Amelia’s Magazine | Nova Chiu: London Fashion Week A/W 2012 Ones to Watch Preview

Nova Chiu S/S 2012 by Dana Bocai

Nova Chiu S/S 2012 by Dana Bocai

Nova Chiu’s creations look like they’ve leapt straight off the pages of ancient fairytales. Strong, architecturally inspired silhouettes burst with colour, texture, beads and print. Her LCF graduate collection was a case of Art reflecting reality, as Nova drew inspiration from her birthplace, the Yunnan province of China, also known as the ‘mystical, earthly paradise’ that is Shangri-La. The aptly named Shangri-Ladida collection mixed traditional Chinese and contemporary dressmaking methods, winning the prestigious Collection of The Year award and creating a buzz of interest around what the designer will do next.

Nova Chiu by Cassandra Mayers

All photography courtesy of Nova Chiu

Chiu will be starting as a brand-new designer this London Fashion Week, but that doesn’t mean she’s new to fashion. Nova has worked for big-name designers such as Anna Sui, Richard Nicoll, and Matthew Williamson, who are all known for their use of colour, texture and shape.

Nova Chiu by Abi Hall

Nova Chiu by Abi Hall

For her graduate collection, Nova Chui drew inspiration from China for more reasons than it being her birthplace. Feeling that although China produces most of the clothes sold around the world, not much is known about traditional and contemporary Chinese fashion. Nova decided she wanted to unveil unknown Chinese culture through her work, mixing traditional and contemporary techniques together in a collection fit for a modern-day princess.

Nova Chiu by Dark Lens

Nova Chiu by Dark Lens

Nova’s background in Surface Textiles is evident in her choice of modern and traditional prints, embellishments, and fabrics. I love her use of different textiles and creativity with red and yellow faux fur, which she embroidered into or pressed prints onto. Not many people could whip up a traditional Chinese ‘ink and wash’ painting method and place it on cotton and nylon to such a fresh effect. Jade and wooden beads poke through faux fur and run along edges as decoration. Sequins and different types of bells were also embedded in the fabric, meaning a girl wearing Nova Chiu will most definitely be seen and heard.

Nova Chiu by Dana Bocai

Nova Chiu by Dana Bocai

The beauty of a graduate collection, and Nova’s in particular, is that burst of energy from the pages of a student sketchbook into a catwalk collection. With her sketchbook lovingly displayed on her website, visitors get a sneak peak at the work that went into her attention-grabbing graduate collection. The illustrator in me loves the detailed, feminine and surreal drawings Nova creates. This designer spends a lot of time illustrating.

Nova Chiu by Jo Ley

Nova Chiu by Jo Ley

Nova Chiu by Cassandra Mayers

This London Fashion Week, I truly cannot wait to see what Nova has in store. Will it be a development of the graduate collection or a complete change? I think we can predict more fascinating displays of her expertise and playfulness with surface textiles. I know I want to see more of her beaded and embellished faux fur; seeing shimmering stones poking out from candy-coloured fur reminds me of some type of fairytale animal. Whatever colour, inspiration, shape or customer she chooses to create for, I’m sure this London Fashion Week will be heaven on earth for Nova Chiu.

Nova Chiu by Jo Ley

Nova Chiu by Jo Ley

Nova Chiu will be debuting her A/W 2012 collection this London Fashion Week on Friday the 17th of February at the Vauxhall Fashion Scout Ones to Watch show

Categories ,A/W 2010, ,Abi Hall, ,Alia Gargum, ,Anna Sui, ,China, ,colour, ,Dana Bocai, ,Fashion Illustration, ,Faux Fur, ,Jo Ley, ,london, ,London College of Fashion, ,London Fashion Week, ,Matthew Williamson, ,Nova Chiu, ,Ones To Watch, ,Richard Nicholl, ,Shangri-Ladida, ,surface design, ,Vauxhall Fashion Scout, ,Womenswear

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Amelia’s Magazine | Phoebe English: London Fashion Week A/W 2012 Catwalk Review

Phoebe-English-by-Gaarte-LFW-AW2012

Phoebe English by Gaarte

For S/S 2012, Phoebe English’s MA collection was a range of subtle body-con dresses in a neutral palette of white, cream and black. There was a lot of comment on the level of talent and craftsmanship that Phoebe obviously held – guess work went into how many hours she had spent hand-smocking the lengths of calico fabric used for her designs.

Phoebe English AW 2012 -photo amelia gregory
Phoebe English AW 2012 -photo amelia gregory
Amelia’s Magazine contributor Georgia Takacs wasn’t impressed with the collection – she acknowledged the high level of skill involved, but thought that the designs were too boxy, and unflattering. However, I really liked the show, and it was one of the first tickets I applied for this year. Phoebe English’s take on modern dressing, the unfinished hems done just right, so as not to get that high street distressed finish, and the fact that this was an MA show, I personally felt, was something to get quite excited about.

Phoebe-English-by-Amelia-Gregory-AW2012
I arrived at the Freemasons Hall a little early, feeling a little confused about what I actually thought of the PPQ show that had been on 20 minutes before, and took my place in the eager queue that was forming. A trio of candy-colour dressed Norwegians came to stand behind me, and I noticed that designer Fam Irvoll was one of the group. She had shown her new collection as part of Vauxhall Fashion Scout earlier that day, and was being interviewed by Dr Lida Hujic from The First To Know. She very modestly played down how the show had gone, telling Lida that she thought it had gone OK.

Phoebe English AW 2012 -photo amelia gregory
The hall became full very quickly, with not too much flocking around Kate Nash and stylist Rebekah Roy who were on the front row. The music, a perfect choice – was a haunting track called Sleep Paralysis from musician Gabriel Bruce, apparently a childhood friend of Phoebe’s.

Phoebe-English-by-Victoria-Haynes-LFW-AW2012.jpg

Phoebe English A/W 2012 by Victoria Haynes

The first three looks of Phoebe English’s collection pleased me a lot. Sticking to the concept of body con dress shapes that she had championed in S/S 2012, black viscose was matched against black and grey latex as trimmings for skirts and sleeves. The best of these was a one sleeved short dress, that was constructed from a latex skirt, heavy viscose top, and a quarter of the long sleeve made from the black latex. It was modern and cool.

Phoebe-English-AW2012-by-Amelia-Gregory

The next two looks showed a sportswear influence, with two short dresses with prominent thick elasticated waistbands, that had been separated along the stomach, producing a cut out effect. The waistbands were dropped, but not too slouchy looking – these were still dresses for dressing up in. Phoebe English had cleverly shielded flesh with a layer of fabric behind this. The first of the dresses also had a latex underskirt, and cut outs on the arm, and I really admired Phoebe for not choosing to show any extra skin – it gave the looks a refined finished.

Phoebe-English-by-Jo-Ley-LFW-SS12

Phoebe English by Jo Ley

This went hand in hand with the make up and hair that had been used for the models – the hair was scraped back into buns or loose ponytails, with no polished finish. Their faces appeared make up free, with a sheen of dew on their cheeks, and simple lightly pink stained lips.

Phoebe-English-by-Claire-Kearns-LFW-AW12

Phoebe English by Claire Kearns

The next two looks were my firm favourites. These were longer styles, that just skimmed the knee, and that were simply stunning. The first, was a column body con dress, made from a black felted top with cut off sleeves, and a body which was made from translucent latex. Underneath, the model wore a pair of high waisted black pants, which again added a refined feel, as did the cropped felt top, that just skimmed the models chest, but showed no skin. The latex was darted twice down the front, and it fitted perfectly to the model’s form, but stretched and allowed movement.

Phoebe-English-by-Amelia-Gregory-AW2012

The second of these looks was a two piece. Made from a cropped top with latex arms and a felt and latex body, and worn with a high waisted felt and latex skirt. I loved the contrast of the heavy felt body pieces to the see-through latex, which pared sexy with refined, and again, not having the need to show off flesh, because the design was already doing enough to make it desirable. Conversely, they were also very lady like – because of the midi length, and with the high waisted cut of the paints and skirt.

