Amelia’s Magazine | Teatum Jones: London Fashion Week A/W 2013 Presentation Review

Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Teatum Jones have been wowing the Amelia’s Magazine reviewers with their well thought out presentations for the past few seasons, but this was my first turn at a one of their shows. In the past this design duo have showcased collections in the RSA and Liberty, but this season their venue was the incredibly posh Dorchester Hotel – think flower arrangements in the entrance hall the size of small trees.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Sylwia Szyszka
Teatum Jones A/W 2013 by Sylwia Szyszka.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Cissy Hu
Teatum Jones A/W 2013 by Cissy Hu.

Guests were signed in then directed past an arrangement of fine teas and dainty biscuits into a wood lined and mirrored chamber, the centrepiece of which was a set arranged around a butterfly decorated chalkboard bookcase. The models rotated in groups of four, each replaced as the last one in the line up departed, in the kind of graceful dance that comes with great preparation and strict time keeping. Titled ‘To My Youth… How we Laughed in Darkness‘, this collection was inspired by Vladimir Nabokov, best known as the author of Lolita, a man who was obsessed with butterflies and the transience of beauty (his famous novel was written during an annual butterfly collecting trip in the western US).

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Models posed nonchalantly with open books, the covers artfully attired with the dominant print of the collection: large scale painterly splashes of red, indigo and forest green on a white ground. Designers Catherine Teatum and Rob Jones are renowned for their conceptual approach to fashion, so the story of Vladimir was translated into an array of beautiful garments using the finest fabrics, each of which was chosen for its part in that tale: ‘Delicate silk chiffons, double georgette and heavy crepes provide the canvas for these romantically sinister rows of captured species doused in javelin proportioned pins.’

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013 by Laura Hickman
Teatum Jones A/W 2013 by Laura Hickman.

Such intense attention to detail was translated into eminently wearable garments using the finest craftsmanship. A textured leather biker jacket was swung casually over the shoulder of a softly belted silk shirt dress, a cream polka dot lace shirt was used as the delicate base for a black puff hemmed waistcoat dress in a shiny textured wool, a miniature cape in midnight blue looked demure with cream and glittery black. But it was their fabulous print, reminiscent of huge summer blooms, that really captured my attention. It came as a relaxed sporty look in a giant hole punched shirt, as a floaty skirt and as a stunning strapless maxi dress that dropped in pleats from the bust, complete with handy pockets that the model was able to flaunt as she mosied around the room. Sod the cold weather, for A/W 2013 I dare you to wear big bold painterly florals.

Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones AW 2013-photo by Amelia Gregory
Teatum Jones A/W 2013. All photography by Amelia Gregory.

Teatum Jones A/W 2013 by Cissy Hu
Teatum Jones A/W 2013 by Cissy Hu.

Categories ,A/W 2013, ,Butterflies, ,Catherine Teatum, ,Cissy Hu, ,Dorchester Hotel, ,Laura Hickman, ,liberty, ,Lolita, ,Rob Jones, ,rsa, ,Sylwia Szyszka, ,Teatum Jones, ,To My Youth… How we Laughed in Darkness, ,Vladimir Nabokov

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Amelia’s Magazine | Yeashin: Fashion Scout Ones to Watch A/W 2013 Catwalk Review

Yeashin A/W 2013 by Sylwia Szyszka
Yeashin A/W 2013 by Sylwia Szyszka.

South Korean designer Yeashin Kim‘s Woodland collection juxtaposed traditional Korean dress with inspiration from the swinging 60s. The colourful results built on the look she has been honing since completing her studies in fine arts and then attending the London College of Fashion.

Yeashin A/W 2013 by Laura Hickman
Yeashin A/W 2013 by Laura Hickman.

ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
Yeashin A/W 2013 by Victoria Wright
Yeashin A/W 2013 by Victoria Wright
Yeashin A/W 2013 by Victoria Wright.

A multitude of textures were thrown together and somehow emerged victorious. Oversized embellished hats, plenty of colourful trims and digitally printed woodgrain based on Korean furniture lent the collection a fairytale feel, with bespoke woolly boots adorned with pompoms adding to the idea that the models could have stepped off the pages of a children’s book (no bad thing in my world).

Yeashin A/W 2013 by Laura Hickman.
Yeashin A/W 2013 by Laura Hickman.

ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
Yeashin-by-Sylwia-Szyszka
Yeashin A/W 2013 by Sylwia Szyszka.

