Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Mark Fast

Mark Fast Spring/Summer 2012 by Marcus Reed
Mark Fast S/S 2012 by Marcus Reed

Mark Fast is a designer that sticks in peoples minds for a multitude of reasons. For some it’s his way of turning knitwear into an art form, viagra for others it’s how he creates some of the most recognisable figure-hugging yet conceptual dresses out there or his revolutionary steps in technique. Amelia herself is a massive knitwear fan, and raved about his work with merino wool in her review of Mark Fast‘s A/W 2011 collection at London Fashion Week. For me, it all started when I met a very funny and gently spoken fashion student who was creating knitwear for womenswear designer Bora Aksu back in 2006.

Mark Fast Spring/Summer 2012 by CharlotteHoyle
Mark Fast S/S 2012 by Charlotte Hoyle

Since then, Mark has rocked some headlines with his catwalk shows; causing a fashion stir for his use of plus-sized and curvier models such as Crystal Renn and Hayley Morley consistently each season (his first use of plus-sized models allegedly causing members of his team to walk out). At the time, I remember a sudden explosion of people talking about Fast, even friends who never ‘got’ fashion week before knew his name. There are countless designers who create figure-hugging sartorial magic on the catwalk, but a distance is created when you realise that normal women come in all different shapes and sizes, which stops me from seeing a fantastically chic friend or myself in the clothes. I can always appreciate the raw beauty and skill involved in a good catwalk show, as you’d admire a work of art; but don’t always see it as something accessible for this reason. Mark blew all of this out of the water by proving that his knitted dresses could also hug the curve of real hips and flatter the roundness of a fuller bust.

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer by Amelia Gregory
Mark Fast S/S 2012, all photography by Amelia Gregory

I lined up for the show with endless other fashion editors and buyers for what looked like was going to be a very packed event. Fashion editor and style magpie Anna Dello Russo fluttered by in a shimmer of current season Prada oversized paillette dress and snakeskin boots, which have an incredible curved heel to them, catching my eye despite of my aversion to real snakeskin. Model Liberty Ross, Tallulah Harlech (daughter of modelling legend Lady Amanda Harlech) and modelling pop songstress Eliza Doolittle were in the front row, with Eliza catching a lot of attention from the paparazzi in a very short (presumably Mark Fast) black dress. I had to smile when she pretended to ignore them but continued posing as she caught up with a friend.

Mark Fast Spring/Summer 2012 by Kristina Vasiljeva
Mark Fast S/S 2012 by Kristina Vasiljeva

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia Gregory

As I was shown to my seat, there were a lot of people running around including a production or show manager yelling ‘showing in 5 MINUTES!’ in my ear as I scurried past. There definitely was something in the air before this show, a palpable heated excitement radiating from every person in the presentation space. Suddenly, the press release I was reading through seemed incredibly apt. The collection was inspired by ‘desert mirages and tropical exoticism’ with colours taken from a desert landscape and the movement of a sandstorm providing a starting point for the clothes. I began to feel hotter, as if all the anticipation had brought the desert heat into the show, making me forget all about the blustery autumn weather outside. I was then asked to shuffle over to make room for a lady who turned out to be a very nice Condé Nast street style photographer. She spotted my pens and sketchbook, poised for drawing, and chatted to me about how enchanting it is to watch Vogue creative director extraordinaire Grace Coddington (who I loved in The September Issue) sketch live at catwalk shows. As we talked illustration and photography, the lights began to dim and a sultry summer track mixed with electro beats began to play.

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia Gregory

Orange-tinged lights especially set up for this show around the catwalk began to shine and fade in time with the sharp metallic-sounding music, and then settled to glow intermittently as the first model made her way onto the catwalk. An off the shoulder knitted top and skirt in the lightest possible shade of sand with equally light detailing and undone strands that trailed along the arms of the model as she moved made it out along the catwalk. The photographer next to me sighed a little breath of relief and delight along with most of the room. The pale gold colours made me reminisce over the sunlight you get in the summer, while the 1920s finger-waved and bobbed hair gave the clothes a bit of vintage glamour. The shoes, thanks to Mr Christian Louboutin, brought the look back around to the modern day. T-bar wedges and heels with incredibly huge platforms in gold, pink, black and orange to match the clothes also had little details like spiked studs and rubber straps, which reminded me of jelly shoes.