Phoebe-English-by-Catherine-Meadows-LFW-AW12

Phoebe English A/W 2012 by Catherine Meadows

I read recently that Phoebe English relocated her work studios to a warehouse in Hackney – and the influence of East London, and it’s residents penchant for black, sheer and sexy definitely came through in these opening looks. They also exemplified what I really like about Phoebe’s work – her ability to combine materials, that are unsuspecting and non-precious, cutting and crafting them together into something that works and looks luxurious. These were also a step away from the boxier shapes that she had shown for S/S 2012. The influence of Phoebe English’s time spent as Gareth Pugh’s intern was also clear.

Phoebe-English-by-Amelia-Gregory-AW2012

The middle set of looks presented a new material – loosely woven rubber strips that adorned heads, and poked out from sleeves and hems of dresses. Making up 5 looks, this was a furthering of the unfinished element of Phoebe’s work that she is known for. It was also quite playful – the strips were woven into lattice work across the bodies of the outfits, but often hung long and loose, which meant a lot of movement as the models walked across the cat walk. I liked the lattice work skirt, the rubber layered on top of the translucent latex, and paired with a industrial knitted rolled hem top. The last look, a latex shift dress was completely covered with the rubber strips, but with longer ends on the lower half of the dress, which gave the dress an ‘unwoven’ finish.

Phoebe-English-by-Cristian-Grossi-LFW-AW2012.jpg

Phoebe English A/W 2012 by Cristian Grossi

As an unexpected but welcome finish to the show, the last 3 looks were an explosion of bubblegum and hot pink. Instantly this added a girlish, feminine feel to the collection, and a great move for Phoebe English, away from her usual subtle palette. There was a heavy knitted jumper, and in the first look, the thick waistbands were back, on both a cropped top and super short skirt.

Phoebe English AW 2012 - amelia gregory
Phoebe English AW 2012 - amelia gregory
Phoebe English AW 2012 - amelia gregory
Phoebe-English-by-Amelia-Gregory-AW2012

It was the last of these berry shade looks that was the winner for me, an asymmetric knit jumper, pink felt skirt, pink latex waistband and a experimental play on her usual smocking. Half of the felt skirt was layered with a bubblegum hued plastic, but it was longer in length, and loosely bound together. It added beautiful movement.

Phoebe-English-by-Emily-Reader-LFW-SS12

Phoebe English by Emily Reader

This collection showed exciting growth in Phoebe’s work – it was a mature but fun collection which showed off her talents for the paring of shapes and textures, and understanding of materials and the ways that they can be utilised to their best effect. The feminine inclusion at the end also showed how Phoebe English will undoubtedly continue to experiment, grow in confidence to produce work that is refined, yet modern and thoroughly deserving of the recognition she has received in her short-career so far.


Phoebe English AW 2012 - amelia gregory
All photography by Amelia Gregory

Categories ,Freemasons’ Hall, ,Gareth Pugh, ,knitwear, ,Latex, ,lfw, ,London Fashion Week A/W 2012, ,ma, ,Merit Winner, ,Modern, ,Phoebe English, ,pink, ,Rubber, ,S/S 2012, ,sportswear, ,Vauxhall Fashion Scout

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Amelia’s Magazine | Pre-LFW interview: Ada Zanditon

9Images throughout courtesy of Satu Fox

Up a winding staircase, sale stomach past the lingerie gallery and through the double doors is a little haven of peace amid all the Fashion Week bustle – the deafening sounds of heels on cobbles and people falling off heels onto cobbles. A far cry from the edgier delights of On|Off or even the main tent, malady patient Orla Kiely’s presentation promises a cosy, ed romantic alternative world, with clothes you might want to wear despite not being Lady Gaga.

orla kiely image 1

In a 70s suburbia-inspired set of mini rooms, some rather desperate-looking housewives/models show off the super-pretty clothes and bags that are Kiely’s forte, but recently the collections have been becoming a little more interesting and a lot more covetable. I used to consider Orla Kiely to be in the Boden stable of clothes; nice enough, but more what you’d wear for a country walk with your granny than for any normal, civilised activity.

orla kiely image 6What is this item of furniture? I want one!

My ears pricked up a little when I saw last year’s crop of mustard-yellow duffle coats and colourful dresses, and things have only got better it seems. Fashion is on the lookout for a crown princess to replace Luella’s deposed Queen of Sweetness, and maybe with a little bit more playfulness, this could be the label for the job. There was also a hint of a nod in Luella’s direction in the velvet-trimmed checked suit. Again, it straighter down the line than Luella would have made it, but if you miss her so much already you feel you want to cry, this could be a place to start drying those tears.

orla kiely image 7

Behind the scenes, the label’s employees, who darted in and out, tweaking things, also looked yummy and I noticed the girls were all in mid-heel strappy wedges in red or tan leather. A bit more manageable than the platforms on the models as the mega-high-heel is one trend that just won’t die (unlike the shoulder trend, which seems to have crawled under a rock somewhere).

P2192453

My approval is not easy to buy but fresh pastries and the offer of a coffee did butter me up a bit, as these items were in short supply elsewhere at Somerset House. Drinks that were available included this ‘pre-tox drink’, which sounds distinctly unhealthy. I’m wondering who I can fob this off onto now as I foolishly carried it all the way home.

orla kiely image 3

Full disclosure: they also gave me some chocolates, some coasters and a nice bag. Orla Kiely World is a very pleasant place to be, unless you are pretending to be a valium-soaked 70s housewife. That doesn’t look very fun. Admittedly, I’d feel a bit awkward if my job was to stand incredibly still while burly men photographed me from surprising angles and random girls munched pastries while staring at my feet. Oh, fashion world!

orla kiely image 4

8
9Images throughout courtesy of Satu Fox

Up a winding staircase, approved past the lingerie gallery and through the double doors is a little haven of peace amid all the Fashion Week bustle – the deafening sounds of heels on cobbles and people falling off heels onto cobbles. A far cry from the edgier delights of On|Off or even the main tent, this web Orla Kiely’s presentation promises a cosy, romantic alternative world, with clothes you might want to wear despite not being Lady Gaga.

orla kiely image 1

In a 70s suburbia-inspired set of mini rooms, some rather desperate-looking housewives/models show off the super-pretty clothes and bags that are Kiely’s forte, but recently the collections have been becoming a little more interesting and a lot more covetable. I used to consider Orla Kiely to be in the Boden stable of clothes; nice enough, but more what you’d wear for a country walk with your granny than for any normal, civilised activity.

orla kiely image 6What is this item of furniture? I want one!

My ears pricked up a little when I saw last year’s crop of mustard-yellow duffle coats and colourful dresses, and things have only got better it seems. Fashion is on the lookout for a crown princess to replace Luella’s deposed Queen of Sweetness, and maybe with a little bit more playfulness, this could be the label for the job. There was also a hint of a nod in Luella’s direction in the velvet-trimmed checked suit. Again, it straighter down the line than Luella would have made it, but if you miss her so much already you feel you want to cry, this could be a place to start drying those tears.

orla kiely image 7

Behind the scenes, the label’s employees, who darted in and out, tweaking things, also looked yummy and I noticed the girls were all in mid-heel strappy wedges in red or tan leather. A bit more manageable than the platforms on the models as the mega-high-heel is one trend that just won’t die (unlike the shoulder trend, which seems to have crawled under a rock somewhere).

P2192453

My approval is not easy to buy but fresh pastries and the offer of a coffee did butter me up a bit, as these items were in short supply elsewhere at Somerset House. Drinks that were available included this ‘pre-tox drink’, which sounds distinctly unhealthy. I’m wondering who I can fob this off onto now as I foolishly carried it all the way home.

orla kiely image 3

Full disclosure: they also gave me some chocolates, some coasters and a nice bag. Orla Kiely World is a very pleasant place to be, unless you are pretending to be a valium-soaked 70s housewife. That doesn’t look very fun. Admittedly, I’d feel a bit awkward if my job was to stand incredibly still while burly men photographed me from surprising angles and random girls munched pastries while staring at my feet. Oh, fashion world!

orla kiely image 4

8
9Images throughout courtesy of Satu Fox

Up a winding staircase, viagra 40mg past the lingerie gallery and through the double doors is a little haven of peace amid all the Fashion Week bustle – the deafening sounds of heels on cobbles and people falling off heels onto cobbles. A far cry from the edgier delights of On|Off or even the main tent, information pills Orla Kiely’s presentation promises a cosy, visit this romantic alternative world, with clothes you might want to wear despite not being Lady Gaga.

orla kiely image 1

In a 70s suburbia-inspired set of mini rooms, some rather desperate-looking housewives/models show off the super-pretty clothes and bags that are Kiely’s forte, but recently the collections have been becoming a little more interesting and a lot more covetable. I used to consider Orla Kiely to be in the Boden stable of clothes; nice enough, but more what you’d wear for a country walk with your granny than for any normal, civilised activity.

orla kiely image 6What is this item of furniture? I want one!

