London Collections: Men might be the clumsiest branding known to man, but the MAN show does you no favours either. Not only do you find yourself saying aloud ‘I’m going to the MAN show’, but check out #MAN on Instagram shortly after the collections and you’ll get all sorts of unsavoury images mixed with Bobby Abley‘s pink fur or Craig Green‘s psychedelic prints.
I haven’t seen either of the above nor Alan Taylor‘s actual catwalk presentations before, so I was pretty excited about this showcase of London’s most innovative menswear designers. Irishman Alan Taylor was up first. Since starting his own label in 2011, Taylor the tailor has quickly asserted himself as one to watch.
This particular collection was inspired by Henri Matisse and Taylor’s love affair with modern art is well documented. Irish tweeds became the canvas and bursts of solid fluorescent panels became the art. Enlarged overcoats and blazers created the silhouettes – natural colours maintained Taylor’s commitment to his heritage. Most pieces were modernised with the aforementioned vibrant coloured panels – Matisse-like shapes in green and purple transformed sharp tailoring into unique and contemporary looks. Contrasting pieces like a floor-length black overcoat constructed from a heavy, shimmering fabric peppered the collection.
Taylor’s staple kilts featured alongside contemporary Oxford bags and jackets with a-line hems, proving that elements of womenswear can actually work in menswear without making the wearer look like an utter berk. Finally, zingy fluorescent accessories: leather gloves, bags and shoes, added yet another dimension to this outstanding outing.
Written by Matt Bramford on Thursday January 16th, 2014 2:09 pm
While everybody else viewed next season’s collections at the A/W 2013 London Collections: Men shows in January, I spent the week on a rather tedious stint of jury service. For days I sat doing nowt, following the shows and presentations on my iPhone through the usual channels. Twitter, Facebook and Instagram went wild for the latest offerings and it was Joseph Turvey‘s incredible dalmatian-themed collection that I most enjoyed viewing at 640 pixels wide.
Joseph Turvey
Back in 2010 I saw Joseph present his BA graduate womenswear collection at Graduate Fashion Week. Inspired by Margaret Rutherford and complete with ethereal masks, it was a sharp, polished collection with elements of menswear tailoring. I interviewed Joe shortly afterwards; a brief, standard post-GFW interview. Joseph then contributed illustrations to Amelia’s Magazine (amongst many other publications). But it was during Ones to Watch A/W 2012, merging his illustrative style with his talent for tailoring and eye for experimental materials, that propelled him on to the menswear scene. Also, Beyoncé once touched his hand during a performance of Halo.
I meet Joe in the hip offices of Coffin on Cake PR – a labyrinth of rooms above Redchurch Street with all sorts of weird and wonderful objects adorning walls. Joe is waiting in the showroom at the end of a long corridor, with other brands overshadowed by his incredible S/S and A/W 2013 collections. On sight of the dalmatian print enveloping his latest designs, I leap towards it to finally see it in the flesh. I’ve met Joe before but I’d forgotten how tall he was. His gentle personality and new-found confidence are instantly infectious. I launch into a series of typical questions, surmounting the urge to chat about Beyoncé – that will have to wait.
When I ask him how his day has been, he tells me he’s been rushed off his feet and hasn’t stopped – photoshoots, meetings, and walking his beloved cockapoo. This takes us nicely into chatting about his current collection. ‘I’m obsessed with dogs,’ he tells me, ‘I’m surrounded by dog owners and I love the idea of dog owners dressing like their dogs.’ I ask about the A/W 2013 presentation that garnered so much attention. ‘I got obsessed with having dalmatian puppies at the show… they came up from Devon!’ he says. I play devil’s advocate and ponder what PETA might think. ‘They were very well looked after… they were on rotation, and they’re show dogs – one of the girl pups absolutely loved the attention!’.
Each collection has had a central figure as inspiration and it will come as no surprise to learn that this season’s was Cruella de Vil; the result, a slick collection featuring suiting, bombers, sweaters and t-shirts adorned with dalmatian print. The installation at the AW13 showcase was ‘intense’ – two hours of ‘hardcore’ attention and showmanship. He describes it as ‘overwhelming’ and ‘scary’ and remembers the drama, with hushed whispers of PRs introducing attendees and figures like Natalie Massenet checking things out.
