Amelia’s Magazine | Scandinavian womenswear designer Eyglo: New S/S 2012 Season Presentation Preview and Interview

Eyglo S/S 2012 by Aysim Genc
Eyglo S/S 2012 by Aysim Genc.



Eyglo Magret has been designing clothes since the age of 17. Graduating from the Iceland Academy of Arts in 2005 with a degree in Fashion Design, artistic Eyglo went on to intern with a number of highly respected fashion houses including Bernhard Willhelm, threeAsFOUR and Jeremy Scott – an impressive start, not to mention formidable resume for a first time graduate.


I first met Eyglo during Paris Fashion Week and instantly decided that I liked both her and her small, but expertly designed collection. Following our conversation, I discovered the thinking and creative process behind her refreshingly original concepts: talk dinosaur themes and sea-green hair and you’ve got my attention. 


Eyglo by Aysim Genc
Eyglo S/S 2012 by Aysim Genc.


Eyglo’s collections are often described as feminine and timeless with a signature nudge nudge, wink wink thrown in for added humour. I was drawn to the architectural simplicity of each piece for S/S 2012, particularly the sporty, easy to wear shapes found on funnel neck coats and wide fitting dresses; a big trend for next year if Paris’s spring/summer trade shows are anything to go by. Always one for working with natural fabrics, Eylgo is continuously reinventing her approach towards detail and pattern cutting, often giving a slight futuristic feel to her impishly charming creations that wouldn’t be out of place in a Tim Burton-esque fantasy.

Eyglo S/S 2012
Eyglo S/S 2012
Not only is 28-year-old Eylgo Magret a creative soul, but she also has one heck of a business orientated head on her shoulders. In 2010, she and nine other designers set up Icelandic-based boutique collective, Kiosk. The store pulls together a group of young designers under one roof offering something new and original to the fashion conscious youth of Reykjavik, Iceland.


Parallel to that of the Icelandic fashion scene itself, Eyglo has slowly but surely been creeping into the world’s international fashion radar over the past few years. Following our brief chat in Paris, I couldn’t resist the opportunity to speak to the Scandinavian designer in more depth about the direction for S/S 2012 and what the future holds for Icelandic brainchild, Kiosk.

Eyglo S/S 2012
Eyglo S/S 2012
After graduating from the Iceland Academy of Arts you interned with Jeremy Scott. How was it working with him, and what did you take away from the experience?

It was great! But the best part was probably the people that were there at the same time – Gerlan from Gerlan Jeans and Ingrid Gutto who is now the head designer for Alexander Wang Menswear. It was also amazing staying in the Hollywood hills with small deer, raccoons, skunks and other funny little animals running around outside the studio. I was mainly involved in pattern cutting and costume making, but I also got to design a dress for Madonna and Fischerspooner whilst I was there. I was also lucky enough to intern with ThreeASFOUR and Bernhard Willhelm. Each experience was completely different to the next. I’m really into experimental pattern making and I was lucky enough to be involved with different ways of acting out this process at three different companies.


Eyglo by Katie Gill
Eyglo S/S 2012 by Katie Gill.

You designed a dress for Madonna! Did you get to meet the lady herself?

No, I didn’t get to meet Madonna unfortunately; she had an assistant running around for her. I just got hold of the measurements and a reference picture and did my thing, but she did wear the dress in one of her music videos so I guess I fulfilled my duty! 
 
Which other designers do you look to for direction?
It can vary from season to season, but usually Givenchy, Lanvin, Mary Karantzou and many more. It’s always nice to look to the graduation collections from Central Saint Martins as well.



 
Eyglo S/S 2012 by Grace Duignan-Pearson
Eyglo S/S 2012 by Grace Duignan-Pearson.
 
What’s the inspiration behind your S/S 2012 collection?
It all stems from when my son came home from the library with a dinosaur book one day. That’s where I got the idea for the pattern and pleats, and I also scanned my own hair onto silk satin dresses. The collection has a bit of a sporty, animalistic vibe to it I guess.  
 
You and nine other designers co-own the Icelandic boutique store, Kiosk. Where did the idea behind the venture come from?
I’d originally been selling in KronKron and Liborius here in Reykjavik for some time; they’re both really nice boutiques so I had nothing to complain about. The whole idea for Kiosk came from my friend and we grouped together. Now it’s possible for me to sell my products cheaper, and I get more in my pocket at the end of the day. The nicest thing is that you get to stay in much better contact with your customers, for special orders and so on. We work one day a week each, split the rent and have a lot of fun being a group. We’re taking in three new brands at the beginning of November, whilst two of the original owners take a break to work on other things. I’d recommend this way of doing business for all young designers, it takes up a lot of time but pays back in so many ways in the end.

Eyglo S/S 2012 by Katie Gill
Eyglo S/S 2012 by Katie Gill.

Iceland is becoming more and more known for its emerging talent. Recession aside, what do you think the future holds for the Icelandic fashion scene?
It’s slowly growing. I remember when I was a teenager there was only mall shops and one second hand store – that was it! I guess that was the reason why I went into fashion design. I couldn’t find any clothes that were interesting enough for me. I graduated in 2005, and that was only the second year of graduates studying fashion in Iceland. Just 10-20% of each year’s graduates go on to actually do their own thing. We’ve held Reykjavik Fashion Festival twice now and hopefully it will be held again early next year. The event managed to get a lot of press here last time and I wouldn’t hesitate in taking part again.

