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


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.

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 | Pam Hogg: London Fashion Week A/W 2012 Catwalk Review

Pam Hogg A/W 2012 by Mitika Chohan
Pam Hogg A/W 2012 by Mitika Chohan.

We have sadly not been invited to a Pam Hogg show for two years now, and boy have I missed them: they are an incredibly hot ticket, so when I arrived late I was only able to secure a good position with the magic addition of a fold up chair. Only when I checked twitter later did I discover that the front row had been the usual celeb fest – I missed Nick Rhodes, Alexandra Burke, Janice Dickinson, Jo Wood and no doubt a host of others. Some of them can be found in this Fashion Scout blog post, as can I, in a lesson on how not to be caught on camera during LFW: looking like a giant warthog (I am HEAVILY PREGNANT) and desperately hoping to escape the photo. Note to self: if in doubt, smile.

Pam Hogg A/W 2012 by Faye West
Pam Hogg A/W 2012 by Faye West.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
The Pam Hogg A/W 2012 catwalk show WILD life began in stately fashion, with a sawing Appalachian violin to accompany the sedate steps of a model in towering ribboned heels. She wore a swinging latex dirndl skirt adorned with Hogg’s trademark geometric shapes in red, black, white and grey that were reminiscent of smaller knitted folk patterns, whilst a huge matching bonnet swallowed her head. Make-up was similarly bold: monobrows met sharply in the middle and accompanied Geisha-like dots above and beneath the eyes.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg A/W 2012 by Lo Parkin
Pam Hogg A/W 2012 by Lo Parkin.

Jaime Winstone was next to stride out with a bouncy swagger, stopping briefly for a languid barndancing turn with a fellow model in the middle of the catwalk. Then it was on to Pam Hogg‘s inimitable skintight catsuits – this time in an array of geometric, mesh and beribboned combinations.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
As more and more flesh was revealed the models retained a demure demeanour more befitting the previous wide skirts, even as they struggled to stay upright on crippling heels. Well, I say heels: what would have been heels were angled impossibly towards the platformed soles so that the girls appeared to balance on thin air.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg A/W 2012 by Veronica Rowlands
Pam Hogg A/W 2012 by Veronica Rowlands.

Red lace, silver lame, and furry merkins… it’s not a mixture I would ever have considered putting together myself, but Pam Hogg somehow combined incongruous materials to extravagant effect. Some of my favourite bodysuits featured carefully placed panels of rucking that puffed out sexily to emphasise womanly curves on buttocks and bosom.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Geometrics in copper, gold and silver created a futuristic effect as the music segued into something more modern, albeit with violins still at the forefront of the brilliant soundtrack – a testament to Pam’s love of music. Tight fitting dresses and culottes that swung just on the knee were beautifully sexy, especially in mesh with black arrow patterns – proving that these body hugging wonders suit more voluptuous creatures too.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
The show finished with a trio of stunning pieces: a sequinned full length dress in lilac, rose and gold, a dolly like mesh culotte dress with strategically placed lace cascading down the buttocks, and the denouement: a boudoir influenced outfit constructed entirely from red bows, complete with red ribbon garter. For the finale Pam Hogg – sporting cartoon bright yellow hair – was dragged down the catwalk by Jaime Winstone to whoops and hollers from the crowd.

Pam Hogg A/W 2012 by Faye West
Pam Hogg A/W 2012 by Faye West.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
No one can beat Pam Hogg when it comes to reinventing the catsuit – and this show proved that she can cut a mean skirt and bonnet too. In a 2009 interview she spoke honestly of the financial difficulty in creating such avante garde designs and her reliance on friends to sponsor her comeback fashion show: one wonders how she continues to survive, creating such uncommercial but fantastical outfits without which London Fashion Week would be a poorer place.

Pam Hogg A/W 2012 by Gilly Rochester
Pam Hogg A/W 2012 by Gilly Rochester.

Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
Pam Hogg AW 2012 -photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,A/W 2012, ,Alexandra Burke, ,Appalachian, ,Catsuits, ,Dirndl Skirts, ,Fashion Scout, ,folk, ,Freemasons’ Hall, ,geometric, ,Gilly Rochester, ,Jaime Winstone, ,Janice Dickinson, ,Jo Wood, ,Latex, ,lfw, ,Lo Parkin, ,London Fashion Week, ,Merkins, ,Mesh, ,metallics, ,Mitika Chohan, ,Nick Rhodes, ,Pam Hogg, ,Ribbons, ,Veronica Rowlands, ,WILD life

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Amelia’s Magazine | London Fashion Week S/S 2010 Catwalk Review: Betty Jackson

pierre garroudi – lfw – ss11 – sketch crowd – jenny robins
Illustration by Lesley Barnes

Turns out London Fashion Week is a breeze by bike and is thoroughly recommended when hot tailing it between various Bloomsbury venues, doctor as inevitably shows fall within minutes of each other. Actually I throughly recommend traveling around London by bike, one word of warning; once started it becomes increasingly difficult to pour yourself onto the tube. Anyway, I digress from FASHION and within Amelia’s Magazine archive there are posts dedicated to the joys of cycling. In fact why not read Amelia’s interview with Bobbin Bicycles?

But returning to day two of London Fashion Week, in which Fashion Editor Matt Bramford and I met super early outside My Beautiful Fashion for Bernard Chandran before hot-peddling it to Craig Lawrence’s beautiful collection in the elegant settings of the Portico Rooms.

After dashing back up to Covent Garden via the trusty bike to collect the YSL manifesto, I easily returned to Somerset House in time for my 1pm appointment with Betty Jackson. For reasons I can’t put my finger on, I am strangely intrigued about Betty Jackson.

Illustration by Lesley Barnes

A long standing figure on the London Fashion Week on schedule, this is a designer name I am familiar with, but whose work I know incredibly little about. It appears I was the only one to be so clueless, as the tent was packed to the rafters and as the lights dimmed, and the runway cover was removed, the usual dash to seat the VIP’s caused a mini-pile up as people jumped into their alloted positions or squeezed into any available gap.

After the door scrum was settled and the late comers quietly ushered in, the audience are plunged into darkness, as the first model arrives on the catwalk. A strange hush descends upon the crowd, the chattering murmur of minutes before is replaced by scribbling pens, tapping on phones and the constant wizz of a camera’s flash.

It is -especially on a cold London September day- easy to forget you are watching Spring Summer Collections, especially when designers’ tempt you with beautifully thick knits and wool infused trousers.

Betty Jackson’s S/S 2011 was beautiful simplicity in her presentation of updated 1940′s land girl outfits, the essence of which were most recently seen on Keira Knightly and Sienna Miller in the Dylan Thomas Biopic “The Edge of Love.”

Illustration by Gemma Randall

Luckily after being lulled into a gentle consideration of how warm those knit would be. Betty Jackson threw a curve ball with the appearance of a swimsuit and blouse adorned with club tropicana prints before returning the collection to soft muted browns, delectably realised in the above jumpsuit illustrated by Gemma Randall.

During shows, one occasionally glances around the room – fashion shows are a great place to watch peoples’ expressions – perhaps to see how the collection is going down or to try and catch a glimpse of the outfits from various angles. In the course of watching a model stalk up to the photographers pit, I noticed a very beautiful Jo Wood standing (looking, it has to be said completely unperturbed) by the door.

Illustration by Gemma Randall

A luxurious collection, the shapes were well made in their simplicity and the designer maintained the crowds attention with the occasional loud print or teeny tiny swimming costumes, interdispersed within sophisticated summer glamour of lengthy cut black garments. Mind you, it appears all designers suffer slightly from an obsession with lots of flesh (mainly leg) and teeny tiny shorts? They LOVE it! As showcased in our extremely popular (and excellent) coverage of Charlie Le Mindu seen here and here by Amelia Gregory and Matt Bramford.