My ears pricked up a little when I saw last year’s crop of mustard-yellow duffle coats and colourful dresses, and things have only got better it seems. Fashion is on the lookout for a crown princess to replace Luella’s deposed Queen of Sweetness, and maybe with a little bit more playfulness, this could be the label for the job. There was also a hint of a nod in Luella’s direction in the velvet-trimmed checked suit. Again, it straighter down the line than Luella would have made it, but if you miss her so much already you feel you want to cry, this could be a place to start drying those tears.

orla kiely image 7

Behind the scenes, the label’s employees, who darted in and out, tweaking things, also looked yummy and I noticed the girls were all in mid-heel strappy wedges in red or tan leather. A bit more manageable than the platforms on the models as the mega-high-heel is one trend that just won’t die (unlike the shoulder trend, which seems to have crawled under a rock somewhere).

P2192453

My approval is not easy to buy but fresh pastries and the offer of a coffee did butter me up a bit, as these items were in short supply elsewhere at Somerset House. Drinks that were available included this ‘pre-tox drink’, which sounds distinctly unhealthy. I’m wondering who I can fob this off onto now as I foolishly carried it all the way home.

orla kiely image 3

Full disclosure: they also gave me some chocolates, some coasters and a nice bag. Orla Kiely World is a very pleasant place to be, unless you are pretending to be a valium-soaked 70s housewife. That doesn’t look very fun. Admittedly, I’d feel a bit awkward if my job was to stand incredibly still while burly men photographed me from surprising angles and random girls munched pastries while staring at my feet. Oh, fashion world!

orla kiely image 4

8
9Images throughout courtesy of Satu Fox

Up a winding staircase, see past the lingerie gallery and through the double doors is a little haven of peace amid all the Fashion Week bustle – the deafening sounds of heels on cobbles and people falling off heels onto cobbles. A far cry from the edgier delights of On|Off or even the main tent, remedy Orla Kiely’s presentation promises a cosy, romantic alternative world, with clothes you might want to wear despite not being Lady Gaga.

orla kiely image 1

In a 70s suburbia-inspired set of mini rooms, some rather desperate-looking housewives/models show off the super-pretty clothes and bags that are Kiely’s forte, but recently the collections have been becoming a little more interesting and a lot more covetable. I used to consider Orla Kiely to be in the Boden stable of clothes; nice enough, but more what you’d wear for a country walk with your granny than for any normal, civilised activity.

orla kiely image 6What is this item of furniture? I want one!

My ears pricked up a little when I saw last year’s crop of mustard-yellow duffle coats and colourful dresses, and things have only got better it seems. Fashion is on the lookout for a crown princess to replace Luella’s deposed Queen of Sweetness, and maybe with a little bit more playfulness, this could be the label for the job. There was also a hint of a nod in Luella’s direction in the velvet-trimmed checked suit. Again, it straighter down the line than Luella would have made it, but if you miss her so much already you feel you want to cry, this could be a place to start drying those tears.

orla kiely image 7

Behind the scenes, the label’s employees, who darted in and out, tweaking things, also looked yummy and I noticed the girls were all in mid-heel strappy wedges in red or tan leather. A bit more manageable than the platforms on the models as the mega-high-heel is one trend that just won’t die (unlike the shoulder trend, which seems to have crawled under a rock somewhere).

P2192453

My approval is not easy to buy but fresh pastries and the offer of a coffee did butter me up a bit, as these items were in short supply elsewhere at Somerset House. Drinks that were available included this ‘pre-tox drink’, which sounds distinctly unhealthy. I’m wondering who I can fob this off onto now as I foolishly carried it all the way home.

orla kiely image 3

Full disclosure: they also gave me some chocolates, some coasters and a nice bag. Orla Kiely World is a very pleasant place to be, unless you are pretending to be a valium-soaked 70s housewife. That doesn’t look very fun. Admittedly, I’d feel a bit awkward if my job was to stand incredibly still while burly men photographed me from surprising angles and random girls munched pastries while staring at my feet. Oh, fashion world!

orla kiely image 4

8
Don’t forget to follow us on Twitter for real time catwalk tweets!
9Images throughout courtesy of Satu Fox

Up a winding staircase, find past the lingerie gallery and through the double doors is a little haven of peace amid all the Fashion Week bustle – the deafening sounds of heels on cobbles and people falling off heels onto cobbles. A far cry from the edgier delights of On|Off or even the main tent, Orla Kiely’s presentation promises a cosy, romantic alternative world, with clothes you might want to wear despite not being Lady Gaga.

orla kiely image 1

In a 70s suburbia-inspired set of mini rooms, some rather desperate-looking housewives/models show off the super-pretty clothes and bags that are Kiely’s forte, but recently the collections have been becoming a little more interesting and a lot more covetable. I used to consider Orla Kiely to be in the Boden stable of clothes; nice enough, but more what you’d wear for a country walk with your granny than for any normal, civilised activity.

orla kiely image 6What is this item of furniture? I want one!

My ears pricked up a little when I saw last year’s crop of mustard-yellow duffle coats and colourful dresses, and things have only got better it seems. Fashion is on the lookout for a crown princess to replace Luella’s deposed Queen of Sweetness, and maybe with a little bit more playfulness, this could be the label for the job. There was also a hint of a nod in Luella’s direction in the velvet-trimmed checked suit. Again, it straighter down the line than Luella would have made it, but if you miss her so much already you feel you want to cry, this could be a place to start drying those tears.

orla kiely image 7

Behind the scenes, the label’s employees, who darted in and out, tweaking things, also looked yummy and I noticed the girls were all in mid-heel strappy wedges in red or tan leather. A bit more manageable than the platforms on the models as the mega-high-heel is one trend that just won’t die (unlike the shoulder trend, which seems to have crawled under a rock somewhere).

P2192453

My approval is not easy to buy but fresh pastries and the offer of a coffee did butter me up a bit, as these items were in short supply elsewhere at Somerset House. Drinks that were available included this ‘pre-tox drink’, which sounds distinctly unhealthy. I’m wondering who I can fob this off onto now as I foolishly carried it all the way home.

orla kiely image 3

Full disclosure: they also gave me some chocolates, some coasters and a nice bag. Orla Kiely World is a very pleasant place to be, unless you are pretending to be a valium-soaked 70s housewife. That doesn’t look very fun. Admittedly, I’d feel a bit awkward if my job was to stand incredibly still while burly men photographed me from surprising angles and random girls munched pastries while staring at my feet. Oh, fashion world!

orla kiely image 4

8
Don’t forget to follow us on Twitter for real time catwalk tweets!
9Images throughout courtesy of Satu Fox

Up a winding staircase, visit web past the lingerie gallery and through the double doors is a little haven of peace amid all the Fashion Week bustle – the deafening sounds of heels on cobbles and people falling off heels onto cobbles. A far cry from the edgier delights of On|Off or even the main tent, Orla Kiely’s presentation promises a cosy, romantic alternative world, with clothes you might want to wear despite not being Lady Gaga.

orla kiely image 1

In a 70s suburbia-inspired set of mini rooms, some rather desperate-looking housewives/models show off the super-pretty clothes and bags that are Kiely’s forte, but recently the collections have been becoming a little more interesting and a lot more covetable. I used to consider Orla Kiely to be in the Boden stable of clothes; nice enough, but more what you’d wear for a country walk with your granny than for any normal, civilised activity.

orla kiely image 6What is this item of furniture? I want one!