Joe launched himself straight onto the MA at London College of Fashion after graduating from the University of Birmingham. It was a tutor there who commented on the masculine feel of his womenswear collections, and so he decided to move in that direction. I ask Joe if he’d like to return to womenswear. ‘You never know what’s going to happen’, he says, coyly, ‘I just want to make the menswear the best it can be.’
Joe’s MA collection: vibrant orange and magenta lace with transparent panels and translucent trenches was a massive hit. Fake Tokyo completely sold out and they’re backing him again this season, amongst many others. I sense that Joe is pretty busy minded. He’s conquering Asia step-by-step. He opened Shanghai Fashion Week with said MA collection, an experience he’ll never forget. ‘The catwalk was MASSIVE!’ he tells me, ‘it was like a Madonna tour!’
Joseph Turvey MA collection
We take a look through the current Spring/Summer collection – a range of dazzling neon hues married with white t-shirts and his synonymous illustrative portraits. Joe demonstrates the heat-sensitive technique he’s pioneered for spring/summer, so the model’s face becomes clear when worn. I ask if the faces we’re now so familiar with are based on anyone in particular. ‘Not really,’ he says, ‘I merge a few faces together. A bit like Frankenstein’, he laughs. Joe tells me that people always ask the story behind his personal interpretations and influences on his collections. ‘People always look for hidden meanings,’ he says. ‘Maybe I should be more like Taylor Swift and feature exes.’
What else is in the pipeline? ‘I really like collaborations,’ he says, ‘I like the juxtaposition of things.’ Joe’s currently collaborating with Hush Puppies, pioneer of the men’s comfort shoe but currently undergoing a massive relaunch under the creative direction of Jack Hemingway. He’s excited to work with established brands and put his stamp on menswear staples.
I ask how S/S 2014 is going. ‘I’ve nearly finished!’ he says, excitedly. I ask what we might expect. ‘It’s very colourful,’ he tells me, careful not to reveal too much. ‘There’s a central figure, again, and it’s very illustrative.’ He’s obsessed with the aesthetics of fabrics and innovative textures and his ethos is to always move things forward: lace, vinyl-peaked caps, laser-cut florals; the contrast of gloss spots on a black bomber. Joe works closely with acclaimed London textile company Insley & Nash in his constant endeavours to advance fashion techniques.
I take a few photographs of both collections as we chat about everything else. What other brands does he admire? Baartmans and Siegel (who are ‘amazing’) and close pal Domingo Rodriguez are high on his list, as is Christopher Kane, who manages to make clothes ‘sellable but with his stamp on it.’
What advice would Joe give to current graduates looking to follow in his footsteps? ‘The best thing I did was the MA,’ he declares. With Savile Row tutoring and free reign on his future, Joe developed his unique approach we’ve become so quickly familiar with. ‘I’d say – don’t rush in to anything. I spent a lot of money doing it, but it really helped me focus. It’s about developing your skills. Make it exactly what you want it to be.’
Written by Matt Bramford on Friday March 8th, 2013 9:55 am
Working for Amelia’s Magazine – proud pioneer of fresh talent – it’s always a delight to see a label progress through the seasons. It baffles me how designers make it into showcases like Fashion Scout’s Ones to Watch and then simply disappear. So I was delighted to see that Baartmans and Siegel – the dutch/English design partnership we’d enjoyed in the Ones to Watch show last season – had made it onto the menswear day schedule with their first solo outing. They’re stocked by Harrods and met at Viktor & Rolf, so their joint credentials already have them a high profile.
Unusually I was one of the first attendees into the show space at the Freemasons’ Hall, so I revelled in digging through the goodie bag (I’m pleased to announce I’m fully furnished with Label.M products again, after levels in my bathroom had reached worryingly low levels) and I read through the show notes. This season the design duo sought inspiration from, amongst other things, the Milk Tray man. I was already in love with this collection before everybody had even taken their seats.
Inspiration also came from 1970s British menswear and cinema. Baartmans and Siegel are obsessed with popular culture and it is the Milk Tray man‘s mystery and sense of indulgence that had them captivated in the run up to this show.
The first look featured a meticulously tailored blazer in a rich blue colour, which would become the mainstay. A pocket square of the same colour held the initials B and S, and the jacket was teamed with comfortable grey trousers with silver zips to give a futuristic appeal.
