Felder Felder are identical twin sisters Annette and Daniela Felder, and who studied together at Central Saint Martins (of course). According to the press release their S/S 2012 collection BANG! looked to the ‘bravery and bitten romance‘ of choreographer Pina Bausch, dosage which inspired their ‘modern undone style‘ of the kind preferred by uptown girls such as Jen Brill. Having never heard of Jen Brill I had to go google her: a model and photography agent of Chinese Australian origin she has or is apparently dating Terry Richardson. Which would account for her sudden it-girl infamy.
Since the twins graduated just a few years ago they have quickly built a reputation for quirky combinations of girly and rock n roll aesthetics: attracting some famous patrons that include Rihanna, website like this Gwyneth Paltrow, and if the front row was anything to go by the ultimate Brit it-girl Peaches Geldof.
A very gaunt looking Peaches was sat right across from me, her mouth dangling agog through the whole show as if desperate for a good meal. For god’s sake woman, eat! She kept self consciously adjusting her pose but luckily she didn’t distract me for long.
BANG! began with stunning graphic prints that swirled and splatted across flirty skater skirts paired with loose blouses. Over the top bondage inspired neck collars criss-crossed the chest and joined with belts to give a more hard edged feel. Stunning shoes by Kat Maconie were also given a matching print treatment, whilst metallic jackets, a dress and miniature backpack in glitzy pale blue added pizazz.
Sheer fabrics were embellished with signature Felder Felder studs, this time offered in dangling bullet shapes on sweeping black dresses and short white frocks. Orange made a sunny appearance on models with slicked back locks and a collaboration with Triumph produced some sexy bikinis: oh to have a body like one of those models. It did at times feel as though there were too many incongruous shapes within one collection: A-line, bodycon, maxi, draped, flirty, they were all there.
Back at Somerset House I copped a quick feel of the gorgeous fabrics at the Felder Felder stand and quickly understood their appeal: no wonder it-girls, singers and actresses love the pretty yet hard-edged Felder Felder look.
Written by Amelia Gregory on Thursday September 22nd, 2011 12:24 pm
Jean Pierre Braganza S/S 2012 illustration by t.reidy
This show was definitely a bit of a calmer affair from the start, pharmacy which can’t be said for every show at the first day of London Fashion Week where there was some customary elbowing and shoving out of the way. As I went to find my seat I spotted fashion writer legends Hilary Alexander and Colin McDowell having a good chat and a giggle together in the front row with Hilary wearing some very sensible yet awesome leopard-print Converse trainers. It was a big comfort to see all the top fashion editors mostly rocking comfortable-yet-cool footwear in fluoro colours or a flashy pattern, pharm as I’d also opted for a pair of flats and was therefore still able to walk instead of hobble to the last show by the end of day.
Jean Pierre Braganza S/S 2012. All photography by Amelia Gregory
London-born (then brought up in Canada) Jean-Pierre Braganza has been a favourite of mine since my fashion illustrator student days when I modelled for my exceptionally cool japanese stylist classmate and got to wear a pair of extra-long cream leggings and a lot of crazy makeup plus a Kate Bush-esque wig (I was convinced I looked like an exotic bag lady, but my classmate was onto something with the wig as Jean-Pierre did have a few tracks by Kate in the show). Although I obviously was by no means making waves in the fashion world, what stuck in my mind was the interesting use of ruching along the lower leg that created a strong yet feminine look that gathered the extra length into an interesting shape. And, that was also way before leggings became a normal part of an outfit and were overdone to the extent they are now. Jean-Pierre has since stuck to his aesthetic of creating sculpture-like garments, making him best known for constructed tailoring with a bit of an edge.
As the lights dimmed and the usual loud ‘shhhs’ came from somewhere (I always wonder if this is the PR people or just people like me who’d rather not have yelling over the music) I was able to give the press release a quick read. A trip to Cornwall is where the idea for the collection started; blue skies and fluffy cornish clouds (which made me also think about yummy fluffy Cornish ice-cream) contrasted with the sharp lines found in sculptures by Barbara Hepworth and works by Ben Nicholson. As a thumping song from the latest Daft PunkTron movie soundtrack started up I wondered just how Jean-Pierre was going to mix this with inspiration from the Art-Deco area with ‘technological aspiration’ and industrial rock.