Skirts were predominantly short and flared, collars adorned with on trend details, cuffs beautifully buttoned or trimmed in wool. Knitwear came in the form of a dotty cape, bolero and cosy looking chequerboard coat. Yeashin‘s was a delightfully unique collection in this time of monochrome madness, and all the better for it.

ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
ones to watch yeashin AW 2013-photo by Amelia Gregory
All photography by Amelia Gregory.

Categories ,A/W 2013, ,Fashion Scout, ,Freemasons’ Hall, ,knitwear, ,Laura Hickman, ,London College of Fashion, ,London Fashion Week, ,Ones To Watch, ,review, ,South Korean, ,Sylwia Szyszka, ,Victoria Wright, ,woodland, ,Yeashin, ,Yeashin Kim

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Amelia’s Magazine | Patrick Li: Fashion Scout Ones to Watch A/W 2013 Catwalk Review

Patrick Li A/W 2013 by Sylwia Szyszka
Patrick Li A/W 2013 by Sylwia Szyszka.

We profiled Patrick Li as one of our favourite Ones to Watch before London Fashion Week, and now it’s time to catch up with his catwalk show.

ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
Patrick Li A/W 2013 by Sylwia Szyszka
Patrick Li A/W 2013 by Sylwia Szyszka.

I had an inkling of what to expect from Ones to Watch stylist Rebekah Roy, who was wearing a collar fashioned out of the glittery material that Patrick Li used through out his gorgeous tailored collection. Models strode out to bassy beats in sleek ponytails and simple heels, some with a covered ankle feature all the better to show off plentiful asymmetric hemlines.

ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
Patrick Li A/W 2013 by youdesignme
Patrick Li A/W 2013 by youdesignme.

A series of predominantly black minidresses were given the layered treatment, with glitter peeking out from beneath sharp diagonal hems, at waists or on the seams that draped across the body. Crushed velvet made an outing in dusky mink and tapered crop trousers were worn with simple white shirts. Box-shouldered coats came in crop, mid and long versions, all eminently wearable. This was a thoroughly modern collection with great sales potential, and I look forward to watching what the talented Patrick Li does next.

ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
ones to watch patrick li AW 2013-photo by Amelia Gregory
Susie Lau of Style Bubble checks out Ones to Watch. All photography by Amelia Gregory.

Categories ,A/W 2013, ,Fashion Scout, ,Freemasons’ Hall, ,Ones To Watch, ,Patrick Li, ,Rebekah Roy, ,review, ,Style Bubble, ,Susie Lau, ,Sylwia Szyszka, ,youdesignme

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Amelia’s Magazine | Huishan Zhang: London Fashion Week A/W 2013 Catwalk Review

Huishan Zhang A/W 2013 by Dom & Ink
Huishan Zhang A/W 2013 by Dom & Ink.

New twitter mini film app Vine was embraced by the more social media savvy end of the fashion crowd at London Fashion Week: the six second looping films proving perfect to give an immediate moving idea of the shows that a static picture sometimes struggles to put across. Bright catwalk lights tend to wash out un-metered image creation, so I found Vine worked best at the more inventive presentations that I attended. One such show was that put on by Central Saint Martins graduate Huishan Zhang, a Chinese born designer who has interned within the hallowed atelier of the Dior couturiers. Take a peek below:

Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 by Gemma Cotterell
Huishan Zhang A/W 2013 by Gemma Cotterell.

Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan-Zang-AW-2013-Illustration-by-Shy-Illustrations
Huishan Zhang A/W 2013 by Shy Illustrations.

Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 by Sylwia Szyszka
Huishan Zhang A/W 2013 by Sylwia Szyszka.

Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 by Dom & Ink
Huishan Zhang A/W 2013 by Dom & Ink.

For A/W 2013 Huishan Zhang melded Eastern and Western influences in a supremely subtle and modern way: Mondrian-esque stripes and colour blocks were merged with delicate overlays of lace and glitter panels to create 60s inspired A-line shift dresses. These shapes echoed the Chinese Mao suit that was worn by everyone in 60s China, but the sparkling addition of Swarovski sponsored panels of crystals made them dinner party desirable for now. High waist tapered trousers felt modern paired with swing back crop jackets, whilst contrasting lace appliqués and peek-a-boo pleats provided additional interest. This was a wonderfully clever collection; definitely one of my new designers to watch.

Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 by Sylwia Szyszka
Huishan Zhang A/W 2013 by Sylwia Szyszka.

Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013 photo by Amelia Gregory
Huishan Zhang A/W 2013. All photography by Amelia Gregory.

Huishan Zhang A/W 2013 by Sylwia Szyszka
Huishan Zhang A/W 2013 by Sylwia Szyszka.

