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Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Corrie Nielsen (by Helen)

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Corrie Nielsen LFW A/W 2011 Collection, find buy information pills illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

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Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

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Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, a thrown out of her castle, princess. What did she do to be ejected? For me, although more Elizabethan perhaps in design than Victorian, this was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story.

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Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress was BLACK. It reminded me of Queen Victoria herself, mixed with Queen Elizabeth I. Then with the addition of Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. Together with the most over-ruffled, incredible dress, fit for a QUEEN, it was an explosion. Black as the darkest night, but with a slight shine, like the moon reflecting, the material was reminiscent of a glassy ocean at night. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

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Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’

I hope you see what I mean.

Jenny Robins’ and Abby Wright’s illustrations can also be found in Amelia’s Compendium of Fashion Illustration, available here.

Written by Helen Martin on Monday February 21st, 2011 8:53 pm

Categories ,1800s, ,1900s, ,19th century, ,60s, ,Abby Wright, ,black, ,blonde, ,Corrie Nielsen, ,Elizabeth I, ,Elizabethan, ,Feminine, ,fitted, ,gothic, ,headbands, ,Helen Martin, ,heroine, ,Jenny Robins, ,lfw, ,LFW A/W 2011, ,models, ,pencil skirt, ,Queen, ,Queen Victoria, ,Red, ,teal, ,Tess of the D’Urbervilles, ,Thomas Hardy, ,Vivienne Westwood, ,Wuthering Heights, ,Yorkshire Moors

Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Corrie Nielsen (by Helen)

Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, find buy information pills illustration by Abby Wright

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

CorrieNielsen_LFW_MattBramford_020 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

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Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

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Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

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Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

I hope you see what I mean.

Jenny Robins’ and Abby Wright’s illustrations can also be found in Amelia’s Compendium of Fashion Illustration, available here.

Written by Helen Martin on Monday February 21st, 2011 8:53 pm

Amelia’s Magazine | Latitude Festival 2010: Waterfront Graduate Fashion Shows Preview

A while back I happened to catch a performance by Lissie at the Old Queens Head in Angel. I hadn’t planned on watching her – truth be told, more about healing I was there to check out the band before her ; but my curiosity was piqued as I watched the room fill up with an expectant and excited audience, rx all craning their necks and standing on their tippy toes to get a better view of the girl serenading us. It’s been a while since I saw someone so captivating. Golden haired, this site freckled and just a slip of a thing, Lissie entranced the room who in turn treated her to a hushed and reverential silence, punctuated only by bursts of spirited applause and cheers. I watched the audience watching her. Everyone seemed transported out of their location; away from the top room of a pub on grimy old Essex Road and into the world that Mid-Western native come Californian girl Lissie inhabits, laced with the scent of orange blossom, filled with wide open skies, winding rivers and smokey mountains, and night-times spent on porches with nothing but a guitar, a couple of beers and a pack of Marlboro Reds . No wonder we were all captivated.

A couple of weeks later, I got to meet the busy Lissie. In the time between, Lissie had appeared on Jools Holland, toured around Europe, duetted with Ellie Goulding at The Great Escape, and graced the airwaves, all in the name of the hectic promotion of her debut album, Catching a Tiger (hot on the heels of the release of last years Why You Runnin’ EP). The phrase ‘riding a juggernaut’ comes to mind with Lissie; bursting into our consciousness with the brightest of starts. The day we met was a rare moment of down time; her touring schedule is in a constant state of flux – stretching to accommodate gigs that are being added on a daily basis, and Lissie had only just made it back from the previous nights gigs in Manchester and Newcastle. Curled up wearing her newest acquisition – a red jacket with white piping brought from a charity shop up North which made her look, she remarked cheerily, like “Santa Claus”, she lamented the ever decreasing amount of free time but was laughingly quick to note that it’s “a quality problem- it’s only busy because it’s going well, if no-one liked the music then there wouldn’t be things for me to do!” As Amelia’s Magazine is nothing if not versatile in its roles, I was happy to take on the guise of English Tourist Board representative, and suggest a list of places to visit when she finally gets a day off; though when that day will be, we will never know! ( FYI, Lissie was especially keen on the visit to Hampton Court Palace idea). As she munched on a healthy beetroot salad – my lunch advice was a visit to Mr Jerk in Soho for some fattening salt fish patties; probably best that not all of my suggestions get listened to) – I decided to find out just where this spirited… got her start in life.

