Jaymie O’Callaghan

Amelia’s Magazine | The 3rd Annual Fashioning the Future Awards

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Caryn Franklin hosting the ceremony, by Antonia Parker

The third annual Fashioning the Future Awards took place last Thursday, where guests from the world of fashion, business and sustainable living came together to celebrate international sustainable fashion talent. Supported by the United Nations, the awards promote students who produce fashion with conscience.

The setting for this glamorous occasion – the East Wintergarden, part of the Canary Wharf complex – seemed a little unusual in the wake of the current financial crisis, and it’s not the first destination I’d think of if I wanted to host a conscious do. But, I was to learn, that Canary Wharf are committed to environmental issues. The Canary Wharf Group is, in fact, one of the country’s top ‘green’ companies.


Two of the finalists’ work by Joana Faria

Inside the venue, a load of wooden cogs had been dotted around the room, on which frozen models posed for the duration of the evening. Large zoetropes descended from the ceiling, requiring manmade kinetic power to operate that involved guests turning winches in order for them to animate. Drinks flowed and there was no obvious stage or focal point, creating a strange but enjoyable atmosphere that allowed guests to freely mingle amongst the spools and lights.


All photography by Matt Bramford

Circular tubes also hung from the celing, a little lower than average height, in which guests could stand, head fully immersed inside, and listen to interviews with the shortlisted nominees while looking a little silly. It all made for good fun and took the sometimes stifling atmosphere of these kind of events quickly away.

The ceremony itself was delayed in the hope that the members of the celebrity judging panel who could make it (Erin O’Connor and Lucy Siegle had already pulled out for unspecified reasons) would eventually show up. It was repeatedly announced that Jo Wood and BFC chairman Harold Tillman were, together, stuck in traffic. Eventually the producers of the awards gave up and the show commenced, glamourously hosted by fashion protagonist Caryn Franklin. The lights dimmed and Caryn took her place in the centre of the room under one of the zoetropes. Guests were invited to sit, anywhere, or stand to view the ceremony.


Jo Wood and Harold Tillman stuck in traffic by Gareth A Hopkins

Five awards were presented across a diverse range of subjects, including design and innovation, under this year’s theme: Biodiversity.


One of the finalists’ work by Jaymie O Callaghan

Unique Balance
Sara Emilie Terp Hansen scooped the coveted prize for Unique Balance with her intriguing and aesthetically brilliant collection made from cork. The judges said Sara Emilie had ‘found an opportunity to utilise an unexpected material in a fashion context, allowing nature to dictate design.’ It was quite the striking collection and Sara, one of the only recipients to collect her award in person, looked heartwarmingly shocked to receive the award.


One of the finalists’ work by Justyna Sowa

Unique Materials and Processes
The second award, for Unique Materials and Processes, was due to be presented by the aforementioned Jo Wood. Guests still hoped she would leg it in last minute and snatch the mic, but still no joy. Massive props must go to Alex McIntosh from the Centre for Sustainable Fashion who took to the stage (metaphorically speaking as there wasn’t one, of course) and presented also absent Evelyn Lebis‘ wearable light collection with the award.


One of the finalists’ work by Katrina Conquista

Unique Enterprise
Australian Alice Payne scooped the Enterprise award for her conceptual approach to business. ‘Think Lifecycle’ is a sort of social media platform for big companies, allowing them to harness environmental sustainability across the entire business. No, I didn’t completely understand it either, but I did like her spider diagrams.

Unique Design
LCF graduate Lara Torres picked up the award for Unique Design. Professor Frances Corner OBE, head of the LCF, said ‘ironically the design category was the hardest to judge; it’s very hard not to fixate on the idea that the winning entry has to be a perfectly realised garment’. In fact, it wasn’t – Lara’s entry examined the role of the fashion designer in modern society and the relationship we have with the clothing we wear.

The Body Shop One to Watch Award
The final award, presented by Ann Massal, International Brand Director of The Body Shop, went to Ashley Brock, who had flown all the way from the USA for the occasion. Eek. It was a sort of all-encompassing award for the prize student who hadn’t been acknowledged in the other categories. Ashley’s collection showed how ‘seemingly obsolete garments can be re-purposed’.


Erin O’ Connor realxing in the shower and Jo Wood stuck in traffic by Antonia Parker

And so the awards were wrapped up with a brief catwalk show where models stood up from their spools, sashayed around the room and then formed an imposing group under the centre spotlight. Still no sign of Jo Wood or Harold Tillman. It was a marvellous ceremony – genuinely unique – and a celebration of wearable sustainable fashion. I did wonder if it was entirely appropriate that these two were sitting in a car somewhere when they were supposed to be part of an environmentally-aware event (why they didn’t just get out of their bloody cars and get on the bloody tube is beyond me) but infact it didn’t matter; it made the evening entirely about the fashion, the winners, and the real message.

Written by Matt Bramford on Wednesday November 16th, 2011 10:07 am

Categories ,Alex McIntosh, ,Alice Payne, ,Ann Massal, ,Antonia Parker, ,BFC, ,Biodiversity, ,Canary Wharf, ,Caryn Franklin, ,Centre for Sustainable Fashion, ,Ceremony, ,East Wintergarden, ,Enterprise, ,environmental, ,Erin O’ Connor, ,ethical, ,Evelyn Lebis, ,fashion, ,Fashion the Future Awards, ,Frances Corner OBE, ,Gareth A Hopkins, ,green, ,Harold Tillman, ,Jaymie O’Callaghan, ,Jo Wood, ,Joana Faria, ,Justyna Sowa, ,Katrina Conquista, ,Lara Torres, ,LCF, ,London College of Fashion, ,Lucy Siegle, ,Matt Bramford, ,Sara Emilie Terp Hansen, ,The Body Shop, ,unique, ,united nations, ,Womenswear, ,Zoetropes

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Amelia’s Magazine | Vauxhall Fashion Scout Ones to Watch A/W 2011 – A Preview

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Kirsty Ward, cialis 40mg pilule illustrated by Gabriel Ayala

Oh God, doctor more about is it really that time again? Do I really have to stay up, approved night after night, sending all those emails? Worrying about outfits? Processing 12,000 photographs? Yep, London Fashion Week is just around the corner, and yesterday Vauxhall Fashion Scout announced their line up for their extra special Ones to Watch show.

Previous winners of the accolade include Ada Zanditon and Lu Flux (both in Amelia’s new book) as well as Eudon Choi and David Longshaw. Last season’s outing was an ecclectic mix of ‘dandyish’ menswear, cream pleats and yellow ruffles. The line up this time around looks certain to impress, though – Central Saint Martins’ graduates Anja Mlakar and Kirsty Ward, along with Sara Bro-Jorgensen and Tze Goh.

While we all get excited about London’s most fashionable five days, here’s a little round up of the new design talent.

Tze Goh

Illustration by Lana Hughes

Tze Goh graduated with a BA from Parsons in New York before completing an MA at Central Saint Martins. Tze’s collections to date have had that strong, minimal aesthetic with emphasis on shape and sculpture.

They’re definitely futuristic, and each garment appears to have been moulded from an unknown material rather than sewn from jersey. Pieces emphasise the shapes of his models – exaggerated shoulders and discrete twists in fabric make for modern, appealing clothes. Hopefully he’ll stick to his minimalist principles during his outing this coming season.

Kirsty Ward

Illustration by Gabriel Ayala

Kirsty Ward is brilliant. She’s one of the most unique designers I’ve seen in ages, and it’s no surprise that she’s, yep – you guessed it – Central Saint Martin’s alumni and went on to work with Alberta Ferretti in Italy. Amelia reviewed her collection last season , a vertiable wonder of sculptural jewellery and clothing that echoes the contours of the body.

I loved her work with David Longshaw (creating jewellery that he teamed with his collection) during his debut on the very same Ones to Watch stage a year ago This season promises another fashion-forward outing.

Anja Mlakar

Illustration by Willa Gebbie

Anja Mlakar is – you guessed it – another Central Saint Martins graduate. I’m feeling fatigued typing those three words already and the shows haven’t even started. Anyway, Her debut collection harboured much interest and having only graduated last year, Anja is set to cement herself in fashion this coming season.

Her S/S 2011 collection was a welcome ray of sunshine, with bursts of pastel yellows and pinks. Her aesthetic features structural forms and body-concious frocks, and her style straddles the fine line between flattering and futuristic. The most diverse collection, it will be intereting to see if Anja develops a particular element or mixes it up again.

Sara Bro-Jorgensen

Illustration by Jaymie O’Callaghan

Sara, a Royal College of Art graduate (at last!) takes a different approach to fashion and is heavily influenced by 2D forms like black and white photographs. She’s been nominated for awards here and there.

Her previous collections contain a mix of knits and deconstructed pieces, and I’m not exaggerating when I say this girl digs black. As it’s the A/W 2011 we’re looking forward to, I wouldn’t be surprised if we see more of fashion’s favourite colour on Sara’s outing, but then what do I know?

Written by Matt Bramford on Wednesday January 12th, 2011 5:45 pm

Categories ,A/W 2011, ,Alberta Feretti, ,black, ,Central Saint Martins, ,David Longshaw, ,fashion, ,Gabriel Ayala, ,Italy, ,Jaymie O’Callaghan, ,Lana Hughes, ,London Fashion Week, ,new york, ,Ones To Watch, ,parsons, ,Royal College of Art, ,Vauxhall Fashion Scout, ,Willa Gebbie

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Amelia’s Magazine | Vauxhall Fashion Scout Ones to Watch A/W 2011 – A Preview

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Kirsty Ward, cialis 40mg pilule illustrated by Gabriel Ayala

Oh God, doctor more about is it really that time again? Do I really have to stay up, approved night after night, sending all those emails? Worrying about outfits? Processing 12,000 photographs? Yep, London Fashion Week is just around the corner, and yesterday Vauxhall Fashion Scout announced their line up for their extra special Ones to Watch show.

