Sally Mumby-Croft – AmeliasMagazine

Amelia’s Magazine | Pre-LFW interview: Avsh Alom Gur

Amelia’s loves Avsh Alom Gur (see our previous coverage here and here) and we cannot wait to see what is instore for AW following the optical delight of SS10. Amelia’s spoke to Avsh Alom Gur with regards to the inspiration behind the designs and the development of the pending AW10 Collection.

Avsh Alom Gur SS10_1 Images throughout courtesy of Avsh Alom Gur

What was your inspiration for the S/S 10 collection?
For SS10 my inspiration is a clean, seek cost modern silhouette, purchase built on simple lines and geometric shapes, challenged by the illusion of Op Art.

What was the first image, book, idea or feeling that came to mind as you started your design process?
The Rudi Gernreich Book (Big Series Art) by Peggy Moffitt

How would you describe your clothes?
“You can were it like this and you can wear it like that”. The garment should work for you and not the other way round, my garments fit everyone. I love one size.
I create garments for women that treat their wardrobes as though they are a curator of a gallery, expressing their own personalities.

Could you describe your creative progress?
For me it is always about a story, a fantasy, scenery or a backdrop. Once these are in place, they act as guidelines, which help me to curate and ‘cast’ the rest of my fantasy colours, materials and imaginary friends. Choose a story close your eyes and imagine what garments a young girl would wear.

What are your thoughts with regards to what we will be wearing come Autumn Winter?
Voluminous minimalism..

I and the readers of Amelia’s Magazine would be interested in hearing about the development in designs between seasons – what is your inspiration for Autumn Winter?
‘Less is more’.

You recently returned to designing under your own name after designing for the label Ossie Clark. What interested you in designing under a different brand and how is the return to designing under your own name? With regards to this question I am thinking about current students/recent graduates possibly weighing up the positive and negatives of designing under their own name compared to joining a company…
When creating the Avsh Alom Gur collections, I treat the creations as wearable art pieces that have no limitations and boundaries. When designing for others I take elements and the essence of my design philosophy and apply it to the Brands established aesthetics and needs.

What was your favourite item from the SS10 collection?
Crinkle organza wide-leg culottes, printed with op-art print in black and white (look 21).

What would your advice be to young designers with regards to appearing at London Fashion Week?
LFW is a great place for young emerging designers. There is quite a lot of opportunities in both, getting support and exposure while participating.

Whilst studying at CSM what drew you towards Womenswear?
My passion for womenswear started at birth.

What is the most enjoyable part of design?
I don’t believe I could do anything else. I am fortunate to be able to do what many people may describe as a hobby, and turn it into the main focus of my life while interacting with so many talented individuals

What is the Avsh Alom Gur aesthetic?
Avsh Alom Gur designs and creates unique collections that challenge glamour and our definition of beauty. My designs combine Eastern and Western elements with urban street graffiti and underground grunge to create timeless effortless shapes with generous use of fabrics.

What are your thoughts on contemporary fashion and the position of London Fashion Week within the fashion industry?
I wouldn’t know how to define contemporary fashion in words. Hopefully my collection defines it. London has been and still is one of the most creative cities in the world.

What informs your work?
I take inspiration from anything and everything from my daily vision! I can usually find something unique and beautiful in what others might think of as mess or dirt. I have found inspiration from the landscapes of urban London, from disposed packaging, empty drinks cans and other general litter found on the streets.

What is the most challenging aspect of design?
Paying the bills!

Written by Sally Mumby-Croft on Thursday February 18th, 2010 1:12 pm

Categories ,Avsh Alom Gur, ,Big Series Art, ,Central Saint Martins, ,London Fashion Week, ,Op Art, ,Ossie Clark, ,Peggy Moffitt, ,Rudi Gernreich, ,Sally Mumby-Croft

Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Bora Aksu (more)

Illustration by Andrea Peterson

It wasn’t until the Jena.Theo show that I got my first hit of fashion adrenaline this LFW. The design duo Jenny Holmes and Dimitris Theocharidis have created a Spring Summer 2011 collection that combines both the theatrical and the wearable in draped layers of silk and jersey, treat side effects shot through with the Midas Touch. Gold leaf was applied not only to models’ eyelids and nails, view but also to wrists, ankles, collarbones and occasionally a breast or belly button that happened to be exposed.

Though this would undoubtedly not go down well in the Muslim world today, culturally the show was a mix of the old Arabian Nights- or Prince of Persia to the computer game generation- meets 19th century British colonialism; models’ heads swathed in oversized turbans or hair backcombed into huge Victorian updos.

Illustration by Andrea Peterson

The winners of Fashion Fringe 2009 struck a perfect balance between catwalk creativity and clothes with the potential to actually be worn in real life; with a wonderful take on a Victorian hoop skirt to finish the show. This is what I want from an LFW show; something fun and inventive as well as wearable clothes.

I sat with the team behind the new Young British Designers website, which champions the likes of Jena.Theo; keep an eye out on Amelia’s for an interview with them coming soon. Adriana was in fact loyally wearing an outfit by the design duo.

We were in the second row but got bumped forward into the front row when there were a few spaces at the last minute; which meant I managed to get a really good, close up look at the raw painted gold leaf stiletto platform shoes.

It also of course, meant goody bag ahoy!Ironically, for a fashion gift, this included one of the best brownies I’ve ever eaten; in fact many of the stalls in the LFW exhibitions have sweets or cakes on their stands, though you never see anyone eating them. Except me.Which is why you won’t see me bearing my gilded navel in an Aladdin-esque ensemble anytime soon.

Illustration by Andrea Peterson

London Fashion Week has begun (NB: at the time of writing, order it was the end of the second day) and apart from the excitement at spotting various London boutique owners, try mild celebrities and the increasing chances of seeing a model stumble from the heady heights of unstable shoes, information pills the week is of course about FASHION. From the stalwarts of Simon Rocha and Betty Jackson to the increasing number of designers who are the”ones to watch,” it is a to put it mildly a frantic dash from venue to queue to venue to queue and back to the BFC for a quick cuppa before starting all over again. An incredibly enjoyable dash, but a dash none the less.

On Friday (17th September 2010) Amelia’s Magazine had the pleasure of touching base with Eun Jeong’s S/S 11 static presentation in the alcoves of the Russell Chambers, Covent Garden. The designers studio presentation was set amid the odd jumble of relics frequently obtained during the industrious weeks leading up to LFW. Exceptionally pretty models were positioned around the fringes of the room and the press pack moved in hapazadly through the three rooms of the exhibition documenting the clothes positioned on mannikins and on seated or standing models.

One room consisted entirely of props painted white, which rather effectively set off the crystal-embellished shoes, whilst drawing attention to Eon Jeung’s attention to draping. From looking at the shoes, the inspiration for the sewing basket may have come from Jeong’s shoe designs, rather than the other way round. The middle room consisted of a beautiful floral pattern that was reminiscent of Future Classics in cut.

The final room was occupied solely by mannikins dressed in an assortment of designs including a beautifully simple dress embellished with a touch of bright colour on the shoulders. Quickly reflecting on the first two days of the designers this reviewer has seen at the September 2010 edition of London Fashion Week. Many appear to be playing it safe and producing clothes fit for the boutique market.

Looking at the standard of Eon Jeung’s designs for S/S 2011, it is hard to believe that this is the designer’s third season since graduating from THAT Central Saint Martin’s MA.

The organised chaos of London Fashion Week has begun (NB: at the time of writing, approved it was the end of the second day) and apart from the excitement at spotting various London boutique owners, online mild celebrities and the increasing chances of seeing a model stumble from the heady heights of unstable shoes, web the week is of course about FASHION. From the stalwarts of Simon Rocha and Betty Jackson to the increasing number of designers who are the”ones to watch,” it is a to put it mildly a frantic dash from venue to queue to venue to queue and back to the BFC for a quick cuppa before starting all over again. An incredibly enjoyable dash, but a dash none the less.

