Illustration by Gemma Sheldrake
It’s always a treat to see a brand new designer launch at London Fashion Week – there’s always one that you get tickets for and have never heard of but really stand out in a sea of similarity. This season, clinic it was Fyodor Golan.
Fyodor Podgorny and Golan Frydman make up this design duo – and this debut collection, there romantically titled ‘Pagan Poetry’ was a real treat.
Sarcasm alert: I do rather enjoy sitting on the front row with somebody who is so desperate to capture what they are seeing with a Blackberry or video camera that they lean forward so much that they obscure the view for everybody behind them. I’ve had this a lot this fashion week – I guess it’s inevitable, with the internet now saturated with fashion blogs, it’s only a matter of time before almost everybody has a decent camera and is trying to capture the action as it happens. I’ve heard stories of people taking photographs with one hand and Tweeting with the other. When will it end?! This guy I was sitting next to at Fyodor Golan was beyond ridiculous. Armed with a teeny tiny video camera, he moved backwards and forwards like he directing a Hollywood blockbuster. I jabbed him a couple of times, with a helpless ‘PLEASE STOP DOING THAT!’ look on my face. It didn’t make the slightest difference. He continued to capture, with his shakey hand, every detail of every look. Gah.
Despite this monster I was determined to capture good photographs of this stunning collection. The inspiration had come from Renaissance and Regency periods, and with heritage in Latvia, Russia, Israel, Morocco and Germany, Fyodor and Golan certainly have a enormous amount of cultural references to draw from.
Long, elegant silhouettes dominated the catwalk, spiced up with ruched details and voluminous elements. High waisted skirts were teamed with cropped bolero jackets with flamboyant layering to start with, extremely wearable and somehow classic and contemporary at the same time. Contrasting textures such as organza and cotton were married together in geometric patterns.
Illustration by Ella Masters
Futuristic tailoring appeared on floor length jersey skirts – intricate panels had been applied to waists, and hems were elasticised which allowed models to swagger intently.
The collection then took a very dramatic turn with some amazing conceptual pieces that had everybody raising their cameras in unison. Architectural frocks made in leather and goat skin appeared – one dramatic piece featuring a short, short skirt with layered pleats, another floor length where the leather had been treated to look organic and made the model move like an animal. Other pieces saw organza take twists and turns around models’ figures in muted lilac and beige, having an exotic, romantic flavour. There was so much going on here, but for the final walk-through, somehow it all seemed to fuse together perfectly.
Idiot With Video Camera continued to capture every piece in motion, much to my dismay. I saw him on the Frow a few times during the course of the week. He’s probably really famous, and I’ll never work again. But he drove me insane! And the end of the show, he’d dropped his mobile on the floor. Being a kind and considerate individual, I returned it to him as he legged it out of the venue. ‘Thanks!’ he said, ‘And sorry if I got in your way before!’ ‘Yes, you did!’ I barked, ‘…but I’m over it now.’ He offered me some pictures from his ‘official photographer’ but I declined. I think I did okay – it’s not difficult to take good pictures of great clothes.
Illustration by Gemma Sheldrake
It’s always a treat to see a brand new designer launch at London Fashion Week – there’s always one that you get tickets for and have never heard of but really stand out in a sea of similarity. This season, ask it was Fyodor Golan.
Fyodor Podgorny and Golan Frydman make up this design duo – and this debut collection, romantically titled ‘Pagan Poetry’ was a real treat.
Sarcasm alert: I do rather enjoy sitting on the front row with somebody who is so desperate to capture what they are seeing with a Blackberry or video camera that they lean forward so much that they obscure the view for everybody behind them. I’ve had this a lot this fashion week – I guess it’s inevitable, with the internet now saturated with fashion blogs, it’s only a matter of time before almost everybody has a decent camera and is trying to capture the action as it happens. I’ve heard stories of people taking photographs with one hand and Tweeting with the other. When will it end?! This guy I was sitting next to at Fyodor Golan was beyond ridiculous. Armed with a teeny tiny video camera, he moved backwards and forwards like he directing a Hollywood blockbuster. I jabbed him a couple of times, with a helpless ‘PLEASE STOP DOING THAT!’ look on my face. It didn’t make the slightest difference. He continued to capture, with his shakey hand, every detail of every look. Gah.
