Naomi New

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

by


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

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

by


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

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Amelia’s Magazine | Graduate Fashion Week Interview: Northumbria’s Naomi New

by

Illustration by Dan Heffer

Around the monolithic event that is Graduate Fashion Week at Earl’s Court, unhealthy there exists what might be known as satellite events. This is no way refers to the quality of work that is on display only to the difference in size between shows. I was lucky enough to visit the millenary on show at Kensington and Chelsea College’s end of year show.

I’m not sure whether it’s the wedding’s I’ve been too recently or the constant press attention regarding the ladies hats at certain races (hello Ainscourt) but recently I’ve been paying more attention to headwear.

Illustration by Lauren

The quality of the work on display was unmistakable and a joy to photograph through the sculpture shapes. Each Milliner had created a story around their final product, treatment some of the topics covered envoked narcassim, link Alice in Wonderland to old myths and Legends.

Illustration by Krister Selin

Photographs by Sally Mumby-Croft

Illustration by Dan Heffer

Around the monolithic event that is Graduate Fashion Week at Earl’s Court, prescription there exists what might be known as satellite events. This is no way refers to the quality of work that is on display only to the difference in size between shows. I was lucky enough to visit the millenary on show at Kensington and Chelsea College’s end of year show.

I’m not sure whether it’s the wedding’s I’ve been too recently or the constant press attention regarding the ladies hats at certain races (hello Ainscourt) but recently I’ve been paying more attention to headwear.

Illustration by Lauren

The quality of the work on display was unmistakable and a joy to photograph through the sculpture shapes. Each Milliner had created a story around their final product, some of the topics covered envoked narcassim, Alice in Wonderland

to old myths and Legends.

Illustration by Krister Selin

Photographs by Sally Mumby-Croft

Naomi New was undoubtedly one of the highlights at Graduate Fashion Week 2010. Her incredible costumes dazzled the press and had me bouncing up and down on my seat at the Northumbria show and the Gala Show, medical for which Naomi was one of very few students selected.

I had a chance to have a chat with Naomi about her experience of Graduate Fashion Week, her advice for next year’s brood, and what the future has in store.

Why did you choose to study fashion?
I have always been fascinated with clothes, how they define who we are and communicate that to others. When I was young I used to dance and loved designing my own costumes, picking fabrics and even helping sewing on sequins; so from early on I have always known I was going to be a fashion designer.

Did you undertake any placements during your studies?
I did two internships. I spent one month with womenswear designer Aimee McWilliams, then went on to spend five months with a high street supply company, Pentex Ltd. This gave me a fantastic insight into working in fashion in two different areas.

What inspires you, both for this collection and generally?
I am a hands on designer who immerses themselves into the brief. I believe that inspiration is all around us and never leave home without a camera or a sketchpad. I like to visit as many exhibitions and museums as possible, visit archives to get a closer look at my subject and always feel inspired by theatre and film. The inspiration for my collection came from my life long love of horse riding and a visit to the royal armouries at the Tower of London where they were showing Henry VIII armour. As my research developed I looked at military wear and most importantly the post-apocalypse films Mad Max.
The concept behind the collection really came from the Mad Max Road Warrior film, where Max battles with both good and bad to survive in a world that had been abused; where survivors were left with nothing. I felt that the story wasn’t too dissimilar to what we are living now, with the recession. I wanted to make a collection to equip the modern day woman in her quest to be successful throughout her life.

Your collection was one of the most flamboyant and creative of any I saw at GFW. Did you consciously decide to avoid commercial viability, or was this not a factor?
I didn’t set out to make something crazy and out there, I just knew that that was what was going to happen – it’s just me and I am very happy you think my collection was one of the most creative at GFW. That’s a massive compliment.
When designing and making the collection I was very conscious of the fact that this was probably going to be the only chance I would have to do something totally me and totally the way I wanted it. I took a risk in doing so but I worked very hard to ensure the collection was theatrical and flamboyant while still beautiful with intricate and authentic details. I think the risk paid off, the collection is everything I dreamed of.

