Amelia’s Magazine | Thirty Years of Ally Capellino at The Wapping Project

little comets

Photos by Jazzy Lemon

It’s not often that a support band makes your ears prick up and pay attention; too often I’ve been to gigs where sub-standard support acts make the wait for the headliners feel that little bit longer. I doubt in their short career that Little Comets have ever had that problem.

They caught my attention when they supported the Noisettes on their national tour last year, and so it was exciting to see the band headline the Joiners in Southampton last week.

Little Comets are already favourites with the music press after a few well publicised stunts such as playing on the Metro, purchase or in the bakery isle of the local Marks & Spencer store, sales in their hometown of Newcastle. Their single ‘One Night In October’ reached No. 1 in the independent singles chart, so they’ve already got a relatively huge following.

It was the busiest I’ve seen the Joiners; it was a room full of sweaty, drunk lads who were all pretty excited for the band to start. When Little Comets play live they breathe life into their bouncy, poppy songs. It’s impossible not to get caught up in the fun of their live sets. At such an intimate venue, the gig really felt like we were watching something special.

Yes, Little Comets are a guitar band and that’s nothing new, but their songs and the way they approach them really are. In a genre that’s been done to death already, Little Comets are unexpectedly unique. In half an hour they convinced me that there is a future for guitar bands; something that no one has been able to do for a good year or so.

The audience sang along to pretty much every song as the band bounced their way through their perfectly formed pop-tracks such as ‘Friday Don’t Need It’ and ‘Adultery’, but it was ‘Joanna’ that really stood out. Unlike their other guitar-pop tunes, this a capella track quietened the room. It’s the song that sets them above their contemporaries and proves they’re not just four guys playing poppy lad-rock. They’re not a grown-up version of McFly, they’re a group of proper musicians who write proper lyrics and know how to engage the crowd.

Someone in the crowd shouted up to singer Rob, confessing that his girlfriend loved him. Rob got a lot of love that night; a couple of tracks in someone shouted that they loved him too. His witty responses, which were quicker than a heartbeat, had the crowd laughing throughout the set. Little Comets are the kind of band that will do well during the festival season. The fun they radiate is infectious and I can imagine nothing nicer than dancing in the afternoon to one of their sets.

They won over my friend whose CD collection extends to a collection of Now albums and the Glee soundtrack If they can do that, I have no doubt they’ll charm their audiences on the rest of the tour, and wherever else they get to play this summer.

Illustration by Aniela Murphy

The other Saturday I took a little trip down to The Wapping Project to see the rather splendid Ally Capellino exhibition. Completely under-publicised, drugs I have to thank Susie over at Style Bubble for bringing it to my attention. I’m a huge fan of this understated label, and I often pop into their store on Calvert Avenue in Shoreditch to salivate over their rather wonderful bags, rewarding myself with a coffee at Leila’s afterwards.

Turns out I’m a mere moment from The Wapping Project too, so I popped down with a couple of pals, only to be told by a florist, who shall remain nameless, that the exhibition was closed due to a wedding. Saddened, we stood outside hoping that we could at least get a glimpse through the window. LUCKILY, the director of the WP ushered us in. The wedding wasn’t due to start for a while (the International Sales Director of Topshop’s wedding, none-the-less, lah-de-dah) so we had twenty-two minutes to zip round.

The Wapping Project is ‘an idea consistently in transition’ and is set in the Wapping Hydraulic Power Station. Its interior remains pretty much as it would have done when in commercial use, with power hydrants and various power station ephemera still clinging solidly to the floors, around which the space is managed. During the evenings, the main room is transformed into an a la carte restaurant, and said wedding looked pretty incredible.

In the lower, darker, damper room, the Ally Capellino exhibition occupies the entire space. The central exhibition, made from recycled doors and different types of wood, tells the story of this intriguing brand, encircled by portraits of various fashionistas modelling different luggage and apparel.

Ally Capellino is the baby and brainchild of Alison Lloyd, began in 1980 (obv, being its thirtieth birthday). It’s gone from being a very small operation to an acclaimed British leather label. In her own words, she’s gone from ‘young designer to old bag lady’ and this exhibition sees Alison take a nostalgic and sometimes ‘embarrassing’ trip down memory lane.

The essence of Ally Capellino is predominantly British, with sneaky and slight European influences – often the simple style of the Scandinavians. The choronilogical exhibition explains, in just the right amount of detail, the progression of the label year-on-year.. The focus is it’s creative bag and luggage range, with clothing peppered here and there.

The label was originally set up as a clothing brand, and some of the examples on display of early garments are a total treat. It’s only been the past ten years where the accessories have shone through and become the stronghold, but the label has produced some exciting and innovative clothing throughout its existence.

There were graphic patterns, floral prints and neat tailoring in the 1980s:

…While a more futuristic style came through in 1990s with clean lines and masculine shapes:

…and childrenswear has remained fun and hip, reflecting the styles of the mens and womenswear whilst remaining playful:

The focus of the exhibition is the ‘bag wall’ – a huge wall dedicated to said bags – a mixture of new styles and vintage examples sent in by dedicated followers of the brand. Each bag has it’s only story to tell and numbers attached to the bag link to a wall of numbered stories. The essence of the brand is it’s focus on quality – some of these bags, which appear relatively new, are twenty years old for God’s sake!

Rupert Blanchard is behind the recycled, industrial look of the exhibition, and he shares Alison’s ‘passion for salvage and dread of waste’ and nothing looks out of place in this historical landmark.

There’s also a great selection of press material and advertising spanning the whole Ally Capellino era, with some great menswear advertisements, photographic thumbnails, and Vogue featured-in cards:

What does the future hold for the brand? Well, more of the same, please. With a host of collaborations with the likes of the Tate galleries and Apple, I expect there’ll be more of this in the pipeline. And what to say of the bags? Well, hopefully these beautiful creations, in a variety of subtle leathers and complimentary materials, will be produced for years to come.

Head down to the exhibition fast because it’s not on for long – go on, you’ll have a whopping time, even if fashion’s not necessarily your bag. (With puns like these, I should really work in Wapping for a certain tabloid newspaper.)


Illustration by Aniela Murphy

Check out all the important deets here.

Categories ,Alison Lloyd, ,Ally Capellino, ,Apple, ,Bags, ,Calvert Avenue, ,fashion, ,Hipstamatic, ,leather, ,Leila’s Café, ,Recycled wood, ,Rupert Blanchard, ,Salvage, ,shoreditch, ,Tate, ,The Wapping Project, ,vogue, ,wapping

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Amelia’s Magazine | Veja launch ‘Projet Numero Deux’ – satchels and sacks, ethical style

Shannon_Natasha_untitled
Shannon_Natasha_children

Take a look at Shannon’s website, there her Flickr or Tumblr, this web and you’ll get to peek into a world of ‘almost’ – almost grown up, almost ready, almost on your way. I feel I should apologise to Shannon in case that sounds patronising, but I mean this in the best way possible. Looking at Shannon’s photos brings back a feeling of being on the verge, excited and nervous at the thought of everything ahead. Right now, the 17–year-old is finishing her high school exams at home in Australia, and has to choose whether to go on to study photography full time or do something else. Almost entirely self-taught, she’s worried that taking her photography to a more professional level could take the fun out of it. But for one more summer, in a place infinitely more sunny than Britain, she is still free to roam around with friends and her camera.

