Amelia’s Magazine | Teatum Jones: London Fashion Week A/W 2012 Catwalk Review

Teatum Jones A/W 2012 by Anna Higgie

Teatum Jones A/W 2012 by Anna Higgie

Away from the busy rush of Somerset House, away from the mobs of photographers, willing subjects and flashing lights, Teatum Jones chose to retreat to a secret room behind large wood-panelled doors. This wasn’t any room, but the official personal office of Arthur Liberty himself, which still retains the charm of it’s original design. Completely hidden away from the public in the Mock Tudor labyrinth that is Liberty, I was directed down a panelled hall before reaching the beautiful presentation Teatum Jones had prepared.

Teatum Jones A/W 2012 by Alia Gargum_88
Teatum Jones A/W 2012 by Alia Gargum

One thing I have loved doing this London Fashion Week is talking to design duos. There is something incredibly sweet about how each designer will talk about the other when you interview them, complimenting them endlessly. As soon as I entered the room, I was introduced to Rob Jones, who immediately beamed when he heard I was reviewing the presentation for Amelia’s Magazine. After giving his thanks to the Amelia’s Magazine team for all the continued support and gorgeous illustrations from the last review, he began to talk me through the intriguing collection.

Teatum Jones A/W 2012 by Alia Gargum
Teatum Jones A/W 2012 by Alia Gargum
Teatum Jones A/W 2012 by Alia Gargum

These Ravensbourne College of Design and Central Saint Martin’s graduates began to work together due to their mutual love for escapism and the power of a story, which is how this collection began. Rob Jones described how they start with a ‘screenplay’ when working on a collection, and this one began from looking at the menacing and dark qualities to fairytales. ‘I found it interesting that stories we read to children deal with such dark and frightening themes. It made me think about how I’d react if a fairytale was re-told in a newspaper today, would I see it differently?Rob Jones and Catherine Teatum were drawn to the mix of innocence and frighteningly dark folklore, wanting to explore the underlying beauty in something considered traditionally sinister.

Teatum Jones A/W 2012 by Alia Gargum
Teatum Jones A/W 2012 by Alia Gargum

I was immediately drawn to the intricate prints, swirling with dark reds, bright pinks and forest greens, highlighted with touches of neon. Rob Jones and Catherine Teatum pointed out how these beautiful floral-like patterns were actually cut-up crime scene photography from the 1940’s. I was immediately surprised, which I couldn’t hide. Really? But they were such beautiful prints… suddenly I saw the numbered markers police use for blood spatters, dropped weapons, or worse. The thought sunk in…and it made sense. In a strange way, it felt nice to know, like being let in on a secret or the thrill of when the murderer almost catches someone in a horror movie. In order to place such a dark theme on clothing in a lighter way, a harlequin diamond pattern was used instead of simply overlaying the imagery.

Teatum Jones A/W 2012 by Andy Bumpus

Teatum Jones A/W 2012 by Andy Bumpus

Teatum Jones A/W 2012 by Andy Bumpus

Other items of clothes glittered and shimmered, almost like childhood dress-up clothes, or to mimic the magic of fairytales and shining sweets like that shown in the film created for the collection, currently showing on the Teatum Jones website. Although several mannequins displayed the collection in the centre of the room, it wasn’t until I saw the models that I noticed that most of the clothing had large pockets, even in the more formal dresses. One of the models commented on how relaxed she felt, resting her hands in the silk pockets of her neon yellow dress.

Teatum Jones A/W 2012 by Alia Gargum
Teatum Jones A/W 2012 by Alia Gargum
Teatum Jones A/W 2012 by Alia Gargum
Teatum Jones A/W 2012 by Alia Gargum

This team have found a perfect niche for womenswear that is considered and subtle, yet attention-grabbing. Alluring without being obvious. The midi length of the dresses and nipped-in light fabrics allow the wearer to be feminine in a relaxed way. It’s clear that the Teatum Jones woman is at ease with herself, a modern-day enchantress with a penchant for neon, skilled design and something a little wickedly different. The warm and positive outlook of these designers created an unforgettable London Fashion Week presentation experience; a drop of magical escapism from the busy London Fashion Week storm.

All photography by Alia Gargum

Categories ,Alia Gargum, ,Amelia’s Magazine, ,Andy Bumpus, ,Anna Higgie, ,Catherine Teatum, ,Duo, ,Fairytale, ,Fashion films, ,Forests, ,graduates, ,Horror Films, ,Innocence, ,Liberty of London, ,London Fashion Week A/W 2012, ,mock tudor, ,Neon, ,photography, ,print, ,Rob Jones, ,Silks, ,sinister, ,Teatum Jones, ,Womenswear

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Amelia’s Magazine | Teatum Jones: London Fashion Week A/W 2013 Presentation Review

Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Teatum Jones have been wowing the Amelia’s Magazine reviewers with their well thought out presentations for the past few seasons, but this was my first turn at a one of their shows. In the past this design duo have showcased collections in the RSA and Liberty, but this season their venue was the incredibly posh Dorchester Hotel – think flower arrangements in the entrance hall the size of small trees.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Sylwia Szyszka
Teatum Jones A/W 2013 by Sylwia Szyszka.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Cissy Hu
Teatum Jones A/W 2013 by Cissy Hu.

