Utilitarian – AmeliasMagazine

Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Orschel-Read

I’m a fan of small, help independent festivals and I’d pick one over Glastonbury any day. I’m not sure I can include Southsea Fest in that grouping just yet, more about because, viagra as one organiser said, “we’re not the Great Escape love”. I don’t think they’ll ever be able to rival the festival that’s just 50 miles along the coast, and that lack of ambition is just one of two things that holds the one-day festival back.

The other is the organisation. Mix ups over guestlists, disputes over whether or not I had a plus one and general waiting around meant that I missed the first band I wanted to catch, which was Revere. They played in the stunning Kings Theatre, and would probably have been my highlight of the day, if I’d been able to catch them.

Instead, I headed over to the Fat Fox to check out Real Fur but they were running late – over an hour late – although I was determined to not miss them. At this rate, I’d been at the festival for a couple of hours without hearing a single note of live music. When we finally watched Real Fur, it was definitely worth the wait. They’re a rock band that are so much more exciting live. ‘Pride’ was the standout track for me, but generally the feel of Real Fur is that they’re a jangly, dancy rock band with the odd harmony and, as much as I hate the phrase, a groovy vibe.

I caught Montage Populaire after and I really enjoyed their set. I had no idea they were one of the local bands booked, and spent hours trying to remember where I’ve seen them before. I failed, but I’ll definitely be checking them out in the future. They’re an art-rock band, and it’s easy to see why they’ve drawn comparisons with Los Campesinos and early Blur.

I watched a couple of local bands after that, before stumbling across the Ruskins doing a street gig to promote their set, which I went to. So did the majority of festival-goers judging by the size of the crowd. The lovely London lads managed a couple of songs in the street before some security guards made them stop, but inside Little Johnny Russells they managed half an hour of their ska-infused rock. It was refreshing to hear something that wasn’t indie or acoustic, as the lineup was pretty swamped with it.

The next venue was pretty hideous, but home to two of the most exciting bands on the bill. I got there in time for Let’s Buy Happiness; it’s always exciting to watch bands you know are destined for big things play such a tiny venue. The vocals are completely disarming, the music has this beautiful swaying rhythm and Let’s Buy Happiness produce the most charming pop songs that I’ve ever seen played in Portsmouth. They just got featured by the Guardian, so it won’t be long until the rest of the press begins to gush about them. They are truly spectacular.

Bright Light Bright Light played a set of electro-dance-pop that wasn’t too interesting, so I’ll skip over that bit. After came Islet, who I was crazy excited about catching. They don’t bother with the concept of a stage, preferring to swap instruments and drag them into the crowd. In fact, when one guy in the crowd reached out to touch a guitar, he was handed it. When he wasn’t sure what to do, the guitar was gently led back to the stage. Islet are pretty weird, but they’re unlike any other band I’ve seen.

When I listen I have this internal fight between feeling they’re some kind of Emporer’s New Clothes, art-school weirdness that people sway along to because they’re fashionable, and genuine love for their uniqueness. It’s tiring watching them jump around the stage, share instruments and howl, made all the stranger by the setting. They’re a band everyone should see, even if just for the spectacle of it.

The closing set came from King Charles, back at the Fat Fox. I’ve been listening to his music for a while, so to be able to watch him with a couple of hundred other people was the perfect way to end the day. The harmonies are even more heart-stoppingly beautiful, the guitar riffs that little bit more exciting and the drums that bit more frantic when played live and on a tiny stage. Easily the most captivating performer, King Charles literally didn’t put a foot wrong, performing every track note-perfect. He drew queues outside, the size of which I didn’t notice anywhere else, and showed every other band how it’s done.

If Southsea Fest had a little more ambition, if it could decide whether it’s a festival in Southsea or a festival with bands from Southsea, and if it could book the same quality of bands as this year, it could be popping up on many more radars at the end of next summer. All the elements of a successful festival are there, and hopefully the success of this event will encourage the organisers to step it up for next year.