Looking at the standard of Eon Jeung’s designs for S/S 2011, it is hard to believe that this is the designer’s third season since graduating from THAT Central Saint Martin’s MA.

The organised chaos of London Fashion Week has begun (NB: at the time of writing, advice it was the end of the second day) and apart from the excitement at spotting various London boutique owners, pills mild celebrities and the increasing chances of seeing a model stumble from the heady heights of unstable shoes, the week is of course about FASHION.

From the stalwarts of Simon Rocha and Betty Jackson to the increasing number of designers who are the”ones to watch,” it is a to put it mildly a frantic dash from venue to queue to venue to queue and back to the BFC for a quick cuppa before starting all over again. An incredibly enjoyable dash, but a dash none the less.

Exceptionally pretty models were positioned around the fringes of the room and the press pack moved in hapazadly through the three rooms of the exhibition documenting the clothes positioned on mannikins and on seated or standing models.

The final room was occupied solely by mannikins dressed in an assortment of designs including a beautifully simple dress embellished with intricate black beading across the breadth of the dress. Looking at the standard of Eon Jeung’s designs for S/S 2011, it is hard to believe that this is the designer’s third season since graduating from THAT Central Saint Martin’s MA.

Quickly reflecting on the first two days of the designers this reviewer has seen at the September 2010 edition of London Fashion Week. Many appear to be playing it safe and producing clothes fit for the boutique market.

naomi-law-bora-aksu
Bora Aksu by Naomi Law.

Oh how I do love a bit of Bora Aksu. As well as being a one of a kind creative genius he is surely the nicest man in fashion – as you will know if you’ve read my pre LFW interview. I attended his show at Victoria House with Sally yesterday, sildenafil and she has also written up her review of it here.

Bora Aksu S/S 2011 photo by Amelia Gregory

It was a far more intimate venue than last season’s show in the BFC tent, about it which meant that I got a brilliant view of Bora’s extraordinary artistry up close. Merely a hands reach away the models strode past in bulging loose bun beehives accessorised with giant ants (the loosely backcombed up-do is becoming a bit of a theme this fashion week) and tangled spiders web lacy tights.

Bora Aksu S/S 2011 photo by Amelia Gregory

naomi-law-bora-aksu-1
Bora Aksu by Naomi Law.

This season the palette took a darker turn, consisting of steely greys, navy and a gorgeous deep red. Taking his alienesque styling of last season to its next *logical* step, the protrusions seemed to curl ever further out of dresses, or perhaps it was just my new proximity which made it seem so. For more commercial effect ruffles, brocade and lace also made an appearance in creative mashups.

Bora Aksu S/S 2011 photo by Amelia Gregory

After the show I was hastily approached by Blow PR to see if one of my photos could be whisked off to the newspapers – something to do with an urgent request for “harem pants” – so I spent the next half an hour in the frantic press room, where I managed to say hello to Bora as he was giving interviews in the corner. He was utterly delightful of course: as I said, the nicest man in fashion. And as innovative as ever.

Bora Aksu S/S 2011 photo by Amelia Gregory

Written by Amelia Gregory on Saturday September 18th, 2010 10:47 pm

Categories ,Alienesque, ,Blow PR, ,Bora Aksu, ,lfw, ,London Fashion Week, ,Naomi Law, ,onoff, ,Sally Mumby-Croft, ,Victoria House

Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Craig Lawrence

If you’ve seen Amelia’s post about Charlie le Mindu’s show yesterday, about it you’ll already know what you’re in for. But allow me to indulge myself because we can’t possibly harp on enough about this show…

When I was a lad, salve Sundays were reserved for attending church (occasionally), watching The Waltons and generally relaxing or playing with my Teenage Mutant Ninja Turtle action figures. My, how things have changed. My most recent Sunday – yesterday – was spent gawking at vaginas. Bit of a difference, eh?

I absolutely love Charlie le Mindu, that’s no secret and I recently had the chance to have a chat with him. He’s a welcome addition to the London Fashion Week line-up in that he has absolutely no shame and heaps of creative and daring talent.

Last season’s show was a spectacle enough, and my imagination had run wild with what he might show this season (little did I know he’d show literally EVERYTHING this bloody season).

As the show started and the first model appeared to excited whoops, I thought – hmmm, I like it, it is fun; love that candy-floss pink porno wig, love the lamp on her head, that human hair mankini she’s just about wearing is daring, could have done with a bit of work around the bikini line though, love. But overall, I was a teeny tiny bit disappointed. Well, I need not have been.

When the first absolutely starkers model appeared, wearing only a huge brimmed hat and carrying a fabulous purse in the crook of her arm, I actually caught myself mouthing OH MY GOD. To myself. Exaggeratedly. I was, yet again, rendered speechless. He’d done it – he’d dared to do what few others would; he’d shocked us in a ‘OMG-she-has-no-hair-down-there’ kind of way. I haven’t seen one of them for years and after yesterdays show, I’d like never to see one again, please. That’s enough for me. You can keep ‘em, ta very much.

What I most adore about Mr le Mindu is that his shows aren’t really about fashion. They’re about style. Style, not in the sense of what’s on trend this season blah blah blah, but about taking an idea and really making it exciting.

After last season’s sexed up religious collection, it seems this season was all about porn stars – an homage, in fact, to the ladies of the adult movie industry of Los Angeles. Hence tacky candy-floss wigs, crude bob cuts, sassy curls that covered bare chests (what is it with me and nudity this fashion week? Totally wasted on me), cartoon-like tailoring (in a good way) and the show piece which was a huge pink perspex Hollywood sign hat. As you do.

Even though I seem to be doing it a lot this season, it’s not fair just to go on about the quantity of arse and tit, because I actually think that Charlie’s more modest creations (modest in the sense that they cover said arse and tit, not modest in a conservative way) are exemplary. The flamingo halter-neck number with a huge bum and the floor-length numbers that cacoon models from head to toe are nothing short of genius. They’re totally unique on an somewhat perpetual catwalk line-up.

Oh, who am I kidding. This is sex, sex, sex at it’s best. Oh, what fun! I bloody loved it and I am counting the days until Charlie’s A/W 2011 show already. Can I suggest, though, that you cover up the see you next Tuesdays next time, purlease? Maybe with the odd human-hair merkin? Oh, the irony…

Illustration by Stéphanie Thieullent

I love the Portico Rooms at Somerset House. Up an elaborate sweeping staircase, website here lies a relatively small room in which I’ve seen some of my favourite presentations: Lou Dalton’s salon show a year ago, more about both this and last season’s Orla Kiely presentations, story and now Craig Lawrence’s presentation this weekend.

Presentations are my preferred preference to catwalk shows. You don’t have to fight for a seat, you can see the clothing and craftsmanship in close-up (particularly applicable with Craig’s astonishing knitwear) and, most importantly, they always have cakes.

This was no exception – just look at this table packed with the stuff. Delicious! Shame I decided on a cream-filled whoopie rather than something edible in front of fashion folk like a delicious slice of tiffin. Cue cream-covered chops, sloppy eating and and a general unfashionable mess. Ah, well.

Craig’s presentation was simple but oh so elegant. Three models perched around sculptural furniture wearing his latest offerings. I wonder how the pay-scale for models differs between catwalks and presentations? Surely sashaying to the end of a runway, striking a pose and then walking back is far easier than having people with zoom lenses oggle your pores and walk in circles around you? It’s a wonder they don’t fall over. They are good at looking into your camera though. Look at this one! She wurrrrks it. Give her a pay rise!