Previous winners of the accolade include Ada Zanditon and Lu Flux (both in Amelia’s new book) as well as Eudon Choi and David Longshaw. Last season’s outing was an ecclectic mix of ‘dandyish’ menswear, cream pleats and yellow ruffles. The line up this time around looks certain to impress, though – Central Saint Martins’ graduates Anja Mlakar and Kirsty Ward, along with Sara Bro-Jorgensen and Tze Goh.

While we all get excited about London’s most fashionable five days, here’s a little round up of the new design talent.

Tze Goh

Illustration by Lana Hughes

Tze Goh graduated with a BA from Parsons in New York before completing an MA at Central Saint Martins. Tze’s collections to date have had that strong, minimal aesthetic with emphasis on shape and sculpture.

They’re definitely futuristic, and each garment appears to have been moulded from an unknown material rather than sewn from jersey. Pieces emphasise the shapes of his models – exaggerated shoulders and discrete twists in fabric make for modern, appealing clothes. Hopefully he’ll stick to his minimalist principles during his outing this coming season.

Kirsty Ward

Illustration by Gabriel Ayala

Kirsty Ward is brilliant. She’s one of the most unique designers I’ve seen in ages, and it’s no surprise that she’s, yep – you guessed it – Central Saint Martin’s alumni and went on to work with Alberta Ferretti in Italy. Amelia reviewed her collection last season , a vertiable wonder of sculptural jewellery and clothing that echoes the contours of the body.

I loved her work with David Longshaw (creating jewellery that he teamed with his collection) during his debut on the very same Ones to Watch stage a year ago This season promises another fashion-forward outing.

Anja Mlakar

Illustration by Willa Gebbie

Anja Mlakar is – you guessed it – another Central Saint Martins graduate. I’m feeling fatigued typing those three words already and the shows haven’t even started. Anyway, Her debut collection harboured much interest and having only graduated last year, Anja is set to cement herself in fashion this coming season.

Her S/S 2011 collection was a welcome ray of sunshine, with bursts of pastel yellows and pinks. Her aesthetic features structural forms and body-concious frocks, and her style straddles the fine line between flattering and futuristic. The most diverse collection, it will be intereting to see if Anja develops a particular element or mixes it up again.

Sara Bro-Jorgensen

Illustration by Jaymie O’Callaghan

Sara, a Royal College of Art graduate (at last!) takes a different approach to fashion and is heavily influenced by 2D forms like black and white photographs. She’s been nominated for awards here and there.

Her previous collections contain a mix of knits and deconstructed pieces, and I’m not exaggerating when I say this girl digs black. As it’s the A/W 2011 we’re looking forward to, I wouldn’t be surprised if we see more of fashion’s favourite colour on Sara’s outing, but then what do I know?

Written by Matt Bramford on Wednesday January 12th, 2011 5:45 pm

Categories ,A/W 2011, ,Alberta Feretti, ,black, ,Central Saint Martins, ,David Longshaw, ,fashion, ,Gabriel Ayala, ,Italy, ,Jaymie O’Callaghan, ,Lana Hughes, ,London Fashion Week, ,new york, ,Ones To Watch, ,parsons, ,Royal College of Art, ,Vauxhall Fashion Scout, ,Willa Gebbie

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Amelia’s Magazine | Pre-London Fashion Week S/S 2011 Interview: Eugene Lin

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“It was when we were awarded a giant golden penis at the Erotic Awards, prostate malady that has to be my best moment here so far. It was a fashion show that went really well and everything came to plan.” Holly Jade picked up, check with grinning pride, a huge, winged and golden figurine of male genitalia. As manager of a successful London business, you might expect a more contained answer from Holly, who sits adorned with silver chains, ripped tights and purple streaked hair. Wait a second. Scrap that.

Prangsta Costumiers is far from conventional. “We don’t try and be something that we’re not.” And quite rightly so. Why play the fashion game when their concept already oozes the type of London decadence, imagination and crisp tailoring that one would expect from the likes of Westwood? Seem like an overstatement? Well, yes. But don’t knock this place until you’ve seen it.

I first came across Prangsta when strolling through the streets of New Cross with my mum (as you do). We stopped outside the barred up, clouded shop window and strained our eyes through the metal, trying to fathom what this place was. Despite my mum’s adamance that it was a brothel, she confidently ducked under the corrugated iron and called out for any possible inhabitants. A French lady emerged. She beckoned us inside, casually wearing a riding helmet (as one also does).

An Aladdin’s cave still is the only way to describe it. Trunks and dressers spilling with jewels, brooches, elaborate belts, crowns and masks; dishevelled bustiers heaped with wigs and mad fabric; a trapeze swinging from the ceiling. There was no order. It was undisputed beautiful chaos.

The best part? Every costume is hand-made and tailored by the tight-nit Prangsta team. “We try to purchase as little material as possible so we go to a lot of vintage markets and also get a lot of materials donated to us. We take apart old costumes and old fabrics and then restore them and make them into our own Prangsta designs.” This kind of eco-awareness has been a core principle of Prangsta ever since Melanie Wilson founded the company in 1998. “She studied fashion at Central Saint Martins and really hated how wasteful the fashion industry was portrayed to her.”

Theatrical and period costume dominates Prangsta’s extensive mish-mash gallery of stunning work. A Victorian suited wolf, a burlesque fox or perhaps a two of diamonds playing card? (The shop does have an astonishingly brilliant Alice in Wonderland collection). Simply enter their hidden world and you could transform into characters you barely knew of. Hell, you could make up your own! Or at least leave the imagination to Holly herself, who styles her clients’ costumes rather than creating the pieces in their 1500 square foot studio in Deptford.

I of course guided the conversation onto that 21st birthday party of one Daisy Lowe. Daisy, her mother Pearl and several members of the star-studded guestlist were dressed by Holly and her talented team. Daisy, in particular, wore floor-skimming jaw-dropping ‘Ice Queen’-esque attire. “It was great… They are rock n’ roll royalty. Daisy is a lovely girl and a pleasure to dress.”  ? ?And their impressive list of clients doesn’t end there. Prangsta have also dressed The Noisettes (Shingai, the lead singer, used to work for the company), the Moulettes, the White Stripes, the BBC2 comedy drama ‘Psychoville’ and, get this, have even dressed Florence & The Machine.

Holly insists, however, that dressing such high-flying stars aren’t considered amongst Prangsta’s greatest achievements. I know. ‘You what?’ was my reaction too. But she continued… “I think it’s more of an achievement that we’ve been going like this for 12 years. We’ve made everything ourselves and we’re a London-based local business. Everyone works really hard. We work long hours, sometimes 12 hour days, and keeping the business running I think is more of an achievement.”

And she’s right. The Prangsta team do seem to work incessantly hard. They don’t just simply lend beautiful costumes to individuals. They tour all different festivals throughout the summer. They organize community nights for local performers and artists. They scour markets and thrift stores for the beautiful trinkets and treasures you’ll see placed around their shop. They even run their own dressmaking classes which take place in their Deptford studio. “Classes are taught by Mel and two of her seamstresses,” she says. I then of course comment on the advantage to the class members by being taught by Melanie, being an ex-Saint Martin’s student and pioneer of this mad palace. Holly even mentioned to me how Melanie began squatting in the building that we were sitting in. “Mel started out completely alone, from nothing. She now owns this row of shops and rents them out and also has Prangsta.”How’s that for a success story?

I also just HAD to ask about that haunting but quirky shop-front that had my mum so convinced we were about to come across prostitutes. Holly laughed when I told of her of this.  ?“We do what we can. We’re in New Cross, not in Soho. And I guess we’re quite an urban team. We’re quite subversive, eccentric characters. It is quite dilapidated but we’re a small business in a rundown area.” But no excuses were necessary. I really and truly loved the subversive exterior. And, well, the mysterious look of Prangsta is certainly parallel with the mysterious Melanie, who apparently prefers not to do interviews (damn, eh?).  ? ?Prangsta sure has got a good thing going, but they’re not stopping there. They have pretty big plans for future expansion. “One day we will have an online shop. People will be able to click on, say, a little hat and will be able to request one to be made for them. Within the next five years I’d say we’d like to be working on expanding our costume collection and maybe pump out a fashion collection aswell. We’d like to break through this wall to next door so that we can have an exhibition space and put a lot of costumes up on the walls like a bit of a gallery, have some music playing with a DJ, have some chai on the go. Above all, we want to provide a really quality service by restoring and recycling aswell as contributing to the community.”

After seeing the place for the second time, and speaking to Holly, it appears that not only Prangsta’s enchanting costumes, but also it’s intriguing story and extensive achievement is a true example of what those young, fun, London minds are made of.

Prangsta can be found at 304, New Cross Road, London. ?Costumes are between £80-100 to rent for 5 days and are also sold at individual prices. ?Their next dressmaking classes begin on Wednesday 22nd September from 7 – 9.30pm and cost £200. There is a maximum class size of 10 (so get in there quick if you’re interested!).

Eugene Lin, page A/W 2010, stomach illustrated by Abby Wright

It is the impeccable designs of Eugene Lin that have captivated us here at Amelia’s Magazine. The Central Saint Martins graduate’s intricate and feminine designs are a force to be reckoned with in the near future, patient and it is his expertise in pattern cutting that has given him this power. While we wait for Eugene Lin’s ultra-swish designs to bulldoze their way into magazine editorials and on the bodies of celebrities alike, we get to know the designer behind his eponymous label…

Your autumn/winter 2010 collection ‘The Gordian Knot’ and your spring/summer ?2010 collection both have a unique, tailored simplicity that flatteringly ?emphasises the feminine form. Is this a key factor when designing your collections, or do you feel it comes naturally to you? 
In the words of the great Hubert De Givenchy ‘Adding a flower or piling on details is not couture. But make an utterly simple dress, with a simple style line, this is the key to haute couture.’  The legendary Coco Chanel also said, ‘Simplicity is the keynote of all true elegance.’ My clothes are not haute couture, but the essence of what the two aforementioned designers is something I totally agree with and embody in my work. Simplicity should not be confused with plainness; the elegance of my work becomes very evident on closer inspection and that is what the women who buy my pieces appreciate and love. While some of the pieces from both collections are very feminine, there are also large appropriations taken from menswear, right down to the fabrics of the S/S 2010 collection where I used fine menswear shirting for the best-selling dresses. Ultimately, it is a combination of both a feel and a conscious reminder that it is a womenswear line after all. ?