I always loved to sing, I was a pretty outspoken, strong willed little kid! I got a little shyer and more introverted when I got older but as a kid I used to stomp my feet when I walked (swings arms in a very determined manner), I was always talkin’… My family were really sweet and encouraging, but at school I would get into a lot of trouble because I would talk back, I always knew what was best for me, and when other people used to tell me what was best for me, I would be like “uh oh! Not gonna do it!” (laughs) I loved to sing, so becoming a songwriter was a great way for me to express my feelings, you know. I wasn’t always great at talking about things, and so I could write these little melodies…. even as a little kid, I would sing my feelings. I sang to my sister; I do recall tape recording this mean song about her, and leaving a tape recorder about her under her bedroom door and then pressing play and running away! (laughs) And then in high school I went through my phase of being more introverted – I pierced my nose, got a tattoo, started smoking,….I did my own thing cause I didn’t really fit in to any particular group. I started writing music, taught myself guitar and then started working at this coffee shop where I could play.

What type of music were you listening to then?
Music wise, when I was younger I was into folk, Americana, musical theatre, and then in high school I was into country and gangsta rap

Those are two very different genres!
You wouldn’t think that these are similar in any way, but when you listen to either country or rap, it’s people telling their story. Indie rock can be more obtuse or obscure. Country and rap is some one speaking in the first person, you know? It’s more like, “this is my story, this is my experience.”

Do you respond to music that is more heartfelt and honest?
Totally, but I like all kinds of stuff. Although I don’t really listen to music to get inspired for my own music.

Did you move to California immediately after high school?
First I went to Colorado, to go to study at Colorado State. I was playing music and sang with a DJ there, and he ended up getting our song placed on tv shows. That was a catalyst for me; I realised that I could make a living making music, maybe eventually a good living! And then I went and did a semester of school (our version of uni) in Paris. I was singing there as well; I met a woman who helped me get shows in bars, and I also got some stuff played on college radio. After that I dropped out of school, and moved to LA – only cause I figured that that’s where you go when you want to be a singer!

Comparisons have been made to the hazy and bohemian rock n’ roll that came out of Laurel Canyon in the 70′s (think Joni Mitchell, The Doors, and Stevie Nicks). Lissie’s 2010 version is honed from living in an area not more than a mile or two away; Beechwood Canyon, a creative hub of artists and musicians and a world away from the plastic glamour and sheen of Beverly Hills. Los Angeles is known for chewing up and spitting up many a wide eyed starlet and ingenue, but strong-willed Lissie was never going to be one of the victims….
I don’t know if it’s me being stubborn, or being from the Mid West, but….I’m not bullshit, I don’t want bullshit in my life. I’m still nice, you know? I was never tempted by (the LA madness.) I always knew what I wanted to do. And I wasn’t immediately successful… I had figured that by 22 I was gonna make a record, and I didn’t make one till I was 26. But I was never like “I’m never going to be successful, maybe I need to be skinnier, or prettier, or I need to start doing drugs!

A year ago (while dealing with the messy end of a relationship) Lissie made a decision – part gut instinct, part cosmic order – to leave LA and head north to the tranquil town of Ojai, a place that she had never even stepped foot in…

Do you get inspired by the peace of Ojai?
Unfortunately i was more inspired to write when I was in Hollywood, because there was more more me to get worked up about. (sighs) There was this guy that I dated…… we broke up and our breakup process was drawn out and painful, which gave me a lot of material (laughs). Part of the reason why I moved was because it felt like my family was broken, and I needed a change. I put it out there; I was on a plane coming back from Tennessee and…. sometimes I just say what I want, and try to have faith that it will happen, and this is the weird thing; I found myself sitting next to two people who lived in Ojai, and I told them that I was heading back to LA, and they suggested I visit Ojai. So I got back to LA and instantly knew that I couldn’t be there; there was something in me that said “you have to move to Ojai, even though I had never been there before!” I went online, and found this house that cost less than my apartment in LA . I put down a deposit and moved, gone! And it was the best thing for me. I totally healed my heart there, and got myself in a position where I could really focus on myself, and what I need to do. I live alone, with my dog, I go for walks. And I make a ton of pie! (laughs)

So you have a summer of touring in England?
Yeah, every day we get a revised schedule. We’re (Lissie and her band) doing festivals for the next few months, and in October, November and December there will be at least one thing a month going on in England, so it’s unclear whether we will just stay here or start our momentum in the States, ’cause I still have to go promote my album over there. I don’t exactly know what’s going to be happening, but it’s all good.