More tailoring followed, with loose-fitting tweed trousers and cashmere blazers worn over chunky knitted rollnecks. Then came sportier ensembles included padded puffa jackets – some with zip details, others with contrasting tweed sections.
The blue kept coming, as did a desirable palette of slate grey and, of course, Cadbury purple in honour of their hero. A classic grey jacket was teamed with jersey trousers with contrasting panels for a contemporary look, and sophisticated overcoats show Baartmans and Siegel’s expertise in dressing the modern man.
This is refined menswear at its best. Baartmans and Siegel expertly marry fashion-forward clothes with traditional techniques. Classic silhouettes, contemporary cuts, luxurious fabrics and deep colours make for an outstanding debut solo show.
Written by Matt Bramford on Monday February 27th, 2012 7:09 pm
The design duo presented this season’s wares in an unused shop on Earlham Street. Inside, their eight models stood on breeze blocks in front of stark white walls, enveloped by a jungle of plants. With A/W 2013′s collection of Arctic-worthy puffas and parkas ingrained in my mind, this was clearly a cohesive move towards spring and summer fun.
I’ve talked about the merits of a presentation vs. a catwalk show before, but this was the perfect example. If these models were to have walked past a lightning speed, you’d never get a flavour of the expert craftsmanship and hidden details that go in to a Baartmans and Siegel collection. You’re also made acutely aware that models are told to Blue Steel into your camera, which can make for hilarious results. I never, ever know what to do after they’ve shot me a look. Sometimes I nod, sometimes I smile, sometimes I pretend to fiddle with the settings on my camera; I’ve even been known to do a little bow or curtsy, which is incredibly embarrassing.
SS14′s ‘South Pacific Aviation‘ sees Wouter and Amber seek subtle inspiration from the joys of adventure and exotic escapism. With elements of military and utilitarian uniform, a resounding feature of a Baartmans and Siegel collection is always a strong focus on the beauty of textures. Rich silks, brushed cottons, jersey, perforated suede, wools – you name it, they make excellent use of it.
Basics like tees and tailored shirts came in off-white, but were dominated by a sea of varying blues and blacks for a masculine effect. Most forms of the jacket were given the B&S once-over; a bomber with silk sleeves, a trench with zip details, an elongated Harrington and parkas in paisley Broderie Anglaise.
Polos and t-shirts were layered in a loose, nonchalant way. Mesh tops added another texture, contrasting with the softness of jacket materials.
Slick, wet-look hair styles, shades and Sauconys added an extra modern dimension to Baartmans and Siegel‘s firmly established classic aesthetic.
Written by Matt Bramford on Monday July 1st, 2013 8:27 am
When did you last hear an amazing story? A tale of derring-do, helpmedical or grand ambition, shop heights scaled, ambulance depths plumbed – simple stand-up human decency or quiet unassuming endurance or some quirky ingenuity fit to inspire generations to come. The kind of stuff they used to sing songs about, and still do.
Sat around their dining table one evening, David and Clare Hieatt pondered. They were rubbing their chins over what they could really do about the things they cared about. They’d started howies back in 1995, something of an awesome inspirational-type clothes company in itself, but this was clearly not enough. From that evening of reflection, they figured that the world’s Doers are the best people to inspire people to go Do something. In David’s words, ‘They show us what is possible. They leave a trail that we can follow. Knowing how they did it helps us to connect the dots about how we can do it. They give us the inspiration, the final push we need to go and do our thing. Whatever that might be. From starting a new business, to inventing something that hasn’t been done before to fighting for your cause, doers seek.’
And so the Do Lectures were born – a series of talks by people who have Done stuff, and might well Do more, if we let them up and at it – a few days gathering each year to share ideas and stories, to meet other fantastic Doers, and thereby get these stories out and about in the world. Here are a few Qs – the As courtesy of David Hieatt – that might give you more of an idea.
Why do people get involved with the Do Lectures?
There isn’t a set of talks like it in Britain. The talks have sustainability at its heart. Their reason to exist is to make a positive change. The speakers do not get paid but we do cover their expenses. Speakers come from all over the world to tell their story. They want to share their learning, they want to share their new ideas, they want to share their journey. They want to tell the world about the change they have made or are seeking to make. It might be a small tent but there are some big ideas being shared. They have a story to tell. People remember stories. They forget facts.