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia Gregory

More dresses in the same colours but with a variety of shapes you would normally associate with formal wear such as a fishtail gown (which the model almost fell over in) and a practically see-through floor-length number came along. Cleverly re-worked in a luxe version of macramé-style knotting, the silhouettes held their structure but had a light, summery softness to them. Sheer finer-knit dresses were placed over golden knitted bikinis, subtly showing off their delicate intricacy.

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia Gregory

Although the audience was already clearly wowed by the pale gold creations, several pieces came out that made me hold my breath in amazement. The first was a dress with a structured top and then a signature Mark Fast bottom half completely made out of golden loose strands, which moved like nothing I’ve ever seen in my life. Movement on this scale is hard enough to capture in a garment, let alone getting it to a point where it’s flattering. But the weight and lengths of the string-like strands moved perfectly in harmony with the model, never losing her shape but seemingly dancing around her. It was like Mark had actually gone out and captured a little sandstorm of gold, and then attached it to a dress in the most flattering way possible. The model and the others that followed her with similar garments couldn’t help having a little something extra in the way they walked. I began to fantasize about how it must feel to wear something quite so incredible, and luckily was snapped out of it by what came next.

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia Gregory

After some acid-yellow and Lucozade-orange dresses with a similar lightness but no less ‘feminine with an edge’ fabulousness, I got a shock that made me want to elbow the photographer next to me in eagerness (luckily I held back, realising that almost knocking the poor girl off the bench in a rush of excitement wouldn’t be the best thing to do).

Mark Fast Spring/Summer 2012 illustrated by Gareth A Hopkins
Mark Fast Spring/Summer 2012 illustrated by Gareth A Hopkins
Mark Fast S/S 2012 by Gareth A Hopkins

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia Gregory

At first, I thought I was imagining it, but then I remembered the painterly pattern on my show invite and realised that I was indeed seeing the first bit of print in a Mark Fast show. Printed on neoprene, that wetsuit fabric that fashion houses have been using for a while and love for summer, the pattern circled necklines, sleeves and hemlines, gradually fading out. It was completely unexpected and I love the way Mark just gave print a little try, modestly put it on a few dresses but was obviously proud enough to use it for the invitation.

Mark Fast Spring/Summer 2012 by Marcus Reed
Mark Fast S/S 2012 by Marcus Reed

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia Gregory

All in all, the show was very relaxed, sultry, modern and seductive while sporadically a little bit younger than before with the cute baby doll type dresses alongside the dramatic-but-comfortable grown-up gowns. There were some black dresses and two-pieces expertly styled with Linda Farrow sunglasses and jewellery from both Pebble and Renee Lindell (stacks of thick bangles looked perfect for summer) as was the rest of the collection. Quite a few garments were like summer versions of his previous winter collections made from heavier wool. It was almost like someone said ‘well I bet that body-con knitted dress business wouldn’t work in summer’ and Mark replied ‘oh yeah?’ by finding an entirely new and light-as-air way of knitting.

Mark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia GregoryMark Fast Spring/Summer 2012 by Amelia Gregory

On the way out of the show, the cynic in me thought that were was actually a lot of repetition from previous seasons in the necklines, silhouettes and structured knits. However as hot-footed it to another show, I thought about why I expected there to be something so completely different this time around. I admittedly had high expectations of the show, but it was such a standout collection, and little details like structure and shape created by embroidering shimmering petals of sequins into the knitwear didn’t disappoint. I suddenly thought, what is so wrong with sticking with what you’re good at? Mark has now built up a signature style where so much can be developed from, why should he change drastically each season? The promise of prints and ever-developing strides in knitwear are keeping me interested, and if Mark continues to keep his fans I can see his brand following in the steps of Azzedine Alaïa, who practically invented sexy dressing with a twist through his figure-hugging cut-out womenswear in the 1980s and is still going strong. I was genuinely surprised by what this clever designer delivered, and no doubt will be panting in anticipation for the next season with everyone else.