Eyglo S/S 2012
Eyglo S/S 2012
When did you first decide that you wanted to be a fashion designer?
I was 17 and studying at business school – ha! It almost happened over a night and I’ve never looked back since. Not once. There’s nothing else that I would like to do, this is it. 
 
Eyglo S/S 2012 by Grace Duignan-Pearson
Eyglo S/S 2012 by Grace Duignan-Pearson.

How would you describe the typical Eyglo girl?
Clothing wise, I would say playful and classic but a total nerd! Though a happy and a confident nerd at that.  

What’s next for Eyglo?
I’m currently working on my designs for A/W 2012. I’m looking into crop circles; clearly I’ve been watching too many ancient aliens programs. I wouldn’t be surprised if I started a cult before the collection is actually shown, ha!

Categories ,Alexander Wang, ,AsFour, ,Aysim Genc, ,Bernhard Willhelm, ,Central Saint Martins, ,Eyglo, ,fischerspooner, ,Gerlan Jeans, ,Givenchy, ,Grace Duignan-Pearson, ,Hollywood, ,iceland, ,Iceland Academy of Arts, ,Jeremy Scott, ,Kate Rose Gill, ,Kiosk, ,KronKron, ,Lanvin, ,Liborius, ,Madonna, ,Mary Karantzou, ,Paris Fashion Week, ,Reykjavik, ,Reykjavik Fashion Festival, ,S/S 2012

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Amelia’s Magazine | Simon Ekrelius: New S/S 2012 Season Interview

Simon Ekrelius S/S 2012 by Natalia Nazimek
Simon Ekrelius S/S 2012 by Natalia Nazimek.

Simon Ekrelius has been slowly building a reputation for his futuristic yet feminine style. Here’s a peek into his new S/S 2012 collection Bar-Red, page and a chance to find out more about his unique vision.

Simon Ekrelius S/S 2012 by Milly Jackson
Simon Ekrelius S/S 2012 by Milly Jackson.

What brought you from Sweden to set up your studio in London? 
I first discovered London in 1993 and since then I have been back and forth. My designs work better in London than in Sweden, healing where people are very careful with their wardrobe. In 2002 my partner Tom and I decided to move here and settle down.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
All photography by Marc Lavoie.

Simon Ekrelius S/S 2012 by Sampo Lehtinen
Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You have a wonderful way of making futurism seem eminently female and wearable – what inspires you and how do you keep this look fresh each season?  
I’m inspired by many things other than fashion; architecture, painting, sculpture and artistic movements in general. I don’t look at the work of other fashion designers because I can’t help but be affected, which is not good for my creative process. I also tend to avoid fashion magazines, which helps to keep my head clear and enable me to work hard on my feelings for the next season. I decide what I really like and what I feel will work, bearing in mind that it’s easy to go way too crazy and futuristic. It’s important to find the right balance – that’s what fashion is all about.

Simon Ekrelius S/S 2012 by Natalia Nazimek
Simon Ekrelius S/S 2012 by Natalia Nazimek.

What in particular is the new season’s collection Bar-Red based on and what does the name refer to?
I think that back in 1919 people were maybe experiencing similar things to what we are going through now, so Bar-Red is based on the Bauhaus movement, mainly with regards the geometric forms used in architectural design. I like the way that the Bauhaus integrated different forms in order to construct a new kind of style and I translated this into our time so that the collection is not completely retrospective. Bar-Red is so named because it can also mean Barred. The shape of a Bar is rectangular and the colour Red is the main colour in the collection, plus the words Bar and Red work together perfectly. I used bar-shaped objects in my prints such as cigarettes and there are big chunky arrows pointing at naughty areas or sometimes just away.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius S/S 2012 by Sampo Lehtinen
Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You showed in Ottawa this season which is quite exciting – how did this come about?
I was asked to take part by the organisers of Ottawa Fashion Week and at first I did not even believe they had a fashion week. Plus it was during Paris Fashion Week, which was very awkward. But they wanted me to come so badly that they offered me a very good package, so then I just couldn’t say no, especially since the economy in Europe is so tough now. I met members of the Swedish embassy when I was over there and that was interesting because they want to import more independent Swedish design to Canada.

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius by Gareth A Hopkins
Simon Ekrelius by Gareth A Hopkins.

Will you be showing again in London anytime soon? We loved your last catwalk show with On/Off here. Any London based plans that we can share with readers?
Yes, absolutely, I’m planning to do an exhibition again next season at London Fashion Week. Perhaps I will share space with another designer to see how that goes, and after that I’m sure that I will be back on the catwalk again. But it all depends on the sales I’m afraid…

Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius Bar-Red SS 2012
Simon Ekrelius S/S 2012 by Lesley T Spencer
Simon Ekrelius S/S 2012 by Lesley T Spencer.

What is your preferred music to listen to when you are working and have you discovered any new musicians or bands recently that we should know about?
I’m just putting together a playlist on Spotify, and it features Grace Jones, Best Coast, Fever Ray, The xx and The Knife. When I am working I sometimes listen to 6 Music, but sadly I don’t have much time to really discover new bands.

Simon Ekrelius Bar-Red SS 2012 - illus
Illustration by Simon Ekrelius.

Your fashion illustrations are beautiful – how do you ensure this side of your work practice stays alive?
I do my illustrations as I go along. I create them in my head and then if I have a pen, some colours and a bit of paper they will come out automatically like a machine. So I will always illustrate as long as I am creatively productive. They are not always pretty – sometimes they are just a few lines that will help me to remember what has come into my head.

Simon Ekrelius S/S 2012 by Milly Jackson
Simon Ekrelius S/S 2012 by Milly Jackson.