My ears pricked up a little when I saw last year’s crop of mustard-yellow duffle coats and colourful dresses, and things have only got better it seems. Fashion is on the lookout for a crown princess to replace Luella’s deposed Queen of Sweetness, and maybe with a little bit more playfulness, this could be the label for the job. There was also a hint of a nod in Luella’s direction in the velvet-trimmed checked suit. Again, it straighter down the line than Luella would have made it, but if you miss her so much already you feel you want to cry, this could be a place to start drying those tears.

orla kiely image 7

Behind the scenes, the label’s employees, who darted in and out, tweaking things, also looked yummy and I noticed the girls were all in mid-heel strappy wedges in red or tan leather. A bit more manageable than the platforms on the models as the mega-high-heel is one trend that just won’t die (unlike the shoulder trend, which seems to have crawled under a rock somewhere).

P2192453

My approval is not easy to buy but fresh pastries and the offer of a coffee did butter me up a bit, as these items were in short supply elsewhere at Somerset House. Drinks that were available included this ‘pre-tox drink’, which sounds distinctly unhealthy. I’m wondering who I can fob this off onto now as I foolishly carried it all the way home.

orla kiely image 3

Full disclosure: they also gave me some chocolates, some coasters and a nice bag. Orla Kiely World is a very pleasant place to be, unless you are pretending to be a valium-soaked 70s housewife. That doesn’t look very fun. Admittedly, I’d feel a bit awkward if my job was to stand incredibly still while burly men photographed me from surprising angles and random girls munched pastries while staring at my feet. Oh, fashion world!

orla kiely image 4

8
Don’t forget to follow us on Twitter for real time catwalk tweets!
As you know Amelia’s magazine love to champion ethical designers, price so with this in mind we wondered if you could tell us why you’re compelled to design ethical fashion as opposed to disposable clothing you might find on the high street?
I don’t like the word opposed. It suggests being against something. I hope that the fashion industry collectively can all create and inspire positive evolutions in design at every level of the market.

Ada Zanditon SS10 CREDIT photographer Paul Persky 00653Images throughout courtesy of Ada Zanditon, shop photographed by Paul Persky

You’re well known within the industry for your fashion designs, site but you’re a great illustrator too. Is this something you’d like to push forward and be known for in conjunction with your self named brand?
For Sure! It would be great to raise awareness of my illustrations. I would love to do a feature or collaboration. Let’s do one with one with Amelia’s Magazine!

Ada Zanditon Show PosterIllustration by Ada Zanditon

Your designs are always so beautifully sculptural yet are easily wearable and super-chic showing your ability to marry different style aesthetics. What kind of woman do you feel embodies your brand?
It could be anyone from Rihanna to Tilda Swinton! But I think strength and elegance combined is the common denominator. When I design a dress, I want the woman who wears it to feel strong, sexy and elegant.

Ada Zanditon SS10 CREDIT photographer Paul Persky 00662

Do you have any fashion heroes, if so who?
The fabulous and bearded Andre J.

Ada Zanditon SS10 Red Dress Look Book Image

What is your inspiration for FW10, and what can we expect from your upcoming LFW fashion show?
Beautifully blended with a bruised colour palette of the low set winter sky, the structured silhouettes of webbed bare branches and beating wings, presents a collection versatile in wear from day to evening. The collection is titled ‘echolocation’ inspired by the perception of the nocturnal landscape.

Ada Zanditon SS10 CREDIT photographer Paul Persky 00677

How do you unwind after the stresses of LFW?
I prefer to start work on the next collection. I only believe in fast forward.

Ada Zanditon SS10 CREDIT photographer Paul Persky 00745

What has been your career’s biggest highlight to date?
It is going to be on this day: Tuesday 23rd February! My first solo show at London Fashion Week, with Vauxhall Fashion Scout. Following on from success of the Ones To Watch show with Vauxhall Fashion Scout ( in Sept 09) we’re very proud to be doing our first solo show, proudly sponsored by Gleeds (one of the world’s leading construction and management consultants)!

For a relatively new designer you’ve already achieved a lot! Is there anything in particular that you are looking forward to accomplishing this decade?
To grow and develop the brand and create a strong international business that operates on the principle that people, planet and profit are of equal importance and value.

Categories ,Ada Zanditon, ,Andre J, ,lfw, ,Paul Persky, ,Rihanna, ,Tilda, ,Tuesday 23rd February!, ,Vauxhall Fashion Scout, ,‘echolocation’

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Amelia’s Magazine | Pre-LFW interview: Orschel-Read

LFW_CharlieLeMindu_01

Who cares if womenswear is wearable? As a gent, recipe generic I certainly don’t. Hair stylist to the stars, more about buy more about Charlie Le Mindu opened the On|Off shows yesterday – winning zero points for wearability, viagra buy but a whopping 10 out of 10 for wow factor.

Charlie has been styling hair for shoots and shows for ages now, but his first catwalk show, as part of Blow Presents, was only last year. In the six months between then and now, he’s had time to polish his wares, and this time we had an even deeper delve into his psyche…

LFW_CharlieLeMindu_Illustration
Illustration by Maryanne Oliver

With the sound of church bells welcoming a funeral cortege, the first model appeared with a giant, jewel-encrusted cross atop her sleek black wig. Wearing a most provocative outfit made of lace, Le Mindu’s pieces lie somewhere between your wildest dreams and your darkest nightmares.

LFW_CharlieleMindu_02

As the pounding music kicked in, with screams of ‘CHARLIE” peppered in the track, the stream of models slowly sauntered down the catwalk, expressionless and lost in their own thoughts. The outfits became racier – with one model, wearing a huge hair-trimmed construction, having little but a thick pony tail to hide her modesty.

LFW_CharlieleMindu_03

While Charlie’s SS 2010 show was all about the blonde, AW 2010 was definitely all about black. Black, black black. Black lace, black hair, black shoes and black knickers. Any use of colour would have ruined the drama of fashion’s favourite colour.

LFW_CharlieleMindu_04

The most prominent theme was undoubtedly death, with crucifixes, ashen skin and hair/head pieces influenced by the mantilla. Whilst some might find Le Mindu’s creations a little on the silly side, the craftsmanship, attention to detail and range of techniques he employs are outstanding. He’s comparable to the few designers who really push the boundaries, and, like dearly beloved McQueen, he toys with raw and emotive subjects. And when it’s not hair, it’s stoles with cuddly-toy heads or bird feathers.

LFW_CharlieleMindu_05

Amongst a hell of a lot of designers who’ve taken to playing it safe in these turbulent financial times, thank GOD for Charlie Le Mindu.

LFW_CharlieleMindu_06

LFW_CharlieLeMindu_01

Who cares if womenswear is wearable? As a gent, shop I certainly don’t. Hair stylist to the stars, price Charlie Le Mindu opened the On|Off shows yesterday – winning zero points for wearability, but a whopping 10 out of 10 for wow factor.

Charlie has been styling hair for shoots and shows for ages now, but his first catwalk show, as part of Blow Presents, was only last year. In the six months between then and now, he’s had time to polish his wares, and this time we had an even deeper delve into his psyche…

LFW_CharlieLeMindu_Illustration
Illustration by Maryanne Oliver

With the sound of church bells welcoming a funeral cortege, the first model appeared with a giant, jewel-encrusted cross atop her sleek black wig. Wearing a most provocative outfit made of lace, Le Mindu’s pieces lie somewhere between your wildest dreams and your darkest nightmares.

LFW_CharlieleMindu_02

As the pounding music kicked in, with screams of ‘CHARLIE” peppered in the track, the stream of models slowly sauntered down the catwalk, expressionless and lost in their own thoughts. The outfits became racier – with one model, wearing a huge hair-trimmed construction, having little but a thick pony tail to hide her modesty.

LFW_CharlieleMindu_03

While Charlie’s SS 2010 show was all about the blonde, AW 2010 was definitely all about black. Black, black black. Black lace, black hair, black shoes and black knickers. Any use of colour would have ruined the drama of fashion’s favourite colour.