You made use of materials with high aesthetic appeal and avoided bright colours. Is there any reason for this?
The colour story of my collection was inspired by the Mad Max film I have mentioned – in the film two rival gangs fight, one dressed in white and the other black, so I decided to have halve the collection with these colours.
I wanted each look to make a statement, so I decided to have each look mainly one-block colour for the most graphic impact.
From my equestrian and armour influence I knew I wanted to use leather, suede, metal and neoprene, all fabrics that protect the body. But the Mad Max film inspired me to push the metal hardware content and look to further alternative materials such as ostrich, bone, chain, horse hair and human hair.

What did you like about Northumbria and Newcastle in general?
I chose to study at Northumbria for its amazing reputation and facilities. I couldn’t have asked for better tutors and technical staff. I’m also based close by in Sunderland and at the time of applying for universities I felt it would be foolish to move away when I live so close to a great university. Living at home also ment that I have been able to really focus on my studies.

How did it feel to be selected for the Gala show? Did you expect to win?
I never in a million years thought I would be chosen for the gala. I was delighted to show at GFW and that was enough for me, seeing my collection open the Northumbria show was amazing. In fact, as soon as the last look in my collection left the catwalk, I couldn’t stop crying! It was so overwhelming and what I had dreamed for.
When I found out about the gala I couldn’t believe it, it is such an honor that the judges liked my work and it was a privilege to show the gala judges my portfolio. The gala show itself was amazing and I got to meet some great people through it, too.

Does this open even more doors?
I think being in the top ten has opened more doors for me, I have had a lot of interest from stylists and photographers who want to use pieces after seeing them in the gala show, which is fantastic. A few looks are possibly going to China in the next couple of weeks for a promotion event for GFW, which is amazing too.


Photographs by Matt Bramford

You received a lot of attention from the press, who compared your collection to both Lady Gaga and Elvis‘ wardrobes. How does that feel?
I was over the moon with all of the press attention. My muse is Lady Gaga, so when I read the references to her I was delighted. I admire her strength and individuality and feel she is the prime example of a woman who has had to use dramatic fashion in the battle to be noticed and be successful. When working on the collection having Lady Gaga as my muse gave me confidence to keep pushing myself further and further, to create something people could see her wearing, it would be a dream to see them on her. The Elvis suggestions are a compliment too, I grew up with my dad always playing Elvis’ music and I have always regarded him as one of my personal fashion icons, so this must have shown through.

Which designers do you admire or look to for inspiration?
As you can see from my collection I like drama in fashion and have always admired Alexander McQueen’s showmanship and rebelliousness. I am also really inspired by the work of Iris Van Herpen; she uses a lot of leather in her collections with amazing detail so I worked hard to aspire to her standards when making my collection.

What advice would you give to students preparing their collections for GFW 2011?
I would tell them to go with their heart and work harder than you ever thought you could work. Always look for ways that you can improve and develop your work and ask for and listen to feedback from tutors and peers. It is the most amazing year you will ever have and all the hard work really does pay off – you will want to do it all over again.

What do you have planned for the coming months?
In the next couple of months I will be sending some pieces to China as I said and will also be showing some pieces from the collection at Pure London where they are organising a similar GFW show, which is really exciting. I want to continue making one off pieces that have a similar feel to my collection. Other than that I will be looking to relocate in London where I will be open to all opportunities that (hopefully) come my way!

Written by Matt Bramford on Tuesday June 29th, 2010 2:04 pm

Categories ,Aimee McWilliams, ,Alexander McQueen, ,Armour, ,China, ,dance, ,drama, ,Elvis, ,fashion, ,film, ,Gala Show, ,Graduate Fashion Week, ,Henry VIII, ,Iris Van Harpen, ,Lady Gaga, ,london, ,Mad Max, ,Matt Bramford, ,Naomi New, ,Newcastle, ,Northumbria, ,Pentex Ltd, ,Pure London, ,Sequins, ,theatre, ,Tower of London, ,Womenswear

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Amelia’s Magazine | Graduate Fashion Week 2010: Northumbria

by

I always look forward to the Northumbria University BA fashion degree show for two reasons. One, price because it’s always effing good – the innovation, salve technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (baaaooowappp) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it…

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.

