Amelia’s Magazine | Martina Spetlova: New S/S 2012 Season Interview

Martina Spetlova By Shauna Tranter
Martina Spetlova S/S 2012 by Shauna Tranter.

Eco designer Martina Spetlova first caught my eye when I was putting together Amelia’s Compendium of Fashion Illustration last year. She has an inimitable ability to combine materials and colours which has made her past two collections every bit as eye catching as that first one I saw. Time for a catch up me thinks.

Stacie Swift - Martina Spetlova AW11
Martina Spetlova A/W 2011 by Stacie Swift.

For A/W 2011 you shot a more spooky video with a tribal beat, cheap can you speak a bit more about the inspiration for this?
I wanted to work with a dancer and I used a very inspiring film by Maya Deren called A Study In Choreography For Camera as reference. Margarita who performs in my film was loosely choreorgaphed for the piece and then we filmed it over a stretch of a few hours. The music came later and was sourced by Paddy Austin, price who got it from an old Italian opera by Roberto De Simone.


Your use of sustainable leather and zips for A/W 2011 is amazing, how did you mock up trial samples of this range?
I always spend some time researching in the library at the start of a season, but my ideas tend to evolve by experimenting in the studio. I am always testing and mixing the combinations of textures and colours at my studio… playing with various leathers and using zips as connectors and features. 

Martina Spetlova by Celine Elliott
Martina Spetlova S/S 2012 by Celine Elliott.

Your use of colour is very intriguing – where do you get the ideas for your mismatches? Is there something in particular that you look at for inspiration each season, or is your colour choice in your DNA?
In order to be sustainable I work with end of line fabrics and yarns which can be quite limiting in terms of colour. I always have an idea of the main colours I would like to use when I start working on a new collection, but I have to also see what is available and what happy accidents I discover along the way. But I suppose you could say that colour is in my DNA, as I seem to know that the choices and combinations I use are right.


The video for your new S/S 2012 collection is beautiful – what gave you the idea to work with split imagery and different focal lengths?
For my presentation I took the elements that helped create the S/S 2012 collection and separated them out in petri dishes on a large light box. I wanted to highlight the way I experiment when I work, by creating a formula for various processes my designs go through. The film had to sit next to this piece in Somerset House so thats how we thought of using mirrors and a magnifying glass to distort and split images. The film is a collaboration with Ruta Balseviciute and Till Janz, and we were inspired by the short films of Erwin Blumenfeld of course.

Martina-Spetlova-SS-2012-2
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Chemical theory is still a dominant theme, how is this applied to the making of your garments for S/S 2012?
My formula I mentioned above takes the ingredients I use – the end of line fabrics and yarns, ethically sourced leathers, textures and colours of elements such as the zips and knit – and combines them with my own experimentation processes to create the finished piece. I studied a chemistry degree in Prague before I went to Central Saint Martins to study fashion and I found some similarities between the two disciplines. The way I experiment with colours and textures in the design process at my studio echos the blending and mixing of chemicals in order to achieve a prescribed reaction within the laboratory. 

Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper.

You first came to my attention as an eco designer – how has a desire to be ethical continued to influence your work, and how do you make sure that all fabrics are sustainably sourced?
I work with end of line fabrics and yarns from European mills which the industry sees as waste material, but which I am able to use for my limited edition collections. I also work with leather companies which have sustainable policies. 

Martina-Spetlova-SS-2012-6
Martina-Spetlova-SS-2012-7
Martina-Spetlova-SS-2012-8
Martina-Spetlova-SS-2012-9
You’ve recently been doing some teaching – how does this compliment and fit in with your design work?
I have just started teaching fashion on Academy of Fine Arts in Warsaw which is a brand new course and full of energy. It gives me an opportunity to step away from my own work, whilst helping the students develop their own ideas in the same way I was encouraged to at Central Saint Martins.

Martina Spetlova S/S 2012 by Stacie Swift
Martina Spetlova S/S 2012 by Stacie Swift.

Where can people buy a piece of Martina Spetlova?
Selected pieces from my A/W 2011 and S/S 2012 collection will be soon available at LN-CC. I am also selling my new collection with Osmoda, which is new online shop.

Martina-Spetlova-SS-2012-10
Martina-Spetlova-SS-2012-11
Martina-Spetlova-SS-2012-12
Any future plans or collaborations that you can tell us about?
I am hoping to carry on collaborating with Atlantic Leather, which I have been working with for a couple of seasons now. I am also looking into a shoe collaboration for the new season, to be shown next February. 

Wonderful stuff! You can see more of Martina Spetlova in Amelia’s Compendium of Fashion Illustration.

Martina-Spetlova-SS-2012-13
Martina-Spetlova-SS-2012-14
Martina-Spetlova-SS-2012-15
Martina-Spetlova-SS-2012
S/S 2011 collection

Categories ,A Study In Choreography For Camera, ,A/W 2011, ,Academy of Fine Arts, ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Atlantic Leather, ,Celine Elliott, ,Central Saint Martins, ,Chemistry, ,ecodesign, ,Erin Sleeper, ,Erwin Blumenfeld, ,ethical, ,film, ,LN-CC, ,ma, ,Martina Spetlova, ,Maya Deren, ,Osmoda, ,Paddy Austin, ,poland, ,Prague, ,Roberto De Simone, ,Ruta Balseviciute, ,S/S 2012, ,Shauna Tranter, ,Somerset House, ,Stacie Swift, ,Till Janz, ,Warsaw, ,Zips

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Amelia’s Magazine | Martina Spetlova: New S/S 2012 Season Interview

Martina Spetlova By Shauna Tranter
Martina Spetlova S/S 2012 by Shauna Tranter.

Eco designer Martina Spetlova first caught my eye when I was putting together Amelia’s Compendium of Fashion Illustration last year. She has an inimitable ability to combine materials and colours which has made her past two collections every bit as eye catching as that first one I saw. Time for a catch up me thinks.

Stacie Swift - Martina Spetlova AW11
Martina Spetlova A/W 2011 by Stacie Swift.

For A/W 2011 you shot a more spooky video with a tribal beat, cheap can you speak a bit more about the inspiration for this?
I wanted to work with a dancer and I used a very inspiring film by Maya Deren called A Study In Choreography For Camera as reference. Margarita who performs in my film was loosely choreorgaphed for the piece and then we filmed it over a stretch of a few hours. The music came later and was sourced by Paddy Austin, price who got it from an old Italian opera by Roberto De Simone.


