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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: DAKS (by Nick)

Bunmi Koko A/W 2011. Photography by Amelia Gregory

Daks A/W 2011 by Maria Papadimitriou.

Half past six on a Saturday morning will see me in either two places, physician going to bed following a heavy night out, cost or firmly in bed oblivious to the world around. Never will you find me rousing myself from slumber and blindly stumbling into the shower. That is unless its Fashion Week. DAKs is up there with Aquascutum and Burberry as a great heritage brand, so why it gets the painful nine a.m. slot on a the Saturday morning I have no idea. After all, fashion week and the insane parties has only just begun and any intention of this year being good and pacing one’s self has flown out the window by eleven o’clock and/or your third cocktail the night before.

Daks A/W 2011 by Gareth A Hopkins.

Still there I was sat with the lovely Jemma Crow (read her review here), both of still a little bit blearly eyed waiting for the show start. The plus side of such a ridiculous time is that there is hardly any scrum outside and its very simple to find your seats. The handy press release promised us a show reaching deep into the heritage of the brand. We were certainly not disappointed.

Daks A/W 2011 by Maria Papadimitriou.

There is a fine fine line between classic and dull, between a collection evoking a more refined time and place, and one that belongs in Evans. A criticism that had been overheard by a colleague at another show. Harsh doesn’t begin to cover it.

DAKS by Emmi Ojala.

Thankfully DAKS stayed exactly the right side of the line. Picture if you will a brisk stroll through the grounds of a loyal friends country estate, perhaps after a large Sunday roast complete with plenty of wine. Now picture all your friends sat around the massive log fire in the drawing room of this country house. Everyone should be wearing this collection. It was sophisticated without being stuffy, easy wearing without being trackies and hoodies.

Daks A/W 2011 by Gareth A Hopkins.

An bell shaped cape/dress in an oversized check was twinned with thick wool tights, quilted skirts navy with the house check as the lining, and chunky knits all exuded a relaxed and welcoming feel. Whilst the finale pieces of quilted full circle skirts mixed the English countryside with Paris’s New Look. Between the quilting and the knits were light satin skirts in royal blue, relaxed woolen trousers, and feminine blouses.

Daks A/W 2011 by Gareth A Hopkins.

As for the menswear, the public school boy in us all was not left out. Not a shred of denim in sight, instead relaxed almost pyjama like wool trousers in navy, brown and cream, were teamed with fitted knitwear. For the stroll around the grounds this season the DAKS has great trench coat and a Dr Who length scarf.

The collection had to draw to a close but it took with it a big chunk of my hangover, and left me wondering what the quickest way out of the capital would be.

You can see more work by Gareth A Hopkins in Amelia’s Compendium of Fashion Illustration.

Written by Nick Bain on Saturday March 5th, 2011 2:18 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Aquascutum, ,BFC, ,Burberry, ,daks, ,Dr Who, ,Emmi Ojala, ,Gareth A Hopkins, ,Heritage, ,Jemma Crow, ,lfw, ,London Fashion Week, ,Maria Papadimitriou, ,New Look, ,paris, ,Slowly the Eggs, ,Somerset House

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Designers Remix (Charlotte Eskildsen)

Illustration by Erica Sharp

So Designers Remix is the project of Charlotte Eskildsen who has designed for the woman with an “avant garde angle on sophistication” whatever that means. But her collection wasn’t shown in the archetypical fashion show setting that everyone has – no, buy more about this was a living presentation. Now without being snobbish these ‘presentations’ can sometimes be frankly boring, but this was just a bit different. Generally these designers displays their wares on some pretty coat hangers and expects you to coo over it whilst placing a few press releases on windowsills.

But Designers Remix was done a little differently with real life models. Walking into the Portico Rooms in Somerset House you’re struck by two of the aforementioned posing together in front of a painted pillar with the highest fully coiffed beehives I’ve seen in a long time. Sporting a ruffled dress in a satin material maybe best saved for the high street it’s wasn’t the key piece I was expecting to see, but the frilled coat she was standing next to (on a model don’t worry) was very Celine-chic: minimlist and camel.

Live illustrations by Jenny Robins

The inspiration for her pieces was the Palais Royal in Paris; she looked at mixing the look of the elaborate architecture with the striped columns in the courtyard. And the ruffles on the above dress and coat were inspired by the Tuleries Garden and, ironically, French Poodles? Ok so this is very avant-garde. As you walked around the live exhibition, the pieces appealed to my taste more and more. A navy blue column coat with dainty silver buttons was stunning (collarless and mid-length is what you need for A/W 2011) whilst a silky draped tangerine dress stood out from the otherwise minimal colour palette. Strangely though, it was the clothes on the hangers that appealed to me more than the pieces shown on the models.