What are your future plans for the Simon Ekrelius brand? 
Aww, this is a difficult one! I think for the moment I just want to get a better relation with buyers abroad and perhaps one boutique here in London to stock Simon Ekrelius exclusively. But then of course it would be great to eventually do my own shows in Paris or London, with high level production so that I can explain my stories properly in all areas. After that I would like to have my own place (to sell from). But first I need to focus on finding buyers.
 

Categories ,6 Music, ,architectural, ,Bar-Red, ,bauhaus, ,Best Coast, ,Buyers, ,Fever Ray, ,Futuristic, ,Gareth A Hopkins, ,Grace Jones, ,illustration, ,Lesley T Spencer, ,london, ,London Fashion Week, ,Marc Lavoie, ,Milly Jackson, ,Natalia Nazimek, ,onoff, ,Ottawa Fashion Week, ,paris, ,S/S 2012, ,Sampo Lehtinen, ,Simon Ekrelius, ,Spotify, ,Swedish, ,The Knife, ,The XX

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Amelia’s Magazine | Martina Spetlova: New S/S 2012 Season Interview

Martina Spetlova By Shauna Tranter
Martina Spetlova S/S 2012 by Shauna Tranter.

Eco designer Martina Spetlova first caught my eye when I was putting together Amelia’s Compendium of Fashion Illustration last year. She has an inimitable ability to combine materials and colours which has made her past two collections every bit as eye catching as that first one I saw. Time for a catch up me thinks.

Stacie Swift - Martina Spetlova AW11
Martina Spetlova A/W 2011 by Stacie Swift.

For A/W 2011 you shot a more spooky video with a tribal beat, cheap can you speak a bit more about the inspiration for this?
I wanted to work with a dancer and I used a very inspiring film by Maya Deren called A Study In Choreography For Camera as reference. Margarita who performs in my film was loosely choreorgaphed for the piece and then we filmed it over a stretch of a few hours. The music came later and was sourced by Paddy Austin, price who got it from an old Italian opera by Roberto De Simone.


Your use of sustainable leather and zips for A/W 2011 is amazing, how did you mock up trial samples of this range?
I always spend some time researching in the library at the start of a season, but my ideas tend to evolve by experimenting in the studio. I am always testing and mixing the combinations of textures and colours at my studio… playing with various leathers and using zips as connectors and features. 

Martina Spetlova by Celine Elliott
Martina Spetlova S/S 2012 by Celine Elliott.

Your use of colour is very intriguing – where do you get the ideas for your mismatches? Is there something in particular that you look at for inspiration each season, or is your colour choice in your DNA?
In order to be sustainable I work with end of line fabrics and yarns which can be quite limiting in terms of colour. I always have an idea of the main colours I would like to use when I start working on a new collection, but I have to also see what is available and what happy accidents I discover along the way. But I suppose you could say that colour is in my DNA, as I seem to know that the choices and combinations I use are right.


The video for your new S/S 2012 collection is beautiful – what gave you the idea to work with split imagery and different focal lengths?
For my presentation I took the elements that helped create the S/S 2012 collection and separated them out in petri dishes on a large light box. I wanted to highlight the way I experiment when I work, by creating a formula for various processes my designs go through. The film had to sit next to this piece in Somerset House so thats how we thought of using mirrors and a magnifying glass to distort and split images. The film is a collaboration with Ruta Balseviciute and Till Janz, and we were inspired by the short films of Erwin Blumenfeld of course.

Martina-Spetlova-SS-2012-2
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Martina-Spetlova-SS-2012-3
Chemical theory is still a dominant theme, how is this applied to the making of your garments for S/S 2012?
My formula I mentioned above takes the ingredients I use – the end of line fabrics and yarns, ethically sourced leathers, textures and colours of elements such as the zips and knit – and combines them with my own experimentation processes to create the finished piece. I studied a chemistry degree in Prague before I went to Central Saint Martins to study fashion and I found some similarities between the two disciplines. The way I experiment with colours and textures in the design process at my studio echos the blending and mixing of chemicals in order to achieve a prescribed reaction within the laboratory. 

Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper
Martina Spetlova S/S 2012 by Erin Sleeper.

You first came to my attention as an eco designer – how has a desire to be ethical continued to influence your work, and how do you make sure that all fabrics are sustainably sourced?
I work with end of line fabrics and yarns from European mills which the industry sees as waste material, but which I am able to use for my limited edition collections. I also work with leather companies which have sustainable policies. 

Martina-Spetlova-SS-2012-6
Martina-Spetlova-SS-2012-7
Martina-Spetlova-SS-2012-8
Martina-Spetlova-SS-2012-9
You’ve recently been doing some teaching – how does this compliment and fit in with your design work?
I have just started teaching fashion on Academy of Fine Arts in Warsaw which is a brand new course and full of energy. It gives me an opportunity to step away from my own work, whilst helping the students develop their own ideas in the same way I was encouraged to at Central Saint Martins.

Martina Spetlova S/S 2012 by Stacie Swift
Martina Spetlova S/S 2012 by Stacie Swift.

Where can people buy a piece of Martina Spetlova?
Selected pieces from my A/W 2011 and S/S 2012 collection will be soon available at LN-CC. I am also selling my new collection with Osmoda, which is new online shop.

Martina-Spetlova-SS-2012-10
Martina-Spetlova-SS-2012-11
Martina-Spetlova-SS-2012-12
Any future plans or collaborations that you can tell us about?
I am hoping to carry on collaborating with Atlantic Leather, which I have been working with for a couple of seasons now. I am also looking into a shoe collaboration for the new season, to be shown next February. 

