewhat more carefree vibe that runs through his work and for his Spring/Summer 2012 collection this revealed itself in playful prints that darted from block colour to illustrative lines to teeny-tiny florals. It was gorgeous! And landed itself firmly in my LFW top three.

Michael Van Der Ham SS 2011 review-010
Anna Dello Russo, posing as soon as she spotted Amelia‘s camera.

He had the front row that London designers dream of – Alexandra Schulman, Hilary Alexander, Anna Dello Russo (who looked ah-mazing in Prada), good ol’ Harold Tillman and many fashion editors, including ELLE UK fashion director Anne-Marie Curtis (many wouldn’t recognise the ELLE UK team, but I’m a little obsessed. I went into still shock when Rebecca Lowthorpe passed me at Erdem last season; best fashion writer ever). And all without a popstar poser in sight! Okay, I know that it may be fun and exciting to have Marina Diamond or Paloma Faith sit their buttocks on your front row, but there must be something about having this professional fash pack that makes your work feel truly respected.

Harold Tillman BFC at Michael Van Der Ham S/S 2012 - by Georgia Takacs
Harold Tillman, Chairman of the British Fashion Council. Photograph by Georgia Takacs.

Michael Van Der Ham SS 2011 review-021

Michael Van Der Ham SS 2011 review-025

Michael Van Der Ham SS 2011 review-029

Michael Van Der Ham SS 2011 review-035

It’s been a treat to follow Michael’s journey since his initial sponsorship by BFC Newgen (OH those Newgen designers!) and his collage creations have always been seen as, well, a little bit mad (see Spring/Summer 2011). And his recent collaboration with equally mad Bjork (I love her) on her Biophilia project is clear patchwork evidence of this. Naturally, however, I have often found his designs so playful and daring that they’re often un-wearable. But with this collection? I wanted it all. And so, I imagine, did every other woman in the room. A bold statement, yes. But with a perfectly balanced Spring/Summer colour scheme, casual-luxe dressmaking and just the right amount of garish glamour, Michael was almost spot on.

Michael Van Der Ham SS 2011 review-038

Michael Van Der Ham SS 2011 review-043

Michael Van Der Ham SS 2011 review-051

Michael Van Der Ham SS 2011 review-056

Michael Van Der Ham SS 2011 review-059

Michael Van Der Ham SS 2011 review-064

Michael Van Der Ham SS 2011 review-068

Michael Van Der Ham 2 by Nicola Ellen
Michael van der Ham S/S 2012 by Nicola Ellen

The collection’s appeal all lay in the casual, feminine dresses and pencil trouser/shirt combo that was all oh-so-embellished with colour and print upon a subtle mix of matte, jersey and sheer textures. That extra-long sentence made it all seem too much, I know. But there was absolutely nothing try-hard about this collection. There was no black floor-skimming dress in the finale (it’s done much too much) or crazed props sticking out of heads or hanging off models. It was straight-forward, good womenswear that still remained surprising and unpredictable as each look was revealed.

Michael Van Der Ham SS 2011 review-083

Michael Van Der Ham SS 2011 review-088

Michael Van Der Ham SS 2011 review-095

Michael Van Der Ham SS 2011 review-096

And not forgetting the accessories, which were the type that, rather than giving a brief appreciative nod, were all-round oggleworthy; you just wanted to stare at them and look in closer at their bright, ornate detail. These bold, chunky-but-delicate pieces acted as an extension of the mismatched intricate print, as did the sequined colourful clutches (some of which had the overdone Chanel-esque chain straps that I’m no longer a fan of) which were carried by many of the models.

Michael Van Der Ham by Nicola Ellen
Michael van der Ham S/S 2012 by Nicola Ellen

Michael Van Der Ham SS 2011 review-102

Michael Van Der Ham SS 2011 review-105

Michael Van Der Ham S/S 2012 - by Georgia Takacs
Photograph by Georgia Takacs. All other photography by Amelia Gregory.

Michael Van Der Ham SS 2011 review-108

Michael Van Der Ham SS 2011 review-116

Michael Van Der Ham SS 2011 review-119

Michael Van Der Ham SS 2011 review-121

Michael Van Der Ham SS 2011 review-125

Michael Van Der Ham SS 2011 review-128

Michael Van Der Ham SS 2011 review-131

Michael Van Der Ham SS 2011 review-133

Michael Van Der Ham SS 2011 review-137

Michael Van Der Ham SS 2011 review-139

Michael Van Der Ham SS 2011 review-141
Photography by Amelia Gregory.

Since his initial sponsorship from BFC’s Newgen, Michael van der Ham has grown up in leaps and bounds. There was a hype around him this season that has evolved from the previous ‘Keep an eye on him! He’s up-and-coming!’ to the sort that screams ‘I’m an established designer, showing my work at London Fashion Week; respect.’ And we do, Michael. We do.

Written by Georgia Takacs on Friday October 7th, 2011 12:30 pm

Categories ,Alexandra Schulman, ,Amelia Gregory, ,Anna Dello Russo, ,BFC, ,BFC Newgen, ,bjork, ,british fashion council, ,chanel, ,Collage Dresses, ,Elle, ,Erdem, ,fashion, ,Fashion Illustration, ,Georgia Takacs, ,Harold Tillman, ,Hilary Alexander, ,jewellery, ,Joe Turvey, ,Joseph Turvey, ,lfw, ,LFW S/S 2012, ,London Fashion Week, ,London Fashion Week S/S 2012, ,Louise Gray, ,Marina Diamond, ,Meadham Kirchhoff, ,Michael van der Ham, ,Newgen, ,Nicola Ellen, ,paloma faith, ,Prada, ,print, ,Rebecca Lowthorpe, ,Topshop Newgen, ,Topshop Venue, ,vogue

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Michael Van Der Ham

by

Michael Van Der Ham by Joe Turvey
Michael van der Ham S/S 2012 by Joe Turvey

You can tell that Michael has fun with his designs; much like, troche say, fellow Newgen designers Louise Gray and Meadham Kirchhoff. He seems to have a less disciplined and somewhat more carefree vibe that runs through his work and for his Spring/Summer 2012 collection this revealed itself in playful prints that darted from block colour to illustrative lines to teeny-tiny florals. It was gorgeous! And landed itself firmly in my LFW top three.

Michael Van Der Ham SS 2011 review-010
Anna Dello Russo, posing as soon as she spotted Amelia‘s camera.

He had the front row that London designers dream of – Alexandra Schulman, Hilary Alexander, Anna Dello Russo (who looked ah-mazing in Prada), good ol’ Harold Tillman and many fashion editors, including ELLE UK fashion director Anne-Marie Curtis (many wouldn’t recognise the ELLE UK team, but I’m a little obsessed. I went into still shock when Rebecca Lowthorpe passed me at Erdem last season; best fashion writer ever). And all without a popstar poser in sight! Okay, I know that it may be fun and exciting to have Marina Diamond or Paloma Faith sit their buttocks on your front row, but there must be something about having this professional fash pack that makes your work feel truly respected.