S/S 2010

You’ve spent a lot of time with influential British designers – Preen, Vivienne Westwood, Roksanda Ilincic and Ashley Isham. Do you feel your designs exemplify what British fashion is all about? Would you define your aesthetic as British, or otherwise?
I love British fashion. I always have and always will.  British fashion for me stands for designers who are bold, directional and cutting edge. There is a burning spirit and huge support for new British designers which far surpasses any other city, including the other three fashion capitals. While the catwalks are teeming with unwearable showpieces which often draw flak from the public and other cities, there are also other designers such as myself which push the boundaries in a quieter, unexaggerated way in terms of innovative cut, fabrication and wearability.  Jackie JS Lee and Joana Sykes are examples of this.

I would define my aesthetic as Euro-centric, but not necessarily British. A designer can say all they want about who they think they are or are like, but at the end of the day, the buyers and customers are the ones who ultimately decide because customers never lie with their money. They are the ones who, through the pure forces of economics, decide which market responds the best and whose collections sit alongside yours in the multi-brand boutiques. So far, my work has been described as very chic, very Italian and very Parisian. But I am stocked along other great British designers both in the UK and in Asia, hence I feel the label has a broad European appeal. ?


A/W 2010, illustrated by Gareth A Hopkins

Your spring/summer collection made use of a beautiful royal blue colour, ?whilst your autumn/winter collection visited a flattering and seductive red. Do you find inspiration in the rich colours, or do the rich colours inspire you? Do you feel you must be selective in your colour choices to match ?your aesthetic? 
There is always an accent colour in each of my collections, but the question is finding it and making it work in harmony with the rest of the palette. I choose my colours very carefully, and if I cannot envision a piece in a certain colour, I will re-evaluate the entire palette.  The accent colours are rich, but the rest tend to be muted to balance it. Sometimes, the fabric jumps out at me and I immediately know I will use it, like the rich blue for S/S 2010. For the red in A/W 2010, the inspiration came from the concept; red is the colour of Mars, the Roman God of War. Finding the right shade, weight and texture is very tricky especially for new designers who cannot afford large minimums. The colours have to sit in blocks across the collection, as well as in the order of silhouettes. This process is a constant delicate juggling act, but getting it right really pays off as it makes each collection cohesive – something that all my buyers have really appreciated when visiting my stands and buying into the collections for their stores.


A/W 2010, illustrated by Katherine Tromans

Your intricately made ‘Bella’ top (above) is both draped and unmistakeably tailored to fit the female form. Is your unique tailoring going to be a pleasantly recurring theme in your future work, like a calling card or so to speak?
The key difference between a Eugene Lin piece and many other designer pieces is the amount of attention that is paid to the intelligent cut and detail, both in draped and tailored pieces.  The entire front of Bella is actually draped out of one single piece, being pinched together at the knot. With such a rich experience in pattern cutting, it came as a natural progression to my work, and it’s one of the few things that is incredibly difficult to imitate due to the level of technical difficulty in my work. S/S 2010 had a lot of panels and pieces which were cut from a single piece of fabric – draped or intricately split, while A/W 2010 revolved around the knots and loops.  I have been accused of being a minimalist, but ask any one of my interns or machinists who have worked on my pieces and they will laugh it off. As I mentioned before, my work always reveals something on closer inspection.  I find it incredibly insulting to both customers and other designers who really put in a lot of effort into creating a real designer garment when a pretender slaps a couple of metal studs and rings onto a piece of leather and calls it a designer dress or jacket. I would never insult my customers this way. I will always push my tailoring in different directions each season to give them something new, yet draw them back because of the familiar guarantee of quality of an impeccable fit.   ?



A/W 2010

Speaking of your future work, what do you have in store for the future of the ?Eugene Lin label? Can you divulge any information on future ventures, or even ?Spring/Summer 2011?
I will be exhibiting my third collection, S/S 2011 ‘The Vanishing Twin’, on-schedule at Somerset House this coming London Fashion Week, and for the first time taking the collection to Paris Fashion Week to an even bigger international audience. S/S 2011 was inspired by Stephen King’s novel ‘The Dark Half’ and based on the medical condition foetus in fetu (FIF), commonly known as Vanishing Twin Syndrome, whereby a foetus develops around its twin in the womb. The result, although rare, causes cases where a foot has been found growing in a boy’s brain, and limbs growing in stomachs.  However, for me a concept is only as good as its translation, and I’d like to think I’ve translated all my themes successfully so far. The pieces for S/S 2011 feature tailored trousers with extra ‘grown in’ features like an extra waistband, mutated skirts and dresses and separates which have been draped to resemble muscle and tissue.  Bottom line, I am selling clothes, and even if the customer is not aware of the inspiration or does not buy into the concept, they can always walk away with an incredible designer piece.  The concept becomes a bonus for those interested in more than just a beautifully created garment. ? ?


A/W 2010, illustrated by Jaymie O’Callaghan

Do you prefer sketching designs or actually constructing them?
I prefer constructing them, although I do sketch of course. Seeing the piece come to life is like birthing an idea, and sometimes I discover things on the stand which makes it even more beautiful than the sketch. Anyone can draw a sketch, but a woman is not going to walk into a boutique to buy a sketch to wear to an event now, is she?
 
?What do you like most about designing clothes?
The fulfilment of seeing women buy and wear a piece of their identity based on my aesthetics which originated from a simple thought. It’s like watching a seed grow right to fruitation.

?Describe your personal style in three words.
Clean, precise, elegant. In that order.

What does fashion mean to you in three words?
Love. Life. Light.

What advice would you give to those that would like to get into fashion ?design? 
Haha!! Where do we start on this….It’s really not for everyone, you have got to be really, really tough – it’s not a profession for little farm girls. Ask yourself WHERE exactly you want to be in the industry – a designer of your own label or designing for a house, and WHY you want to do it. For some like myself, I know that I will never be happy working under someone else and I wanted my own career, but for others they enjoy a design team. There is no right or wrong solution, and you should never expect to emulate another designer’s path. Internships are vital, do as many as you can to see the real face of our industry.

Written by Colin Dawidziuk on Friday September 3rd, 2010 1:21 pm

Categories ,A/W 2010, ,Abby Wright, ,Ashley Islam, ,Asia, ,Bella, ,british, ,Central Saint Martins, ,Coco Chanel, ,Eugene Lin, ,europe, ,fashion, ,FIF, ,Gareth A Hopkins, ,Hubert De Givenchy, ,Jackie JS Lee, ,Jaymie O’Callaghan, ,Joana Sykes, ,Katherine Tromans, ,London Fashion Week, ,Parisian, ,Preen, ,Roksanda Ilincic, ,S/S 2010, ,S/S 2011, ,Simplicity, ,Somerset House, ,tailoring, ,UK, ,Vanishing Twin Syndrome, ,Vivienne Westwood

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: John Rocha

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KONICA MINOLTA DIGITAL CAMERA

Illustration by Mina Bach

If I could taste something as delish for the mouth as Elliott J. Frieze is for the eyes, pill I’d eat it up so fast that time may go backwards. It’s my second LFW show of newcomer Elliott J. Frieze and I’m seriously beginning to LOVE this guy. Like, true sartorial love. His work needs to be up there with the best on the BFC Catwalk. NEEDS.

Saying that, however, he did bag a rather delectable venue anyway. Especially for his third London Fashion Week show. It was a bit of an epic walk in the rain down the entire length of the Strand, but for the beautiful Charing Cross Hotel? Well worth it. And with free champagne, who’s complaining? Not me. Well actually, me a bit… I thought ‘Great! Bit of bubbly will numb my stabbing sore throat’ – WRONG. (Note To All – 1 in 2 people at fashion week are ill like moi). After a sneaky chat with someone in the production team, Amelia, Matt and I got first dibs on seats, as well as a lovely lady from Grazia. She lent me a lush pen that had me wishing she’d forget to ask for it back. We spread ourselves amongst the front rows for different perspectives and then it was the hipsters turn to pick-and-choose. It sure felt good to have one-up on them this time! The crowds then gushed in with one lady’s hat towering tall above them all. We couldn’t help staring in the champagne reception, it genuinely looked like a Philip Treacy. Jealous.

Illustration by Kerriann Hulme

The runway for the show was unique in that it snaked around the room, this insanely beautiful ornate room. A gleaming chandelier hung high over our heads, for goodness sake. And velvet and marble was coming in from all directions. So were the clothes as luxe as the location?

Illustration by Natsuki Otani

HELL yes, they were. The collection, once again, embodied his natural design ethos, paying homage to classic British Tailoring intertwined with sexy modernity. I remember this creepy boy from my childhood wore green corduroy trousers to school everyday, so I usually REPELL corduroy. However, Elliott J. Frieze has officially turned me with suitable injections of camel-coloured corduroy – think pencil skirts and jacket details. Lush.

The whole colour pallette was perfection on the eyes. Frieze centred it around a combination of ‘caffeine mixtures’ represented by Latte, Mochas and Expresso. Considering i’m a die-hard lover of anything coffee-flavoured, this must be why i wanted to eat the collection up! Everything was very well co-ordinated.

Frieze drove the boundaries of his classic British foundations with cocktail dresses made from lambswool and a long beautiful dress that was constructed by some of the most impressive jersey draping I have EVER seen. No wonder he’s dressed such power-women as Yasmini Le Bon, Lily Cole & Erin O’ Connor.

The idea is that the look reflects Elliott’s story from Country to City. From all those old-fashioned favourite textures to a bit of spectacular cinching, draping and tucking to prepare the country Lord/Lady for the London ratrace!

Much inspiration was taken from the 1970s. Therefore, just like last season, hair was big, curly and volumnous. Suitable additions of sunglasses courtesy of Persol and gloves by Southcombe set the whole look off, creating a powerful and sexy image.

If I wasn’t currently a student and could afford to invest in any up-and-coming designer, I would go straight to Elliott J. Frieze! He’s my definate one-to-watch so, if I were you, I’d keep an eye on him.