Wonderful stuff! You can see more of Martina Spetlova in Amelia’s Compendium of Fashion Illustration.

Martina-Spetlova-SS-2012-13
Martina-Spetlova-SS-2012-14
Martina-Spetlova-SS-2012-15
Martina-Spetlova-SS-2012
S/S 2011 collection

Categories ,A Study In Choreography For Camera, ,A/W 2011, ,Academy of Fine Arts, ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Atlantic Leather, ,Celine Elliott, ,Central Saint Martins, ,Chemistry, ,ecodesign, ,Erin Sleeper, ,Erwin Blumenfeld, ,ethical, ,film, ,LN-CC, ,ma, ,Martina Spetlova, ,Maya Deren, ,Osmoda, ,Paddy Austin, ,poland, ,Prague, ,Roberto De Simone, ,Ruta Balseviciute, ,S/S 2012, ,Shauna Tranter, ,Somerset House, ,Stacie Swift, ,Till Janz, ,Warsaw, ,Zips

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Amelia’s Magazine | Miriam Lehle of Prose Studio: New S/S 2012 Season Presentation Preview and Interview

Prose SS 2012 by Marta Spendowska
Prose SS 2012 by Marta Spendowska.

I was very surprised and pleased to encounter German designer Miriam Lehle of Prose Studio at the stands during London Fashion Week in September. You may remember that I was most entranced by her rose covered A/W 2011 collection (read my interview here) but I was equally stunned by her skeleton influenced collection for S/S 2012.

Prose S/S 2012 Skeleton Lace Top by Farzeen Jabbar
Prose S/S 2012 Skeleton Lace Top by Farzeen Jabbar.

It was lovely to see you at LFW – what was behind your choice to present the new collection in the UK and was it a success?
First of all: I love London. It feels like a second home. But it’s also the home of innovative, internationally renowned young labels. Nowhere else is given so much support to young designers. We had great feedback, met a lot of interesting people and got lots of good press. We will be definitely back next season. It won’t work out without consistency. 

Prose SS 2012 loose_leather_jacket_front
Prose SS 2012 print_dress_print_catsuit_2
Prose SS 2012 skeleton_dress_tight_strapless_front
Prose SS 2012 skeleton_lace_cape_loose_blouse
I love your use of different models in the look book – what inspired this choice and where did you find the models?
I wanted the new collection to be presented by people that have their own special something and are all beautiful because of their individuality. The cast of models is a potpourri: friends, neighbours and additionally we did a street casting. 

Prose S/S 2012 by SarahJayneDraws aka Sarah Jayne Morris
Prose S/S 2012 by SarahJayneDraws aka Sarah Jayne Morris.

The lace pattern has the effect of looking almost like bones and the whole collection has a tribal feel – was this intentional and are you happy with this interpretation?
Many pieces have names such as Skeleton Dress or X-ray shirt. The idea has been to adapt the lace to the body so that the natural shape and construction of the body is emphazised. 

Prose SS 2012 skeleton_lace_top_front
Prose SS 2012 skeleton_lace_top_tight_-baggy_pants_front
Prose SS 2012 skeleton_shirt_dress_front
What inspired the colour palette, which is very neutral apart from a coral pink?
I wanted to focus on the way of using the lace and the combination of heavy and light materials, playing with transparency. I was not interested in using colour this season. 

Prose SS 12 by Farzeen Jabbar
Prose S/S 2012 Skeleton Lace Top by Farzeen Jabbar.

Who do you hope will wear Prose S/S 2012?
The collection movie is the answer to that question. I’m not designing for a type. People can mix and match and adjust the clothes to their individual needs and sytle. 

YouTube Preview Image
YouTube Preview Image

Where can we buy this in the UK?
The collection will be avaialble in New York, Paris and Italy. And online at Miosato.

Prose SS12 by Estelle Morris
Prose S/S 2012 by Estelle Morris.

Will we see you next season, and do you have anything special planned that you can share with us?
Definitely a beautiful new collection and hopefully presented on the catwalk! We are busy on working out the plans for next season. 

Prose SS 2012 x-ray_dress_front
Prose SS 2012 x-ray_top_print_trousers

Categories ,Estelle Morris, ,Farzeen Jabbar, ,German, ,London Fashion Week, ,Marta Spendowska, ,Miriam Lehle, ,Prose Studio, ,S/S 2012, ,Sarah Jayne Morris, ,SarahJayneDraws, ,Skeleton Dress, ,X-ray

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Amelia’s Magazine | Phoebe English: London Fashion Week A/W 2012 Catwalk Review

Phoebe-English-by-Gaarte-LFW-AW2012

Phoebe English by Gaarte

For S/S 2012, Phoebe English’s MA collection was a range of subtle body-con dresses in a neutral palette of white, cream and black. There was a lot of comment on the level of talent and craftsmanship that Phoebe obviously held – guess work went into how many hours she had spent hand-smocking the lengths of calico fabric used for her designs.

Phoebe English AW 2012 -photo amelia gregory
Phoebe English AW 2012 -photo amelia gregory
Amelia’s Magazine contributor Georgia Takacs wasn’t impressed with the collection – she acknowledged the high level of skill involved, but thought that the designs were too boxy, and unflattering. However, I really liked the show, and it was one of the first tickets I applied for this year. Phoebe English’s take on modern dressing, the unfinished hems done just right, so as not to get that high street distressed finish, and the fact that this was an MA show, I personally felt, was something to get quite excited about.