A rack of butter-soft leather and suede mix jackets (known as the Bilbao) and grey ribbed jumpers (known as the Kissher) with point detailing on the sleeves was so perfect I wanted to throw it on right that minute. As seen at Daks, the look du jour for A/W 2011 will be thick jumpers over silky skirts so Eskilden is right on-trend with her thinking. The pieces seemed quite disjointed as if they weren’t part of the same collection, though – as lovely as they were.

Illustration by Erica Sharp

There was definitely lots of beautiful pieces from the designer, and as my first time seeing her collection, I’m impressed if not a little bit confused. Eskilden works with the feminine shape to tailor the pieces and has an imperative knack for getting drapes falling beautifully down the body. I think it’s the concept that confuses me; sometimes fashion is just too clever for its own good.

All photography by Jemma Crow

Written by Jemma Crow on Friday February 25th, 2011 4:08 pm

Categories ,A/W 2011, ,Bilbao, ,Celine, ,Charlotte Eskildsen, ,Designers Remix, ,Erica Sharp, ,fashion, ,Jenny Robins, ,Kissher, ,lfw, ,London Fashion Week, ,Palais Royal, ,paris, ,Portico Rooms, ,Presentation Review, ,Somerset House

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Piers Atkinson

Illustration by Krister Selin

Christopher Shannon burst back on to the catwalk on Menswear Day at London Fashion Week in typical chav-luxe fashion. Menswear day was a bit hot and cold this season – some of the shows were extremely busy, information pills but when I arrived at Christopher Shannon’s there didn’t seem to be that many attendees, no rx so I plonked myself on the front row and fiddled with my iPhone in a bid to look belonging and important. I even adjusted my crumbling posture (which is hella difficult after the cruel strains of back-to-back slumping at shows).

Illustration by Michelle Urvall Nyrén

The show soon filled up, viagra sale mind, and I was squashed along the frankly miserable BFC benches. Shannon’s infamous taste in music with which I wholeheartedly side (Rihanna’s What’s My Name and Te Amo being this season’s choice tunes) began the show, and out popped the street-cast models we’re familiar with. Some of them look terrified, some achingly nonchalant, but all are suited to Shannon’s unique take on menswear.

All photography by Matt Bramford

A mix of jersey sweatshirts, scarves and oversized rucksacks started the show – each with a Shannon twist. Shirts were cut through the middle to mix up the patterns – this time with a more ‘worldly’ influence. His obsession with sportswear derives from the fact that wherever you go, ‘there’s always sportswear’ – too true – and Shannon has drawn upon the variations of sportswear in different cultures for this ‘Hold Yer Head Up’ collection.

Illustration by Oscar Rubio

Bolder prints – abstract forms that have a more biological feel (influenced by his affection for David Attenborough!) make up the body of designs. Later came shirts separated down the middle in varying ways – sometimes texture, sometimes colour. Some shirts had woven-blanket details with different kitsch embellishments – a surprising move but a welcome one nonetheless.

Shannon’s clean nylons were spiced up with some frou-frou details this season – I wouldn’t be seen dead in any of this (mostly because my friends would snort, point and laugh) but I think the aesthetic of it is just fabulous. The lights, imposing over the catwalk, bounced in between each ruffle to give a shiny, futuristic look. A colour palette of navy blue, black, grey came with splashes of colour from the woven elements and bits of baby pink to remind us that this is still sportswear. Flat caps and flashy vibrant trainers complimented each outfit.

Illustration by Maria Papadimitriou

Much preferred the Eastpak collaboration rucksacks this time – again, the woven blanket details showed up and looked ace.

But, in spite of all this, I’ll forever remember Christopher Shannon’s A/W 2011 outing for those incredible Frank Sidebottom-esque hair-dos and embellished eyebrows. Why, you might ask? Because this is FASHION, darling.

See more of Krister Selin and Michelle Urval Nyrén’s illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Michelle Urvall Nyrén

On Saturday 19th February I wandered down a rainy Frith Street to see milliner Piers Atkinson’s A/W 2011 collection.

Atkinson has an interesting background having originally studied graphic design, viagra before becoming involved with millinery he worked in PR for Zandra Rhodes, Mandi Lennard and Blow. He then became fashion editor at Disorder magazine before establishing The Daily for London Fashion Week. To ‘let off steam’ during this time he produced a small series of hats that would become his debut collection.

