Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Eudon Choi (by Helen)

Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, cheap buy more about illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, more about no, buy ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

content/uploads/2011/02/CorrieNielsen_LFW_MattBramford_116.jpg” alt=”CorrieNielsen_LFW_MattBramford_116″ title=”CorrieNielsen_LFW_MattBramford_116″ width=”480″ height=”320″ class=”aligncenter size-full wp-image-34650″ />CorrieNielsen_LFW_MattBramford_091CorrieNielsen_LFW_MattBramford_081CorrieNielsen_LFW_MattBramford_040CorrieNielsen_LFW_MattBramford_037CorrieNielsen_LFW_MattBramford_030CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014CorrieNielsen_LFW_MattBramford_008CorrieNielsen_LFW_MattBramford_126

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD. It was fantastic.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stoppers came out. One pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With bare feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself mixed with Queen Elizabeth I, then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, visit this illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, cheap no, order ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

content/uploads/2011/02/CorrieNielsen_LFW_MattBramford_116.jpg” alt=”CorrieNielsen_LFW_MattBramford_116″ title=”CorrieNielsen_LFW_MattBramford_116″ width=”480″ height=”320″ class=”aligncenter size-full wp-image-34650″ />CorrieNielsen_LFW_MattBramford_091CorrieNielsen_LFW_MattBramford_081CorrieNielsen_LFW_MattBramford_040CorrieNielsen_LFW_MattBramford_037CorrieNielsen_LFW_MattBramford_030CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014CorrieNielsen_LFW_MattBramford_008CorrieNielsen_LFW_MattBramford_126

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD. It was fantastic.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stoppers came out. One pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With bare feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself mixed with Queen Elizabeth I, then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, ask illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, ailment no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

content/uploads/2011/02/CorrieNielsen_LFW_MattBramford_040.jpg” alt=”CorrieNielsen_LFW_MattBramford_040″ title=”CorrieNielsen_LFW_MattBramford_040″ width=”480″ height=”320″ class=”aligncenter size-full wp-image-34647″ />CorrieNielsen_LFW_MattBramford_037CorrieNielsen_LFW_MattBramford_030CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014CorrieNielsen_LFW_MattBramford_008CorrieNielsen_LFW_MattBramford_126content/uploads/2011/02/CorrieNielsen_LFW_MattBramford_091.jpg” alt=”CorrieNielsen_LFW_MattBramford_091″ title=”CorrieNielsen_LFW_MattBramford_091″ width=”480″ height=”320″ class=”aligncenter size-full wp-image-34649″ />CorrieNielsen_LFW_MattBramford_081Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stoppers came out. One pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With bare feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself mixed with Queen Elizabeth I, then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, order illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic.

Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stoppers came out. One pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With bare feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself mixed with Queen Elizabeth I, then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, this illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stoppers came out. One pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With bare feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself mixed with Queen Elizabeth I, then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, and illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence. Although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself mixed with Queen Elizabeth I, then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’

I hope you see what I mean.
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, healing illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, cheapest no, cialis 40mg ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence. Although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself mixed with Queen Elizabeth I, then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’

I hope you see what I mean.
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, viagra 60mg illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, price no, search ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence. Although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know. Or – perhaps a, thrown out of her castle, princess.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself mixed with Queen Elizabeth I, then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’

I hope you see what I mean.
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, treatment illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, stuff no, viagra ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence. Although more Elizabethan perhaps in design than Victorian, this for me was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story. One that I would love to know. Or – perhaps a, thrown out of her castle, princess.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress that came out reminded me of Queen Victoria herself, mixed with Queen Elizabeth I. Then adding Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. And wearing the most over-ruffled, incredible dress, fit for a QUEEN. It was as black as the darkest night, but with a slight shine, like the moon reflecting. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’

I hope you see what I mean.
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, health illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, check no, cialis 40mg ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, a thrown out of her castle, princess. What did she do to be ejected? For me, although more Elizabethan perhaps in design than Victorian, this was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress was BLACK. It reminded me of Queen Victoria herself, mixed with Queen Elizabeth I. Then with the addition of Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. Together with the most over-ruffled, incredible dress, fit for a QUEEN, it was an explosion. Black as the darkest night, but with a slight shine, like the moon reflecting, the material was reminiscent of a glassy ocean at night. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’