Illustration by Mina Bach

If I could taste something as delish for the mouth as Elliott J. Frieze is for the eyes, more about I’d eat it up so fast that time may go backwards. It’s my second LFW show of newcomer Elliott J. Frieze and I’m seriously beginning to LOVE this guy. Like, pharm true sartorial love. His work needs to be up there with the best on the BFC Catwalk. NEEDS.

Illustration by Matilda Sazio

Saying that, buy more about however, he did bag a rather delectable venue anyway. Especially for his third London Fashion Week show. It was a bit of an epic walk in the rain down the entire length of the Strand, but for the beautiful Charing Cross Hotel? Well worth it. And with free champagne, who’s complaining? Not me. Well actually, me a bit… I thought ‘Great! Bit of bubbly will numb my stabbing sore throat’ – WRONG. (Note To All – 1 in 2 people at fashion week are ill like moi). After a sneaky chat with someone in the production team, Amelia, Matt and I got first dibs on seats, as well as a lovely lady from Grazia. She lent me a lush pen that had me wishing she’d forget to ask for it back. We spread ourselves amongst the front rows for different perspectives and then it was the hipsters turn to pick-and-choose. It sure felt good to have one-up on them this time! The crowds then gushed in with one lady’s hat towering tall above them all. We couldn’t help staring in the champagne reception, it genuinely looked like a Philip Treacy. Jealous.

Illustration by Kerriann Hulme

The runway for the show was unique in that it snaked around the room, this insanely beautiful ornate room. A gleaming chandelier hung high over our heads, for goodness sake. And velvet and marble was coming in from all directions. So were the clothes as luxe as the location?

Illustration by Natsuki Otani

HELL yes, they were. The collection, once again, embodied his natural design ethos, paying homage to classic British Tailoring intertwined with sexy modernity. I remember this creepy boy from my childhood wore green corduroy trousers to school everyday, so I usually REPELL corduroy. However, Elliott J. Frieze has officially turned me with suitable injections of camel-coloured corduroy – think pencil skirts and jacket details. Lush.

The whole colour pallette was perfection on the eyes. Frieze centred it around a combination of ‘caffeine mixtures’ represented by Latte, Mochas and Expresso. Considering i’m a die-hard lover of anything coffee-flavoured, this must be why i wanted to eat the collection up! Everything was very well co-ordinated.

Frieze drove the boundaries of his classic British foundations with cocktail dresses made from lambswool and a long beautiful dress that was constructed by some of the most impressive jersey draping I have EVER seen. No wonder he’s dressed such power-women as Yasmini Le Bon, Lily Cole & Erin O’ Connor.

The idea is that the look reflects Elliott’s story from Country to City. From all those old-fashioned favourite textures to a bit of spectacular cinching, draping and tucking to prepare the country Lord/Lady for the London ratrace!

Much inspiration was taken from the 1970s. Therefore, just like last season, hair was big, curly and volumnous. Suitable additions of sunglasses courtesy of Persol and gloves by Southcombe set the whole look off, creating a powerful and sexy image.

If I wasn’t currently a student and could afford to invest in any up-and-coming designer, I would go straight to Elliott J. Frieze! He’s my definate one-to-watch so, if I were you, I’d keep an eye on him.

Illustration by Gilly Rochester

I have always been a huge fan of Alice Temperley; in fact my whole family has, prostate with both my 19 year old sister and my mother owning pieces by Temperley London. This is testament to the timeless nature of the designs- its a label that seems above trends and fads, healing always unmistakeably Temperley, with the monochrome patterns, flowing silhouettes and oodles of embellishment. Inspired by Venetian fans, this collection had a decidedly Spanish feel, with flared flamenco style skirts and splashes of red.The focus went back to the brand’s roots: eveningwear- with delicate tulle dresses covered with either embroidery or encrusted with crystals.

Illustration by Joana Faria

Illustration by Gemma Milly

The opulence and extravagance reminded me of Marchesa’s latest collection, and dare I say it, even some of the last McQueen pieces. Other dresses were covered in stars, harking back to Alice’s love of the circus evident in earlier collections. A collared dress with 50s style skirts brought a vintage feel to the collection, whilst stunning shoes from Charlotte Olympia kept the whole thing contemporary.

Illustration by Donya Todd

The obligatory chunky knit and even a feminine take on the tux with a ruffled shirt meant that there was actually a huge range within a collection that still managed to maintain one coherent aesthetic. Described as a ‘coming of age’ collection for Temperley, it really does prove Alice to be at the top of her game. There are no gimmicks here- just luxury, feminine, red-carpet worthy looks that your grandchildren will be whipping out as ‘vintage’ in years to come.

Illustration by Joana Faria

Illustration by Gemma Milly

Illustration by Gilly Rochester

Illustration By Artist Andrea

I was very nervous about Jasper’s show, this as I adored his Spring/Summer collection so much that I was worried my expectations would be too high. But I wasn’t disappointed- the sound of rainfall set the mood for the show, search and the slats of the more theatrical pieces replicated this noise as the models walked. One maxi-dress was tied at the waist with a belt hung with oversized keys, which clinked together as she walked. The inclusion of sounds in a catwalk show helps to make it all seem more three dimensional. Reworked, instrumental covers of 90s tunes by the likes of Nirvana also created a great soundtrack.


Whilst a number of the dresses were so ostentatious- and according to reports from friends of mine backstage, so incredibly heavy-that they are unlikely to be worn by the likes of you and me, Jasper cleverly takes the textures of these pieces and works them into accessories like clutch bags and statement ruff-style necklaces that are much easier to integrate into your real-life wardrobe.

Illustration by Artist Andrea

Inspired by the novel ‘Soie’ by Alessandro Baricco about a European man who becomes enchanted with the East, there is a distinct oriental feel to the colour palette and the silhouettes.Lace dresses with thigh-high slits and completely backless, full length evening gowns added to the sensuality of the silk and lace.

Iconic Fornasetti-inspired prints make fantastic statement pieces, as well as a knitted maxi number, the knitwear trend instigated by the likes of Craig Lawrence and Mark Fast showing no sign of dying.The hair was elegantly side-swept in a vintage-inspired up-do; a look complimented by Lucas Jack drop earrings.


Its no coincidence that my favourite shows on Friday, and so far of LFW altogether, are the two that featured lots of colour, a few show-stopping, theatrical pieces, gorgeous vintage-inspired prints, and silhouettes designed for a womanly shape.I’m referring to Prophetik and Jasper Garvida. However, both shows also share the same single criticism from me- these are sexy designs, can you please put them on women with sexier figures?They would look BETTER.Honest.The corsets of Prophetik were desperate for some heaving bosoms a la costume drama, whilst some of Jasper’s models were painfully thin.Its something I noticed at his last show too, and I’ve heard the same feedback from a number of people, even the illustrators I sent my photos to were shocked.Jasper is represented by one of the loveliest, most down-to-earth PR companies around, so I really hope they pass thes comments on to him, as its really the only criticism I have of the show.


Illustration By Artist Andrea

I was very nervous about Jasper’s show, more about as I adored his Spring/Summer collection so much that I was worried my expectations would be too high. But I wasn’t disappointed- the sound of rainfall set the mood for the show, troche and the slats of the more theatrical pieces replicated this noise as the models walked. One maxi-dress was tied at the waist with a belt hung with oversized keys, which clinked together as she walked. The inclusion of sounds in a catwalk show helps to make it all seem more three dimensional. Reworked, instrumental covers of 90s tunes by the likes of Nirvana also created a great soundtrack.

Whilst a number of the dresses were so ostentatious – and according to reports from friends of mine backstage, so incredibly heavy – that they are unlikely to be worn by the likes of you and me, Jasper cleverly takes the textures of these pieces and works them into accessories like clutch bags and statement ruff-style necklaces that are much easier to integrate into your real-life wardrobe.


Illustration by Artist Andrea.

Inspired by the novel ‘Soie’ by Alessandro Baricco about a European man who becomes enchanted with the East, there is a distinct oriental feel to the colour palette and the silhouettes.Lace dresses with thigh-high slits and completely backless, full length evening gowns added to the sensuality of the silk and lace.

Iconic Fornasetti-inspired prints make fantastic statement pieces, as well as a knitted maxi number, the knitwear trend instigated by the likes of Craig Lawrence and Mark Fast showing no sign of dying. The hair was elegantly side-swept in a vintage-inspired up-do; a look complimented by Lucas Jack drop earrings.

It’s no coincidence that my favourite shows on Friday, and so far of LFW altogether, are the two that featured lots of colour, a few show-stopping, theatrical pieces, gorgeous vintage-inspired prints, and silhouettes designed for a womanly shape.I’m referring to Prophetik and Jasper Garvida. However, both shows also share the same single criticism from me – these are sexy designs, can you please put them on women with sexier figures? They would look BETTER. Honest. The corsets of Prophetik were desperate for some heaving bosoms a la costume drama, whilst some of Jasper’s models were painfully thin. It’s something I noticed at his last show too, and I’ve heard the same feedback from a number of people, even the illustrators I sent my photos to were shocked. Jasper is represented by one of the loveliest, most down-to-earth PR companies around, so I really hope they pass thes comments on to him, as its really the only criticism I have of the show.

All photography by Katie Antoniou.

Illustrations by Ankolie

Even the invitation to this show had me excited; detail of a vintage toile print on a fabric corset lined with vintage style brass buttons and the byline ‘inspired by the court of Louis XV when art became frivolous’ grabbed my attention.Because all of this is frivolous, diagnosis isn’t it?We’re in the middle of a recession and yet here we are, medical still feeding are obsession with fashion and art because it has become such an integral part of our lives.Combining fashion and music is a big part of my job as a stylist to musicians, find so opening the show with Analize Ching on the violin was a big hit with me, followed by wonderful orchestral music that evoked the atmosphere of a French royal court.