Illustrations by Joana Faria

Presented in Franny’s Pop Up Gallery opposite Ronnie Scott’s, the restaurant venue didn’t really give an indication of what would be on display, but Frith Street (just off Old Compton Street) was the ideal location given the themes in the collection.

Illustrations by Karolina Burdon

Atkinson drew on 1930s Paris for inspiration for Autumn Winter 2010, taking his cues from cabaret, bygone opium dens, drag queens, showgirls and back alley romance. Familiar base shapes in a palette of navy, aubergine, black and gold were adorned with eccentric oversized fruits, giant pom poms, glitter and ostrich feathers. The range of avant-garde pieces would make Lady Gaga proud; she is already one of Atkinson’s high profile fans having worn a piece constructed from telephone components.

Illustrations by Ankolie

Also on display were photographs of Atkinson’s infamous acquaintances along with some of his lesser-known friends. Mostly shot in Dalston back streets after dark, they could just as easily have been taken in 1930s Paris.

Obviously hard-to-miss were the eye-catching berets topped with neon lights, while classic shapes in suede were punctuated with gold plated studs. Veils were accented with diamantes… and glittering aubergines with 24 carat gold leaf. ‘Les Fruits de la Nuit’ featuring ‘hyper cherries’ and Atkinson’s signature lips embroidered on a tulle veil was a real winner, too!

More hyper cherries, this time in 24 carat gold leaf:

Illustration by Michelle Urvall Nyrén

‘L’Heroine’ with fab ‘chinchilla coque feather overdose’:

Illustration by Michelle Urvall Nyrén

Unfortunately I couldn’t make it to the party in the evening, but apparently whilst guests watched a performance by Anna Piaggi, two of the hats were stolen, but luckily for Piers and his team they were returned just as promptly as they disappeared.

See more of Joana Faria and Michelle Urval Nyrén’s illustrations in Amelia’s Compendium of Fashion Illustration!

Written by Naomi Law on Thursday March 10th, 2011 11:02 am

Categories ,1930s, ,A/W 2011, ,Ankolie, ,Blow, ,Cabaret, ,Cherries, ,dalston, ,Diamante, ,Disorder Magazine, ,Drag Queens, ,Frannie’s Pop Up Gallery, ,hats, ,Joana Faria, ,Karolina Burdon, ,Lady Gaga, ,London Fashion Week, ,Mandi Leonard, ,Michelle Urvall Nyrén, ,millinery, ,Naomi Law, ,Opium Dens, ,paris, ,piers atkinson, ,Presentation, ,review, ,Zandra Rhodes

Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Piers Atkinson

Illustration by Krister Selin

Illustration by Michelle Urvall Nyrén

All photography by Matt Bramford

Illustration by Oscar Rubio

Illustration by Maria Papadimitriou

Much preferred the Eastpak collaboration rucksacks this time – again, the woven blanket details showed up and looked ace.

See more of Krister Selin and Michelle Urval Nyrén’s illustrations in Amelia’s Compendium of Fashion Illustration!

Illustration by Michelle Urvall Nyrén

On Saturday 19th February I wandered down a rainy Frith Street to see milliner Piers Atkinson’s A/W 2011 collection.

Illustrations by Joana Faria

Illustrations by Karolina Burdon

Illustrations by Ankolie

More hyper cherries, this time in 24 carat gold leaf:

Illustration by Michelle Urvall Nyrén

‘L’Heroine’ with fab ‘chinchilla coque feather overdose’:

Illustration by Michelle Urvall Nyrén

See more of Joana Faria and Michelle Urval Nyrén’s illustrations in Amelia’s Compendium of Fashion Illustration!

Written by Naomi Law on Thursday March 10th, 2011 11:02 am

Amelia’s Magazine | Flik Hall: New S/S 2012 Season Presentation Preview and Interview

Flik Hall S/S 2012 by Milly Jackson.

Flik Hall is becoming a bit of a regular here at Amelia’s, and is it any wonder when the Central Saint Martins graduate continues to deliver covetable collections season after season? Speaking with Amelia’s earlier this year, she enlightened us on her past work with fashion heavyweights House of Holland and Giles Deacon; almost one year on and their influence and handed-down expertise is beginning to shine through more and more. 

Flik Hall S/S 2012 by Milly Jackson.

Flik Hall dubbed herself a novice back then, but with three successful London Fashion Week seasons under her belt, she could have quite easily fooled me otherwise. Since then, print-enthusiast Flik has gone on to create two more delectable collections, continuing to incorporate her love for printed leather and structured silhouettes. The latest collection sees a new direction from the London-based designer, and I was lucky enough to see, hear and learn a little bit more about the creative process behind such bold and imaginative designs. 