Your use of sustainable leather and zips for A/W 2011 is amazing, how did you mock up trial samples of this range?
I always spend some time researching in the library at the start of a season, but my ideas tend to evolve by experimenting in the studio. I am always testing and mixing the combinations of textures and colours at my studio… playing with various leathers and using zips as connectors and features. 

Martina Spetlova by Celine Elliott
Martina Spetlova S/S 2012 by Celine Elliott.

Your use of colour is very intriguing – where do you get the ideas for your mismatches? Is there something in particular that you look at for inspiration each season, or is your colour choice in your DNA?
In order to be sustainable I work with end of line fabrics and yarns which can be quite limiting in terms of colour. I always have an idea of the main colours I would like to use when I start working on a new collection, but I have to also see what is available and what happy accidents I discover along the way. But I suppose you could say that colour is in my DNA, as I seem to know that the choices and combinations I use are right.


The video for your new S/S 2012 collection is beautiful – what gave you the idea to work with split imagery and different focal lengths?
For my presentation I took the elements that helped create the S/S 2012 collection and separated them out in petri dishes on a large light box. I wanted to highlight the way I experiment when I work, by creating a formula for various processes my designs go through. The film had to sit next to this piece in Somerset House so thats how we thought of using mirrors and a magnifying glass to distort and split images. The film is a collaboration with Ruta Balseviciute and Till Janz, and we were inspired by the short films of Erwin Blumenfeld of course.

Martina-Spetlova-SS-2012-2
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Chemical theory is still a dominant theme, how is this applied to the making of your garments for S/S 2012?
My formula I mentioned above takes the ingredients I use – the end of line fabrics and yarns, ethically sourced leathers, textures and colours of elements such as the zips and knit – and combines them with my own experimentation processes to create the finished piece. I studied a chemistry degree in Prague before I went to Central Saint Martins to study fashion and I found some similarities between the two disciplines. The way I experiment with colours and textures in the design process at my studio echos the blending and mixing of chemicals in order to achieve a prescribed reaction within the laboratory. 

Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper.

You first came to my attention as an eco designer – how has a desire to be ethical continued to influence your work, and how do you make sure that all fabrics are sustainably sourced?
I work with end of line fabrics and yarns from European mills which the industry sees as waste material, but which I am able to use for my limited edition collections. I also work with leather companies which have sustainable policies. 

Martina-Spetlova-SS-2012-6
Martina-Spetlova-SS-2012-7
Martina-Spetlova-SS-2012-8
Martina-Spetlova-SS-2012-9
You’ve recently been doing some teaching – how does this compliment and fit in with your design work?
I have just started teaching fashion on Academy of Fine Arts in Warsaw which is a brand new course and full of energy. It gives me an opportunity to step away from my own work, whilst helping the students develop their own ideas in the same way I was encouraged to at Central Saint Martins.

Martina Spetlova S/S 2012 by Stacie Swift
Martina Spetlova S/S 2012 by Stacie Swift.

Where can people buy a piece of Martina Spetlova?
Selected pieces from my A/W 2011 and S/S 2012 collection will be soon available at LN-CC. I am also selling my new collection with Osmoda, which is new online shop.

Martina-Spetlova-SS-2012-10
Martina-Spetlova-SS-2012-11
Martina-Spetlova-SS-2012-12
Any future plans or collaborations that you can tell us about?
I am hoping to carry on collaborating with Atlantic Leather, which I have been working with for a couple of seasons now. I am also looking into a shoe collaboration for the new season, to be shown next February. 

Wonderful stuff! You can see more of Martina Spetlova in Amelia’s Compendium of Fashion Illustration.

Martina-Spetlova-SS-2012-13
Martina-Spetlova-SS-2012-14
Martina-Spetlova-SS-2012-15
Martina-Spetlova-SS-2012
S/S 2011 collection

Categories ,A Study In Choreography For Camera, ,A/W 2011, ,Academy of Fine Arts, ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Atlantic Leather, ,Celine Elliott, ,Central Saint Martins, ,Chemistry, ,ecodesign, ,Erin Sleeper, ,Erwin Blumenfeld, ,ethical, ,film, ,LN-CC, ,ma, ,Martina Spetlova, ,Maya Deren, ,Osmoda, ,Paddy Austin, ,poland, ,Prague, ,Roberto De Simone, ,Ruta Balseviciute, ,S/S 2012, ,Shauna Tranter, ,Somerset House, ,Stacie Swift, ,Till Janz, ,Warsaw, ,Zips

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Amelia’s Magazine | Phoebe English: London Fashion Week A/W 2012 Catwalk Review

Phoebe-English-by-Gaarte-LFW-AW2012

Phoebe English by Gaarte

For S/S 2012, Phoebe English’s MA collection was a range of subtle body-con dresses in a neutral palette of white, cream and black. There was a lot of comment on the level of talent and craftsmanship that Phoebe obviously held – guess work went into how many hours she had spent hand-smocking the lengths of calico fabric used for her designs.

Phoebe English AW 2012 -photo amelia gregory
Phoebe English AW 2012 -photo amelia gregory
Amelia’s Magazine contributor Georgia Takacs wasn’t impressed with the collection – she acknowledged the high level of skill involved, but thought that the designs were too boxy, and unflattering. However, I really liked the show, and it was one of the first tickets I applied for this year. Phoebe English’s take on modern dressing, the unfinished hems done just right, so as not to get that high street distressed finish, and the fact that this was an MA show, I personally felt, was something to get quite excited about.

Phoebe-English-by-Amelia-Gregory-AW2012
I arrived at the Freemasons Hall a little early, feeling a little confused about what I actually thought of the PPQ show that had been on 20 minutes before, and took my place in the eager queue that was forming. A trio of candy-colour dressed Norwegians came to stand behind me, and I noticed that designer Fam Irvoll was one of the group. She had shown her new collection as part of Vauxhall Fashion Scout earlier that day, and was being interviewed by Dr Lida Hujic from The First To Know. She very modestly played down how the show had gone, telling Lida that she thought it had gone OK.

