SS14 – AmeliasMagazine

Amelia’s Magazine | SIBLING: London Collections: Men S/S 2014 Catwalk Review

SIBLING S/S 2014 by Gareth A Hopkins

Oh GOD I love SIBLING. Every season they manage to come up with an amazing theme that makes you wonder how they do it, time and time again. There was an East End boozers pub crawl, fairgrounds, even wayward jailbirds and their mothers. This fifth birthday season was no exception.

All photography by Matt Bramford

West Side Story became ‘East Side Story‘ in this glorious romp through American youth culture with a British twist, taking inspiration from the 1961 film and Saul Bass‘s iconic graphics. Any collection inspired by Saul Bass’s iconic graphics gets my vote.

SIBLING S/S 2014 by Gareth A Hopkins

I settled into my perfect standing spot, sandwiched between a guy wielding an iPad (give over) as if it were a shield and a speaker belting out Gee, Officer Krupkee. The entrance to the catwalk had been daubed in Richard Woods‘s signature woodprint, and just inside I noticed a huge sign saying ‘SMILES PLEASE’ with a cheeky felt-tip drawing of a grin. Well, it would have been rude not to, and so I grinned as wide as I could as the first model appeared.

The masculinity of the Jets and gang dress codes were first explored – cropped denim jackets and oversized bomber jackets featured enlarged JET BOY motifs on the reverse. Models were styled with slick quiffs and huge smiles – oh, hang on, the sign was for them! What a brilliant idea. It took all my strength not to start weeping as each handsome devil appeared, grinning and genuinely enjoying themselves.

From the streets to the gym; up next came polos, cardigans and shorts in Richard Woods‘ aforementioned print. Dreamy colours – mint green, lilac and Shark blue were indebted on the press release to the Ndebele tribe and West Side Story cinematographer Daniel L Fapp.

No SIBLING collection would be complete without chunky knits and a hint of leopard print, and die hard fans weren’t disappointed on either count. Cardigans and cropped jackets in blue peppered the sportswear, as did a thick, black mesh knit at the beginning of the show.

The most dramatic pieces combined scoobie strings (yes, like the bracelets) with American track and field sportswear shapes to create show-stopping tops and shorts in white, neon greens and acid pink.

A knit emblazoned with a ’5′ emblem in stars closed this fifth anniversary show, SIBLING‘s best yet IMHO.

Written by Matt Bramford on Wednesday June 26th, 2013 9:37 am

Categories ,catwalk, ,Daniel L Fapp, ,East Side Story, ,fashion, ,Gareth A Hopkins, ,Jets, ,knitwear, ,LCM, ,LCMSS14, ,Leopard Print, ,London Collections Men, ,Matt Bramford, ,menswear, ,Ndebele, ,Officer Krupkee, ,review, ,Richard Woods, ,Saul Bass, ,scoobie bracelets, ,Sharks, ,Sibling, ,smiles, ,SS14, ,West Side Story

Amelia’s Magazine | YMC: London Collections: Men S/S 2014 Catwalk Review

YMC S/S 2014 by Natasha Likes Tea

Fraser Moss and Jimmy Collins borrowed legendary designer Raymond Loewy‘s slogan ‘you must create‘ to launch their label back in 1995. The brand constantly evolves, better known by the acronym YMC, but the ethos behind Loewy’s words resonate through the heart of the clothing label even today.

All photography by Matt Bramford

A YMC show feels a bit like respite on the London Collections: Men line-up. The Corbusian mantra ‘form follows function’ runs through the core, and to judge them against Craig Green or Astrid Andersen would be totally missing the point. Relaxed tailoring with a modern edge, minimal silhouettes and unassuming, stylish, wearable separates have become the brand’s signatures.

This season the YMC boys took over the Old Sorting Office where I’d previously seen Topman Design. I derived pretty quickly that this was going to be right up my straße in comparison. A quietly confident crowd saw striped blazers and bombers with matching shorts, fusing the brand’s utilitarian aesthetic with a fun summer flavour.

YMC S/S 2014 by Natasha Likes Tea

These bold opening offerings were quickly followed by the brand’s unmistakable denims, tees and casual shirts. A quilted jacket was given a modern twist with a haphazard, swirling design in Chombray. Crisp, linen shirts featured oversized polka dots and revealed intricate, childlike patterns on the reverse. Sportswear complimented these subtle twists, from tapered joggers to sleeveless bomber designs with zip pockets. Floral shirts were worn effortlessly.