Shannon_Natasha_selfportrait
Shannon Natasha: self portrait.

Shannon’s photos have a fresh and uninhibited feel, with a playful and sometimes dreamy streak. As her self portrait demonstrates, she knows a thing or two about technique and lighting too, and a browse through her work shows she has a good eye for intriguing detail. I think this is what they mean when they talk about talent.

What is it that you love about photography?
I love having the ability to focus on different points, pinpointing something specific you want people to be drawn to. I love creating stories and dreams in my photos, documenting events and recording emotions. I love being able to alter reality, spinning it whichever way I feel.

What sparked your interest in picture-taking?
I’ve actually had an interest in cameras since I was very young, receiving my first one as a birthday present when I was about five. I really developed my love for photography around the age of 14, and I delved further into the art by purchasing my first DSLR camera last year. This gave me much more manual freedom, which I had desired for so long. Previous to this I would often borrow the DSLRs from my school, or use my friend’s. I also used film SLRs. I’m mainly self taught, although I did learn a little more in choosing digital photography as an elective at school two years ago.
 
Shannon_Natasha_CF_VII

You have some great fashion-themed shots in your collection, but my favourites are probably the more ‘quiet’ photos, such as the wire hanger and the rose-painted doorknobs. Which style of photography do you like best?
My favourite shots are often the simple ones, although my different styles of photos all appeal to different parts of me. I love fashion and that’s why I love taking fashion shots. I also adore story telling, the ability to evoke emotion in others through art, and sometimes just having something pretty to look at, something that will sweeten my eyes and hopefully the eyes of others who see my photos. This is one thing I love about taking photos as a hobby, I take them for me. I don’t have any photos that other people have dictated.

Shannon_Natasha_hang_on
Hang on

You seem to be doing more and more fashion shoots. Is this the direction you’d like to go as a photographer?
I don’t think I could ever decide on one direction. I’m definitely interested in shooting fashion but I’d never want to limit myself. One thing I love about photography is the freedom and having the ability to capture my own visions. Sometimes I may have the intention of shooting a fashion-styled set of photos and end up getting carried away with more abstract or conceptual shots.

Shannon_Natasha_i_see_the_light_surrounding_you
I see the light surrounding you.

From where do you draw inspiration? Who are your favourite photographers?
I often draw inspiration from magazines, websites like Tumblr, amazing artists on Flickr and in the world, through music, through relationships, books and my family and friends. Many of my favourite photographers are not necessarily world-renowned. I absolutely love work by Alison Scarpulla, Jeannine Tan, Mary Robinson, Muszka, Tamara Lichtenstein, Nirrimi Hackanson and Evan Hawke. Their photos just catch my breath. 

Do you spend a lot of time getting the settings and light right, or is it a more impulsive process? Do you do much post-production?
It’s becoming much more impulsive now, although I do remember when it would take me four or five shots to get the settings right. Now it only takes one or two. Crazy weather in Australia, when the sun can’t make up its mind, doesn’t help. I don’t edit much if I’m shooting fashion or would like the photos to look more realistic, but if I’m going for something a little more magical I tend to spend a bit of time editing.

Shannon_Natasha_140410

With school over, what’s your plan?
The next thing for me will be university or possible an art college, where I will major in photography. At the moment I’d like to do both photography as well as something like law or psychology, but I may not even pursue photography in future study. I enjoy it very much as a hobby, so pushing money and survival into the equation may take some of my love from photography and replace it with nerves and fear which would ultimately be negative.

Shannon_Natasha_black

Other than photography, what makes you happy?
Other than taking photos, my passion is dancing. Mainly hip hop. Definitely dancing.

Shannon_Natasha_children

Take a look at Shannon’s website, this her Flickr or Tumblr, and you’ll get to peek into a world of ‘almost’ – almost grown up, almost ready, almost on your way. I feel I should apologise to Shannon in case that sounds patronising, but I mean this in the best way possible. Looking at Shannon’s photos brings back a feeling of being on the verge, excited and nervous at the thought of everything ahead. Right now, the 17–year-old is finishing her high school exams at home in Australia, and has to choose whether to go on to study photography full time or do something else. Almost entirely self-taught, she’s worried that taking her photography to a more professional level could take the fun out of it. But for one more summer, in a place infinitely more sunny than Britain, she is still free to roam around with friends and her camera.

Shannon_Natasha_selfportrait
Shannon Natasha: self portrait.

Shannon’s photos have a fresh and uninhibited feel, with a playful and sometimes dreamy streak. As her self portrait demonstrates, she knows a thing or two about technique and lighting too, and a browse through her work shows she has a good eye for intriguing detail. I think this is what they mean when they talk about talent.

What is it that you love about photography?
I love having the ability to focus on different points, pinpointing something specific you want people to be drawn to. I love creating stories and dreams in my photos, documenting events and recording emotions. I love being able to alter reality, spinning it whichever way I feel.

Shannon_Natasha_untitled

What sparked your interest in picture-taking?
I’ve actually had an interest in cameras since I was very young, receiving my first one as a birthday present when I was about five. I really developed my love for photography around the age of 14, and I delved further into the art by purchasing my first DSLR camera last year. This gave me much more manual freedom, which I had desired for so long. Previous to this I would often borrow the DSLRs from my school, or use my friend’s. I also used film SLRs. I’m mainly self taught, although I did learn a little more in choosing digital photography as an elective at school two years ago.
 
Shannon_Natasha_CF_VII

You have some great fashion-themed shots in your collection, but my favourites are probably the more ‘quiet’ photos, such as the wire hanger and the rose-painted doorknobs. Which style of photography do you like best?
My favourite shots are often the simple ones, although my different styles of photos all appeal to different parts of me. I love fashion and that’s why I love taking fashion shots. I also adore story telling, the ability to evoke emotion in others through art, and sometimes just having something pretty to look at, something that will sweeten my eyes and hopefully the eyes of others who see my photos. This is one thing I love about taking photos as a hobby, I take them for me. I don’t have any photos that other people have dictated.

Shannon_Natasha_hang_on
Hang on

You seem to be doing more and more fashion shoots. Is this the direction you’d like to go as a photographer?
I don’t think I could ever decide on one direction. I’m definitely interested in shooting fashion but I’d never want to limit myself. One thing I love about photography is the freedom and having the ability to capture my own visions. Sometimes I may have the intention of shooting a fashion-styled set of photos and end up getting carried away with more abstract or conceptual shots.

Shannon_Natasha_i_see_the_light_surrounding_you
I see the light surrounding you.

From where do you draw inspiration? Who are your favourite photographers?
I often draw inspiration from magazines, websites like Tumblr, amazing artists on Flickr and in the world, through music, through relationships, books and my family and friends. Many of my favourite photographers are not necessarily world-renowned. I absolutely love work by Alison Scarpulla, Jeannine Tan, Mary Robinson, Muszka, Tamara Lichtenstein, Nirrimi Hackanson and Evan Hawke. Their photos just catch my breath. 