Harold Tillman BFC at Michael Van Der Ham S/S 2012 - by Georgia Takacs
Harold Tillman, Chairman of the British Fashion Council. Photograph by Georgia Takacs.

Michael Van Der Ham SS 2011 review-021

Michael Van Der Ham SS 2011 review-025

Michael Van Der Ham SS 2011 review-029

Michael Van Der Ham SS 2011 review-035

It’s been a treat to follow Michael’s journey since his initial sponsorship by BFC Newgen (OH those Newgen designers!) and his collage creations have always been seen as, well, a little bit mad (see Spring/Summer 2011). And his recent collaboration with equally mad Bjork (I love her) on her Biophilia project is clear patchwork evidence of this. Naturally, however, I have often found his designs so playful and daring that they’re often un-wearable. But with this collection? I wanted it all. And so, I imagine, did every other woman in the room. A bold statement, yes. But with a perfectly balanced Spring/Summer colour scheme, casual-luxe dressmaking and just the right amount of garish glamour, Michael was almost spot on.

Michael Van Der Ham SS 2011 review-038

Michael Van Der Ham SS 2011 review-043

Michael Van Der Ham SS 2011 review-051

Michael Van Der Ham SS 2011 review-056

Michael Van Der Ham SS 2011 review-059

Michael Van Der Ham SS 2011 review-064

Michael Van Der Ham SS 2011 review-068

Michael Van Der Ham 2 by Nicola Ellen
Michael van der Ham S/S 2012 by Nicola Ellen

The collection’s appeal all lay in the casual, feminine dresses and pencil trouser/shirt combo that was all oh-so-embellished with colour and print upon a subtle mix of matte, jersey and sheer textures. That extra-long sentence made it all seem too much, I know. But there was absolutely nothing try-hard about this collection. There was no black floor-skimming dress in the finale (it’s done much too much) or crazed props sticking out of heads or hanging off models. It was straight-forward, good womenswear that still remained surprising and unpredictable as each look was revealed.

Michael Van Der Ham SS 2011 review-083

Michael Van Der Ham SS 2011 review-088

Michael Van Der Ham SS 2011 review-095

Michael Van Der Ham SS 2011 review-096

And not forgetting the accessories, which were the type that, rather than giving a brief appreciative nod, were all-round oggleworthy; you just wanted to stare at them and look in closer at their bright, ornate detail. These bold, chunky-but-delicate pieces acted as an extension of the mismatched intricate print, as did the sequined colourful clutches (some of which had the overdone Chanel-esque chain straps that I’m no longer a fan of) which were carried by many of the models.

Michael Van Der Ham by Nicola Ellen
Michael van der Ham S/S 2012 by Nicola Ellen

Michael Van Der Ham SS 2011 review-102

Michael Van Der Ham SS 2011 review-105

Michael Van Der Ham S/S 2012 - by Georgia Takacs
Photograph by Georgia Takacs. All other photography by Amelia Gregory.

Michael Van Der Ham SS 2011 review-108

Michael Van Der Ham SS 2011 review-116

Michael Van Der Ham SS 2011 review-119

Michael Van Der Ham SS 2011 review-121

Michael Van Der Ham SS 2011 review-125

Michael Van Der Ham SS 2011 review-128

Michael Van Der Ham SS 2011 review-131

Michael Van Der Ham SS 2011 review-133

Michael Van Der Ham SS 2011 review-137

Michael Van Der Ham SS 2011 review-139

Michael Van Der Ham SS 2011 review-141
Photography by Amelia Gregory.

Since his initial sponsorship from BFC’s Newgen, Michael van der Ham has grown up in leaps and bounds. There was a hype around him this season that has evolved from the previous ‘Keep an eye on him! He’s up-and-coming!’ to the sort that screams ‘I’m an established designer, showing my work at London Fashion Week; respect.’ And we do, Michael. We do.

Written by Georgia Takacs on Friday October 7th, 2011 12:30 pm

Categories ,Alexandra Schulman, ,Amelia Gregory, ,Anna Dello Russo, ,BFC, ,BFC Newgen, ,bjork, ,british fashion council, ,chanel, ,Collage Dresses, ,Elle, ,Erdem, ,fashion, ,Fashion Illustration, ,Georgia Takacs, ,Harold Tillman, ,Hilary Alexander, ,jewellery, ,Joe Turvey, ,Joseph Turvey, ,lfw, ,LFW S/S 2012, ,London Fashion Week, ,London Fashion Week S/S 2012, ,Louise Gray, ,Marina Diamond, ,Meadham Kirchhoff, ,Michael van der Ham, ,Newgen, ,Nicola Ellen, ,paloma faith, ,Prada, ,print, ,Rebecca Lowthorpe, ,Topshop Newgen, ,Topshop Venue, ,vogue

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

by

Paul Costello 3_by Gilly Rochester LFW SS 2012
Paul Costelloe S/S 2012 by Gilly Rochester

Butterflies doing cartwheels in my tummy and the feeling that my consciousness has surreptitiously tiptoed away, adiposity wanting to take in everything… right now; it can only be the start of London Fashion Week.

Paul Costelloe by Amber Cassidy, <a target=order London Fashion Week, mind SS 2012″ title=”Paul Costelloe by Amber Cassidy, London Fashion Week, SS 2012″ width=”480″ height=”680″ class=”aligncenter size-full wp-image-49295″ />
Paul Costelloe S/S 2012 by Amber Cassidy

Paul Costelloe SS 2012 review London Fashion Week by Amelia Gregory
Paul Costello SS 2012 London Fashion Week Akeela Bhattay
Paul Costello London Fashion Week SS 2012 Akeela Bhattay
All photography by Amelia Gregory, Akeela Bhattay and Matt Bramford

It’s the first show of the day and there’s a rush of excitement bustling through Somerset House. I wait impatiently in the queue for the Paul Costelloe show, surrounded by familiar press talk and the occasional exclamation of ‘Darling!‘ kiss kiss – a scene which will be re-enacted many times during the this week.

Paul Costelloe SS 2012 review London Fashion Week by Amelia Gregory
LFW London Fashion Week SS2012 PaulCostelloe by Matt Bramford
LFW London Fashion Week SS2012 PaulCostelloe by Matt Bramford
Paul costello Joana Faria SS 12 London Fashion Week
Paul Costelloe S/S 2012 Joana Faria

Once inside, I find my seat at the front, secure my goody bag, retrieve my camera from my exhausted looking satchel and decide that taking notes and photographs at the same time is not achievable (for me, that is), so do away with my notebook. There’s a flurry of photographers suddenly surrounding guests further down the row and I want to see what all the fuss is about; It’s Jimmy Choo and Autumn Philips. A quick ‘snap snap’ with my decrepit camera and back to my seat before the show starts.

Jimmy Choo at Paul Costelloe SS 2012 London Fashion Week Akeela Bhattay
Paul Costelloe SS 2011 review-Autumn Philips
Jimmy Choo and Autumn Philips.