Phoebe English AW 2012 -photo amelia gregory
The hall became full very quickly, with not too much flocking around Kate Nash and stylist Rebekah Roy who were on the front row. The music, a perfect choice – was a haunting track called Sleep Paralysis from musician Gabriel Bruce, apparently a childhood friend of Phoebe’s.

Phoebe-English-by-Victoria-Haynes-LFW-AW2012.jpg

Phoebe English A/W 2012 by Victoria Haynes

The first three looks of Phoebe English’s collection pleased me a lot. Sticking to the concept of body con dress shapes that she had championed in S/S 2012, black viscose was matched against black and grey latex as trimmings for skirts and sleeves. The best of these was a one sleeved short dress, that was constructed from a latex skirt, heavy viscose top, and a quarter of the long sleeve made from the black latex. It was modern and cool.

Phoebe-English-AW2012-by-Amelia-Gregory

The next two looks showed a sportswear influence, with two short dresses with prominent thick elasticated waistbands, that had been separated along the stomach, producing a cut out effect. The waistbands were dropped, but not too slouchy looking – these were still dresses for dressing up in. Phoebe English had cleverly shielded flesh with a layer of fabric behind this. The first of the dresses also had a latex underskirt, and cut outs on the arm, and I really admired Phoebe for not choosing to show any extra skin – it gave the looks a refined finished.

Phoebe-English-by-Jo-Ley-LFW-SS12

Phoebe English by Jo Ley

This went hand in hand with the make up and hair that had been used for the models – the hair was scraped back into buns or loose ponytails, with no polished finish. Their faces appeared make up free, with a sheen of dew on their cheeks, and simple lightly pink stained lips.

Phoebe-English-by-Claire-Kearns-LFW-AW12

Phoebe English by Claire Kearns

The next two looks were my firm favourites. These were longer styles, that just skimmed the knee, and that were simply stunning. The first, was a column body con dress, made from a black felted top with cut off sleeves, and a body which was made from translucent latex. Underneath, the model wore a pair of high waisted black pants, which again added a refined feel, as did the cropped felt top, that just skimmed the models chest, but showed no skin. The latex was darted twice down the front, and it fitted perfectly to the model’s form, but stretched and allowed movement.

Phoebe-English-by-Amelia-Gregory-AW2012

The second of these looks was a two piece. Made from a cropped top with latex arms and a felt and latex body, and worn with a high waisted felt and latex skirt. I loved the contrast of the heavy felt body pieces to the see-through latex, which pared sexy with refined, and again, not having the need to show off flesh, because the design was already doing enough to make it desirable. Conversely, they were also very lady like – because of the midi length, and with the high waisted cut of the paints and skirt.

Phoebe-English-by-Catherine-Meadows-LFW-AW12

Phoebe English A/W 2012 by Catherine Meadows

I read recently that Phoebe English relocated her work studios to a warehouse in Hackney – and the influence of East London, and it’s residents penchant for black, sheer and sexy definitely came through in these opening looks. They also exemplified what I really like about Phoebe’s work – her ability to combine materials, that are unsuspecting and non-precious, cutting and crafting them together into something that works and looks luxurious. These were also a step away from the boxier shapes that she had shown for S/S 2012. The influence of Phoebe English’s time spent as Gareth Pugh’s intern was also clear.

Phoebe-English-by-Amelia-Gregory-AW2012

The middle set of looks presented a new material – loosely woven rubber strips that adorned heads, and poked out from sleeves and hems of dresses. Making up 5 looks, this was a furthering of the unfinished element of Phoebe’s work that she is known for. It was also quite playful – the strips were woven into lattice work across the bodies of the outfits, but often hung long and loose, which meant a lot of movement as the models walked across the cat walk. I liked the lattice work skirt, the rubber layered on top of the translucent latex, and paired with a industrial knitted rolled hem top. The last look, a latex shift dress was completely covered with the rubber strips, but with longer ends on the lower half of the dress, which gave the dress an ‘unwoven’ finish.

Phoebe-English-by-Cristian-Grossi-LFW-AW2012.jpg

Phoebe English A/W 2012 by Cristian Grossi

As an unexpected but welcome finish to the show, the last 3 looks were an explosion of bubblegum and hot pink. Instantly this added a girlish, feminine feel to the collection, and a great move for Phoebe English, away from her usual subtle palette. There was a heavy knitted jumper, and in the first look, the thick waistbands were back, on both a cropped top and super short skirt.

Phoebe English AW 2012 - amelia gregory
Phoebe English AW 2012 - amelia gregory
Phoebe English AW 2012 - amelia gregory
Phoebe-English-by-Amelia-Gregory-AW2012

It was the last of these berry shade looks that was the winner for me, an asymmetric knit jumper, pink felt skirt, pink latex waistband and a experimental play on her usual smocking. Half of the felt skirt was layered with a bubblegum hued plastic, but it was longer in length, and loosely bound together. It added beautiful movement.

Phoebe-English-by-Emily-Reader-LFW-SS12

Phoebe English by Emily Reader

This collection showed exciting growth in Phoebe’s work – it was a mature but fun collection which showed off her talents for the paring of shapes and textures, and understanding of materials and the ways that they can be utilised to their best effect. The feminine inclusion at the end also showed how Phoebe English will undoubtedly continue to experiment, grow in confidence to produce work that is refined, yet modern and thoroughly deserving of the recognition she has received in her short-career so far.


Phoebe English AW 2012 - amelia gregory
All photography by Amelia Gregory

Categories ,Freemasons’ Hall, ,Gareth Pugh, ,knitwear, ,Latex, ,lfw, ,London Fashion Week A/W 2012, ,ma, ,Merit Winner, ,Modern, ,Phoebe English, ,pink, ,Rubber, ,S/S 2012, ,sportswear, ,Vauxhall Fashion Scout

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Swedish School of Textiles BA


Isabella Falkirk (BA) Graduate Collection, mind by Faye West

On Saturday evening a selection of students from the Swedish School of Textiles transported their graduate collections to our fair city to give us a taster. A year ago, graduating students from Sweden did the same thing and Amelia was bowled over by what was on display, so I was pretty eager to see what this year’s offering offered.

The Vauxhall Fashion Scout venue at Freemason’s Hall wasn’t packed wall to wall like it usually is, which suits me fine – I was only mildly sweating as opposed to my usual soaking-wet state. A glance down the running order while I waited for the show to start revealed that this was to be pretty epic – no less than 17 BA and 4 MA graduates. Here goes!