Do you spend a lot of time getting the settings and light right, or is it a more impulsive process? Do you do much post-production?
It’s becoming much more impulsive now, although I do remember when it would take me four or five shots to get the settings right. Now it only takes one or two. Crazy weather in Australia, when the sun can’t make up its mind, doesn’t help. I don’t edit much if I’m shooting fashion or would like the photos to look more realistic, but if I’m going for something a little more magical I tend to spend a bit of time editing.

Shannon_Natasha_140410

With school over, what’s your plan?
The next thing for me will be university or possible an art college, where I will major in photography. At the moment I’d like to do both photography as well as something like law or psychology, but I may not even pursue photography in future study. I enjoy it very much as a hobby, so pushing money and survival into the equation may take some of my love from photography and replace it with nerves and fear which would ultimately be negative.

Shannon_Natasha_black

Other than photography, what makes you happy?
Other than taking photos, my passion is dancing. Mainly hip hop. Definitely dancing.

Shannon_Natasha_children

Take a look at Shannon’s website, more about her Flickr or Tumblr, and you’ll get to peek into a world of ‘almost’ – almost grown up, almost ready, almost on your way. I feel I should apologise to Shannon in case that sounds patronising, but I mean this in the best way possible. Looking at Shannon’s photos brings back a feeling of being on the verge, excited and nervous at the thought of everything ahead. Right now, the 17–year-old is finishing her high school exams at home in Australia, and has to choose whether to go on to study photography full time or do something else. Almost entirely self-taught, she’s worried that taking her photography to a more professional level could take the fun out of it. But for one more summer, in a place infinitely more sunny than Britain, she is still free to roam around with friends and her camera.

Shannon_Natasha_selfportrait
Shannon Natasha: self portrait.

Shannon’s photos have a fresh and uninhibited feel, with a playful and sometimes dreamy streak. As her self portrait demonstrates, she knows a thing or two about technique and lighting too, and a browse through her work shows she has a good eye for intriguing detail. I think this is what they mean when they talk about talent.

What is it that you love about photography?
I love having the ability to focus on different points, pinpointing something specific you want people to be drawn to. I love creating stories and dreams in my photos, documenting events and recording emotions. I love being able to alter reality, spinning it whichever way I feel.

Shannon_Natasha_untitled

What sparked your interest in picture-taking?
I’ve actually had an interest in cameras since I was very young, receiving my first one as a birthday present when I was about five. I really developed my love for photography around the age of 14, and I delved further into the art by purchasing my first DSLR camera last year. This gave me much more manual freedom, which I had desired for so long. Previous to this I would often borrow the DSLRs from my school, or use my friend’s. I also used film SLRs. I’m mainly self taught, although I did learn a little more in choosing digital photography as an elective at school two years ago.
 
Shannon_Natasha_CF_VII

You have some great fashion-themed shots in your collection, but my favourites are probably the more ‘quiet’ photos, such as the wire hanger and the rose-painted doorknobs. Which style of photography do you like best?
My favourite shots are often the simple ones, although my different styles of photos all appeal to different parts of me. I love fashion and that’s why I love taking fashion shots. I also adore story telling, the ability to evoke emotion in others through art, and sometimes just having something pretty to look at, something that will sweeten my eyes and hopefully the eyes of others who see my photos. This is one thing I love about taking photos as a hobby, I take them for me. I don’t have any photos that other people have dictated.

Shannon_Natasha_hang_on
Hang on

You seem to be doing more and more fashion shoots. Is this the direction you’d like to go as a photographer?
I don’t think I could ever decide on one direction. I’m definitely interested in shooting fashion but I’d never want to limit myself. One thing I love about photography is the freedom and having the ability to capture my own visions. Sometimes I may have the intention of shooting a fashion-styled set of photos and end up getting carried away with more abstract or conceptual shots.

Shannon_Natasha_i_see_the_light_surrounding_you
I see the light surrounding you.

From where do you draw inspiration? Who are your favourite photographers?
I often draw inspiration from magazines, websites like Tumblr, amazing artists on Flickr and in the world, through music, through relationships, books and my family and friends. Many of my favourite photographers are not necessarily world-renowned. I absolutely love work by Alison Scarpulla, Jeannine Tan, Mary Robinson, Muszka, Tamara Lichtenstein, Nirrimi Hackanson and Evan Hawke. Their photos just catch my breath. 

Do you spend a lot of time getting the settings and light right, or is it a more impulsive process? Do you do much post-production?
It’s becoming much more impulsive now, although I do remember when it would take me four or five shots to get the settings right. Now it only takes one or two. Crazy weather in Australia, when the sun can’t make up its mind, doesn’t help. I don’t edit much if I’m shooting fashion or would like the photos to look more realistic, but if I’m going for something a little more magical I tend to spend a bit of time editing.

Shannon_Natasha_140410

With school over, what’s your plan?
The next thing for me will be university or possible an art college, where I will major in photography. At the moment I’d like to do both photography as well as something like law or psychology, but I may not even pursue photography in future study. I enjoy it very much as a hobby, so pushing money and survival into the equation may take some of my love from photography and replace it with nerves and fear which would ultimately be negative.

Shannon_Natasha_black

Other than photography, what makes you happy?
Other than taking photos, my passion is dancing. Mainly hip hop. Definitely dancing.


The Darkroom on Lamb’s Conduit Street, drug illustrated by June Chanpoomidole

A little while ago (read: ages ago and I’m only just getting around to writing this) I went along to the launch of Veja‘s new luggage line. I’ve digged Veja for ages – purveyors of neat trainers that are totally ethical in production and manufacture. They add a je ne sais quoi to the Shoreditch plimsoll trend, doctor in a host of vibrant colours and fashion-forward designs.

So when I heard they were to develop a line of bags I was over the moon. The launch happened at the Darkroom– the latest hipster shop on Lambs Conduit Street, with its achingly cool dark interior stocking some fabulous products that are hard to find elsewhere. A great atmosphere ensued due in large to cocktail after cocktail, which is brave of Veja considering their new range was dotted around the shop. I always have an acute fear of throwing a flirtini over an over-priced frock extremely over-priced artwork when I attend these functions.


Illustration by Katie Walters

The new line of bags is, quite simply, brilliant. In a range of a cool colours including dark blues, browns and creams, the bags come in a variety of shapes and sizes- from rucksacks to larger luggage styles. They’re al quality crafted, whether it be a canvas day bag or satchels in soft leather. And, as always, they’re totally ethical. The pure cotton canvas is always organic, the leather is vegetable-tanned and they’re all produced in Brazil using skilled workers who are paid well and looked after. So, not only do you look super-stylish, you can swagger guilt-free.


Illustration by Stacie Swift

Since the bag launch, Veja have released their latest season of trainers, which I reckon is the best range yet. Vegetable-tanned suede and wild Amazonian rubber make up this delicious new footwear range, called the Indigenous. You can watch the video of the shoot right here:

Veja — LOOKBOOK INDIGENOS from Veja on Vimeo.