Girls stomped out in time to the electro-inspired music with a bit of strong blush on the cheek and hair pulled into a high but loose ponytail, which was then given a sculptural fishtail braid by the Toni & Guy session team. I bumped into of one of the models after the show, Odile from Select (she was being photographed and kept snapping into various model-perfect poses in about 0.3 of a second, incredible to see first-hand) who loved the hair so much she was going to keep it in all day. The first look out was a shift dress with a bit of a flapper silhouette and contrasting cut-out dotted panels that created an amazing effect when the models moved. TouchéMr Braganza, you’ve done it again. I loved the sharp lines around the panels, giving the dress shape (reminding me of Tron-like outfits with lit-up panels from the movie) and a strong but pretty look perfectly complimenting the figure. Very nice to see a dress you can just throw on and immediately look very sculptural and tailored.
The shoes, made by Jean-Pierre for Dune, (so perhaps you’ll see them or a version of them to buy next season) were very high and very unsuitable for the everyday but my goodness they packed a punch. Black detailing was contrasted against pale lemon, bright blood red or even caramel and prints to match the dresses. The ridiculously high peep-toe heels did however come into form on the catwalk, elevating the part-dress part-sculpture girls to a skyscraper level and almost turning their legs into a plinth from which the clothes could be artfully exhibited.
This collection definitely had a lot in it that I loved. Jean-Pierre did sexy cut-outs, which I previously felt puts too much on show and a bit too in-your-face, but in his hands they became petal-soft panels that skimmed curves and held everything in place. They looked almost demure, passing the ‘test’ in where I try to picture myself wearing the dress or shorts or whatever and wonder if I actually would wear it out somewhere nice. It was soft tailoring and sculptural shapes with a feminine yet slightly dark side, which I liked. A lot. There were some gorgeous draped dresses too that reminded me a little of the Spring/Sumer 2010 ‘Dolche Far Niente’ collection by Chalayan but I felt the fabric didn’t have that much to cling to with the slimmer models; some curvier ladies would have worked it better.
A tailored suit or two later, I was admiring the necklaces and gawping over just how high the shoes were when without expecting it, I was completely smitten. It was a dress, but not just any dress. As a lover and illustrator of fashion, I know what colours, shapes and silhouettes will tick my boxes, but I go weak at the knees for a bit of monochrome. I just can’t help it. Blame it on having an architect dad, blame it on the way Comme des Garçons and Chanel use it, blame it on whatever you like because I don’t know why but it always gets me. And this dress got me in a bite-my-lip, ‘damn that’s amazing it’s like wearing a sculpture and can I have it now please’ kind of way. So, I was minding my business scribbling notes and wondering what the grand Hilary Alexander thought of all this when my favourite dress of the show walked out and into, well, yes into my heart. I love it when someone creates with real thought and real skills, and when that thing created is something you can wear, well let’s just say it’s a good thing my budget is no-where near being able to buy stuff like this as I think I’d just stare at it for ages.
The dress was the same as the first ‘modern day flapper girl’ dress on the catwalk, but in white with black lines that gloriously framed the figure. A long black line travelled from the neckline down to the hemline, where it met the other lines that framed the hips and outlined the shoulders. It was sexy in a very understated and fresh way, but was by no means casual, and I loved it. I loved that you’d just be able to slip it on, that it would go with anything, and details like the dropped hem at the back means you’d never have to worry about it was too short when you bent over to pick something up or when pulling some 20s-meets-futuristic shapes on the dance floor.
After the dress, I did see a nice silky jumpsuit or two and some lovely patterns that reminded me of shards of coloured glass as well as some very clever details like slightly off-set arm holes but I couldn’t help thinking about the dress. Before I knew it, Jean-Pierre was giving us a little wave from the start of the catwalk and everyone began to file out of the BFCshow space. The press release mentioned fashion being ‘about capturing emotion in a glance’, and I would insert some overtly poetic line echoing this, but when it comes down to it I loved a dress so much that it made the hairs on the back of my neck stand up. Mr Braganza, I think you truly merit a ‘job well done’ on this collection.
Play the video and watch the show.
Written by Alia Gargum on Sunday September 18th, 2011 6:57 pm
Jean Pierre Braganza S/S 2012 illustration by t.reidy
This show was definitely a bit of a calmer affair from the start, which can’t be said for every show at the first day of London Fashion Week where there was some customary elbowing and shoving out of the way. As I went to find my seat I spotted fashion writer legends Hilary Alexander and Colin McDowell having a good chat and a giggle together in the front row with Hilary wearing some very sensible yet awesome leopard-print Converse trainers. It was a big comfort to see all the top fashion editors mostly rocking comfortable-yet-cool footwear in fluoro colours or a flashy pattern, as I’d also opted for a pair of flats and was therefore still able to walk instead of hobble to the last show by the end of day.