Flik Hall SS 2012

I first clapped eyes on the new collection earlier this month at the Rendez-Vous Femme trade show in Paris, where Flik Hall was successful in ruffling a few Parisian fashion feathers with her experimental vision. Amongst the vast number of exhibitors, not to mention the throngs of buyers, journalists and trend reporters, there was one corner of the room that instantly caught my eye. Flik’s designs are the definition of innovative. Whilst many designers stick to a time-honoured formula resulting in them fading into a background of summery floral prints and tassels, Flik Hall’s ever-developing penchant for experimentation earns her some serious print-infused brownie points for S/S 2012.

Flik Hall SS 2012

Back in London, the press event for next season’s collection was held at the uber-cool Vyner Street Gallery: an underground platform for emerging talent nestled in the depths of Hackney and the heart of Londons contemporary art district. Walking into the gallery space was like entering into Flik Hall’s world: a world of mythical fantasy. Accompanied by an eerie soundtrack, a short spellbinding film directed by artist Ashley Joiner was projected across the back wall, whilst the clothes on show delivered a sense of femininity juxtaposed with a strong, dynamic edge.

Flik Hall SS 2012
The small, intimate space had a very personal feel to it, and it was a real pleasure to meet Flik Hall, who revealed to me that she didn’t always want to be a fashion designer, ‘I used to want to be an artist when I was younger,’ she disclosed. ‘But my designs always seemed to naturally fall around the figure, so it all eventually transpired into fashion.’ And is it any wonder? With her choice of ethereal colour tones and that trademark use of eye-catching prints, the collection was successful in capturing my attention all over again. 

Flik Hall SS 2012
S/S 2012 takes its inspiration from the deep blue sea as Flik Hall looks to the texture and intricate detailing of octopi skin for direction. Never one to shy away from experimentation, it is this imagery that makes up the signature print within the collection incorporating close-up screen prints of octopus skin and tentacles transferred onto soft leather pieces. ‘I’ve always been interested in Roman mythology and mythical creatures,’ Flik explained. ‘I was interested in the octopus and how its fluidity can be interpreted in strange and wonderful ways.’ The result is unexpectedly beautiful prints that call to mind A/W 2011’s equally striking doll arm designs, confirming how Flik can expertly convert creepy connotations into something imaginative and wearable, whilst maintaining the label’s other-worldly appeal.

Flik Hall S/S 2012 by Kate Copeland.

Last season’s dark and moody colour palette of black, and more black (don’t get me wrong – I am a fan of black), has been overthrown next season with only the smallest dose of raven undertones to be seen. ‘I like to mix it up quite a lot with a dark collection followed by a lighter collection, my aim is to keep it fresh,’ said Flik. Keeping in with next season’s sea-theme, innocent whites and delicate creams are highlighted with muted sea shell tones of pink, peach and lilac, whilst rich sand and deep petrol blue give added depth to the range. When asked about the creative process behind each print that she creates, Flik Hall explained that the whole process is very hands on, ‘I take lots of pictures, print out lots of images, collage them and then distort them,’ she said. ‘It’s just all about trying to figure out what’s right for me.’

Flik Hall S/S 2012 by Kate Copeland.

A delicate contrast to that of previous collections, next season offers a more feminine approach that is both ethereal and elegant. Layered silk and trademark printed leather was seen next to metal eyelet details: a representation of octopi suckers that reinforces Flik’s creative mind and attention to detail. Describing the collection as ‘ambiguous, sensuous and wet‘, Flik Hall has turned to opaque and sheer fabrics that contrast each other on narrow skirts and floor-length dresses, while her original flare is highlighted by the careful use of wetsuit-inspired Neoprene. As something that in my opinion could quite easily have gone horribly wrong, Flik pulls it off with structured mini dresses and voluminous jumpsuits that maintain a sense of femininity, whilst reconfirming that dynamic edge the label is beginning to be known for.

Flik Hall SS 2012
Though colour and print have been replaced with a more romantic aesthetic, Flik Hall‘s structured silhouette remains. The adoption of Neoprene is a clever addition to an already inventive collection, marrying structured shapes with semi-transparent fabrics. The overall desired effect is successful as I can’t help but conjure up swirling images of the deep sea, whilst one glance at the model’s intricately placed hair – mirroring that of curling tentacles – is enough to confirm the key influence of the mythical half-octopus-half-human creature known as Cecaelias.

Flik Hall S/S 2012 by Alia Gargum.