Oversized checks then made an appearance in subtle blues and greens. Basic white t-shirts with luscious marine-blue gradient hems made me yearn for a decent fucking summer.

A range of jackets closed the show: a blue overcoat with synched hood and sleeves, a play on the French utilitarian jacket and an oversized overcoat-cum-poncho with slits in the sides to expose arms.

Many a menswear designer could learn a thing or two from YMC‘s inimitable, laid-back blend of cool.

Written by Matt Bramford on Friday June 28th, 2013 9:55 am

Categories ,fashion, ,LCM, ,LCMSS14, ,London Collections Men, ,Matt Bramford, ,menswear, ,Natasha Likes Tea, ,Old Sorting Office, ,SS14, ,YMC

Amelia’s Magazine | Mark Fast: London Fashion Week S/S 2014 Catwalk Review

Mark Fast S/S 2014 by Krister Selin

Mark Fast‘s S/S 2014 outing at Somerset House on Saturday was a far cry from what he delivered last season. Gone were floor-sweeping full feather skirts and asymmetric capes. This season Fast returned to his figure-hugging, unforgiving knits that captured imagination and intrigue.

All photography by Matt Bramford

In my honest opinion it had all gone a bit Julien Macdonald, so I was glad to see this triumphant comeback. The Black Swan-esque skintight caps were banished and made way for enormous, backcombed, haphazard, grungy hair dos – the theme for this rave of a collection. Hedonistic techno, grunge and bright blue skies in teen shows of the 1990s all had a part to play in this collection. Acid greens and pale blues were combined to form super tight separates worn with knickers. Neon yarns had been whipped into a frenzy to create Fast‘s unique bodycon dresses, styled with chunky patent boots and black tight socks. Each piece was SO tight that it left me wondering if Fast had actually woven them around the provocative models.

Mark Fast S/S 2014 by Krister Selin

It was a colourful journey from black to the aforementioned acid greens that made way for pale, luxury blues, referencing the ‘water colour flashbacks’ of said 1990s television. I can’t put it any better than the show notes, that read that this collection was a mash up of ‘The Craft crocheted, Kurt and Courtney knitting and Aaliyah underwater’. It was an matchless mix of calm and chaos, and it looks like our love affair with the 1990s will continue for some time yet.

Written by Matt Bramford on Thursday September 19th, 2013 1:41 pm

Categories ,catwalk, ,knitwear, ,Krister Selin, ,london, ,London Fashion Week, ,Mark Fast, ,Matt Bramford, ,review, ,Show Space, ,SS14, ,Womenswear

Amelia’s Magazine | Matthew Miller: London Collections: Men S/S 2014 Catwalk Review

Matthew Miller S/S 2014 – all photography by Matt Bramford

‘I AM NOT THE ARTIST. YOU ARE‘ declared Matthew Miller‘s press release, distributed along the white benches of the Victoria House, London Collections: Men venue. It was my penultimate show and the fatigue induced by fashion shows had well and truly set in. I needed something to perk me up if I was to make it to Xander Zhou at the end of the day.

Miller‘s ethereal show opening was just the ticket. Instead of music, a woman with dulcet tones harped on about the world through the speakers. An intense gent appeared, wearing only white tapered jeans, his back penned with the gallery cliché ‘UNTITLED MIXED MEDIA‘. The philosophy of the art world was to become Miller‘s branding for this season and was swiftly followed by a long-haired model with the same motif tattooed onto his chest. He carried a skateboard and wore jeans of a similar cut, this time in jet black. I liked the drama of it all, but I did ponder how long I could sit watching shirtless models wearing staple denim stroll past.

It wasn’t long, though, before Matty Miller‘s unique approach to menswear came to life. The relationship between fashion and art is a constantly evolving theory. Is fashion art? Is art fashion-led? Miller explored this concept by utilising the stark visuals of a gallery’s environment and interpreting it through clothing. His aim was to bring the haute pretensions of the art world down a peg or two.

Luscious sweaters really perked me up and I would never be able to decide which one to buy. A white crew neck had a subtle off white panel applied to the front and featured a gallery caption square on the reverse. Others carried a circular design making use of the ‘untitled’ motif, this time in a vinyl relief. I really enjoyed those. A stand-alone black version had the crowds launching their cameras into the air; a white version peaked from behind rigid denim. A black sweater with thick monotone blocks descending to white also stood out.

Sportswear is always a key factor in his collections (that’ll be his time at Umbro) and elements of this genre featured on most garments. Paper-like tops had hoods and front pockets. Trousers were cropped at the ankle. Black leather jackets with concrete toggles complimented these looks and reminded us of Miller‘s unique approach to materials.