How do you choose your speakers for the Do Lectures?
We spend the year researching the speakers. We find out who has written the most interesting books, written the most thought provoking articles, who is doing the bravest thinking in their field, and then we pull from that research and start to compile a short list. We already have some of the speakers booked for next year. We also have a number of Do mentors throughout the world. They report back to us from time to time. They tell us who their doers are in their part of the world. They we literally get on the phone to the people we are going to invite. Even in the second year, an invite is starting to carry some kudos.
What is the most unusual topic for this year’s Do Lectures?
Maybe, Mount Everests binman. Or a school that aims to create chaos and not order. Maybe the man wants to change how concrete is made. Or maybe the man who’s doodles have ended up on the big screen for what could be the biggest film of the year: Where the Wild Things Are.
Where do you see the Do lectures in 5, 10, 20 years’ time?
In 5 years – There will be a series of How to Do books. That cover the subjects that the talks cover from clean tech to inventing to climate change. Global talks. The talks will take place all over the world. From Sydney, to Bangalore, to Stockholm, to Tokyo, to San Francisco, to Beijing. The talks will over time become an important set of talks, respected throughout the world. In 10 years – The aim for the Do Lectures over the next decade is to build a world resource for Doers and to supply that knowledge for Free for the world to use. To make a positive change. In 20 years – To build A Do school. There will be a physical and a virtual library available free to the world.
So here’s a gathering with a difference. At one thousand pounds a place, you’re less buying a ticket, more contributing to the speakers’ expenses and the future free distribution of the lectures. David and Clare are thinking big – what is fast becoming a respected annual event should attract over a million people across the world this time around to get inspired for free. If you can go, I most humbly and slightly jealously urge you, go. And if a back seat is the order of the day – well, don’t make a habit of sitting there. Once this year’s stories are out and available, I think there’ll be more than enough get-up to go. Yes, I surely Do.
One of Amelia’s Magazine‘s favourite graduates from the Central St Martins MA back in March was knitwear designer Morgan Allen- Oliver, treatment with a selection of horse jockey- meet- Soviet minimalist graphic patterned jumpers. We caught up with him to find out how the last few months have been treating a designer with very British sensibilities.
Hi there! How are you doing? You have nice hair.
Hello, approved thank you. I think both my hair and I are feeling the effects of a rather busy couple of weeks!
What have you been up to?
Well I’ve had my brothers wedding in Somerset, diagnosis where I was making waistcoats for the wedding party, and then I’ve been at the Avalon Camp, the charity I work with (a week in a very rainy, muddy field with 32 children, trying to give them a summer holiday!!) then straight back to London to reacclimatise to city life!
You graduated in March – what have you been up to since then?
I needed a break. It was 18 months of near hell, I loved almost every minute of it but it was emotionally, physically and financially draining – I loved it! Then after a couple of weeks lying in a darkened room, I went back to my old uni, Ravensbourne, to help some very talented young designers pull their collections together ready for Graduate Fashion Week. It was fun but strange at the same time – working so hard only to see someone else get the glory! I have not done that before but I suppose it gets you ready for the real world! Then I started doing some work for Christopher Shannon and Natascha Stolle, sort of knitwear consultancy I guess you could call it? This has actually been very beneficial and given me a lot of creative freedom.
Describe your design aesthetic in three words.
British. Elegant. Me.
Who do you see wearing your clothes?
It is odd, but I always have my friend Ed in the back of my head when I design – I think, “would he wear it?” Then I go with it. I also see my clothes as really easy-to wear, and could work on anybody who wants to wear them – as long as they are happy, I am happy. I think that as long as people are confident in their clothes, they will look good! Man that sounds cheesy!
Who do you admire within the industry? Any other heroes?
A strange choice but I am always really excited to see the new Miu Miu shows when they come out. I know it is mainly womenswear and not my forte, but there is always something fun and new that really gets me. Every now again Burberry come out with some beautiful knitwear that makes me wish I had designed it!
Why knitwear?
As stupid and as lazy as it sounds, when I was in my last year at Ravensbourne, no one was doing it so I thought it would be a good way to stand out, and it was. You need to stand out in fashion, however possible! But as I got more into it, I actually started to like it and really enjoyed the process, designing as I knitted and being so much freer than when I was working with wovens. I must have enjoyed it I guess as I went on to specialise in it at St Martins!