I’d been a little underwhelmed by a lot of very drab Autumn/Winter collections, where hues vary only from black,to greys, some cream and back to black. The colours Prophetik used are all natural, with plum shades blended from madder root, rumex, logwood and indigo, and burgundy mixed from madder root, curled dock and gallnut. Adding yet more splashes of colour and prints were the quilted pieces, handed down from Jeff’s grandmother Lola from Tennesse. Hemp, cactus silk and ostrich feathers provided stunning texture and shape to the pieces. Accessories label ‘Dotted Loop’ provided reworked vintage accessories and even the shoes were made from vegetable-tanned leather.


Its rare that I can get at all excited by menswear, but the pieces in this collection spoke to the avid period-drama fan inside me. Military inspired jackets and riding boots?Phwoar.Yes please. Jeff himself appeared at the end showing how the look can be worked, though I’m sure he could probably get a way with wearing pretty much anything and still look like he just finished writing poetry/surfing/horse-riding; all listed as his hobbies.Only someone this comfortable with his masculinity could design coats for men made out of pastel pink quilts.


Corsets, tailored jackets and voluminous skirts; Jeff is very good at designing clothes for real women’s bodies.He recently dressed the lovely Livia Firth for the 2011 Golden Globes, and I can only imagine that his celebrity following will continue to increase.The final dress, ‘Mrs Moulton’ features ostrich feathers that shed naturally twice a year (from the ostrich, not the dress-that would be a high maintenance frock indeed) hand sewn on white silk and organza- I can totally picture this as a celebrity wedding dress.Watch this space.


I’ll leave you with Jeff’s take on Renaissance Art.I think it’s very interesting considering our current pre-occupation with all things vintage.
‘Renaissance art is not a rebirth as one implies, but freedom from the past. Unconcerned with what has been said or done, living in the present with an immediate relation to all things…achievement does not birth beauty but raw effort confessing its own failures and in the confession is the beauty of Art.’


Illustration by Mina Bach

If I could taste something as delish for the mouth as Elliott J. Frieze is for the eyes, stomach I’d eat it up so fast that time may go backwards. It’s my second LFW show of newcomer Elliott J. Frieze and I’m seriously beginning to LOVE this guy. Like, true sartorial love. His work needs to be up there with the best on the BFC Catwalk. NEEDS.

Illustration by Matilda Sazio

Saying that, however, he did bag a rather delectable venue anyway. Especially for his third London Fashion Week show. It was a bit of an epic walk in the rain down the entire length of the Strand, but for the beautiful Charing Cross Hotel? Well worth it. And with free champagne, who’s complaining? Not me. Well actually, me a bit… I thought ‘Great! Bit of bubbly will numb my stabbing sore throat’ – WRONG. (Note To All – 1 in 2 people at fashion week are ill like moi). After a sneaky chat with someone in the production team, Amelia, Matt and I got first dibs on seats, as well as a lovely lady from Grazia. She lent me a lush pen that had me wishing she’d forget to ask for it back. We spread ourselves amongst the front rows for different perspectives and then it was the hipsters turn to pick-and-choose. It sure felt good to have one-up on them this time! The crowds then gushed in with one lady’s hat towering tall above them all. We couldn’t help staring in the champagne reception, it genuinely looked like a Philip Treacy. Jealous.

Illustration by Kerriann Hulme

The runway for the show was unique in that it snaked around the room, this insanely beautiful ornate room. A gleaming chandelier hung high over our heads, for goodness sake. And velvet and marble was coming in from all directions. So were the clothes as luxe as the location?

Illustration by Natsuki Otani

HELL yes, they were. The collection, once again, embodied his natural design ethos, paying homage to classic British Tailoring intertwined with sexy modernity. I remember this creepy boy from my childhood wore green corduroy trousers to school everyday, so I usually REPELL corduroy. However, Elliott J. Frieze has officially turned me with suitable injections of camel-coloured corduroy – think pencil skirts and jacket details. Lush.

The whole colour pallette was perfection on the eyes. Frieze centred it around a combination of ‘caffeine mixtures’ represented by Latte, Mochas and Expresso. Considering i’m a die-hard lover of anything coffee-flavoured, this must be why i wanted to eat the collection up! Everything was very well co-ordinated.

Frieze drove the boundaries of his classic British foundations with cocktail dresses made from lambswool and a long beautiful dress that was constructed by some of the most impressive jersey draping I have EVER seen. No wonder he’s dressed such power-women as Yasmini Le Bon, Lily Cole & Erin O’ Connor.

The idea is that the look reflects Elliott’s story from Country to City. From all those old-fashioned favourite textures to a bit of spectacular cinching, draping and tucking to prepare the country Lord/Lady for the London ratrace!

Much inspiration was taken from the 1970s. Therefore, just like last season, hair was big, curly and volumnous. Suitable additions of sunglasses courtesy of Persol and gloves by Southcombe set the whole look off, creating a powerful and sexy image.

If I wasn’t currently a student and could afford to invest in any up-and-coming designer, I would go straight to Elliott J. Frieze! He’s my definate one-to-watch so, if I were you, I’d keep an eye on him.

Photos by Georgia Takacs

Illustration by Gilly Rochester

I have always been a huge fan of Alice Temperley; in fact my whole family has, visit this with both my 19 year old sister and my mother owning pieces by Temperley London. This is testament to the timeless nature of the designs- its a label that seems above trends and fads, side effects always unmistakeably Temperley, visit this site with the monochrome patterns, flowing silhouettes and oodles of embellishment. Inspired by Venetian fans, this collection had a decidedly Spanish feel, with flared flamenco style skirts and splashes of red.The focus went back to the brand’s roots: eveningwear- with delicate tulle dresses covered with either embroidery or encrusted with crystals.

Illustration by Joana Faria

Illustration by Gemma Milly

The opulence and extravagance reminded me of Marchesa’s latest collection, and dare I say it, even some of the last McQueen pieces. Other dresses were covered in stars, harking back to Alice’s love of the circus evident in earlier collections. A collared dress with 50s style skirts brought a vintage feel to the collection, whilst stunning shoes from Charlotte Olympia kept the whole thing contemporary.

Illustration by Donya Todd

The obligatory chunky knit and even a feminine take on the tux with a ruffled shirt meant that there was actually a huge range within a collection that still managed to maintain one coherent aesthetic. Described as a ‘coming of age’ collection for Temperley, it really does prove Alice to be at the top of her game. There are no gimmicks here- just luxury, feminine, red-carpet worthy looks that your grandchildren will be whipping out as ‘vintage’ in years to come.

Photos by Katie Antoniou

Illustration by Joana Faria

Illustration by Gemma Milly

Illustration by Gilly Rochester

Illustration by Jaymie O’ Callaghan

He’s the long-standing fashion designer that, information pills despite his teeny tiny height, find you could spot a mile away. Much like his clothes, visit web really. A spot-on show with a dark soundtrack, breath-taking texture and an etheral beauty about the whole thing. This was John Rocha A/W 2011…

The queues to clamber into the BFC catwalk space were pretty epic. It was more of a crowd than a queue! Upon taking my seat, I began to regret wearing layers due to sauna temperatures and not enough space around me to take off my leather jacket. People were literally using the programs as fans to cool themselves. REALLY. Not so glamorous. THE Blogging Power-Couple, Scott Schuman and Garance Dore, sat themselves on the front row along with Susie Bubble (of course) and Alexandra Schulman, Editor of Vogue UK. And then came Hilary Alexander in her signature fur hat (*growl*) who sat RIGHT there in front of me – oh the excitement. She had a good look around her, peering over the top of her glasses as she does, exchanged a few words with fellow Times writers and then sat quietly waiting for showtime.

Illustration by Mina Bach

And here we go! Alas, after spotting Neil Young’s Harvest Moon as John Rocha’s inspiration on the program I was half expecting Old Man on the playlist. Ah well. Instead some heavy dark beats a la Stone Roses boomed across the catwalk as the first model took to the runway, in black black black and a MASSIVE head piece. Most models were baring these great creations that looked like a jamaican man’s dreadlocks tied up in a heap with wool knitted into it and a ton of volumising hairspray thrown in. PHEW. How these girls were managing that AND high heels, i don’t know.

The girls’ hair were styled in sweet little braids with slick, neatly parted roots. With that and all the textures of wool and fur (*more growls*) and what appeared to be silk chiffon, I was beginning to get a rustic, hippy and elvish feel with a suitable addition of elegance. People living in wood shacks in a snowy forest sprang to mind. NATURE sprang to mind.

Model of the moment, Abbey Lee, graced the spotlight towering high and elegant above many of the male models and sporting a dread-lock-esque headpiece herself! After a series of floor skimming gothic-looking gowns, it was time for some colour injection with browns, creams and bold under-skirt splashings of bold red, including a big painted tribal design that followed the hem of a floor-length skirt. It was a show full of twists and turns and surprises.

The lights dimmed and there was a moment of stillness before John Rocha, hand placed on chest as if deeply emotional with gratitude, led all models and creations up and down the catwalk, linking arms with Abbey Lee. She bent down to kiss him on the cheek infront of the cameras before he rushed off stage, clapping the audience saying thank you. A gracious finale to a glorious show!

Photographs by Georgia Takacs

Written by Georgia Takacs on Tuesday February 22nd, 2011 11:12 pm

Categories ,Abbey Lee, ,Jaymie O’Callaghan, ,John Rocha, ,LFW A/W 2011, ,Mina Bach., ,plaits

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Olivia Rubin

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Tosha by Rebecca Strickson

Danielle Lloyd and Konnie Huq, purchase illustrated by Lisa Stannard

Olivia Rubin’s show was to be held at Jalouse in Hanover Square – a place I’d hear of but never actually ventured in to. It was to be my last womenswear show (although I didn’t know it at the time, ed such is life!) and after a long, grueling day I needed a big drink. Luckily, these were on hand.

Outside, glamorous ladies and gents queued to get in, all throwing their tickets into the air, shouting the names of their publications or various relationships with Olivia. When I finally got inside, the Only Way is Essex girl group Lola were being ravished by a pack of pervy photographers screaming their names. To my left was Danielle Lloyd, an intriguing shade of orange; to my right, Jason Gardiner sat in a booth surrounded by a harem of orange honeyz. Konnie Huq was there. What the hell was going on? I was completely baffled. We’d featured Olivia in the past – I adored her artists-inspired collection, but I had no idea she had such an, erm, orange following.


