Amelia’s Magazine | Vita Gottlieb: London Fashion Week Fashion Fringe S/S 2013 Catwalk Preview Interview

vita gottlieb by Alexa Coe
Vita Gottlieb A/W 2012 by Alexa Coe.

I’ve known of Vita Gottlieb through mutual friends for many years so when I bumped into her recently it was something of a surprise to hear of plans to launch herself as a fashion designer, having worked previously in fine art, film and textile design. I was then really happy to discover (via facebook, where else?) that she had been shortlisted as a finalist for this season’s Fashion Fringe. Here she describes the incredible journey she has made: inspiring stuff for all would be fashion designers!

Vita Gottlieb by Angela Lamb
Vita Gottlieb by Angela Lamb.

You are a textile designer by training – how difficult was it to become a fashion designer? Where did you learn to think in terms of putting your textiles on the body?
I actually trained in the more theoretical area of art history – then did an MA in Fine Art – it was here I started to experiment with my illustrative and graphical sketches, putting them into prints and wall hangings. It seemed natural to move into textiles from there and then translate these 2-D forms into 3-D with fashion. I’ve always needed to work with my hands and love the direct process of designing textile prints, then using these to design on the body. The prints inform the process and I absolutely love it. Finally I feel I can use and be inspired by all my passions – film, art, stories, travel and wilderness.

Vita Gottlieb AW 2012
Vita Gottlieb AW 2012
Vita Gottlieb A/W 2012.

Prior to that you also worked in film and gained a degree in fine art. What do you think led you to fashion after so many years in other design disciplines?
I suppose I like to slow-cook things! Sometimes you need a bit of time to work through all the peripheral ambitions and come slowly into settling on something that feels right and at the right time. I don’t think I would have been good in the fashion industry in my early 20s – I was quite sensitive and volatile, and probably would have been swallowed up or waylaid by it all! I love film and always will but ultimately wanted to be in control of a more contained aesthetic, and with fashion, you really can make things happen in an exciting, organic way. It’s akin to being an artist – it’s your vision, your story, but you need to communicate this message clearly in order to make it happen. Art and film will always feed into my work though, through the creation of story and mood, the use of print and fabric manipulation. I’ve also always loved texture, the feel and emotion of strong colour, of materials themselves. Fashion seems to encapsulate all of these things in such a magical way.

Vita Gottlieb AW 2012
Vita Gottlieb AW 2012
Vita Gottlieb A/W 2012.

What did you learn from your years working in interiors that you have been able to apply to your fashion designs?
For around 3 years I free-lanced as a textile designer in both the interiors market and also, I designed and made my own accessories for the body which sold at trade and public fairs. The biggest learning curve from that for me has been understanding how to translate ideas from the graphic ‘doodles’ I was making in textile print – which had a flat, albeit malleable substrate – into a conversation with construction, silhouette, movement. The amazing thing for me now is witnessing how much the 3-dimensional form in the movement of fabric can really alter my thinking on a design. It’s wonderful to watch it develop through sketches, into a pattern, all the protos and finally, to see a garment on a real body is just so exciting.

Vita Gottlieb AW 2012 scarf
What makes your scarf collection so unique?
I’d say my use of colour, graphic repeat prints and intricate detail. They’re trans-seasonal, so can be worn with anything and by anyone all year round.

Vita Gottlieb, Illustration by Rosa and Carlotta Crepax, Illustrated Moodboard
Vita Gottlieb S/S 2013 preview by Rosa and Carlotta Crepax, Illustrated Moodboard.

What was the inspiration behind your A/W 2012 collection?
AW12 was inspired by elements of the forest floor and the tactile quality of bark, moss, the underside of mushrooms. I had this image of a disenchanted forest filled with creeping lianas and the raw-edged, tactile textures of fallen leaves. Also, the colours of dusk. Dusk and moonlight, magic hour – I think these qualities of light will form a puncture through many collections to come.

Vita Gottlieb SS 2012 Nightbird (illustrated preview by Vita)
Vita Gottlieb S/S 2012 Nightbird (illustrated preview by Vita).

What was the process of being picked for Fashion Fringe? Where did it all start?!
It’s been an amazing journey so far! It started with a question – should I really apply? Do I have a chance? I thought it was a no until I woke up one day and just said to myself ‘there’s nothing to lose’ – classic, really. Something in the way the criteria for entry was written gave me hope as it seemed to me to encapsulate everything I wanted my label to be. It’s incredible to have got this far! I remember the day Christopher Bailey called, personally, to say I was a Semi-Finalist; I was in New York at the time and literally jumped around the room I was in. Being announced as a Finalist was one of those moments I won’t forget – the elation, nerves, and fear! I think I’m more afraid of success than I am of failure, much as I want and am working for it – but there’s no looking back now. The team at Fashion Fringe have been amazing and so supportive throughout, which amongst many other things has made the whole process such a joy and privilege.