Shapeless silhouettes in slim, straight fabrics came in a super-light grey, teamed with matching shorts, and this technique saw Miller show womenswear for the first season – smock-like dresses used darts to form angular shapes across chests.

It was left to raw denims, cracked paint finishes and unfinished hems to complete this visually stimulating and thought-provoking collection.

Written by Matt Bramford on Tuesday July 2nd, 2013 1:35 pm

Categories ,art, ,canvas, ,caption, ,catwalk, ,denim, ,Destroy to Create, ,fashion, ,Gallery, ,LCM, ,LCMSS14, ,London Collections Men, ,Matt Bramford, ,Matthew Miller, ,menswear, ,Radical Prototypes, ,review, ,skateboard, ,smocks, ,Sportwear, ,SS14, ,sweatshirts, ,Victoria House, ,Womenswear

Amelia’s Magazine | Kay Kwok: London Collections: Men S/S 2014 Catwalk Review

Kay Kwok S/S 2014 by Gabriel Ayala

Kay Kwok was actually my first show of the London Collections: Men S/S 2014 schedule. When I turned up on the Sunday morning, I had a bit of a meltdown outside. I’d returned from holidays and suddenly found myself standing in a standing queue waiting to get in to a venue to watch a designer’s show that I knew nothing about. As street style snappers snapped street style snappers and people behind me in the queue had banal conversations about how they’d selected which shoes to wear, I thought, ‘What the hell am I doing here? I don’t belong here’. It all seemed rather tedious. I yearned to be at home watching the Coronation Street omnibus in my pants, eating Crunchy Nut Cornflakes.

The security guy in the background isn’t part of Kay’s creative direction, he was an actual security guard. Was going to remove him but I like how his poses change from shot to shot…
All photography by Matt Bramford

When I finally got inside, the venue was ludicrously empty. I couldn’t believe it. What was all that al fresco fuss about? I decided to dust myself off and get on with it, and when the lights dimmed and the music started, I realised that this wasn’t such a bad place to be after all. Yeesh, I go on, don’t I? Anyway, let’s talk about Kay Kwok.

Born and raised in Hong Kong, Kay Kwok graduated from the London College of Fashion only last year. He’s already establishing himself on the London fashion menswear scene with a little help from the endorsement of GQ China. This S/S 2014 he brought his blend of ‘cosmic fashion’ to the collections.

Kay Kwok S/S 2014 by Gabriel Ayala

Opening with a wide v-necked tunic top and fitted trousers, this would turn out to be a multifaceted collection. A sea of garments revealing bare chests with this familiar v-neck design followed: beiges and blacks were used heavily for blazers, jackets and further tunics.

Kwok relies heavily on futuristic, architectural forms. T-shirts featured apron-like overlays and wide-leg trousers continued up to the chest with geometric panels. Rigid leather jackets and trousers transformed the shapes of models.

Later came graffiti-like acidic prints, with which, I’m told, Kwok is more closely associated. These were cleverly applied to long coats and accompanying trousers: at first carefully on sleeves, and then with abandon across all garments. Futuristic footwear came courtesy of fellow LCF graduate Youngwon Kim.

As the finale walked past I felt like I’d witnessed two separate collections – both of which were equally exciting. Comparisons have been drawn with J.W. Anderson but I think Kay Kwok‘s aesthetic is a more appealing one and he’s a welcome addition to the London Collections line-up.

Written by Matt Bramford on Monday June 24th, 2013 6:44 pm

Categories ,catwalk, ,Coronation Street, ,fashion, ,Gabriel Ayala, ,GQ China, ,Hong Kong, ,LCM, ,LCMSS14, ,London Collections Men, ,Matt Bramford, ,menswear, ,review, ,S/S 14, ,SS14, ,Victoria House

Amelia’s Magazine | Leutton Postle: London Fashion Week S/S 2014 Digital Presentation Review

Leutton Postle S/S 2014 by Lynne Datson

On Saturday afternoon I popped into Canon‘s digital space at Somerset House with fifteen minutes to spare to see fashion’s hottest duo – Leutton Postle. Whilst Amy Gwatkin‘s S/S 2014 film was projected onto the wall, the luxury knitwear label’s model India sat elegantly in a corner fingering Mills & Boon novels.