Paul Costelloe SS 2012 review London Fashion Week by Amelia Gregory
LFW London Fashion Week SS2012 PaulCostelloe by Matt Bramford
LFW London Fashion Week SS2012 PaulCostelloe by Matt Bramford
Paul Costello 2_by Gilly Rochester LFW SS 2012
Paul Costelloe S/S 2012 by Gilly Rochester

Out glides the first model, her hair in large messy but firm pin curls and knots pinned close to the head with eye-make up in pea green (one of my favourite colours) that jumps out at you. She wears a tailored suit in café au lait, with the jacket in a 1940’s inspired style; slightly puffed sleeves, tapered collar and a slim belt accentuating the waist. The skirt however conforms more to the style of the mini-skirt and with loose pleats the outfit looks effortlessly chic.

Paul Costelloe SS 2012 review London Fashion Week by Amelia Gregory
Paul Costello London Fashion Week SS 2012 Akeela Bhattay
Paul Costello SS 2012 London Fashion Week Akeela Bhattay
Paul Costello SS 2012 London Fashion Week Akeela Bhattay
Paul Costelloe SS 2012 review London Fashion Week by Amelia Gregory
Paul Costelloe by Amber Cassidy SS 2012 London Fashion Week
Paul Costelloe S/S 2012 by Amber Cassidy

Hues of cream, grey and monochrome forge ahead; structured suits with pleated detail and baby doll dresses with flouncy sleeves and cap sleeves, high collars and ruff collars, and high waists, distinctive of the 1960s mod fashion. The 60’s influence continues through most of the collection, with sailor collars, high waists and short hemlines. Billowing sleeves meanwhile, and wide neck collars hint of the medieval.

LFW London Fashion Week SS2012 PaulCostelloe by Matt Bramford
LFW London Fashion Week SS2012 PaulCostelloe by Matt Bramford
Paul costello Joana Faria SS 2012 London Fashion Week
Paul Costelloe S/S 2012 by Joana Faria

The muted colours bloom into a concoction of pastels that remind me of a box of Parisian macaroons, in candy floss pink, bittersweet peach and mint ice-cream green. The rich brocade fabrics in these delectable colours ooze femininity and an inhibited playfulness, a characteristic synonymous with the 1960’s. The tailored jackets and shift dresses , evocative of Jackie Kennedy and Mad Men, too celebrate femininity.

Paul Costello SS 2012 London Fashion Week Akeela Bhattay
LFW London Fashion Week SS2012 Paul Costelloe by Matt Bramford
Paul Costello 1 by Gilly Rochester LFW SS 2012
Paul Costelloe S/S 2012 by Gilly Rochester

LFW London Fashion Week SS2012 Paul Costelloe by Matt Bramford

The menswear collection harks to an era much further away with, Edwardian austerity pleasantly combined with the coquettishness of the New Romantics and a becoming bow to the seventies. Like the womenswear, the tailoring is excellent but never restrictive and is softened by rhythmic pleats, ruffles and capacious gauze and linen shirts. The colours adhere the relaxed and almost playful demeanour of the collection, from soft neautrals and intense indigo to colours of candy.

Paul Costelloe SS 2012 review London Fashion Week by Amelia Gregory

I especially love the way each outfit moves, simply and fluently and functionally! The pleats which seem to feature in many of the outfits are mesmerising to watch and sit beautifully on each piece. Paul Costelloe asserts his view on sandals and socks; a resounding yes to sandals with socks.

Paul Costelloe SS 2012 review London Fashion Week by Amelia Gregory
Paul Costello SS 2012 London Fashion Week Akeela Bhattay
Paul Costelloe set out to produce a collection that combines the signature Costelloe style together with elements of vintage Parisian chic – I do believe he has succeeded.

Paul Costello SS 2012 London Fashion Week Akeela Bhattay

If the consistent creativity and quality of Paul Costelloe’s collections are signs of things to come, I cannot wait to see his take on Autumn Winter 2012.


Play the video and watch the show.

Written by Akeela Bhattay on Sunday September 18th, 2011 11:47 am

Categories ,1940s, ,1960s, ,1970s, ,Akeela Bhattay, ,Amber Cassidy, ,Amelia Gregory, ,Amelia’s Magazine, ,Autumn Philips, ,Baby Doll dress, ,british fashion council, ,Brocade, ,Chase PR, ,Coral, ,designer, ,Edwardian, ,Feminine, ,Gilly Rochester, ,Hilary Alexander, ,Jackie Kennedy, ,Jimmy Choo, ,Joana Faria, ,LFW TV, ,Live Show, ,London Fashion Week, ,Mad Men, ,Matt Bramford, ,medieval, ,menswear, ,Mint, ,Mod, ,Parisian, ,Paul Costelloe, ,pink, ,S/S 2012, ,Shift Dress, ,Somerset House, ,spring, ,summer, ,Swing Coat, ,video, ,vintage, ,Watch Online, ,Womanswear

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Louise Amstrup (again)

by

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Now, stomach I was going to write something really nice about how underrated Louise Amstrup is… how she deserves wider recognition and a bigger audience. The clothes were understated but clever. I enjoyed the show.

And then, story whilst I was eating my tea last night I finally decided to go through the goodie bag, mind and discovered a big promotional catalogue for a fur brand. Missed the fur piece – this was the spring/summer collection for cripes sake, I wasn’t looking for fur. Must have tuned it out but Louise sneaked one past me. So far so not particularly acceptable, but I have grown to accept that the odd bit of fur will creep into the collections of those who aren’t bothered by its production or ethics. And inevitably its presence will have been sponsored, for what up and coming designer has the readies to splash on dead animals reincarnated as extra curricular human hides?

Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

So Louise quite likes her fur. I think we’ve got the point, but was that it? Oh no…. I was in for a much bigger treat. And one that was guaranteed to hack off anyone who is remotely anti-fur. I know, why not wipe out a whole group of possibly complimentary press by agreeing to give away A FUCKING FUR KEYRING. So there I am, munching on my dinner, when I unsuspectingly open a little pouch, and I kid you not, out flopped the tail of a fucking mink. Slithered right onto my table like it was still half alive. FUCKING EWWWWWW. Why?! Why antagonise a whole section of press?

So. With that over with, enough of the fucks and on with the show… Well, under attended as I’ve said, but then it was Sunday and it’s always a little slow and sleepy, attracting only the most hardcore fashionistas.

Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Dewy eyed models strode into the lights in a selection of high waisted trousers, shorts or floaty print dresses accessorised with carefully layered bib like kercheifs and protected with wide brimmed hats and floaty scarves. The colour palette was muted – predominately sand, beige, cream and dusty purples and blues. This collection was apparently inspired by the vast expanses of the American desert *what the fuck do I need a fur coat there for? I’d be blooming sweltering* Sorry woops thought I was going to steer clear of the swearing there for a moment, but I seem to have developed temporary Tourettes.

And I really enjoyed Hilary Alexander’s enthusiastic whooping as the models hit the catwalk for a final turn, but I can’t remember what the track was I’m afraid because I was too busy smiling at Hilary’s outfit… let’s just say I’m very glad to know that one is never too old for leopard print leggings. And whilst I’m on the subject of Hilary – have you seen her twitter feed? The woman is even more celeb obsessed than the rest of us. The woman is a fucking legend. Oh dear, there I go again.