Craig Lawrence has quickly established himself as a man of exquisite craftsmanship, skill and style. I simply adore these floor length knitted numbers. Seeing them up close, you really develop an appreciation for the quality. I imagine that the wool he uses is of a high calibre, but staring closely at his pieces is quite something – hypnotic weaves create beautiful, rich textures.

Illustration by Stéphanie Thieullent

The colours were industrial and pewter was the mainstay, with the occasion flourish of varying greens and white. This all white number rustled as the model moved around the room, and it’s only when you see garments like this move that you realise their full potential. She does look a bit like she’s been through a paper shredder, though. God I hope she hadn’t.

Also on display was a strikingly beautiful and somewhat haunting film, which was actually all I thought I was going to see – the static models were a massive bonus. The black and white film was shot by Ben Toms and styled by Dazed & Confused’s Katie Shillingford. Bloody hard to photograph.

At first glance, it appeared to be a collection of photographs – a model stands stock still in a variety of poses on rocks and in the sea. It’s only when you watch for a little while you realise it is actually a film – you notice the hair flickering slightly from the wind, or the almost still waves of the ocean moving back and forth. It really brought the collection to life. Plus it was edited beautifully – by our own Sally Mumby Croft, no less!

You can see the film (and I suggest you do) here.

All photography by Matt Bramford

Written by Matt Bramford on Monday September 20th, 2010 1:51 pm

Categories ,Ben Toms, ,Craig Lawrence, ,Dazed & Confused, ,Katie Shillingford, ,knitwear, ,London Fashion Week, ,Portico Rooms, ,S/S 2011, ,Sally Mumby-Croft, ,Somerset House, ,Stéphanie Thieullent

Amelia’s Magazine | London Fashion Week S/S 2011: What’s Hot… and What’s Not.

jenny robins – blog slam – circus – toast and biscuit – thewedordeadwager sketch at the rag factory male dating humour
LFW SS2011-photo by Amelia Gregory
All photography by Amelia Gregory.

Every London Fashion Week has it’s own particular foibles, stomach it’s own idiosyncrasies – and this September was no exception. So I thought I’d write up a little round up of things that will always remind me of this particular fashion week. In no particular order, sickness here goes…

Teabags, check Jelly Bellys and Ferrer Rocher
Why is it that tea companies love to sponsor fashion week so? Qi Teas, Pure Teas, Tea Pigs, Pukka – they were all at it. Is it because tea can be dispensed in a relatively cheap sachet of one and it inherently contains so little calories? That might make sense, but then weigh it up against the copious quantities of smoothie flavour jelly beans, Ferrer Rocher and Elizabeth Shaw choccies that I also managed to collect at the shows. Not that I’m complaining mind you…

The smiley ice-cream man
Anyone who spent any time at Somerset House will surely have encountered the sweetest organic ice-cream vendor from Laverstoke Park Farm. I’m guessing that plenty of people must have sampled his wares because there was only ever one flavour left when I passed by: liquorice. Shouldn’t work, but so did. Try it, honestly, it was the best thing ever.

LFW SS2011 Laverstoke Farm ice cream

The Phoenix Magazine girls
How many times were you offered this new magazine? It seems like it was thrust into my face every time I went to a show. Because we really need another fashion magazine. Oh yes. That’s what the world is really missing right now. Needless to say I haven’t had a moment to look at it. Has anyone else? Information overload!

LFW SS2011

My Palladium Boots
I was sent a pair of Palladiums a few months ago but I didn’t wear them for ages because I thought they were a bit ugly. But as the weather has got colder and I’ve realised I can’t wear my plastic Melissas through the winter I’ve come to realise that I actually like them quite a lot. Not for me high heels, I’m afraid I need sensible shoes for the shows and whilst my Palladiums might not be the most beautiful footwear in the world they carried me through LFW something fab. Thanks Palladium!

LFW SS2011-Palladium Boots

Great weather
Wow! The weather was gorgeous and as any seasoned fashionista will tell you good weather is a real rarity for the September shows when it usually rains like hell. What a fantastic bonus, especially for cyclists like myself.

LFW SS2011 Menswear Omar Kashoura
LFW SS2011 Menswear Jonno Ovans
A Garden Party atmosphere on menswear day.

Getting between the shows on a bike
Surely the only way to do it: totally carbon efficient, fast and healthy. I don’t understand why more people don’t cycle, but at least I persuaded some of my team to join me, and it was great to cycle around London with them like a latter day Red Hand Gang.

The Gimp Lady
Making an appearance in various latex outfits and a blow up wig, as she did last season. But who is beneath? That’s what I’d like to know…

Charlie le Mindu SS2011 Gimp Lady

Disco ball mannequin at On/Off
…taking over from the papercut and deer sculpture of last season.

LFW-onoff-JOCHEUNG disco mannequin
Illustration by Jo Cheung.

Vitamin bloody water – every bloody where.
I’ve drunk so much of this disgusting sugary Coca-Cola product that I think I may even be a convert. Ugh. And to think my favourite kiwi and strawberry combo owes it’s bright pink colour to the colouring provided by purple sweet potato and purple carrot. Utter madness.

LFW SS2011-Vitamin water

Models falling off their shoes.
Everywhere! All the time. On every catwalk. Ridiculous! Your shoes are too high designers: spare a thought for your poor clothes’ horses.

Holly Fulton SS2011 slip up
A model kicks off her shoes at Holly Fulton. She was just one of many who stumbled.

Hanging out with Tatty Devine.
They always cheer me up when I visit the static stands to view next season’s collections. This time I joined them for an end of fashion week party at their Covent Garden shop and then we all went for paella. It was mostest fun.

LFW SS2011 Louise Harries and Harriet Vine
Louise Harries of Prick Your Finger and Harriet Vine of Tatty Devine model the latest collection.

Gorgeous young girls with big hair and pink lips.
Pink lips are the best. If only I looked like this model on her way out of the Paul Costelloe show… sigh.

LFW SS2011-model

Lots of big rings.
I lost track of the amount of shows that featured big finger adornments: time for me to dig out all those silver rings I’ve hidden in drawers. Pile em on, it’s an easy way to update your look.

David Koma SS2011 Ring Mawi
Mawi for David Koma.

Masha Ma SS2011 rings
Masha Ma.

KTZ SS2011 rings
KTZ.

Men in big statement jewellery
Dangly feather earrings, vast chunky necklaces… you name it and the men were wearing it. In spades.

Earring-Menswear-LFW-S-S-2011-Antonia-Parker
Illustration by Antonia Parker.

My ability to get into shows without queuing.
This year my brazen blagging knew no bounds so even when ticketless I managed to sit front row at almost every show. After all it’s the only way to get decent shots if you’re not in the photographer’s pit (and we don’t want the same pics as everyone else). Over ten years in the business means I know who and how to hustle.

LFW SS2011-queue
See this? I don’t do it.

Performances, presentations, shows.
There’s a lot of muddle about what all these actually are so quite often what one presumes is a rolling presentation actually occurs at a specific time not known to the audience. In this way I missed quite a few. Clearly there needs to be more common parlance about what a performance or presentation means.

Babies at the shows.
Eek! Not sure what I think of this! The music can get pretty damn loud you know, and then there are the naked ladies to consider: I wouldn’t mind if they looked anything like what a real woman looks like…

LFW SS2011-baby

Fashion illustration is HOT.
Thanks in no small part, I’m sure, to the wonderful contributions on this very website. Suddenly everyone is running illustration as part of their fashion blog posts, including Fashion Scout – who had a team of illustrators live sketching at the shows. Bodes well for my upcoming book, Amelia’s Compendium of Fashion Illustration.

My fabulous team.
You’ve all been beyond brilliant. Sniff. Here’s just a few of them:

LFW SS2011-Matt Bramford
Matt Bramford: my utterly brilliant fashion editor.