Phoebe-English-by-Amelia-Gregory-AW2012
I arrived at the Freemasons Hall a little early, feeling a little confused about what I actually thought of the PPQ show that had been on 20 minutes before, and took my place in the eager queue that was forming. A trio of candy-colour dressed Norwegians came to stand behind me, and I noticed that designer Fam Irvoll was one of the group. She had shown her new collection as part of Vauxhall Fashion Scout earlier that day, and was being interviewed by Dr Lida Hujic from The First To Know. She very modestly played down how the show had gone, telling Lida that she thought it had gone OK.

Phoebe English AW 2012 -photo amelia gregory
The hall became full very quickly, with not too much flocking around Kate Nash and stylist Rebekah Roy who were on the front row. The music, a perfect choice – was a haunting track called Sleep Paralysis from musician Gabriel Bruce, apparently a childhood friend of Phoebe’s.

Phoebe-English-by-Victoria-Haynes-LFW-AW2012.jpg

Phoebe English A/W 2012 by Victoria Haynes

The first three looks of Phoebe English’s collection pleased me a lot. Sticking to the concept of body con dress shapes that she had championed in S/S 2012, black viscose was matched against black and grey latex as trimmings for skirts and sleeves. The best of these was a one sleeved short dress, that was constructed from a latex skirt, heavy viscose top, and a quarter of the long sleeve made from the black latex. It was modern and cool.

Phoebe-English-AW2012-by-Amelia-Gregory

The next two looks showed a sportswear influence, with two short dresses with prominent thick elasticated waistbands, that had been separated along the stomach, producing a cut out effect. The waistbands were dropped, but not too slouchy looking – these were still dresses for dressing up in. Phoebe English had cleverly shielded flesh with a layer of fabric behind this. The first of the dresses also had a latex underskirt, and cut outs on the arm, and I really admired Phoebe for not choosing to show any extra skin – it gave the looks a refined finished.

Phoebe-English-by-Jo-Ley-LFW-SS12

Phoebe English by Jo Ley

This went hand in hand with the make up and hair that had been used for the models – the hair was scraped back into buns or loose ponytails, with no polished finish. Their faces appeared make up free, with a sheen of dew on their cheeks, and simple lightly pink stained lips.

Phoebe-English-by-Claire-Kearns-LFW-AW12

Phoebe English by Claire Kearns

The next two looks were my firm favourites. These were longer styles, that just skimmed the knee, and that were simply stunning. The first, was a column body con dress, made from a black felted top with cut off sleeves, and a body which was made from translucent latex. Underneath, the model wore a pair of high waisted black pants, which again added a refined feel, as did the cropped felt top, that just skimmed the models chest, but showed no skin. The latex was darted twice down the front, and it fitted perfectly to the model’s form, but stretched and allowed movement.

Phoebe-English-by-Amelia-Gregory-AW2012

The second of these looks was a two piece. Made from a cropped top with latex arms and a felt and latex body, and worn with a high waisted felt and latex skirt. I loved the contrast of the heavy felt body pieces to the see-through latex, which pared sexy with refined, and again, not having the need to show off flesh, because the design was already doing enough to make it desirable. Conversely, they were also very lady like – because of the midi length, and with the high waisted cut of the paints and skirt.

Phoebe-English-by-Catherine-Meadows-LFW-AW12

Phoebe English A/W 2012 by Catherine Meadows

I read recently that Phoebe English relocated her work studios to a warehouse in Hackney – and the influence of East London, and it’s residents penchant for black, sheer and sexy definitely came through in these opening looks. They also exemplified what I really like about Phoebe’s work – her ability to combine materials, that are unsuspecting and non-precious, cutting and crafting them together into something that works and looks luxurious. These were also a step away from the boxier shapes that she had shown for S/S 2012. The influence of Phoebe English’s time spent as Gareth Pugh’s intern was also clear.

Phoebe-English-by-Amelia-Gregory-AW2012

The middle set of looks presented a new material – loosely woven rubber strips that adorned heads, and poked out from sleeves and hems of dresses. Making up 5 looks, this was a furthering of the unfinished element of Phoebe’s work that she is known for. It was also quite playful – the strips were woven into lattice work across the bodies of the outfits, but often hung long and loose, which meant a lot of movement as the models walked across the cat walk. I liked the lattice work skirt, the rubber layered on top of the translucent latex, and paired with a industrial knitted rolled hem top. The last look, a latex shift dress was completely covered with the rubber strips, but with longer ends on the lower half of the dress, which gave the dress an ‘unwoven’ finish.

Phoebe-English-by-Cristian-Grossi-LFW-AW2012.jpg

Phoebe English A/W 2012 by Cristian Grossi

As an unexpected but welcome finish to the show, the last 3 looks were an explosion of bubblegum and hot pink. Instantly this added a girlish, feminine feel to the collection, and a great move for Phoebe English, away from her usual subtle palette. There was a heavy knitted jumper, and in the first look, the thick waistbands were back, on both a cropped top and super short skirt.

Phoebe English AW 2012 - amelia gregory
Phoebe English AW 2012 - amelia gregory
Phoebe English AW 2012 - amelia gregory
Phoebe-English-by-Amelia-Gregory-AW2012

It was the last of these berry shade looks that was the winner for me, an asymmetric knit jumper, pink felt skirt, pink latex waistband and a experimental play on her usual smocking. Half of the felt skirt was layered with a bubblegum hued plastic, but it was longer in length, and loosely bound together. It added beautiful movement.