I hope you see what I mean.
Corrie_Nielsen_Abby_Wright_LFW

Corrie Nielsen LFW A/W 2011 Collection, pill illustration by Abby Wright

The BFC Tent is massive. Or a lot bigger than the other show spaces. But the benches are the same; white and hard. I went to where I was supposed to be seated and realised it was smack bang in the middle of an already super full bench. I went to the end of the bench; “Any…? No, sickness no, ok then. Thanks.” Luckily a man on the bench behind saved me by shifting up a bit and motioning towards the space he’d made. “Ah wonderful, thanks!” I sort of wanted to chat with him, but found the non-moving up people – now before me- much more interesting. Yabbering and air kissing their faces off with some other people in another row. They went from exceptionally animated and friendly to bored and motionless in second. They reminded me of whippets. The BFC was packed, rammed, up to the brim. Before long, it went dark. The wall of photographers were in their pyramid, like hyeneas, eyes blazing, they were poised…some of them taking shots for no apparent reason. Or, just in case something ridiculous happens.

Corrie_Nielsen_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W 2011 Collection, illustration by Jenny Robins

Big shoulders, high necklines, victoriana, huge circle skirts, sashes over shoulders, trouser suits with extra long legs and short jackets, balooning at the middle slightly, and beautiful midi length skirt suits with puffed shoulders. The shoes were angular or strappy, and the hair either blown up, or short and sharply pointed. But as the show continued, the more dramatic it became. The start featured outfits you could happily wear to a whole host of occasions, all fitted, 60s shapes with Victorian influences, in reds, black, grey and teal, but then it went MAD.

CorrieNielsen_LFW_MattBramford_020CorrieNielsen_LFW_MattBramford_019CorrieNielsen_LFW_MattBramford_016CorrieNielsen_LFW_MattBramford_014 Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

It was fantastic. Everything got extremely vulumnious. Enormous jackets, enveloping the models in shells of silky, padded looking fabrics. Deep purples, teals and bold reds came streaming out. Waist and neck detailing included ruffles, pleats and knots. Skirts were bubbled and swathing. Some were paired with sheer, ruffling tops, others; tight corsets. Many of the models also wore wide headbands, which added to the historic, modern twist charm, mixing modern design with 60s and the late 1800s. And making it work surprising well.

Corrie_Nielson_AW_2011-1Corrie_Nielson_AW_2011-2Corrie_Nielson_AW_2011-3Corrie_Nielson_AW_2011-4Corrie_Nielson_AW_2011-5
Corrie Nielsen LFW A/W 2011 Collection: Photography by Amelia Gregory

Then two show stopper dresses came out. One nearly pure, off white with a hooped top skirt, corseted top, long train and beautiful headpiece, wrapped around the model’s blonde hair. With ballet satin encased feet, this was ghostly, heavenly and adventurous in one. It appealed to me through its theatre, gracefulness and just off purity. The dress had character, frivolity and fantasy wrapped up. Spiced up innocence, a thrown out of her castle, princess. What did she do to be ejected? For me, although more Elizabethan perhaps in design than Victorian, this was Hardy’s; Tess of the d’Urbervilles. Walking over the hills, her boots worn through, her daze; a story.

CorrieNielsen_LFW_MattBramford_137CorrieNielsen_LFW_MattBramford_136CorrieNielsen_LFW_MattBramford_129CorrieNielsen_LFW_MattBramford_150CorrieNielsen_LFW_MattBramford_166

Corrie Nielsen LFW A/W 2011 Collection: Photography by Matt Bramford

In contrast, the next dress was BLACK. It reminded me of Queen Victoria herself, mixed with Queen Elizabeth I. Then with the addition of Helena Bonham-Carter and Tilda Swinton. Exploded hair, Elnett insanity, all rough, a bit haphazard and COOL. Together with the most over-ruffled, incredible dress, fit for a QUEEN, it was an explosion. Black as the darkest night, but with a slight shine, like the moon reflecting, the material was reminiscent of a glassy ocean at night. The neck was high, ruffled, starched and stretched down to the waist. The sleeves puffed at the top, then tightened to the wrists. Then the skirt was full and glorious, with a train behind. It was like watching the night fairy, or a stunning, black widow spider move along the catwalk. Deadly. She would have destroyed the off white, semi angel in seconds. It was the ‘other’ side of our heroine, Tess of the d’Urbervilles, downbeat on the moors. Or indeed, 19th century’s; Emily Brontë’s, Wuthering Heights. With Cathy, depressed at the Wuthering Heights estate, angered and serious, yet of course, utterly beautiful. I wish the show had been on the Yorkshire Moors (I don’t), as the dress would have looked sensational, with the wind whipping about and the layers of fabric billowing. The semi angel would have been on a deserted beach in Scotland, or a corn field. I wonder where Corrie would have placed them.

