Osman A/W 2011 by Ellie Sutton.
Osman. Not a name that I’m overly familiar with, healing stomach although we have frequently written about designer Osman Yousefzada. He’s trained the likes of the super talented Henrietta Ludgate and when he showed as part of Fashion in Motion at the V&A we were there to admire his work.
Osman. Photography by Tim Adey.
Osman A/W 2011 by Holly Monger.
So it was that with enthusiasm I went to my first Osman show, pilule settling on the front row to much amusement as another contributor befriended the head buyer of Browns. Next along some buyers threw a hissy fit when asked to move in favour of Liberty, at which they threatened to leave the show and what’s worse, cancel their Osman orders. I do find these insights into the actual trade part of LFW most intriguing – buyers are massively important at the shows where large orders from key retailers really matter… namely the shows in the BFC tent. And it’s the Liberty and Browns of this world which are Gods, something which lesser shop buyers may discover the embarrassing way. Needless to say I kept my head down and stuck to admiring the ink splodge catwalk, protected the entire length by guards.
How much do I love this dress?!
Osman A/W 2011 by Ellie Sutton.
The Afghan designer is fabled for his clean, regal lines and this was much in evidence as the show opened with a stunning white and royal blue dress that mirrored the catwalk design, which in turn was inspired by a series of lightbox installations by the artist Catherine Yass. Satu Fox wrote in 2009 of Osman’s refusal to follow current trends and this still felt very true in a beautifully elegant show where pared down tailoring was absolutely the order of the day.
Osman A/W 2011 by Holly Monger.
Wide legged trousers, A-line maxi-dresses, a caped dress underscored with a splash of orange, beautiful marled grey boucle wool fabrics… and an intriguing gold apron outfit which opened at the back. I could imagine almost every outfit being worn and admired… there was no filler here. The show ended with a return to the royal blue splotch theme, this time across the breast area of a searing fuchsia maxi-dress. This was an extremely confident collection that explained to me precisely why Osman has the buyers salivating. Absolutely gorgeous. If only he hadn’t ruined it with that one piece of what I presume was fur… entirely unnecessary.
Fur? Or an interesting use of alpaca wool? We’re not sure, and nor is anyone else… I really do hope the latter.
Osman A/W 2011. Photography by Amelia Gregory.
You can read Naomi Law’s equally admiring review here.
Osman A/W 2011 by Ellie Sutton.
Osman. Not a name that I’m overly familiar with, viagra 100mg although we have frequently written about designer Osman Yousefzada. He’s trained the likes of the super talented Henrietta Ludgate and when he showed as part of Fashion in Motion at the V&A we were there to admire his work.
Osman. Photography by Tim Adey.
Osman A/W 2011 by Holly Monger.
So it was that with enthusiasm I went to my first Osman show, settling on the front row to much amusement as another contributor befriended the head buyer of Browns. Next along some buyers threw a hissy fit when asked to move in favour of Liberty, at which they threatened to leave the show and what’s worse, cancel their Osman orders. I do find these insights into the actual trade part of LFW most intriguing – buyers are massively important at the shows where large orders from key retailers really matter… namely the shows in the BFC tent. And it’s the Liberty and Browns of this world which are Gods, something which lesser shop buyers may discover the embarrassing way. Needless to say I kept my head down and stuck to admiring the ink splodge catwalk, protected the entire length by guards.
How much do I love this dress?!
Osman A/W 2011 by Ellie Sutton.
The Afghan designer is fabled for his clean, regal lines and this was much in evidence as the show opened with a stunning white and royal blue dress that mirrored the catwalk design, which in turn was inspired by a series of lightbox installations by the artist Catherine Yass. Satu Fox wrote in 2009 of Osman’s refusal to follow current trends and this still felt very true in a beautifully elegant show where pared down tailoring was absolutely the order of the day.
Osman A/W 2011 by Holly Monger.
Wide legged trousers, A-line maxi-dresses, a caped dress underscored with a splash of orange, beautiful marled grey boucle wool fabrics… and an intriguing gold apron outfit which opened at the back. I could imagine almost every outfit being worn and admired… there was no filler here. The show ended with a return to the royal blue splotch theme, this time across the breast area of a searing fuchsia maxi-dress. This was an extremely confident collection that explained to me precisely why Osman has the buyers salivating. Absolutely gorgeous. If only he hadn’t ruined it with that one piece of what I presume was fur… entirely unnecessary.
Fur? Or an interesting use of alpaca wool? We’re not sure, and nor is anyone else… I really do hope the latter.
Osman A/W 2011. Photography by Amelia Gregory.
You can read Naomi Law’s equally admiring review here.
