Regular readers of my London Fashion Week reviews (Hi mum, sorry I haven’t called, been busy) will know that I absolutely adore KTZ. If I could only choose one show to see each season it would probably be this – so it was disappointing that both myself and Amelia hadn’t received any tickets this time. The show had been moved from its regular spot on menswear day to fit in with the womenswear schedule – a move not so surprising considering the KTZ womenswear is usually what gets people talking. This also might explain the lack of tickets – but it was thanks to fashion superhero Lida over at The First To Know that I managed to get in.
Inside, it was already approaching capacity with barely enough room to swing a Canon zoom lens. I managed to perch on the end of a row – one cheek on, one cheek off – as the aisles began to fill up also. Now I don’t want to get above my station but I’ve seen some really, really bad fashion etiquette this season. It seems there are more and more people desperate to take photographs, with people standing up in all rows to try and secure a less blurry shot. It makes for a messy looking show, with some people even resorting to lying on the floor. I dread to think what kind of immoral images they take of the poor models.
I had just enough time to scan the crowds for celebrities before the show began – I think there was a member of The Saturdays (I could be wrong) who looked like she’d been getting ready since 2004. The lights fell, the infamous eardrum-bursting music began and this season’s KTZ extravaganza opened with a monochrome all-plaid number. I hadn’t had time to survey any show notes in part because I was trying to work out whether Girl From The Saturdays was actually from The Saturdays – and sometimes this makes the show more interesting, when you have no idea what to expect. This opening number featured a loose-fitting jacket in heavy tartan fabric, embellished with silver pearls and worn over matching layers – herringbone and smaller tartans – all brought together at the waist with a deep belt featuring ‘KTZ’ in metal.
The tartans kept a-coming, and I would even be so brave to suggest that tartan might be a trend, if people still really worry about things like that. Gorgeous plaid in bright yellow and rich red appeared, styled similarly in Yohji Yamamoto-esque coats with askew proportions and leather and gold accessories. A little bit punk, a little bit New Romantic (styled with flat, shapeless caps) and a LOT of fun.
On the bottom half, tartans came on pleated skirts – sexier than kilts, cut much higher above the knee. Digital-print skirts carrying constellations almost went unnoticed amongst such vibrant fabrics.
As usual there was a huge element of mystery to this collection – as it progressed, models wore huge capes printed with ambiguous religious symbols and monk-like hoods that managed to be sexy and scary at the same time. This section of the show would most certainly have had Dan Brown soaked.
The offerings for fellas seemed a lot stronger this year and the relationship between menswear and womenswear was the most married I’ve seen from KTZ so far. Tartan caps and puffa jackets carried fur trims, large scarves with said symbols were worn across the chest, and hooded cassocks had a surprisingly masculine effect.
The finale brought a few unusual pieces that came as a bit of a surprise – it made the collection seem a little incoherent, but this is KTZ and they can be as incoherent as they bloody like for all I care – leave orderly collections to the Jasper Conrans of fashion, I say. Pinstripe New Romantic-proportioned blazers were embellished with hundreds and thousands of shimmering stars for the gents; for women this treatment appeared on a body-conscious one-piece. A black cropped-sleeve dress, covered completely in black jewels, brought gasps from the guests on my bench.
Reviewing my photographs, I haven’t even mentioned the Versace-esque printed dress with Baroque and tartan fused together perfectly in print, OR the Chanel-esque twinset and baggy sweater. Oh! It was wonderfully exhausting as always, and a massive relief to see that, even in an age of austerity, KTZ will continue to invite us (ahem) into their weird and wonderful dreams.
Written by Matt Bramford on Monday February 27th, 2012 11:45 am
Rider to the sea starts. With slow, deceasetroche sensuous notes, stuff running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, viagra sale her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes.Visually her red lips, sculpted cheekbones and feline eyes adding to the passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business, because she loves it, for her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe, as she is only riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My i tunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, viagra buy sensuous notes, doctor running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business, because she loves it, for her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe, as she is only riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My i tunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, cure sensuous notes, information pills running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, treat sensuous notes, information pills running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, approved sensuous notes, running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Rider to the sea starts. With slow, drug sensuous notes, running then halting. We wait. This is like some sort of Spanish guitar tease; the heroin with eyes masked looks at the man playing the guitar on the balcony of a castle. She jumps higher, her cape flowing out behind her. They see each other and the notes build up to a feverish level. Then stop. My breath is involuntarily left held.