Dee-Andrews-Bethan-Smith
Bethan Smith by Dee Andrews.

This year, thumb for the first time, Latitude Festival will be hosting repeat runs of the graduate fashion shows from Central Saint Martins and Chelsea College of Art and Design: lovingly reproduced on a special catwalk by the lake near the Waterfront Stage.

Don’t miss this opportunity to catch some of the best up and coming fashion designers showcasing their work in such a wonderful setting, so very far from the usual hubbub associated with urban fashion shows.

Of course I couldn’t resist putting a sneak preview of the best designers out to a host of illustrators…

Central Saint Martins

Abi Daker - Sorcha O'Raghallaigh
Sorcha O’Raghallaigh by Abigail Daker.

Check the amazing chiffon head-dressed swirling layers from Sorcha O’Raghallaigh, all based on the film Eternal Sunshine of the Spotless Mind. We particularly loved Sorcha‘s stuff in this previous blog post.

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Zoe Sherwood by Lisa Stannard.

or fabulous feathers and dip dyeing from Zoe Sherwood – all based on the different stages of a bird in flight

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Anne Karine Thorbjoernsen by Dee Andrews.

or how about Russian Constructivist theory transferred into stunning spiked dresses courtesy of Anne Karine Thorbjoersen?

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Felipe Rojas Llanos by Yuann Shen.

not to mention the couture influenced pod shaped menswear from Felipe Rojas Llanos

and from Chelsea College of Art and Design

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Bethan Smith by Dee Andrews.

Look out especially for sculptural textiles from Bethan Smith, inspired by Native American ceremonial dress

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Beth Parry by Rachel Clare Price.

twisted knitwear from Beth Parry

Lauren-T-Franks-by-Barbara Ana Gomez
Lauren T-Franks by Barbara Ana Gomez.

contemporary folklore from Lauren T-Franks

Abi Daker - Sophie Parker
Sophie Parker by Abigail Daker.

wide-checked pants and quilted capes from Sophie Parker

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Nichola Orchard by Donna McKenzie.

ruffled and bumped accessories inspired by skin and mountain ranges from Nichola Orchard

ELLEN-CHATELAIN-by-Lisa-Stannard
Ellen Chatelain by Lisa Stannard.

knitted patchwork stripey jumpsuits inspired by 1960s science fiction from Ellen Chatelain

Shawana Grosvenor by Sine Skau.

and creamy circular tailoring from Shawana Grosvenor.

Models will be provided by Elite, which might well excite the man in your life… and this major model agency will also be scouting the festival for the next big thing. Ooo-eeeee. Will you be down by the lakeside this weekend?

Written by Amelia Gregory on Wednesday July 14th, 2010 12:24 pm

Categories ,Abigail Daker, ,Anne Karine Thorbjoersen, ,Barbara Ana Gomez, ,Beth Parry, ,Bethan Smith, ,catwalk, ,Central Saint Martins, ,Chelsea College of Art and Design, ,Dee Andrews, ,Donna McKenzie, ,Elite Models, ,Ellen Chatelain, ,Fashion Show, ,Felipe Rojas Llanos, ,Graduate Show, ,Latitude Festival, ,Lauren T-Franks, ,Lisa Stannard, ,models, ,Nichola Orchard, ,Rachel Clare Price, ,Russian Constructivism, ,Shawana Grosvenor, ,Sine Skau, ,Sophie Parker, ,Sorcha O’Raghallaigh, ,Waterfront Stage, ,Yuann Shen, ,Zoe Sherwood

Amelia’s Magazine | Graduate Fashion Week 2010: The Gala Show Finale!

Shinsuke Mitsuoka

The world of fashion is notoriously fickle and grabbing the attentions of a fashion crowd for any extended period of time seems tricky. Catwalk shows do their best with an array of light shows and thumping soundtracks which could sometimes do with a warning.

Nottingham Trent have prepared it all for their outing at Graduate Fashion Week with glossy door staff, medications designer goody bags and even a rather trendy loitering DJ (wearing a somewhat dubious puffa jacket). They’re raring to go, remedy but there’s just one cog in the works; a serious lack of bums on seats. Well, there is of course the age old excuse of being fashionably late, but even the pinched smiles of women ferrying around have started to crumble.