Corrie_Nielsen_2_-_lfw_aw_2011_-_jenny_robins

Corrie Nielsen LFW A/W Collection, illustration by Jenny Robins

Dear Wuthering Heights, I quote thou: ‘Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!’

I hope you see what I mean.
Eugon_Choi2_by_Karolina_Burdon
Eudon Choi LFW A/W 2011 Collection, click illustration by Karolina Burdon

I’m going to say saddles. And horses. It’s not just because there was a saddle on the invite to the show. You couldn’t escape the leather straps at Eudon Choi. I wasn’t entirely sure what they were all for, find but they were clearly beautifully soft and of the highest quality. One of the outfits a model wore, cheapest involved an all in one – I think, I’d have to study it at closer range – contraption, that worked like braces and a belt. The braces went down to the top of the thighs and featured gold loops and studs. Worn with a white shirt and beige skirt, it was very old English, equestrian. Open toe wedge boots were worn with short black dresses. Navy, orangey browns, tans, greys and rusty colours were prominent. Nothing too artificial, or over the top. You could imagine wearing these to work. The funnel neck coats, a line skirts, three quarter length sleeves and loose shouldered pieces, were all positively clean and sharp. I personally liked a long sleeved floaty dress, with a wide diagonal off white stripe across the body, from the neck to the hemline. It had a very high waisted leather belt, almost making it empire lined, and looked feminine and understated.

Eudon_Choi_BY_Avril_Kelly
Eudon Choi LFW A/W 2011 Collection, illustration by Avril Kelly

The skirts got shorter and then wider as the show continued. A wide grey/cream, short coat, made an appearance. It featured two strips of brown leather towards its hem, and was tailored to perfection. The floatier dressses hit midi length and full length, with slits to the thigh. These were looser, most strapless or with a single knotted strap, over the shoulder. The look was very together. Like the women who carry small tubes of expensive moisturiser and have ipad covers made from baby goat leather. And an actual ipad, or four.

Eudon_Choi_AW_2011-W_2011-IMG_1575
Andy Bumpus sketching in his ACOFI Moleskine notebook for Fashion Scout.

Eudon_Choi_AW_2011-W_2011-IMG_1574Eudon_Choi_AW_2011-W_2011-IMG_1637Eudon_Choi_AW_2011-W_2011-IMG_1597
Eudon_Choi_AW_2011-W_2011-IMG_1631Eudon_Choi_AW_2011-W_2011-IMG_1625Eudon_Choi_AW_2011-W_2011-IMG_1607Eudon_Choi_AW_2011-W_2011-IMG_1585Eudon_Choi_AW_2011-W_2011-IMG_1643
Eudon_Choi_AW_2011-W_2011-IMG_1640

Eudon Choi LFW A/W 2011 Collection, photography by Amelia Gregory

Everything felt very structured, slightly confined and purposeful. Asked how he would describe an Eudon Choi woman, the designer said: “She likes to stand out from the crowd yet look stylish and sophisticated. She looks individual, with an edge.” That’s perfectly achieved. Organised and controlled, a wearer of Chanel’s Red No.5 lipstick. She positively thrives over a bit of hard business with her espresso. Not a second to spare, she doesn’t even have time to look you up and down darling. Too busy looking ahead. Nice show.

Categories ,ACOFI, ,All Saints, ,Andy Bumpus, ,Avril Kelly, ,chanel, ,Chanel Red No. 5, ,Eudon Choi, ,Fashion Scout, ,Helen Martin, ,ipad, ,Karolina Burdon, ,leather, ,lfw, ,LFW A/W 2011, ,Mascluine, ,Moleskine, ,sleek, ,tailoring, ,Twenty8Twelve

Similar Posts:






Amelia’s Magazine | London Fashion Week A/W 2011, Catwalk Review: Fashion Mode No.2 James Hillman (by Helen)

Bora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011 by Danielle Shepherd
Bora Aksu A/W 2011 by Danielle Shepherd.

Bora Aksu is one of the most unassuming and down to earth men I’ve ever met, find let alone in the land of fashion – which is why it is so bizarre that his shows attract such a high level of celebrity interest – I can’t for one moment imagine that he courts it himself…

Twiggy at Bora Aksu. Amelia Gregory
Twiggy at Bora Aksu. Photography by Amelia Gregory.