Isabella Falkirk
The show kicked off with Isabella Falkirk. Foam shapes took centre stage, squared off to control the contours of the female form. The model was essentially wearing a foam box. The aesthetic was pleasing, but the model looked miserable, and I did have to wonder to myself how viable or groundbreaking this show opener was. A similar creation followed atop a model’s head, and I wondered further; this wasn’t fashion to wear on a visit to the shops to pick up milk. Despite this, underneath the shock tactics was some extremely wearable and well-tailored formal attire – sleek trousers and well-cut blazers. A reaction to the strains of work, the collection finished with a conceptual jacket with four or five layers, showing Falkirks’ vision a little more clearly. I liked this piece a lot.


All photography by Matt Bramford

Per Axén
Next came chic and crisp tailoring courtesy of Per Axén, whose concept through the juxtaposition of materials was a little more commercial but equally as enjoyable. A leather cape flirted with cream free-flowing trousers that looked elegant and futuristic at the same time. Other leathers had been married with cottons for the same effect, and geometric shapes featured, a la Mondrian.

Freja Sundberg

Freja Sundberg‘s BA Graduate Collection, illustrated by Christina Demetriou

Up next came Freja Sundberg‘s homage to the working class people of Havana and their music and culture. A lively collection, it featured Cuban prints in a multitude of colours, plastic skirts and lively wigs with flashes of red. Statement jewellery also appeared, and the final piece, an extravagant gold silk dress with a discreet print, had been gathered with drawstrings and rucksack pulls. A real winner.


Sofi Svensson

Sofi Svensson (BA) Graduate Collection, by Faye West

The standout collection for its sheer bravery, conceptualism and bloody amazing craftsmanship, was Sofi Svensson’s masked creatures. Models appeared like they had landed from a Doctor Who novel, wearing ghoulish masks with eyeholes that became long, wide dresses. Each had been encrusted and embellished to the max – jewels, crystals, plastic objects and mirrors filled every piece of the garment. Again, this was fashion as expression and conception rather than as a commercial commodity. Breathtaking, too.

Maja Dixdotter
Maja‘s collection brought us back in to the real world a little, but was by no means boring. Beautiful pastel shades in lemon, lavender and blush were the colour palette. A structured jacket had been juxtaposed with a sheer micro dress, while a skirt and a top carried gorgeous flower details.

Linnéa Woxinger Sköld
Living creatures affect me in a way nothing else can,’ exclaims Linnéa Woxinger Sköld on the handout, ‘…and fashion, at its best, gets very close to this fascination. How close can I get?‘ Pretty close, love. Linnéa’s collection was a fusion of organic shapes and experimental materials. An unusual mint-coloured translucent number opened her showing, which had been gathered together working against the model’s body. A body-concious number followed, then other dresses with organic twists and turns. This was like something I’d never seen before, but I really liked it.

Elin Engström

Elin Engström‘s BA Graduate Collection, by Christina Demetriou

Questioning the conquer-all ethos of the suit and fashion’s fascination with it, Elin Engström presented an expertly tailored collection in monochrome. The first model appeared with a large tube covering her face that looked a bit like those things you put on dogs to stop them sniffing their arses (is that what they’re for?) and was teamed with a large cloak. Later came a onesie, in which the model’s arms were unable to escape. Wild vase-like shapes were worn over the eyes, creating an ethereal effect. More tailoring followed with horse-hair details, but the real showstopper was an embellished translucent jacket with matching strange-vase-like-sunglasses-thingies.

Ida Klamborn
Closing the BA section of the show in dramatic fashion, Ida Klamborn presented an all-red collection of floor-length numbers. The colour choice and use of grand fabrics made for a sophisticated, luxurious collection of pleated skirts and high-waisted trousers. Sweet.

At this point I was desperate for the loo, and I just couldn’t make up my mind if I thought attendee Jay from E4 show Dirty Sexy Things was attractive*. I do love seeing graduate shows – they have fewer constraints and no worries about commerciality. But during London Fashion Week, with so many shows to think about, I did find it a little exhausting. The show wasn’t over, though, and we quickly launched into the MA graduates – you can read all about them in Akeela‘s review here!

*I decided in the end that yes, he probably is.

Categories ,BA, ,catwalk, ,Christina Demetriou, ,Cuba, ,Dirty Sexy Things, ,Doctor Who, ,E4, ,Elin Engstöm, ,Fashion Design, ,Faye West, ,Freemasons’ Hall, ,Freja Sundberg, ,Front Row, ,Havana, ,Ida Klamborn, ,Isabella Falkirk, ,Jay, ,Linnea Woxinger Skold, ,London Fashion Week, ,ma, ,Maja Dixdotter, ,Matt Bramford, ,Mondrian, ,pastels, ,Per Axen, ,review, ,S/S 2012, ,Sofi Svensson, ,sweden, ,Swedish School of Textiles, ,Vauxhall Fashion Scout, ,Womenswear

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Amelia’s Magazine | London Fashion Week A/W 2011 Menswear Day Catwalk Review: D.GNAK by KANG.D

Illustration by Romain Lambert-Louis

It’s good thing it’s starting to feel like spring outside, rx as listening to Lulu and the Lampshades in the dead of winter strikes me as being something akin to torture. This is music that makes me want to ride my bicycle along gravel roads, healing slurping down iced lollies and squinting as the sunshine pokes through my eyelashes.

There is a lot of sweetness to Lulu and the Lampshades – starting with the playfulness of the name itself, link down to the music which is a bucketful of sunshine. At least that was my first impression, before I listened to the new ‘Cold Water’ EP. The only thing I’d heard of the London-based foursome before was ‘Feet to the sky’, a cheery little number with an even cheerier video, but for a release with just four tracks, ‘Cold Water’ does an impressive job of delivering diversity.

Illustration by Matilde Sazio

My favourite thing about Lulu and the Lampshades is probably main singer Luisa Gerstein’s voice – a rich, chocolatey sound which makes you think of bigger songs and swoonier music productions. But the stripped back style of the Lulu songs do an excellent job of accompanying Luisa. The overall effect is something akin to listening to your favourite act playing at a musical, just a few feet away and it feels like they‘re playing just for you.