All becomes clear as a dull thudding bass infiltrates the theatre and the sound barrier takes a bashing as the trill of hundreds of screaming girls hit the roof. Apparently Tinie Tempah is a big deal (and from the glimpse I got, genuinely teeny Tinie). He’s had all of one song, which luckily for Nottingham Trent, he dispatches quickly, and soon a bustle of activity swells at the theatre doors. If Tinie didn’t make them ‘Pass Out’ (see what I did there? Here all week folks…) then the efforts of Nottingham Trent’s 2010 graduates will surely do their best to stun the senses.

Nottingham Trent has a clear passion for encouraging students to experiment with unique techniques and textures in knitwear, producing a modern and varied aesthetic across the course. Their catwalk show oscillates between detailed, intricate knitwear and sleek takes on womenswear with bursts of energy injected at intervals by the likes of Emma Dick, showcasing sharp, graphic prints of televisions and arrows just at home in a museum of Pop Art as the runway. Integrated hoods give the look a futuristic feel but there’s a touch of the retro about her two-tone body con jumpsuit with a classic 1960s palette contrast between red and black.

Nottingham Trent keeps the volume turned up with Claire Hartley’s cutaway knitted one pieces, exposing flashes of green, yellow and red for a futuristic sci-fi look. Hartley’s dedication to forward thinking stretches beyond the aesthetics as she hopes to generate a new innovative, zero waste policy in manufacturing to ensure the sustainability and evolution of the clothes.

By now Tinie’s long forgotten as each model stalks down the catwalk to puffa DJ’s painfully hip soundtrack. Nikki Lowe dazzles with gold lamé suits complete with built-in gloves worthy of an evil Jackie Collins penned character, but flashlight necklaces add a distinctive disco feel caught somewhere between the 1970s and the 1990s.

Miranda Boucher’s collection is a dark and luxurious celebration of femininity with plush midnight blue coats and velveteen details just obscuring the model’s modesty.

Emma Philpot’s knitwear seems to grow from the models bodies, twisting and turning upon itself and forming knots and twists likes a chunky chainmail, while Tiffany Williams continues the fairytale edge with her menswear collection in dark, brooding colours and heavy volume that weigh on the shoulders as a hulking, masculine presence. Backs reveal shimmers of gold thread intertwined, adding a lighter side to the depth of her work.
Jenna Harvey’s dresses change at every turn as each layer of tiny fabric is double printed and loosely set so as it moves a new picture is revealed. At times it feels like 3D glasses are needed just to keep up with the transformation before your eyes.

Meanwhile, Phoebe Thirlwall’s beautiful knitwear dresses, inspired by the intricacies of the skin, show a level of workmanship that is breathtaking under the lights of the catwalk. Each ribbed layer clings to the models with hundreds of different levels working together. Her hard work has clearly not gone unnoticed as her work was also photographed by renowned artist Rankin, a stunning portrait duly displayed in grand terms at Earl’s Court.

Izabela Targosz’s equestrian turn on tailoring injects some more colour into Nottingham Trent’s show, with jackets made with horsehair pockets and backs adding a silky but quirky feel. Riding hats are the natural yet perfect accessory to a collection that shows an equal strength in its attention to detail for an upheaval of the British tailored look.

Shinsuke Matsuoka’s work is saved for the final spot and with the breathtaking effect of the garments, it’s easy to see why. Bondage style zips snake across panels of black hi-shine material; the sound of the clothes are a foreboding presence in themselves, but as six outfits stand together the models are transformed into an unnervingly attractive chain gang from the future. I’m not sure if it was this effect or not, but my camera also spluttered its final breaths at this point, perhaps overwhelmed by the power of Matsuoka’s collection.

In any case, it proved a spectacular way to end things and is not something I can imagine being trumped by Tinie any day soon.

Images courtesy of catwalking.com

Nicola Roberts, cheapest illustrated by Jenny Robins

So it was time to wrap up what was a pretty crazy week in the form of the Graduate Fashion Week Gala Show. After making arrangements for a ticket a while ago, I was bemused to find that at the door there was no sign of said tickets.

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

After a few quick radio calls, I was allowed in. Into Earl’s Court, that is – not into the champagne drinks reception. ‘Sponsors only’ was the reply when I asked if I could have a quick drinkie. ‘Sponsors only my eye’ I thought, as I recognised half the people in the fashionably-roped off bar area.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

As I waited I was entertained by a lovely student called April who could see my blood boiling – stood a little distance away to avoid the steam coming out of my ears. ‘After all I’ve bloody done this week,’ I thought to myself, and then said aloud to April, who quickly excused herself.