 Vita Gottlieb SS 2012 Tamsin (illustrated preview by Vita)q
Vita Gottlieb S/S 2012 Tamsin (illustrated preview by Vita)

I can’t wait to see your new collection: the description sounds incredibly romantic and dreamy – are you a dreamer? What’s the best dream you’ve ever had?
Oh, man, I am a consummate dreamer! Both day and night. Reverie is a favourite hobby of mine. Often I dream of flying through the universe, diving in and out of colours and natural patterns of movement – sometimes I go back in time and poke about cobbled alleys and strange places. Always there’s a lot of movement, colour and music. I wake up shaking from the images sometimes. But it’s so much a part of me.

Vita Gottlieb S/S 2013 preview by Catherine Moody
Vita Gottlieb S/S 2013 preview by Catherine Moody.

The collection will layer eastern and western references – what motifs have you taken from each place, and how have you mixed them up?
SS13 is inspired in part by Paul Poiret‘s 1911 party ‘Thousand and Second Night‘, where guests were asked to wear Persian dress and indulge in dancing in the moonlight… I love the idea of layering Eastern influences into Western ideas; some of the prints are inspired by and use motifs from Georges Barbier‘s early twentieth century illustrations. I also thought about moonlight as a mood and infused some of the colours of that hour, just after dusk, in an imaginary city full of minarets and flickering lights. In terms of Western influences, I’ve tried to create a bit of a puncture through accessories and silhouettes.

vita gottlieb pinterest
You are an avid fan of Pinterest – how do you use it to collate and filter your ideas?
Yes, I love it as it’s such an easy way of keeping all your ideas and inspirations in once place. I’m a real sketchbook hoarder and keep everything I sketch or write in books at home or in the studio – but Pinterest I use more for general interest inspiration. And for food porn, it’s great for that!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

In fact you are quite internet savvy all around, why do you think (as an up and coming designer) it’s important to be so visible on social media networks? Do you plan to sell all your collections online?
Being social-media savvy doesn’t necessarily come naturally and I was definitely a Facebook/Twitter abstainer for a LONG time. But once I’d set up my business I recognised just how useful it can be and have become a lot more interactive now. It’s mainly for business but I try to pepper what I post with some personal and quirky content too. I think it’s important not to forget that there is a person behind the label and to inject some personality into it all. As an emerging designer I think it’s imperative to use social media to maximise your profile – and to keep in touch with what your potential customers want, that’s key too. Currently I sell my scarves online but yes, eventually I do plan on selling the collections too. It’s exciting to see what the internet can realise for my label – you can’t ignore it anymore!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

I believe you are a foodie – what is your must have edible delight whilst working on your new collection?
Ah, I am definitely a foodie! I’ve always loved food – eating, cooking, everything really. I read recipe books as pleasure. Hmm, must-have edible delight? Hard to say as I love so many things – Asian flavours, home-cooked, big, flavoursome dishes, vegetables from the garden (one radish, this year..no time to garden!), things like shepherd’s pie and fresh peas or glazed salmon in honey, mirin and lime. Don’t get me started! But it has to be savoury, I’m not really inclined toward sweet things.

Can you give us any hints as to what to expect in your Fashion Fringe catwalk show? (music… casting.. atmosphere etc)
I believe you’ll be there, so, you will have to wait and see, Amelia!

Vita Gottlieb A/W 2012 by Lea Rimoux
Vita Gottlieb A/W 2012 by Lea Rimoux.

What are your hopes for the future?
I’d like to build a successful, well-regarded and creative womenswear label, branching out with a diffusion line, travel lifestyle and perhaps lingerie. One day I’d love to open a kind of eco-lodge in a hot tropical country by the sea. You see, I am a dreamer! More locally, I’m interested in collaboration with other artists and creative professionals, making fashion films, happenings and shows, and see the future as a very exciting thing.

Vita Gottleib A/W 2012 by Gemma Sheldrake
Vita Gottleib A/W 2012 by Gemma Sheldrake.

See more from Vita Gottlieb here… I can’t wait to see the entire collection on the catwalk! Vita Gottlieb shows alongside Haizhen Wang and Teija Eilola in the BFC Courtyard Show Space on Tuesday 18th September 2012.

vita-gottlieb by Melissa Angelik
Vita Gottlieb by Melissa Angelik.