Here are some photographs from the event for your delectation:

The best thing about Veja is that their ethical products won’t break the bank. Find out more about them on their website, and you can read more about ethical labels in Amelia’s new book.

Enjoy!

Categories ,Amazon, ,Bags, ,brazil, ,Darkroom, ,ethical, ,fashion, ,Lambs Conduit Street, ,leather, ,Rucksacks, ,Satchels, ,Veja

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Amelia’s Magazine | New S/S 2013 Season Interview: Martina Spetlova

Martina Spetlova S/S 2013 by Sharon Farrow
Martina Spetlova S/S 2013 by Sharon Farrow.

Innovative fashion designer Martina Spetlova introduces her new S/S 2013 collection and explains why you should help fund the movie to showcase her upcoming season on Kickstarter.

Marina Spetlova 'The Print & The Jacket' by Dom&Ink
Marina Spetlova ‘The Print & The Jacket‘ by Dom&Ink.

You are a textile innovator – what is it about different textures that you find so appealing?
Texture is like print for me, juxtaposing diferent textures together gives my designs the power I like to achieve in my collections. I tend to experiment with contrasting colours and opposing textures. I am always trying to find ways to treat standard fabrics to give them different structural properties – for instance by bonding, pleating and weaving satin through leathers – which helps me create a point of difference. That is how I can make my designs stand out but I also have lots of fun creating new collections. I am minimalist in shapes but maximalist in texture.

MartinaSpetlova_SS13_Look11
MartinaSpetlova_SS13_2
Your colour palette is also always very distinctive – what inspired this current season’s colour range?
My selection of colours is always little bit random. I usually start with 3 or 4 colours I like and are available and add more of them while working on my fabric samples.

Where did the graphic patterns come from?
From a photograph of my mum in the 70s.

Martina Spetlova by Alexandria Coe
Martina Spetlova by Alexandria Coe.

How do you source your fabrics?
This season I mainly worked with leather. My supplier in London has certain sustainable policies: I am concern about environment and I try to be as eco friendly as possible with my label.

Who creates your pieces?
All the knitwear is created in my studio in London, which does all samples and production at the moment. We work on domestic knitting machines.

MartinaSpetlova_SS13_Look4
MartinaSpetlova_SS13_1
What was the inspiration for the abstractions in your S/S 2013 film?
I wanted to create a land of Martina Spetlova. Shooting the collection froma microscopic view, showing the collection as a diverse landscape of bold colour and glistening mountains of fabric. It captures the detailed focus of this collection.

Martina Spetlova by Ashley Fauguel
Martina Spetlova by Ashley Fauguel.

Looking forward, what can we expect from the new collection?
The new collection is entirely leather and knitwear and features lots of textures and colours again… My simple twisted yarn knitted dresses and neckpieces accompany every look of 15 silhouettes and are a great compliment to raw edged, un-lined leather jackets, tops, skirts, shorts and trousers. Collars are created by patch-working fish skin leathers and off-cuts of sheep skin and no piece in the collection is flat. Amongst the techniques used are the playful exploration of accordion pleats on leather, cuts punched through soft leathers to create grids on the surface and my satin tape hand-woven technique from last season combined with graphic pattern (seen also on knits). I’m using softly twisted stretchy yarns for knitted neckpieces and dresses in black, light grey and graphic patterns. A/W 2013 uses soft colours of pale blue, moth green, mustard orange, white and black together with acid yellow and orange. I use a high quality of craftsmanship, making pieces by hand in the studio.

MartinaSpetlova_SS13_Look13
Martina Spetlova SS13 by Isher Dhiman
Martina Spetlova S/S 2013 by Isher Dhiman.

You are currently seeking funding on Kickstarter – what will these funds go towards and what can contributors expect in return?
I have set up Kickstarter to help me fund my film presentation in Somerset House during London Fashion Week, which will pay for the space to showcase my film in the Portico Rooms. Everyone who sponsors this event will be invited to Somerset House, and pieces from my collections will be gifted to generous backers. Of course there will also be a BIG THANK YOU to everyone who supports me!

There are six days left to help Martina Spetlova raise £1000 for her film presentation at the LFW – help out on Kickstarter here.

Categories ,Alexandria Coe, ,Ashley Fauguel, ,Dom & Ink, ,Dom&Ink, ,Dominic Evans, ,ethical, ,film, ,Isher Dhiman, ,Kickstarter, ,leather, ,London Fashion Week, ,Martina Spetlova, ,Portico Rooms, ,S/S 2013, ,Sharon Farrow, ,Somerset House, ,textiles

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Aminaka Wilmont

Aminaka Wilmont show LFW SS2012 by Gemma Sheldrake

Aminaka Wilmont S/S 2012 by Gemma Sheldrake

The title Changeling on the poster-sized invitation to Aminaka Wilmont’s show – the last womenswear show in the BFC show space at Somerset House during this London Fashion Week’s season – already prepared me, cost before actually seeing the collection, illness for some allusions to legends and folklore. Of course the designers behind the Aminaka Wilmont, Maki Aminaka Löfvander and Marcus Wilmont have a wealth of such otherworldly inspiration to draw from their Swedish, Japanese and Danish cultural backgrounds.

Aminaka Wlimont LFW SS12 by MattBramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Kristina Vasiljeva

Aminaka Wilmont S/S 2012 by Kristina Vasiljeva

The first thing that struck me when the show begun was the way the models had their hair styled with a mid-parting and straight bands of hair placed hanging in front of their ears, which immediately reminded me of Neyriti’s hairstyle in the movie Avatar.

Aminaka Willmont show LFW SS12 by Gemma Sheldrake

Aminaka Willmont S/S 2012 by Gemma Sheldrake

Interestingly, afterwards I read that Aminaka Wilmont were partly inspired for their Spring Summer 2012 collection by Ori Gersht’s photographs of dark landscapes and high mountains which look very much like Pandora’s Hallelujah Mountains in Avatar. The dove grey tones we saw in a lot of the outfits evoked the colour of karst limestone formations found in some of Gersht’s work and on the chinese Huang Shan Mountains which inspired the Hallelujah Mountains.

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Perhaps following this line of thought, the designers had placed white orchids – which often grow under geological conditions such as those described above – on the front row seats while the pure white colour, and innocence of the flower was reflected in a number of simple white chiffon dresses.

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Vasare Nar

Aminaka Wilmont S/S 2012 by Vasare Nar

Violets and shades of brown dominated in abstract floral prints where again one could see Ori Gersht’s influence. Jersey assymetrical dresses featured cut out panels and custom-made Merve Tuna shoes came in mermaid blues and greens that alluded to creatures of an ambiguous identity. I really enjoyed the chain vial necklaces that contained something which looked like a magic potion in various bright colours.