All photography by Matt Bramford

Large scale, freehand illustrations come to life for S/S 2014. The crudeness of doodling and the simplicity of bold, vibrant shapes are transformed through Jacquard knits and raised embroidery. On white garments, starting as blank canvases, layers of neons are manipulated to create striking, unique pieces that you won’t find anywhere else on the London Fashion Week schedule. This season, plastics carrying the rich designs were juxtaposed with the softness of cottons, on wrap-around skirts, dresses and trousers.

Leutton Postle S/S 2014 by Lynne Datson

Amy Gwatkin‘s hypnotising film, shot in a quaint, typically English home, marries Martin Parr‘s cynical view of Middle England with the comedic vox pops of British favourites like Creature Comforts. India, the model, moves between rooms adorned with lowbrow decorations and soft-furnishings popular with old ladies (the film was set in one of the twosome’s neighbour’s homes) while musing on eccentricities of everyday life. The dulcet tones of the voiceover are in stark contrast to the surroundings in which they are delivered. Fashion films are brilliant, I thought, as I made my way through cocktail number three.

Written by Matt Bramford on Thursday September 19th, 2013 9:52 am

Categories ,Amy Gwatkin, ,Canon, ,digital, ,fashion, ,film, ,Jenny Postle, ,Leutton Postle, ,lfw, ,London Fashion Week, ,Lynne Datson, ,Presentation, ,S/S 2014, ,Sam Leutton, ,SS14

Amelia’s Magazine | Christopher Raeburn: the fashion designer who is working wonders with old fabrics

Design by Ruth Hill, physician rx Illustration by Dee Andrews

This week’s wet Monday was brightened up considerably by a trip to the Royal Collage of Art’s first work-in-progress show of 2011 – and before you ask, seek no, online I was not suffering from “Blue Monday” or the notion that yesterday was the most depressing day of the year. As Ben Goldacre (Bad Science) discussed over on his blog yesterday, the concept of Blue Monday was made up by a PR company, with the aim to sell more holidays in the months after Christmas and is being perpetuated by journalists reconfiguring press releases into actual articles, without through fact-checking, a type of writing describe by Goldacre aschurnalism.

Finishing on Wednesday, 19th January, the Work-In-Progress show is a great opportunity for current BA Students, graduates and the public to see the developing ideas in the fields of Fashion, Textiles, Metalwork and Jewellery, Goldsmithing, Silversmithing, and Photography. Whilst the photography and the filmmaking are breathtaking, warranting a trip to the RCA by themselves, I will mainly be focusing on the Menswear and Womenswear Year Two students.

Tariq Mahmoud

Tariq Mahmoud’s shoe was inspired by watching the penguins at the penguin pool of London Zoo. The unique presentation of his shoe within a fish bowl with a couple of toy penguins for company, was certainly eye catching, drawing your attention to the similarities between flipper and shoe.

This wonderful jacket half-suspended within the cloth, from it was cut, calls to mind Issey Miyake’s A Piece of Cloth or A-Poc (see Fashion Editor Matt Bramford’s wonderful article on Future Beauty: 30 Years of Japanese Fashion at the Barbican). Unfortunately I could not find a name to accredit the design too…

Aleksandra Domanerskaya

The RCA Interim show is a fantastic opportunity to see how ideas circulating within contemporary fashion are being dissected by students studying the craft. Aleksandra Domanerskaya’s oversized mac in a traditional plaid is a great example of how classic shapes are constantly being reinvented.

Orshel-Read

It was amazing to discover that one of Amelia’s Magazine favourite London Fashion Week designers Orschel-Read is still a student!
Design by Orschel-Read, Illustration by Gareth A Hopkins

Cherie Newing

In recent seasons, knitwear has exploded across the menswalk catwalks, from James Long’s to Morgan Allen Oliver via Sibling, designer after designer have reinvented a fabric which was once solely associated with 1970′s knitwear patterns. I loved Cherie Newing’s take on the ubiquitous fisherman’s jumper.

Sol Ahn

Menswear Year 2 student and intriguing illustrator, Sol Ahn displayed this breathtaking combination of a triomphe d’oeil shirt and cardigan with fabrics to match the illustrations!

Samuel Membey

Samuel Membery’s overcoat revisits the skinhead movement of the 1970′s, as captured in Gavin Watson’s collection of photographs: Skins.

Ruth Hill

In Womenswear Knit, Ruth Hill’s simple orange block print dress in an incredibly fine knit, was beautifully reminiscent of the artist Paul Klee.