I was mesmerised once in Paris, and mesmerised all over again in London; Flik Hall is constantly pushing herself forward and thinking outside of the box. Even if she does insist on keeping the label small and exclusive, S/S 2012 sees a stellar collection from one of London’s best up-and-coming designers that predicts a promising future for the Flik Hall brand.

<a target="_blank" href="http://www.vimeo.com/31331829" rel="noopener">http://www.vimeo.com/31331829</a>

Written by Sarah Deane on Wednesday October 26th, 2011 12:51 pm

Categories ,Alia Gargum, ,Ashley Joiner Central Saint Martins, ,Cecaelias, ,film, ,Flik Hall, ,Giles Deacon, ,House of Holland, ,illustration, ,Kate Copeland, ,london, ,Milly Jackson, ,Neoprene, ,Octopus, ,paris, ,Rendez-Vous Femme, ,S/S 2012, ,Vyner Street Gallery

Amelia’s Magazine | Graduate Fashion Week 2011 Gala Awards Show: The Winners

Graduate Fashion Week Gala show 2011-Rory Longdon
Rory Longdon was a worthy winner of the Graduate Fashion Week 2011 George Gold Award. Okay, order it’s a gold award, order I geddit already.

Just over two weeks ago I was invited to attend the Gala show for the Graduate Fashion Awards. I’ve not been back to the student fashion shows since I graduated 15 years ago (gulp). Back then they were held in the Islington Business Centre and I don’t remember much about them at all – I had already decided that my future did not lie in catwalk shows and so I only had a static stand to show off my printed textiles designs… which I had honed in the knowledge that I would prefer to pursue a career in illustration. Isn’t it funny how the circle turns? I never have been able to get away from fashion… but then again nor have I abandoned illustration. I could never have predicted then just how my life would have panned out in the years since.

Joey and Sam Faiers TOWIE by Munroe Bergdorf
Joey Essex and Sam Faiers from TOWIE. Photo by Munroe Bergdorf.

It’s been a shaky year for the Graduate Fashion Show brand – the sponsorship that was needed for it to continue was finally taken on by George at Asda at the last minute. Select guests were treated like royalty – the cast of TOWIE may not be considered the height of style in most forward thinking fashion circles but they were feted like true celebrities at the Gala show. Myself and Naomi? We couldn’t get past the cordons in the middle of the Earl’s Court conference centre for a drink and a natter with friends beforehand (I tried unhooking the cordon, the security was not very amused). Inside the TOWIE crew primped and preened, basking in the attention. Sound familiar? Exactly the same fiasco for Matt Bramford last year. So instead we tried our luck at the brightly coloured George stand, to no avail, though their PR was happy to give me their spiel, drink in hand. More than one woman was wearing the same dress… but then that’s the dangers of mass fashion for you.

Graduate Fashion Week Gala show 2011-George

Inside the Gala show area notable bodies from the fashion world were relegated to the fifth row, whilst TOWIE agents hogged front row seats. (There was one next to me, I did my research later.) Luckily I was able to snag one at the last minute or there would be no photos here for you. All of this preamble pretty much sums up the atmosphere of the Gala show, which was all about the glitz and the razzmatazz. The mannered presenting from Clothes Show stalwarts Jeff Banks (complete with inappropriate comments) and his cohort Caryn Franklin (for whom I have a very large soft spot) was at times incredibly painful.

Graduate Fashion Week Gala show 2011-Lauren Brown & Sophia Sabados, UCA Epsom
Graduate Fashion Week 2011 review-Lauren Brown & Sophia Sabados
I was excited to see Lauren Brown & Sophia Sabados – students from UCA Epsom (where I have lectured) – win the Media and Design Award (presented by Grace Woodward) for their magazine.

A myriad of famous guests (Sophie Ellis-Bexter – new album to promote, the Sugababe Heidi Range, Carole White, she of Premier modelling agency fame) were led onstage to present awards as this year’s crop of excitable graduates whooped and a-hollered. It was nice to hear everyone in such a celebratory mood… but when one of the presenters declared that she hoped all graduates would go into paid jobs straight away I couldn’t help but have a little bit of a snigger.

Graduate Fashion Week Gala show Christina Economou 2011
International Award winner Christina Economou of the Istituto Marangoni, Paris.

Graduate Fashion Week Gala show Dominique Kral 2011
Zandra Rhodes Catwalk Textiles Award winner Dominique Kral of Northbrook College Sussex.

Graduate Fashion Week Gala show Wong Jee Chung 2011
Stuart Peters Visionary Knitwear Award winner Won Jee Chung of Nottingham Trent University.