It was only after I’d planted myself down in the front row that I realised I was in the thick of a celebrity pap fest. Twiggy was busy giving vox pops to my left and Marina of Marina and the Diamonds fame came stomping past inches from my nose in a bid to find a spare patch of front row action. I kept my head down, information pills so it was only after the show that I realised I’d been sitting only a few bodies down from ex Sugababes’ star Keisha Buchanan, as she stood for an awkward and heavily photographed air kiss reunion with Girls Aloud’s current fashion darling Nicola Roberts, whose incredible thinness was enhanced by the halo of flashes going off behind her. I could hardly leave the venue for the ensuing scrum. Memo to self: try to avoid sitting in the thick of celeb land next time.

Marina by Artist Andrea
Marina by Andrea Peterson.

Last season Bora took a step away from the Somerset House action to show at the considerably smaller venue at Victoria House, and in reflection of this step down his collection seemed slightly lacking in confidence. But for A/W 2011 he was back in the big tent, and proving once more that he is at the height of his powers.

Bora Aksu A/W 2011 by Donya Todd
Bora Aksu A/W 2011 by Donya Todd.

Gun metal grey is a favourite Bora colour, and the collection flew off the starting blocks as it meant to continue, with a gorgeous bustle-backed party frock in metallic fabric and wool, highlighted by a slash of emerald green at the waist and in the underskirt – a colour that was to take second place only to his beloved grey this season. Bora staples: lace, sheer chiffon, cable knit and corsetry lacing were all present and correct, bound and wound around the models in cunning arrangements. Playful inspiration was found in the form of tuxedos and bow ties, Bora playing with proportion, placement and tromp l’oeil effects. As usual some of the dresses called to mind a suit of armour, contouring the female form. As the collection progressed the models heads became evermore bound in black gauze, encasing their delicate features. At the end the models grouped in an army to take their final turn on the catwalk – a trend that was to be repeated throughout the week at various shows.

Bora Aksu has an extraordinarily clear vision that keeps getting stronger and stronger: feminine without being too girly, clever without being unwearable, recognisable without being samey and just damn innovative every time. He is without doubt one of the most individual and idiosyncratic designers working in the UK today. Roll on S/S 2012.

You can read Georgia Takacs’ review here and Jemma Crow’s review here. Or you can check in with my intimate interview, posted last September. We’re big fans, what can I say?

Bora Aksu A/W 2011 by Danielle Shepherd
Bora Aksu A/W 2011 by Danielle Shepherd.

Bora Aksu is one of the most unassuming and down to earth men I’ve ever met, viagra approved let alone in the land of fashion – which is why it is so bizarre that his shows attract such a high level of celebrity interest – I can’t for one moment imagine that he courts it himself…

Twiggy at Bora Aksu. Amelia Gregory
Twiggy at Bora Aksu. Photography by Amelia Gregory.

It was only after I’d planted myself down in the front row that I realised I was in the thick of a celebrity pap fest. Twiggy was busy giving vox pops to my left and Marina of Marina and the Diamonds fame came stomping past inches from my nose in a bid to find a spare patch of front row action. I kept my head down, discount so it was only after the show that I realised I’d been sitting only a few bodies down from ex Sugababes’ star Keisha Buchanan, as she stood for an awkward and heavily photographed air kiss reunion with Girls Aloud’s current fashion darling Nicola Roberts, whose incredible thinness was enhanced by the halo of flashes going off behind her. I could hardly leave the venue for the ensuing scrum. Memo to self: try to avoid sitting in the thick of celeb land next time.

Marina by Artist Andrea
Marina by Andrea Peterson.

Last season Bora took a step away from the Somerset House action to show at the considerably smaller venue at Victoria House, and in reflection of this step down his collection seemed slightly lacking in confidence. But for A/W 2011 he was back in the big tent, and proving once more that he is at the height of his powers.

Bora Aksu A/W 2011 by Donya Todd
Bora Aksu A/W 2011 by Donya Todd.

Gun metal grey is a favourite Bora colour, and the collection flew off the starting blocks as it meant to continue, with a gorgeous bustle-backed party frock in metallic fabric and wool, highlighted by a slash of emerald green at the waist and in the underskirt – a colour that was to take second place only to his beloved grey this season.

Bora Aksu A/W 2011 by Alia Gargum
Bora Aksu A/W 2011 by Alia Gargum.