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wlimont show LFW SS12 by Matt Bramford

In line with this ambiguity of the theme of the Changeling was also the duality expressed through the use of leather in the jackets versus sheer chiffon in the dresses and skirts as well as through some bottom halves that were pants-length versus long trains hanging at the back. Indeed here I should add that I felt one should really own an otherworldly pair of legs or simply be a fairy to be able to sport some of the shorter pieces…

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wlimont show LFW SS12 by Matt Bramford

Of course the most beautiful and startling contrast was between the masculine/aggressive and feminine which was revealed in the final pieces in the collection; floral printed body armour pieces with 3D flower forms sewn onto them as if the armour was blossoming. Intriguingly the designers cite as an inspiration ‘the Hayflick effect’ or limit – which is the number of times a normal cell population will divide before it stops – and I thought that at times the models looked, walked and had an expression on their faces, especially at the end when they all walked together in a huddle, like they were hopefull warriors or amazons – perhaps determined to survive in a world where the cells do not have that many more times left to divide?

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wilmont show LFW SS12 by Maria Papadimitriou

Aminaka Wlimont show LFW SS12 by Matt Bramford

Aminaka Wlimont show LFW SS12 by Matt Bramford

All photography by Matt Bramford and Maria Papadimitriou

Categories ,Aggressive, ,Aminaka Wilmont, ,Armour, ,Avatar, ,british fashion council, ,Changeling, ,Chiffon, ,collection, ,Danish, ,Dress, ,fairytales, ,fashion, ,Feminine, ,Folklore, ,Gemma Sheldrake, ,Hairstyle, ,Hayflick Limit, ,Jackets, ,japanese, ,jersey, ,Karst limestone, ,Kristina Vasiljeva, ,leather, ,London Fashion Week, ,Maki Aminaka Lofvander, ,Marcus Wilmont, ,Maria Papadimitriou, ,Masculine, ,Matt Bramford, ,Merve Tuna, ,Necklaces, ,Neytiri, ,Orchids, ,Ori Gersht, ,Swedish, ,Vasare Nar, ,Womenswear

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

Felder Felder SS 2011 by t.reidy

Felder Felder S/S 2011 by t.reidy.

Felder Felder are identical twin sisters Annette and Daniela Felder, and who studied together at Central Saint Martins (of course). According to the press release their S/S 2012 collection BANG! looked to the ‘bravery and bitten romance‘ of choreographer Pina Bausch, dosage which inspired their ‘modern undone style‘ of the kind preferred by uptown girls such as Jen Brill. Having never heard of Jen Brill I had to go google her: a model and photography agent of Chinese Australian origin she has or is apparently dating Terry Richardson. Which would account for her sudden it-girl infamy.

Felder Felder S/S 2012 by Gaarte

Felder Felder S/S 2012 by Gaarte.

Since the twins graduated just a few years ago they have quickly built a reputation for quirky combinations of girly and rock n roll aesthetics: attracting some famous patrons that include Rihanna, website like this Gwyneth Paltrow, and if the front row was anything to go by the ultimate Brit it-girl Peaches Geldof.

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory
Felder Felder S/S 2012 by Gaarte

Felder Felder S/S 2012 by Gaarte.

A very gaunt looking Peaches was sat right across from me, her mouth dangling agog through the whole show as if desperate for a good meal. For god’s sake woman, eat! She kept self consciously adjusting her pose but luckily she didn’t distract me for long.

Felder Felder SS 2011 review-photo by Amelia Gregory peaches geldof

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder S/S 2012 by Barb Royal

Felder Felder S/S 2012 by Barb Royal.

BANG! began with stunning graphic prints that swirled and splatted across flirty skater skirts paired with loose blouses. Over the top bondage inspired neck collars criss-crossed the chest and joined with belts to give a more hard edged feel. Stunning shoes by Kat Maconie were also given a matching print treatment, whilst metallic jackets, a dress and miniature backpack in glitzy pale blue added pizazz.

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder S/S 2012 by Gaarte

Felder Felder S/S 2012 by Gaarte.

Sheer fabrics were embellished with signature Felder Felder studs, this time offered in dangling bullet shapes on sweeping black dresses and short white frocks. Orange made a sunny appearance on models with slicked back locks and a collaboration with Triumph produced some sexy bikinis: oh to have a body like one of those models. It did at times feel as though there were too many incongruous shapes within one collection: A-line, bodycon, maxi, draped, flirty, they were all there.

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder S/S 2012 by Barb Royal

Felder Felder S/S 2012 by Barb Royal.

Back at Somerset House I copped a quick feel of the gorgeous fabrics at the Felder Felder stand and quickly understood their appeal: no wonder it-girls, singers and actresses love the pretty yet hard-edged Felder Felder look.

Felder Felder SS 2011 review-photo by Amelia Gregory

Felder Felder SS 2011 review-photo by Amelia Gregory

Categories ,BANG!, ,Barb Royal, ,BFC Tent, ,bodycon, ,Bullet, ,Central Saint Martins, ,Choreographer, ,Embellishment, ,Felder Felder, ,Gaarte, ,Gabriel Ayala, ,Gwyneth Paltrow, ,it-girl, ,Jen Brill, ,Kat Maconie, ,leather, ,lfw, ,London Fashion Week, ,Metallic, ,Peaches Geldof, ,Pina Bausch, ,print, ,Rihanna, ,S/S 2012, ,Somerset House, ,Studs, ,t.reidy, ,Tina Reidy, ,Triumph, ,Twins

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Inbar Spector

Inbar Spector SS12 by Gilly Rochester
Inbar Spector S/S 2012 by Gilly Rochester.

I was entirely new to Inbar Spector this London Fashion Week, advice having heard of the Israeli born designer from devotee Gabby Young just a day before the show. Gabby frequently wears Inbar Spector on stage and was of course in attendance on the front row.

Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 by Jane Young
Inbar Spector S/S 2012 by Jane Young.

The fabulously named Inbar Spector has become well known for complex constructions and rich fabrics, and this seasons collection was no different. It featured a strong gothic 80s feel in favoured materials such as zips, chains, lace and faux leather (in line with her strict vegetarian beliefs). For her S/S 2012 collection Inbar Spector was inspired by a great fire which destroyed the majority of her home town in Israel: visions of violence, fire and terrifying medical situations were all fed into the mix. She writes on the press release about the anticipation and excitement that is tinged with fear when Israelis go to any big public event or party in Israel. Hence a certain spikiness in the styling.

Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory

The show opened with a lacy garment over which was worn a loose patchwork metallic embossed jacket. Models were styled with scary haystack hair, a line of grips stacking up behind their ears. It was certainly a break with current hair styling trends.

Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
LFW Inbar Spector S/S 2012 by Celine Choo
Inbar Spector S/S 2012 by Celine Choo.

Severe catwalk lighting meant that models gained a beautiful backlit halo as they neared the photographers’ pit, with every contour highlighted. Luckily the models also stopped right in front of me to allow the audience a closer look at the garments. An oversized silvery coat was my favourite of the outerwear but the faux leather worked just as well in a short golden dress. Delicate materials wrapped around the body in tangled layers, melding with the metallics.

Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory

Then out strode a model wearing the most breath-taking bubble dress made out of gossamer light material as if to resemble a wonky christmas fold out paper decoration. Another shorter tutu style dress in palest peach was paired with gold leather and yet another version entirely encased the body in intricate folds. I have no idea how Inbar Spector achieved these looks but they were quite staggering. The final two dresses were even more spectacular – the first in heaped tiers of frothy cream that wrapped around the model’s neck. The second showstopper would have been fit to dress a fairy atop the christmas tree – a vast concertina-ed dress made entirely in laser cut gold fabric. Astonishing and very unique.

Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector SS 2012 review-photo by Amelia Gregory
Inbar Spector S/S 2012. All photography by Amelia Gregory.

Inbar Spector SS 2012 review-photo by Amelia Gregory gabby young
The beautiful Gabby Young.

Categories ,80s, ,Celine Choo, ,Fashion Scout, ,Faux Leather, ,gabby young, ,Gilly Rochester, ,gothic, ,Inbar Spector, ,Israel, ,Jane Young, ,lace, ,leather, ,lfw, ,London Fashion Week, ,London Kills Me, ,review, ,S/S 2012, ,Task PR, ,vegetarian, ,Violence

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Jayne Pierson (featuring Pierson Lawlor)


Jayne Pierson S/S 2012, order illustrated by Gareth A Hopkins

Oof, visit this site I love a new fashion week site. I took a Boris from the action at Somerset House all the way to Old Street to see Jayne Pierson‘s show at the LSO St Luke’s venue. This historic Anglican church is almost three hundred years old, buy information pills and was rescued by the LSO when controversial plans to turn the beauty into offices were proposed. Thank heavens.


Jayne Pierson S/S 2012, illustrated by Tina Reidy

The church is set in a beautiful garden, and as I sweated my way through it, I thought what a romantic setting for a fashion show. These are thoughts I only have when suffering from sleep deprivation and RFSI (Repetitive Fashion Show Injury). Inside, some of the former glory has gone to make way for inevitable modernisations, but the imposing ceiling and cold stone walls still exist. A catwalk had been temporarily constructed where the aisle would once have been, and a film played on loop at the end of a photography shoot starring a rather dishy ballet dancer. It was all very exciting.


Photography by Amelia Gregory

The show eventually started after the mandatory bunfight for seats and flashbulb shower for Pandemonia. A man whose name I didn’t have a chance to write down explained that, this season, Jayne Pierson had worked with the ballet and we were in for a treat. The models were to be ballet dancers. I almost audibly ‘whooped’ at how refreshing it all was.


Jayne Pierson S/S 2012, illustrated by Gabriel Ayala

Models appeared cheekily from behind a partition, moving gracefully down the catwalk en pointe. I know this is one of life’s wonders and people train for years to get this right, but it doesn’t half make me cringe (perhaps that’s Black Swan‘s influence, too). I imagine the agony you put your body through to achieve such a graceful poise.


Photography by Matt Bramford

A mixture of male and female models appeared, wearing Jayne Piersons S/S 2012 collection. This was clearly a collection influenced by dance and drama of all kind. They floated past, some faster than others, some acting a little like they might have been drinking, but nonetheless looking equally as beautiful. The theatrics, as splendid as they were, did distract a little from the clothes, and it’s only since I’ve reviewed my pictures that I’ve got a real flavour for what Jayne Pierson has produced this season.


Jayne Pierson S/S 2012, illustrated by Gilly Rochester

Jayne Pierson‘s now statement shapes flooded the catwalk; exaggerated shoulders, tight waists. Corsets in high-gloss leather were playfully applied to looser garments in similar colours. Micro shorts were leather. A muted graphic print was used on a dangerous bikini and a halterneck onesie. Modest pastel vests had been sexed up with black pom-pom like shoulder details. A bodycon dress carried theatrical orange fringing; sophistication, glamour and exquisite craftsmanship evident in every piece.


Jayne Pierson S/S 2012, illustrated by Gareth A Hopkins

Jayne Pierson‘s clever use of material and colour was as evident as it has been during her five fashion week outings. Leathers, suedes and silks all flow organically throughout this cohesive collection, helped along by a colour palette of stone, taupe, grey, champagne and sand.


Photography by Amelia Gregory

I’m not sure if it was the Royal Ballet dancing element having an influence, but the clothes were very dramatic, and I did wonder what they might look like modelled in the usual fashion. But a finale that brought the dancers pairing up to perform some dramatic lifts really raised eyebrows and audible gasps echoed around St Luke’s. Sitting across from me, it was clear Caryn Franklin loved it. And I did too.


Photography by Matt Bramford

Categories ,Amelia, ,ballet, ,Black Swan, ,Caryn Franklin, ,catwalk, ,dance, ,Derek Lawlor, ,drama, ,En Pointe, ,Front Row, ,Gabriel Ayala, ,Gareth A Hopkins, ,Gilly Rochester, ,Jayne Pierson, ,leather, ,LSO St Luke’s, ,Matt Bramford, ,Onesie, ,Pandemonia, ,review, ,RFSI, ,Royal Ballet, ,S/S 2012, ,Suede, ,Tina Reidy, ,Womenswear

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

Illustration by Eugenia Tsmiklis

After pegging it down the strand, ampoule I arrived at the BFC tent with less than 30 seconds to spare. My desperate dan demeanour must have won me brownie points somewhere as I was ushered into the catwalk seating area so fast my feet barely touched the floor. Expecting the Issa show to begin, erectile imagine my suprise when Basso and Brooke creations started to walk their way down the catwalk…there must have been some awful mistake?…yes, troche indeed there was Mr Matt Bramford (who must be reading his timetable upside down last night).

A 9am Sunday morning treat: great turnout (including model Amber Rose – front row), amazing prints and a seamless show. To be able to mix so many colours, prints, patterns and styles into pieces of clothing is a talent few can boast. I have never trained as a fashion designer but I imagine that there comes a time early in their lives, perhaps as a kid choosing between a pencil and a box of crayolas, when their speciality is set for life. In my view, all designers have not so much a signature look as a part of the DNA clothing they excel at: silhouette, colour, print, cut. Some designers can change the way we see the body – I’m thinking of Miuccia Prada –and some fill in the outlines of fashionable shapes with their own individual colour, pattern and texture.

Illustration by Eugenia Tsmiklis

Prints were the order of the day with a slight All Saints (edgy brand not 90s girlband) feel to some of the ones with italic scripting and antique maps running across. After reading the press release, it turns out that the writing is actually handwritten notes by Da Vinci, Tolstoy, Balzac and others in a nod to the non digital past. Digital prints are then sliced into the notes and maps, creating more dramatic, eclectic mixes. Other prints included trompe l’oeil images of ruched fabrics, mainly used in larger panels on the back of dresses but occasionally inserted onto the front. I am personally a huge fan of print design (I was a colour-change felttip pen sort of kid), which I think often gets ignored in favour of more flashy, and by definition, flesh-revealing options (anyone designing an elaborately printed bikini has rather missed the point). There’s something depressing about an off-the-shelf pattern you end up seeing on clothes everywhere, from high street shops to market stalls. I want someone to have sat down and designed the images that appear on the surface of clothes with as much care and dedication as they did every other aspect.