Oh my days… here I am all these years down the line and I’ve yet to figure out how I can make a proper living out of my fashion textiles degree. It’s a lovely sentiment, but it’s just not the reality of the fashion industry. This is a place where only the most dedicated survive… or those with rich/famous parents. Unless you pursue a career in the mass fashion industry. A degree in fashion is now about so much more than just design, and the UK is still the world industry leader for well trained young fashion creatives in all kinds of fashion related disciplines. There was an element of realism in the recommendation to look to industry for jobs, presumably an effort to quash too many unrealistic ‘next McQueen’ expectations. Since I graduated the choice of degrees which train people to work in the fashion industry has multiplied massively. It’s now possible to pursue a plethora of different avenues such as styling and promotion which really weren’t available when I went to university back in the early 90s. All of this corresponds with a massive growth in our insatiable desire to consume mass fashion… do you see a connection? My, how I struggle with this industry at times.

Graduate Fashion Week Gala show Felix Wolodymyr ChablukSmith 2011
Menswear Award winner Felix Wolodymyr Chabluk Smith of Edinburgh School of Art.

Graduate Fashion Week Gala show Marrisa Owen 2011
Womenswear Award winner Marrisa Owen of University of Central Lancashire.

Graduate Fashion Week Gala show Rory Longdon 2011
George Gold Award winner Rory Longdon of Nottingham Trent University.

The Gala show awards closed in a huge tumble of gold foil more suited to a crucial key change at a boy band concert. Oh how times have changed. I wish this year’s graduates all the best. More on the winners and other show finalists coming up shortly.

Graduate Fashion Week Gala show 2011-Rory Longdon finale

Written by Amelia Gregory on Friday June 24th, 2011 2:01 pm

Categories ,Carole White, ,Caryn Franklin, ,Christina Economou, ,Dominique Kral, ,Edinburgh School of Art, ,Felix Wolodymyr Chabluk Smith, ,Gala Show, ,George at Asda, ,George Gold Award, ,GFW, ,Grace Woodward, ,Graduate Fashion Awards, ,Heidi Range, ,Islington Business Centre, ,Istituto Marangoni, ,Jeff Banks, ,Joey Essex, ,Lauren Brown, ,Mass fashion, ,Media and Design Award, ,Menswear Award, ,Munroe Bergdorf, ,Northbrook College Sussex, ,Nottingham Trent University, ,paris, ,Peters Visionary Knitwear Award, ,Premier, ,Rory Longdon, ,Sam Faiers, ,Sophia Sabados, ,Sophie Ellis-Bexter, ,Sugababes, ,The Clothes Show, ,TOWIE, ,UCA Epsom, ,Womenswear Award, ,Won Jee Chung, ,Wong Jee Chung

Amelia’s Magazine | Fashion Philosophy Fashion Week Poland S/S 2012 in Łódź: Monika Ptaszek

Monika-Ptaszek-Polish-Fashion-Week-by-Antonia-Parker
Monika Ptaszek S/S 2012 by Antonia Parker.

One of my very favourite collections at Fashion Week Poland this time around came courtesy of Monika Ptaszek, who showed a menswear collection that mashed together a variety of eclectic styles to great effect. Think teddyboy meets punk meets rave meets grunge: the final effect was the epitome of Polish style when it’s done right.

Monika Ptaszek Fashion Week Poland SS 2012-photo by Amelia Gregory

Monika Ptaszek S/S 2012. All photography by Amelia Gregory.

Models came with serious attitude, sporting impressive quiffs and pouting with great intent at the end of the catwalk. Androgynous elements such as lace swing tops, swirly sheer leggings and bespoke brocade shoes sat together easily with manly studded details on sleeves and cropped tartan jackets. Colourful floral prints and patchwork hoods were accessorised with chunky woven scarves. I spoke with Monika Ptaszek afterwards at her stand, and was intrigued to discover that her last collection was entirely black. For S/S 2012 she cites the metropolitan man who roams Paris as her ideal customer, and I can well imagine him wearing Ptaszek for Men. Loved it.