The key theme in this year’s show was digital prints, and it’s a testament to the late, great Alexander McQueen’s legacy that this is such a mainstay on graduate catwalks. Faye Chamberlain’s was the most striking of collections, owing to its wild neon prints reminiscent of MIA’s Kala album cover, and blingy embellishment. Short, short dresses with spikey hips challenged the traditional constraints of the female form.

Further print patrons included the work of Sophie Dee and Ludmila Maida. Sophie Dee presented a feminine, playful collection of vibrant prints, micro shorts and bubble skirts, accessorised with childlike objects such as candy floss and helium balloons, harping back to the glory days of the seaside. Ludmila Maida’s collection was a slightly more mature one, with elegant maxi dresses in neon, gathered into sections to create flattering asymmetrical shapes.

Gemma Williamson also hopped on the print train, with her slightly eery collection making use of religious iconography.


Illustration by Gemma Williamson from her graduate work

Menswear was, as always, well represented; one of the few menswear graduates to win the prestigious Gold Award in recent years was a Northumbria student. Sara Wilson set the standard with a mixture of soft tailoring and Japanese influence – loose fitting blazers were teamed with skinny trousers and shorts, while snood-like pieces of material attempted to cover the face, giving each outfit a martial-art feel.

Louise Dickinson’s inspired outfits seemed to draw influence from historical Britain and tradition in general. An oversized Barbour-style jacket here and a triangular-shaped cape printed with a vintage map there made for a intriguing and genuinely unique collection.

But it was Caroline Rowland’s eccentric tailoring that captured my imagination the most. A bit Sebastian Flyte, a bit Dries Van Noten, it was the perfect mix of traditional tailoring and quirky design flair. Ill-fitting gingham shirts (I presume on purpose) were teamed with tucked-in waistcoats and patterned bow ties, while cropped blazers looked great with high-waisted tailored trousers. You can never go wrong with a sock suspender either.

And now for a quick round of some of my favourite womesnwear collections. It’ll have to be a whistle-stop tour because I have 3 other shows to write up and I’m having my hair cut in an hour.

One of my absolute faves was Julie Perry, who combined body-concious all-in-ones with Meccano-style leather creations. These outfits had real sex appeal – not one for the supermarket but definitely for the fierce fashionista who isn’t afraid to show off. Julie’s pieces were architectural in shape and hinted at a little bit of kink.


Illustration by Julie Perry from her graduate work

Holly Farrar’s super sleek collection toyed with masculine tailoring and models had structured shoulders with outfits tapering downwards. Defined v-necklines gave the outfits an overall geometric look and were very sophisticated indeed.


Illustration by Holly Farrar from her graduate work

These gemoetric-slash-linear-slash-structured themes ran through many a collection, executed most effectively by Stephanie Price. Her futuristic collection married materials with aesthetic appeal with flattering shapes – mesh covered body-concious shift dresses had a dazzling effect, as did this dynamic jacket…


Illustrations by Stephanie Price, from her graduate work

Closing the show was Victoria Kirby, who had clearly been selected for her fresh innovation and coutourier-like craftsmanship. Elegant floor sweepers made from silk and velour had the appearance of two dresses in one, cut and merged down the middle. Exaggerating the shoulders and synching in at the waist created beautiful feminine shapes that flattered.


Illustration by Victoria Kirby, from her graduate work

All photography by Matt Bramford

Written by Matt Bramford on Tuesday June 8th, 2010 7:28 pm

Categories ,Barbour, ,Bow Ties, ,Caroline Rowland, ,Digital Prints, ,Dries Van Noten, ,Elvis, ,Faye Chamberlain, ,Gemma Williamson, ,Gold Award, ,Graduate Fashion Week 2010, ,Hilary Alexander, ,Holly Farrar, ,japanese, ,Julie Perry, ,Kala, ,Lady Gaga, ,Louise Dickinson, ,Ludmila Maida, ,McQueen, ,Meccano, ,menswear, ,MIA, ,Naomi New, ,Neon, ,Newcastle, ,Northumbria, ,print, ,Sara Wilson, ,Sebastian Flyte, ,Sophie Dee, ,Stephanie Price, ,Style Savage, ,Victoria Kirby, ,Womenswear

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