As a knitwear specialist, are you pleased to see a lot of recent students showing an interest in knitting?
I really am. It was amazing that only two years after I left Ravensbourne as the only only pure knitter, there were six or seven people doing it when I went back, all of whom were doing some of the best and most beautiful work I have seen. I was also really pleased to see so much on show at GFW. I sat through nearly all the shows and the knitwear was definitely the highlight in most shows.
Morgan’s BA collection from Ravensbourne
Now for the important question…you inherit 5 million dollars the same day aliens land and say they’re going to blow up the world in two days… what do you do?(Editor’s note: definitely not lifted from anywhere)
Well I don’t believe in aliens. But if I inherited 5 million pounds (we are in England!) and then the world ended that night, I would probably be too panicked to come up with a coherent plan, so would no doubt waste my time thinking about what to do!
Who or what is your greatest enemy?
Time. There is never enough and I waste it terribly.
Who would you ideally like to work for, and what’s the future for Morgan Allen-Oliver?
I want to work for one of the classic British houses. I feel that is where my style sits best. Then who knows, one day go out on my own? When I was younger, and still finding my style, I always thought New York was the place for me, and actually in the past week, two opportunities have come up over there, but we will wait and see!
To get in touch with Morgan (and maybe get yourself one of those jolly nice jumpers) pop him over an e-mail by clicking here.
Like trojan horses in thrift store suits, edAndy Bichlbaum and Mike Bonanno are the corporate world’s bêtes noires, find causing mayhem and creating chaos in the buttoned up business sector. Seeing that they describe their favourite hobby as posing as the heads of corporations that they hate, this the results of which have caused losses of millions of dollars on the stock market, you can see why these men strike fear in the otherwise impenetrable world of big business.
The exploits of Andy and Mike, otherwise known as The Yes Men, make up “The Yes Men Fix The World”, the optimistically titled documentary which details their journey into some of the biggest, baddest corporations in the world. Before you think that these two are merely time-wasting pranksters, bare in mind that they only go after the organisations which have blood on their hands, and their ultimate mission is to “expose the corporate greed which is destroying the planet”. Their tried and tested manner of political activism is done by ” criticizing those in power with a smile and a middle finger”, a disarmingly effective method which always delivers. The film details one of their most infamous and audacious hoaxes yet – impersonating a Dow Chemical spokesperson on the BBC. A little back history to put this in the correct context; in 1984 a chemical plant in India which was owned by Union Carbide (since purchased by Dow Chemical) leaked 27 tons of the deadly gas methyl isocyanate which spread into the city of Bhopal. Called the worst industrial disaster in human history, the effects were far reaching and horrific. Over 500,000 people were exposed to the gas, and 20,000 have died as a result. It is estimated that 120,000 people still suffer from ailments caused by the leakage, which include blindness, extreme difficulty in breathing and gynecological disorders. Babies born since have been blighted with disfigurements. Since Dow Chemical purchased Union Carbide in 2001, they have refused to clean up the side, provide safe drinking water or compensate the victims, saying that the settlement reached by Union Carbide had fulfilled the financial and moral responsibilities of the victims.
With this in mind, the dogged determination of The Yes Men to focus in the spotlight on Dow by any means possible is quite understandable. In 2004, Andy Bichlbaum appeared on the BBC as Jude Finisterra, a Dow Chemical representative, accepting responsibility for their actions, pledging to clean up the site and compensate the victims.
The fallout was fast and unexpected – Dow’s share price fell 4.2% in 23 minutes, causing a loss of $2 billion in market value. This leads to a Yes Men realisation. As they explain; “we have created a market system that makes doing the right thing impossible, and the people who appear to be leading are actually following its pathological dictates. If we keep putting the market in the driver’s seat, it could happily drive the whole planet off a cliff.”
The film follows Andy and Mike around conferences as they try to explain the ramifications of this situation. Of course, the methods which they employ to do so are not always legit (but funny for us). For example, pitching the concept of a ‘golden skeleton’- which represents lucrative skeletons in the closet, to a London Dow Conference. Surprisingly, those attended loved the concept and afterwards scrabbled to be given skeleton key chains and memorabilia.