Hilary-Alexander-London-Fashion-Week-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Hilary Alexander in her superfly leopard print leggings, by Antonia Parker.

So, how would I sum up? Well, next season stay away from the fur sponsorship Louise. But do say yes to Dr.Hauschka again. Did I mention that the goodie bag was very full, and I was decidedly more keen on the offerings from this “cult, biodynamic, pioneering skincare brand.”
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Now, view I was going to write something really nice about how underrated Louise Amstrup is… how she deserves wider recognition and a bigger audience. The clothes were understated but clever. I enjoyed the show.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

And then, stomach whilst I was eating my tea last night I finally decided to go through the goodie bag, treatment and discovered a big promotional catalogue for a fur brand. Missed the fur piece – this was the spring/summer collection for cripes sake, I wasn’t looking for fur. Must have tuned it out but Louise sneaked one past me. So far so not particularly acceptable, but I have grown to accept that the odd bit of fur will creep into the collections of those who aren’t bothered by its production or ethics. And inevitably its presence will have been sponsored, for what up and coming designer has the readies to splash on dead animals reincarnated as extra curricular human hides?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

So Louise quite likes her fur. I think we’ve got the point, but was that it? Oh no…. I was in for a much bigger treat. And one that was guaranteed to hack off anyone who is remotely anti-fur. I know, why not wipe out a whole group of possibly complimentary press by agreeing to give away A FUCKING FUR KEYRING. So there I am, munching on my dinner, when I unsuspectingly open a little pouch, and I kid you not, out flopped the tail of a fucking mink. Slithered right onto my table like it was still half alive. FUCKING EWWWWWW. Why?! Why antagonise a whole section of press?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

So. With that over with, enough of the fucks and on with the show… Well, under attended as I’ve said, but then it was Sunday and it’s always a little slow and sleepy, attracting only the most hardcore fashionistas.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Dewy eyed models strode into the lights in a selection of high waisted trousers, shorts or floaty print dresses accessorised with carefully layered bib like kercheifs and protected with wide brimmed hats and floaty scarves. The colour palette was muted – predominately sand, beige, cream and dusty purples and blues. This collection was apparently inspired by the vast expanses of the American desert *what the fuck do I need a fur coat there for? I’d be blooming sweltering* Sorry woops thought I was going to steer clear of the swearing there for a moment, but I seem to have developed temporary Tourettes.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Was this the fur coat? Hard to tell really.

And I really enjoyed Hilary Alexander’s enthusiastic whooping as the models hit the catwalk for a final turn, but I can’t remember what the track was I’m afraid because I was too busy smiling at Hilary’s outfit… let’s just say I’m very glad to know that one is never too old for leopard print leggings. And whilst I’m on the subject of Hilary – have you seen her twitter feed? The woman is even more celeb obsessed than the rest of us. The woman is a fucking legend. Oh dear, there I go again.

Hilary-Alexander-London-Fashion-Week-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Hilary Alexander in her superfly leopard print leggings, by Antonia Parker.

So, how would I sum up? Well, next season stay away from the fur sponsorship Louise. But do say yes to Dr.Hauschka again. Did I mention that the goodie bag was very full, and I was decidedly more keen on the offerings from this “cult, biodynamic, pioneering skincare brand.”
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Now, discount I was going to write something really nice about how underrated Louise Amstrup is… how she deserves wider recognition and a bigger audience. The clothes were understated but clever. I enjoyed the show.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

And then, cheapest whilst I was eating my tea last night I finally decided to go through the goodie bag, viagra 40mg and discovered a big promotional catalogue for a fur brand. Missed the fur piece – this was the spring/summer collection for cripes sake, I wasn’t looking for fur. Must have tuned it out but Louise sneaked one past me. So far so not particularly acceptable, but I have grown to accept that the odd bit of fur will creep into the collections of those who aren’t bothered by its production or ethics. And inevitably its presence will have been sponsored, for what up and coming designer has the readies to splash on dead animals reincarnated as extra curricular human hides?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

So Louise quite likes her fur. I think we’ve got the point, but was that it? Oh no…. I was in for a much bigger treat. And one that was guaranteed to hack off anyone who is remotely anti-fur. I know, why not wipe out a whole group of possibly complimentary press by agreeing to give away A FUCKING FUR KEYRING. So there I am, munching on my dinner, when I unsuspectingly open a little pouch, and I kid you not, out flopped the tail of a fucking mink. Slithered right onto my table like it was still half alive. FUCKING EWWWWWW. Why?! Why antagonise a whole section of press?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

So. With that over with, enough of the fucks and on with the show… Well, under attended as I’ve said, but then it was Sunday and it’s always a little slow and sleepy, attracting only the most hardcore fashionistas.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Dewy eyed models strode into the lights in a selection of high waisted trousers, shorts or floaty print dresses accessorised with carefully layered bib like kercheifs and protected with wide brimmed hats and floaty scarves. The colour palette was muted – predominately sand, beige, cream and dusty purples and blues. This collection was apparently inspired by the vast expanses of the American desert *what the fuck do I need a fur coat there for? I’d be blooming sweltering* Sorry woops thought I was going to steer clear of the swearing there for a moment, but I seem to have developed temporary Tourettes.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Was this the fur coat? Hard to tell really.

And I really enjoyed Hilary Alexander’s enthusiastic whooping as the models hit the catwalk for a final turn, but I can’t remember what the track was I’m afraid because I was too busy smiling at Hilary’s outfit… let’s just say I’m very glad to know that one is never too old for leopard print leggings. And whilst I’m on the subject of Hilary – have you seen her twitter feed? The woman is even more celeb obsessed than the rest of us. The woman is a fucking legend. Oh dear, there I go again.

Hilary-Alexander-London-Fashion-Week-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Hilary Alexander in her superfly leopard print leggings, by Antonia Parker.

So, how would I sum up? Well, next season stay away from the fur sponsorship Louise. But do say yes to Dr.Hauschka again. Did I mention that the goodie bag was very full, and I was decidedly more keen on the offerings from this “cult, biodynamic, pioneering skincare brand.”
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Now, ailment I was going to write something really nice about how underrated Louise Amstrup is… how she deserves wider recognition and a bigger audience. The clothes were understated but clever. I enjoyed the show.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

And then, viagra 100mg whilst I was eating my tea last night I finally decided to go through the goodie bag, and discovered a big promotional catalogue for a fur brand. Missed the fur piece – this was the spring/summer collection for cripes sake, I wasn’t looking for fur. Must have tuned it out but Louise sneaked one past me. So far so not particularly acceptable, but I have grown to accept that the odd bit of fur will creep into the collections of those who aren’t bothered by its production or ethics. And inevitably its presence will have been sponsored, for what up and coming designer has the readies to splash on dead animals reincarnated as extra curricular human hides?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

So Louise quite likes her fur. I think we’ve got the point, but was that it? Oh no…. I was in for a much bigger treat. And one that was guaranteed to hack off anyone who is remotely anti-fur. I know, why not wipe out a whole group of possibly complimentary press by agreeing to give away A FUCKING FUR KEYRING. So there I am, munching on my dinner, when I unsuspectingly open a little pouch, and I kid you not, out flopped the tail of a fucking mink. Slithered right onto my table like it was still half alive. FUCKING EWWWWWW. Why?! Why antagonise a whole section of press?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

So. With that over with, enough of the fucks and on with the show… Well, under attended as I’ve said, but then it was Sunday and it’s always a little slow and sleepy, attracting only the most hardcore fashionistas.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Dewy eyed models strode into the lights in a selection of high waisted trousers, shorts or floaty print dresses accessorised with carefully layered bib like kercheifs and protected with wide brimmed hats and floaty scarves. The colour palette was muted – predominately sand, beige, cream and dusty purples and blues. This collection was apparently inspired by the vast expanses of the American desert *what the fuck do I need a fur coat there for? I’d be blooming sweltering* Sorry woops thought I was going to steer clear of the swearing there for a moment, but I seem to have developed temporary Tourettes.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Was this the fur coat? Hard to tell really.