It certainly sounds like the Lulus having fun though, skipping along (or at least that’s what it sounds like) on the title track ’Cold Water’. Although the lyrics tell a more complex story: ’I hate to be wrapped in cotton although I think it’s better for me / Yes I see there’s trouble but it’s proven to me I’m better off this way’ … I’m not sure if the music and lyrics are mismatched, or if Luisa is simply the happiest when causing a bit of trouble?

Illustration by Mhairi-stella McEwan

Illustration by Sarah Matthews

The video to ‘Cups’, or ‘You’re gonna miss me’, has had over half a million YouTube hits, as Luisa and Heloise banging those plastic beakers into the kitchen table really needs to be seen. ‘Cups’ started out as a routine Louisa learnt at percussion class, combined with new verses and a chorus from a traditional folk song. The result is a lovely little ’all together now’ call-and-response song, but it’s that cup action that has us all going Whoa Lulu! Have a look:

‘I’ll keep my demons underground if it keeps you smiling’, Luisa sings as ‘Demons’ start. Although the flute and glockenspiel keeps things light, the darker undertones are definitely there now, both in terms of lyrics and tone. ‘Cause you’ve punctured me / I’ve ruptured at the seams and though its strange for me / I’ll do my best to keep the rest from falling out’ … But there is something fairytale-like about it too, like the stories about witches and evil creatures that we like because it gives us a chill down our backs.

‘Moccasin Mile’ mixes vocal harmonies, ukulele and some nifty drumstick action as the tempos change. ‘If you can’t be good then please be careful,’ Luisa sings … But then the flute comes in again at the chorus, as Lulu regulars Luisa, Heloise, Jemma and Dan were joined by flutist Isobel to add some extra ‘dance around the maypole’ feeling. And that’s it – four tracks are done and Lulu and the Lampshades have certainly managed to whet our appetites for a full-length album. As well as a dip in a lake that’s still a little too cold, before skipping on home with sunburnt cheeks.

Illustration by Matilde Sazio

Illustration by Sarah Matthews

‘Cold Water’ by Lulu and the Lampshades is out now on Moshi Moshi. Have a look at the website for the current gig schedule, or see the YouTube channel for more music videos.

Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, information pills I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.


Contributor Georgia with Paul Weller

I bumped into contributor Georgia Takacs there and we headed into the venue, more about sitting on opposite sides so not to get the same pictures. As we sat down, she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.


Illustration by Joana Faria

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.


All photography by Matt Bramford

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.


Illustration by Rob Wallace

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Savile Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.

See more of Joana Faria’s illustrations in Amelia’s Compendium of Fashion Illustration!

Categories ,A/W 2011, ,Catwalk review, ,D.GNAK, ,Dong Jun Kang, ,Freemasons’ Hall, ,George Orwell, ,Joana Faria, ,KANG.D, ,London Fashion Week, ,ma, ,Menswear Day, ,Nineteen Eighty Four, ,Oliver John Quinn, ,Paul Weller, ,Rob Wallace, ,Savile Row, ,Sherlock Holmes, ,tailoring, ,Unfinished, ,Utilitarian, ,Vauxhall Fashion Scout, ,Winston Smith

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Amelia’s Magazine | LCF MA Fashion Show 2013, Menswear: London Fashion Week Catwalk Review

LCF MA Na Di AW2013 by Jane Young
Na Di by Jane Young.

It says something about the current climate that four of ten designers at the much lauded LCF MA showcase at the Royal Opera House were showing menswear. In honour of this I’ve decided to split my review appropriately in two. First up, the menswear:

LCF MA Na Di fashion AW 2013-0038
LCF MA Na Di fashion AW 2013-0038
LCF MA Na Di fashion AW 2013-0038
LCF MA Na Di fashion AW 2013-0038
Na Di toyed with our current obsession for all things 90s, applying garish clashing prints to boxy single breasted jackets and matching crop trousers. High peaked baseball caps complimented the theme in a collection bound to have the menswear stylists salivating.

LCF MA octo cheung fashion AW 2013-0102
LCF MA octo cheung fashion AW 2013-0102
For Octo Cheung knitwear was the predominant obsession, with relaxed multi hued jumpers worn over shirts and cravats. This was accessorised with interesting eyewear, fit for a suitably geeky occupation: mending small parts or inspecting tiny specimens.

LCF MA fashion antonia lloyd AW 2013-0148
LCF MA fashion antonia lloyd AW 2013-0148
LCF MA fashion antonia lloyd AW 2013-0148
Tourquoise, fushia and red coloured shorts suits were paired with prints, close fitting jumpers and matching rucksacks in a bright collection by Antonia Lloyd. We first spotted Antonia Lloyd in her graduate showcase back in 2010, read the review here.

LCF MA fashion xin sun AW 2013-0195
LCF MA fashion xin sun AW 2013-0195
LCF MA fashion xin sun AW 2013-0195
LCF MA fashion xin sun AW 2013-0195
Xin Sun took to the outback for her fedora topped collection that looked most at home on a long haired model, his locks swinging in time with his wide legged tie-fronted trousers. Boxy utilitarian coats were paired with cosy oatmeal jumpers and big boots by Underground Shoes.

Categories ,Antonia Lloyd, ,Jane Young, ,LCF, ,London College of Fashion, ,ma, ,menswear, ,Na Di, ,Octo Cheung, ,Royal Opera House, ,Underground Shoes, ,Xin Sun

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Amelia’s Magazine | London College of Fashion MA 2012 Exhibition Review

Hana Cha by Sam Parr
Hana Cha by Sam Parr

Two weeks ago, there was a multicolour explosion deep in the basement of Victoria House, Bloomsbury – it was the MA Graduate Season 2012 show at the London College of Fashion – and it was inspiring.

Hana Cha by Jason Lear
Hana Cha by Jason Lear

The first collection that catches my eye is Carry on Closet, a collaborative project between Renée Lacroix (MA Fashion and the Environment) and Zahra Ash-Harper (MA Entrepreneurship), collectively Antithesis (who Amelia mentored on the CFE Fashion Bootcamp). They’ve created an enviable capsule collection of trans-seasonal, versatile pieces, and it’s the team’s hope that their high quality clothing will result in long-lasting, treasured pieces. I covet the second cloak in their video below, which doubles as a short jacket and vest – it’s one of many thoughtfully-crafted pieces which would slot in well to any contemporary wardrobe.


