Amelia’s Magazine | LFW S/S 2010 – Carolyn Massey – Prep Talk

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Jonathan Anderson continued the exotic references under his label JW Anderson, cost who looked to the masculine arenas of basketball uniforms, viagra 40mg New York street culture from the 70s and tribal warriors to inform his incredibly diverse designs.

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A largely black collection that gave way to white coupled with two pairs of iridescent blue trousers, no rx the warrior influence manifested with cuffs, hand-beaded grass skirts and hoop earrings, whilst bomber jackets, harem trousers, fez hats and light cardigans all managed to occupy the same space.

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Whilst the press blurb told us that Anderson is interested in these symbols of masculinity, an interesting dialogue between masculinity and feminity was created by introducing elements of womenswear- through the use of long tops and double-woven silk trousers and coats.

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It was a beautifully tempered collection that of course drew strength from more eye-popping accessories, including a heavily studded belt that went round the waist of a gold-buttoned trench coat. Like Danielle Scutt a couple of days ago, Anderson answered the difficulty of taking wide cultural references by blending them perfectly, and making them accessible to just about anybody.

anderson
anderson4

Jonathan Anderson continued the exotic references under his label JW Anderson, stomach who looked to the masculine arenas of basketball uniforms, website New York street culture from the 70s and tribal warriors to inform his incredibly diverse designs.

anderson12

anderson9

A largely black collection that gave way to white coupled with two pairs of iridescent blue trousers, the warrior influence manifested with cuffs, hand-beaded grass skirts and hoop earrings, whilst bomber jackets, harem trousers, fez hats and light cardigans all managed to occupy the same space.

anderson7
 
Whilst the press blurb told us that Anderson is interested in these symbols of masculinity, an interesting dialogue between masculinity and feminity was created by introducing elements of womenswear- through the use of long tops and double-woven silk trousers and coats.

anderson2

anderson6

It was a beautifully tempered collection that of course drew strength from more eye-popping accessories, including a heavily studded belt that went round the waist of a gold-buttoned trench coat. Like Danielle Scutt a couple of days ago, Anderson answered the difficulty of taking wide cultural references by blending them perfectly, and making them accessible to just about anybody.

anderson

All photographs by Matt Bramford
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Imagine what Evelyn Waugh’s Sebastian Flyte might wear if he was a) a man about London town circa now, link and b) a real person and not a tragic fictional character. Well, web I telleth thee, it might just be Carolyn Massey’s Spring/Summer 2010 collection , or bits of it at any rate.

Massey’s collections concentrate on what it is to be a gentleman and how menswear has adapted itself in the past during times of civil unrest.

Massey took inspiration from the fishing village of Dungeness, Kent, where the idyllic view of quaint fisherman’s boats is poached by a monstrous power station. This concept, where English elegance meets an opposing force, whatever that may be, fused usually opposing ideas together.

Lightweight, looses trenches and tops made use of industrial fabrics, such as parachute silk. With drawstring waists and contrasting zippers, these garments are a developing trend for next summer. These were juxtaposed with leather harnesses, with a little help from Hannah Martin, to hint at militant ideals.

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Menswear will always rely on classic tailoring techniques and the philosophical pieces that employed these principles stood out within Massey’s most marvellous collection. Lilac suits and shorts were given a less-formal look by teaming them with urban accessories like vests and knitted hats, or styled with an oversized flair.

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Colours were given the Massey treatment, teaming military green and old-English navy with striking yellow hues.

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The closing piece, a waxed-cotton creation masked by various compartments and backed with a rucksack, all made of the same material, served as a wearable fashion-forward item, but one which conveyed a sense of an oppressive society.

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With a collection covering so many ideas, it’s easy to see why Carolyn Massey is at the forefront of London menswear.

Photographs by Matt Bramford

Categories ,Carolyn Massey, ,lfw, ,menswear, ,Sebastian Flyte, ,Somerset House

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Amelia’s Magazine | Graduate Fashion Week 2010: Northumbria

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

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

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

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

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

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


Illustration by Gemma Williamson from her graduate work

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

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

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

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

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


Illustration by Julie Perry from her graduate work

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


Illustration by Holly Farrar from her graduate work

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


Illustrations by Stephanie Price, from her graduate work

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


Illustration by Victoria Kirby, from her graduate work

All photography by Matt Bramford

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

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