Categories ,Alexa Coe, ,Angela Lamb, ,Catherine Moody, ,Christopher Bailey, ,Courtyard Show Space, ,Fashion Fringe, ,film, ,Fine Art, ,Gemma Sheldrake, ,Georges Barbier, ,Haizhen Wang, ,Illustrated Moodboard, ,Lea Rimoux, ,lfw, ,Melissa Angelik, ,Nightbird, ,Paul Poiret, ,Pinterest, ,Rosa and Carlotta Crepax, ,S/S 2013, ,Tamsin, ,Teija Eilola, ,Textile Design, ,Thousand and Second Night, ,Vita Gottlieb

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Amelia’s Magazine | Zeynep Kartal: London Fashion Week A/W 2014 Catwalk Review

Zeynep Kartel A/W 2014 by Melissa Angelik

Zeynep Kartel A/W 2014 by Melissa Angelik.

I was witness to the run through for Zeynep Kartal when I took a wrong turning at Freemasons’ Hall and ended up in the wrong venue… easy to do when the route to the shows are changed each season. This meant I already had a clear idea of the kind of thing to expect from this Turkish designer well before I sat down for the main event.

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynap Kartal A/W 2014 by Isher Dhiman

Zeynap Kartal A/W 2014 by Isher Dhiman.

The Manchester based designer boasts more than twenty years of experience in the fashion business, and for her first turn on the London Fashion Week catwalk she delivered pretty embellished evening wear fabricated from sheer and glitzy fabrics in an eye-pleasing colour palette of deep blue, blood red, gold and cream. Pattern details on this elegant and feminine collection were inspired by a combination of the Gothic revival architecture of Manchester’s Town Hall and Hollywood high glamour. The show ended with a fabulous 40s inspired wedding dress from her bridal range, but my favourite pieces (and the most fashion forward of the show) were those that featured a delicate all over sequinned zebra pattern. You can never have enough animal patterns in your life, you know.

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

Zeynep Kartal AW 2014-photography by Amelia Gregory

All photography by Amelia Gregory.

Categories ,A/W 2014, ,catwalk, ,Freemasons’ Hall, ,Hollywood, ,Isher Dhiman, ,London Fashion Week, ,Melissa Angelik, ,review, ,Town Hall, ,Turkish, ,Zeynep Kartal

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Amelia’s Magazine | By Stamo: a taster interview with ethical fashion designer Elisabeth Stamo

Beautiful Soul A/W 2010 by Zarina Liew
You started out as an insurance broker so you’ve have had an unconventional career so far. Why and how did you become a fashion designer?
As a young girl, see I wanted to be a fashion designer, but life has its twists and turns and I found myself caught up in the rat race for eleven years. I lacked passion for my work but I didn’t know how I would cope without my luxuries and the next pay rise. Then I had the opportunity to backpack around the world for six months with my best friend and for the first time in my adult life I realised that I could live on a budget. I started to see life in a different light, with endless opportunities. Whilst in Tokyo, something happened to me: I was surrounded by the most amazing boutiques and I was like a child in a sweet shop. Mesmerised. Excited. Totally inspired. I realised that I needed to make radical changes to my lifestyle in order to make my dreams a reality and I haven’t looked back since. I graduated from the London College of Fashion with a BA(Hons) in Fashion, Design and Technology in 2008. During my final year, I was involved in a project based around ‘saving the earth’. I was hooked. Fashion with a TRUE meaning, for me, is the only way, and my ethos helps me to focus and push forward.

Why did you decide to specialise in creating adjustable garments?
I set out to create timeless designs that will be favoured pieces in the wardrobe for a lifetime and multi-functionality renders a garment timeless, as it can be worn to suit different moods and seasons. A woman’s curves change regularly and it’s frustrating when a zip or button will not close. I therefore avoid using conventional fastening in my designs and instead explore alternative methods. I love to experiment and delve below the surface of fashion, discovering new ways to incorporate responsibility through use of distinctive materials and design innovation.

What does your zero waste policy mean in practicality?
I am extremely fond of fabric and I hate to see it go to waste! I upcycle vintage kimonos to create new garments that hold a greater value; when I dismantle a kimono I am left with very limited panels of fabric, only 38cm wide. It’s important that I work with these restrictions and nurture an understanding of the fabric availability. Any leftover fabric will be placed aside and then revisited the following season, where I set myself the challenge of designing a new piece based on the leftovers. I have just designed Beautiful Soul’s third collection, S/S 2011’s Believe, and the leftover fabrics have been transformed into a range of unique corsets and shoulders pads in our menswear jackets. Material remnants feature as fastenings and embellishments, adhering to the policy of zero waste whereby every last thread of fabric is used in the creative process.