Categories ,60s, ,Central Saint Martins, ,Chinese, ,Dior, ,Dom & Ink, ,Gemma Cotterell, ,Huishan Zhang, ,lace, ,London Fashion Week, ,Mao suit, ,Mondrian, ,Shy Illustrations, ,Swarovski, ,Sylwia Szyszka, ,Vine

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Amelia’s Magazine | David Longshaw, Father Said: New S/S 2012 Season Preview Interview

David Longshaw S/S 2012 by Abi Hall
David Longshaw S/S 2012 by Abi Hall.

We’ve been following David Longshaw‘s career since we spotted him at Fashion Scout back in 2010. His work continues to evolve in intriguing directions, utilising his illustration and animations skills more than ever before…

We last spoke to you in 2010, what have been the biggest changes since then?
I’m now selling in Harrods as well as more shops in a variety of countries.

David Longshaw SS 2012
What was the inspiration behind Father Said, your S/S 2012 collection, and where does the accompanying story come from? (it’s quite dark!)
I created the story a few years ago for TANK magazine – but never used it for a collection. This season felt like the perfect time to use it and develop the characters. The story is a bit dark – but I think it can be fun to have a dark inspiration from time to time for something as frivolous and light as fashion – I like the contradiction. Here’s the story:

Father said it would have been… by David Longshaw
Father said it would be nice to go to the seaside. I’m not sure mother would have agreed; here I go getting all Alan Bennett. It wasn’t Alan Bennett like at all. That’s why I brought you here, a little nostalgic trip for me, unchartered territory for you. I was driving of course. Well you’d come to see me hadn’t you?
I didn’t expect it to happen. You know I didn’t. I hadn’t planned it. I mean I was all tired out from the drive. It was just these memories coming back that did it. I hadn’t told you about them had I?
“We could go round the castle you said,” but then we spied the purveyor of local delicacies and were ensnared by the intoxicating aroma.
Well, it would have been rude not to.

David Longshaw S/S 2012 by Mitika Chohan
David Longshaw S/S 2012 by Mitika Chohan.

Monies were exchanged and we floated out on the emerald green sea of tiles, shimmering from the hedgehog that had just mopped them. It was you who pointed out she was a hedgehog- all little and bristly and nose twitching as she mopped that chip shop floor; scared by the preying silver fox in the corner (Trevor they called him from over the counter) with his suave, debonair mask- under which lurked a wild, preying animal ready for its next victim. At least that’s how he looked, sitting, pouting but that gentle trickle of saliva and the abstract motif that speckled his jacket- formed from chips and gravy, suggested otherwise.
We did laugh about that, chuckling, as you do, walking towards the sea. You spotted that sign, “Boat Trip to Puffin Island.” £4.50 each, but it was worth it. We saw seals, and jellyfish and went up really close to the island and there were so many little birds. I’m not sure if there were any puffins though, you said you’d seen one but that was you all over.
I’m sorry the rest of the day didn’t pan out quite as well for you. It’s just these memories coming back. Now I think of it, I was reading a book at the time with a puffin mentioned in it, so perhaps that’s what it was.
I’m awfully sorry all the same. Anyway not much I can do now other than tidy things up I suppose. Well there you go. You’re wrapped up now. It was handy I had that spade in the boot wasn’t it. I’ll just cover you up- the soil will keep you warm.”

David Longshaw SS 2012

How did you put together the animation for Father Said and why did you decide to put the story together in animated form?
I’ve always been fascinated by animation – I love creating characters and the idea of bringing them to life for people to watch in a little version of my world. It’s a massively time consuming medium – even for something as crudely done as mine, but that’s part of its beauty. I thought it was a natural next step for me to explore animation as I create a story and illustrate it each season. It’s a fun tool to explain my collection and to build interest in my label, and it’s a point of differentiation. There are so many fashion labels out there and the big fashion houses have huge adverting budgets to promote their collections – so by doing something creative it helps showcase my ideas and the plan is that people will hopefully enjoy what I do and want to keep seeing more.

David Longshaw SS12 by Janneke de Jong
David Longshaw S/S 2012 by Janneke de Jong.

Putting it together was tricky as I’d never done it before and I thought it would be fun to do it all myself from a series of my illustrations (apart from the voice over which I got Jessica Bumpus to do). I did it using a very old mac – which seemed a good idea at the time until it became apparent that it was so old it wasn’t compatible with any others, or with upload programs to put it on Vimeo… which was unfortunate. But after a lot of pfaffing around I finally managed to get it on there and now it’s linked to my website as well. In the short term I’m planning to work on more short animations to develop with my collections. At some point in the future I would like to work on a more ambitious project with a much larger animation – perhaps even a stop motion model animation But I’d need a larger budget and a lot more time.