Illustration by Fritha Strickland

There were no seats available – the show was to take place on a precarious plinth around the main area of the club, with guests littered around the plinth in sunken seats. I positioned myself by a wall and necked a cocktail. Whilst waiting for the show to start, I Twittered and checked my emails, slightly aware of somebody standing next to me but not looking up to notice. Hilariously, it was contributor Lauren, who had been stood there for a good ten minutes without either of us realising. This is the kind of thing that happens to your brain during fashion week. I could have been stood next to Naomi Campbell and wouldn’t have noticed (not that Lauren isn’t gorgeous herself).


Illustration by Michelle Urval Nyrén

The show began to rapturous applause, with the first model coming out from behind a make-shift backstage area right behind where I was standing. It was difficult to know where to look, and I missed the first few outfits due to glaring at the audience and being mesmerised by Jalouse’s crystal ceiling.

Olivia has quickly risen up the fashion ranks with her playful, vibrant prints using a whole load of inspiration. This time was no exception – brick patterns, speech bubbles, floral prints on silk and animal prints were all on display under the glittery lights. The shapes and cuts seemed a little more sophisticated this time around – Olivia’s staple playful dresses were still there in vibrant colours, but the addition of figure-hugging jersey tops and cropped trousers added a new, demure look. Lace details had been added to some pieces, sexing them up a little. Jersey and silks had been married for great effect. Sexy translucent shirts worn over lace underwear add even more kink to this fab collection.


Illustration by Jaymie O’Callaghan


Illustration by Madi Illustrates


Illustration by Maria Papadimitriou

Many of the pieces featured wrap-around details that flatter the figure – not that any of these hot models needed any flattering, but I imagine that sweeping necklines and pinched waists can be pulled off by even the most Rubenesque figure. Longer, almost floor-length numbers with vibrant graphic patterns closed the show – the final walkthrough leaving me on edge as these glamorous girls in vertiginous heels swaggered around the raised plinth.


One of the Only Way Is Essex birds, illustrated by Lisa Stannard

After the show, me and Amelia enjoyed a cocktail or two and had a bit of a gossip, keeping one eye on the attendees. We stood near the official photo point, me with my camera around my neck – one of the guests asked if I could take her picture. She didn’t ask why I was taking pictures or which publication I was from, she just wanted her photograph taken. Well, why not? Here she is – I hope she sees it (and likes it, obv).

All photography by Matt Bramford

See more of Lisa and Michelle’s illustrations in Amelia’s Compendium of Fashion Illustration.

Written by Matt Bramford on Friday March 4th, 2011 1:49 pm

Categories ,A/W 2011, ,catwalk, ,Danielle Lloyd, ,Fritha Strickland, ,Hanover Square, ,Jalouse, ,Jason Gardiner, ,Jaymie O’Callaghan, ,Konnie Huq, ,Lisa Stannard, ,Lola, ,london, ,London Fashion Week, ,Madi Illustrates, ,Maria Papadimitriou, ,Michelle Urvall Nyrén, ,Olivia Rubin, ,Orange, ,print, ,review, ,Tan, ,The Only Way is Essex, ,Womenswear

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

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Jean-Pierre Braganza AW 2012 by Catherine Meadows

Jean-Pierre Braganza A/W 2012 by Catherine Meadows

Although Chandelierium was inspired by ‘the sensuality of being covered’ and Victorian women driven to madness by the repression of their concealing clothes, Jean-Pierre Braganza turned constrictive silhouettes into a very wearable collection. As his current S/S 2012 collection was about 1920′s silhouettes and free movement (which I reviewed last London Fashion Week and loved, read about it here) A/W 2012 is all about figures being tailored and moulded by sharp lines. Jean-Pierre Braganza never does things in an expected manner, and played with the idea of how women embraced the dark side of such strict dress to remain in control.

Jean Pierre Braganza AW 2012 by Alia Gargum

Jean Pierre Braganza AW 2012 by Alia Gargum

Jean Pierre Braganza AW 2012 by Alia Gargum

All photography by Alia Gargum

After a bit of a wait and shuffle to the Embankment Gallery Show Space and spotting fashion writer legend Colin McDowell, we were let in to get seated and into the mindset of ‘the sensuality of being covered’. It seems that Victorian dress is a big influence for next season, almost a backlash against the vampy vixen type of looks we saw this winter from fashion houses such as Louis Vuitton. Of course, Mr Jean-Pierre Braganza worked his magic and made an originally repressive silhouette just right for 2012. The models stomped down the runway powerfully and with ease, adorned with simple makeup except a metallic lip and beautifully mad hair piled high and cropped short at one temple as if done in a fit of delirium.

Jean Pierre Braganza AW 2012 by Alia Gargum

Jean-Pierre Braganza A/W 2012 by Gareth A Hopkins

Jean-Pierre Braganza A/W 2012 by Gareth A Hopkins

Jean-Pierre Braganza A/W 2012 by Alia Gargum

I particularly liked how corsets, nipped-in waists and high necklines were referenced yet brought into modern day with beautifully psychedelic prints. Chandelierium was the name of one, which was also used on the invite. Each print gave the impression of falling into an image, surrounded by swirls of purples, reds, lilac pink and green, offset by shimmering metallic fabrics. The best thing was that this collection gave the impression of multiple-layered Victorian dress but kept fresh with a mini skirt here and there, relaxed yet oversized sleeves and flowing silks. As the show continued, it was almost as if Jean-Pierre Braganza was referencing women breaking free of the constriction, mixing dropped-waist trousers with some beautifully patterned knitwear or adding a loosely gathered dress.

Jean Pierre Braganza AW 2012 by Alia Gargum

Jean-Pierre Braganza A/W 2012 by Alia Gargum

Jean-Pierre Braganza AW 2012 by Illustrated Moodboard

Jean-Pierre Braganza A/W 2012 by Illustrated Moodboard

As the girls fiercely stomped en masse at the end of the show (perhaps to emote that bit of Victorian madwoman unpredictability) I couldn’t think of anyone who would have difficulty finding a piece just right for them in this collection. Loud prints, structured black and deep purple dresses, beetle-bright metallic jacquard, or simple printed silks were all there but didn’t seem to crowd each other. Jean-Pierre Braganza doesn’t just conjure up a fantasy, he makes it wearable and desirable. As Bad Girls by M.I.A. played the girls out and Jean-Pierre Braganza in to do his final bow, I had to smile as I almost got my camera smacked out of my hands by a model’s hip. These women didn’t feel constricted at all, they were ready to knock A/W 2012 right out.

JEAN PIERRE BRAGANZA by JAYMIE O'CALLAGHAN
Jean Pierre Braganza by Jaymie O’Callaghan.

Written by Alia Gargum on Monday February 20th, 2012 11:07 am

Categories ,Alia Gargum, ,Catherine Meadows, ,Chandelierium, ,Colin McDowell, ,Embankment Galleries, ,Embellishment, ,Gareth A Hopkins, ,Illustrated Moodboard, ,Jaymie O’Callaghan, ,Jean Pierre Braganza, ,knitwear, ,London Fashion Week, ,London Fashion Week A/W 2012, ,Louis Vuitton, ,M.I.A, ,Madness, ,Metallic, ,print, ,Silk, ,tailoring, ,Victorians, ,Womenswear, ,wool

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Amelia’s Magazine | Fashion in Motion at the V&A: KENZO

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On the first cold Wednesday of November, for sale drugs my brisk walk up Kingsland Road was rewarded by ‘Small Things‘ a collective exhibition of photography at 67a Dalston Lane. The works on display are an exquisite foray (two of the four participants Annie Collinge and Amy Gwatkin contributed to Amelia’s Magazine whilst in print) into the possibilities of photography. Here the four participants, viagra Annie Collinge, Anna Leader, Bella Fenning and Amy Gwatkin discuss their involvement in the exhibition and introduce a few of the threads running through their work.

Annie Collinge’s tightly composed portraits documents the faces of four girls dressed as their favourite comic book heroines.

For the Small Things Exhibition, why did you decide to sidestep the girls costumes at the Comic Con convention?

There were a lot of people taking photographs there, so I wanted to take a different approach. I actually just used it as an opportunity to photograph strangers, because they were at the conference, they didn’t question why I wanted to take their picture. I actually shot a lot of men too but when I looked at the images, the pictures of the girls were much stronger.

How do you choose your subjects?

I picked out people that had a natural, though awkward, appeal which in most cases they seemed unaware of possessing. Those with the best costumes didn’t necessarily make for the best subjects

How did you become involved with Small Things?

I was a Brighton with Amy, Anna and Bella and they very kindly asked me if I would like to be part of the show. Having worked in editorial for a while I think showing personal projects is by far the most important thing so I am really pleased I took part in it.

Anna Leader documents the components required for an amateur science project.

What was the concept behind your latest photographic series?

The series was a reaction to the title of the show, Small Things. I explored something simple but wondrous, one of the first things we learn in science: light refracting through a prism and being broken down into its basic components that are usually invisible to the naked eye.

Placing a crystal and a spectrum side by side, prompts the viewer to remember this phenomenon of cause and effect. The rainbow was created in a controlled environment however, using an overhead projector, a glass of water and a piece of mirror, a man-made trick that I relate with the nature of photography itself, a mechanical tool making use of the elements of what we see and creates something beyond the realm of the immediately visible.

What I chose to exhibit therefore were all elements: the beautiful spectrum and the real device that allowed it to be visible, rendering the crystal inanimate. The consequence is a continual short circuit between the three images and between three versions of the same story.

What intrigues you about amateur or DIY Science Experiments?

Amateur or DIY Science Experiments contain some of our most basic questions regarding what makes up the physical world around us and the results obtained are a celebration of the answers readily available through patient observation and the desire to see. Photography has the same power. We try to grasp what we see and record it for the future, putting the documents into categories: aesthetic, informative, emotive and so on.

Bella Fenning Arrivals and Departures presented on a tower of Photo Cubes, invites the viewer to participate in the narration of the images.