LFW SS2011-Satu Fox and Sally Mumby-Croft
Satu Fox, Sally Mumby-Croft and an Orla Kiely cut out. Guess which is which.

LFW SS2011-Naomi Law and Aniela Murphy
Illustrators Naomi Law and Aniela Murphy.

Written by Amelia Gregory on Friday October 1st, 2010 7:50 pm

Categories ,Amelia’s Compendium of Fashion Illustration, ,Aniela Murphy, ,Antonia Parker, ,Elizabeth Shaw, ,Fashion Scout, ,Ferrer Rocher, ,Gimp Lady, ,Holly Fulton, ,Jelly Belly, ,Jo Cheung, ,lfw, ,London Fashion Week, ,Masha Ma, ,Mawi. David Koma, ,Naomi Law, ,Paul Costelloe, ,Phoenix Magazine, ,Prick your Finger, ,Pure Teas, ,Qi Teas, ,Red Hand Gang, ,rings, ,Sally Mumby-Croft, ,Somerset House, ,Tatty Devine, ,Tea Pigs, ,Vitamin Water

Amelia’s Magazine | London Fashion Week S/S 2011: What’s Hot… and What’s Not.

jenny robins – blog slam – circus – toast and biscuit – thewedordeadwager sketch at the rag factory male dating humour
LFW SS2011-photo by Amelia Gregory
All photography by Amelia Gregory.

LFW SS2011 Laverstoke Farm ice cream

LFW SS2011

LFW SS2011-Palladium Boots

LFW SS2011 Menswear Omar Kashoura
LFW SS2011 Menswear Jonno Ovans
A Garden Party atmosphere on menswear day.

The Gimp Lady
Making an appearance in various latex outfits and a blow up wig, as she did last season. But who is beneath? That’s what I’d like to know…

Charlie le Mindu SS2011 Gimp Lady

Disco ball mannequin at On/Off
…taking over from the papercut and deer sculpture of last season.

LFW-onoff-JOCHEUNG disco mannequin
Illustration by Jo Cheung.

LFW SS2011-Vitamin water

Models falling off their shoes.
Everywhere! All the time. On every catwalk. Ridiculous! Your shoes are too high designers: spare a thought for your poor clothes’ horses.

Holly Fulton SS2011 slip up
A model kicks off her shoes at Holly Fulton. She was just one of many who stumbled.

LFW SS2011 Louise Harries and Harriet Vine
Louise Harries of Prick Your Finger and Harriet Vine of Tatty Devine model the latest collection.

Gorgeous young girls with big hair and pink lips.
Pink lips are the best. If only I looked like this model on her way out of the Paul Costelloe show… sigh.

LFW SS2011-model

David Koma SS2011 Ring Mawi
Mawi for David Koma.

Masha Ma SS2011 rings
Masha Ma.

KTZ SS2011 rings
KTZ.

Men in big statement jewellery
Dangly feather earrings, vast chunky necklaces… you name it and the men were wearing it. In spades.

Earring-Menswear-LFW-S-S-2011-Antonia-Parker
Illustration by Antonia Parker.

LFW SS2011-queue
See this? I don’t do it.

LFW SS2011-baby

My fabulous team.
You’ve all been beyond brilliant. Sniff. Here’s just a few of them:

LFW SS2011-Matt Bramford
Matt Bramford: my utterly brilliant fashion editor.

LFW SS2011-Satu Fox and Sally Mumby-Croft
Satu Fox, Sally Mumby-Croft and an Orla Kiely cut out. Guess which is which.

LFW SS2011-Naomi Law and Aniela Murphy
Illustrators Naomi Law and Aniela Murphy.

Written by Amelia Gregory on Friday October 1st, 2010 7:50 pm

Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Spijkers en Spijkers

Spijkers en Spijkers S/S 2012 by Emmi Ojala

Spijkers en Spijkers S/S 2012 by Emmi Ojala

I’d found myself in unfamiliar surroundings for this show, drug over in West London at the Show Space on Grosvenor Place. The queue outside had been pleasantly short, and I was ushered smoothly into the building, with none of the usual cattle herding behaviour experienced at other London Fashion Week shows. The room was grand, with decorative white walls and high ceilings. I read from the press release that the inspiration was the Middle Eastern tale One Thousand and One Nights – a story about a young girl who uses her wits to enchant and win over a King. I wasn’t overly familiar with the Spijkers sister’s work, but had previously read Sally Mumby-Croft’s review of the sisters’ S/S 2011 collection, and was excited at the prospect of some opulent Persian splendour on a Saturday afternoon.

Spijkers en Spijkers photo by Tim Adey
Photography by Tim Adey.

The show was running late, by about 10 minutes, and I got chatting to the girl next to me, an illustrator from Access Fashion, about the rush to get over here from Somerset House from the Ashish show. This down time was ruined by a chirpy PR girl, who perhaps could sense I was slightly hungover, and playing on this vulnerable state, kept asking me and my new illustrator friend to shuffle up and down on the very wobbly bench. She tried joking and laughing, but on the 4th move, with no new people to be seated, it wasn’t amusing anymore, and I scared her off with a look, and a fierce rattle of the bag of popcorn I’d found in my goody bag.

Spijkers en Spijkers S/S 2012 by Miranda Williams

All photography by Miranda Williams

The lights finally dimmed, and I was surprised. The first look was an ivory and black star panelled dress with a fringed hem. It was completed with a wide head scarf, which also had the heavy black fringe. This look emanted the style of early 1930′s flappers, not a Persian Queen as I had expected. Nevermind I thought, as the next look pleased – a tapered leg pantsuit with an oversized silk satin blazer, again in ivory and black, which had a sort of Katherine Hepburn feel to it.

Spijkers en Spijkers S/S 2012 by Gilly Rochester

As the looks continued, I understood that the collection was deeply dress focussed, and alot of the intricately panelled dresses looked like sophisticated underwear to me. With an added tease, cheeky hemlines were split right up to the top of the thigh, and the silk twill and satins of the bias cut dresses clung neatly to the models bodies. This was definitely more F. Scott Fitzgerald, but it didn’t matter, I was enchanted by the glamorous flapper girls walking before me. The models were also completely gorgeous – and the romantic styling helped. Their hair was tousled, and they were made up with a slick of lime green eye shadow, glossy bronze cheeks and neutral lips. Perfect.

Spijkers en Spijkers S/S 2012 by Miranda Williams

One of the first looks that I really liked was a beautiful deep cut satin dress, in cream and ivory. It was made up from diamond shaped panels, and didn’t cling to the body, but held against it, showing chest, but just the right amount. This was also featured with one of the heavily tasselled headscarves, which became a real addition to each outfit. Creatively draped around the models head’s, I did understand some reference to the exotic Middle East with these accessories. Pop colours were also brought in as the palette developed on from the base of black and ivory, with the addition of coral and lime green.

Spijkers en Spijkers photo by Tim Adey

Star panels emblazoned the front and sides of most of the looks, in neutral creams and ivories, but also in black and silver. I much preferred this detail when the star panels were in the muted colours, across some of the simpler silk dresses. As I felt there was a sort of costume effect in some of the looks that had the bright silver stars splashed across the chest. The metal chains on the back of the dresses were a clever and fine detail, acting as both the construction and decoration of each. This reminded me of the costumes of exotic dancers, with gold chains wound around their bodies and limbs, attached to their clothes, and doubling as ornamentation.

Spijkers en Spijkers photo by Tim Adey

Vibrant colours filtered through towards the end of the run – pink, and also a colour that seems to be very on trend for S/S 2012, purple. One of the signature looks was a purple silk satin dress, with thin straps, lime green panels and a pink star on the right side of the chest. Worlds apart from my usual choice of black, and more black, I thought it was simple, super pretty, but importantly, fun. Another detail that the Spijkers sisters used in excess, and which has appeared across other catwalks this year was tassels. They were heavy and stitched onto to the bottom of hems. They added great movement to the dresses, with the addition of one or two splits running up the front legs of dresses, helping the fringing to sway with every pace.