Osman A/W 2011 by Ellie Sutton.
Osman. Not a name that I’m overly familiar with, dosage although we have frequently written about designer Osman Yousefzada. He’s trained the likes of the super talented Henrietta Ludgate and when he showed as part of Fashion in Motion at the V&A we were there to admire his work.
Osman. Photography by Tim Adey.
Osman A/W 2011 by Holly Monger.
So it was that with enthusiasm I went to my first Osman show, ask settling on the front row to much amusement as another contributor befriended the head buyer of Browns. Next along some buyers threw a hissy fit when asked to move in favour of Liberty, at which they threatened to leave the show and what’s worse, cancel their Osman orders. I do find these insights into the actual trade part of LFW most intriguing – buyers are massively important at the shows where large orders from key retailers really matter… namely the shows in the BFC tent. And it’s the Liberty and Browns of this world which are Gods, something which lesser shop buyers may discover the embarrassing way. Needless to say I kept my head down and stuck to admiring the ink splodge catwalk, protected the entire length by guards.
How much do I love this dress?!
Osman A/W 2011 by Ellie Sutton.
The Afghan designer is fabled for his clean, regal lines and this was much in evidence as the show opened with a stunning white and royal blue dress that mirrored the catwalk design, which in turn was inspired by a series of lightbox installations by the artist Catherine Yass. Satu Fox wrote in 2009 of Osman’s refusal to follow current trends and this still felt very true in a beautifully elegant show where pared down tailoring was absolutely the order of the day.
Osman A/W 2011 by Holly Monger.
Wide legged trousers, A-line maxi-dresses, a caped dress underscored with a splash of orange, beautiful marled grey boucle wool fabrics… and an intriguing gold apron outfit which opened at the back. I could imagine almost every outfit being worn and admired… there was no filler here. The show ended with a return to the royal blue splotch theme, this time across the breast area of a searing fuchsia maxi-dress. This was an extremely confident collection that explained to me precisely why Osman has the buyers salivating. Absolutely gorgeous. If only he hadn’t ruined it with that one piece of what I presume was fur… entirely unnecessary.
Fur? Or an interesting use of alpaca wool? We’re not sure, and nor is anyone else… I really do hope the latter.
Osman A/W 2011. Photography by Amelia Gregory.
You can read Naomi Law’s equally admiring review here.
Maria Francesca Pepe by Karla Pérez Manrique.
At the entrance there stood a horned model, visit web arms crossed and lycra-ed legs askance. Face masked. Model or mannequin? It wasn’t immediately obvious. In a season of slick presentations the one given by Maria Francesca Pepe – a true Amazonian beauty herself – really stood out for its professionalism. But it made me uncomfortable.
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Maria Francesca Pepe at LFW A/W 2011. Isn’t she pretty? Photography by Amelia Gregory.
Red lighting shifted, pulsating over models that looked younger than legal. Young and nervous. One was laid prostrate on a plinth across the entrance to the next room, two more further back, and then in the far room what I can only describe as a child sat perched in front of a series of mannequins, none of which I could see in the gloaming. This girl had the face of an imp, a feeling encouraged by her amazing resin and carbon steel curved and studded hat – a bastardised version of something a gnome might wear. Beneath her flowing robes I suddenly realised why she was so uncomfortable. The bum and back of her tights were also encrusted with spikes. Is this a good idea? Should I be calling out the NSPCC?
Maria Francesca Pepe by Karla Pérez Manrique.
But what of the jewellery and accessories on display? I must confess that it took me awhile to look in at the details, such was the overwhelming effect of towering horned creatures. I had a brief opportunity to ask Maria who she would most like to wear her showpiece headpieces, which are heavily encrusted with hexagonal Swarovski crystals in the style of Medieval helmets. The answer was of course Lady Gaga. But the real point of all this girly S&M drama? Why of course: it was to sell a diffusion line. MFP accessories are available online at ASOS.
Maria Francesca Pepe by Karla Pérez Manrique.
Each child model sported expertly manicured hands, dangling ‘amulets’ dripping from her tiny fingers. The Fortuna collection features everyday jewellery made in workhorse metals such as brass and accessorised with crystals and pearls. And always those ever present studs.
Maria Francesca Pepe is also available at Wolf & Badger. You can read Helen Martin’s review here.
Categories ,ASOS, ,Fashion Scout, ,Freemasons’ Hall, ,Geiko Louve, ,Helen Martin, ,Karla Pérez Manrique, ,Lady Gaga, ,Maria Francesca Pepe, ,medieval, ,MFP, ,Swarovski, ,Trace Publicity, ,Wolf & Badger
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