Bora staples: lace, sheer chiffon, cable knit and corsetry lacing were all present and correct, bound and wound around the models in cunning arrangements. Playful inspiration was found in the form of tuxedos and bow ties, Bora playing with proportion, placement and tromp l’oeil effects.

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011. Photography by Amelia Gregory.

As usual some of the dresses called to mind a suit of armour, contouring the female form. As the collection progressed the models heads became evermore bound in black gauze, encasing their delicate features. At the end the models grouped in an army to take their final turn on the catwalk – a trend that was to be repeated throughout the week at various shows.

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011. Photography by Amelia Gregory.

Bora Aksu has an extraordinarily clear vision that keeps getting stronger and stronger: feminine without being too girly, clever without being unwearable, recognisable without being samey and just damn innovative every time. He is without doubt one of the most individual and idiosyncratic designers working in the UK today. Roll on S/S 2012.

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011. Photography by Amelia Gregory.

You can read Georgia Takacs’ review here and Jemma Crow’s review here. Or you can check in with my intimate interview, posted last September. We’re big fans, what can I say?

Bora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia GregoryBora Aksu A/W 2011 by Amelia Gregory
Bora Aksu A/W 2011. Photography by Amelia Gregory.
Hillman

LFW A/W 2011 James Hillman Collection. Illustration by Ankolie

Whilst in the press lounge I had a natter with a benefits investigator and a lady who runs an art gallery. The benefits investigator did the media bits as a relief from fraud and because ‘the people are always so friendly.’ This is true, buy information pills somewhat surprisingly. I have met some super and interesting people at LFW, order and this man was no exception. A delight to chat to. All three of us were heading for the Fashion Mode show, ed but I was faffing about with Toni and Guy etc. so didn’t walk with the investigator or art lady. But I saw them opposite me in the audience and it was obvious, although we had talked mostly about high class fraud, investigator man, liked his threads. And why not? I love it that Charlie, my boyfriend, loves his clothes, and he’d be all over watching a male fashion show, like the one at Fashion Mode: James Hillman.

hillman

LFW A/W 2011 James Hillman Collection. Illustration by Ankolie

Most men, I want to say ALL MEN, look great in a well cut suit. Boys turn to men, and previously bland chaps, turn to hotness. Is it the shoulders? Is it the old school charm? Or is it because it’s almost rare to see everyday, thus special and alluring? It’s a shame, because men look fantastic when they’re wearing something cut correctly. Why not embrace the suit more? Have you not seen Mad Men, with Don and err Don? In real life Jon Hamm looks like Bon Iver in the middle of his woods escapade. In Mad Men, he is all that millions of women desire. I don’t think it’s the 50s ideologies of man protecting woman, whilst woman looks perfect and alert. It’s just a suit looks NICE.

Hillman - Amelia Hillman - Amelia Hillman - Amelia Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

So, James Hillman shows that men look good dressed in black clothes, cut well, particularly suits. The collection is all black because James used crude oil as his inspiration for his designs. Embracing the concept wholeheartedly, he studied the distillation of crude oil, learning that different temperatures produce different iterations of oil. Each fabric thus, represents a different tier in the crude oil process. The heavyweight oils are represented with heavyweight woollen cashmere mixes and reindeer leather. Whilst the lightweight oils are represented in rip stock and lightweight wax cottons.

Hillman - Amelia Hillman - Amelia Hillman - Amelia Hillman - Amelia

LFW A/W 2011 James Hillman Collection. Photography by Amelia Gregory

The deigns are sleek and sharp. Whilst the pockets and necklines are detailed, with for example; reflective fabric; pock and crepe pocket panelling; high neck or collarless necklines, all the pieces retain luxurious simplicity. I still have issues with man bags, but the rest of the show was hot to trot. This was confirmed by a man, by the investigator. I saw him at the end of the show. Statement on James Hillman follows: “I don’t normally go in for men’s fashion, but I loved that. I would wear all of that. Hmmm…may need to investigate this James Hillman further.” Indeed. And spread the word.

Categories ,Amelia Gregory, ,Ankolie, ,Anne N’Toko, ,art, ,benefits, ,black, ,Bon Iver, ,crude oil, ,distillation, ,fashion, ,Fashion Mode, ,Fashion Mode Show Two, ,Fashion Scout, ,Forward PR, ,Helen Martin, ,James Hillman, ,Jon Hamm, ,LFW A/W 2011, ,Mad Men, ,men’s fashion, ,sleek, ,Suits, ,Texture, ,Toni and Guy, ,wool

Similar Posts: