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Amelia’s Magazine | SANKUANZ presented by GQ China: London Collections: Men S/S 2015 Catwalk Review

SANKUANZ S/S 2015 by Gareth A Hopkins

After two seasons representing Kay Kwok, GQ China switch their attentions to Xiamen-based designer Shangguan Zhe, better known as SANKUANZ. As is often the case, I knew nothing about this up-and-coming label, but a debut London Collections: Men showcase is probably a good place to start.

SANKUANZ S/S 2015 by Chris Sav

A combination of an exodus to Milan and a debut catwalk show meant that inside Victoria House wasn’t exactly heaving. Staff rushed to seat everybody as near to the front as possible, so I took a spot on the front row despite having a standing ticket.

All photography by Matt Bramford

The first dozen or so looks were strong, but I felt like I’d seen it before. Long white lab coats had been embellished with embroidered black designs, inspired by Russian prison tattoos, ranging from obscure slogans to graphic phalluses. These coats were a fusion between 18th century frock coats and modern day sportswear. Translucent crew neck tops, crisp shirts and mesh hoodies, all in white, were styled underneath, flashing mouthpieces were used and Raf Simons-esque futuristic footwear completed the looks. Some pretty silly brightly-coloured fur shorts were the only break from white.

During a short pause afterwards I thought, ‘yes, I quite like it, some wearable pieces, a bit small as a collection perhaps’ and some other nonsense. Then, almost from nowhere, a model appeared wearing what I can only describe as a giant pair of brightly coloured papier-mâché claw hands. ‘Oh, here we go’ I thought to myself as I frantically tried to take pictures and pick my jaw up from the floor.

Without visual aids I couldn’t tell you a single item of clothing that the models were wearing during this ‘latter stage’ of the show, but I could remember enormous polka-dot lobster claws, Popeye-like forearms and gigantic acid-painted hands making an ‘OK’ sign. It was like a ludicrous tribute to Emoji and I enjoyed every bloody minute.

Looking back on the collection, these gimmicks were paired with some pretty decent garments. Black sweatshirts made more of the Russian criminal emblems and the frock coat in black was less lab-coat and more wearable, but that isn’t what I’ll remember this collection for.

Written by Matt Bramford on Tuesday June 24th, 2014 5:52 pm

Categories ,catwalk, ,Chris Sav, ,fashion, ,Gareth A Hopkins, ,GQ China, ,LCMSS2015, ,London Collections Men, ,Matt Bramford, ,menswear, ,Popeye, ,Raf Simons, ,review, ,SANKUANZ, ,Shangguan Zhe, ,SS15, ,Style, ,Victoria House

Amelia’s Magazine | SIBLING: London Collections: Men S/S 2014 Catwalk Review

SIBLING S/S 2014 by Gareth A Hopkins

Oh GOD I love SIBLING. Every season they manage to come up with an amazing theme that makes you wonder how they do it, time and time again. There was an East End boozers pub crawl, fairgrounds, even wayward jailbirds and their mothers. This fifth birthday season was no exception.

All photography by Matt Bramford

West Side Story became ‘East Side Story‘ in this glorious romp through American youth culture with a British twist, taking inspiration from the 1961 film and Saul Bass‘s iconic graphics. Any collection inspired by Saul Bass’s iconic graphics gets my vote.

SIBLING S/S 2014 by Gareth A Hopkins

I settled into my perfect standing spot, sandwiched between a guy wielding an iPad (give over) as if it were a shield and a speaker belting out Gee, Officer Krupkee. The entrance to the catwalk had been daubed in Richard Woods‘s signature woodprint, and just inside I noticed a huge sign saying ‘SMILES PLEASE’ with a cheeky felt-tip drawing of a grin. Well, it would have been rude not to, and so I grinned as wide as I could as the first model appeared.

The masculinity of the Jets and gang dress codes were first explored – cropped denim jackets and oversized bomber jackets featured enlarged JET BOY motifs on the reverse. Models were styled with slick quiffs and huge smiles – oh, hang on, the sign was for them! What a brilliant idea. It took all my strength not to start weeping as each handsome devil appeared, grinning and genuinely enjoying themselves.

From the streets to the gym; up next came polos, cardigans and shorts in Richard Woods‘ aforementioned print. Dreamy colours – mint green, lilac and Shark blue were indebted on the press release to the Ndebele tribe and West Side Story cinematographer Daniel L Fapp.

No SIBLING collection would be complete without chunky knits and a hint of leopard print, and die hard fans weren’t disappointed on either count. Cardigans and cropped jackets in blue peppered the sportswear, as did a thick, black mesh knit at the beginning of the show.

The most dramatic pieces combined scoobie strings (yes, like the bracelets) with American track and field sportswear shapes to create show-stopping tops and shorts in white, neon greens and acid pink.

A knit emblazoned with a ’5′ emblem in stars closed this fifth anniversary show, SIBLING‘s best yet IMHO.

Written by Matt Bramford on Wednesday June 26th, 2013 9:37 am

Categories ,catwalk, ,Daniel L Fapp, ,East Side Story, ,fashion, ,Gareth A Hopkins, ,Jets, ,knitwear, ,LCM, ,LCMSS14, ,Leopard Print, ,London Collections Men, ,Matt Bramford, ,menswear, ,Ndebele, ,Officer Krupkee, ,review, ,Richard Woods, ,Saul Bass, ,scoobie bracelets, ,Sharks, ,Sibling, ,smiles, ,SS14, ,West Side Story

Amelia’s Magazine | Topman Design: London Collections: Men A/W 2014 Catwalk Review

Topman Design A/W 2014 by Dom&Ink

It was raining, men at the Old Sorting Office on Monday for my first show of this (awkwardly branded) London Collections: Men A/W 2014 season – Topman Design.

Topman Design A/W 2014 by Dom&Ink

I can’t be bothered to drone on about the usual fuss that preceded this event, but I’ll just say that my standing ticket offered zero VIP service. Inside I stood in a herd of people five rows deep, aiming my Canon zoom lens through heads while those around me took terrible photographs on point-and-shoot cameras, iPhones and iPads. There’s a whole other piece I could write here, touched on much more eloquently than I could by Michael over at Anastasia Duck, but I will say this: I’ve invested in a decent camera and pride myself on taking decent images that I hope offer a slightly different insight to the normal catwalking shots we’re all familiar with. This is why I continue to work with Amelia because we share the same values when it comes to documenting the shows, but it seems to be getting increasingly difficult to do the job and I left feeling somewhat frustrated.

All photography by Matt Bramford

I probably say the same thing every season, but I’m always reserved about Topman. Aesthetically they’ve upped their game, and whoever is in charge seems to know what they’re doing in the hope of offering a collection akin to the strong contenders on the LC:M schedule. This season relied heavily on a palette of black and red with an injection of pale blue pieces. Box-shaped overcoats offered a different silhouette, sharp tailored blazers worked effortlessly with plaid shirts and heavy knitwear pieces adopting a variety of techniques were exciting.

As usual there were some slightly off pieces – a red tee with graphic lettering (above) looked like something you’d buy on a whim in Kavos after two fishbowl cocktails and some of the double-breasted coats looked awkward on slight-framed models, but overall this was a coherent collection. A reasonable price point means it does offer something more interesting than the rest of the High Street without an outrageous price tag.

For the finale, the heavens (well, the rigging) opened to soak the models as they reappeared for the recap. Not for the first time in history but it was a spectacle none-the-less, but I sure as hell don’t fancy getting caught in the rain in one of those chunky knits. I’m not sure if there was a message here, or how it related to the clothes. Perhaps it was an unsubtle way of saying LOOK OUR THREADS WITHSTAND RAIN, WE’RE NOT CHEAP; maybe it was merely for the aesthetic, but I bloody enjoyed it and everybody else seemed to.

Written by Matt Bramford on Tuesday January 14th, 2014 9:58 am

Categories ,A/W 2014, ,catwalk, ,Dom&Ink, ,Dominic Evans, ,fashion, ,knitwear, ,LCM, ,LCMAW2014, ,london, ,London Collections Men, ,Matt Bramford, ,Old Sorting Office, ,Rain, ,review, ,Topman Design, ,Weather Girls

Amelia’s Magazine | Xander Zhou: London Collections: Men S/S 2014 Catwalk Review

Xander Zhou S/S 2014 by Isher Dhiman

Sometimes I look at fashion week press releases with the same disdain that I do art gallery captions. I have absolutely no idea where some of the designers (or press personnel) get their ideas from. I often stifle giggles as I read them, waiting for somebody to pop out and say ‘we had you there, didn’t we!’ And so it was highly refreshing when I arrived at Xander Zhou, my final show of this London Collections: Men season, to find not a rigid press release but a selection of thought-provoking words. Words like ‘personal’ ‘cosmetic’ ‘online’ ‘variety’ and, erm, ‘Thai boxing’ flooded a sheet of purple card.