Illustration by Yuann Shen

Born in India, approved Stefan Orschel-Read grew up in Scotland, page he won gold medals as a dressage rider for Great Britain and also studied law before deciding on a career in fashion. His Central Saint Martins graduate collection in 2008 was based on Virginia Wolfe’s novel ‘Orlando’; a historical biography in which the subject lives over 400 years and changes gender mid way. Subsequent collections were inspired by cathedral murals and the works of Shakespeare, order so it was interesting to see the RCA graduate’s stimulus for S/S 2011 being something a slightly more conventional.

Entitled ‘The Spy Who Becomes Me’, SS11 is inspired by an imagined playboy youth in the Riviera of the Ligurian Sea and his struggle to evolve into ‘a self-sufficient gentleman of responsibilities’.

Although more subdued than his previous seasons, this sophisticated collection successfully utlilised an array of luxurious fabrics which were expertly tailored and incorporated some distinctive detailing. The tag line of the collection is ’We all have a little bit of espionage in us’, but I doubt Orschel Read would be the best outfitter for a Bond-style spy-on-a-mission who hopes to be easily lost in a crowd.

Looks were presented in a refined palette of greys, soft khakis and airforce blues, punctuated with jewel tones and blazes of iridescence.

Illustration by Yuann Shen

Modern slim-fitting suits with traces of utilitarian military styling, such as extended epaulettes, were created in sumptuous British cashmere tailoring wools and iridescent tonic suiting. The blazers at the more muted end of the palette were complemented with dupion silk shirts, glowing in emerald and olive tones.

Digitally printed monograms, paisley and bird motifs were applied to boxers and shirt panels, some silk brocade being produced in collaboration with Italian luxury tailor Brioni, apparently the go-to-coutouriers of a whole host of names from Nelson Mandela to Robert Kennedy and Luciano Pavarotti to Donald Trump.

Alongside his blazers and formal trousers, Orschel-Read showed biker jackets in cashmere suiting, jeans named after MI5 and MI6 and gauzy hand dyed and beaded bias cut vests seen under many of the blazers. Oversized trench coats in pale denim continued the spy theme, and monogrammed underwear was shown with raglan sleeve sweaters with rib detailing.

Written by Naomi Law on Tuesday September 28th, 2010 10:55 am

Categories ,Brioni, ,Espionage, ,London Fashion Week, ,menswear, ,Orschel-Read, ,S/S 2011, ,tailoring, ,Utilitarian, ,Vauxhall Fashion Scout, ,Yuann Shen

Amelia’s Magazine | London Fashion Week A/W 2011 Menswear Day Catwalk Review: D.GNAK by KANG.D

Illustration by Romain Lambert-Louis

It’s good thing it’s starting to feel like spring outside, rx as listening to Lulu and the Lampshades in the dead of winter strikes me as being something akin to torture. This is music that makes me want to ride my bicycle along gravel roads, healing slurping down iced lollies and squinting as the sunshine pokes through my eyelashes.

There is a lot of sweetness to Lulu and the Lampshades – starting with the playfulness of the name itself, link down to the music which is a bucketful of sunshine. At least that was my first impression, before I listened to the new ‘Cold Water’ EP. The only thing I’d heard of the London-based foursome before was ‘Feet to the sky’, a cheery little number with an even cheerier video, but for a release with just four tracks, ‘Cold Water’ does an impressive job of delivering diversity.

Illustration by Matilde Sazio

My favourite thing about Lulu and the Lampshades is probably main singer Luisa Gerstein’s voice – a rich, chocolatey sound which makes you think of bigger songs and swoonier music productions. But the stripped back style of the Lulu songs do an excellent job of accompanying Luisa. The overall effect is something akin to listening to your favourite act playing at a musical, just a few feet away and it feels like they‘re playing just for you.

It certainly sounds like the Lulus having fun though, skipping along (or at least that’s what it sounds like) on the title track ’Cold Water’. Although the lyrics tell a more complex story: ’I hate to be wrapped in cotton although I think it’s better for me / Yes I see there’s trouble but it’s proven to me I’m better off this way’ … I’m not sure if the music and lyrics are mismatched, or if Luisa is simply the happiest when causing a bit of trouble?