And I really enjoyed Hilary Alexander‘s enthusiastic whooping as the models hit the catwalk for a final turn, but I can’t remember what the track was I’m afraid because I was too busy smiling at Hilary’s outfit… let’s just say I’m very glad to know that one is never too old for leopard print leggings. And whilst I’m on the subject of Hilary – have you seen her twitter feed? The woman is even more celeb obsessed than the rest of us. The woman is a fucking legend. Oh dear, there I go again.

Hilary-Alexander-London-Fashion-Week-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Hilary Alexander in her superfly leopard print leggings, by Antonia Parker.

So, how would I sum up? Well, next season: less fur, more Dr.Hauschka please. Did I mention that the goodie bag was very full, and I was decidedly more keen on the offerings from this “cult, biodynamic, pioneering skincare brand.”
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Now, viagra I was going to write something really nice about how underrated Louise Amstrup is… how she deserves wider recognition and a bigger audience. The clothes were understated but clever. I enjoyed the show.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

And then, whilst I was eating my tea last night I finally decided to go through the goodie bag, and discovered a big promotional catalogue for a fur brand. Missed the fur piece – this was the spring/summer collection for cripes sake, I wasn’t looking for fur. Must have tuned it out but Louise sneaked one past me. So far so not particularly acceptable, but I have grown to accept that the odd bit of fur will creep into the collections of those who aren’t bothered by its production or ethics. And inevitably its presence will have been sponsored, for what up and coming designer has the readies to splash on dead animals reincarnated as extra curricular human hides?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

So Louise quite likes her fur. I think we’ve got the point, but was that it? Oh no…. I was in for a much bigger treat. And one that was guaranteed to hack off anyone who is remotely anti-fur. I know, why not wipe out a whole group of possibly complimentary press by agreeing to give away A FUCKING FUR KEYRING. So there I am, munching on my dinner, when I unsuspectingly open a little pouch, and I kid you not, out flopped the tail of a fucking mink. Slithered right onto my table like it was still half alive. FUCKING EWWWWWW. Why?! Why antagonise a whole section of press?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

So. With that over with, enough of the fucks and on with the show… Well, under attended as I’ve said, but then it was Sunday and it’s always a little slow and sleepy, attracting only the most hardcore fashionistas.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Dewy eyed models strode into the lights in a selection of high waisted trousers, shorts or floaty print dresses accessorised with carefully layered bib like kercheifs and protected with wide brimmed hats and floaty scarves. The colour palette was muted – predominately sand, beige, cream and dusty purples and blues. This collection was apparently inspired by the vast expanses of the American desert *what the fuck do I need a fur coat there for? I’d be blooming sweltering* Sorry woops thought I was going to steer clear of the swearing there for a moment, but I seem to have developed temporary Tourettes.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Was this the fur coat? Hard to tell really.

And I really enjoyed Hilary Alexander‘s enthusiastic whooping as the models hit the catwalk for a final turn, but I can’t remember what the track was I’m afraid because I was too busy smiling at Hilary’s outfit… let’s just say I’m very glad to know that one is never too old for leopard print leggings. And whilst I’m on the subject of Hilary – have you seen her twitter feed? The woman is even more celeb obsessed than the rest of us. The woman is a fucking legend. Oh dear, there I go again.

Hilary-Alexander-London-Fashion-Week-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Hilary Alexander in her superfly leopard print leggings, by Antonia Parker.

So, how would I sum up? Well, next season: less fur, more Dr.Hauschka please. Did I mention that the goodie bag was very full, and I was decidedly more keen on the offerings from this “cult, biodynamic, pioneering skincare brand.”
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Now, side effects I was going to write something really nice about how underrated Louise Amstrup is… how she deserves wider recognition and a bigger audience. The clothes were understated but clever. I enjoyed the show.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

And then, order whilst I was eating my tea last night I finally decided to go through the goodie bag, and discovered a big promotional catalogue for a fur brand. Missed the fur piece – this was the spring/summer collection for cripes sake, I wasn’t looking for fur. Must have tuned it out but Louise sneaked one past me. So far so not particularly acceptable, but I have grown to accept that the odd bit of fur will creep into the collections of those who aren’t bothered by its production or ethics. And inevitably its presence will have been sponsored, for what up and coming designer has the readies to splash on dead animals reincarnated as extra curricular human hides?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

So Louise quite likes her fur. I think we’ve got the point, but was that it? Oh no…. I was in for a much bigger treat. And one that was guaranteed to hack off anyone who is remotely anti-fur. I know, why not wipe out a whole group of possibly complimentary press by agreeing to give away A FUCKING FUR KEYRING. So there I am, munching on my dinner, when I unsuspectingly open a little pouch, and I kid you not, out flopped the tail of a fucking mink. Slithered right onto my table like it was still half alive. FUCKING EWWWWWW. Why?! Why antagonise a whole section of press?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

So. With that over with, enough of the fucks and on with the show… Well, under attended as I’ve said, but then it was Sunday and it’s always a little slow and sleepy, attracting only the most hardcore fashionistas.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Dewy eyed models strode into the lights in a selection of high waisted trousers, shorts or floaty print dresses accessorised with carefully layered bib like kercheifs and protected with wide brimmed hats and floaty scarves. The colour palette was muted – predominately sand, beige, cream and dusty purples and blues. This collection was apparently inspired by the vast expanses of the American desert *what the fuck do I need a fur coat there for? I’d be blooming sweltering* Sorry woops thought I was going to steer clear of the swearing there for a moment, but I seem to have developed temporary Tourettes.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Was this the fur coat? Hard to tell really.

And I really enjoyed Hilary Alexander‘s enthusiastic whooping as the models hit the catwalk for a final turn, but I can’t remember what the track was I’m afraid because I was too busy smiling at Hilary’s outfit… let’s just say I’m very glad to know that one is never too old for leopard print leggings. And whilst I’m on the subject of Hilary – have you seen her twitter feed? The woman is even more celeb obsessed than the rest of us. The woman is a fucking legend. Oh dear, there I go again.