Spijkers en Spijkers S/S 2012 by Miranda Williams

What I felt really worked in the collection were the loose fitting jumpsuits with crinkle silk satin blazers, and simple cut dresses with fewer panels. These were classic shapes that were sleek and sophisticated. I wasn’t so keen on the last couple of looks – which introduced brown linen, in a blazer jacket and a pair of ¾ length trousers. It felt out of place in the collection – was it a last minute addition for another fabric or element? Bit of an odd choice I thought. However, the shoes were great – high platforms with black or metallic star panels that screamed 1970′s glamour!

Although the show had lacked the richness of the Persian fairy tale I had read about, it certainly brought a taste of the compelling and hedonistic 1930’s. Since the labels conception in 2000, the sisters have become known for their use of graphic prints and colours, and they certainly delivered on that level. They have not strayed from their ‘signature’ style – which worked in its own charming way. Truus and Riet Spijkers showed a S/S 2012 collection that was feminine and fluid, wearable and well designed pieces, which looked as beautiful from the back as it did from the front.

Written by Miranda Williams on Tuesday September 20th, 2011 12:35 pm

Categories ,1930s, ,1970s, ,Emmi Ojala, ,fashion, ,Gilly Rochester, ,Glamour, ,Grosvenor Place, ,Katherine Hepburn, ,lfw, ,London Fashion Week, ,London Fashion Week S/S 2012, ,One Thousand and One Nights, ,Persian, ,Persian Queen, ,Popcorn, ,S/S 2012, ,Sally Mumby-Croft, ,Show Space, ,Somerset House, ,Spijkers en Spijkers, ,The Show Space

Amelia’s Magazine | Pre-London Fashion Week S/S 2011 Interview: Ziad Ghanem

JASPER GARVIDA lfw s/s 2011 Rachel Clare Price
A selection of Jessie’s corsarges

Walking around Broadway Market, approved one cold wintery Saturday, feeling hungry and looking at all the delicious food I could ill afford, (oh the joys of being a student!). I came across a treasure trove of a stall run by the delightful Jessie and Buddug and instantly fell in love with their charming designs. Since this initial visit, I have returned time and time again to buy unique necklaces as birthday (incredibly successful!) gifts.

So you can imagine my delight coming across their Columbia Road shop, originally located in the upstairs of one the picturesque houses adorning the street. Jessie and Buddug have recently expanded ‘downstairs’, and in celebration of their success, I had the pleasure of interviewing the talented textile artists for Amelia’s Magazine.

I first noticed your designs at Broadway Market on Saturday, was this your first venture?

Buddug: We started broadway market after we graduated 5 years ago and got the shop 2 years ago.

What was your experience of the market? Do you still have a stall there?

Buddug: We still have a stall at Broadway Market, we feel it has grown so much since we started. It’s been cold and wet at times but it’s been great learning what people buy. Its been great socially too, speaking with our friends and customers.

As friends from home, what has it been like to work together?

Buddug: We met when we were on art foundation and always said we we would like to collaborate together in the future. We find it easier that we both do our own work and then display together because we both have different working hours.

You previously occupied an upstairs room in Columbia Road, how did the opportunity to expand into a downstairs space arise?

Buddug: We got offered a place at ground level by Bev who had the shop before us, she made handmade clothes and toys etc, she offered it to us before anyone else which was an honour and we jumped at the chance.

What was your experience of the Goldsmiths Textiles course (which sadly no longer exists?)

Jessie: I was at Goldsmiths, at a very tricky time, the course was going through a real denial period, as they were finding the debate about what to do with textiles and fine art really hard. Which made it hard for us as students and as someone who is passionate about cloth and textiles and most of all making, I found the course incredibly frustrating!

But I had very supportive parents; Primmy Chorley and I am close friends with Audrey Walker and Eirian and Denys Short. So I always had a huge back up behind me in the textile world. I did feel incredibly pulled between the two worlds though and I was lucky enough to come out fighting, determined to set up my own business and to carry on my making process.

Overall I am pleased I went through the Goldsmiths experience, as the academic and written side of it, (for me) has helped me today to think the way I do and pushed me in other ways.

What course did you study Buddug and what was your experiences?

I studied at London Guildhall (now London Metropolitan University)in Jewellery, silversmithing and other crafts. I enjoyed the experimenting with different materials. It was very much a hands on course.

Buddug’s designs for Urban Outfitters.

Buddug, what was it like to work for Urban Outfitters?

It was quite difficult working for URBAN OUTFITTERS, due to the ammount i had to make! and I waited a long time for payment!

Jessie, what role does recycling play in your practice? Why is it important to you and how did you first become interested in using recycled materials?

Recycled materials has and I believe will always be a huge part of my work, I like it that it creates a timeless feeling, I guess it started from the scrap books I made with my Mum when I was young and colleting and using found and recycled items for me creates a story, old clothes and books hold some kind of story and depth to them.

A detail from Jessie’s seating plan for her Wedding Collection.

And how did the wedding collection develop?

I was asked to create a whole wedding theme for a lady who used to buy my cards at Broadway Market, I handmade her invites, table names and a seating plan and really from here I got other customers and then early this year I designed some invites which were slightly quicker to make and I did a huge wedding show in London and its kind of gone from here I have made for several weddings this summer and I am already making for 2011-2012 weddings.

An enamel plate by Buddug.

Buddug, how did you start designing the Home Ornaments collection?

I’ve always been interested in developing the enamel process since university and always liked/inspired by objects mother and grandmother had in the kitchen, I invested in a bigger kiln, which was a challenge to make bigger things!

What materials do you like working with and why?

Jessie: Fabrics, worn clothing, paper they all hold such a good quality and are embedded with an excisting narrative

Designs by Jessie Chorley

Buddug: I’ve always tried to use things that are around me and be inventive with the materials i already have/been thrown away and in old/secound hand things, there’s such a quality in materials and making process and a added charm in old things and it’s actually nicer to use…

Broach by Buddug

I like to combine different materials metal and fabric. fabric and paper or wood…but i mostly enjoy metal and enamel. I really like the solidness of metal and the duribility of it as a raw material.

What was it like to make the stage set for: the launch of Laura Dockrill’s book Ugly Shy Girl and how did you became involved in this?

Buddug: I can’t remember were we met Laura Dockrill, but she asked if we were interested in doing the stage for her. It was quite a challenge because we didn’t know the size of the stage but the best thing was Jessie’s bunting it was really big and yellow!

Have you made or participated in Set Design before? Is this something you will continue to participate in?

Jessie: Yes for me it is a real passion, I love to create things and watch others create a story with the objects I make. A lot of quite random masks and house like boxes which I display in the shop are often borrowed for shoots, and I always like the outcome. For me styling our shop is like creating a stage set I love making it all different each week and then watching the customers come in and their response to it!

My degree show was also about staging and the response of the audience and the creator, for this I made a huge seven foot book which you could walk inside.

Buddug: I haven’t done much set design before, but wold love to, it’s been quite good having practice doing the shop window.

What are the inspirations for your collections?

Jessie: Story telling, people places and preserving memories creating beautiful things from lost or found objects.

Buddug My inspiration for my work is a collection of things I find and come across, I usually collect and draw in sketch books. Nature, a sense of home comforts and memories/naustalgic sences. It’a quite a mish mash of ideas and influencs.

Design by Buddug

We have a few pieces in the shop were we bring things together such as the fabric bows with enamel buttons, but we find it easier to make our own work and display together.

Do you both run and participate in the organisation of the workshops?