Basso and Brooke’s S/S11 show didn’t pioneer any particular dress shape, although all their clothes look wearable: lots of skater-skirted party dresses, a collared blouse and skirt and filmy jumpsuitst. The skirts had great shape and movement to them, especially the shorter kicky ones; the dresses made use of clashing prints on the front and back and thought had also been put into matching shoes to each look. However, what they do to a tee is the print; everyone knows that when you go to their show you’ll get lovingly rendered prints galore. This also means subtle use of colour, and when the models took their turn all together, it added up to a handwritten, map inspired rainbow.

Shoes at Basso & Brooke

Some of the choices surprised me at first: leopard print? Hermes-scarf style illustrated floral squares? But because they were digitally chopped up with gold foil sections that seemed to creep over the garish parts, or set against a background of pearly grey silk, I think it worked. There is a trend now for mixing up complicated prints, which when it works, looks incredible. One good thing about animal print is that you can’t really beat nature for creating a pleasing whole and by sticking to the silvery sheen of water, brown and rusty orange of animals spots and mineral metallics, there’s a good chance an outfit will hang together, just like Basso and Brooke’s show.

LFW Daks Catwalk Show Spring Summer 2011

I rolled into Daks at the bright and early time of 9am on a Saturday morning – expecting to be one of the few who made in out of bed. But the crowd was bright eyed and bushy tailed – shame some of the models looked pale and in need of some shut-eye!

When the Daks press release proclaimed the collection was inspired by a “British traveller on a journey through India” I envisaged either a ‘gap yah’ nightmare or colonial outfits complete with G&T’s. Thankfully what ended up on the catwalk was far from it. Daks S/S 2011 was an easy, symptoms breezy collection of crisp designs in white, medicine pale grey, and stone.

Daks Spring Summer 2010 collection illustration by Abi Daker

Rather than going for swathes of layers, embroidery and hippy trippy designs, Daks decided to translate the ‘traveller’ theme in a much more sophisticated way – splashes of mustard yellow (my FAVOURITE colour) were meant to represent the spices of India, and the lightweight fabrics were chosen to be suitable for hot climates. I can’t see myself donning a drop waisted skirt and chic leather satchel to trek through the Himalayas, but Dak’s ‘grand tour’ was fun to watch – and felt oh-so English.

Daks Spring Summer 2011 fashion illustration by Abi Daker

Referencing the 1930s, there were some gorgeous mid length pleated skirts, high-waisted trousers and a standout mustard yellow shirt dress. I was even convinced that I needed the knitted shorts and onesies in my life. But considering how great the accessories were in the rest of the collection – with little round sunglasses and convertible leather rucksacks – the shoes (cheap looking wedges and flip flops) seemed a bit of an afterthought.

Categories ,1930s, ,daks, ,fashion, ,illustration, ,India, ,leather, ,lfw, ,london, ,London Fashion Week, ,pleats, ,review, ,rucksack, ,S/S 2011, ,Somerset House, ,Sunglasses, ,traveller, ,yellow

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Amelia’s Magazine | London Fashion Week A/W 2010: Lake & Liberty Pop-Up

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Amelia’s Magazine loves print, thumb illustrations and innovative design, cheap so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

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After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. At this point Laura took us through the development from question mark, square, circle and stripe into the intricate patterns to be found on the collection downstairs.

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This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

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IMG_0009_1

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The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, purchase illustrations and innovative design, help so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite. With Eley Kishimoto, the world is definitely a prettier place.

IMG_0005_1

IMG_0009_1

As seen on this jumper:

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Look at the shoes!

IMG_0235_1

IMG_0006_1

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, ed illustrations and innovative design, visit this site so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, advice complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite. With Eley Kishimoto, the world is definitely a prettier place.

IMG_0005_1

IMG_0009_1

As seen on this jumper:

IMG_0237_1

Look at the shoes!

IMG_0235_1

IMG_0006_1

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, drugs illustrations and innovative design, so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen on this jumper:

IMG_0237_1

Look at the shoes!

IMG_0235_1

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, unhealthy illustrations and innovative design, treat so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, viagra sale complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen on this jumper:

IMG_0237_1

Look at the shoes!

IMG_0235_1

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, erectile illustrations and innovative design, cost so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

IMG_0237_1

And these shoes!

IMG_0235_1

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, this illustrations and innovative design, so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

IMG_0237_1

And these shoes!

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The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
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Amelia’s Magazine loves print, stomach illustrations and innovative design, buy so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

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After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

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This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

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With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

IMG_0237_1

And these shoes!

IMG_0235_1

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, purchase illustrations and innovative design, so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

IMG_0237_1

And these shoes!

IMG_0235_1

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
IMG_0228_1

Amelia’s Magazine loves print, ailment illustrations and innovative design, so you can imagine – for us – walking into Eley Kishimoto’s presentation titled Pattern Lab was like stumbling into a sweet shop. A sweet shop full of bold printed clothes. The always friendly Laura from Relative Mo explained the concept behind the lab by first showing us the presentation rails downstairs, complete with an exquisitely illustrated slide show.

IMG_0225_1

IMG_0231_1

After carefully examining (holding back from excitedly rummaging) the varity of prints, my fellow Amelia’s Collaborator Matt Bramford and I returned upstairs to hear the story behind the Pattern Lab, and it’s four wooden drums positioned down the centre of the store. Laura described the development from question mark, square, circle and stripe into the intricate patterns found on the collection downstairs.

IMG_0243_1

IMG_0247_1

This beautiful presentation came complete with an exercise book detailing the idea of experimenting whilst researching the history and function of patterns. The question mark mutating into the squirrels tail was a particular favourite.

IMG_0005_1

IMG_0009_1

IMG_0006_1

With Eley Kishimoto, the world is definitely a prettier place. As seen by this jumper:

IMG_0237_1

And these shoes!

IMG_0235_1

The pop up shop is on for the reminder of the week, do not miss your chance to see great design up close.
Looking to spice up your look, shop or even your love life? Then look no further than hot new East London label Lake & Liberty.

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Launching only last year, erectile they’ve already got quite a hip following, with Lady Gaga the matriarch of said followers (probably the only time you’ll hear Lady Gaga and matriarch in the same sentence. I digress.)

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They create unique leather pieces inspired by the London Fetish Scene (IS there one? *googles London Fetish Scene*) with each piece suggesting a hint of kink, distanced massively from anything of the terribly-full-on-Ann-Summers-wahey-how’s-your-father ilk.

Their debut collection, showcased as part of the WeKnowWhatYouDidLastNight space just off Carnaby Street, is small but perfectly formed. There are eye patches with hand-carved eyelash marks or protruding spikes, worn with a thick band of silk white ribbon. For the dominatrix there are patent-leather collar pieces; contemporary and provocative interpretations of the medieval ruff. Each design is bound by rivets, adding a further seductive element.

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My favourite pieces, undoubtedly, are those made for the wrists. Making further use of the properties of leather and how it can be manipulated with rivets, these are highly unwearable statement pieces, and I HEART this chic wrist adornment with it’s playful ribbon influence:

LFWcuff-A-W 2010-gemma-milly
Fabulously illustrated by Gemma Milly

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Okay, okay – it’s not all about sex. There are some really beautiful objects here. Yet, these aren’t items that you’d wear to the supermarket. In fact, I’d say only those über-fashionable stylistas could pull these hand-crafted objects off in public. Otherwise, wear with caution and enjoy in the bedroom.