Play the video and watch the show.

Categories ,Alia Gargum, ,Amelia Gregory, ,Anna Dello Russo, ,Azzedine Alaia, ,BFC, ,Bora Aksu, ,catwalk, ,Charlotte Hoyle, ,Condé Nast, ,Crystal Renn, ,Eliza Doolittle, ,Gareth A Hopkins, ,Grace Coddington, ,Hayley Morley, ,knitwear, ,Kristina Vasiljeva, ,Liberty Ross, ,London Fashion Week, ,Marcus Reed, ,Mark Fast, ,print, ,S/S 2012, ,Somerset House, ,Spring/Summer 2012, ,Tallulah Harlech, ,The September Issue, ,Womenswear

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Bora Aksu (by Georgia)


Illustration by Gilly Rochester

It was Day 1 at Somerset House and I was surrounded by all those fashion bigwigs at Caroline Charles; sure to have just flown in first-class from the closing New York Fashion Week and before that whichever glamorous corner of the Earth they resided. The BFC Catwalk space, page therefore, kicked off with a sure-fire reminder of where we were; London. Just in case anyone forgot.


Illustration by Maria Papadimitriou

??It was all about the classic, home-comfort elements of good-old British style. You had your checks, your lace, your chiffon, your wool winter coats that your mother forced you in when you were young and now just can’t get out of.??

Most garments were intrinsically minimalistic. There was very little print. The fabric palette didn’t stretch too far and no real attempt towards a-symmetric cuts or daring features was made. Despite such profuse amounts of plain-Jane style, however, a subtle sexiness arose from those full-sequined dresses in bright red and sultry black as well as the odd combination of tiger and leopard print. It was bad taste turned classy.??


Illustration by Gilly Rochester

The collection’s silhouette held a strong focus on the waist with delicate belts cinching-in wool shift dresses and chiffon floaty creations. There was a barely a bold moment throughout the entire show but one thing was for sure: everything had style.
Furthermore (as has been featured countless times this season), bows were a primary focus for Charles. She placed them on bowler hats, made them out of black ribbon tied around the neck and pulled them round to the rear of high-waisted trousers.


Illustrations by Maria Papadimitriou

Some of the combinations of textures, however, were a little iffy for me. Black leather pencil skirts with brown lady-like jackets? It just didn’t click. I also wasn’t keen on the injection of equestrian riding hats and low pony-tails. It was oh-so-boring and that kind of look, for me anyway, completely lacks any sort of style or attitude. Perhaps a ploy made my yet-another designer to turn the head of Kate Middleton as the Royal Wedding approaches? Maybe so.


Photographs by Georgia Takacs

Amidst the elegant and some-what calming classical music, however, I was agitated by lady-with-hideous-hat who was inconveniently featured in most of my photographs. There was a bit of a frenzy around her and THE HAT after the show. I couldn’t begin to understand why and marched past indifferent and utterly confused.??

All in all, a largely predictable and collection from a classic London dress-maker. It’s endearing, however, to see a leading designer of 47 years to continue delivering a fail-safe iconic style which will forever be appreciated. And with so much sophisticated femininity around this Autumn/Winter season, it certainly set the scene for what was to come and offers a solid reference to anyone embracing ‘The Woman’ next season.

Illustration by Sandra Contreras

Jena.Theo, more about made up of Jenny Holmes and Dimitris Theocharidis, more about who met at the London College of Fashion, approved clearly want to be rock-chic at heart, and the show was like a highly anticipated gig with fashion editors literally fighting for seats (I’m not kidding it was crazy). So a bit of a manic start then!


Illustration by Gareth A Hopkins

The models sashayed down the catwalk whilst the clothes beautifully draped and flowed behind them and nothing was structured; it was very much a free-loving collection. A possible clanger came from the denim bubble coat (not as horrific as it sounds but still bad) and the look was slightly undone; maybe even unfinished but then maybe that’s what was intended.