How did the photographic series for the exhibition Small Things develop?

I’m really interested in how we experience or engage with photographs. I wanted to get away from the traditional hanging of images in the gallery space, and the fear of getting to close to the work on display. Audience participation, or being an active viewer, was an important aspect. I wanted to make something sculptural that combined the 2 different languages I work with (still and moving imagery), but was also tactile and had multiple viewing screens.

This idea of what you can hold on to and what you can’t is conveyed in the images through a series of events that are fleeting yet leave a lasting impression. I’d started thinking about photo cubes, which had been a popular display object to have in your home when I was growing up. I happened to find one at a jumble sale when I was on holiday in the midst of making the work and that became the base of this project.

What intrigues your camera when photographing a landscape compared to a portrait?

To me, landscapes and portraits are of equal measure – I see as much personality or character in the landscape as I do when photographing people. I’m also drawn to the intimacy of people in their domestic settings, which is a common thread throughout my work.

Who are your favourite photographers or filmmakers?

I would say John Cassavetes and David Lynch for the profound effect their films have had on me. Maya Deren for the wonder of her timeless, playful and experimental approach, and the brilliant wit and poinancy of Sophie Calle. But I never tire of looking at the work of Nan Goldin, and the poetic nature of Duane Michals and Doug Aitken. The list goes on……

Amy Gwatkin’s Nothing Happened, forms a census of men smoking naked or partially clothed in the photographer’s documentation of a mass performed individualised act.

By advertising your photography project on Craig Lists casual encounters (please correct me if this is the wrong title) there is an element of danger when meeting strangers who are willing to pose for you naked, what impact do you think this has on the outcome of the photographs?

I think sometimes it forces me to be very quick – encourages lots of preparation. It’s tiring too; no matter how sure I feel that I’m able to control a situation, there’s always an awareness of potential danger somewhere in the back of my consciousness.

It does mean that some of the sittings are better articulated than others. I approach each model with a ‘menu’ of 2 or 3 ideas I want to explore. As soon as i walk in the door i can tell that some will/won’t work. It also depends which advert they answered – the artists’ community one, or the casual encounters one. So in the latter case, often the model’s face has to be cropped out/obscured. I think I must enjoy the risk. Occasionally it makes the images harder to look at/edit, as you can get away with doing certain things with strangers that you couldn’t with friends.

Voyeurism forms a long and complicated chapter in the history of photography, what your relation or thoughts on the role or aspect of voyeurism in photography?

(Def: one who habitually seeks sexual stimulation by visual means )

Although it is also officially classified as a term about sexual behaviour – I think now we’ve broadened it to include connotations of watching/looking but not participating; perhaps of being an outsider. Making a distinction between those who act/take part, and those who merely watch, getting a vicarious thrill. I think in the case of this project perhaps the thrill is in re-ordering/editing the images to create an impossible./untrue narrative. Is there something inherently sexual about the pictures? Yeah. Even though nudity doesn’t have to be sexual, sometimes it can just be beautiful, or vulnerable, or liberated.

Would you class these photographs as voyeuristic as they involved sitters with whom you know personally or who had agreed to be photographed naked, as the sitter themselves found the concept of being photographed naked intriguing?

I don’t know if I find the individual portraits voyeuristic – certainly the presentation of them is more so. Something about re-shooting the images from the screen before outputting gives them a contrasty, metallic edge – the moiré reminds us we’re looking at a screen, putting an extra distance between the portrait and the viewer. It looks like a surveillance image. But yes, my advert started with “exhibitionists wanted”, which I guess instantly makes them willing participants in a role-play in which I take the voyeur’s position behind the lens.

Small Things runs at 67a Gallery until 28th November.
67a Dalston Lane, London, E8 2NG
Opening times: Wednesday – Saturday, 1-6pm

Illustration by Darren Fletcher

Another Friday, order another weekend at the V&A. This time around it was to attend the latest event in the Fashion in Motion series, information pills which on this occasion devoted the catwalk in the overwhelming Raphael Gallery to the 40th anniversary celebrations of legendary Japanese fashion house Kenzo. 

What to expect? Well, huge queues, people scrambling for tickets and fights for the front row ensued. As I have a habit of saying at these things, it’s wonderful to see the diversity of people who’ll queue on the phone on that Monday morning like a rabid Take That fan desperate for tickets. The attendees ranged from young kids to glamour grannies, with Fred Butler and Erdem in between. I usually prefer the afternoon shows – they’re not as chaotic and the people are friendlier (at the last one, Osman, I got chatting to a pair of wonderful oldies who just LOVED fashion shows). This time around other commitments meant I’d have to attend the late show. I wasn’t disappointed – there’s a heightened sense of drama attending a show there in the evening.


Illustration by Antonia Parker

So what to say about the fashion? If you know anything about Kenzo and its creative director Antonio Marras, you’ll know it’s pretty zany. A mix of the grand label’s illustrious Japanese history and Marras’ Sardinian heritage, what prevailed was an ecectic mix of fabrics, cuts and lumps and bumps. We were promised a retrospective of the label’s forty-year history. I’m no Kenzo expert, but I’m pretty certain what we saw was from the last couple of seasons, generally. A bit of a shame, but a spectacle nonetheless.


All photography by Matt Bramford

Models teated on ‘shoes’ that bounced on the fine line between ridiculous and fabulous. Huge geometric-shaped heels and rounded fronts were just the start of these incredible creations to the sounds of rapid techno and classical piano. An unusual catwalk this time – models stepped onto an raised runway only to step down at the end and walk along the edge. Way to scare an audience, Kenzo!


Illustration by Faye West

Luxurious fabrics with delicate detailing and amazing embellishment followed. Insane graphic prints with nods to Japanese sub-cultures draped over the models, who also had mushroom-like headgear to deal with that cacooned their pretty little faces. Exotic bustiers made the most of their pretty little assets underneath, whilst translucent fabrics added a hint of eroticism.

The show came to a climax with all of the models filling the catwalk – the most I’ve seen at a show in ages, and it was a real fashion moment as they stood stock still to raputuous applause. Marras made an appearance at the end, too, boosting the applause to an almost deafening level.


Illustration by Jaymie O’Callaghan

Happy 40th Birthday, Kenzo – we salute you!

All photography by Matt Bramford

Written by Matt Bramford on Monday November 22nd, 2010 2:16 pm

Categories ,40th Anniversary, ,Antonia Parker, ,Antonio Marras, ,Darren Fletcher, ,Erdem, ,Faye West, ,Fred Butler, ,japan, ,Jaymie O’Callaghan, ,Kenzo, ,Raphael Gallery, ,Sardinia, ,Take That, ,va

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Amelia’s Magazine | My Best Friend’s (Eco) Wedding

by

Hannah Marshall by Naomi Law

This September London Fashion Week enters it’s third season within the courtyard of Somerset house. To enter the spirit of things Amelia’s Magazine will previewing on, sildenafil off schedules and the presentations, abortion naming the designers we think you should be keeping your eyes firmly on.
Here are Amelia’s Magazine’s ‘on schedule’ ones to watch.

Hannah Marshall – dark bold shapes, holding the tickets in our hands to HM’s SS10 collection (September 09) my colleague and I could barely contain our glee. Sitting down in the old post office building in Holborn Hannah’s models stalked through the space the inky blue errevensent in the dim lighting. AW 10 saw …. and …

Mary Katrantzou

Meeralee

Michael Van Der Haam’s Andy Warhol inspired designs influence were easily spotted in some of this year’s MA crop. For SS 11 Van Der Haam is presenting at ….

Louise Gray

I love Louise Gray – I love how her stalls in the New Gen exhibition section start off almost bare and before you know are infected with riotious colour as the exquisite detritus from her presentations take their place. For SS10 Gray presented both women and menswear occupying a small vault in Fashion East’s installation spaces. I am more than excited for her SS11 Catwalk Show.

Holly Fulton sharing a catwalk at … with David Koma, a designer Amelia’s Magazine was privy to his first two seasons presenting off schedule at ones to watch. (see previous coverage here and here)

Fashion East

Felicity Brown and Simone Rocha by Gareth A Hopkins

For the last six years Fashion East has reliably spotted recent graduates who go one to become sought after designers. This year’s crop sees Heikke Salone, Simone Rocha and Felicity Brown.

Heikki by Gemma Randall


Mr and Mrs Collingham, what is ed illustrated by Krister Selin

When my oldest pal Lydia announced her engagement and subsequent wedding, I struggled to imagine her having a generic do with a meringue dress and posed pictures. Her list of likes include folk and rock music, vintage fashion and living a sustainable day-to-day life. So it was no surprise when she declared that her wedding would take place in the woods.

I apologise in advance if this article may seem a little self-indulgent, and the truth is, it probably is. Well, sod it.


Lydia and Nathan


Photograph by Paul Saxby

Lydia and Nathan’s day began at the local town hall, with a low key ceremony. I had been so nervous about my continous blubbing throughout, but as The Beatles’ Love Me Do skipped on an old portable CD player, my tears turned to laughter. Lydia entered in a floor length Grecian-inspired dress with an artificial pose of sunflowers. Blimey, these civil ceremonies don’t last long do they? Before I knew it, they were Mr and Mrs Collingham and we were ushered outside to pose on the lawn. (Is it a civil ceremony when you get married at a registry office? I hope so).


Camping! Illustrated by Natasha Thompson

Anyway, the festivities began. Car-sharing had been arranged prior to the day (unfortunately there isn’t any easier way of getting around our small network of tiny villages) and guests had been discouraged from travelling from overseas. We arrived at the reception, set in our friend Alice’s beautiful garden. Lydia and Nathan are really fortunate to have such lovely friends who already take sustainability and climate change very seriously. The newlyweds had tried to create a festival vibe, whilst keeping carbon emisions to a minimum. We were all camping! A little camping area had been set up at the entrance to the woods, where tents had been pitched, and for a split second I could have been at any of the summer festivals – coloured tapers adorned the trees and homemade signs with directions had been painted.