Hilary-Alexander-London-Fashion-Week-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Hilary Alexander in her superfly leopard print leggings, by Antonia Parker.

So, how would I sum up? Well, next season: less fur, more Dr.Hauschka please. Did I mention that the goodie bag was very full, and I was decidedly more keen on the offerings from this “cult, biodynamic, pioneering skincare brand.”
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Now, approved I was going to write something really nice about how underrated Louise Amstrup is… how she deserves wider recognition and a bigger audience. The clothes were understated but clever. I enjoyed the show.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

And then, ed whilst I was eating my tea last night I finally decided to go through the goodie bag, malady and discovered a big promotional catalogue for a fur brand. Missed the fur piece – this was the spring/summer collection for cripes sake, I wasn’t looking for fur. Must have tuned it out but Louise sneaked one past me. So far so not particularly acceptable, but I have grown to accept that the odd bit of fur will creep into the collections of those who aren’t bothered by its production or ethics. And inevitably its presence will have been sponsored, for what up and coming designer has the readies to splash on dead animals reincarnated as extra curricular human hides?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

So Louise quite likes her fur. I think we’ve got the point, but was that it? Oh no…. I was in for a much bigger treat. And one that was guaranteed to hack off anyone who is remotely anti-fur. I know, why not wipe out a whole group of possibly complimentary press by agreeing to give away A FUCKING FUR KEYRING. So there I am, munching on my dinner, when I unsuspectingly open a little pouch, and I kid you not, out flopped the tail of a fucking mink. Slithered right onto my table like it was still half alive. FUCKING EWWWWWW. Why?! Why antagonise a whole section of press?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

So. With that over with, enough of the fucks and on with the show… Well, under attended as I’ve said, but then it was Sunday and it’s always a little slow and sleepy, attracting only the most hardcore fashionistas.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Dewy eyed models strode into the lights in a selection of high waisted trousers, shorts or floaty print dresses accessorised with carefully layered bib like kercheifs and protected with wide brimmed hats and floaty scarves. The colour palette was muted – predominately sand, beige, cream and dusty purples and blues. This collection was apparently inspired by the vast expanses of the American desert *what the fuck do I need a fur coat there for? I’d be blooming sweltering* Sorry woops thought I was going to steer clear of the swearing there for a moment, but I seem to have developed temporary Tourettes.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Was this the fur coat? Hard to tell really.

And I really enjoyed Hilary Alexander‘s enthusiastic whooping as the models hit the catwalk for a final turn, but I can’t remember what the track was I’m afraid because I was too busy smiling at Hilary’s outfit… let’s just say I’m very glad to know that one is never too old for leopard print leggings. And whilst I’m on the subject of Hilary – have you seen her twitter feed? The woman is even more celeb obsessed than the rest of us. The woman is a fucking legend. Oh dear, there I go again.

Hilary-Alexander-London-Fashion-Week-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Hilary Alexander in her superfly leopard print leggings, by Antonia Parker.

So, how would I sum up? Well, next season: less fur, more Dr.Hauschka please. Did I mention that the goodie bag was very full, and I was decidedly more keen on the offerings from this “cult, biodynamic, pioneering skincare brand.”

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

Illustration by Kayleigh Bluck

As I was writing this, story Amelia’s review and photos from the same show popped up on twitter. Fortunately I did not end up unwittingly taking home a mink tail keying and cannot fathom why one would include that in a goody bag. I have to admit that the mink coat slipped past me as well, but bad goody bag gifts aside, here is my review of the show.

The queue was the most disorganized I’ve seen all week but the most amazing guy with a flat cap and matching cockney accent made up for it as he pulled people from the hustle and bustle and ushered them in. His haphazard methods have probably won my favour because I seemed to fit his undecipherable criteria of people who could come in.

I sat perched on the end of a row (always a good place for photos, even if you’re not in the front row), where I had a vantage point allowing me to ogle at two items whilst I waited for the show to begin. 1- Hilary Alexander’s great leopard print leggings on my left (great illustration in Amelia’s write up) and 2- an amazing pair of spike encrusted stilettos being worn on my right.

Without being bland, the Louise Amstrup collection is an entirely wearable S/S 2011 wardrobe (except for the beekeeper/sahara desert style hats). Oversized mens shirts, loose wide-leg trousers and paneled baggy dresses were all great keep-cool-in-hot-sun clothes. She has hit the nail on the head with clothes that are easy to move around in, are made from light fabrics and that look nice – seems simple, but somehow every summer I end up wearing things that leave me feeling decidedly UN-cooled.

Illustration by Kellie Black

Basic mute colours and the occasional shot of dark print made up the palette; the creams, pale yellows, blues (I refuse to say baby blue) and light pinks created a subtle but not ice creamy feel. From the press release I have learnt that this reflects the collections attempt to marry together Sissy Spacek’s innocence in the film Badlands (1973)with Marriane Sagebrecht’s character in Bagdad Café (1987). So, a mixture of feminine darkness and purity. The second theme of a traveller in the desert was most evident with the dark print (feminine darkness!), which was of thunderstorms and lightning in the night sky. Actually my favourite piece was the floor length dress made entirely of the print in question.

Illustration by Kayleigh Bluck

The mark of a well established designer is a key technique or stylistic flair evident in all their collections. As Basso & Brooke are notorious for their eclectic mixing of prints, Louise Amstrup collections are becoming increasingly known for featuring rather well placed fabric paneling. The S/S 2011 pieces use panels of leather, framed with frayed cotton, in strips on both the skirts, the trousers and the dresses. Layering too, was used extensively on the skirts, again using frayed cotton edging for a more delicate appearance on some of the lighter pieces.

Written by Florence Massey on Monday September 20th, 2010 9:37 pm

Categories ,Baggy Clothes, ,Hilary Alexander, ,illustration, ,London Fashion Week, ,Louise Amstrup, ,Muted Colours, ,print, ,S/S 2011, ,Sissy Spacek, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Louise Amstrup

by


Illustration by Krister Selin

I was very excited to see what NEWGEN winner Michael Van Der Ham would have in store this season at his first solo show. He’s quickly rising up the fashion ranks – he only bloody graduated a year ago, discount for God’s sake, tadalafil and it was inevitable that this was going to be a good ‘un.

A quick cycle across Waterloo Bridge took me to the erstwhile Eurostar Terminal at Waterloo Station. London Fashion Week is SO much better by bike. Despite the odd trauma here and there, specific to my unlucky self, to be able to zip between the many venues without relying on public transport is a Godsend.

The building is like a ghost town these days since the firm’s relocation to St Pancras. Apparently it’s costing millions to upkeep, so hopefully Topshop’s little foray into hosting fashion events there has helped. Sir Phillip Green certainly doesn’t need the money, that’s for sure.

Directed by awkward looking teenagers dressed in grey branded bolier suits, we were ushered through the labyrinth that is left behind. There’s something a bit spooky about it – escalators are motionless, luggage belts are empty and all electrical devices like light-up signs for directions are, of course, turned off. There’s also a sense of poignancy in the air in this abandoned haunt. Nobody else seemed to sense this misery as they clacked around on their heels, so this might have been due to the eight coffees I had consumed that morning. Arriving at the top with the beautiful afternoon light bathing through the glass roof was quite something, though.