David Longshaw SS 2012
Why are narratives important?
Narratives help create the theme and tone of the collection – they inform everything from print and silhouette to the colour of the fabrics.

David Longshaw SS 2012
What was the inspiration behind the extravagant silhouettes in the S/S 2012 collection?
The idea was from the point in the story where Sophie accidentally kills her boyfriend, buries him, planting flowers over his burial place. The flowers grow and flow in to the dress she’s wearing. For the rest of her life she wears a flower to remind her of him. I wanted to convey the sense of the flowers growing and taking over what the wearer has on.

David Longshaw SS12 by Janneke de Jong
David Longshaw S/S 2012 by Janneke de Jong.

How did your time at Max Mara equip you for working as an independent designer, and do you have any tips for those just starting out?
My time at both Max Mara and Alberta Ferretti was really useful for starting my own label – aesthetically my style (and indeed the style of the other labels) are very different, but in a way that works out better than if I was just doing a smaller version of either label. Day to day there are things I put in to practice that I learnt there. When you work for big fashion houses you get to see how very successful businesses and design houses work and what’s helped them to get there. But there’s always things you think you would do differently as well.

David Longshaw SS 2012
For people just starting out it’s good to get as much experience in the industry as possible, whether it’s from work experience, or actually designing for a label – if you want to start your own label straight away then try to get as much business advice as you can. Design schools teach how to pull a collection together but you have to know how to be a business person – if you don’t then you won’t have the money or the structure to be able to continue. It’s also really important to think what you want your label to be like – what’s your point of difference and what do you think you can do better than is already out there. It’s good to be aware of all the pitfalls with running your own label: financial, emotional, time constraints, constantly questioning yourself, knowing all the things that can go wrong, all the reasons not to do your own label… Then just go for it anyway!

David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs
David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs.

You are not just a fashion designer but also an accomplished illustrator, how do the two fit together?
They go well together – I use my illustrations in the prints of my collection. Both my design and illustration work inspire each other. When I illustrate for a mag it’s a fun way for people to see my work and see which other designers I like (as I get to select who I interview or illustrate) and it gives people another window in to my thinking. Then when I’m designing I think back to my illustration work and why I selected certain designers/pieces. I’m not trying to be like another designer but it makes me reflect on why I would choose one designer’s work over another.

David Longshaw SS 2012
How do your partnerships with footwear designer Heather Blake and milliner Katherine Lee work? What is the process of working together on a collection?
With Katherine Lee we work together throughout the season on different projects for the collection – from looking and reviewing the collection’s designs and progress to specific pieces she creates for me. With Heather we look at my designs and work out what would be cool to go with them – what elements we can bring out from the clothes and in to the shoes.

David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs
David Longshaw S/S 2012 by Maria Papadimitriou aka Slowly The Eggs.

You also collaborate with girlfriend (and another Amelia’s Mag favourite) Kirsty Ward. How was the Christmas break with the Longshaw Wards? Did you do anything fun?
Christmas was great: there was a Maude fairy on top of the tree – there was still some pfaffing around with fabrics and pens (aka work) but also lots of fun – road trips to visit our families and friends. Then on New Year’s Eve we had a studio party in London and had some friends over.

David Longshaw SS 2012
What can we expect from A/W 2012? any tips?
More Maude: this season Maude’s taken over my collection and mashed it up with her own style… so basically she’s covered most of it with herself – from prints to bags, to scarves, to products…

David Longshaw SS 2012
Make sure you also check out our previous interview with David Longshaw here.

Categories ,Abi Hall, ,Alan Bennett, ,Alberta Ferretti, ,animation, ,David Longshaw, ,Father Said, ,Harrods, ,Heather Blake, ,illustration, ,interview, ,Janneke de Jong, ,Jessica Bumpus, ,Katherine Lee, ,Kirsty Ward, ,Maria Papadimitriou, ,Maude, ,Max Mara, ,Mitika Chohan, ,Puffin Island, ,S/S 2012, ,Slowly the Eggs, ,TANK magazine

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Amelia’s Magazine | Eugene Lin: London Fashion Week S/S 2014 Catwalk Review