LFW_CharlieleMindu_04

The most prominent theme was undoubtedly death, with crucifixes, ashen skin and hair/head pieces influenced by the mantilla. Whilst some might find Le Mindu’s creations a little on the silly side, the craftsmanship, attention to detail and range of techniques he employs are outstanding. He’s comparable to the few designers who really push the boundaries, and, like dearly beloved McQueen, he toys with raw and emotive subjects. And when it’s not hair, it’s stoles with cuddly-toy heads or bird feathers.

LFW_CharlieleMindu_05

Amongst a hell of a lot of designers who’ve taken to playing it safe in these turbulent financial times, thank GOD for Charlie Le Mindu.

LFW_CharlieleMindu_06

What was it like collaborating with Pavel Rudanovsky on the conceptual ‘UnFashion Show’ series?
‘UnFashion’ was a great platform to test out ideas of what can be presented under the umbrella of a ‘fashion show’. We integrated contemporary dance and ballet, here alongside experimental live music and three dimensional interactive sets, here into a fashion show with a narrative. It helped me work out the balance between the need for spectacle in a show and the need to exhibit a garment design in manner where it can be clearly understood.

01 Orschel-Read SS10 photographer Paul MorganImagery throughout depicting Orschel-Read SS10, buy photographed by Paul Morgan

Did you always know that you wanted to design couture for men or is this something you realised upon studying at Central Saint Martins?
I launched my ready-to-wear label at London Fashion Week in September 2009. I showed it alongside the bespoke collection. I knew I wanted to design for men long before I studied at Central Saint Martins, but it was while I was there that I pursued the concept of couture for men. We are at an exciting time in menswear where couture for men is once again relevant; it is no longer solely for kings and emperors, it is for you and I.

09 Orschel-Read SS10 photographer Paul Morgan

How did you break into the fashion industry, and do you have any advice for our readers on things they can do to stand out in the industry?
Starting up a label is a very large gamble especially in the current economic climate. It is important to understand that the financial and time commitments will far exceed what you initially estimate! I strongly suggest that if starting your own label is something you aim to do, that you seek a few internships with new generation labels. It is in these situations where you can understand all the processes that you will need to undertake yourself when starting your own brand.

14 Orschel-Read SS10 photographer Paul Morgan

You’ve recently had a couple of designs worn by Lady Gaga, who showed that your designs can be worn and adapted into a woman’s wardrobe. Are you happy for women to wear your clothing, and what was it like working with Lady Gaga?
I see no divide between man and woman. We have differences but far more similarities. Therefore of course I was pleased that Lady Gaga chose to wear my menswear.

15 Orschel-Read SS10 photographer Paul Morgan

Is there any one man that you would love to see wearing your designs, who you feel sums up your ethos as a designer?
I would have loved to have dressed the late Henry Cyril Paget, 5th Marquis of Anglesey. Known to his friends as ‘Toppy’, he looked like an Aubrey Beardsley illustration. Beyond eccentric, he had his car modified to spray perfume from its exhaust, walked with a poodle bedecked with pink bows under his arm and hired an entire theatre company with whom he performed almost nightly to entertain his servants and the locals of Bangor. What I admire lies beneath his seemingly frivolous bejewelled exterior. He was a true social agitator and living artwork. He forced people to reconsider preconceived notions of what was acceptable in a male. He could not simply be categorised as a mere eccentric and therefore socially tolerable within a walled-off heterotopia. He was an avant-garde, who like Marchesa Luisa Casati, Quentin Crisp and David Bowie, irreversibly reshaped the opinions of the panoptic mainstream.

18 Orschel-Read SS10 photographer Paul Morgan

What is your inspiration for FW10, and what can we expect from your upcoming LFW fashion show/presentation?
The foundations of this collection come from the ceiling mural of Stockholm’s Storkyrkan cathedral and the subtle beauty of female birds, with William Morris inspired prints. This season I am focusing on balancing tailoring with a classic sportswear feel, in earthy tweeds, digitally printed leathers, knit and fine tailoring wools. As always it is designed and produced in-house in London.

27 Orschel-Read SS10 photographer Paul Morgan

How do you unwind after the stresses of LFW?
Last season I took a break and enjoyed some quiet time at home. Mistake! I hated the anticlimax. So this year I will seek distraction and go on holiday.

28 Orschel-Read SS10 photographer Paul Morgan

What has been your career’s biggest highlight to date?Every time I produce a bespoke garment that supersedes the client’s expectations I experience the greatest contentment and reward available within my career choice.

30 Orschel-Read SS10 photographer Paul Morgan

Is there anything in particular that you are looking forward to accomplishing this decade?
I look forward to being part of a grand revolution within menswear that has already begun. My show on the 24th of February with Vauxhall Fashion Scout is my next explorative submission towards this.

Categories ,’UnFashion Show’, ,5th Marquis of Anglesey, ,Aubrey Beardsley, ,Central Saint Martins, ,Cyril Paget, ,David Bowie, ,Lady Gaga, ,London Fashion Week, ,Marchesa Luisa Casati, ,Orschel-Read, ,Pavel Rudanovsky, ,Quentin Crisp, ,Stockholm’s Storkyrkan cathedral, ,Vauxhall Fashion Scout, ,William Morris

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Amelia’s Magazine | Prophetik: London Fashion Week A/W 2012 Catwalk Review


Prophetik A/W 2012 by Faye West

My fashion week hadn’t got off to the best of starts this season. I skipped day one, and arrived on day two rather worse for wear. I’d been out boozing the night before and hadn’t predicted to feel quite so dreadful the next morning. I managed the Spijkers show, but on my way to see my faces, Teatum Jones, I was spinning out so badly that I just had to return home. Spending the day on the sofa sorted me out, and so I leapt out of bed on a bright, Spring-like morning on Sunday (day three) to catch Prophetik, back after a hiatus last season, to see what Jeff Gardner could offer fashion fans at 10.30am.


Prophetik A/W 2012 by Claire Kearns

Seating was easy peasy thanks to the glorious gals at Forward PR, and the show began only a few minutes late. This season, Jeff’s charity of choice is the Lawrence Anthony Foundation, committed to protecting endangered rhinos. Well, I certainly didn’t expect to see photographs of rhinos mutilated at such an early hour, but the provocative images hit home the crisis the species face. It costs £30,000 to protect one rhino for a year – a terrifying amount of money – because the only way to keep them alive is by guarding them 24 hours a day. You can read more about the cause here.


All photography by Matt Bramford

So it was on with the show. True to form, a vibrant violinist opened the proceedings, galavanting up and down the catwalk as she played. A live band then accompanied music that blasted from the sound system and the first model appeared.

This collection was called ‘Courtly Love‘, which for a brief moment made me imagine Prophetik‘s staple frocks with Courtney Love-esque make-up. Alas, this wasn’t the case. The theme was more of a reference to Princess Grace, archetypal dandies and an age-old way of dressing reinvented with a surge of modernity. The collection brought Prophetik‘s inimitable style back to the catwalk – romance, drama and sophistication neatly packaged into one collection.


Prophetik A/W 2012 by Gilly Rochester

Layers of lace were built up on dresses, blouson sleeves met with tight cuffs, swooping necklines were decorated with ruffled trims and sashes around waists provided flattering silhouettes.

This season saw a shorter hemline on some pieces that came as a bit of a surprise; I’m used to Jeff’s floor-sweeping numbers but cuter frocks cut above the knee made the collection seem more wearable and playful.

Menswear was exemplary as per: this season brought cropped tuxedos with jazzy gold buttons and baggy knits; pillow-shaped sleeves appeared on shirts. I spent more time than was necessary fancying two frock coats, the first with beautiful embroidery that looked like a V&A exhibit, the second made from luxurious velvet with heavy brocade detailing.

I don’t see myself hanging around Bethnal Green in either, but I’ve since fantasised about wearing the latter around the house, pretending I’m from another era.


Prophetik A/W 2012 by Gabriel Ayala

The finale created gasps across the room: a dress, black on bottom, white on top, featured one of Jeff’s grandmother’s original blankets (he must be running out) covered in black feathers – a real red carpet number if ever I saw one; one that will likely have Livia Firth on the phone faster than you can say green carpet. Gasps of another kind came when Whitney Houston’s ‘I Wanna Dance With Somebody’ emerged from the speakers – an unorthadox choice at a Prophetik show, but one that had guests bouncing up and down in their seats.