Guests were signed in then directed past an arrangement of fine teas and dainty biscuits into a wood lined and mirrored chamber, the centrepiece of which was a set arranged around a butterfly decorated chalkboard bookcase. The models rotated in groups of four, each replaced as the last one in the line up departed, in the kind of graceful dance that comes with great preparation and strict time keeping. Titled ‘To My Youth… How we Laughed in Darkness‘, this collection was inspired by Vladimir Nabokov, best known as the author of Lolita, a man who was obsessed with butterflies and the transience of beauty (his famous novel was written during an annual butterfly collecting trip in the western US).

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Models posed nonchalantly with open books, the covers artfully attired with the dominant print of the collection: large scale painterly splashes of red, indigo and forest green on a white ground. Designers Catherine Teatum and Rob Jones are renowned for their conceptual approach to fashion, so the story of Vladimir was translated into an array of beautiful garments using the finest fabrics, each of which was chosen for its part in that tale: ‘Delicate silk chiffons, double georgette and heavy crepes provide the canvas for these romantically sinister rows of captured species doused in javelin proportioned pins.’

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Such intense attention to detail was translated into eminently wearable garments using the finest craftsmanship. A textured leather biker jacket was swung casually over the shoulder of a softly belted silk shirt dress, a cream polka dot lace shirt was used as the delicate base for a black puff hemmed waistcoat dress in a shiny textured wool, a miniature cape in midnight blue looked demure with cream and glittery black. But it was their fabulous print, reminiscent of huge summer blooms, that really captured my attention. It came as a relaxed sporty look in a giant hole punched shirt, as a floaty skirt and as a stunning strapless maxi dress that dropped in pleats from the bust, complete with handy pockets that the model was able to flaunt as she mosied around the room. Sod the cold weather, for A/W 2013 I dare you to wear big bold painterly florals.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013. All photography by Amelia Gregory.

Teatum Jones A/W 2013 by Cissy Hu
Teatum Jones A/W 2013 by Cissy Hu.

Categories ,A/W 2013, ,Butterflies, ,Catherine Teatum, ,Cissy Hu, ,Dorchester Hotel, ,Laura Hickman, ,liberty, ,Lolita, ,Rob Jones, ,rsa, ,Sylwia Szyszka, ,Teatum Jones, ,To My Youth… How we Laughed in Darkness, ,Vladimir Nabokov

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Amelia’s Magazine | London Fashion Week S/S 2012 Presentation Review: Teatum Jones


Teatum Jones S/S 2012 by Faye West

On Friday afternoon I took myself up the Strand to the RSA‘s grand London venue, viagra 60mg a little past the Savoy. It’s a bloody nightmare trying to get up the Strand these days. You’re either barging tourists out of the way with your London Fashion Week tote bag or stopping to give them directions. I hate that Londoners have such a mean reputation when it comes to tourists so I always smile and say ‘yes, the Ly-SEE-um is just that way, m’love’ and save my expletives until they’re out of earshot.


Teatum Jones S/S 2012 by Emma Block

I was heading for a presentation by Catherine Teatum and Rob Jones – collectively Teatum Jones, who promise ‘effortless chic‘ and ‘contemporary elegance.‘ Well, they certainly served up heaps of this on Friday. I first heard about them six months ago when they were listed on the BFC’s emerging talent roster, so it was exciting to finally get the chance to check out their wares in person.

It’s so easy to get a presentation wrong. This miserable age of austerity that we’re currently living in has forced many designers to abandon the catwalk in favour of a static set-up, but you never really know what you’re going to get. Sometimes it’s a film screening, sometimes one model stooped and forlorn in a corner while people ‘yah, yah‘ around him or her. This was a good presentation, thankfully; an amazing one, in fact. I knew it was going to be good when a gentleman who wouldn’t look out of place on a runway thrust me a vodka martini. At last: a big ol’ drink.

The RSA‘s venue is quite something. Its Georgian interior couldn’t have been a better match for this stunning collection of exquisite clothes. The room where the presentation was held had huge ceilings, enormous fireplaces and period features; the pastel colours of the walls appearing as if they had been painted especially for the occasion. A mock sort of sitting room-like set had been constructed in the centre, and people filed around this voyeuristic set-up in practical silence. A soundtrack of the Flamingos’ I Only Have Eyes For You (the second time I’d heard that song that day – TREND ALERT) and Patsy Cline’s Three Cigarettes in an Ashtray almost made me weep – saved from tears only by the feeling of excitement that this design duo had got it so right.

Illustrator/contributor extraordinaire Emma Block and her live fashion illustrations

I should probably stop banging on about the bloody room and talk about the clothes, right? Well, they were equally flawless. A handful of models, positioned on a central island, moved slowly around various pieces of furniture in flowing frocks with huge trains. Each frock featured discreet digital prints in gorgeous muted pastel colours, and the models were styled with a hint of 1920s/30s glamour – full red lips, tight curls. They didn’t smile much (that would have ruined it) but as they playfully crept around the set, an imposing chandelier hanging above, it actually looked like they were enjoying themselves. Result!