Finally I was allowed inside and ushered into a press seat, and, true to form at these events, there were three seats either side of me that remained empty. ‘Typical!’ I thought to myself, and then thought I really should stop thinking to myself so much.

With a few whoops and a whizz, the Gala Show kicked off in fabulous fashion, with Britain’s Got Talent champions Diversity. Fun. Next, Caryn Franklin, resplendent as ever, arrived on stage. It was a whistle-stop tour through the non-catwalk-based awards, including those for fashion marketing and promotion. I was pleased to see Northumbria added a few more to their metaphorical mantelpiece.

A host of celebs had turned up, and from my seat I could spot front-row regular Erin O’Connor (who later presented an award), Nicola Roberts of Girls Aloud fame (who has quickly swapped pop for paps, Fashion Week regular that she is). I even brushed past her on my way to the loo, and she is genuinely gorgeous in real life.

Another Nicola Roberts, illustrated by Antonia Parker

It’s always great to see the wonderful Hilary Alexander (who I had the pleasure of sitting next to at the Northumbria Show) who presented mature student Ellen Devall with the ‘First Word’ Journalism Award, because it left her ‘wanting to know more.’

Hilary Alexander, illustrated by Amy Martino

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.

Barbara Hulanicki, illustrated by Abi Daker

Onto the main event – the Gala Show(case). I was thrilled to see many of the graduates we’d already talked about on the website appearing in this Best of the Best-style show, including Naomi New from Northumbria (one of my personal favourites from GFW as a whole) and Northbrook’s Rhea Fields.

The staging for this was incredible, and justified the ghastly white sheet that hung in the background for the first part of the show. It burst down to reveal a scaffolding set, where models pouted, lights flashed, and the music roared.

So, the winners then. With the inclusion of the International Show this year, it was great to see them honoured with an award, which must have been a great end to a fantastic week for International Students. The winner, Roya Hesam from the Amsterdam Fashion Institute won over the judges with her minimalist collection.

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.

Zandra Rhodes, illustrated by Paul Shinn

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.

Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.

Mark Eley, illustrated by Lisa Billvik

So, the moment we’d all waited for (and in my case queued, sweated and been reduced to tears for) was the River Island Gold Award. God knows how the likes of River Island design director Naomi Dominique, Lorraine Candy of Elle and Kim Jones chose the winner, but it was down to fellow judge Alberta Ferretti to present the award.

Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

…Rebecca Thompson from Manchester Met! Thoroughly deserved for her inspirational collection. Alberta Ferretti proclaimed that Rebecca had triumphed because of her ‘unusual and interesting combination of fabrics and for the contemporary feeling of her collection’.

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’

Written by Matt Bramford on Friday June 11th, 2010 5:42 pm

Categories ,Alberta Ferretti, ,Amsterdam Fashion Institute, ,Anna Lee, ,Awards, ,Big cats, ,Britain’s Got Talent, ,Caryn Franklin, ,Diversity, ,Dylan Jones, ,Earls Court, ,Elle Magazine, ,Erin O’ Connor, ,Fashion Week, ,Gala Show, ,GFW, ,girls aloud, ,Gold Award, ,Graduate Fashion Week 2010, ,International Show, ,Kim Jones, ,london, ,Lorraine Candy, ,Manchester Metropolitan University, ,menswear, ,models, ,Naomi Dominique, ,Naomi New, ,Nicola Roberts, ,Northbrook College, ,Northumbria, ,Rebecca Thompson, ,Rhea Fields, ,River Island, ,Roya Hesam, ,Textiles Award, ,Ticker Tape, ,Womenswear, ,Zandra Rhodes

Amelia’s Magazine | Graduate Fashion Week 2010: The Gala Show Finale!

Shinsuke Mitsuoka

Miranda Boucher’s collection is a dark and luxurious celebration of femininity with plush midnight blue coats and velveteen details just obscuring the model’s modesty.

In any case, it proved a spectacular way to end things and is not something I can imagine being trumped by Tinie any day soon.

Images courtesy of catwalking.com

Nicola Roberts, cheapest illustrated by Jenny Robins

Perhaps it had been taken by another contributor? Unlikely. ‘Are you sure you’re supposed to be at this (star-studded) show?’ ‘Yes’ I said, ‘that’s why I’m wearing a bow tie’.