Finale at Prophetik A/W 2012 by Faye West

While Prophetik isn’t my favourite type of fashion – I prefer the more contemporary, print-based designers – I’m never disappointed, as I’m sure the hopeless romantics won’t be either.

Categories ,A/W 2012, ,AW12, ,catwalk, ,Claire Kearns, ,Courtly Love, ,Dandy, ,fashion, ,Faye West, ,Forward PR, ,Freemasons’ Hall, ,Gabriel Ayala, ,Gilly Rochester, ,Jeff Garner, ,Lawrence, ,London Fashion Week, ,Matt Bramford, ,menswear, ,Prophetik, ,review, ,Vauxhall Fashion Scout, ,Whitney Houston, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Interview: Carlotta Gherzi

Carlotta Gherzi by Emma Block
Carlotta Gherzi S/S 2012 by Emma Block

Carlotta Gherzi for Sado was one of the first catwalk shows I ever attended, page and I was enchanted from the start.

Garlotta GherzI by Lako Bukia
Carlotta Gherzi S/S 2012 by Lako Bukia

emma_block_A/W 2011 carlotta_gherzi_
Carlotta Gherzi A/W 2011 by Emma Block

Since she completed her BA in Fashion Design & Fashion Marketing at the American University in London, Carlotta Gherzi has been a firm fashion week favourite. Her 2011 A/W collection Frozen Flora took the audience to a world of ice queens in dresses the colour of iced lattes with thick wool capes like rain clouds.

Carlotta Gherzi S/S 2012 sheer dress
Triassic Glamour, her S/S 2012 catwalk show, similarly captured the attention and imagination of the assembled LFW audience and, after the show, I was offered the chance to head backstage and find out a little bit more about her inspirations and working process.

Carlotta Gherzi S/S 2012 By Lydia Fee 1
Carlotta Gherzi S/S 2012 by Lydia Fee

Carlotta Gherzi S/S 2012 purple dress
Have you always wanted to be a fashion designer? How did you first get into it and what advice would you give to fashion graduates today?
I always wanted to be a designer since the age of 6. My grandmother was a tailor so I grew up looking at her sewing dresses for herself and my mum. Graduates should look at and acknowledge the business side of the industry, as it’s very easy to take the wrong decisions…

Carlotta Gherzi S/S 2012 cream dress
How do you begin a collection? Does it start with sketchbooks, notebooks, photos, scrapbooks, in your head etc?
It’s a long process, first I look at fabrics; choosing what I like, then I select a theme and I start looking at it in more detail. Than sketching, dreaming and toileing makes it come to life.

Carlotta Gherzi By Lako Bukia
Carlotta Gherzi S/S 2012 by Lako Bukia

Where do you go to be inspired?
Wherever is sunny and sandy does it for me. It makes me feel happier and I’m inspired by raw nature. For S/S 2012 I was inspired by fossils, re-designing them by hand into my new print. I then decided to use the color palette from the movie avatar; bright orange, blue-purple , sabbia, black and shades of ivory. I also go back in time, metaphorically speaking, looking at films from the past. For my new collection I was inspired by Breakfast at Tiffany’s and Casablanca, looking at the 1930’s silhouette, and re-inventing it for the modern woman. This is why I called the collection Triassic Glamour.

Carlotta Gherzi S/S 2012 aqua dress
Which bit is your favourite part of the process from initial conception to catwalk?
Playing with fabric weights and sketching fast. Then if I am not sure I enjoy modifying the final garment to suit the initial drawing.

Carlotta Gherzi by Lako Bukia
Carlotta Gherzi S/S 2012 by Lako Bukia

How have these different countries you lived in and different cultures you’re experienced influenced your work?
I’m inspired by women from around the world. I really like the quirkiness of London and the sometime carefree look. I admire the New York look with nothing out of place or order. I laugh at yet admire the super careful match of colours going on in Italy, the brand loving in Russia…. I think about all these women when designing my clothing.

Carlotta Gherzi S/S 2012
Who would you most love to wear your clothes?
When designing I take my favourite characteristics in women and then I unite them all in one. I try to read the mind of many women and I try to understand what they want and what I would look for in an outfit myself.

Carlotta Gherzi S/S 2012 swimwear
Which designers do you most admire?
I love Balenciaga and Isabel Marant.

Carlotta Gherzi S/S 2012 black dress
All photography by Emma Block.

What’s coming up next for SADO?
A possible diffusion line…

Carlotta Gherzi S/S 2012 By Lydia Fee 3
Carlotta Gherzi S/S 2012 by Lydia Fee

Make sure you check out my review of Carlotta Gherzi‘s S/S 2012 catwalk show as well.

Categories ,1930s, ,American University, ,Balenciaga, ,Breakfast at Tiffany’s, ,Carlotta Gherzi, ,Casablanca, ,Emma Block, ,fashion, ,Fashion Design & Fashion Marketing, ,fossils, ,Frozen Flora, ,interview, ,Isabel Marant, ,lako bukia, ,London Fashion Week, ,Lydia Fee, ,Triassic Glamour, ,Vauxhall Fashion Scout

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Amelia’s Magazine | London Fashion Week S/S 2012 Menswear Catwalk Review: Asger Juel Larsen Vs t.lipop

t.lipop LFW SS12 menswear by Faye West

t.lipop S/S 2012 by Faye West

Asger Juel Larsen versus t.lipop – not the first time to appear together – showed at Vauxhall Fashion Scout on the last day of London Fashion Week and gave me my most interesting queueing experience during this season. Upon arriving there was a multitude of cool young things waiting to go in – to my delight a lot of them were boys wearing big chunky jewellery! – while a little later the marvellously coiffured Prince Cassius joined the queue behind me, nurse quickly to be noticed and taken inside by the Blow PR girls. While I felt a little saddened that my co-queueing with Prince Cassius was so brief, approved I overheard a girl saying ‘oh, there is Kate Moss!’, which quickly distracted me from my loss. Immediately the whole queue, as if choreographed, leaned to the right to take a peak and of course a few cameras pointed towards her and husband Jamie Hince.

Asger Juel Larsen LFW SS12 menswear by Gemma Sheldrake
Asger Juel Larsen SS12 by Gemma Sheldrake

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

After being seated in the packed space inside, Asger Juel Larsen‘s models started coming out fast and aggressively. I really enjoyed elements such as the slightly twisted animal prints or the spiked prosthetic beards – reminding me of Bearded Dragons under threat – both of which impressively spelt out ‘wildness’. One of those spiked beards worn by a girl as well as a glorious chain mail army style headpiece with bull horns added the notion of the ‘beast’ to the collection. I am all for a little bit of bearded ladies and mythological creatures such as the Minotaur!

Asger Juel Larsen LFW SS12 menswear by Gareth A Hopkins
Asger Juel Larsen S/S 2012 by Gareth A Hopkins

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Maria Papadimitriou aka Slowly The Eggs
Asger Juel Larsen S/S 2012 by Maria Papadimitriou aka Slowly The Eggs

I thought the themes of wilderness, fighting and survival suggested by the symbolism described above were brilliantly complimented by a number of woolly hats with different metal letters stitched onto them spelling out the phrase ‘we live’. Further allusions to survival through sexual expression were added by a round stitched logo at the back of a jacket reading ‘happiness is a warm pussy’ and the brothel creepers some models wore – shoes originally worn by ex-soldiers visiting nightspots in London.