Jean Pierre Braganza S/S 2012. All photography by Amelia Gregory
London-born (then brought up in Canada) Jean-Pierre Braganza has been a favourite of mine since my fashion illustrator student days when I modelled for my exceptionally cool japanese stylist classmate and got to wear a pair of extra-long cream leggings and a lot of crazy makeup plus a Kate Bush-esque wig (I was convinced I looked like an exotic bag lady, but my classmate was onto something with the wig as Jean-Pierre did have a few tracks by Kate in the show). Although I obviously was by no means making waves in the fashion world, what stuck in my mind was the interesting use of ruching along the lower leg that created a strong yet feminine look that gathered the extra length into an interesting shape. And, that was also way before leggings became a normal part of an outfit and were overdone to the extent they are now. Jean-Pierre has since stuck to his aesthetic of creating sculpture-like garments, making him best known for constructed tailoring with a bit of an edge.
As the lights dimmed and the usual loud ‘shhhs’ came from somewhere (I always wonder if this is the PR people or just people like me who’d rather not have yelling over the music) I was able to give the press release a quick read. A trip to Cornwall is where the idea for the collection started; blue skies and fluffy cornish clouds (which made me also think about yummy fluffy Cornish ice-cream) contrasted with the sharp lines found in sculptures by Barbara Hepworth and works by Ben Nicholson. As a thumping song from the latest Daft PunkTron movie soundtrack started up I wondered just how Jean-Pierre was going to mix this with inspiration from the Art-Deco area with ‘technological aspiration’ and industrial rock.
Girls stomped out in time to the electro-inspired music with a bit of strong blush on the cheek and hair pulled into a high but loose ponytail, which was then given a sculptural fishtail braid by the Toni & Guy session team. I bumped into of one of the models after the show, Odile from Select (she was being photographed and kept snapping into various model-perfect poses in about 0.3 of a second, incredible to see first-hand) who loved the hair so much she was going to keep it in all day. The first look out was a shift dress with a bit of a flapper silhouette and contrasting cut-out dotted panels that created an amazing effect when the models moved. TouchéMr Braganza, you’ve done it again. I loved the sharp lines around the panels, giving the dress shape (reminding me of Tron-like outfits with lit-up panels from the movie) and a strong but pretty look perfectly complimenting the figure. Very nice to see a dress you can just throw on and immediately look very sculptural and tailored.
The shoes, made by Jean-Pierre for Dune, (so perhaps you’ll see them or a version of them to buy next season) were very high and very unsuitable for the everyday but my goodness they packed a punch. Black detailing was contrasted against pale lemon, bright blood red or even caramel and prints to match the dresses. The ridiculously high peep-toe heels did however come into form on the catwalk, elevating the part-dress part-sculpture girls to a skyscraper level and almost turning their legs into a plinth from which the clothes could be artfully exhibited.
This collection definitely had a lot in it that I loved. Jean-Pierre did sexy cut-outs, which I previously felt puts too much on show and a bit too in-your-face, but in his hands they became petal-soft panels that skimmed curves and held everything in place. They looked almost demure, passing the ‘test’ in where I try to picture myself wearing the dress or shorts or whatever and wonder if I actually would wear it out somewhere nice. It was soft tailoring and sculptural shapes with a feminine yet slightly dark side, which I liked. A lot. There were some gorgeous draped dresses too that reminded me a little of the Spring/Sumer 2010 ‘Dolche Far Niente’ collection by Chalayan but I felt the fabric didn’t have that much to cling to with the slimmer models; some curvier ladies would have worked it better.
A tailored suit or two later, I was admiring the necklaces and gawping over just how high the shoes were when without expecting it, I was completely smitten. It was a dress, but not just any dress. As a lover and illustrator of fashion, I know what colours, shapes and silhouettes will tick my boxes, but I go weak at the knees for a bit of monochrome. I just can’t help it. Blame it on having an architect dad, blame it on the way Comme des Garçons and Chanel use it, blame it on whatever you like because I don’t know why but it always gets me. And this dress got me in a bite-my-lip, ‘damn that’s amazing it’s like wearing a sculpture and can I have it now please’ kind of way. So, I was minding my business scribbling notes and wondering what the grand Hilary Alexander thought of all this when my favourite dress of the show walked out and into, well, yes into my heart. I love it when someone creates with real thought and real skills, and when that thing created is something you can wear, well let’s just say it’s a good thing my budget is no-where near being able to buy stuff like this as I think I’d just stare at it for ages.
The dress was the same as the first ‘modern day flapper girl’ dress on the catwalk, but in white with black lines that gloriously framed the figure. A long black line travelled from the neckline down to the hemline, where it met the other lines that framed the hips and outlined the shoulders. It was sexy in a very understated and fresh way, but was by no means casual, and I loved it. I loved that you’d just be able to slip it on, that it would go with anything, and details like the dropped hem at the back means you’d never have to worry about it was too short when you bent over to pick something up or when pulling some 20s-meets-futuristic shapes on the dance floor.