Read the rest of this interview and see more illustrations of Beautiful Soul’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
ZarinaLiew_BeautifulSoul_FW10
Beautiful Soul A/W 2010 by Zarina Liew.

You started out as an insurance broker so you’ve have had an unconventional career so far. Why and how did you become a fashion designer?
As a young girl, buy more about I wanted to be a fashion designer, more about but life has its twists and turns and I found myself caught up in the rat race for eleven years. I lacked passion for my work but I didn’t know how I would cope without my luxuries and the next pay rise. Then I had the opportunity to backpack around the world for six months with my best friend and for the first time in my adult life I realised that I could live on a budget. I started to see life in a different light, with endless opportunities. Whilst in Tokyo, something happened to me: I was surrounded by the most amazing boutiques and I was like a child in a sweet shop. Mesmerised. Excited. Totally inspired. I realised that I needed to make radical changes to my lifestyle in order to make my dreams a reality and I haven’t looked back since. I graduated from the London College of Fashion with a BA(Hons) in Fashion, Design and Technology in 2008. During my final year, I was involved in a project based around ‘saving the earth’. I was hooked. Fashion with a TRUE meaning, for me, is the only way, and my ethos helps me to focus and push forward.

Beautiful Soul A/W 2010 by Zarina Liew
Beautiful Soul by Zarina Liew

Why did you decide to specialise in creating adjustable garments?
I set out to create timeless designs that will be favoured pieces in the wardrobe for a lifetime and multi-functionality renders a garment timeless, as it can be worn to suit different moods and seasons. A woman’s curves change regularly and it’s frustrating when a zip or button will not close. I therefore avoid using conventional fastening in my designs and instead explore alternative methods. I love to experiment and delve below the surface of fashion, discovering new ways to incorporate responsibility through use of distinctive materials and design innovation.

What does your zero waste policy mean in practicality?
I am extremely fond of fabric and I hate to see it go to waste! I upcycle vintage kimonos to create new garments that hold a greater value; when I dismantle a kimono I am left with very limited panels of fabric, only 38cm wide. It’s important that I work with these restrictions and nurture an understanding of the fabric availability. Any leftover fabric will be placed aside and then revisited the following season, where I set myself the challenge of designing a new piece based on the leftovers. I have just designed Beautiful Soul’s third collection, S/S 2011’s Believe, and the leftover fabrics have been transformed into a range of unique corsets and shoulders pads in our menswear jackets. Material remnants feature as fastenings and embellishments, adhering to the policy of zero waste whereby every last thread of fabric is used in the creative process….


Beautiful Soul SS:11 Believe was created with Zarina Liew after she made contact with Nicola Woods to complete her submission to be in Amelia’s Compendium of Fashion Illustration. Music was provided by Amelia’s Magazine favourite Gabby Young and Other Animals.

Read the rest of this interview and see more illustrations of Beautiful Soul’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
AmyMartino_AndrewCrews_HorsPiste
The Andrea Crews Hors Pistes collection by Amy Martino.

Maroussia Rebecq arrived in Paris in 2002. Deciding that she did not want to work alone she created a fictional character, this web Andrea Crews, viagra sale around which she began to build a network of accomplices. Maroussia may be the founder and director but Andrea Crews is a project in which many others take part. Andrea Crews is an avant-garde movement based on a sustainable aesthetic, viagra order communicating creative ideas via ethical means. The latest collection is described as “a galactic warrior on a sunset ride”.

The Andrea Crews Hors Pistes collection by Amy Martino
The Andrea Crews Hors Pistes collection by Amy Martino.

The average Andrea Crews customer is “good looking and open minded with good style, aged anything from 7 to 77 years old.” The antithesis of sleek French fashion, Andrea Crews revels in the juncture of performance art and fashion, playfully recycling unwanted clothing. The crew sorts through old clothes, hunting out the boldest colours and best quality materials. Styles are combined to create “fresh, sexy, unisex, colourful, graphic, funky” outfits, which take shape as they grow. Andrea Crews collections are always accompanied by a big performance and lots of partying – “we work hard, we party hard” – collaborating with other experimental contemporaries on the cultural scene: artists, stylists, video directors and DJs, not to mention musicians. They have dressed Santigold, Metronomy and Yelle

Read the rest of this interview and see more illustrations of Andrea Crew’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
Krister Selin By Stamo S-S 2011
By Stamo S/S 2011 by Krister Selin.