Lily Kamber

Lily Kamber’s fantastic mixed media pieces used found objects to create pieces of jewellery more at home in the art deco settings of William Morris…

In the M.Phil research section, I came across the wonderful work of Jungeun Lee. Lee’s experiments with synthetic fabrics – creating garments without the need for pattern cutting, sowing, knitting or weaving – reminded me again of the ground breaking A-Poc (A piece of Cloth) and Issey Miyake’s latest venture, 132 5, an “experiment in steam pressed polygons of material” (thanks Fashion Ed, Matt Bramford!). Lee created her pieces by molding hot synthetic fibres into a 3D Structure.

Hurry up! What are you waiting for? Head down to the Royal College of Art before 5.30pm Wendesday 19th January.

Visit the Royal College of Art’s website for full updates on their upcoming in-progress shows and public lectures. I’m particularly looking forward to the collaboration between RCA MA Curating Contemporary Art and Goldsmiths MFA Curating students, Testing Ground: Time Scale.

Christopher Raeburn studied at Middlesex University in London, treat where a really good technical tutor made him keen to attend the hallowed Royal College of Art, order from which he graduated in 2006. He has become well known for his upcycling of military fabrics, although he has worked with everything from Eurostar uniforms to hot air balloon material. He sources parachutes, leather jackets, tents and ponchos from military surplus warehouses around England, but has increasingly started to import pieces from Europe so that he can make bigger runs. The military inherently overproduces so there are huge volumes of fabric and garments that will never be used – dead stock that Christopher is happy to make the most of. In fact most production processes are inefficient so there is always likely to be pre-consumer waste; for example, 10% of the parachute fabric that is made fails opacity tests. Christopher is able to give that fabric a new lease of life. Most recently he worked with windproof cotton from some forty year old Swedish snow parkas. Occasionally a company will contact him about a specific material they think he might like to use, which has been a great way to keep his collections fresh and innovative.
Gemma Milly Christopher Raeburn A/W 2010
Christopher Raeburn A/W 2010 by Gemma Milly.

Christopher Raeburn studied at Middlesex University in London, sildenafil where a really good technical tutor made him keen to attend the hallowed Royal College of Art, from which he graduated in 2006. He has become well known for his upcycling of military fabrics, although he has worked with everything from Eurostar uniforms to hot air balloon material. He sources parachutes, leather jackets, tents and ponchos from military surplus warehouses around England, but has increasingly started to import pieces from Europe so that he can make bigger runs.

Christopher Raeburn by Lesley Barnes.

The military inherently overproduces so there are huge volumes of fabric and garments that will never be used – dead stock that Christopher is happy to make the most of. In fact most production processes are inefficient so there is always likely to be pre-consumer waste; for example, 10% of the parachute fabric that is made fails opacity tests. Christopher is able to give that fabric a new lease of life. Most recently he worked with windproof cotton from some forty year old Swedish snow parkas. Occasionally a company will contact him about a specific material they think he might like to use, which has been a great way to keep his collections fresh and innovative…

Read the rest of this interview and see more illustrations of Christopher Raeburn’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Written by Amelia Gregory on Tuesday January 18th, 2011 1:32 pm

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Christopher Raeburn, ,Eco fashion, ,Ethical Fashion, ,Eurostar uniforms, ,fabric, ,Gemma Milly, ,Lesley Barnes, ,middlesex university, ,military, ,New Gen, ,Parachutes, ,recycled, ,Royal College of Art, ,Swedish snow parkas, ,Upcycled

Amelia’s Magazine | Agi & Sam: London Collections: Men S/S 2014 Catwalk Review

Agi & Sam S/S 2014 by Krister Selin

I love Agi & Sam. A recent collaboration with Topman, ‘The Owls‘, featured a range of football-kit inspired clothing and gave a taster of things to come. I am hoping that ‘The Owls’ was a nod to Sheffield Wednesday. I couldn’t give two hoots (geddit?) about the team, but I love that city.

Two enormous owls sat amongst the crowds at their S/S 2014 show last Sunday. Yes, I know I’m behind. I was genuinely surprised when the show began with mostly all black looks. Agi & Sam are renowned for their glorious use of colour and so it seemed a bit curveball. A speckled black suit worn over a crisp white shirt appeared first, styled with visor shades. An oversized black shirt came next, featuring a discrete monochrome pattern.

It wasn’t before long that the design duo’s inimitable prints appeared, though. This season inspiration had come from public transport seating patterns, the bloody geniuses. If you want to look like the back seat of the number 8 bus, as I certainly do, then Agi & Sam are for you. Rich fabrics carried hallucinogenic patterns in vibrant colours, some discrete, some so obvious that even the models wore large black visors to protect their eyes. All trousers maintained a clean cut with a tapered leg, cropped at the ankle.