All photography by Matt Bramford

I have to hold my hands up and say that I didn’t know much about Xander Zhou before this show. It turns out he studied industrial design in China and fashion design in the Netherlands, both of which have clearly had a resounding effect on his collections.

I was back inside the Old Sorting Office for the last time and by this point I’d worked out where the best spot was. An obscure, celestial soundtrack and a model clad in a beige latex blazer and shorts launched this S/S 2014 collection, which was to explore the internet and cyberspace through a range of futuristic garments. A selection of latex aprons followed, in muted colours, worn over crisp white shirts. Thin white garters worn on thighs and detachable collars completed these looks.

The collection then took a curveball direction into smart, dark tailoring with futuristic elements: double-breasted overcoats toyed with proportions and featured elongated sleeves; discrete checks, almost invisible to the naked eye, were constructed into sleeveless jackets and loose-fitting trousers.

More surrealist tailoring followed, including waistcoats with differing lengths and blocks of complimentary colours. Jackets nipped in at the waist to give a slightly feminine silhouette, styled with basic leather slip-ons.

Then came the most dramatic pieces. Show-stopping knee-length coats hammered home Xander Zhou’s internet-based inspiration, featuring images such as Google search pages, Facebook symbols, internet memes and dramatic photography – a masterclass in print.

More tailoring closed the show; pastel-coloured playsuits featured black highlights, but it will be the printed coats that I remember this show for.

Written by Matt Bramford on Wednesday July 3rd, 2013 6:01 pm

Categories ,China, ,cyberspace, ,internet, ,Isher Dhiman, ,LCM, ,LCMSS14, ,London Collections Men, ,Matt Bramford, ,menswear, ,Old Sorting Office, ,tailoring, ,Xander Zhou

Amelia’s Magazine | YMC: London Collections: Men S/S 2014 Catwalk Review

YMC S/S 2014 by Natasha Likes Tea

Fraser Moss and Jimmy Collins borrowed legendary designer Raymond Loewy‘s slogan ‘you must create‘ to launch their label back in 1995. The brand constantly evolves, better known by the acronym YMC, but the ethos behind Loewy’s words resonate through the heart of the clothing label even today.

All photography by Matt Bramford

A YMC show feels a bit like respite on the London Collections: Men line-up. The Corbusian mantra ‘form follows function’ runs through the core, and to judge them against Craig Green or Astrid Andersen would be totally missing the point. Relaxed tailoring with a modern edge, minimal silhouettes and unassuming, stylish, wearable separates have become the brand’s signatures.

This season the YMC boys took over the Old Sorting Office where I’d previously seen Topman Design. I derived pretty quickly that this was going to be right up my straße in comparison. A quietly confident crowd saw striped blazers and bombers with matching shorts, fusing the brand’s utilitarian aesthetic with a fun summer flavour.

YMC S/S 2014 by Natasha Likes Tea

These bold opening offerings were quickly followed by the brand’s unmistakable denims, tees and casual shirts. A quilted jacket was given a modern twist with a haphazard, swirling design in Chombray. Crisp, linen shirts featured oversized polka dots and revealed intricate, childlike patterns on the reverse. Sportswear complimented these subtle twists, from tapered joggers to sleeveless bomber designs with zip pockets. Floral shirts were worn effortlessly.

Oversized checks then made an appearance in subtle blues and greens. Basic white t-shirts with luscious marine-blue gradient hems made me yearn for a decent fucking summer.

A range of jackets closed the show: a blue overcoat with synched hood and sleeves, a play on the French utilitarian jacket and an oversized overcoat-cum-poncho with slits in the sides to expose arms.

Many a menswear designer could learn a thing or two from YMC‘s inimitable, laid-back blend of cool.

Written by Matt Bramford on Friday June 28th, 2013 9:55 am

Categories ,fashion, ,LCM, ,LCMSS14, ,London Collections Men, ,Matt Bramford, ,menswear, ,Natasha Likes Tea, ,Old Sorting Office, ,SS14, ,YMC

Amelia’s Magazine | Matthew Miller: London Collections: Men S/S 2014 Catwalk Review

Matthew Miller S/S 2014 – all photography by Matt Bramford

‘I AM NOT THE ARTIST. YOU ARE‘ declared Matthew Miller‘s press release, distributed along the white benches of the Victoria House, London Collections: Men venue. It was my penultimate show and the fatigue induced by fashion shows had well and truly set in. I needed something to perk me up if I was to make it to Xander Zhou at the end of the day.