I had a little wander around, Ham-ing it up and taking a few pics of people glugging booze, and then a loud speaker announced that we should take our seats. The catwalk was the very last platform on the south side of the building, with tiered seating on one side only. Those models sure were close to the track. I did worry, especially after the trend of tumbling models we’ve seen this season.

The usual front rowers were there, including Alexandra Shulman, Brix Smith Start, Anna Dello Russo, and Sarah Mower. While it was nice to be in the daylight, the building doesn’t allow for any dramatic changes in light, so without any prior warning the show began. It’s a long catwalk n’all – there I was, worrying again that these models might not have eaten and would pass out from all that exercise.


Illustration by Krister Selin

Michael Van Der Ham’s clothing is a little odd when you first view it – seams are all over the place, fabrics are diverse, colours clash, outfits are classifiable on one side and then something totally different by the other. But somehow, they work. Rich tones of blue, pale and hot pinks, graphic patterns and pale colours all combine to make unique pieces and were styled very simply to allow them to have maximum impact. Themes like disco and dance spring to mind.

Because of Michael’s expert fusing of varying fabrics and cuts, there isn’t really any kind of silhouette to talk about – skirts were short, and then long; necklines were high, and then low; waists were diagonal and then horizontal, sleeves were short and then high – there was bias cut, flattering fabrics, body-con fabrics, the lot… I was a nervous wreck by the time the show finished. It’s all pretty baffling but beautiful to look at.

My favourite elements were crushed velours and velvets, embellished skirts, skirts that had been gathered to create gorgeous, soft shapes, and floating translucent fabrics that were attached like super-hero capes.

It’s a brave woman that can pull off the Michael Van Der Ham look. But those who can, should.

Illustration by Krister Selin

I was very excited to see what NEWGEN winner Michael Van Der Ham would have in store this season at his first solo show. He’s quickly rising up the fashion ranks – he only bloody graduated a year ago, information pills for God’s sake, thumb and it was inevitable that this was going to be a good ‘un.

A quick cycle across Waterloo Bridge took me to the erstwhile Eurostar Terminal at Waterloo Station. London Fashion Week is SO much better by bike. Despite the odd trauma here and there, specific to my unlucky self, to be able to zip between the many venues without relying on public transport is a Godsend.

The building is like a ghost town these days since the firm’s relocation to St Pancras. Apparently it’s costing millions to upkeep, so hopefully Topshop’s little foray into hosting fashion events there has helped. Sir Phillip Green certainly doesn’t need the money, that’s for sure.

Directed by awkward looking teenagers dressed in grey branded bolier suits, we were ushered through the labyrinth that is left behind. There’s something a bit spooky about it – escalators are motionless, luggage belts are empty and all electrical devices like light-up signs for directions are, of course, turned off. There’s also a sense of poignancy in the air in this abandoned haunt. Nobody else seemed to sense this misery as they clacked around on their heels, so this might have been due to the eight coffees I had consumed that morning. Arriving at the top with the beautiful afternoon light bathing through the glass roof was quite something, though.

I had a little wander around, Ham-ing it up and taking a few pics of people glugging booze, and then a loud speaker announced that we should take our seats. The catwalk was the very last platform on the south side of the building, with tiered seating on one side only. Those models sure were close to the track. I did worry, especially after the trend of tumbling models we’ve seen this season.

The usual front rowers were there, including Alexandra Shulman, Brix Smith Start, Anna Dello Russo, and Sarah Mower. While it was nice to be in the daylight, the building doesn’t allow for any dramatic changes in light, so without any prior warning the show began. It’s a long catwalk n’all – there I was, worrying again that these models might not have eaten and would pass out from all that exercise.


Illustration by Krister Selin

Michael Van Der Ham’s clothing is a little odd when you first view it – seams are all over the place, fabrics are diverse, colours clash, outfits are classifiable on one side and then something totally different by the other. But somehow, they work. Rich tones of blue, pale and hot pinks, graphic patterns and pale colours all combine to make unique pieces and were styled very simply to allow them to have maximum impact. Themes like disco and dance spring to mind.

Because of Michael’s expert fusing of varying fabrics and cuts, there isn’t really any kind of silhouette to talk about – skirts were short, and then long; necklines were high, and then low; waists were diagonal and then horizontal, sleeves were short and then high – there was bias cut, flattering fabrics, body-con fabrics, the lot… I was a nervous wreck by the time the show finished. It’s all pretty baffling but beautiful to look at.

My favourite elements were crushed velours and velvets, embellished skirts, skirts that had been gathered to create gorgeous, soft shapes, and floating translucent fabrics that were attached like super-hero capes.

It’s a brave woman that can pull off the Michael Van Der Ham look. But those who can, should.


Illustration by Krister Selin

I was very excited to see what NEWGEN winner Michael Van Der Ham would have in store this season at his first solo show. He’s quickly rising up the fashion ranks – he only bloody graduated a year ago, cure for God’s sake, and it was inevitable that this was going to be a good ‘un.

A quick cycle across Waterloo Bridge took me to the erstwhile Eurostar Terminal at Waterloo Station. London Fashion Week is SO much better by bike. Despite the odd trauma here and there, specific to my unlucky self, to be able to zip between the many venues without relying on public transport is a Godsend.

The building is like a ghost town these days since the firm’s relocation to St Pancras. Apparently it’s costing millions to upkeep, so hopefully Topshop’s little foray into hosting fashion events there has helped. Sir Phillip Green certainly doesn’t need the money, that’s for sure.

Directed by awkward looking teenagers dressed in grey branded bolier suits, we were ushered through the labyrinth that is left behind. There’s something a bit spooky about it – escalators are motionless, luggage belts are empty and all electrical devices like light-up signs for directions are, of course, turned off. There’s also a sense of poignancy in the air in this abandoned haunt. Nobody else seemed to sense this misery as they clacked around on their heels, so this might have been due to the eight coffees I had consumed that morning. Arriving at the top with the beautiful afternoon light bathing through the glass roof was quite something, though.

I had a little wander around, Ham-ing it up and taking a few pics of people glugging booze, and then a loud speaker announced that we should take our seats. The catwalk was the very last platform on the south side of the building, with tiered seating on one side only. Those models sure were close to the track. I did worry, especially after the trend of tumbling models we’ve seen this season.

The usual front rowers were there, including Alexandra Shulman, Brix Smith Start, Anna Dello Russo, and Sarah Mower. While it was nice to be in the daylight, the building doesn’t allow for any dramatic changes in light, so without any prior warning the show began. It’s a long catwalk n’all – there I was, worrying again that these models might not have eaten and would pass out from all that exercise.


Illustration by Krister Selin

Michael Van Der Ham’s clothing is a little odd when you first view it – seams are all over the place, fabrics are diverse, colours clash, outfits are classifiable on one side and then something totally different by the other. But somehow, they work. Rich tones of blue, pale and hot pinks, graphic patterns and pale colours all combine to make unique pieces and were styled very simply to allow them to have maximum impact. Themes like disco and dance spring to mind.