Next up – food and booze. The food was incredible, and all locally sourced to reduce environmental impact. Organic elderflower champagne was provided as a reception drink, served with delicious vegan canapés. A delicious hog roast, provided by local butchers, was layed on for the meat eaters, but the menu was, by and large, vegan. Lydia’s mum had made a gorgeous mushroom en croute to accompany Ecoworks’ delicious selection of salads and nut roasts, and some of the vegatables had been sourced right here from the gardens!




The food! Illustrated by Kayleigh Bluck


Every method of recycling was taken care of!

Ecoworks is a community organisation based in Nottinghamshire with ‘the interests of people and the environment at its heart’. They work on conservation and restoration projects and run the FRESH project, which champions regeneration, education in sustainability and health.

They also run courses that encourage people to grow the good stuff and eat sustainably. Their Harvest Café van (a gorgeous converted vintage Citroën H van, no less) caters at festivals and events and specialises in vegetarian and vegan food, They provided spuds in the evening, with chilli or dahl, and a veggie breakfast the following day. I didn’t manage any of the latter because I had the world’s worst hangover, but I’m told it was a delight…

Lydia and Nathan’s dog Polly even managed to get in on the action, dressed to the nines in a ruffle of sunflowers…

Illustration of Polly by Naomi Law


I’m always hot for a Stella McCartney shoe – especially sourced on eBay at a bargain price. You can put the girl in the woods, but she’ll still wear hot shoes. AND Stella would have been proud. Sorry, I couldn’t resist… arrrrr!


Illustration by Michelle Urvall Nyrén

And so, very quickly, the afternoon turned to the evening and it was time to party, after taking a visit to one of the garden’s many eco loos. A total shock for many, this was. Wails of ‘Is that really where I go to the bloody lav?’ could be heard in the camping area, but just about everybody got used to it pretty quickly. One guest, who shall remain nameless, was even caught photographing down one…

Hay bales covered in vintage blankets created space for guests to mingle, while the epicentre was The Dome.

This recycled space appeared like a vision of the future from the 1960s, and Alice’s mum kindly informed me that it used to operate as a swimming pool cover. It was in here that local live bands played, including the wonderful 10 O’clock Horses – a suitable blend of folk, rock, roots and punk. Lydia and Nathan had their first dance to this band’s first song (as I stood aghast) and then we all had a good ol’ jig.


10 O’clock Horses, illustrated by Jaymie O’Callaghan

Candles lit the gardens, which was a bit of a struggle to begin with but we all soon got used to it and danced into the small hours. And so after a few too many organic beers and far too much shameful dancing on my behalf, it was time for bed. What a fabulous, fabulous day.

We retired to our tents, and Lydia and Nathan skipped off to their tepee to consumate their marriage…


Lydia and Nathan in front of their teepee, photographed by Paul Saxby

I have no idea if they did or not.

Written by Matt Bramford on Thursday September 16th, 2010 2:04 pm

Categories ,Autostitch, ,camping, ,eco, ,Eco-loo, ,Ecoworks, ,environment, ,festival, ,Food, ,Halina, ,Hipstamatic, ,Jaymie O’Callaghan, ,Krister Selin, ,Michelle Urvall Nyrén, ,Naomi Law, ,Natasha Thompson, ,Nottinghamshire, ,Paul Saxby, ,Polaroid, ,Stella McCartney, ,Sunflowers, ,Teepee, ,The Harvest Café, ,vegan, ,vegetarian, ,Wedding

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Amelia’s Magazine | My Best Friend’s (Eco) Wedding

by

Hannah Marshall by Naomi Law

This September London Fashion Week enters it’s third season within the courtyard of Somerset house. To enter the spirit of things Amelia’s Magazine will previewing on, sildenafil off schedules and the presentations, abortion naming the designers we think you should be keeping your eyes firmly on.
Here are Amelia’s Magazine’s ‘on schedule’ ones to watch.

Hannah Marshall – dark bold shapes, holding the tickets in our hands to HM’s SS10 collection (September 09) my colleague and I could barely contain our glee. Sitting down in the old post office building in Holborn Hannah’s models stalked through the space the inky blue errevensent in the dim lighting. AW 10 saw …. and …

Mary Katrantzou

Meeralee

Michael Van Der Haam’s Andy Warhol inspired designs influence were easily spotted in some of this year’s MA crop. For SS 11 Van Der Haam is presenting at ….

Louise Gray

I love Louise Gray – I love how her stalls in the New Gen exhibition section start off almost bare and before you know are infected with riotious colour as the exquisite detritus from her presentations take their place. For SS10 Gray presented both women and menswear occupying a small vault in Fashion East’s installation spaces. I am more than excited for her SS11 Catwalk Show.

Holly Fulton sharing a catwalk at … with David Koma, a designer Amelia’s Magazine was privy to his first two seasons presenting off schedule at ones to watch. (see previous coverage here and here)

Fashion East

Felicity Brown and Simone Rocha by Gareth A Hopkins

For the last six years Fashion East has reliably spotted recent graduates who go one to become sought after designers. This year’s crop sees Heikke Salone, Simone Rocha and Felicity Brown.

Heikki by Gemma Randall


Mr and Mrs Collingham, what is ed illustrated by Krister Selin

When my oldest pal Lydia announced her engagement and subsequent wedding, I struggled to imagine her having a generic do with a meringue dress and posed pictures. Her list of likes include folk and rock music, vintage fashion and living a sustainable day-to-day life. So it was no surprise when she declared that her wedding would take place in the woods.

I apologise in advance if this article may seem a little self-indulgent, and the truth is, it probably is. Well, sod it.


Lydia and Nathan


Photograph by Paul Saxby

Lydia and Nathan’s day began at the local town hall, with a low key ceremony. I had been so nervous about my continous blubbing throughout, but as The Beatles’ Love Me Do skipped on an old portable CD player, my tears turned to laughter. Lydia entered in a floor length Grecian-inspired dress with an artificial pose of sunflowers. Blimey, these civil ceremonies don’t last long do they? Before I knew it, they were Mr and Mrs Collingham and we were ushered outside to pose on the lawn. (Is it a civil ceremony when you get married at a registry office? I hope so).


Camping! Illustrated by Natasha Thompson

Anyway, the festivities began. Car-sharing had been arranged prior to the day (unfortunately there isn’t any easier way of getting around our small network of tiny villages) and guests had been discouraged from travelling from overseas. We arrived at the reception, set in our friend Alice’s beautiful garden. Lydia and Nathan are really fortunate to have such lovely friends who already take sustainability and climate change very seriously. The newlyweds had tried to create a festival vibe, whilst keeping carbon emisions to a minimum. We were all camping! A little camping area had been set up at the entrance to the woods, where tents had been pitched, and for a split second I could have been at any of the summer festivals – coloured tapers adorned the trees and homemade signs with directions had been painted.

Next up – food and booze. The food was incredible, and all locally sourced to reduce environmental impact. Organic elderflower champagne was provided as a reception drink, served with delicious vegan canapés. A delicious hog roast, provided by local butchers, was layed on for the meat eaters, but the menu was, by and large, vegan. Lydia’s mum had made a gorgeous mushroom en croute to accompany Ecoworks’ delicious selection of salads and nut roasts, and some of the vegatables had been sourced right here from the gardens!




The food! Illustrated by Kayleigh Bluck


Every method of recycling was taken care of!

Ecoworks is a community organisation based in Nottinghamshire with ‘the interests of people and the environment at its heart’. They work on conservation and restoration projects and run the FRESH project, which champions regeneration, education in sustainability and health.

They also run courses that encourage people to grow the good stuff and eat sustainably. Their Harvest Café van (a gorgeous converted vintage Citroën H van, no less) caters at festivals and events and specialises in vegetarian and vegan food, They provided spuds in the evening, with chilli or dahl, and a veggie breakfast the following day. I didn’t manage any of the latter because I had the world’s worst hangover, but I’m told it was a delight…

Lydia and Nathan’s dog Polly even managed to get in on the action, dressed to the nines in a ruffle of sunflowers…

Illustration of Polly by Naomi Law


I’m always hot for a Stella McCartney shoe – especially sourced on eBay at a bargain price. You can put the girl in the woods, but she’ll still wear hot shoes. AND Stella would have been proud. Sorry, I couldn’t resist… arrrrr!


Illustration by Michelle Urvall Nyrén

And so, very quickly, the afternoon turned to the evening and it was time to party, after taking a visit to one of the garden’s many eco loos. A total shock for many, this was. Wails of ‘Is that really where I go to the bloody lav?’ could be heard in the camping area, but just about everybody got used to it pretty quickly. One guest, who shall remain nameless, was even caught photographing down one…

Hay bales covered in vintage blankets created space for guests to mingle, while the epicentre was The Dome.

This recycled space appeared like a vision of the future from the 1960s, and Alice’s mum kindly informed me that it used to operate as a swimming pool cover. It was in here that local live bands played, including the wonderful 10 O’clock Horses – a suitable blend of folk, rock, roots and punk. Lydia and Nathan had their first dance to this band’s first song (as I stood aghast) and then we all had a good ol’ jig.


10 O’clock Horses, illustrated by Jaymie O’Callaghan

Candles lit the gardens, which was a bit of a struggle to begin with but we all soon got used to it and danced into the small hours. And so after a few too many organic beers and far too much shameful dancing on my behalf, it was time for bed. What a fabulous, fabulous day.

We retired to our tents, and Lydia and Nathan skipped off to their tepee to consumate their marriage…


Lydia and Nathan in front of their teepee, photographed by Paul Saxby

I have no idea if they did or not.

Written by Matt Bramford on Thursday September 16th, 2010 2:04 pm

Categories ,Autostitch, ,camping, ,eco, ,Eco-loo, ,Ecoworks, ,environment, ,festival, ,Food, ,Halina, ,Hipstamatic, ,Jaymie O’Callaghan, ,Krister Selin, ,Michelle Urvall Nyrén, ,Naomi Law, ,Natasha Thompson, ,Nottinghamshire, ,Paul Saxby, ,Polaroid, ,Stella McCartney, ,Sunflowers, ,Teepee, ,The Harvest Café, ,vegan, ,vegetarian, ,Wedding

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