Miller‘s ethereal show opening was just the ticket. Instead of music, a woman with dulcet tones harped on about the world through the speakers. An intense gent appeared, wearing only white tapered jeans, his back penned with the gallery cliché ‘UNTITLED MIXED MEDIA‘. The philosophy of the art world was to become Miller‘s branding for this season and was swiftly followed by a long-haired model with the same motif tattooed onto his chest. He carried a skateboard and wore jeans of a similar cut, this time in jet black. I liked the drama of it all, but I did ponder how long I could sit watching shirtless models wearing staple denim stroll past.

It wasn’t long, though, before Matty Miller‘s unique approach to menswear came to life. The relationship between fashion and art is a constantly evolving theory. Is fashion art? Is art fashion-led? Miller explored this concept by utilising the stark visuals of a gallery’s environment and interpreting it through clothing. His aim was to bring the haute pretensions of the art world down a peg or two.

Luscious sweaters really perked me up and I would never be able to decide which one to buy. A white crew neck had a subtle off white panel applied to the front and featured a gallery caption square on the reverse. Others carried a circular design making use of the ‘untitled’ motif, this time in a vinyl relief. I really enjoyed those. A stand-alone black version had the crowds launching their cameras into the air; a white version peaked from behind rigid denim. A black sweater with thick monotone blocks descending to white also stood out.

Sportswear is always a key factor in his collections (that’ll be his time at Umbro) and elements of this genre featured on most garments. Paper-like tops had hoods and front pockets. Trousers were cropped at the ankle. Black leather jackets with concrete toggles complimented these looks and reminded us of Miller‘s unique approach to materials.

Shapeless silhouettes in slim, straight fabrics came in a super-light grey, teamed with matching shorts, and this technique saw Miller show womenswear for the first season – smock-like dresses used darts to form angular shapes across chests.

It was left to raw denims, cracked paint finishes and unfinished hems to complete this visually stimulating and thought-provoking collection.

Written by Matt Bramford on Tuesday July 2nd, 2013 1:35 pm

Categories ,art, ,canvas, ,caption, ,catwalk, ,denim, ,Destroy to Create, ,fashion, ,Gallery, ,LCM, ,LCMSS14, ,London Collections Men, ,Matt Bramford, ,Matthew Miller, ,menswear, ,Radical Prototypes, ,review, ,skateboard, ,smocks, ,Sportwear, ,SS14, ,sweatshirts, ,Victoria House, ,Womenswear

Amelia’s Magazine | MOSCHINO: London Collections: Men S/S 2015 Catwalk Review

Moschino S/S 2015 by Krister Selin

Moschino was the hottest ticket during London Collections: Men, and the 300-strong queue outside Lindley Hall was testament to that. Inside, the wall had been branded with a huge Moschino decal; cameras whirled above our heads on enormous tripods. The noise was deafening. Everybody seemed a bit sexier and they all had Moschino french fries iPhone cases.

My naivety, and inability to attend fashion weeks other than London-based ones, meant that I felt like I had been transported to a Versace show in Milan in the 1990s. My absolute favourite kind of fashion is trashy Italian fashion – the style of unashamed glamour that the Italians do so well, introduced in the 1980s and infamous in the 1990s. It brought us supermodels, leather chaps on the runway and more ghetto gold than you can shake a stick at. So when I found out that Moschino were to show at London Collections: Men, in our great city for the first time, I knew I’d bend over backwards to get in. Luckily I didn’t have to do that.

Moschino S/S 2015 by Krister Selin

Nobody seemed to be getting in from outside, and as I stood next to a woman dressed head-to-toe in that ridiculous, brilliant McDonald’s inspired ensemble, I envisaged a mass scrum and hours of waiting. I was surprised the show began a mere 20 minutes late. What happened after this is a bit of a blur, the atmosphere was so electric that I think I may have blacked out from excitement at one point.