Categories ,Betty Jackson, ,BFC, ,Charlie le Mindu, ,Edge of Love, ,Flesh, ,Jennifer Saunders, ,Jo Wood, ,Land Girls, ,London Fashion Week, ,Spring Summer, ,SS 11, ,Tracey Emin

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Amelia’s Magazine | London Fashion Week S/S 2010 Catwalk Review: Betty Jackson

pierre garroudi – lfw – ss11 – sketch crowd – jenny robins
Illustration by Lesley Barnes

Turns out London Fashion Week is a breeze by bike and is thoroughly recommended when hot tailing it between various Bloomsbury venues, doctor as inevitably shows fall within minutes of each other. Actually I throughly recommend traveling around London by bike, one word of warning; once started it becomes increasingly difficult to pour yourself onto the tube. Anyway, I digress from FASHION and within Amelia’s Magazine archive there are posts dedicated to the joys of cycling. In fact why not read Amelia’s interview with Bobbin Bicycles?

But returning to day two of London Fashion Week, in which Fashion Editor Matt Bramford and I met super early outside My Beautiful Fashion for Bernard Chandran before hot-peddling it to Craig Lawrence’s beautiful collection in the elegant settings of the Portico Rooms.

After dashing back up to Covent Garden via the trusty bike to collect the YSL manifesto, I easily returned to Somerset House in time for my 1pm appointment with Betty Jackson. For reasons I can’t put my finger on, I am strangely intrigued about Betty Jackson.

Illustration by Lesley Barnes

A long standing figure on the London Fashion Week on schedule, this is a designer name I am familiar with, but whose work I know incredibly little about. It appears I was the only one to be so clueless, as the tent was packed to the rafters and as the lights dimmed, and the runway cover was removed, the usual dash to seat the VIP’s caused a mini-pile up as people jumped into their alloted positions or squeezed into any available gap.

After the door scrum was settled and the late comers quietly ushered in, the audience are plunged into darkness, as the first model arrives on the catwalk. A strange hush descends upon the crowd, the chattering murmur of minutes before is replaced by scribbling pens, tapping on phones and the constant wizz of a camera’s flash.

It is -especially on a cold London September day- easy to forget you are watching Spring Summer Collections, especially when designers’ tempt you with beautifully thick knits and wool infused trousers.

Betty Jackson’s S/S 2011 was beautiful simplicity in her presentation of updated 1940′s land girl outfits, the essence of which were most recently seen on Keira Knightly and Sienna Miller in the Dylan Thomas Biopic “The Edge of Love.”

Illustration by Gemma Randall

Luckily after being lulled into a gentle consideration of how warm those knit would be. Betty Jackson threw a curve ball with the appearance of a swimsuit and blouse adorned with club tropicana prints before returning the collection to soft muted browns, delectably realised in the above jumpsuit illustrated by Gemma Randall.

During shows, one occasionally glances around the room – fashion shows are a great place to watch peoples’ expressions – perhaps to see how the collection is going down or to try and catch a glimpse of the outfits from various angles. In the course of watching a model stalk up to the photographers pit, I noticed a very beautiful Jo Wood standing (looking, it has to be said completely unperturbed) by the door.

Illustration by Gemma Randall

A luxurious collection, the shapes were well made in their simplicity and the designer maintained the crowds attention with the occasional loud print or teeny tiny swimming costumes, interdispersed within sophisticated summer glamour of lengthy cut black garments. Mind you, it appears all designers suffer slightly from an obsession with lots of flesh (mainly leg) and teeny tiny shorts? They LOVE it! As showcased in our extremely popular (and excellent) coverage of Charlie Le Mindu seen here and here by Amelia Gregory and Matt Bramford.

Categories ,Betty Jackson, ,BFC, ,Charlie le Mindu, ,Edge of Love, ,Flesh, ,Jennifer Saunders, ,Jo Wood, ,Land Girls, ,London Fashion Week, ,Spring Summer, ,SS 11, ,Tracey Emin

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