Monika Ptaszek Fashion Week Poland SS 2012-photo by Amelia Gregory

And not forgetting the fabulous brocade shoes:

Monika Ptaszek Fashion Week Poland SS 2012-photo by Amelia Gregory

Written by Amelia Gregory on Tuesday November 8th, 2011 7:38 pm

Categories ,80s, ,Antonia Parker, ,Brocade, ,Fashion Philosophy Fashion Week Poland, ,gay, ,grunge, ,Lodz, ,menswear, ,Metropolitan, ,Monika Ptaszek, ,paris, ,Patchwork, ,Ptaszek for Men, ,punk, ,rave, ,Teddyboy

Amelia’s Magazine | Fashion Talk: Justine Picardie on Coco Chanel at the Victoria and Albert Museum

Illustration by Lesley Barnes

Coco Chanel, sales the name synonymous with Paris fashion, abortion that has been so carefully cultivated by Karl Largerfield. He feels at times, as if a gentle caretaker as well as being an innovative Fashion Designer who is constantly reinventing the Chanel Staples. With each new season Largerfield alters the tweeds, the stars, the monochrome, the pearls or whilst still upholding the simplistic beauty, which Chanel originally conjured. Chanel is coveted, and her sense of style has embedded itself amongst the designs of the high street, during the talk I found myself playing spot the influence, from the cropped bobs to the presence of stripes on pratically every other member of the audience who found themselves at the V&A that blustery Friday night.

The talk was held by Justine Picardie in celebration of the publication of her new book; Coco Chanel: The Legend and the Life. Picardie is a journalist for the Telegraph, an author who writes fiction and non fiction and who has spent the last 13 years researching the life of Coco Chanel. This was an opportunity to discover the person behind the label, that was too good too miss.

Illustration by Joana Faria

A talented speaker, Justine enraptured the audience with tales of Chanel’s rise from rags to riches polevaulting through French Society’s regimented conventions. Chanel made ignoring social conventions a habit of a lifetime, luckily, not only for Haute Couture but for women everywhere who wanted to wear trousers.

Not for Chanel the corsets of early 1900′s France – no, the most striking photographs of Chanel shown at the talk, documented her investment in a shocking departure from the norm, single handily promoting trousers and the eponymous Breton stripe. Importantly (I am speaking here as someone who despises how reliant high heels make me on those I am travelling with) Chanel was an avid wearer of the flat shoe – not for her the gravity defying, walk preventing spindly heels that are oh so popular not only on the catwalk but that shop nestling within the heart of Oxford Street; Topshop.

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Justine Picardie covered the usual ground of Chanel’s relationship with men, starting with Boy Capel and touching upon her life spent fishing in Scotland with the Duke of Westminister. Through whom Coco met Winston Churchill in the early 1920′s. The discovery of a picture of the two together lead Picard to explore Chanel’s reported relationship with a German Soldier -via the Winston Churchill archives- which may not have been the action of a French sympathiser, as what was reported; but a (slightly naive…) plan -devised perhaps by Coco and regaled to Winston Churchill – to bring the war to an early end. This may seem rather glib, but to find out more and the outcome of Picardie trip to the archives? Sadly the author left this announcement within the pages of her book.

Illustration by Maria del Carmen Smith – An aside, notice how Chanel sits on the horse in jodphurs, rather than side saddle, a fairly political statement at a time when most women were bound in corsets.

It was the perfect talk – full of teasers about the book’s contents alongside interesting insights into the development of the identity of Coco Chanel – from the influence of the monastery where she grew up where the star mosaics would later inspire her future designs. To her meeting Boy Capel and Duke of Westminister (with whom she travelled to Scotland and discovered the Scottish Mills who produced the now famous Chanel Tweed).

Chanel was funded by Boy Capell, the man seated on the horse in the above illustration, however, as the Fashion House began to produce revenue, Chanel paid back every penny. From the start Coco was to be an independent women – an undeniably lucky, for her connections with Boy helped her attract clients, but a financially independent one nevertheless.

Illustration by Abby Wright

Picardie touched upon the importance of certain numbers to Chanel including the infamous number 5, to the constant use and development of the star motif. In a picture of Chanel’s apartment, Picardie touched upon the presence of tarot cards and the importance of magical thinking alongside Chanel’s training as a seamstress in the creation of the House’s style. Justine attributes this ‘magical thinking’ to her time spent as a child growing up in an ancient monastery, suggesting that the epoynmous Chanel star was inspired by the star mosaics made by the Medieval Monks who originally inhabited the monastery. For more detail, I’m afraid you are going to have to read the book!

Illustration by Antonia Parker

During the talk (which occur weekly on a Friday evening) Justine Picardie described fashion as “a series of Hauntings” and finished the talk with a wish for a book on the continuation of Chanel by Karl Largerfield, to conclude that such a book could only be written once Largerfield had left Chanel and quite possibly this planet…

Coco Chanel, The Legend and the Life by Justine Picardie is certainly on my christmas list!