Phoebe-English-by-Emily-Reader-LFW-SS12

Phoebe English by Emily Reader

This collection showed exciting growth in Phoebe’s work – it was a mature but fun collection which showed off her talents for the paring of shapes and textures, and understanding of materials and the ways that they can be utilised to their best effect. The feminine inclusion at the end also showed how Phoebe English will undoubtedly continue to experiment, grow in confidence to produce work that is refined, yet modern and thoroughly deserving of the recognition she has received in her short-career so far.


Phoebe English AW 2012 - amelia gregory
All photography by Amelia Gregory

Categories ,Freemasons’ Hall, ,Gareth Pugh, ,knitwear, ,Latex, ,lfw, ,London Fashion Week A/W 2012, ,ma, ,Merit Winner, ,Modern, ,Phoebe English, ,pink, ,Rubber, ,S/S 2012, ,sportswear, ,Vauxhall Fashion Scout

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Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Day Catwalk Review: James Small


James Small S/S 2012 by Milly Jackson

I arrived at the James Small show pretty early – such is the bonkers London Fashion Week schedule that some shows overlap and then you’re left with huge gaps in your day. I joined the small but perfectly formed queue and waited for a pal to arrive. The show was delayed, prescription I was informed, because of the knock-on effect of late-runners throughout the day. The queue eventually began moving a mere 20 minutes late, and just as we were about to be let in, we were halted by an impossibly gorgeous PR girl. Her colleague came over and whispered ‘Kate’s imminent, we should hold the queue‘. Now, I don’t know if it was the pint I’d just enjoyed or the onset stir-crazy sensation I was experiencing after 6 days of shows, but I started sweating profusely. It couldn’t be, could it? ‘Calm down, Matt’ I internally repeated. It can’t be. She wouldn’t. It might be a code word. It might be Kate Adie.


Kate Moss by Antonia Parker

Eventually, after much discussion, it was decided that we should be allowed in because this mysterious Kate hadn’t yet arrived. We were escorted individually up the grand staircase of the Freemasons Hall, this Vauxhall Fashion Scout venue, and assigned seats on the front row. Seating was heavily policed, and I enjoyed the personal escort, but it was taking bloody ages and another show downstairs was set to take place pretty soon afterwards. Jaime Winstone, looking incredible with a silver grandma up-do and vertiginous heels, entered the room and was seated with little fuss. Now I love Jaime Winstone, but if ‘Kate’ was a codename for Jaime Winstone, I was about to go berserk.


Kate Moss by Claire Kearns


Kate Moss by Gilly Rochester

The personal escort service soon turned into a scrum; somebody had clearly realised that it just wasn’t practical. I let out a huge sigh as I said to my friend ‘Well, Kate clearly isn’t coming.’ ‘What?’ my friend replied, ‘she’s over there!’ I turned to my left to study the front row. Somehow I had missed the arrival of Meg Matthews, Sadie Frost, Annabelle Neilson, James Brown, Jamie Hince and… Kate Moss. Kate FREAKIN’ Moss!


All photography by Matt Bramford

There was little fuss as I struggled to fight the urge to jump out of my seat, leap across the catwalk, gather Kate up in my arms and force her to take my hand in marriage. It all happened so quickly, and of course, now Kate had arrived, the show must go on.


James Small S/S 2012 by Gabriel Ayala

It was tricky to concentrate on the show knowing that My Kate was mere feet away, but being the consummate professional that I am, I took up my camera and started to study the clothes, being carefully to take a picture of Kate in between each look. The fashion on offer was actually great, and I don’t know why I was thinking that it might not be. The secondary venue at Fashion Scout is actually much nicer – a dark wood arch divides the old stone room, dark wood lines the floor and majestic chandeliers hover above the revellers. Models appear almost out of nowhere. You do lose sight of the models as they bound through the arch, unfortunately, but this ensured enough time to snap Kate excessively.


James Small S/S 2012 by Sam Parr

Hysteria mounted thanks to the special guests: Kate and her entourage whooped and cheered every look and wolf-whistled translucent shirts, which sent roars of laughter through the room. Last season’s sharp tailoring continued this time around, but had been given a more casual feel for the discerning gentleman who manages to looking devastatingly cool without any real effort during the summer months.


James Small S/S 2012 by Milly Jackson

Small’s mainstay silk shirts had been jazzed up with the aforementioned translucency, and romantic florals with an air of Liberty were the most aesthetically appealing pieces in the collection, particularly a shirt/shorts combination with identical print. I’m not sure I’d get away with it, but the model did with aplomb.

Small‘s sharp tailoring was dressed down with white ankle-high sports socks and Vans in varying colours – when I read this on the press release I wasn’t so sure about it, but seeing it in the flesh allowed it to make sense. Rich colours: plum and royal blue, and luxe materials: silk and velvet, made this collection Small‘s most sophisticated yet. Retaining an edge above his competitors with leopard print and camouflage short shorts, it’s Small’s sharp cuts and sophisticated tailoring that really set him above the rest. That and his stellar front row, of course.

Categories ,Annabelle Neilson, ,Antonia Parker, ,catwalk, ,Claire Kearns, ,combat, ,fashion, ,Floral prints, ,Freemasons’ Hall, ,Front Row, ,Gabriel Ayala, ,Gilly Rochester, ,illustration, ,James Brown, ,James Small, ,Jamie Hince, ,Kate Moss, ,Leopard Print, ,liberty, ,London Fashion Week, ,Meg Matthews, ,menswear, ,MenswearSS12, ,Milly Jackson, ,review, ,S/S 2012, ,Sadie Frost, ,Sam Parr, ,Silks, ,tailoring, ,The Kills, ,Translucent, ,Vans, ,Vauxhall Fashion Scout

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Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Day Catwalk Review: Ones to Watch Baartmans and Siegel

Baartmans and Siegel SS 2012 by Barb Royal
Baartmans and Siegel S/S 2012 by Barb Royal.