Anna Calvi’s voice is pushed, because she pushes it. She said in an interview with BBC 6 Music recently, that her vocal performances are about commitment; “baring the soul when you sing, not be scared, just show emotion. it’s important that, I think.” And when compared to Florence and The Machine, she says they are similar in that: “When we go for it, we really go for it.” She does.
Anna credits a wide range of musical influences from Roy Orbison and Elvis to twentieth century music, which she says comes out in her guitar playing. Sometimes she sounds like she should be singing the intro music to a James Bond movie, other times she is a Kate Bush atop a cliff, and then you may get a hint of Adam and The Ants – tribal, wigs and theatre. She certainly has her own sound, and as she says, really unleashes on that mic. You can feel her whole body behind those deep, propelling notes. Visually, her red lips, sculpted cheekbones and feline eyes add to the womanly, lustful passion of the adventure.
I have to admit that the first listen I had, I was not instantly in love with her. However, I was hosting a knit club at my house at the time. And now I realise, for a first listen, Anna is wrong when (perhaps…) extra strong girly vibes are circulating. She is a powerful woman, with no messing or moaning. She is vibrant and direct, not fluffy kitten cute. She has said herself, she is in the business because she loves it. For her, it is not about being ‘careerist’. Maybe this has made her less fearful and safe. She is riding on her own expectations, of which she is willing to push. Thus, I listened to the album a few days later when the moon was full and I was feeling a bit more lioness like, and blimey. It was on all morning and beyond. Together with a coffee, I was screaming from my basement flat. Such a shame I have no rooftops.
Listen to this and you will see exactly what I mean:
So track highlights; No More Words’ guitar notes are so sweet, with Anna’s voice ‘ahhhing’ over the top and singing so close to the microphone. Desire is as you would hope, with the title it holds; “The sound of love is beating like a fevered heart… It’s heavenly, heavenly, desirrrre.” Yes to desires, passions and DRUMS! In contrast First We Kiss, is the lingering and submission of desire and the story from the kiss to beyond. Whilst Blackout is a scaling, swinging, red hot infused, deep breathing track. Then… we have Morning Light, all strung out notes, infused by the morning’s spreading sun. New starts and consequences. A fabulous, long, slightly hazy, almost mumbly track, climaxing with symbols and the full sunrise. It reflects perfectly the morning’s feeling, you feel like you have so much time before the sun rises, but it’s always over quicker than you anticipate. You are not invincible, and the day is beginning.
My iTunes says she’s ‘Latin’, but she seems to cover more genres. She has the passions of the Latino, but Anna is also rockier, showier and yet almost primmer than Latin. It’s liberating music, but also feels quite private. A bit like being within the bubble of thoughts consuming a girl in the throes of deep lust, she is singing literally from within. With her Italian blood running through her veins, Anna says this album is about: “intimacy, passion and loneliness.” Strong and all encompassing emotions, that supports both her commitment to performance and the deep, trusted position we are in, as listeners. And you really do believe her feelings as you listen to her.
You know at the end of some of those 80s films, when the couple that have spent the whole movie arguing and bouncing around in bed, get in the car and drive off around a cliff in a sports car that looks like an insect? She would be an AMAZING soundtrack to a modern version of that.
Anna Calvi‘s Album is Out Now on Domino Records
ACOFI launch party invite for Friday 28th January 2011.
Well, capsule dear readers, link today is finally the official launch day of Amelia’s Compendium of Fashion Illustration, which you have no doubt seen me banging on about on Facebook and Twitter for months now, especially under the hashtag #ACOFI (it’s an abbreviation, geddit, for which I have illustrator Antonia Parker to thank). The book has been in shops since late December, but the party will bring together almost all of the featured illustrators, many of the featured ethical fashion designers, and some of the best journalistic and blogging talent under one wonderful roof: that of 123 Bethnal Green Road, an eco fashion store that is profiled in the book.