Where and how were you trained in fashion design?
In Greece I studied hand weaving and embroideries at institutions and museums and with local people so that I could learn about traditional techniques. Then I trained at the London College of Fashion and I have also studied shoes, what is ed millinery and textile design for print. Besides having my own brand, more about I also consult and train on the technical side of fashion; pattern-cutting, garment technology and quality control. I recently set up Ecoluxe with fellow ethical designer Elena Garcia to promote eco-luxury as a lifestyle choice. I am also working on a Masters in Business Administration with the University of Liverpool. I study all the time to keep my mind ticking over.

By Stamo S/S 2010 by Antonia Parker
By Stamo S/S 2010 by Antonia Parker.

How do you determine what is ethical in fashion design?
The work ethical comes from the ancient Greek word ethos, which means a combination of honesty, justice and sincerity. According to Aristotle, these moral characteristics were an important aspect of everyday life. My brand practices ethos by using local resources where possible, working with and within the community, developing people skills to create sustainable hand crafted products. For my diffusion line I also source vintage fabrics from redundant stock or end of rolls from warehouses all over Europe – or whichever part of the world I happen to be visiting…

Read the rest of this interview and see more illustrations of By Stamo’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Categories ,Antonia Parker, ,Aristotle, ,By Stamo, ,Elena Garcia, ,Elisabeth Stamo, ,Ethical Fashion, ,Ethos, ,Greece, ,Krister Selin, ,London College of Fashion, ,University of Liverpool

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Amelia’s Magazine | Fashion design inspired by the classics: An interview with Anna Popovich

Anna Popovich by Karolina Burdon

Anna Popovich by Karolina Burdon.

Anna Popovich grew up in Leicester and has taken a far from direct route into fashion, first studying Literature at King’s College London, before refining her style working as a model and an intern for the likes of Roksanda Ilinicic, then topping up her skills at London College of Fashion and Central St Martins. Her innovative Hackney based brand has recently decided to concentrate on selling direct to the public, offering affordably priced limited runs throughout the year straight through their website.

Fashion Illustration by Ivana Bugarinovic

Fashion Illustration by Ivana Bugarinovic.

How did you get from a degree in comparative literature to your own clothing brand?
It’s not the most obvious route is it! Sewing and making clothes has been something I’ve always enjoyed. My Grandmother gave me my first sewing lesson when I was three. It really didn’t occur to me that I could be a fashion designer and as I’d enjoyed literature at school it seemed a sensible choice for a degree. While I was studying I continued to make clothes for myself in my spare time and got involved with the drama society, making costumes for their productions. After my degree I worked in costume for various theatre and opera companies before interning for fashion designer Roksanda Ilincic. It was the latter experience which made me decide to become a fashion designer myself.

Anna Popovich Elizabeth-Shirt-Anthony-Skirt-Long and Mark Dress

What have been the biggest problems you have overcome so far and what have been your biggest triumphs?
I think the biggest problems I’ve had are probably the same ones anyone starting a business of any kind has. As well as having to get your head around tasks you may not be comfortable with, (for me this would be finance and marketing) you have to maintain a strong sense of self belief. I think it’s the latter that can prove the hardest! My biggest triumph has been convincing the lovely Emily Parrett to become a partner in the business, as managing director. Everything seems less daunting when there’s someone else to discuss, worry and celebrate things with. Other highlights have included making a dress in Liberty’s shop window and being invited to speak to a roomful of young designers at the UKFT’s Rise event for creative start-ups.

Anna Popovich by Julie Ritchie

Anna Popovich by Julie Ritchie.

How do you manage to juggle a career as a model alongside your role as a fashion designer?
With some difficulty! Things have improved greatly since I bought a bike as I’m always zipping between my studio, castings and shoots. It’s so interesting working with other fashion labels – I learn so much from the different ways they operate and I’ve been really lucky to get advice from some of the most talented people in the industry.

Anna Popovich by Gianluca Floris

Anna Popovich by Gianluca Floris.

You have decided to concentrate on a direct relationship with your customers: how is this reflected in the way that you work, for instance in the way that the garments are produced and sold?
We’ve recently made the decision to sell direct to customers either online or at events. Our garments are luxury but we want them to be accessible and we see this as the best way of achieving this. Although we understand why they have to do it we hate seeing our prices hugely inflated by retailers so they can take a cut and we don’t want to push our prices down by not paying properly for materials and workmanship or compromising on quality. At the moment most of our pieces are made to order in London but we are starting to stock pieces in more sizes (still made in London) to reduce the time customers have to wait for their order.

Anna Popovich ira dress, ira top

How does your love of classic design manifest itself in your ranges?
The inspiration for each collection is very different but there’re certain ideas which run through them all. From a very early age I’ve poured over images of the opulent dresses of the couture houses operating at the turn of the century – Worth, Poiret, Lanvin. I love the way these designers worked with fabric; draping, folding and embellishing. You’ll always find a bit of the drama of these pieces in my collections often combined with hints of classic menswear.