Baartmans and Siegel are already making waves in menswear land: the upcoming brand is stocked by Harrods. A look at their S/S 2012 collection reveals why. It is an easy going range of summery suits, remedy accessories and separates in perfect boy tones: lots of pewter, store stone, price dusty blue and dashes of orange and caramel. Of particular note were the chunky leather satchels, snood silk scarves and cosy striped handknit cotton cardigans and jumpers, all worn with comfy brogues by classic shoemakers Grenson.

LFW_SS12_OnestoWatchMen_BaartmansSiegel_MattBramford
LFW_SS12_OnestoWatchMen_BaartmansSiegel_MattBramford
LFW_SS12_OnestoWatchMen_BaartmansSiegel_MattBramford
LFW_SS12_OnestoWatchMen_BaartmansSiegel_MattBramford
LFW_SS12_OnestoWatchMen_BaartmansSiegel_MattBramford
LFW_SS12_OnestoWatchMen_BaartmansSiegel_MattBramford
All photography by Matt Bramford.

Baartmans Siegel LFW by Katie Allen
Baartmans Siegel S/S 2012 by Katie Allen.

Wouter Baartman and Amber Siegel are a Dutch/English design partnership who met whilst designing at Viktor & Rolf and became united over their love of beautiful craftsmanship and imaginative design.

Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
Baartmans and Siegel (SS-2012) by Barb Royal
Baartmans and Siegel S/S 2012 by Barb Royal.

The Dust Drifters collection was inspired by the colours of an arid landscape, perfect for the modern traveller and Baartmans and Siegel‘s use of quality fabrics such as Irish linen and silk crepe contributes to the air of luxury. They describe themselves as ‘modern traditionalists’ and it’s easy to see how this ethos has been translated into clothing. Beautiful.

Ones to Watch men Baartmans and Siegel SS 2012 review-photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,Amber Siegel, ,Barb Royal, ,Dust Drifters, ,dutch, ,English, ,Fashion Scout, ,Grenson, ,Handknit, ,Harrods, ,Katie Allen, ,lfw, ,Luxury, ,Matt Bramford, ,menswear, ,Ones To Watch, ,S/S 2012, ,Silk Crepe, ,Wouter Baartman

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Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Day Catwalk Review: Ones to Watch Posthuman Wardrobe

Posthuman Wardrobe S/S 2012 by HoBoJoBo
Posthuman Wardrobe S/S 2012 by HoBoJoBo.

Driven by a desire to offer clothing that is rich with intellectual analysis as well as aesthetics, sale Posthuman Wardrobe delivered a thoroughly summery collection for Ones to Watch menswear at Fashion Scout. Designer Nimesha Gadhia is a pharmaceutical scientist turned Saville Row trained tailor and within this collection he looked at aspects of the interaction between people and furniture when lounging or sitting, malady incorporating upholstery fabrics.

Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
All photography by Amelia Gregory.

Posthuman Wardrobe S/S 2012 Dennis Brix
Posthuman Wardrobe S/S 2012 Dennis Brix.

For All Systems Gone there was a mixture of tailored and casual separates in a range of dust and pastel blues, cream, stone and grey with slashes of blood red as highlights. A loosely tailored trenchcoat was worn with rolled up sleeves and double breasted buttoning. Hooding was incorporated into jackets with sporty striped detailing but also featured as snood like accessories. A long coat came with an interesting ruched back, a bit like a waterfall. There was also plenty of men with bare chests – perhaps not a look to emulate but always a rather nice additional feature.

LFW_SS12_OnestoWatchMen_PostHumanWardrobe_MattBramford
LFW_SS12_OnestoWatchMen_PostHumanWardrobe_MattBramford
LFW_SS12_OnestoWatchMen_PostHumanWardrobe_MattBramford
LFW_SS12_OnestoWatchMen_PostHumanWardrobe_MattBramford
LFW_SS12_OnestoWatchMen_PostHumanWardrobe_MattBramford
LFW_SS12_OnestoWatchMen_PostHumanWardrobe_MattBramford
LFW_SS12_OnestoWatchMen_PostHumanWardrobe_MattBramford
LFW_SS12_OnestoWatchMen_PostHumanWardrobe_MattBramford
All photography by Matt Bramford.

Posthuman Wardrobe S/S 2012 by Gareth A Hopkins
Posthuman Wardrobe S/S 2012 by Gareth A Hopkins
Posthuman Wardrobe S/S 2012 by Gareth A Hopkins.

Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
Ones to Watch men Posthuman Wardrobe SS 2012 review-photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,All Systems Gone, ,Dennis Brix, ,Fashion Scout, ,Freemasons’ Hall, ,Gareth A Hopkins, ,HoBoJoBo, ,Intellectual, ,London Fashion Week, ,Matt Bramford, ,menswear, ,Nimesha Gadhia, ,Ones To Watch, ,Posthuman Wardrobe. LFW, ,review, ,S/S 2012, ,Saville Row, ,Scientist, ,Sitting, ,Upholstery

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Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Day: Fashion East Installations


Astrid Andersen S/S 2012 by Antonia Parker

The Fashion East Menswear display always guarantee a treat at fashion week. The grandiose rooms around the courtyard at Somerset House are transformed into mini installations of the various menswear designers, sildenafil and it’s grand to see so much talent side by side.