Next, I meet Daisy Jie Feng (MA Fashion Artefact), who is sporting a delicate silver neckpiece which resembles a set of wings. As we get talking, I understand that this is completely intentional – she was inspired by Kafka’s Metamorphosis to produce a series of necklaces that combine fine jewellery with a story of evolution. Each of her mannequins on display show the pieces becoming progressively more intricate, until we reach the final neckpiece which is made from 265 silver cones wrapped in silver and white gold.

Tina Elisabeth Reiter by Gareth A Hopkins
Tina Elisabeth Reiter by Gareth A Hopkins

Octavia Xiaozi Yang (MA Fashion Artefact) has applied traditional Chinese elements to contemporary jewellery for her Joinery in Jewels project, for me characterised by the enormous resin rubies which can be spied from a distance. No glue or nails are used to create the neck pieces, instead all the materials are constructed to work together, with laser cut perspex, 18 carat gold, and wood.

Tina Elisabeth Reiter by Claire Kearns
Tina Elisabeth Reiter by Claire Kearns

Rounding a corner, everyone stops to gaze at Vivien Ying’s (MA Fashion Footwear) vibrant shoes, which would be perfect come spring. She asks, ‘Is it possible to adapt the aesthetics and principles of Kimono wrapping into the scale and techniques of footwear?’ And indeed it is, as she’s draped the shoes without adding weight to them, and maintained the essence of the Kimono concept by using leathers delicately imprinted with floral patterns.

Vivien Ying by Sam Parr
Vivien Ying by Sam Parr

Ruth Holland’s (MA Fashion Artefact) neck pieces are spectacular. She focuses on reusing materials and wants to make precious pieces from non-precious materials – traditional handmade rope, mixed plastics and resins. This kind of approach makes for pieces obviously steeped in careful craftsmanship, and leaves me wondering why we would ever want to wear anything else – it’s the kind of artwork that is easy to connect with ethically and visually – you just want to reach out and put it on.

Necklace by Ruth Holland
Necklace by Ruth Holland

Tina Elisabeth Reiter by Jason Lear
Tina Elisabeth Reiter by Jason Lear

Charlotte Valkeniers (MA Fashion Artefact) tells me that she isn’t a jewellery person, which is a little bit funny given her enormous neck pieces! Everything is laser cut in to spirals with hand-knitted tubes and hand-forged metal, and her curiosity about the human body and muscle structure is apparent in the shape and weave of the pieces. I like the neutral tones and textures, and come to think of it, their simplicity might be perfect for the person who shies away from decoration.

Neckpiece by Charlotte Valkeniers
Neck piece by Charlotte Valkeniers

Photographs by Rebecca Merrick
Photographs by Rebecca Merrick

After perusing the photography portion of the show (including some beautiful, threaded images from Rebecca Merrick), I witness performances from the students doing their MA in Costume Design for Performance. The audience is captivated, first by Lisa Duncan’s costume for a performance of Orlando, and later, by a very personal work from Lesley Asare, iShape Beauty, which ends in cheers.

Costume design by Lisa Duncan
Costume design by Lisa Duncan

Oenghus in Love by Lucy Mitchell
Óenghus in Love by Lucy Mitchell

Two nights after I visit, the annual MA Catwalk Show takes place at the V&A: Tina Elisabeth Reiter (MA Fashion Design Technology, Menswear) is announced winner of the Menswear Collection of the Year, and Hana Cha (MA Fashion Design Technology, Womenswear) winner of the Womenswear Collection of the Year. Congratulations to both on creating such rich, innovative collections.

Watch the MA_12 Catwalk Show here

Object by Ana Rajcevic
Object by Ana Rajcevic

If you’re interested in seeing more from this exciting institution, read our London College of Fashion Fashion Illustration and Photography and Styling reviews from 2011.

Categories ,2012, ,Ana Rajcevic, ,Antithesis, ,Bloomsbury, ,Carry on Closet, ,Charlotte Valkeniers, ,Claire Kearns, ,Daisy Jie Feng, ,Ecofashion, ,fashion, ,Fashion Bootcamp, ,Gareth A Hopkins, ,Hana Cha, ,iShape Beauty, ,Jason Lear, ,jewellery, ,Joinery in Jewels, ,Kafka, ,Lesley Asare, ,Lisa Duncan, ,London College of Fashion, ,Lucy Mitchell, ,ma, ,Menswear Collection of the Year, ,Metamorphosis, ,Octavia Xiaozi Yang, ,Óenghus in Love, ,Rebecca Merrick, ,Renée Lacroix, ,Ruth Holland, ,Sam Parr, ,Tina Elisabeth Reiter, ,Victoria House, ,Vivien Ying, ,Womenswear Collection of the Year, ,Zahra Ash-Harper

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Amelia’s Magazine | London College of Fashion MA Exhibition Review


Illustrator Naomi Law and Amelia’s Mag contributor Jessica Furseth


The fabulous 6 Day Riot


6 Day Riot lead singer Tamara


The Scout Hut at 123 Bethnal Green Road


Illustrator Joana Faria


Amelia with Rachael and Louise from Prick Your Finger and Harriet and Rosie of Tatty Devine


Amelia’s Nina Dolcetti shoes


Illustrator Rachel de Ste. Croix


Kay McMahon from Wallpaper.com


Amelia’s Mag contributor Abi Renshaw! (on the right)


Francesca from Forward PR showing off with her illustration by Artist Andrea


Amelia cuts into the Lily Vanilli masterpiece!


Illustrator Emma Block


Nick from Forward PR


Will of the Mystery Jets with Madeleine from Dial M For Music


Lucy (right) from Forward PR

Bex Glover!


Amelia with illustrators Jo Cheung, viagra June Chanpoomidole and Joana Faria


Amelia with illustrator Antonia Parker


Me with Bex Glover. I’m clearly showing the effects of sleep deprivation and too much vodka.