Anna-Popovich-by-Yelena-Bryksenkova

Anna Popovich by Yelena Bryksenkova.

What materials do you prefer to work with, and why?
The feel of a fabric is incredibly important to me and I love combining textures. Silks and soft wools have been my favourites but I’m seeing more and more great quality synthetic fabrics when I visit my suppliers. These fabrics can have the feel of natural fibres and be much more durable and easy to care for.

Anna Popovich Julius Coat Alexas Trousers -Anthony Dress

I love the combination of unusual colours, what inspired your latest collection?
This season I was inspired by the film Cleopatra staring Elizabeth Taylor and Richard Burton. The colour palette largely came from scenery and costumes in the film itself but there are also colours I chose which came from the research I did into the themes of the film such as the art of astrology.

Anna Popovich SS14 by Slowly The Eggs aka Maria Papadimitriou

Anna Popovich SS14 by Slowly The Eggs aka Maria Papadimitriou.

What do you hope for the label in the future?
More of the same – we’re having a really great time!

Anna Popovich by Melissa Angelik

Anna Popovich by Melissa Angelik.

Categories ,Anna Popovich, ,Cleopatra, ,Emily Parrett, ,Gianluca Floris, ,hackney, ,interview, ,Ivana Bugarinovic, ,Julie Ritchie, ,Karolina Burdon, ,Kings College London, ,Lanvin, ,liberty, ,Maria Papadimitriou, ,Melissa Angelik, ,Poiret, ,Rise, ,Roksanda Ilincic, ,Roksanda Ilinicic, ,Slowly the Eggs, ,UKFT, ,Worth, ,Yelena Bryksenkova

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Amelia’s Magazine | Fashion Philosophy Fashion Week Poland Off Out Of Schedule S/S 2012 in Łódź: Maldoror

Maldoror S/S 2012 by Melissa Anglik
Maldoror S/S 2012 by Melissa Angelik.

Maldoror is an off schedule favourite who cuts a dashing figure with wiry red hair in a ponytail. Shrouded in medieval-esque garments, he’s a great advert for his own clothing range. This season Maldoror drew from ideas of the Virgin Mary in medieval literature and the simplicity of clothing worn by religious fanatics such as hermits and flagellants. The resulting look is best described as medieval gothic, with huge shrouded hoods, drawstring waists, boxy loose shapes and rope ties much in evidence. Shiny polyester, lurex thread and sweaters knitted from old VHS tapes provided glistening texture in an otherwise totally black collection. Read my review of the A/W 2011 Maldoror collection here.

Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror Fashion Week Poland SS 2012-photography by Amelia Gregory
Maldoror S/S 2012. All photography by Amelia Gregory.

Categories ,black, ,Fashion Philosophy Fashion Week Poland, ,knitwear, ,Lodz, ,Lurex, ,Maldoror, ,medieval, ,Melissa Angelik, ,menswear, ,Off Out Of Schedule, ,Shrouds, ,VHS tapes, ,Virgin Mary

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Amelia’s Magazine | Asger Juel Larsen Vs T.Lipop: London Fashion Week A/W 2012 Menswear Day Catwalk Review


T.Lipop A/W 2012 by Jo Ley

I’ve been keen to see more from Asger Juel Larsen since illustrating his S/S 2012 collection for Amelia’s Magazine. It’s not every day you get to draw a beard made out of leather and nails, and the post-apocalyptic aesthetic is one that I can naturally appreciate. That, and I’d read that at Copenhagen Fashion Week they sent a guy down the catwalk bloodied and with a chainsaw


Asger Juel Larsen A/W 2012 by Gemma Cotterell

A few incidents immediately prior to the show dampened my enthusiasm somewhat. For a start, while waiting in the Media Lounge at Freemason’s Hall, I found that a pot of Sudocrem that I had no recollection of ever having seen before had split in my bag (random pots of Sudocrem being one of the given perils of being a parent to a young child). There’s nothing cooler than a man whose hands are covered in Sudocrem, I’m sure you’ll agree.


Asger Juel Larsen A/W 2012 by Sam Parr

The queue into the show was a mess, not helped by the show starting half an hour late, although there was free frozen yogurt. I also realised too late that the ‘ST’ on my ticket meant ‘Standing’ and wasn’t code for something more exciting, like… I don’t know what I thought it would stand for, to be honest. I was just happy to get the ticket (it had my name on it and everything).

Once the crowd had been herded into the showroom and I’d baffled nearly everyone around me with my insistent politeness, I found myself smushed against a wall with a direct view into the catwalk’s entrance, which was pretty much as good as I could have got, considering, and it was totally fluked.