Jessie: No I run the workshops I have done for quite a few years now. For me I love to go out and meet other people and hopefully change the way they see the world through making, I have worked with a lot of charities, which is both frustrating and very rewarding at the same time, I am always touched by certain characters which can feed directly in to my work.

The whole workshop trend has gone huge now though and people expect so much more, and have so much more since places like hobby craft became so big and shows like The Knit and Stitch.

I am currently organising my Christmas workshops which will be in November in North London. I will have some day workshops creating simple gift wrap and gifts.

Jess Chorley

Buddug Jess does a lot of workshops, I’m yet to start, but it might be something I would be interested in doing when I’m a bit older.

What’s next for Jess Chorley and Buddug?

Buddug: At the moment we are preparing for christmas, thinking of making stocking filler ideas and promoting our little shop. Nothing too big, taking up projects as they come along…

To find out more please visit: www.jessiechorley.com, www.buddug.com and www.jandbtheshop.com

We started broadway market after we graduated 5 years ago and got a shop 2 years ago.

We still have a stall at Broadway Market, medical we feel it has grown so much since we started. It’s been cold and wet at times but it’s been great learning what people buy. Its been great socially too, prescription speaking with our friends and customers.

We got offered a place at ground level by Bev who had the shop before us, she made hand made clothes and toys etc, she offered it to us before anyone else which was an honour and we jumped at the chance.

We met when we were on art foundation and always said we we wold like to collaborate together in he future.We find it easier that we both do our own work and then display together because we both have different working hours.

What was your experience of the Goldsmiths Textiles course (which sadly no longer exists?)

Jessie
I was at Goldsmiths at a very tricky time the course was going through a real denial period they were finding the whole debate to do with textiles and fine art very hard which made it hard for us a students so as someone who is passionate about cloth and textiles and most of all making I found the course incredibly frustrating! But I had very supportive parents Primmy Chorley and I am close friend with Audrey walker and Eirian and Denys Short so I always had a huge back up behind me in the textile world. I did feel incredibly pulled between the two words though and I was luck enough to come out fighting and to be determined to set up my own business and to carry on my making process. But overall I am please I went through the Goldsmiths experience as the academic and written side of it for me has helped me today to think the way I do and pushed me in other ways.

BUDDUG
I studied at London Guildhall (now London Metropolitan University) Jewellery, silversmithing and other crafts. I enjoyed the experimenting in different materials, it was very much a hands on course.

BUDDUG

it was quite difficult working for URBAN OUTFITTERS, due to the ammount i had to make! and I waited a long time for payment!

What role does recycling play in your practice? Why is it important to you and how did you first become interested in using recycled materials?

Jessie

Recycled materials has and I believe will always be a huge part of my work I like it that it creates a timeless feeling, I guess it started from the scrap books I made with my Mum when I was young and colleting and using found and recycled items for me creates a story, old clothes and books hold some kind of story and depth to them.
How did the wedding collection develop?
I was asked to create a whole wedding theme for a lady who used to buy y cards at Broadway Market, I hand made her invites, table names and a seating plan and really from here I got other customers and then early this year I designed some invites which were slightly quicker to make and I did a huge wedding show in London and its kind of gone from here I have made for several weddings this summer and I am already making for 2011-2012 weddings.

BUDDUG
(home ornaments)
I’ve always been interested in developing the enamel process since university and always liked/inspired by objects mother and grandmother had in the kitchen, i invested in a bigger kiln, and was a challenge to make bigger things!

What materials do you like working with and why?
Jessie
Fabrics, worn clothing, paper they all hold such a good quality and are embedded with an excisting narrative

BUDDUG
I’ve always tried to use things that are around me and be inventive with the materials i already have/been thrown away and in old/secound hand things, there’s such a quality in materials and making process and a added charm in old things and it’s actually nicer to use…

I like to combine different materials metal and fabric. fabric and paper or wood…but i mostyl enjoy metal and enamel. i really like the solidness of metal and the duribility of it as a raw material.

BUDDUG
I can’t remmeber were we met Laura Dokrill, but she asked if we were interested in doing the stage.It was quite a challenge because we didn’t know the size of the stage but the best thing was jessie’s bunting it was really big and yellow!

Have you made or participated in Set design before? Is this something you will continue to participate in?

Jessie:

Yes for me it is a real passion I love to create things and watch others create a story with the objects I make a lot of quite randon masks and house like boxes which I display in the shop and people ofter borrow them for shoots, and I always like the outcome. For me styling our shop is like creating a stage set I love making it all different each week and then watching the customers come in and there responsis to it!
My degree show was also about staging and the response of the audience and the creator, for this a made a huge seven foot book which you could walk inside of.

BUDDUG
I haven’t done much set design before, but wold love to, it’s been quite good having practice doing the shop window.

What are the inspirations for your collections?

Jessie:
Story telling, people places and preserving memories creating beautiful things from lost or found objects.

BUDDUG
My inspiration for my work is a collection of things I find and come across, i usually collect and draw in sketch books. Nature, a sense of home comforts and memories/naustalgic sences. It’a quite a mish mash of ideas and influencs.

We have a few pieces in the shop were we bring things together such as the fabric bows with enamel buttons, but we find it easier to make our own work and display together.

Do you both run and participate in the organisation of the workshops?

Jessie
No I run the workshops I have done for quite a few years now for me I love to go out and meet other people and to hopefully change the way they see the world through making, I have worked in a lot of charities which is both frustrating and very rewarding at the same time, I always touched by certain characters which can feed directly in to my work.
The whole workshop trend has gone huge now though and people expect so much more, and have so much more since places like hobby craft got so big and shows like the Knit and Stitch.

I am currently organising my Christmas workshops which will be in Nov in North London I will have some day workshops creating simple gift wrap and gifts.

BUDDUG
Jess does a lot of workshops, I’m yet to start, but might be something I would be interested in doing when I’m a bit older.

Immodesty Blaize wearing Ziad Ghanem AW 2010, buy illustrated by Krister Selin

At Fashion Week in February, flailing after a weekend of shows and struggling to even stand up, I was dragged to a late evening show by previous fashion editor Sally Mumby Croft. ‘You’ll LOVE it!’ she exclaimed. I couldn’t say no, could I? So off we popped to see the Autumn/Winter 2010 collection of one Ziad Ghanem.

Wow. I had never seen anything like it in my life, and it was, by and large, the highlight of my fashion week (and my year, probs.) Ziad Ghanem is a trained couturier, which smacks you in the face when you first see his clothes. It almost feels a little disrespectful to call Ghanem’s creation ‘clothes’ – such a meaningless word to describe these works of art.

Photography by Matt Bramford

I couldn’t wait to find out more about the designer. The name sounded so familiar; it turned out I’d bought a Ziad Ghanem t-shirt a few years ago in a sample sale. I was delirious!

The show featured the most beautiful creations, modelled by tattooed models of all shapes and sizes, with a breathtaking finale featuring Immodesty Blaize. The show was a lesson in how to undress, and Immodesty certainly did – with the final show piece being three dresses, each removed to reveal the next. The audience went crazy, as did I.

I’ve been waiting since February to have a chat with Ziad about his collection and what the future holds, and last week, I finally got the chance.

Ziad Ghanem, illustrated by June Chanpoomidole

Hi Ziad! What are you working on at the moment?
I am working on my new collection for spring/summer 2011. I am making a film for it…

What is it about fashion and making beautiful clothes that keeps you hooked?
I love to dress people. I am ever so grateful to my models and to my supportive clients. They are my muses. I also love the fact that I can do what ever I wish and I don’t have to listen to any fashion ‘rules’ that the industry forces on other designers.

You work both in ready-to-wear and couture. Do you have a preference?
I would rather work in couture. I understand it more.