The documentary also unveils SurvivaBalls, (which can best be described with photographic examples) on a unsuspecting audience. While they may suspiciously look like fat suits, they in fact “Save managers from abrupt climate change – an advanced new technology will keep corporate managers safe even when climate change makes life as we know it impossible”. As long as the heads of the corporations are alright, eh?
The Yes Men press have this to say about the films release:
COME SEE THE YES MEN GET SERVED?
If you happen to live in the U.K., the Yes Men will be attending the London
preview screenings August 7-10 and will appear live at the nationwide simulcast on
August 11. These are great opportunities to serve the Yes Men legal papers should
you or anyone you know wish to sue them. Please get tickets early to reserve a
seat for these potentially lively events! Note as well that the Yes Men will give
a free “Special Edition” New York Times to anyone who comes to any daytime
screening, or to one of the Monday-Wednesday evening screenings at the Odeon
Panton Street London between August 7-13.
There will also be the chance, a la The Age Of Stupid, to organise screenings in schools and public work places. For full screening dates and times, and to buy advance
tickets, please visit http://www.theyesmenfixtheworld.com/scre
Antwerp has a lot to answer for. It has for the last decade been a fertile hotbed for not only cooler than thou talent emerging from the Fashion Academy but a steady stream of artists, about it photographers, see illustrators and graphic designers. One man who has his fingers in all the fore mentioned creative pies is Frederik Heyman, hospital an Antwerper born and bred, who has been artistically active since the tender age of 7. With not one but two master degrees, one in graphic and illustration design and one in photography, Heyman is more than a hobbyist with a passion.
His portfolio is extensive yet he remains clearly selective about working with people he resonates with; local folk such as Bruno Pieters and Christian Wijnants, as well as red hot publications such as Zoo Magazine (the trendy Berlin based one, not the British poor man’s playboy) Delvaux Magazine, and Mode Depesche.
When I asked him about his most admired artists he explains that while admiration can have negative connotations for him which in turn can kill creativity once you strive for emulation, he has a lot of respect for certain artists and thinks the prospect of collaboration is tricky when you contend with “egos bumping”.
As someone who explores more than one avenue of expression, I wondered whether he had a preference between creating illustrations and shooting photographs. “I believe for me one is inseparable from the other; there is a lot of crossover. I illustrate my images and the atmosphere by putting it on film and vice versa. I believe I’m more of an illustrator who uses a wide range of media, including photography.” Perhaps the attraction of dealing with a range of medias is that it keeps one’s mind and occupied; Frederik claims that if he wasn’t an artist his life would probably be a lot more structured.
One theme that struck me immediately in Heyman’s work is his use of the human form. I was curious where his fascination with bodies came from, especially when he is in turn quite shy of his own. “It’s not a fascination; it’s more the endless possibilities you have with the tool called ‘a body’. It’s more of an automatic feature that sneaks in rather than a present subject in my work. With the body you can sculpt your image, it can be subtle, or it can support the action from the background. Every little movement or gesture can reroute the atmosphere in an opposite direction.”
When the conversation matured into more of a chit chat, I discover that Frederik is lost without his mobile phone, “I can’t stand the silence of not hearing people in a day passing by”, that he can’t deny the musical presence of the Pet Shop Boys in his life “they are permanently in my top 25 listened to tracks!”, and that his only real nemesis is sleep, “I suffer the physical weakness of body and time. I find the days run too short for all the possibilities.”
His work has received widespread interest from a number of blogs and websites; the diversity of his appeal is to his credit, and I’m sure will mean his success can only continue to flourish. Collina Strada designs some very nice bags. And like most things fashion-related around here at Amelia’s Magazine, physician they have a heart and soul, viagra 40mg with a passionate concern for environmentally friendly fashion. Made from organic canvas and using vegetable dyed leathers, medications these new ‘It’ bags truly deserve the label; they really are so much more than just a bag (if such a thing even exists!)
The genius behind the designs is LA based Hillary Taymour, who has brought her vast fashion and business education from the Fashion Institute of Design and Merchandising to her business; covering all aspects of initial design work, production and marketing. Hillary is Collina Strada! Combining her Californian education with her Egyptian background, Hillary’s bags showcase the modernity of American fashionistas mixed with ethnic prints and ethical fabrics no doubt inspired by her African roots. Think zebra stripes meeting modern shapes, expect tribal diamonds printed on envelope bags.