All photography by Gareth A Hopkins

The collection itself was predominantly inspired by Soviet Officers uniforms, which combined with solid tailoring, chunky zips and a limited palette of black, grey and crimson worked really well. The majority of the models were made to look gaunt and frozen by pale makeup, which played up the ‘fragility of war’ concept that Larsen was going for. Breaking away from the palette was a suit in brown and tan paisley; paisley seemed to have infiltrated everywhere this season, so if I was to pick out a ‘trend’ other than the whole arctic/Baltic aesthetic, paisley would be it.

The headgear was a problem for me, though. I’ve distrusted beanie hats since East 17 were first on Top Of The Pops, and there was a raft of them bobbing down the catwalk. More fundamentally problematic were the ginormous fur hats – the size and shape wasn’t a problem (I actually liked the look of them) but I’d hoped we’d all moved on from fur now, and for me its inclusion sullied my opinion of the rest of the collection.

Also: there was no chainsaw anywhere. Whether Health & Safety had been in touch or they’d run out of petrol, I don’t know. But I’d been promised a chainsaw and there wasn’t one.


T.Lipop A/W 2012 by Lo Parkin

Straight out of the gates after Larsen was T.Lipop, whose collection I’d also seen at the Fashion East installations earlier in the day. Similar to Larsen’s Soviet-in-the-trenches look, Lipop’s models were decked out to look like Victorian arctic explorers, with frost in their beards and eyebrows and carrying explorer gear. This hid a more muted but arguably more wearable collection with softer lines and a less harsh colour palette that included burgundies, oranges and tan along with a hit here and there of good ol’ Navy Blue.


T.Lipop A/W 2012 by Jo Ley

Once again, the fur card was played, this time right at the end with a digital-print coat with an enormous pelt hood, drew gasps of wonder from the crowd and a unified surge of camera clicks. The shape and the weight of the coat were satisfying, it’s just a pity that the arctic theme had to be held so rigidly that fur couldn’t have been avoided.

Not to put too much of a downer on either though, as both were very strong showings and I’m positive we’ll be hearing more from both in the future. Although next time, if you say there’ll be a chainsaw, bring a chainsaw.

Categories ,Arctic, ,Asger Juel Larsen, ,AW2012, ,Baltic, ,Big Zips, ,Chainsaw, ,Freemasons’ Hall, ,Frosty Beards, ,Frozen Yogurt, ,Gareth A Hopkins, ,Gemma Cotterell, ,Health & Safety, ,Jo Ley, ,Lo Parkin, ,London Fashion Week, ,military, ,Paisley, ,Sam Parr, ,soviet, ,Standing, ,Sudocrem, ,t.lipop, ,Vauxhall Fashion Scout

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Amelia’s Magazine | Happy and Glorious: Queen Elizabeth II’s Diamond Jubilee Illustrated


The Queen and her corgis by Sam Parr

This weekend marks 60 years since Princess Elizabeth, Duchess of Edinburgh became Queen of the United Kingdom and Head of the Commonwealth. The Diamond Jubilee will be celebrated (by most) across the world with street parties, boats on rivers, concerts and a diminutive Pop Princess writhing around in her underwear (I should imagine) on a makeshift stage in front of Buckingham Palace. It will be a glorious celebration of the Queen‘s dedication to her role and her people.


The Queen by James Round (Adopted Design)


A fashionable street party by Sarah Bromley

So I don’t agree with everything the Monarchy stands for, but since I was a boy I’ve been fascinated by the pomp and circumstance. Look at the State Opening of Parliament: some countries make do with an octogenarian saying ‘Parliament’s open, pals‘ (or words to that effect) but not Great Britain. Oh, no. Trumpets, £1m crowns, crazed gents banging on doors with rods, live television coverage that has the nation glued; it’s priceless.


A Jubilee tea party by Helena Maratheftis
Helena says: My initials are HM and when I was little I realised they also stood for Her Majesty. I think this explains why I’m drawn to royal memorabilia, especially if it has crowns on it…!


Queenie by Ashley Fauguel

We’ve all heard the figures of what the British Monarchy actually costs us – £1 per person, 69p per person, blah blah blah: I won’t even argue that the Monarchy makes us money, even if there are no shortage of International tourists risking life and limb to get a photograph of their offspring, arms by sides, perplexed as to why they’re being forced to stand stock still in front of a stone lion. But there’s nothing like a country coming together in a way only we British know how to do best – over tea and cake.