Written by Sally Mumby-Croft on Thursday October 28th, 2010 3:38 pm

Categories ,Abby Wright, ,Antonia Parker, ,Boy Capbel, ,Chanel 3.55, ,Coco Chanel, ,Duke of Westminister, ,Haute Couture, ,Joana Faria, ,Justine Picard, ,Kelly Angood, ,Lesley Barnes, ,Maria del Carmen Smith, ,Number 5, ,paris, ,stars, ,The Life and The Legend of Coco Chanel, ,Tweed, ,va

Amelia’s Magazine | Fashion Talk: Justine Picardie on Coco Chanel at the Victoria and Albert Museum

Illustration by Lesley Barnes

Illustration by Joana Faria

Illustration by Kelly Angood

“Fashion is very dark, what we wear is what we cover up” Coco Chanel

Illustration by Abby Wright

Illustration by Antonia Parker

Coco Chanel, The Legend and the Life by Justine Picardie is certainly on my christmas list!

Written by Sally Mumby-Croft on Thursday October 28th, 2010 3:38 pm

Amelia’s Magazine | Central St Martins BA Show

Last night was the BA fashion show from the students of Central St Martins in a blisteringly hot Bethnal Green York Hall, hospital search where forty students had their work sent down the catwalk to an audience expecting nothing except the best and, web of course, the wackiest. With such a massive amount of creativity flying about it saw an awful lot of boxes being ticked, including (unfortunately) the prerequisite models who couldn’t make it down the runway without falling over the sheer volume of fabric they were swathed in.

It’s a strange and sometimes disconcerting sensation being hurtled straight into the centre of somebody imagination for only about a minute and a half, and some informed you of their vision more immediately and successfully than others. Particularly memorable was Caroline Jarvis’s menswear, a selection of loose knits, oversized jerseys, with a gorgeous fair isle cardigan and wooden birdbox accessories (a rucksack and a bumbag, as you ask).

birdbox%20backpack.jpg

I found it a really well put together collection and that’s effortlessly wearable but also enduring, with relaxed, rural overtones that provided a welcome dose of rustic respite amidst a sea of harsh, futuristic designs, with the models lobbing a stone back and forth between them a likeable touch.

I especially like the roughly cut schoolboy shorts on the final look, and the velvet pantaloons combined with some knitted socks. At the opposite end of the spectrum was John Booth, whose pieces had the air of children let loose with a whole lot of psychedelic crayons and felt tips, with raincoats covered in cartoon patches, giant beads and more colour than I’ve ever seen anywhere, ever, in the world.

Apart from in Peter Bailey’s collection of course, which saw giant plasticated jewellery and rockabilly straw hats against clashing check and polka dot prints. Pessimism certainly had no place here.

Knitwear was a popular choice and cropped up in unlikely places, including some seriously thick knitted trousers (by Sorada Thaiwaranon) that had the roasting hot audience looking on aghast. In fact the revelation of the evening seemed to be influence of craft on many of the collections, showing how the sustainable act of making perhaps has become more current than ever. Included in this was runner up Luke Brooks whose models were in some cases almost entirely enclosed in basket-weave cocoons, and elsewhere there were enormous thatch pockets, woven string blouses, wire coats and basket shoulder-pads. The patchwork tulip dress by Tamaki Fujie was another favourite, accessorised with a neckscarf made of flowers and a feather headdress.

The most positive responses seemed to be generated by the pastoral – maybe expressing some sort of growing ambivalence towards urban life, now that things are perhaps a bit more austere than we would like.

The winning collection was Dutch fashion print student Marie Hill, who sent out a series of fluorescent-techno bodycon cocktail dresses, with the body divided by contour lines of delicate folds with spider webs taut at the back.

The construction seemed to reveal a tension of ideas, and we found out afterwards from Marie that she was keen to do something technically impressive with the materials that had been donated by 3M. The fabrication certainly lent her designs a toughness, which I think successfully created a curious dialogue with the sophisticated evening silhouettes on show.

She actually changed her whole collection two weeks before the show because she wanted it to be more feminine so I wonder how the robust materials translated prior to the revamp. The reflective pieces were actually safety vests cut into thin strips, and like Olga Shishinka who appeared to use old tent material, it was an opportune foray into the reuse of materials.

Obviously a lot of trends were pandered to here – there were more jumpsuits than you could shake a stick for instance. The only rule here as an audience member is never to raise an eyebrow: you never know what you might be wearing next year.

Photos: Catwalking.com

Written by Jonno Ovans on Wednesday June 3rd, 2009 6:28 pm

Categories ,catwalk, ,craft, ,graduate, ,graphic prints, ,knitwear, ,reusable fabrics

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