Illustration by Abi Daker
Despite this monster I was determined to capture good photographs of this stunning collection. The inspiration had come from Renaissance and Regency periods, and with heritage in Latvia, Russia, Israel, Morocco and Germany, Fyodor and Golan certainly have a enormous amount of cultural references to draw from.
Long, elegant silhouettes dominated the catwalk, spiced up with ruched details and voluminous elements. High waisted skirts were teamed with cropped bolero jackets with flamboyant layering to start with, extremely wearable and somehow classic and contemporary at the same time. Contrasting textures such as organza and cotton were married together in geometric patterns.
Illustration by Ella Masters
Futuristic tailoring appeared on floor length jersey skirts – intricate panels had been applied to waists, and hems were elasticised which allowed models to swagger intently.
The collection then took a very dramatic turn with some amazing conceptual pieces that had everybody raising their cameras in unison. Architectural frocks made in leather and goat skin appeared – one dramatic piece featuring a short, short skirt with layered pleats, another floor length where the leather had been treated to look organic and made the model move like an animal. Other pieces saw organza take twists and turns around models’ figures in muted lilac and beige, having an exotic, romantic flavour. There was so much going on here, but for the final walk-through, somehow it all seemed to fuse together perfectly.
Idiot With Video Camera continued to capture every piece in motion, much to my dismay. I saw him on the Frow a few times during the course of the week. He’s probably really famous, and I’ll never work again. But he drove me insane! And the end of the show, he’d dropped his mobile on the floor. Being a kind and considerate individual, I returned it to him as he legged it out of the venue. ‘Thanks!’ he said, ‘And sorry if I got in your way before!’ ‘Yes, you did!’ I barked, ‘…but I’m over it now.’ He offered me some pictures from his ‘official photographer’ but I declined. I think I did okay – it’s not difficult to take good pictures of great clothes.
Illustration by Gemma Sheldrake
It’s always a treat to see a brand new designer launch at London Fashion Week – there’s always one that you get tickets for and have never heard of but really stand out in a sea of similarity. This season, price it was Fyodor Golan.
Fyodor Podgorny and Golan Frydman make up this design duo – and this debut collection, see romantically titled ‘Pagan Poetry’ was a real treat.
Sarcasm alert: I do rather enjoy sitting on the front row with somebody who is so desperate to capture what they are seeing with a Blackberry or video camera that they lean forward so much that they obscure the view for everybody behind them. I’ve had this a lot this fashion week – I guess it’s inevitable, medicine with the internet now saturated with fashion blogs, it’s only a matter of time before almost everybody has a decent camera and is trying to capture the action as it happens. I’ve heard stories of people taking photographs with one hand and Tweeting with the other. When will it end?! This guy I was sitting next to at Fyodor Golan was beyond ridiculous. Armed with a teeny tiny video camera, he moved backwards and forwards like he was directing a Hollywood blockbuster. I jabbed him a couple of times, with a helpless ‘PLEASE STOP DOING THAT!’ look on my face. It didn’t make the slightest difference. He continued to capture, with his shakey hand, every detail of every look. Gah.
Illustration by Abi Daker
Despite this monster I was determined to capture good photographs of this stunning collection. The inspiration had come from Renaissance and Regency periods, and with heritage in Latvia, Russia, Israel, Morocco and Germany, Fyodor and Golan certainly have a enormous amount of cultural references to draw from.
Long, elegant silhouettes dominated the catwalk, spiced up with ruched details and voluminous elements. High waisted skirts were teamed with cropped bolero jackets with flamboyant layering to start with, extremely wearable and somehow classic and contemporary at the same time. Contrasting textures such as organza and cotton were married together in geometric patterns.
Illustration by Ella Masters
Futuristic tailoring appeared on floor length jersey skirts – intricate panels had been applied to waists, and hems were elasticised which allowed models to swagger intently.