The young Queen by Claire Kearns


Diamond Jubilee by Claire Wood


Drag Queen by Melissa Angelik

I’m way out of my depth and I’m sure there’ll be trolls falling over themselves to tell me all sorts of wicked and sinister things about Her Madge and the firm – but I couldn’t care less. I’d much rather have our Liz than some dry bloke in a suit as our nation’s representative.


The Queen’s Kitchen by Luke Prest
Luke says: This image was inspired when I caught sight of my Nan, sitting staring out of her kitchen window wearing her rollers and smoking a cigarette. Inspite of them being worlds apart, every family and every home has its own Queen. Both the Queen and my Nan represent the same things – heads of state; the figurehead of the family.


Jubilee Pop Queen by Warren Clarke

I’ll be too busy starring at Liz’s crown jewels on Jubilee Day and waving a Union flag to worry about boorish types proclaiming themselves above it all. Long Live the Queen!


M is for Monarch by Helen Lang


Street Party by Deborah Moon

Categories ,60, ,Ashley Fauguel, ,Buckingham Palace, ,Claire Kearns, ,Claire Wood, ,Commonwealth, ,Deborah Moon, ,Diamond Jubilee, ,Flag, ,Great Britain, ,Helen Lang, ,Helena Maratheftis, ,Jubilee, ,Kylie Minogue, ,london, ,Luke Prest, ,Melissa Angelik, ,Princess, ,Queen, ,Sam Parr, ,Street Party, ,Us Two and You, ,Warren Clarke

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Amelia’s Magazine | Happy and Glorious: Queen Elizabeth II’s Diamond Jubilee Illustrated


The Queen and her corgis by Sam Parr

This weekend marks 60 years since Princess Elizabeth, Duchess of Edinburgh became Queen of the United Kingdom and Head of the Commonwealth. The Diamond Jubilee will be celebrated (by most) across the world with street parties, boats on rivers, concerts and a diminutive Pop Princess writhing around in her underwear (I should imagine) on a makeshift stage in front of Buckingham Palace. It will be a glorious celebration of the Queen‘s dedication to her role and her people.


The Queen by James Round (Adopted Design)


A fashionable street party by Sarah Bromley

So I don’t agree with everything the Monarchy stands for, but since I was a boy I’ve been fascinated by the pomp and circumstance. Look at the State Opening of Parliament: some countries make do with an octogenarian saying ‘Parliament’s open, pals‘ (or words to that effect) but not Great Britain. Oh, no. Trumpets, £1m crowns, crazed gents banging on doors with rods, live television coverage that has the nation glued; it’s priceless.


A Jubilee tea party by Helena Maratheftis
Helena says: My initials are HM and when I was little I realised they also stood for Her Majesty. I think this explains why I’m drawn to royal memorabilia, especially if it has crowns on it…!


Queenie by Ashley Fauguel

We’ve all heard the figures of what the British Monarchy actually costs us – £1 per person, 69p per person, blah blah blah: I won’t even argue that the Monarchy makes us money, even if there are no shortage of International tourists risking life and limb to get a photograph of their offspring, arms by sides, perplexed as to why they’re being forced to stand stock still in front of a stone lion. But there’s nothing like a country coming together in a way only we British know how to do best – over tea and cake.


The young Queen by Claire Kearns


Diamond Jubilee by Claire Wood


Drag Queen by Melissa Angelik

I’m way out of my depth and I’m sure there’ll be trolls falling over themselves to tell me all sorts of wicked and sinister things about Her Madge and the firm – but I couldn’t care less. I’d much rather have our Liz than some dry bloke in a suit as our nation’s representative.


The Queen’s Kitchen by Luke Prest
Luke says: This image was inspired when I caught sight of my Nan, sitting staring out of her kitchen window wearing her rollers and smoking a cigarette. Inspite of them being worlds apart, every family and every home has its own Queen. Both the Queen and my Nan represent the same things – heads of state; the figurehead of the family.


Jubilee Pop Queen by Warren Clarke

I’ll be too busy starring at Liz’s crown jewels on Jubilee Day and waving a Union flag to worry about boorish types proclaiming themselves above it all. Long Live the Queen!


M is for Monarch by Helen Lang


Street Party by Deborah Moon

Categories ,60, ,Ashley Fauguel, ,Buckingham Palace, ,Claire Kearns, ,Claire Wood, ,Commonwealth, ,Deborah Moon, ,Diamond Jubilee, ,Flag, ,Great Britain, ,Helen Lang, ,Helena Maratheftis, ,Jubilee, ,Kylie Minogue, ,london, ,Luke Prest, ,Melissa Angelik, ,Princess, ,Queen, ,Sam Parr, ,Street Party, ,Us Two and You, ,Warren Clarke

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