Illustration by Mhairi-stella McEwan

Illustration by Sarah Matthews

The video to ‘Cups’, or ‘You’re gonna miss me’, has had over half a million YouTube hits, as Luisa and Heloise banging those plastic beakers into the kitchen table really needs to be seen. ‘Cups’ started out as a routine Louisa learnt at percussion class, combined with new verses and a chorus from a traditional folk song. The result is a lovely little ’all together now’ call-and-response song, but it’s that cup action that has us all going Whoa Lulu! Have a look:

‘I’ll keep my demons underground if it keeps you smiling’, Luisa sings as ‘Demons’ start. Although the flute and glockenspiel keeps things light, the darker undertones are definitely there now, both in terms of lyrics and tone. ‘Cause you’ve punctured me / I’ve ruptured at the seams and though its strange for me / I’ll do my best to keep the rest from falling out’ … But there is something fairytale-like about it too, like the stories about witches and evil creatures that we like because it gives us a chill down our backs.

‘Moccasin Mile’ mixes vocal harmonies, ukulele and some nifty drumstick action as the tempos change. ‘If you can’t be good then please be careful,’ Luisa sings … But then the flute comes in again at the chorus, as Lulu regulars Luisa, Heloise, Jemma and Dan were joined by flutist Isobel to add some extra ‘dance around the maypole’ feeling. And that’s it – four tracks are done and Lulu and the Lampshades have certainly managed to whet our appetites for a full-length album. As well as a dip in a lake that’s still a little too cold, before skipping on home with sunburnt cheeks.

Illustration by Matilde Sazio

Illustration by Sarah Matthews

‘Cold Water’ by Lulu and the Lampshades is out now on Moshi Moshi. Have a look at the website for the current gig schedule, or see the YouTube channel for more music videos.

Illustration by Oliver John Quinn

After hanging out with contributor Nick for lunch during Menswear Day, information pills I hot-footed it up to Vauxhall Fashion Scout to check out D.GNAK‘s latest offerings. It was the only menswear show I’d see at the Freemasons’ Hall and it was fairly quiet. I’d enjoyed his outing last season and was looking forward to seeing how his quirky Japanese aesthetic would translate for A/W.

Contributor Georgia with Paul Weller

I bumped into contributor Georgia Takacs there and we headed into the venue, more about sitting on opposite sides so not to get the same pictures. As we sat down, she started FREAKING OUT. ‘Is that Paul Weller? IS THAT PAUL WELLER?!’ she began yelling. It turns out it was, and he was nestled on the front row with his missus and two children. Georgia immediately went over to chat to him and I took a few pictures of them together, grinned nervously at him and thought to myself that his haircut has a lot to answer for.

Illustration by Joana Faria

On with the show. In a bold move from last season’s classic tailoring with contemporary twists, Kang D (the designer behind D.GNAK) had injected strong colours, interesting knits and enormous rucksacks.

All photography by Matt Bramford

The show opened with utilitarian tailoring that you might expect George Orwell’s Winston Smith to wear dark grey baggy trousers with an apron-like upper half was teamed with a luxurious floor-length cable knit cardigan. Next, a rich pea-coat with over-sized lapels and plaid-detail shoulders.

D.GNAK as a label is quickly establishing itself as an expert in materials and textures. Wools, corduroy, tweed and cotton were all on display, spiced up using colours like mustard and burgundy.

Illustration by Rob Wallace

There’s also an eye for the unfinished – that’ll be the Japanese ma influence then – with fraid hems that look a bit like a Savile Row tailor has had the day off – but teamed with polished blazers and expensive-looking coats, this works really well.

Every man is pretty much catered for here. There’s sartorial tailoring in the form of suits and Sherlock Holmes-esque coats for the sharpest dresser; wool blazers with contrasting buttons and vibrant trousers work well for casuals; corduroy onesies will have the more fashion-forward males racing to the shops.

Ace accessories were on offer – oversized patent leather rucksacks with suede details were worn on both shoulders, buckle straps revealed helpful features like an umbrella carrier. I like.

This was a much fresher collection than last time – the same level of craftsmanship was on offer, but it’s interesting to see D-GNAK explore different pieces, experiment with colours and toy with the traditions of sartorial menswear.