Eugene_lin_by_Novemto_komo
Eugene Lin S/S14 by Novemto Komo

Eugene Lin’s interest in Mythology has not dwindled and neither has his talent: for his S/S 2014 collection he set out to create his own fable with Valkyrie; named after the Norse myth that female spirits of battle become swans with the aid of feathered cloaks. Returning once again to the Fashion Scout catwalk, for this latest battle he offered a much cleaner and less embellished collection, sending his own kind of modern warrior women down the runway. Pure white pieces came first, before a burst of unexpected orange turned things up a notch. Strong tailoring included high waists, feathers and pleats and provoked much delight, my own included. Lin provided his signature sharp lines and much loved screen prints; this time including some minimal digital printing techniques that worked well with the structured pieces. Themes and references can be tacky if overdone but Eugene Lin managed to modernise the myth and create a collection that showed the execution of an idea done well, plus the power of top class tailoring.

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

eugene_lin_ss14

Photography by Christopher Dadey



Categories ,Eugene Lin, ,Fashion Scout, ,Freemasons’ Hall, ,London Fashion Week, ,prints, ,S/S 2014, ,tailoring, ,Valkyrie

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Amelia’s Magazine | Fantastic Flaçons: A look at iconic perfume bottles


‘Chanel No.5′ designed by Jean Helleau. Illustration by Sandra Contreras

When Freud pondered the question of ‘what women want, pharmacy ’ someone should have told him that there are few things more desirable than a beautiful bottle of scent. Since the early 20th century, viagra 100mg the perfume flaçon (small bottle) has taken on many weird and wonderful guises – some of which have gone on to become cultural artefacts and artist’s muses. By no means a comprehensive list, here is a small selection of some of the most jaw-dropping flaçons you’ll ever encounter – some of which even manage to upstage the scents they contain.

Chanel Nº 5
“I always launch my collection on the 5th day of the 5th month, so the number 5 seems to bring me luck – therefore, I will name it Nº 5,” proclaimed Mademoiselle Chanel after putting her initial doubts to one side and deciding to branch out into fragrance. The name itself summed up the scent’s abstract nature, and was a two-fingered salute to the other flowery perfume names at the time. Launched in 1921, No. 5 made greater use of synthetic ingredients, resulting in a blend of rose and ylang ylang that is rich, intoxicating but decidedly ‘unfloral.’ The first bottle was designed by the lady herself, modelled on the Charvet toiletry bottle that once belonged to her then-lover Captain Arthur ‘Boy’ Capel. The resulting flaçon we know and love was created in 1924 by Jean Helleau, and went on to become the subject of Andy Warhol’s famous ‘pop art’ prints, as well as being on permenant display in New York’s Musuem of Modern Art (MOMA) since 1959. The rich gold coloured liquid seen vividly through the glass of the minimalist square bottle, with its simple black letters and jewel-like stopper simply screams luxury. 86 years on, it is still capable of stopping women’s hearts – my fair own included.

Shalimar by Guerlain

‘Shalimar’ designed by Raymond Guerlain. Illustration by Stéphanie Thieullent

Named after the Shalimar Gardens in Lahore, and meaning ‘temple of love’ in Sanskrit, you could half expect a genie to emerge from this fan-shaped bottle with sapphire-coloured stopper, but the sweet vanilla fragrance inside is just as mesmerising. Designed by Raymond Guerlain in 1925 and manufactured by Cristal Baccarat (who along with Lalique, first turned the perfume flaçon into an objet d’art) the design of Shalimar was inspired by the fountains one might find in Indian palaces, and was displayed at the Decorative Arts Exhibition in the same year. The bottle has recently been given a modern make-over by jewellery designer/socialite Jade Jagger, who hasn’t strayed that far from the original, and produced a slightly sleeker version that Raymond himself would have been happy with.

Flower by Kenzo

‘Flower by Kenzo’ designed by Serge Mansau. Illustration by Kayleigh Bluck

I love the beautiful simplicity of Flower by Kenzo – how the tall thin glass leans gracefully to one side like a delicate stem in a summer breeze, echoing the sweet floral fragrance within – with a trompe l’oeil image of a flower appearing as if it were inside the bottle itself. Launched in 2000, the flaçon was designed by Serge Mansau, a French glass sculptor and stage decorator, who had already honed his craft designing flaçons for the likes of Dior and Hermés. He was given the concept of a flower by Kenzo’s artistic director Patrick Geudj, who wanted to highlight it as a powerful symbol for peace, and was particularly inspired by photographer Marc Ribaud’s image March in Washington (21st of October 1967) in which a girl holds a flower in front of a gun that is being pointed at her. Who knew a perfume could be political?