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Claire Kearns

Asger Juel Larsen S/S 2012 by Claire Kearns

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by The Pern

Asger Juel Larsen S/S 2012 by The Pern

Asger Juel Larsen LFW SS12 menswear by Jess Sharville

Asger Juel Larsen LFW SS12 menswear by Jess Sharville

Asger Juel Larsen S/S 2012 by Jessica Sharville

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear by Matt Bramford

Asger Juel Larsen LFW SS12 menswear portrait by Maria Papadimitriou

The contrast between Asger Juel Larsen and the designer that followed, t.lipop, was seemingly like war and peace. t.lipop favoured a palette of pale blues, camel, white and stone, with a splash of bright orange. It was an array of generally relaxed and flowing pieces that calmed us a little after what came earlier. We saw tailored smart jackets and trousers, minimal tops and long untucked shirts that were far less aggressive, even with feminine touches such as fringed adornments and embroidery.

t.lipop LFW SS12 menswear by Celine Eliott
t.lipop S/S 2012 by Celine Eliott

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Vasare Nar
t.lipop S/S 2012 by Vasare Nar

Looking closer, however, I thought there were similarities in the underlying themes of the two collections. T.lipop’s gentlemanly clothes reminded me of movies starring wealthy imperialists in warm exotic countries – suggesting aggression and war – while the long hair and full beards on the models evoked images of castaways striving for survival. Some of the monochrome outfits with their collarless round necklines looked similar to uniforms seen in hospitals’ operating theatres or emergency units, whilst wide brimmed hats alluded perhaps to field workers, both adding to the – admittedly subtle this time – undertones of struggle and self-preservation.

t.lipop LFW SS12 menswear by Celine Elliott
t.lipop S/S 2012 by Celine Elliott

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop LFW SS12 menswear by Matt Bramford

t.lipop portrait LFW SS12 menswear by Maria Papadimitriou

With so many interesting references and inspirations in both collections, when Prince Cassius tweeted me to say he really enjoyed the show I could only tweet back in agreement!

All photography by Matt Bramford.
Photo portraits of designers by Maria Papadimitriou.

Categories ,Aggressive, ,Army, ,Asger Juel Larsen, ,Bearded Dragons, ,Bearded Ladies, ,Blow PR, ,Brothel Creepers, ,Castaways, ,Celine Elliott, ,Chain Mail, ,Claire Kearns, ,designer, ,embroidery, ,fashion, ,Faye West, ,Fighting, ,Freemasons’ Hall, ,Fringing, ,Gareth A Hopkins, ,Gemma Sheldrake, ,hats, ,Headpiece, ,Jackets, ,Jamie Hince, ,Jessica Sharville, ,jewellery, ,Kate Moss, ,london, ,London Fashion Week, ,Long hair, ,Maria Papadimitriou, ,menswear, ,minimalist, ,Minotaur, ,Mythological Creatures, ,Prince Cassius, ,Prosthetic Beards, ,Slowly the Eggs, ,Suits, ,Survivalist, ,t.lipop, ,tailored, ,The Pern, ,Tweeting, ,Uniforms, ,Vasare Nar, ,Vauxhall Fashion Scout, ,Wilderness

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

Illustrations by Jamie O’Callaghan

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.

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

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

Fyodor Golan Winners of Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker
Winners of Fashion Fringe 2011: Fyodor Golan S/S 2012 by Antonia Parker

If you’ve read Matt’s or my account of The Swedish School of Textiles show at Fashion Scout, dosage you’ll know it went on for an insanely long time. This means I’m ridiculously (half an hour!) late for Fashion Fringe, which is showing on the opposite side of the WC2 postcode, near Trafalgar Square. Once again I wonder if London Fashion Week organisers have conferred to place shows at nonsensical distances from each other just so that the frustration of the press may create humorous fodder for them.

Luckily I’m not one that insists on wearing heels at fashion week (or ever), so I’m able to run comfortably – well, as comfortably as one can in the relentless monsoon like rain and when one is wearing a wholly impractical maxi dress (I suppose that eclipses my wise footwear choice).

8 Northumberland Avenue is not easy to find, especially when the familiar sight of an impatient queue has vanished, leaving no sign that reveals ‘catwalk show here!’ So after zipping across the street twice, I finally stumble upon, quite literally, the Fashion Fringe venue. I’m out of breath and drowning in rain and sweat (not quite how I’d wanted to present myself), but I’m here and it appears the show hasn’t started yet. Phew.

Claudia Schiffer & Roland Mouret Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

My Fashion Fringe invite gets a scrutinising glance before someone is told to get a wristband on me and rush me into the arena. More running and I’m there. “You can stand anywhere at the back,” I’m told – this guy obviously hasn’t scrutinised my invite. I proceed to find my seat and of course, as luck would have it, my view is being obscured by those of a superior height. I complain about my predicament to my new neighbouring friends; they’re writing for a publication in Toronto and tell me they “love Amelia’s Magazine“.

Fyodor Golan Claudia Schiffer Roland Mauret Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

The winners of Fashion Fringe 2011 Fyodor Golan with judges Claudia Schiffer and Roland Mauret.

A fuss is being made of a couple of celebrities as they make their predictable late entrance and ‘flash flash, snap snap’ croon those domineering cameras. Damn it, I can’t see from where I’m sat, so naturally I take to the raised runway to peer at Claudia Schiffer and Roland Mauret, this year’s Fashion Fringe judges. The photographers are been ushered away, but I take my chance and ask Claudia and Roland if I may take a picture – “of course,” they agree and I triumphantly click the shutter on my camera.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay 1

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The show is about to start and I can hear a voice shouting, “Quiet please!” I take a seat on the floor, knowing it’s the only way I’m going to get any half-decent pictures of the show. Sat across from me, Hilary Alexander offers me a smile and I hope it’s because she approves of my determination rather pitying my plight.

First up is the endearing partnership Fyodor Golan with their spring summer collection ‘Flowers of evil’, inspired by the anthology of the same title by Charles Baudelaire. The showcase narrates the story of a nymph (I’m guessing she’s a water nymph by the appearance of the straggly, uncombed, just out of the river after a star light dip hair the models are wearing) that experiences an excruciating metamorphosis.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The transition begins with her appearing in symbolic white, in contrasting textures; the strong and the delicate. Stencilled into the garments are birds as if signalling the fair creature’s desire to take flight and be free, whilst the gleaming gold choker that threatens to asphyxiate her, pulling her in to a world that promises contentment only in death.

As nature supports her frail demeanour, life appears brighter and the progressing metamorphosis reveals itself in form of a white dress veneered in vividly coloured blossom. The neck shackle however, remains, unforgiving.

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The transformation sees the nymph freeing herself from the shackles of her former life and enjoying the dangerous opulence of the new and the darkest ebbs of human nature, but the shackle now replaced by her very own hair appears to reveal that she has become her own enemy. Golan Frydman and Fyodor Podgorny have clearly put a lot of thought in to the theatrical element of the show and this is very much evident as their nymph’s painful transition into maturity is depicted by an older than average model – not a common sight at fashion week, so a high-five to them!

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay 8

Fyodor Golan Fashion Fringe 2011 Winners London Fashion Week S/S 2012 by Akeela Bhattay

The finale presents the protagonist in a severely structured, yet elegant black gown that trails the catwalk. Her head is held high, but her face hidden by a staggering collar, beautiful but all consuming. It’s a tragic tale and a timeless one, but the collection itself hasn’t quite enthralled me.

Heidi Leung -  Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker

Fashion Fringe Runner-up: Heidi Leung S/S 2012 by Antonia Parker

After that dramatic performance, Heidi Leung’s collection inspired by Orientalism (‘East Asia and the Middle East’ highlights the press release) and 60s holiday photos appears a far more light-hearted an affair. The colour palette of lively greens, oranges and yellows, combined with a neutralising tan and blue and white checks incite summer days on sandy beaches, neon beach-balls and a nearly cloudless sky and picnics on a luscious green field dotted with pretty flora. The hair is styled simply; straight and easy with a prominent centre parting and the make-up complements with sixties’ neutrals and accentuated eyes.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

I’m a massive fan of layering, but if you’re not, Leung’s collection is going to be wearisome to comprehend. Every outfit appears to be made up of at least three layers; sixties style gingham undies (which I love), a chiffon overlay with a mandarin collar and a loose cape or a coat to complete the look.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Leung also combines crochet and embroidery within her collection, revealing an element of couture (in its original sense) and the use of ancient handicrafts. The crocheted and embroidered pieces sit upon gingham foundations and hang from the neck. I must say these pieces resemble table runners I’m sure reside on an antique oak table somewhere, in the parlour of a country cottage where a village tea party is being enjoyed. I love this collection.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

My favourite pieces include the frilly three quarter pants, reminiscent of undergarments of a past era, the knitwear, pleated tops and skirts and the long, softly moving, elegant coats. And have I mentioned the footwear? Okay, so a platform shoe covered in pastel coloured rosettes and secured with a transparent covering may not be the most flattering of foot accessories, but think about how much fun they’d be to wear? They’ve made me smile and I’m only looking at them.