Contributor Sally Mumby Croft


Illustrator Faye West gets her groove on…



Illustrator Naomi Law and Amelia’s Mag contributor Jessica Furseth


The fabulous 6 Day Riot


6 Day Riot lead singer Tamara


The Scout Hut at 123 Bethnal Green Road


Illustrator Joana Faria


Amelia with Rachael and Louise from Prick Your Finger and Harriet and Rosie of Tatty Devine


Amelia’s Nina Dolcetti shoes


Illustrator Rachel de Ste. Croix


Kay McMahon from Wallpaper.com


Amelia’s Mag contributor Abi Renshaw! (on the right)


Francesca from Forward PR showing off with her illustration by Artist Andrea


Amelia cuts into the Lily Vanilli masterpiece!


Illustrator Emma Block


Nick from Forward PR


Will of the Mystery Jets with Madeleine from Dial M For Music


Lucy (right) from Forward PR

Bex Glover!


Amelia with illustrators Jo Cheung, more about June Chanpoomidole and Joana Faria


Amelia with illustrator Antonia Parker


Me with Bex Glover. I’m clearly showing the effects of sleep deprivation and too much vodka.


Contributor Sally Mumby Croft


Illustrator Faye West gets her groove on…



Illustrator Naomi Law and Amelia’s Mag contributor Jessica Furseth


The fabulous 6 Day Riot


6 Day Riot lead singer Tamara


The Scout Hut at 123 Bethnal Green Road


Illustrator Joana Faria


Amelia with Rachael and Louise from Prick Your Finger and Harriet and Rosie of Tatty Devine


Amelia’s Nina Dolcetti shoes


Illustrator Rachel de Ste. Croix


Kay McMahon from Wallpaper.com


Amelia’s Mag contributor Abi Renshaw! (on the right)


Francesca from Forward PR showing off with her illustration by Artist Andrea


Amelia cuts into the Lily Vanilli masterpiece!


Illustrator Emma Block


Nick from Forward PR


Will of the Mystery Jets with Madeleine from Dial M For Music


Lucy (right) from Forward PR

Bex Glover!


Amelia with illustrators Jo Cheung, rx June Chanpoomidole and Joana Faria


Amelia with illustrator Antonia Parker


Me with Bex Glover. I’m clearly showing the effects of sleep deprivation and too much vodka.


Contributor Sally Mumby Croft


Illustrator Faye West gets her groove on…



Marie Anne Lynch, drug illustrated by Antonia Parker

This week the London College of Fashion exhibits work from eight of its 2011 MA fashion courses, from photography to footwear. Housed in Victoria House on Bloomsbury Square, where the ON|OFF catwalk shows take place during London Fashion Week, it’s open to the public until 9th February. I went to the opening to see if I could spy some fashion stars in the making.


Vesna Pesic


Paul Kim


Oliver Ruuger


Yan Liang


Nam Young Kim. All photography by Katie Wright

If you visit, be careful not to walk straight past the main event on the way to the basement – the clothing from the Fashion Design Technology MA is in the foyer on the ground floor. The well-deserved winner of Collection of the Year was Matteo Molinari (his name already sounds like a successful Italian brand), whose all-black menswear collection played with the proportions of sharp suits – a longer sleeve here, a higher waist there – and added crochet and cable-knit elements.


Charlie Goldthorpe, illustrated by Sarah Matthews

Another shortlisted designer, Jo Power showed dresses so long, black and formless I wondered if she’d been commissioned by the Church of England to create ecclesiastical wear. But in reality, Power could be well-placed to ride out a current fad: her brand of monochrome minimalism (save for the odd splash of scarlet red) is, along with Phoebe Philo, Jil Sander et al, the kind on which the fashion world is heaping masses of praise at the moment.

At the other end of the spectrum, Tatwasin Kahjeenikorn’s dresses were so densely encrusted with heavy hematite beads and trinkets they were difficult to lift off the rail. One black sleeveless sack dress was covered in rows of metal components you’d be more likely to find in a hardware shop than a haberdashery.


Paul Beckett, illustrated by Michelle Urvall Nyrén

Paul Beckett experimented with sportswear for men to great effect as tracksuit tops were rendered in leather and silk in muted brown tones. Who’d have thought the midpoint between chav and luxe could be so chic? His collection looks like an ideal portfolio for an interview at Adidas. Equally employable, I wouldn’t be surprised if Miuccia Prada offered Jennifer Morris a job in future – I can easily imagine Morris’s turquoise and blue silk pajama-esque trousers and matching jacket on the Miu Miu catwalk.


Zoe Grace Fletcher, illustrated by Gemma Smith

Over in the Fashion and the Environment MA room, students presented a variety of approaches to solving the problems of the unsustainable and wasteful nature of clothing production. If there was a prize for the best collection title, I would give it to Zoe Grace Fletcher. ‘Britain needs Ewe’ explored the local sourcing route to sustainability, and saw Fletcher learning how to shear sheep and dig for Madder roots to extract dye for her hand-knitted wool dresses. Focusing on clothes that can lead to a more sustainable lifestyle when living in a hot climate, Lu Yinyin took a hundred-year-old Chinese dying technique using yams and mud to create a silk that helps to keep the wearer cool. Lu found that air conditioning, a huge source of energy consumption, could actually be turned down a degree or two when Sun Silk garments were worn.


Paul Kim, illustrated by Karolina Burdon

From the title alone I wasn’t even sure what the Fashion Artefact MA course entailed, but it may as well have been called Fashion Accessories because hats, bags and shoes were the artefacts of choice for most designers. In fact, Charlotte Goldthorpe told me she started on the footwear course before the tutor decided she was ‘too weird’ (her words) and she made the switch. A wise decision, if you ask me, as her standout collection took found objects that had lost their functionality (a broken key, a locket that wouldn’t open) and cast them in spheres of silicon. Paired with traditional shapes like a doctor’s bag and an old-fashioned suitcase in flesh-coloured leather, the collection had a wonderful almost medical feel to it. Also in the weird and wonderful artefact category, Oliver Ruuger took the anonymous bowler-hatted businessman archetype and turned it on its head; his umbrella with a ponytail and briefcase covered in soft spikes and metallic studs are the antithesis of conservative dressing.


Ivan Dauriz, illustrated by Alison Day

All in all, the LCF collections may not be as avant-garde and ground-breaking as that other great London fashion institution Central Saint Martins, but there’s clearly a lot of talent on show at this exhibition. It’ll be interesting to see which of these graduates return to show at Victoria House in the future in its London Fashion Week capacity.