Categories ,Lady Gaga, ,Lake & Liberty, ,leather, ,London Fashion Week

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Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Bernard Chandran (by Helen)

Eudon_Choi_BY_Avril_Kelly
I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, page but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, discount involved an all in one – I think, check I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful.
Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, illness illustration by Karolina Burdon
I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly
The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful.
Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, abortion illustration by Karolina Burdon
I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, this but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly
The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, healing illustration by Karolina Burdon
I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, order but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly
The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, information pills illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, shop but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, advice illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and looked tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. This were looser and strapless or had a single knotted strap, over the shoulder. The look was very together. Like the women who carry small tubes of expensive moisturiser and have ipad covers made from baby goat leather. And an actual ipad or four. The woman who is organised and controlled. Wears Chanel’s Red No.5 lipstick and doesn’t mind a bit of hard business with her espresso. She doesn’t even have time to look at you up and down darling, she’s too busy looking ahead.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, this site illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, information pills but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, information pills involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and was tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. These were looser, most strapless or with a single knotted strap, over the shoulder. The look was very together. Like the women who carry small tubes of expensive moisturiser and have ipad covers made from baby goat leather. And an actual ipad or four.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved. Organised and controlled, a wearer of Chanel’s Red No.5 lipstick. She positively thrives over a bit of hard business with her espresso. Not a second to spare, she doesn’t even have time to look you up and down darling. Too busy looking ahead.

Eugon_Choi2_by_Karolina_Burdon

Eudon Choi LFW A/W 2011 Collection, ambulance illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly

Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and was tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. These were looser, most strapless or with a single knotted strap, over the shoulder. The look was very together. Like the women who carry small tubes of expensive moisturiser and have ipad covers made from baby goat leather. And an actual ipad, or four.

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved. Organised and controlled, a wearer of Chanel’s Red No.5 lipstick. She positively thrives over a bit of hard business with her espresso. Not a second to spare, she doesn’t even have time to look you up and down darling. Too busy looking ahead.

emma_block_chandran_2_AW11

Bernard Chandran LFW A/W 2011, pilule illustration by Emma Block

I’d call the day: ‘mizzley’. This is a term I robbed from the Cornish, as it so aptly describes the mix of misty rain, murk and the consequential frizzy hair. Joy. Thus standing in the rain, not so fun. Luckily the power of the coloured sticker, whizzed me and my companion for the day, illustrator Emma Block, straight through the monster doors. We were seated in a grand hall. A ballroom, a destination for pretty dresses, pizazz and parties. How fitting that Bernard Chandron is promising so many modern twists to this whole ball swirling around the room, soiree into the small hours, affair.

‘With a futuristic yet luxurious feel, the designs are functional and sexy with an effortless edge. Known for his sharp cuts and innovative silohettes, we see new refinements in the cut. The silohettes are structured, with nipped in waistlines. The sleeves are inspired by sportwear but given a chic treatment.’

Bernard_Chandran_by_Madi

Bernard Chandran LFW A/W 2011, illustration by Madi Illustrates

I don’t normally quote press releases, but I kept reading this paragraph over and over. Imagining the designs. I do adore some future luxury, don’t you? I mean, what is it? Sounds modern. In my mind I was thinking distinctly ball like. I was hoping for some edgy, sporty dancing numbers. They’d be so perfect in this chandelier rammed, gold edged haven. After I had finished pondering on this, I realised, with a half empty hall, there was obviously going to be a wait before the show started. So I arranged my English weather paraphrenalia again, before checking I hadn’t lost my camera another four times. Then had a proper look around. I saw the gentleman who appears to be a fixture on the front row. Always enormous, with the sheer quantity of his multi-coloured/fabric type layers, and looking distinctly as if he has just eaten something vile. Relatively old, I hold on to the hope that he was a lesser known design extradordinaire in the 60s. With a shop somewhere on King’s Road, he left to live in a caravan in Peru, before returning in the 90s. To kick some fashion ass. And take up the FROW. You just know he has been wearing velvet slippers and long, silk dressing gowns as everyday wear since ‘The Start’.

I asked Emma if she could see anyone she recognised. Perhaps a super, hot shot Editor, or a celebrity? She said she could only see Matt Bramford. I say only, but in reality, we both acknowledged his obvious celebrity. He couldn’t see us however (and DO people wave at LFW?). In the row before us, a lady sat with enormous, spiked shoulders. I looked down and Emma had drawn her, beautifully. I looked down at my own notebook, with bizarre doodles and random words ‘TEAL’, ‘GOTHIC’, ‘POW’, etc. strewn all over it. Hmmm.

emma_block_chandran_AW11

Bernard Chandran LFW A/W 2011, illustration by Emma Block

It was nice being with Emma, who was very excited to see her first show. I couldn’t wait to see her illustration in full action as well. And eventually, it went dark. Then stayed dark for absolutely ages, before super cool music started banging out and the models began their parade. Clearly unafraid of colour, Chandran‘s pieces were bold; organges, pinks, reds and electric blue, with black punctuating the pops of colours. Everything felt structured, indeed – like space – but also fun and actually joyously fluid. Some of the pieces had a little dominatrix vibe, with zips, points and tighter structures. Most of these were fitted close to the body and pencil shaped. A number also came with a hard, curvy little peplum, sticking out on one side, adding to the futuristic vibe and pizazz. In contrast, if the aforementioned fitted dresses were the futuristic, luxury space women, the show’s feathered dresses were the residents of a brightly coloured planet, like Bond’s Dr No. Juxtaposing the closely fitted pieces,Chandran‘s show featured a few of these utterly gorgeous feather pieces. These were looser, shorter, and came with the addition of beautiful movement. The tiny, brightly coloured feathers danced together with the strides of the models. With a life of their own, they were swirling, liberating and modern. These dresses stood out for me.

Chandran uses leather, silk, wool, velvet, jersey and lace. He also uses a top stiching technique, which involves the mixing and matching of fabrics to create tartans. One of which in the show, involved a diamond cross hatch effect, and was coloured grey, with black detailing. This was a stand alone, gorgeous dress, but it also complimented the bright pallette, and thus would look utterly fantastic with super bright shoes. Detailing was also very evident in Chandran‘s show. Zips, 3D buttons and the peplums, strongly featured throughout. The overall look was a strong, confident woman. Unafraid of the future, she wears unusual details, with innate attitude, and colour with relish. Bright inspiration, I wondered how Emma would replicate the strength of colour and movement with her pencils. Sure that she would with ease. Her eyes were alert with all that they had seen. I took a photo of her by the catwalk and we wandered off for a cup of tea down the road. Shame London looked so grey today.

Categories ,Bernard Chandran, ,colour, ,Emma Block, ,fashion, ,Helen Martin, ,lace, ,leather, ,lfw, ,LFW 2011, ,LFW A/W 2011, ,Madi Illustrates, ,Matt Bramford, ,Northumberland House

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