Shocking by Schiaparelli

Schiaparelli’s ‘Shocking’ designed by Leonor Fini. Illustration by Joana Faria

Inspired by a bust of Mae West, who was one of Schiaparelli’s major clients, 1937’s “Shocking” was designed by Argentine painter Leonor Fini, and best exemplifies Schiaparelli’s role in the surrealist movement (her designs included her famous lobster dress, and a hat in the shape of high heeled shoe.) The name was inspired by Cartier’s famous ‘shocking pink’ diamond the Tête de Belier (Ram’s Head) and Shocking’s encasing box was dyed in the same pink shade to match. In an era where few fashion houses were releasing perfume, ‘Shocking’ was Schiaparelli’s attempt to compete with her nemesis Chanel (although sadly unlike her rival, the label did not adapt to the changes brought about by WWII and closed in 1954.) The scent itself – a rather dry powdery bouquet of honey rose and jasmine – may not be to everyone’s taste, but the bottle still remains a little piece of perfume history.

Alien by Thierry Mugler

‘Alien’ designed by Thierry Mugler. Illustration by Karolina Burdon

Designed by Mugler himself, Alien is a bright amethyst and gold flaçon, made to appear like a ‘sacred stone’ and bringing to mind 1980’s sci-fi films such as Blade Runner and Tron –  and is a good example of the designer’s flamboyant, theatrical style (check out Beyoncé’s motorcycle corset for a better idea). Alien was Mugler’s second fragrance, which he described as a nod to ‘ultra-feminity’ and contains notes of sambac jasmine and cashmeran wood, creating a soft woody- amber bouquet. The flaçon according to the designer “symbolises thoughtfulness and peace of mind” despite appearing as if it’s going to hatch a new life form on a mission to destroy all humanity as we know it, HG Wells-style.

Categories ,1980s, ,Alien, ,Andy Warhol, ,Balde Runner, ,beyonce, ,Bottle, ,Cartier, ,chanel, ,Cristal Baccarat, ,Decorative Arts, ,Flaçon, ,Flower, ,Guerlain, ,Jade Jagger, ,Jean Helleau, ,Joana Faria, ,Karolina Burdon, ,Kenzo, ,Lahore, ,Lalique, ,Leonor Fini, ,Mae West, ,Marc Ribaud, ,MOMA, ,No.5, ,Patrick Geudj, ,Perfume, ,Pop Art, ,Raymond Guerlain, ,Sandra Contreras, ,Schiaparelli, ,Serge Mansau, ,Shalimar, ,Shocking, ,Stéphanie Thieullent, ,Thierry Mugler, ,Tron, ,Viola Levy, ,WWII

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Amelia’s Magazine | Bloody Gray: London Fashion Week A/W 2013 Presentation Review

Bloody Gray AW2013 by Gareth A Hopkins - Tom Van Der Borght
Tom Van Der Borght by Gareth A Hopkins

There was an epic queue for the Bloody Gray presentation in the Portico Rooms, presumably due to overenthusiastic distribution of the very attractive invites by Yasmina Hamaidia, I did the old go away and come back trick. Like they told me to. And walked in with no queue at all 20 minutes later. As can become the case when things claim to be ground breaking, there was a thin line between interesting and juvenile that, to my mind, some of the designers on show at Bloody Gray landed the wrong side of. Some of that ground has been broken many times before. But then far be it from me to discourage people from trying to be interesting of course, and interesting it definitely was.

bloody gray - lfw aw13 - Martina Spetlova 2

First to catch my eye in the main space were the creepy powder-wigged moving statues of Jayne Pierson‘s live art and digital display. They had white tights on over their shoes. And they looked as if they were going to crawl out of a Regency dolls house in the night and strangle me. Excellent.

bloody gray - lfw aw13 - JAYNE PIERSON 3

bloody gray - lfw aw13 - JAYNE PIERSON
Jayne Pierson‘s slow moving models.

jane bowler - lfw aw 2013 - amelias magazine

Jane Bowler, a fan of sustainable fashion and user of innovative inexpensive plastics, combined tessellating coloured squares in both her exciting dresses and shoes.

Sylwia-Szyszka- lfw aw 2013 - amelias magazine - Jane Bowler 1Sylwia-Szyszka- lfw aw 2013 - amelias magazine - Jane Bowler 2

Jane Bowler by Sylwia Szyszka

bloody gray - lfw aw13 - Tom Van Der Borght

I liked Tom Van Der Borght‘s theatrical setup with strip lights (obviously to make his models difficult to photograph); his garishly painted figures strike an entertaining line between tribal intimidation and colourful clownish clubland cuteness. The outfits themselves artfully combined obfuscating shapes, colour splatters and horses. It was an unusual, colourful and highly bizarre.