So I waited patiently at the entrance to the theatre. And waited.

And waited.

‘We’ll get you in,’ I was told. ‘Before it actually starts?’ I thought to myself.

Another Nicola Roberts, illustrated by Antonia Parker

Hilary Alexander, illustrated by Amy Martino

Another of my favourite spots was Barbara Hulanicki, who was here to present the Textile Award to Natalie Murray from Northumbria University. She’s utterly bonkers but gosh what a woman.

Barbara Hulanicki, illustrated by Abi Daker

Pretty soon afterwards, out popped everybody’s favourite glamorous granny, Zandra Rhodes, to present her Textiles Award.

Zandra Rhodes, illustrated by Paul Shinn

The competition was fierce here – all were fantastic – but it was Anna Lee’s literally fierce collection of big cat prints that triumphed.

Dylan Jones, editor of GQ Magazine, presented Thomas Crisp of Ravensbourne with the marvellous Menswear prize, owing to his sleek, sophisticated tailoring.

Dylan Jones, illustrated by June Chanpoomidole

Rhea Fields (yay!) from Northbrook college won the womenswear award for her covetable collection and unique use of materials, presented by Mark Eley of Eley Kishimoto.

Mark Eley, illustrated by Lisa Billvik

Alberta Ferretti, illustrated by Paolo Caravello

And the winner was…

As the ticker tape covered Rebecca and her models, I thought to myself,’What a freakin’ fabulous week.’

Written by Matt Bramford on Friday June 11th, 2010 5:42 pm

Amelia’s Magazine | An interview with fashion photographer Cynthia Berger

From the series Post Punk

A little while ago I wrote an article about fashion in Berlin. It wasn’t particularly amorous to say the least; save a few incredible museums, I wasn’t overtly impressed by the grade of the fashion I saw on the street. I was only there for the weekend, mind.

Coincidentally an email popped into the fashion inbox pretty soon after from Cynthia Berger – German born and Berlin based fashion photographer. I failed to mention my less-than-flattering view of Berlin, but her photographs completely stole my attention.

Cynthia is a fashion photographer through and through, and her early years were spent wielding a camera with the help of her photographer father.

The images Cynthia creates are often stark portraits of the citizens of Berlin, and with minimal settings and styling, there is a real photojournalistic realism to her photographs (it’s no surprise to discover, then, that her influential father was also a journalist). Her work reminds me much of some of the work that was featured in Amelia’s Magazine – Louise Samuelson in Issue 08 for example.

Cynthia uses street-cast models in her photographs, giving each picture added verisimilitude, along with the designs of up-and-coming Berlin fashion designers; with most of her work being set within the dramatic urban landscape of Berlin itself, Cynthia’s photographs totally embody the spirit of this historical city.

From the series Berlin Fashion

I managed to have a quick chat with Cynthia about her father, her work and her future…

How did you get in to photography?
My father was both a photographer and a journalist, so at a very early age I was surrounded by photography. At aged 8 I started to take my own photographs.

What did you study?
I studied Photography in Germany and worked later in Capetown as a photographer’s assistant. Back in Germany, I studied Communication and worked for a while as a researcher in the media world, finally coming home after that.

How do your shoots come together?
The photograph is already taken in my mind before I go and shoot. I plan the shoots entirely, so that I have the freedom to experience everything and to allow the ideas to evolve.

What about photography in particular keeps you focussed?
I like to involve and inspire people.

From the series Boys in the Suburbs

What messages do your photographs carry?
Every photograph always carries a variety of messages.

Which photographers do you admire, and why?
I like Richard Avedon, particularly his portraits – they have such high density and intense impression. I also like the work of Anna Gaskell, her mysterious atmosphere and symbolic storytelling.

How is the fashion/photography scene in Berlin?
Berlin is the fashion capital of Germany. Berlin is a city that is immensely inspiring through constant change. It’s a melting pot for design, fashion, art, architecture, music and photography.

Have you travelled as a photographer?
I lived three years in Capetown, a year in London and did a few travels through the USA and Europe.

Do you think photographs can change opinions, challenge ideals, inform, provoke or otherwise?
They can – if you put them into the right context.

What are your plans for the future?
I write any ideas I have in my “Idea Book” that I have with me wherever I am. I have many projects planned for the future, with an exhibition here in Berlin high on the list.