Because of Michael’s expert fusing of varying fabrics and cuts, there isn’t really any kind of silhouette to talk about – skirts were short, and then long; necklines were high, and then low; waists were diagonal and then horizontal, sleeves were short and then high – there was bias cut, flattering fabrics, body-con fabrics, the lot… I was a nervous wreck by the time the show finished. It’s all pretty baffling but beautiful to look at.

My favourite elements were crushed velours and velvets, embellished skirts, skirts that had been gathered to create gorgeous, soft shapes, and floating translucent fabrics that were attached like super-hero capes.

It’s a brave woman that can pull off the Michael Van Der Ham look. But those who can, should.

All photography by Matt Bramford


Illustration by Krister Selin

I was very excited to see what NEWGEN winner Michael Van Der Ham would have in store this season at his first solo show. He’s quickly rising up the fashion ranks – he only bloody graduated a year ago, abortion for God’s sake, and it was inevitable that this was going to be a good ‘un.

A quick cycle across Waterloo Bridge took me to the erstwhile Eurostar Terminal at Waterloo Station. London Fashion Week is SO much better by bike. Despite the odd trauma here and there, specific to my unlucky self, to be able to zip between the many venues without relying on public transport is a Godsend.

The building is like a ghost town these days since the firm’s relocation to St Pancras. Apparently it’s costing millions to upkeep, so hopefully Topshop’s little foray into hosting fashion events there has helped. Sir Phillip Green certainly doesn’t need the money, that’s for sure.

Directed by awkward looking teenagers dressed in grey branded bolier suits, we were ushered through the labyrinth that is left behind. There’s something a bit spooky about it – escalators are motionless, luggage belts are empty and all electrical devices like light-up signs for directions are, of course, turned off. There’s also a sense of poignancy in the air in this abandoned haunt. Nobody else seemed to sense this misery as they clacked around on their heels, so this might have been due to the eight coffees I had consumed that morning. Arriving at the top with the beautiful afternoon light bathing through the glass roof was quite something, though.

I had a little wander around, Ham-ing it up and taking a few pics of people glugging booze, and then a loud speaker announced that we should take our seats. The catwalk was the very last platform on the south side of the building, with tiered seating on one side only. Those models sure were close to the track. I did worry, especially after the trend of tumbling models we’ve seen this season.

The usual front rowers were there, including Alexandra Shulman, Brix Smith Start, Anna Dello Russo, and Sarah Mower. While it was nice to be in the daylight, the building doesn’t allow for any dramatic changes in light, so without any prior warning the show began. It’s a long catwalk n’all – there I was, worrying again that these models might not have eaten and would pass out from all that exercise.


Illustration by Krister Selin

Michael Van Der Ham’s clothing is a little odd when you first view it – seams are all over the place, fabrics are diverse, colours clash, outfits are classifiable on one side and then something totally different by the other. But somehow, they work. Rich tones of blue, pale and hot pinks, graphic patterns and pale colours all combine to make unique pieces and were styled very simply to allow them to have maximum impact. Themes like disco and dance spring to mind.

Because of Michael’s expert fusing of varying fabrics and cuts, there isn’t really any kind of silhouette to talk about – skirts were short, and then long; necklines were high, and then low; waists were diagonal and then horizontal, sleeves were short and then high – there was bias cut, flattering fabrics, body-con fabrics, the lot… I was a nervous wreck by the time the show finished. It’s all pretty baffling but beautiful to look at.

My favourite elements were crushed velours and velvets, embellished skirts, skirts that had been gathered to create gorgeous, soft shapes, and floating translucent fabrics that were attached like super-hero capes.

It’s a brave woman that can pull off the Michael Van Der Ham look. But those who can, should.

All photography by Matt Bramford

Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Now, cheapest I was going to write something really nice about how underrated Louise Amstrup is… how she deserves wider recognition and a bigger audience. The clothes were understated but clever. I enjoyed the show.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

And then, whilst I was eating my tea last night I finally decided to go through the goodie bag, and discovered a big promotional catalogue for a fur brand. Missed the fur piece – this was the spring/summer collection for cripes sake, I wasn’t looking for fur. Must have tuned it out. So far so not particularly acceptable, but I have grown to accept that the odd bit of fur will creep into the collections of those who aren’t bothered by its production or ethics. And inevitably its presence will have been sponsored, for what up and coming designer has the readies to splash on dead animals reincarnated as extra curricular human hides?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

So Louise quite likes her fur. I think we’ve got the point, but was that it? Oh no…. I was in for a much bigger treat. And one that was guaranteed to hack off anyone who is remotely anti-fur. I know, why not wipe out a whole group of possibly complimentary press by agreeing to give away A FUCKING FUR KEYRING. So there I am, munching on my dinner, when I unsuspectingly open a little pouch, and I kid you not, out flopped the tail of a fucking mink. Slithered right onto my table like it was still half alive. FUCKING EWWWWWW. Why?! Why antagonise a whole section of press?

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

So. With that over with, enough of the fucks and on with the show… Well, under attended as I’ve said, but then it was Sunday and it’s always a little slow and sleepy, attracting only the most hardcore fashionistas.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup by Stephanie Parr
Louise Amstrup by Stephanie Parr.

Dewy eyed models strode into the lights in a selection of high waisted trousers, shorts or floaty print dresses accessorised with carefully layered bib like kercheifs and protected with wide brimmed hats and floaty scarves. The colour palette was muted – predominately sand, beige, cream and dusty purples and blues. This collection was apparently inspired by the vast expanses of the American desert *what the fuck do I need a fur coat there for? I’d be blooming sweltering* Sorry woops thought I was going to steer clear of the swearing there for a moment, but I seem to have developed temporary Tourettes.

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Was this the fur coat? Hard to tell really.

And I really enjoyed Hilary Alexander‘s enthusiastic whooping as the models hit the catwalk for a final turn, but I can’t remember what the track was I’m afraid because I was too busy smiling at Hilary’s outfit… let’s just say I’m very glad to know that one is never too old for leopard print leggings. And whilst I’m on the subject of Hilary – have you seen her twitter feed? The woman is even more celeb obsessed than the rest of us. The woman is a fucking legend. Oh dear, there I go again.

Hilary-Alexander-London-Fashion-Week-S-S-2011-Antonia-Parker-Amelias-Magazine-A
Hilary Alexander in her superfly leopard print leggings, by Antonia Parker.

So, how would I sum up? Well, next season: less fur, more Dr.Hauschka please. Did I mention that the goodie bag was very full, and I was decidedly more keen on the offerings from this “cult, biodynamic, pioneering skincare brand.”

Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory
Louise Amstrup SS2011 photo by Amelia Gregory

Written by Amelia Gregory on Monday September 20th, 2010 6:49 pm

Categories ,Antonia Parker, ,Dr.Hauschka, ,Fur, ,Hilary Alexander, ,lfw, ,London Fashion Week, ,Louise Amstrup, ,onoff, ,Stephanie Parr, ,twitter, ,Victoria House

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