During the afternoon I shall be hosting a Pukka herbal tea party for VIP guests in the new Bunker Cafe. We’re going to have a giant ACOFI inspired centre piece and lots of delightful scones and biscuits to accompany it, all baked by the fabulous Lily Vanilli, baker extraordinaire… better still Lily promises me there won’t be a cupcake in sight.
Afternoon guests will be invited to sit for their very own fashion illustration with one of my crack team of illustrators, all of whom who are featured in the book. They will also be able to view my online Skype videos with all the featured illustrators, which just today have gone live on my Amelia’s House youtube channel (go check it), perhaps whilst having a soothing hand massage from lovely ethical skincare brand Dr.Hauschka.
Reclaimed leather key rings made using fobs found in the shop that now houses 123. A wee gift for party-goers.
On the second floor of 123 they will be able to take a look through a selection of the featured ethical designers, who are taking part in a two week Eco Pop Up shop which will be instore until the 13th February. Make sure you get down and take a look – there’s a whole host of talent in there, and if you haven’t already visited 123 this would be the perfect opportunity.
A blurry pic of me trying on my Beautiful Soul shrug. I will try to look more elegant in it today…
The utterly brilliant Courtney at Forward PR is looking after my PR for today so it looks like I’m going to be busy with interviews almost all afternoon… look out for more in depth coverage in the coming weeks on lots of other websites and blogs. Come 7pm the party proper begins in the newly converted Scout Hut, kicking off with a live gig from Amelia’s Magazine favourite 6 Day Riot, fronted by the glamourous Tamara Schlesinger. We’ll be drinking lovely Spindrift and carbon neutral East Green beers from my favourite beer company, Adnams, alongside Vodka O, a pure Australian spirit.
I’m then planning to cut the big Lily Vanilli cake and hand it out in a gloriously sticky manner, hopefully in a way that isn’t too reminiscent of a five year old’s birthday or a wedding with no groom.
I’m going to be wearing these fabulous Nina Dolcetti shoes.
From there on in it’s going to be a big old dance party once The Pipettes hit the decks…. followed later in the evening by my TOP SECRET special DJ… who I will now reveal is none other than Will of the Mystery Jets… it’s going to be a good one.
ACOFI in the Tate Modern.
And of course there will be lots of copies of ACOFI around to browse through… and possibly the most fantastic goodie bag EVER to accompany all purchases of the book on the night, containing gifts created exclusively for the occasion from Tatty Devine, Moleskine, Dr.Hauschka, 123 Bethnal Green Road and Pukka Teas – all presented in a specially designed #ACOFI bespoke tote bag. It don’t get better than that.
My special bespoke ACOFI Moleskine, with a holographic imprint of the logo on the front cover.
Dr.Hauschka goodie bags at The First To Know launch party for Lida Hujic’s new book earlier this week: I haven’t unpacked/packed our goodie bags yet.
So that’s the plan. But it will all probably be fabulously disorganised mayhem. Make sure you bring your camera if you’re coming! And I feel I should state apologies at this point that this party is invite only… but there just isn’t enough room (or drink, or cake) to accommodate any more people. It’s principally a party to promote the book, so I’ve invited the illustrators and fashion designers who features in it, and lots of bloggers and journalists.
All packed in the lovely limited edition ACOFI tote bag, designed to complement the cover by Andrea Peterson.
And please go buy the book… cos the future of this website kind of depends on it… For a sneaky 10% off use the discount code ACOFI LAUNCH – vald for one month only until the 28th February 2011 (coincidentally my birthday… just thought I’d drop that in)
Right, I’m off to get my hair blow-dryed by Shine on the Green… I hope they will be able to tame it into something suitably sophisticated. See you on the other side…
Written by Amelia Gregory on Friday January 28th, 2011 9:16 am