Sylwia-Szyszka - lfw aw 2013 - Tom Van der Borght
Tom Van Der Borght by Sylwia Szyszka

bloody gray - lfw aw13 - bas koster 2
bloody gray - lfw aw13 - bas koster
Bas Kosters

Dutch designer (among other things) Bas Kosters had filled his The Rebellious Shadow room with zombified fashion warriors, a horse headed man and such insightful slogans as YES NO and WHY. Why indeed Bas, definitely in the interesting/juvenile territory… but then what should we expect from the man who’s known for his leggings and dresses printed with photographs of penises.

Sylwia-Szyszka - lfw aw 2013 - bas kosters
Bas Kosters by Sylwia Szyszka

bloody gray - lfw aw13 - barbara alan
I’m pretty sure this is Barbara Alan, presumably explaining to someone why she has chosen to display her collection on pink posti-it notes. Her literature that came in the goody bag has one of my favourite phrases of ridiculous fashion waffle I’ve ever read: ‘Breaking from tradition by using innovation to give everything a uniqueness and an individuality.’ My GCSE art students couldn’t do better.

Categories ,A/W 2013, ,Barbara Alan, ,Bas Kosters, ,Bloody Gray, ,Gareth A Hopkins, ,Jane Bowler, ,Jayne Pierson, ,London Fashion Week, ,Portico Rooms, ,review, ,Sylwia Szyszka, ,The Rebellious Shadow, ,Tom Van Der Borght, ,yasmina hamaidia

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Amelia’s Magazine | Blow Presents… An Indian Fashion Show

Amelia GregoryWhen Amelia is not managing Amelia’s Magazine she takes huge quantities of photos. You can see more of her photography on the Amelia Gregory website (which is seriously out of date, purchase you’ve been warned!) and her photos often appear in the articles she writes. She used to make a living shooting portraits and fashion stories for the likes of The Guardian, ES Magazine, Sleaze Nation, Time Out and 125 Magazine and is only too happy to accept commissions! Get in touch with Amelia and let her know what you’d like her to shoot.

Amelia is available and loves to teach. Why not ask her to lecture at your college? She has taught extensively in many top universities and has several popular lectures ready to go, including:

  • How to Set Up a Magazine
  • How to Put Together and Pitch Fashion Shoots
  • How to Break Into the World of Editorial Illustration
  • How to Work with Effectively With Art Direction
  • How to Get Your Ideas Into the World With Effective Social Networking
  • How Illustration Can Imagine a Better World

She is also available for seminars, conferences and as a consultant on all things creative. Email Amelia Gregory for more information.

Amelia spends a lot of time organising, networking, designing, managing print production, calling celidhs and taking photos for Climate Camp because she believes what they are doing is one of the most important things in the world.

Amelia also calls celidhs (barndances if you prefer) with her band Green Kite Midnight which was formed through friendships made at Climate Camp. Green Kite Midnight are available to play sweet celidh music wherever the cause is good enough. Amelia has been calling non-traditional celidhs (featuring a mash-up of Scottish, Irish, English and Appalachian music and dances) for several years now but her biggest celidh to date was held in the main marquee at Climate Camp 2009 on Blackheath, where she got at least 500 people dancing up a storm in perfect harmony.

Little Shilpa illustration by Aniela Murphy

The first glorious day of sunshine in about a million years unavoidably lent itself to the presupposed exotic atmosphere conjured by Blow’s presentation of five young Indian fashion designers, order but the fashion on show moved far and away beyond simply for the Indian consumer into an exhibition of creativity that was fresh, ambulance vibrant and visually nourishing.

Having taken our seats in the Royal Festival Hall, the show began with Little Shilpa and her surfeit of psychedelic accessories that due to their vastness were often threatening to topple off heads and shatter on the catwalk in a pile of plexiglass and glue, but thank goodness those vigilant models kept steady hands. As with like-minded Holly Fulton (where comparisons are inevitable) inspiration clearly came from Art Deco, with a rainbow- coloured New York City skyline perched like a merry hat, carried on like a runway train through the insect and animal kingdoms, plant life, sportswear and even some downright hazardous-looking propeller blade shoulder pads. Whilst enjoyably inventive they were set against a backdrop of miserable old white shirts, although when the only other option was a yellow lycra catsuit maybe it’s a safe bet. We look forward to seeing these in magazines rather than sitting behind somebody who’s wearing them in the cinema.

Following on was something entirely different in Saviojon, whose designs lacked the same reach of imagination but clearly was not aiming that way, with an altogether more wearable collection of ruched and pleated cotton sun dresses in warm colours. The common denominator, however, was strength in accessories with some beautifully embellished shoes and hand crafted jewellery.


Ankur Gupta illustration by Aniela Murphy

Ankur Gupta ramped it back up again, successfully creating a cultural dialogue which surely is a fertile ground as far as the arts are concerned – here we had racy hemlines and futuristic silhouettes combined with traditional Indian embroidery and beading in a stunning display of workmanship. The heavy, carpet-like textiles were stitched and worked meticulously until they resembled beautiful quilts telling stories of trips through the jungle on a magical mystery tour – literally evoked through the appearance of everybody’s favourite educational automobile, the Magic Schoolbus! With added opiates. The dresses were perfectly paired with sequined gladiator sandals in harlequin colours that were the best shoes of the evening – better, certainly, than Anuj Sharma, where poorly made footwear made for awkward times on the catwalk with models eventually ending up barefoot.


Varun Sardana illustration by Aniela Murphy

We returned to drama for the evening’s final (and already acclaimed) designer, Varun Sardana, a real favourite amongst the crowd and reminiscent of showstoppers from Viktor & Rolf and Yohji Yamamoto. With a palette of black the emphasis here was on the convolution of texture, combined with headpieces to create armour-like with an extraordinarily mythical quality, in a collection that included capes, unicorn horns and a final look that’s going to be killer for somebody on the red carpet. Darkness always wins, apparently – even in the sunshine.

Another treat from our friends at Blow, then. We then headed up onto the roof for a few drinks which was pretty bloody brilliant too.

Photographs by Yemisi Blake

Categories ,Ankur Gupta, ,Anuj Sharma, ,Art Deco, ,Blow PR, ,Capes, ,Holly Fulton, ,Indian Designers, ,Little Shilpa, ,london, ,New York City, ,Royal Festival Hall, ,Saviojon, ,Sunshine, ,Texture, ,The Magic Schoolbus, ,Varun Sardana, ,Viktor & Rolf, ,Yohji Yamamoto

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Amelia’s Magazine | Easter 2013: Illustrated

Easter by Daniel Alexander
Easter by Daniel Alexander.

I don’t know about you but this feels like the least Eastery Easter for many years: normally the weather is becoming properly spring-like and the daffodils are blooming in abundance. In 2013 though, it still feels like the depths of a ridiculously long, cold, wet winter: and many animals are suffering due to the prolonged cold weather: sheep and lambs have been buried in snow drifts across the country, hedgehogs and other hibernating animals are unable to wake up because the weather is not warm enough yet, many birds and insects are unable to find food because the plants on which they feed are not yet in bloom and seabirds such as puffins are dying of starvation because they can’t eat enough to keep up their energy and keep themselves warm. And on that sobre note I present to you these Easter illustrations: all of them focused on pagan symbols that have been part of spring equinox celebrations the world over for thousands of years. Let’s hope new beginnings arrive soon.

Easter Bunnies by Katie Eberts
Easter Bunnies by Katie Eberts.

Easter Bunny by Ruth Joyce 2013
Easter Bunny by Ruth Joyce.

Easter Drawing by Holly Maguire
Easter Drawing by Holly Maguire.

garden of eden by Lucy Bishop
Garden of Eden by Lucy Bishop.

Easter Illustration by Constance Posey
Easter Illustration by Constance Posey.

Easter-by-Sylwia-Szyszka
Easter by Sylwia Szyszka.

Easter Bunny by Jo Chambers
Easter Bunny by Jo Chambers.

Easter by Madi Illustration
Easter by Madi Illustration.

Easter by Jo Rose (Dear Little Forest)
Easter by Jo Rose (Deer Little Forest).

easter by Benjamin Phillips
easter by Benjamin Phillips.

Categories ,2013, ,Benjamin Phillips, ,Bunnies, ,Chicks, ,Constance Posey, ,Daniel Alexander, ,Deer Little Forest, ,Easter, ,Eggs, ,Holly Maguire, ,illustration, ,Jo Chambers, ,Jo Rose, ,Katie Eberts, ,Lucy Bishop, ,Madi Illustration, ,Pagan, ,Rabits, ,Ruth Joyce, ,Studio Legohead, ,Sylwia Szyszka

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