All photography by Matt Bramford

Dishy models that must have been shipped in from Italy, or perhaps paradise, strode out to the sounds of a 1990s playlist. The first section turned soft drinks and pop culture into suits, t-shirts and swimwear. Then came brightly coloured tops, sweatshirts and bikinis emblazoned with enormous Moschino type.

Chanel 2.55 knock offs with gold Moschino letters replacing the interlocking C’s eveloped one model (above), one of my favourite looks from this show.

Next, on the World Cup bandwagon and a 1990s tip, models wore prints that were happy hardcore smiley faces featuring international flags. More 90s ephemera came in the form of oversized sweatshirts, nylon bomber jackets and black mesh pieces, with a yellow tailcoat tuxedo thrown in for good measure, naturally.

Then came a sort of homage to a range of luxury fashion houses – a mock Louis Vuitton monogram print appeared on jackets and trousers, the LVs replaced with serif Ms. A ‘Fauxchino‘ motif, added to my wishlist, looked so trashy that it could have been bought from a seaside market.

Want to dress like an Hermès carrier bag? Well now you can with Moschino‘s bright orange denim jacket and jeans with black Moschino logo strips. If Hermès isn’t your bag, perhaps a Versace-esque black and gold suit will suffice?

Rhinestone dollar signs and logo sweaters completed this collection:

I love the shocking, shameless abuse of other designer brands to glorious end. That’s a somewhat difficult sentence to type amidst outrageous alleged cases of high street copycats and even fashion powerhouses ripping off London designers, but Jeremy Scott and the label pull off the plagiarism with such panache that nobody seems to bat an eyelid. This blatant disregard for intellectual property has been at the heart of the brand since Franco Moschino launched his eponymous label in 1983. And, if this collection is anything to go by, Scott is without doubt the best person to take the Moschino crown. I’m praying he brings his army of merry men and women back next year.

Written by Matt Bramford on Friday June 27th, 2014 11:18 am

Categories ,1990s, ,catwalk, ,fashion, ,Gucci, ,Hermés, ,Italian, ,Jeremy Scott, ,LCM, ,LCMSS2015, ,Lindley Hall, ,London Collections Men, ,Louis Vuitton, ,menswear, ,Monogram, ,Moschino, ,pop culture, ,review, ,SS15, ,Swimwear, ,Versace, ,Womenswear

Amelia’s Magazine | Oliver Spencer: London Collections: Men S/S 2015 Catwalk Review

Oliver Spencer S/S 2015 by Fiongal Greenlaw

It seemed like every man in London had been squashed into the Old Sorting Office for the Oliver Spencer show last Monday. It was bloody packed. My standing ticket didn’t offer me any privileges, as per, so I did my best to position myself behind the shortest person I could find in the hope of seeing anything at all. The lights dimmed and out marched a drumming band who, with huge grins on their faces, energetically played a samba beat for the models to walk to.

All photography by Matt Bramford

Oliver Spencer S/S 2015 by Kate Sloan

Oliver Spencer‘s mantra is if it ain’t broke don’t fix it and this was another season of summery basics, smart tailoring and enticing prints. Cropped jackets were worn with longer t-shirts, featuring graphic designs. Rolled-up trouser legs revealed bare ankles.

Fitted blazers replicated the floral patterns of matching shirts, teamed with contrasting shorts and cravats. Boxy overcoats and suede jackets in ochre gave a 1970s feel; luxe blues and greens provided a modern counterbalance.

Oliver Spencer S/S 2015 by Fiongal Greenlaw

Oliver Spencer S/S 2015 by Kate Sloan

Soft linen jackets and shirts provided a welcome break from the more rigid tailored pieces and I longed to be wearing a loose, floaty Oliver Spencer tunic than the thick t-shirt and jacket that I’d opted for. Checked blazers in vibrant orange, nautical stripes and light knitwear came next, accessorised with retro shades, loafers and large luggage. Whilst not the most outlandish collection, it provided a vast range of wearable separates that would be difficult to get wrong in any combination.

For the finale, the drummers switched to a more uptempo tune as a busty carnival dancer led out the models; the final line-up featured a bevy of samba beauties. It was prime timing as World Cup fever sweeps the nation, but it felt a little forced; as the dancers rolled and twirled and cavorted with the crowd, the models looked a little stiff in comparison and I was left wondering if this was really the best gimmick. I’m hoping my rhinestone-encrusted bikini and feather head dress that I ordered shortly afterwards arrives in time for the World Cup final, though.