Ziad Ghanem couture, illustrated by Joana Faria

What techniques do you use? Are the array of embellishments and features handmade?
Most features are hand made, especially in couture – we always use traditional methods.I love printing and beading. I am a trained couturier.

Your astounding AW2010 show was the highlight of my fashion week, by far. Can you tell us a bit about it? Were you pleased with the outcome?
Thank you, I was very pleased – I am so happy with all the positive feedback. I want everybody to know that you made my day.

The finalé featuring Immodesty Blaize and the 3-piece ensemble was incredible. How did this collaboration come about?
My collection was about the art of dressing and undressing. On catwalks, particularly in the fashion shows of the 1950s, models really worked the outfits. I wanted a burlesque artist to undress – they do it best. I didn’t want it to be about nudity – it is about the art of undressing. I met Immodesty and asked her to model in my show and I am very grateful that she did. She is an amazing performer and artist.

Photography by Matt Bramford

The models you used were incredibly diverse, as if each piece had been tailored to an individual. We also see recurring models, like Jme and Polly Fey, throughout your work. What’s the story behind your models?
I love working ‘in family’ I only use models that understand and read my work. My models are artists that want to wear and perform in my clothes. I let the model be themselves and I ask and take their opinion into consideration.
My shows are a platform and a chance for people I love to show off. I love helping and I love getting help back. It is the secret of a healthy society.

Going back to your SS2010 collection, there was a strong sustainability ethic with recycled couture and a reaction to consumerism. Are these issues important to you?
Yes. I respect the world and the planet I live in. I am anti-fur and anti-cruelty to people and animals. I want happy people to work with my clothes so I am anti-sweatshop labour. But, I am realistic in knowing where to draw the ethical line.

Your inspiration over the past few seasons has been cited as anything from Victoriana to the Middle East. Can you talk us through where your inspiration comes from, and how it translates to the catwalk?
I am inspired by many cultures and I love music and films.I want be a film maker when I grow up. At the moment I’m still a baby playing dressing up… hahahahaha!

Ziad Ghanem AW 2010, illustrated by Naomi Law

We’ve recently had a chat with Marnie Hollande about the film on which she collaborated with you. Where you happy with the result? What was the aim of this film?
Marnie is a wonderful artist and a lovely person. I am more than happy and thankful for her work and talent. There will be more and more to come. She is a lady… and I want apologise about the dirty talk in my studio. I blame Aiden Connor, my assistant…!

What can we expect from Ziad Ghanem SS2011?
Romance and a carnival of print and a performance. I love it when my clothes perform and my models always do a great job.
Plenty of organic silk. A very simple silhouette

What does the future hold for Ziad Ghanem?
The present is wonderful I can hear and feel my self breathing and nothing can replace that. The future is a bonus and I welcome it with open arms.

Ziad Ghanem AW 2010, illuustrated by Amy Martino

To see our review of Ziad’s autumn/winter show, click here, and to see more photographs, click here.

Written by Matt Bramford on Monday August 23rd, 2010 2:25 pm

Categories ,1950s, ,A/W 2010, ,Aiden Connor, ,Amy Martino, ,Burlesque, ,couture, ,fashion, ,film, ,Immodesty Blaize, ,Jme, ,Joana Faria, ,June Chanpoomidole, ,Krister Selin, ,London Fashion Week, ,Marnie Hollande, ,Middle East, ,Naomi Law, ,Nudity, ,performance, ,Polly Fey, ,print, ,Ready-to-wear, ,Romance, ,Sally Mumby-Croft, ,Undressing, ,Victoriana, ,Ziad Ghanem

Amelia’s Magazine | An interview with couturier Ziad Ghanem

Immodesty Blaize wearing Ziad Ghanem AW 2010, illustrated by Krister Selin

Photography by Matt Bramford

I couldn’t wait to find out more about the designer. The name sounded so familiar; it turned out I’d bought a Ziad Ghanem t-shirt a few years ago in a sample sale. I was delirious!

I’ve been waiting since February to have a chat with Ziad about his collection and what the future holds, and last week, I finally got the chance.

Ziad Ghanem, illustrated by June Chanpoomidole

Hi Ziad! What are you working on at the moment?
I am working on my new collection for spring/summer 2011. I am making a film for it…

You work both in ready-to-wear and couture. Do you have a preference?
I would rather work in couture. I understand it more.

Ziad Ghanem couture, illustrated by Joana Faria

Photography by Matt Bramford

Ziad Ghanem AW 2010, illustrated by Naomi Law

What does the future hold for Ziad Ghanem?
The present is wonderful I can hear and feel my self breathing and nothing can replace that. The future is a bonus and I welcome it with open arms.

Ziad Ghanem AW 2010, illuustrated by Amy Martino

To see our review of Ziad’s autumn/winter show, click here, and to see more photographs, click here.

Written by Matt Bramford on Monday August 23rd, 2010 2:25 pm

Amelia’s Magazine | Amelia’s ACOFI Launch Party by Hels

123 Bethnal Green Road, decease illustrated by Naomi Law

The build up for the Amelia’s Compendium of Fashion Illustration launch party was immense. The #ACOFI hashtag on Twitter went mental in the run up, viagra buy with people planning their outfits and talking about meeting for the first time. The invites had all been sent, help Amelia’s kitchen was impossible to manoeuvre due to boxes piled high with goodies and 123 Bethnal Green Road‘s Scout Hut had been transformed.

Jenny Robins applies her make up surrounded by ACOFI goodie bags…

The day started as I rushed to Amelia’s with 8 potential outfits and a tote bag full of press releases. When I arrived, Amelia looking ever so slightly drained (having had about 4 minutes sleep in the previous week) and after responding to yet more emails asking for an invitation and picking nail varnish (for Amelia, not me) Ross from 123BGR arrived with his van. Contributor Sally turned up laden with her camera equipment, and we loaded everything into the van – box after box of Dr.Hauschka goodies, Moleskine notebooks, Tatty Devine necklaces, postcards, Amelia’s Magazine Issue 10, sh*tloads of ACOFI books and Amelia’s Nina Dolcetti shoes.

The atmosphere at 123 Bethnal Green Road was a a bit of a farce, as we unloaded the van, took everything downstairs and started to unpack it all. It was a bit intense, but I just couldn’t stop giggling. How were we going to make up 200 goodie bags each containing nearly 20 items? Well, we got on with it with a bit of shouting and my fair share of sweating.

Holly from Make Lemonade, illustrated by Joana Faria

As the final Pukka tea sachet went into the last bag and Lily Vanilli arrived with her mindblowing ACOFI-inspired cake, the first few guests arrived including a very prompt Holly from Make Lemonade. I legged it to the top of the 123 building to get changed, and by the time I returned the tea party was in full swing. It was bloody packed, with illustrators creating images of guests and tea being served in gorgeous miss-matched vintage teacups and Felicity from Dr.Hauschka giving hand massages. Those who were lucky enough to enjoy her skillz came away from her table with the appearance of taking mild narcotics and I was desperate to get in there myself but just didn’t get the chance.

Rosie and Harriet of Tatty Devine, illustrated by Zarina Liew

Joana Faria sketches a guest

Amazing treats by Lily Vanilli

In between flirting with journalists and taking photographs I enjoyed a green spiced-chai Pukka tea with cinnamon and star anise and my fair share of Lily Vanilli’s delicious pearlescent scones. Thank God there wasn’t a bloody cupcake in sight. I hate cupcakes at these events; they’re impossible to eat and on more than one occasion I’ve ended up wearing more around my mouth than I’ve actually eaten: not a good luck when schmoozing peers.

Adorngirl, illustrated by Abby Wright

The gorgeous Gabby Young and Stephen, illustrated by Zarina Liew

Susie Bubble’s covetable Dr. Martens

Amelia with stylist Rebekah Roy

Ellen Grace Jones from The Real Runway

Felicity from Dr. Hauschka gives a guest a relaxing massage

It’s Amelia’s parents!