The collection then took a very dramatic turn with some amazing conceptual pieces that had everybody raising their cameras in unison. Architectural frocks made in leather and goat skin appeared – one dramatic piece featuring a short, short skirt with layered pleats, another floor length where the leather had been treated to look organic and made the model move like an animal. Other pieces saw organza take twists and turns around models’ figures in muted lilac and beige, having an exotic, romantic flavour. There was so much going on here, but for the final walk-through, somehow it all seemed to fuse together perfectly.
Idiot With Video Camera continued to capture every piece in motion, much to my dismay. I saw him on the Frow a few times during the course of the week. He’s probably really famous, and I’ll never work again. But he drove me insane! And the end of the show, he’d dropped his mobile on the floor. Being a kind and considerate individual, I returned it to him as he legged it out of the venue. ‘Thanks!’ he said, ‘And sorry if I got in your way before!’ ‘Yes, you did!’ I barked, ‘…but I’m over it now.’ He offered me some pictures from his ‘official photographer’ but I declined. I think I did okay – it’s not difficult to take good pictures of great clothes.
Fyodor Golan A/W 2011 by Joy Chokchai.
I love heading into a show at LFW when I have absolutely no idea what to expect – anything showing at Fashion Scout and PR-ed by Trace Publicity is almost certainly going to be of a high calibre, viagra buy as was the case with newcomers, malady the intriguingly named Fyodor Golan.
Fyodor Golan A/W 2011 by Sandra Contreras.
Fyodor Podgorny and Golan Frydman surely have the most FABULOUS names in fashion. This endearing couple (they held hands when they came out for a bow) are emblematic of the mash up of cultures and nationalities that constitutes London a decade into the new millennium. Between them they have Latvian, generic Russian, Israeli, Moroccan and German roots but got together here in my hometown of Londinium. Between them they have worked at Alexander McQueen, Raf Simons, Richard Nichol and Issey Miyake – in other words a top selection of fashion designers – and these skills were put to good effect in Pagan Poetry, their first catwalk show.
Fyodor Golan A/W 2011 by Sandra Contreras.
The result was a super confident collection inspired by the dress of Regency and Renaissance periods and the scarification rituals of tribal cultures. In practice this meant lots of sheer dresses, cut away areas on the waist, sexy exposed backs and highly tooled ridged and bumped leather detailing. Some of the staggered draping reminded me of Masha Ma, seen at it’s most extreme in a powder blue hooded cape on top of a textured see through bodysuit. Backless dresses are big for A/W and one of my favourite Fyodor Golan dresses featured teasingly buckled straps beneath a thick swinging plait. Very sexy.
Fyodor Golan by Lisa Stannard.
A couple of the tighter dresses featured one of the season’s more worrying trends: extremely tight gathered hems which forced the model to move with great care down the catwalk – I’m sure clothing psychologists would have a field day with the meaning behind this latest design feature. The show closed with a deep royal blue dress featuring this season’s favourite red carpet touch: a lengthy train of fabric billowing out behind. I look forward to seeing what this multi cultural twosome produce next.
Fyodor Golan by Lisa Stannard.
You can read Matt Bramford’s rather more amusing blog about this show and the trials and tribulations of sitting next to an *annoying person who leans out to capture every single look on their shitty camera* right here. Oh how I empathise – I had my fair share of camera wielding cretins to cope with over LFW (see above, at this very show). I could see Matt helplessly trying to shoot round his one at the far end of the catwalk and you can probably spot the culprit from the front if you look through my own photos. GRRRRRR.
Fyodor Golan A/W 2011. Photography by Amelia Gregory.
You can see more work by Lisa Stannard in Amelia’s Compendium of Fashion Illustration.
Written by Amelia Gregory on Thursday March 3rd, 2011 2:39 pm
Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Fashion Scout, ,Fyodor Golan, ,Fyodor Podgorny, ,Golan Frydman, ,Joy Chokchai, ,lfw, ,Lisa Stannard, ,London Fashion Week, ,Masha Ma, ,Matt Bramford, ,Sandra Contreras, ,Trace Publicity
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