The collection is made with the fashion-forward woman in mind, no surprise considering Hillary’s location. Already celebrated on inspirational fashion blog, rackk and ruin, it’s definitely correct to say that once you have the blogosphere’s support, good things are on their way. Something that makes the bags stand out is their individuality; each bag is different, nothing matches, yet the excellent tailoring and construction hold the designs together.
Inspired by bag-making-legends ranging from Prada, to Balenciaga, to Hermes, Hillary certainly knows her handbag royalty. Alongside her education and background, these formative influences can truly be spotted in the ‘It’ factor to her designs, making functional and modern bags that at the same time stand out as somehow timeless, vintage-look pieces. Look at the effortless draped shape of the Ferra bag, or the dramatic rouching of the Zeba bag, and you’ll see what I mean. Can’t you picture the photos of Sienna, Alexa and the gang parading around London town with these beauties on their shoulders already?
Collina Strada – Where does the name come from?
The name for the collection derived from my name Hillary people call me Hill, in Italian Collina means Hill and Strada means Street.
What was the inspiration behind the collection?
The inspiration for the line was to create a beautiful silhouette with buttery leathers and eco-conscious materials, I wanted to create something beautiful that could allow every woman to show off their individual style.
What do you think makes your bags stand out?
The bags stand out through their unique silhouette with a clean aesthetic, the bags speak for themselves without any added hardware.
What’s in store for the future of Collina Strada?
The future of Collina Strada is expanding, I will be creating functional abstract leather pieces that are not necessarily handbags, I would love to see Collina Strada move forward into a head to toe contemporary women’s collection.
Hillary states on her website that she strives to provide bags that “break free from the rest”. Looking at her 09 collection, they certainly do that.
Written by Becky Cope on Thursday August 13th, 2009 3:48 pm
A new spring title by Vivays Publishing, Wearable Vintage Fashion is written by the owners of Second Hand Rose, a vintage boutique in Worcester. Jo Waterhouse and Clare Bridge aim to provide readers with a visual reference point for any anyone interested in vintage fashion, focusing on easily attainable looks to suit a range of budgets.
All photography by Caitlin Sinclair, page spreads courtesy of Vivays Publishing
The book is helpfully divided up into fashion according to decades, using colour-coded sections that range from the 1920s to the 1980s. A one-page introduction to each decade gives context, discussing the impact of societal circumstances on fashion trends, and with some brief tips on recreating looks. For instance, the 1950s introduction covers the new youth culture and how it opened up a fashion market for a generation of young people with disposable income. It’s an approachable way of thinking about the socio-economic and practical considerations embedded in fashion.
Day and eveningwear pages in each section are filled with selected items of clothing and accessories, alongside descriptive text outlining the classic shapes and textiles from each era. ‘Get the Look’ pages are places where old candid and street photographs are used as inspiration for creating on-the-page outfits and to describe common trends.
The garments and accessories shown are incredible, with colourful, multi-textured and authentic pieces from each era featured alongside modern-day alternatives, for those that might not be able to access the real items. What lets the reading experience down however is the way garments are laid out in a collage format -without mannequins or models (or in some cases, ironing) the pieces can’t be displayed to full effect, which is a shame given how precious some of them are.
Later on in each chapter are ‘Icons’ pages, where the authors interpret a signature look from the decade, for example, Farrah Fawcett from the 1970s. While the intentions here are admirable – to easily recreate a look for a party or event – the styling and images aren’t of a high enough quality to appeal in a book format. It’s difficult to tread the line between a do-it-yourself guide and a higher-end coffee table book, but in this case the extraordinary subject matter warranted that closer attention be paid to the visual design.
More appealing are the look books, where double page spreads show the full breadth of a fashion decade including day and eveningwear. I adored the 1940s spreads in particular, with pale knitted cardigans, a sweet pink bakelite elephant brooch and an original Pendleton ‘49er’ tartan jacket.
The final part of the book is ‘Vintage Street Fashion’ where the authors document how various fashion bloggers and enthusiasts wear vintage clothing on a day-to-day basis. As with previous sections, the styling and quality of the images varies dramatically and appears visually inconsistent, but if you can ignore this, the insight into the lives of these women and their relationship with certain vintage pieces is worth the read.