Categories ,Adidas, ,Charlotte Goldthorpe, ,Fashion and the Environment, ,Fashion Artefact, ,Fashion Design Technology, ,Jennifer Morris, ,Jo Power, ,London College of Fashion, ,London Fashion Week, ,Lu Yinyin, ,ma, ,Matteo Molinari, ,Miu Miu, ,Oliver Ruuger, ,onoff, ,Paul Beckett, ,Prada, ,Sun Silk, ,Tatwasin Kahjeenikorn, ,Victoria House, ,Zoe Grace Fletcher

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Amelia’s Magazine | London College of Fashion MA Fashion Show 2014, Menswear: London Fashion Week Catwalk Review

Wen Tan A/W 2014 by Claire Kearns

Wen Tan A/W 2014 by Claire Kearns.

Against the backdrop of a kaleidoscopic digital projection, the London College of Fashion MA designers sent their designs down the catwalk. As ever there was a fantastic array of talent on show. Here’s a run down of the menswear.

Daniel Yuste AW 2014

Daniel Yuste AW 2014

Spanish designer Daniel Yuste focused on a futuristic sportive silhouette, using neoprene to shape beetle inspired jackets in bold cobalt blue, navy and monochrome stripes.

Wen Tan AW 2014

Wen Tan AW 2014

Wen Tan AW 2014

Wen Tan AW 2014-white suit

Wen Tan used delicate drawings made from the bones of extinct animals as the basis for his drop shouldered coats in muted pastel colours, accessorised with large top hats and bowlers chopped in two.

Artistides Vanis by Rebecca May Illustration

Artistides Vanis by Rebecca May Illustration.

Aristides Vanis AW 2014-LCF MA

Aristides Vanis AW 2014-LCF MA donkey

Aristides Vanis AW 2014

Aristides Vanis AW 2014

Greek designer Aristides Vanis produced the most arresting collection, featuring an outsize stuffed donkey as accessory and plenty of 3D embellishments, all inspired by his childhood and in particular the food and animals that were such a big part of his growing up. His background in costume is evident in these fun garments.

Xiaomeng Yang by Ruth Joyce

Xiaomeng Yang by Ruth Joyce.

Xiaomeng Yang AW 2014

Xiaomeng Yang AW 2014

Xiaomeng Yang AW 2014

Xiaomeng Yang AW 2014

Xiaomeng Yang dressed his men in brightly coloured co-ordinated suits in shades of bright blue, canary yellow, fuchsia pink, bright green, searing red and blazing orange, with the corresponding shades splattered across the models’ faces. Despite the energetic choice of colour these were beautiful and wearable garments, featuring intricate draping inspired by folds of skin.

All photography by Amelia Gregory. Don’t forget to check out my coverage of the womenswear graduates here.

Categories ,2014, ,Aristides Vanis, ,Claire Kearns, ,Daniel Yuste, ,London College of Fashion, ,ma, ,menswear, ,Rebecca May Illustration, ,review, ,Ruth Joyce, ,Waldorf Hotel, ,Wen Tan, ,Xiaomeng Yang

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Amelia’s Magazine | London College of Fashion MA Womenswear Show 2016

MattBramford_LCFMA16_037Sui Yiru MA Womenswear 2016; all photography by Matt Bramford

Last Thursday, a select group of London College of Fashion graduates presented their MA collections. This year’s venue was the stunning (and slightly imposing) Royal College of Surgeons; specifically, the dramatic Edward Lumley Hall. Arriving early at these events offers many advantages – a well organised event meant I could choose a decent vista and survey the ethereal set, complete with broken glass and mirrors.

The show started only a few minutes late, with conscious whispers of the live stream on the LCF website. Opening the show, Zhixian Wang showed a dreamy collection of cosy duvet-like dresses with drawstring pulls that created shape. Models had helium balloons attached to their arms and bursts of orange brightened different numbers.

MattBramford_LCFMA16_002

MattBramford_LCFMA16_004

MattBramford_LCFMA16_006

Next designer Lauren Lake couldn’t have been more different with her layers of patchwork fabrics and striped furs. Pinks, blues and yellows on contrasting stripes and prints made this a fun, exciting collection.

MattBramford_LCFMA16_009

MattBramford_LCFMA16_010

MattBramford_LCFMA16_011

In stark contrast, Yawen Qian presented a sleek, minimalist collection, the majority of pieces were white, angular creations with the odd grey piece thrown in. Constricting perspex jewellery by Yifan Gao completed the looks.

MattBramford_LCFMA16_013

MattBramford_LCFMA16_014

MattBramford_LCFMA16_018

Kirimi Yun presented a playful assortment of short dresses in a baby pink palette, some with exaggerated a-line shapes and others with dramatic bustles. With frills galore, this was a collection that didn’t take itself too seriously – note the pink crowns!

MattBramford_LCFMA16_031

MattBramford_LCFMA16_027

MattBramford_LCFMA16_028

Sui Yiru‘s collection used ultra-thin layers of plywood to form sections of skirts. This intriguing use of materials was paired with simple white fabrics that together created minimal geometric shapes.

MattBramford_LCFMA16_035

MattBramford_LCFMA16_038

MattBramford_LCFMA16_040

One of my favourites was Desirée Slabik‘s groundbreaking collection of voluminous chiffon sculptures. Huge coats in vibrant colours were worn with fluffy trousers in pastels. These garments toyed with the traditional silhouette in a fun, unique way.

MattBramford_LCFMA16_043

MattBramford_LCFMA16_047

MattBramford_LCFMA16_049

MattBramford_LCFMA16_051

Closing the show was Alexandru Tunsu. His collection of frayed jackets, trousers and skirts left me wondering what on Earth they were constructed from – was it fur, frayed cotton, wool? Whatever it was, these sublime garments, with hints of printed textiles, were the perfect end to the show.

MattBramford_LCFMA16_055

MattBramford_LCFMA16_058

MattBramford_LCFMA16_060

Read more about this year’s graduates on LCF’s Showtime website.

All photography by Matt Bramford

Categories ,2016, ,Alexandru Tunsu, ,Desirée Slabik, ,graduates, ,Kirimi Yun, ,LCF, ,London College of Fashion, ,ma, ,Matt Bramford, ,Sui Yiru, ,Womenswear, ,Yawen Qian, ,Zhixian Wang

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