Agi & Sam S/S 2014 by Krister Selin

Box-shaped blazers, some with cropped sleeves and others full-length, appeared in block colours, from powder blue to acidic orange.

Accessories included black oxfords embellished with bright stripes (in collaboration with Oliver Spencer) and large black luggage that featured some of the transport soft furnishings patterns.

Written by Matt Bramford on Thursday June 27th, 2013 8:58 am

Categories ,Agi & Sam, ,fashion, ,football, ,Krister Selin, ,LCM, ,LCMSS14, ,london, ,London Collections Men, ,Matt Bramford, ,menswear, ,Public Transport, ,sheffield, ,SS14, ,The Owls, ,Victoria House

Amelia’s Magazine | Ashley Isham: London Fashion Week A/W 2013 Catwalk Review

Ashley Isham A/W 2013 by Gemma Cotterell.

This season Ashley Isham decided to up his game, producing a collection that was a dramatic break from what we’ve come to expect from this lover of draped party frocks. So it was out with the floral chiffon and jewel coloured jersey and in with hard edged military inspired jackets and sharp shouldered shift dresses. Models strode out bearing intriguing headwear: glossy black visors tilted over their eyes and tied at the back with delicate ribbon under a towering top knot. The effect was one of high octane glamour infused with an attitude of powerful defiance.

Ashley Isham AW 2013-photo by Amelia Gregory

Ashley Isham A/W 2013 by Rosa Middleton.

Standout garments included a sumptuous brocade coat decorated in exotic red and orange flowers and a bright red double breasted jacket worn over a pencil skirt with an interesting circular detail in yellow piping. An all over tropical print on loungewear appeared a bit out of place for winter, but was nonetheless welcome relief in the midst of this predominantly sombre collection.

Ashley Isham AW 2013-photo by Amelia Gregory

Ashley Isham A/W 2013 by Gaarte.

Not all of Ashley Isham‘s new found love of tailoring was successful: too much layering felt unnecessary and this was proof that peplums, capes, frills and panelling don’t always work well together. The few draped garments in this collection – khaki belted minidresses – were effortlessly simple as always, and the hard edged styling suited them well.

Ashley Isham AW 2013-photo by Amelia Gregory

Ashley Isham A/W 2013 by Gaarte.

For the finale Isham reverted to type, sending out a series of sweeping floor length dresses in rich browns topped with gunmetal embroidery, the kind that swish threateningly around ankles and cause tottering models to trip and swoop. The closing dress featured a huge skirt with an intriguing abstract grey rippled effect: I’ll be intrigued to see what Ashley Isham will do with this new exploratory vibe next season.

Ashley Isham AW 2013-photo by Amelia Gregory

Ashey Isham A/W 2013 by Isher Dhiman.

Ashley Isham AW 2013-photo by Amelia Gregory

Ashley Isham A/W 2013. All photography by Amelia Gregory.

<a target="_blank" href="http://www.vimeo.com/59189457" rel="noopener">http://www.vimeo.com/59189457</a>

Written by Amelia Gregory on Friday February 22nd, 2013 1:56 pm

Categories ,Ashley Isham, ,draping, ,Gaarte, ,Gemma Cotterell, ,Isher Dhiman, ,military, ,Rosa Middleton

Amelia’s Magazine | Ashley Isham: London Fashion Week S/S 2015 Catwalk Review

Ashley Isham by Laurie Nouchka.

Ashley Isham always has a flair for the dramatic and this season his models strutted down the runway before pausing to pout and pose at the ornate doors for the photographers. They wore a succession of swirling gowns in bright cerise pink, saturated royal blue and smokey greys. Ornate beaded details, fringing and curlicued lace were used in asymmetric formation with the addition of bondage inspired leather belts, which gave some edge to the proceedings. I particularly liked a pairing of softest grey silk with tomato leather shoulder caplets and wide cutout belt.

Ashley Isham SS 2015 photo by Amelia Gregory
Hats were chosen to complement the heightened sense of drama, either woven baseball caps with outsized brims, or colossal affairs; spiked urchin umbrellas from under which models could glance askew. Lips and shoes were suitably glossy, giving a further pop of colour. More wearable for the everyday were short shorts, softly draped blouses and cute floral print sleeveless dresses. Prints were animal inspired, skirts flared or pencil tight. Glamourous encrusted swimsuits were designed for the swimming pool as catwalk, glittery clutch bags the must have accessory.