After the dress, I did see a nice silky jumpsuit or two and some lovely patterns that reminded me of shards of coloured glass as well as some very clever details like slightly off-set arm holes but I couldn’t help thinking about the dress. Before I knew it, Jean-Pierre was giving us a little wave from the start of the catwalk and everyone began to file out of the BFCshow space. The press release mentioned fashion being ‘about capturing emotion in a glance’, and I would insert some overtly poetic line echoing this, but when it comes down to it I loved a dress so much that it made the hairs on the back of my neck stand up. Mr Braganza, I think you truly merit a ‘job well done’ on this collection.
Play the video and watch the show.
Written by Alia Gargum on Sunday September 18th, 2011 6:57 pm
It was the huge and elaborate headdresses by Rachel Galley that grabbed our immediate attention as the first models traversed the catwalk, visit their steady heads bearing wide concoctions of twirling metal, flowers and swinging tassels for Carlotta Actis Barone‘s S/S 2012 commentary ‘on the stolen liberty and beauty associated with prostitution.’
Carlotta Actis Barone is one of three designers who are being mentored by Fashion Mode, a mysterious entity that provides direction and support in everything from design to business management and marketing.
The new collection was inspired by a cross pollination of cultural ideas: Victorian brothels and French boudoir style from the turn of the last century contrasted with the high class prostitution and honour traditionally associated with being a Geisha.
Swishing lilac and cream dresses with roped detailing around the bust and waist signified the imprisonment of prostitution, whilst loosely draped pencil skirts and lingerie-styled tunics suggested a more playful air of seduction, accessorised with wide patterned kimono inspired waist wraps.
Orchid hair accessories and china doll make-up added to the air of naive idolisation of feminine beauty, but the clash of styles did not always work. Wrinkled tights patterned with stripes of letters (a signature of Barone) were a questionable styling detail and high heeled see through plastic stripper shoes filled with orchids were downright tacky, but overall this was an eye-catching collection from a talented new designer with original ideas. Amongst my favourite pieces were cream big pocketed trench coats with huge flouncy bows on the bum, and vibrant tropical printed silk dresses in green, vermillion and lime.
The definitely not very shy and retiring Carlotta Actis Barone was wearing one of her printed boudoir wraps when she strode out to take a bow at the end of the catwalk, and – somewhat ironically given the theme of her collection – her bosoms made an excited bid for freedom, much to the amusement of the crowd.
Carlotta Actis Barone S/S 2012. All photography by Amelia Gregory.
Written by Amelia Gregory on Saturday September 24th, 2011 1:02 pm
It was the huge and elaborate headdresses by Rachel Galley that grabbed our immediate attention as the first models traversed the catwalk, visit their steady heads bearing wide concoctions of twirling metal, flowers and swinging tassels for Carlotta Actis Barone‘s S/S 2012 commentary ‘on the stolen liberty and beauty associated with prostitution.’
Carlotta Actis Barone is one of three designers who are being mentored by Fashion Mode, a mysterious entity that provides direction and support in everything from design to business management and marketing.
The new collection was inspired by a cross pollination of cultural ideas: Victorian brothels and French boudoir style from the turn of the last century contrasted with the high class prostitution and honour traditionally associated with being a Geisha.
Swishing lilac and cream dresses with roped detailing around the bust and waist signified the imprisonment of prostitution, whilst loosely draped pencil skirts and lingerie-styled tunics suggested a more playful air of seduction, accessorised with wide patterned kimono inspired waist wraps.
Orchid hair accessories and china doll make-up added to the air of naive idolisation of feminine beauty, but the clash of styles did not always work. Wrinkled tights patterned with stripes of letters (a signature of Barone) were a questionable styling detail and high heeled see through plastic stripper shoes filled with orchids were downright tacky, but overall this was an eye-catching collection from a talented new designer with original ideas. Amongst my favourite pieces were cream big pocketed trench coats with huge flouncy bows on the bum, and vibrant tropical printed silk dresses in green, vermillion and lime.
The definitely not very shy and retiring Carlotta Actis Barone was wearing one of her printed boudoir wraps when she strode out to take a bow at the end of the catwalk, and – somewhat ironically given the theme of her collection – her bosoms made an excited bid for freedom, much to the amusement of the crowd.
Carlotta Actis Barone S/S 2012. All photography by Amelia Gregory.
Written by Amelia Gregory on Saturday September 24th, 2011 1:02 pm
Jean Pierre Braganza S/S 2012 illustration by 