The venue itself was pretty hardcore for 11am too with flashing coloured lasers spraying from the ceiling and a giant board lit up behind the models leaving us in no doubt as to what show we were at. They might as well have told us to get our rave on whilst referencing Valkyrie as the collection was aptly known.


Illustration by Gareth A Hopkins

Something always gets me though at these shows and it’s when the designers decide that ‘normal’ make up isn’t enough for their show, they need something a little kooky. Jena Theo decided that each model needed a black ‘Michael Stipe’ esque stripe across their eyes and to me it just wasn’t needed. Not that it particularly distracted from the clothes but it didn’t necessarily add anything either.


Illustration by Sandra Contreras

I’ll give them their due, after all it is their first on-schedule show this year but maybe next year the theatrical make up needs to be left out. Surely there’s enough of that in fashion!

You can saw more of Gareth A Hopkins’ illustrations in Amelia’s Compendium of Fashion Illustration.


Illustration by Jenny Robins

So I’m a big fan of Bora Aksu. He’s one of those London Fashion Week underdogs that just has that extra WOW-factor and his show always seems to be the hot ticket on Day One. And with Twiggy and Marina (of The Diamonds) in the front row, price I don’t think I was the only one with high expectations!??The show was held in the BFC Catwalk Space and, approved after being ushered into the line for those with seated tickets, I found myself standing behind a rather ratty lady from Marie Claire who literally huffed and grumbled even if my bag simply brushed her arm. It’s called a queue, darling.


Illustration by Joe Turvey

Hoards of hipsters then made their way into the line behind me (men in wedges, copious amounts of fur and red lipstick – you know the drill) hence this was the moment I knew I was in the line allocated good seats. Front row was, therefore, choc-a-bloc with extreme scenesters and second row wasn’t bad at all when one clocked onto the masses that were standing in any space available. Fashion Week does seem very busy this time round.


Live catwalk illustration by Jenny Robins


Twiggy! All photography by Georgia Takacs

I passed Twiggy’s name on a piece of paper and, upon her arrival moments later, the paps were crazy around her. I could just about see her smile, flashing amidst the flurry. Surrounding her on the front row were the likes of Nicola Roberts and Tallulah Harlech.


Illustration by Joe Turvey

As the lights were just about to dim, the fierce Marina Diamandis – arms adorned with tumbling knitted mice – was ushered to the seat right in front of me by a crazed front-of-house lady belting ‘Make way! Move along!’, probably resulting in some poor lady writing for Grazia sitting cross-legged on the floor. Fashion, eh?


Marina Diamandis

Show time. Bora Aksu didn’t hang around. Dark music and a-symmetric power dresses immediately stormed the catwalk. It was all about sharp tailoring with wool blazers and-the-like including a reoccurring little bow placed high at the neck, either tied there or on the dress. They were, in fact, appearing everywhere – on belts, the backs of dress and even hanging down from the backs of skirts. Bows are big this season!??One thing was for sure, Aksu was clearly enjoying the green. Shirts and underskirts blazed with a bright emerald hue amidst a largely classic palette of greys, charcoals and, of course, black. Green definitely stood out. And it stole the show.


Illustration by Joe Turvey

The dresses had countless genius intricacies – such is the genius of Aksu himself! Every garment had a mix of textures, fabrics, colours and structures. Hemlines were either short-and-sexy or floor-length – the two trends that seem to be dominating, this season. It’s either one extreme or the other, which I LOVE.

Hemlines are greatly important, often defining a silohette, and they were paid great attention to here creating an imposing, powerful image.

With frizzy back-combing and casual back-dos, the hair was understated messy glam. As was the make-up with pale skin and hints of brown. This natural grooming was a definite side-step away from the often mind-boggling intricate creations of Bora Aksu who, once again, delivered a fashion force to be reckoned with!

You can saw more of Jenny Robins’ illustrations in Amelia’s Compendium of Fashion Illustration.

Categories ,A/W 2011, ,Bora Aksu, ,Catwalk review, ,Emerald, ,hipsters, ,lfw, ,London Fashion Week, ,Marie Claire, ,Marina & the Diamonds, ,Nicola Roberts, ,Tallulah Harlech, ,twiggy

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