Written by Matt Bramford on Tuesday June 24th, 2014 9:08 am

Categories ,Carnival, ,catwalk, ,fashion, ,Fiongal Greenlaw, ,Kate Sloan, ,LCMSS2015, ,london, ,London Collections Men, ,Matt Bramford, ,menswear, ,Oliver Spencer, ,review, ,Rio, ,SS15

Amelia’s Magazine | Orlebar Brown: London Collections: Men S/S 2015

Orlebar Brown S/S 2015 by Helen Marudas

After the KTZ show on Monday I wandered down to Floral Street in Covent Garden to the Orlebar Brown store, where I found a rather excited crowd gathered in front of the shop’s façade. Four incredibly handsome guys with ripped bodies were struggling with a variety of dogs, and as I surveyed them I made a mental note to stop eating quite so many burgers.

All photography by Matt Bramford

Inside the store, more models showcased Orlebar Brown‘s S/S 2015 collection. Simple, bright shorts with metal fastenings were the mainstay, along with patterned shirts and basic, beach-ready footwear. ‘Under the sea’ was this year’s theme, translated with aquatic spiral and coral reef prints. I love the photographic printed pieces that the brand has become famous for, and I’ve added the Slim Aarons-esque t-shirt and shorts to my wishlist.

Back outside, the topless models still struggled with dogs. I felt so sorry for the gent that had obviously pulled the short straw and had to struggle with a Great Dane the size of a Shetland pony. You wouldn’t catch David Gandy doing this. I stifled LOLs as the great beast dragged the model passionately in the opposite direction from the store with gusto, while dog trainers desperately tried to catch up with them. It was like a sexy version of a Chuckle Brothers‘ sketch. Of all the dog breeds, why you would hire a four-legged recipe for disaster is beyond me, but it was a memorable presentation to say the least.

Written by Matt Bramford on Saturday June 21st, 2014 6:11 pm

Categories ,beach, ,fashion, ,Helen Marudas, ,LCM, ,LCMSS2015, ,London Collections Men, ,Matt Bramford, ,menswear, ,Orlebar Brown, ,Presentation, ,Slim Aarons, ,SS15, ,Swimwear

Amelia’s Magazine | KTZ: London Collections: Men A/W 2014 Catwalk Review

KTZ A/W 2014 by Sine Skau

Only if resident LC:M hunk David Gandy has been wheeled in will you find a tedious tailored three-piece suit at a KTZ show – and that’s exactly why I bloody love going.

KTZ A/W 2014 by Mitika Suri

All photography by Matt Bramford

The usual onslaught of chaos occurred outside, but I knew that once inside, it would be relatively empty. In the basement of Victoria House, I was right – rows of empty seats were frantically being filled as I picked a good standing vantage point from which to view this season’s bizarre brilliance.

A KTZ menswear show tends to feel comfortingly familiar, yet entirely different. The ambiguous, evocative symbols that mix Sanskrit with religious symbols with godknowswhat adorned most garments, black and white dominated this collection and the silhouettes were as dramatic as ever. So what do you do to mix things up a bit? Paint the bloody models ice white, of course. This is definitely not a show to appeal to the Harris Tweed brigade.

Pieces seemed to be bigger than ever this season. XXL hoods draped over models past the knee; furs, scarves and thick fabrics enveloped models’ faces and necks; a sort of Arctic exploration on LSD. I was dazzled by caps with metal embellishments, metal headpieces that crept down foreheads, jewels attached to sweatshirts that had been arranged in a precise, mathematical fashion, and skintight jumpsuits that were so low cut that they revealed navels.

KTZ A/W 2014 by Sine Skau

The tribal, cultish vibe remained at this collection’s core, its mix of graphic emblems and experiments with fabric keeping every audience member’s attention all the way through over forty looks. I won’t even attempt to define it, categorise it, or discuss it in terms of how wearable, sellable or functional it is. That would be a mistake. It’s better to sit (or stand) back, revel in the showmanship of it all, then stock up on Snazaroo face paint when you get home.

Written by Matt Bramford on Thursday January 30th, 2014 6:08 pm

Categories ,Artic, ,catwalk, ,fashion, ,KTZ, ,LCM, ,LCMAW2014, ,london, ,London Collections Men, ,Marjan Pejoski, ,Matt Bramford, ,menswear, ,review, ,Sanskrit, ,Sine Skau, ,sportswear, ,Victoria House

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