Such a diverse range of guests came through the door, from high-end fashion glossies to Amelia’s parents (not that they’re not high-end, of course, but you know what I mean!)

The daytime bit was over in a flash, and it was a mad dash to throw all the vintage teacups into the sink before heading upstairs, where yet more guests arrived and the cavernous Scout Hut soon became packed wall-to-wall with illustrators, their guests, the fashion press and a host of other creative types.

Amelia’s amazing Nina Dolcetti shoes

The fabulous 6 Day Riot then blew the crowds away with their folky fun, before the Pipettes DJed to much dancing while I took photographs, met even more of the fabulous illustrators who have worked so hard over the last year to make Amelia’s Magazine what it is, and consumed my fair share of Vodka O and Adnams beers. My thanks goes to the Pipettes and later Will from the Mystery Jets (who played us out surrounded by honeys) for playing Single Ladies twice. My only explanation for my ludicrous shape-throwing is that I was so relieved to finally be on the dancefloor that I, y’know, sort of let go a bit. I also blame the sugar rush from Lily Vanilli’s incredible ACOFI-inspired cake.

Were these hired dancers…?!

Amelia with Nicola from Beautiful Soul

I could go on, but here are my top ten ACOFI moments (in no particular order)

1. When Amelia’s Joanna Cave earrings turned up at the 11th hour. Stunning!

2. When Amelia acquired tourettes and told me, as I descended the 123 stairs, that I looked ‘dreadful…erm, DREADFUL? I mean amazeballs!’ (Not verbatim, but you get the picture…)

3. When I told Gareth A Hopkins that somebody had come to the daytime do with a toilet seat on their head and he believed me.

4. When fashion photographer Liz Johnson-Artur took a picture of stylist Sabrina Bangladesh and the flash was so bright that her squeals could be heard in Walthamstow.

5. When I threw myself at the wall trying to be Beyoncé for Maggie Angus‘ benefit…

6. The great cover samples disappearance mystery, which later turned up in Amelia’s Nina Dolcetti shoebox. Well, this wasn’t exactly a favourite moment, but I wanted to mention it anyway…

7. Eating the cake.

8. Having my first taste of Vodka O and ginger ale, and then watching Nick from Forward PR (who was my only rival in the dance stakes) giving out ‘New York’ measures (no wonder I could barely stand up and everybody reported dreadful hangovers on Twitter the next day…)

9. When 6 Day Riot asked the crowd to join them on a chorus singing ‘Yadda yadda ya’ and lead singer Tamara said ‘I know we’re in East London, but come on!”

Sally Mumby-Croft filming

10. Suggesting that contributor Sally’s video edit would turn out like that scene in Love Actually where he films the wedding (more of a dream than a suggestion…)

Lovely guests… (from top) Illustrator Aniela Murphy and her boy, Jo Cheung and June Chanpoomidole, fashion designer Lira Leirner and Illustrator Faye West with the foxy red Chanel lips.

Finally, of course – so I guess number 11 – meeting all the wonderful illustrators and fashion types who I’ve got to know so well on Twitter and seeing them in the flesh! Glorious!

Can we do it again, please?

Read Amelia’s review of the launch party here, check out the in-store Eco Pop Up shop at 123 Bethnal Green Road (as part of the ACOFI fun) here, watch the illustrators talk all about the work on our YouTube channel AND buy the book here!

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Bright city lights of London and 123 Bethnal Green Road by Avril Kelly

Vrooosh and we’re in. After a National Express journey from Bristol at 4.10pm we arrived immersed in the mighty traffic of London. From twit updates, dosage I was aware that the Amelia’s Magazine London team had spent the morning working hard whilst I’d been sat at my rectangular Apple.

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The lovely Matt Bramford, find Amelia’s Fashion Editor working hard with a smile. Illustration by Gareth A Hopkins

Getting off the beloved bus, we tubed to Bethnal Green Road, missing our bikes with all our hearts after we discovered we had got off at the wrong tube stop and had to walk the length of the road. When we got to 110 -ish I put on my heels and immediately inflicted a new set speed of slow on us. Then after apparently vacantly walking past the venue, we about turned and eventually arrived at 123 Bethnal Green Road at 8pm. And there we are- in.

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Illustration of 6 Day Riot by Mina Bach

It’s buzzing and I can see the feathered headdress and hear the sound of glorious music coming from the stage. 6 Day Riot are on stage and everyone is loving it. “Drink!” Vodka O flowing, blue bottled Adnams beers in hand – mutter to Charlie, he can’t hear me, the walls are bright and the buzz is loud. But we are smirking at each other, as the swirl of this internal world is clearly alleviating our hours of bus lethargy. There are beautiful outfits from where I want to find out, and make up perfection. I’m loving the wedges, flowing skirts, vintage fabrics and beautiful piled up and flowing hair. Breathing art of their own kind, everyone I want to know and only until midnight to do it. Um, let’s CHAT. Ze atmosphere is perfect for le chat… Bonjour…

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Charlie and I by Abby Wright – This illustration was a present for our families (I know) – but now you can see us both. In art form!

I meet Jess Furseth because we are looking at each other like we know each other, but don’t. It’s like online friend dating. How could this all go minus the screen? It’s fine of course. We natter about the world then pop downstairs with my curly haired man. There we meet Hannah Bullivant and her husband. Chat, chat, banter, banter – her husband is from Jersey too. Cue lots of Jersey yabbering then Jess, Hannah and I discuss the power of the word etc. There are tea cups about the place from earlier’s tea, cake and illustration session, and a comfy Chesterfield sofa for a second of sitting. This is when I briefly meet Amelia’s Dad. It’s all in the eyes! Lovely man.

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Picture of moi by Akeela

Boosh and we’re chatting outside. Banter, banter. Then downstairs and the Lily Vanilli cake is being cut. I have a bite of Charlie’s and the white chocolate and sweet cake melts like pink heaven in my mouth. He swipes it away from my chops. Chat, chat. “Hello Amelia!” She’s wearing an amazing cape and gorgeous shoes. So nice to see her. “Fabulous PARTYY!”

ACOFI cake illustration by Danielle Shepherd

CAKE! by Danielle Shepherd. Made by Lily Vanilli.

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Illustration of Amelia, lady of the night, by Abby Wright

Chat to a couple of bloggers and see some of the splendid illustrators I speak to everyday. Everywhere I turn is enthusiasm and love for ART! Whilst Charlie is talking about his hair (apparently) to a table of chaps, I had a peek inside a goodie bag. With the purchase of ACOFI, one could have a fabulous tote bag with a Tatty Devine necklace, Dr Hauschka products, Pukka tea, a Moleskine notebook and other goodies inside. I bestowed on the goodies the necessary “ooohs” and “ahhhs” as I pulled out product after postcard after teabag. It was literally a combination of all my favourite things. Splendid!

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Contributor Sally Mumby- Croft snapping away. Illustration by Gareth A Hopkins

Squeal at Matt Bramford before spending the rest of the evening throwing shapes with Chazaroo, Hannah, her husband and the lovely Jess. C.L.A.S.S.I.C. tunes are spun out from The Pipettes and the Mystery Jets DJ. We take breaks outside and before long it all becomes a spinny blur of joy.

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Stylish people dancing, picture by Matt Bramford

The Pipettes by Avril Kelly

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Hannah Bullivant in the thrust of a move.

It would have been super to have chatted to EVERYONE, but to be honest I adored spending the evening with three fantastic new (now real-life – that’s right writers and Jersey 2) friends. That’s what it was about for me, relaxed fun and an appreciation for the creative and beautiful. I’m proud to be a part of Amelia’s Magazine and all who sail in her.

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Photo by Annie Mole, flickr