Teatum Jones S/S 2012 by Faye West

These dresses were expertly cut and the craftsmanship was faultless – that’s another good thing about a presentation, it sorts the men from the boys (I mean, it exposes poorly made garments). Layers of fabric had been fused together in a slightly oddball fashion but this provided a perfect marriage of classic and contemporary. In their own words, there’s ‘structure and fluidity‘. I couldn’t have put it better myself, which is why I copied it.

A row of static mannequins along the window edge displayed the rest of the collection – more dreamy yet subtle colours mixed with vivid yellows. These pieces showed Teatum Jones‘ commercial flair, but the winners were the show pieces, best viewed with a martini through a fake window.


All photography by Matt Bramford

Categories ,1920s, ,1930s, ,Catherine Teatum, ,Emma Block, ,fashion, ,Faye West, ,London Fashion Week, ,Martinis, ,Matt Bramford, ,pastels, ,Patsy Cline, ,Presentation, ,review, ,Rob Jones, ,rsa, ,S/S 2012, ,Savoy, ,Strand, ,Teatum Jones, ,The Flamingos, ,Trace PR, ,Trace Publicity, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Presentation Review: Teatum Jones


Teatum Jones S/S 2012 by Faye West

On Friday afternoon I took myself up the Strand to the RSA‘s grand London venue, viagra 60mg a little past the Savoy. It’s a bloody nightmare trying to get up the Strand these days. You’re either barging tourists out of the way with your London Fashion Week tote bag or stopping to give them directions. I hate that Londoners have such a mean reputation when it comes to tourists so I always smile and say ‘yes, the Ly-SEE-um is just that way, m’love’ and save my expletives until they’re out of earshot.


Teatum Jones S/S 2012 by Emma Block

I was heading for a presentation by Catherine Teatum and Rob Jones – collectively Teatum Jones, who promise ‘effortless chic‘ and ‘contemporary elegance.‘ Well, they certainly served up heaps of this on Friday. I first heard about them six months ago when they were listed on the BFC’s emerging talent roster, so it was exciting to finally get the chance to check out their wares in person.

It’s so easy to get a presentation wrong. This miserable age of austerity that we’re currently living in has forced many designers to abandon the catwalk in favour of a static set-up, but you never really know what you’re going to get. Sometimes it’s a film screening, sometimes one model stooped and forlorn in a corner while people ‘yah, yah‘ around him or her. This was a good presentation, thankfully; an amazing one, in fact. I knew it was going to be good when a gentleman who wouldn’t look out of place on a runway thrust me a vodka martini. At last: a big ol’ drink.

The RSA‘s venue is quite something. Its Georgian interior couldn’t have been a better match for this stunning collection of exquisite clothes. The room where the presentation was held had huge ceilings, enormous fireplaces and period features; the pastel colours of the walls appearing as if they had been painted especially for the occasion. A mock sort of sitting room-like set had been constructed in the centre, and people filed around this voyeuristic set-up in practical silence. A soundtrack of the Flamingos’ I Only Have Eyes For You (the second time I’d heard that song that day – TREND ALERT) and Patsy Cline’s Three Cigarettes in an Ashtray almost made me weep – saved from tears only by the feeling of excitement that this design duo had got it so right.

Illustrator/contributor extraordinaire Emma Block and her live fashion illustrations

I should probably stop banging on about the bloody room and talk about the clothes, right? Well, they were equally flawless. A handful of models, positioned on a central island, moved slowly around various pieces of furniture in flowing frocks with huge trains. Each frock featured discreet digital prints in gorgeous muted pastel colours, and the models were styled with a hint of 1920s/30s glamour – full red lips, tight curls. They didn’t smile much (that would have ruined it) but as they playfully crept around the set, an imposing chandelier hanging above, it actually looked like they were enjoying themselves. Result!


Teatum Jones S/S 2012 by Faye West

These dresses were expertly cut and the craftsmanship was faultless – that’s another good thing about a presentation, it sorts the men from the boys (I mean, it exposes poorly made garments). Layers of fabric had been fused together in a slightly oddball fashion but this provided a perfect marriage of classic and contemporary. In their own words, there’s ‘structure and fluidity‘. I couldn’t have put it better myself, which is why I copied it.

A row of static mannequins along the window edge displayed the rest of the collection – more dreamy yet subtle colours mixed with vivid yellows. These pieces showed Teatum Jones‘ commercial flair, but the winners were the show pieces, best viewed with a martini through a fake window.


All photography by Matt Bramford

Categories ,1920s, ,1930s, ,Catherine Teatum, ,Emma Block, ,fashion, ,Faye West, ,London Fashion Week, ,Martinis, ,Matt Bramford, ,pastels, ,Patsy Cline, ,Presentation, ,review, ,Rob Jones, ,rsa, ,S/S 2012, ,Savoy, ,Strand, ,Teatum Jones, ,The Flamingos, ,Trace PR, ,Trace Publicity, ,Womenswear

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