This season was no exception. I started at the main entrance, naturally, where burley bouncers were insisting anyone let inside had pre-registered with the British Fashion Council. So, for example, if one of the designers’ grandmothers wanted to see the fruits of their grandchildrens’ successes, they had to go to the other side of Somerset House to register. A bit silly, I thought.

Nevertheless, once I’d presented my credentials I was allowed inside and I quickly necked a champagne. Here’s a whistle stop tour via the wonderful mediums of illustration and photography.

WILLIAM RICHARD GREEN

William Richard Green S/S 2012 by Rukmunal Hakim

ASTRID ANDERSEN


Astrid Andersen S/S 2012 by Celine Elliott

MATTEO MOLINARI


Matteo Molinari S/S 2012. Amazing sunglasses that I’m already saving up for. That is all.

CASSETTE PLAYA

Cassette Playa by Gabriel Ayala

AGI & SAM

Agi & Sam S/S 2012 by Claire Kearns


All photography by Matt Bramford

Watch some highlights from the installations here:

Categories ,Agi & Sam, ,Antonia Parker, ,Astrid Andersen, ,Cassette Playa, ,Celine Elliott, ,Claire Kearns, ,Creepers, ,Fashion East, ,Gabriel Ayala, ,Gym, ,lace, ,London Fashion Week, ,Matteo Mollinari, ,menswear, ,MenswearSS12, ,Newgen, ,Rukmunal Hakim, ,S/S 2012, ,Somerset House, ,Sunglasses, ,video, ,William Richard Green

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Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Day Presentation Review: U.Mi-1


U.Mi-1 S/S 2012 by Gareth A Hopkins

Walking through the hallowed halls of the Freemasons’ building, salve I couldn’t help but think I was actually appearing in an episode of BBC One’s Spooks. Heals clip-clopped on marble flooring, cialis 40mg echoing around the grandiose interior, help darkened wood, glass cabinets filled with associated paraphernalia. I couldn’t shake the feeling I was actually there to meet with the Home Secretary; that Harry Pearce was lingering somewhere in the shadows. He wasn’t, of course, he’s fictional; and I was dressed *way* too good to be doing such silly business as saving the world from terrorists.

Instead, for this presentation by menswear label U.Mi-1, the room we were in was filled not with MI5 Suits, but with boys wearing oversized-blazers, and girls who all seemed to have more-hair-than-clothes; all clutching man-bags or purses, cameras, notepads and complimentary herb-infused juice drinks. I’ve no idea why they were ‘herb-infused’. One assumes it was to give the idea that they were laced with vodka. It worked.


All photography by Matt Bramford

Upstairs, on the first floor, in the room we had converged in, was a presentation that felt more like a piece of theatre than it did a fashion show. Divided into two rooms, the first was lit only by the light from a projector on the wall; while the over-zealous pouring of the aforementioned juice drinks gave a heavy, over-burdened incense-like smell to the proceedings.


U-Mi.1 S/S 2012 by Rukmunal Hakim

The projector reel showed images two models at one time against a white wall. Standing side by side, the two boys would interact, not so much with each other but with their clothes: laughing as they pulled at button holes, braces, hemlines and creases, before changing to two new boys in two new outfits.

In the second, brighter room, the same models were present, only this time in the flesh and frozen: scattered across the back of the room to create a tableau of gorgeous fellas. This only heightened the theatricality of the event, thanks in part to the fact that the growing crowd (us included) were standing around the models as if there were a barrier between us and them: them on a stage, us an audience.

It wasn’t until, as we pulled out our camera, easily the biggest one there (size matters), that some man with a clipboard informed us we could get closer and the rigidness of the event shifted into something more real: journalists writing notes, models moving from one statuesque pose to another. And we lead the way, pioneers that we are. We twice contemplating striking a frozen pose in the centre of the room, hoping that revellers of the collection might confuse us for an eighth model.

The collection on offer was mostly made up of muted colours and pastel shades, simple lines and classic cuts. At one point I saw a girl jot down The Great Gatsby as a footnote, but she’d obviously never read F. Scott Fitzgerald‘s classic: these boys weren’t Jay Gatsby, they were the boys in Brideshead, dipped in sepia tones and burnt sienna, like something from a Sofia Coppola movie. Seams had been piped in contrasting colours, discreet checks were teamed with pale pastels and styled with thick-rimmed glasses and brown leather loafers.

Outside, still caught up in the spring-like warmth of the collection, my PA duties to Matt Bramford had drawn to a close. I could’ve lingered all day, only he then actually started calling me Alex Forrest (Glenn Close in Fatal Attraction) and I had to bid adieu to Fashion Week for another year; all Brideshead illusions truly shattered.

Categories ,Alex Forest, ,Brideshead Revisited, ,checks, ,F. Scott Fitzgerald, ,Fatal Attraction, ,Freemasons’ Hall, ,Gareth A Hopkins, ,Glenn Close, ,Gozi, ,Harry Pearce, ,London Fashion Week, ,Matt Bramford, ,menswear, ,MenswearSS12, ,MI5, ,Piping, ,Presentation, ,review, ,Rukmunal Hakim, ,S/S 2012, ,Sofia Coppola, ,Spooks, ,Suits, ,tailoring, ,The Great Gatsby, ,U.Mi-1, ,Vauxhall Fashion Scout

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