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Heidi Leung - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal is the final Fashion Fringe contestant showing his collection titled ‘All the Riches She Deserves’. The collection conveys the story of a wealthy heroine who is taken to safety as her mansion of splendour burns to the ground at dawn. The make-up and hair conform to the narrative with captivating smoky eyes and voluminous, gracefully wild locks; a look inspired by the 1970s.

Nabil Nayal Fashion Fringe London Fashion Week S/S 2012 by Antonia Parker

Fashion Fringe Runner-up: Nabil Nayal S/S 2012 by Antonia Parker

The colours that empower the collection echo the tones of smoke, fire and ash and perfectly cloak the strong, modern and feminine silhouettes. Nayal’s innovative construction of his collection boasts a myriad of wonderfully cultivated techniques and the use of a whole host of fabrics and textures. The Syrian born and Sheffield raised designer uses soft leathers, luxury silk jacquards and transparent fabrics such as organza and chiffon to concoct a dynamic presence, a characteristic each of his pieces flaunt.

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nayal’s love and admiration for the fashions of the Elizabethan era are manifested in the bulbous ruffs of his magnificent capes, whilst his appetite for elegance is evident in the long, flowing gowns, most notably the kimono style dress in antique gold lace. The tailored tulip dresses and skirts endeavour to promote a sense of a strong, ambitious, feminine character that never fails to look chic.

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Of all the competitors, I believe Nabil Nayal’s design appear the most expertly put together and the commercial aspect of fashion design has clearly been considered. I can certainly see the entire collection being bought and it adhering to the taste of many women, but would I wear the fastidiously put together collection? My desire for colour and eccentricity says “no”.

In contrast to my response to Fyodor Golan’s narrative, Nayal’s narrative isn’t one that I (or many others, I’m sure) can empathise with – I mean, how many of us enjoy power and wealth and the promise of a silk lined, jewel encrusted safety net, lest we fall?

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

Nabil Nayal - Fashion Fringe London Fashion Week S/S 2012 by Akeela Bhattay

I’m ready to mosey on home by the time the show ends; I’m exhausted and feeling a little faint (where’s the Vitamin Water when you need it?), but instead of being lead out of the venue, guests are taken down into the basement where the Fashion Fringe after-party is getting under way. I’ve never understood why these parties happily offer alcoholic beverages, but never provide decent non-alcoholic beverages. I feel like I’m being persecuted for being a non-drinker as I sip my medicinal tasting One Water.

A flurry of excitement commands the attention of the crowd; Claudia Schiffer, Roland Mauret and Colin McDowell take to the stage. A moment of silence, then Fyodor Golan are announced the winners of Fashion Fringe 2011. I hadn’t expected it, but I’m impressed that the judges haven’t simply been dragooned into championing the familiar and the chary. I’m very curious to see what Fyodor Golan will be delivering to the world of fashion in the future; I wonder if I could persuade them to create a collection around the poem ‘Lamia’ by Keats?

Watch the show here.

All photography by Akeela Bhattay

Categories ,1960s, ,2011, ,8 Northumberland Avenue, ,After-party, ,Akeela Bhattay, ,All the Riches She Deserves, ,Antonia Parker, ,BFC, ,British Fashion Co, ,Claudia Schiffer, ,Contestants, ,couture, ,crafts, ,crochet, ,East Asia, ,Elizabethan, ,embroidery, ,Fashion Fringe, ,Flowers of Evil, ,Fyodor Golan, ,Fyodor Podgorny, ,Golan Frydman, ,Good Relations PR, ,Heidi Leung, ,lfw, ,London Fashion Week, ,Metamorphosis, ,Middle East, ,Nabil Nayal, ,Nymph, ,Orientalism, ,Roland Mauret, ,Runners-up, ,S/S 2012, ,Swedish School, ,Trafalgar Square, ,transition, ,Vauxhall Fashion Scout, ,WC2, ,Winners

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Tim Soar

All Images: Katherine Tulloh, nurse website courtesy of the artist and Transition Gallery

For a new exhibition of film and drawings at East London’s Transition Gallery, sales Katherine Tulloh explores the possibility of a hidden system of codes within Alchemist drawings and the dream diaries created by Swedish Natural Scientist, Swedenborg. In the aftermath of a crisis of spirituality, Swedenborg began researching -with academic rigour- the possibility of an “‘ultra-terrestrial’ London, a secondary city in which spirits inhabited their past lives.

Amelia’s Magazine spoke to Katherine about her interest in writers who utilise London as a character within their own stories and her visualisation of writing through the moving and static image.

Your exhibition at Transition Gallery explores the dream diaries of the Swedish Naturalist Swedenborg. How did you discover the dream journals?

I went into the Swedenborg Society bookshop out of curiosity, I like that part of town (Bloomsbury). It is also near to where Poe lived in London and The Conway Hall. I loved the imagery in the dream diary and the struggle between reason and imagination.

Previously your illustrations and films have explored the literary landscapes of Poe and Baudelaire – what drew you towards visualising their writings?

They are both writers who utilise the city as a character within their own mythology. They blur the line between the now and another world. There is an atmosphere of insubstantial things, essences and emanations, of beauty as a manifestation of a perpetual beyond. Of smoke, fogs, shimmering obfuscations and of a moon setting sail over the city. Through their absent, distant world, I can better see my own city, with its scuffed, graffiti-layered surfaces—another forest of symbols, veilings and half-read signs, a world of unstable meanings, porous images which flow into each other.

Your exhibitions contain both the static and moving image, how would you describe your relationship to these methods of representation?

The drawn images both in the show and the film are an attempt to crystallise a particular idea or thought. The moving three dimensional fimed sections are more about conjuring up a state of mind or world

What possibilities of expression or narrative does film offer over the static image or vice versa?

I can be more open ended with film. When I’m making the images for my film, I create sets and project light and images into them and take hundreds of pictures, so I often end up with something very different from what I began with, film allows me to juxtapose and arrange images and have more than one thing going on at the same time by appealing to both the eyes and the ears. It also overlays images so someone’s impression of the film is a group of visual memories

The sets of the film resemble Victorian Children’s Theatre, possibly a stage for shadow puppets, is this a design inspired by research or relationship to the themes within the films?

I think my Poe film was more theatrical because his writing is very stagey and melodramatic

Where did you study?

Cambridge University and Chelsea College of Art and Design, I studied English BA and Fine Art Painting, which represents both sides of my work really, the literary ideas and the practical realisation.

Which illustrators, artists or filmakers inspire or are used as reference within your work?

The Quay Brothers, David Lynch, Kiki Smith, Paul Klee, Marcel Proust, Goya, Leonardo Da Vinci, Henry Darger

Have you seen Jan Svankmaker’s Alice? It has a similar enigmatic mood as created by your short films.

Yes, I have seen it and I very much like it so I’ll take that as a compliment.

What do you find interesting about Alchemic Drawings or the relationship between Science and Faith?

I like the use of Heiroglyphic language in Alchemy, the linking of the rational and the irrational and the idea that the smallest thing is linked to the greatest, the idea that the whole universe is a code where everything is both itself and something else.

Watercolours are frequently used within your drawings, what attracts you to the medium?

They’re very bright – I use radiant watercolour inks. also I like their irreversableness

Hermetickal is at Transition Gallery until 21st November.
Opening Times: Friday to Sunday 12-6pm.


Illustration by Abby Wright

It’s always a treat at Fashion Week to find that the show you are about to see, side effects starting in the next few minutes, and is at a totally different venue to the one you had in your head and are currently standing at. I found myself in this marvellous situation as Tim Soar‘s show approached. God knows why I thought it was at Somerset House and not at the Freemason’s Hall. Menswear day brought these kind of surprises all day – with many designers scaling down their presence. I had seen Tim’s show a year ago in the BFC tent, so how dare they move its location?!

I need not have worried as I legged it up Drury Lane, for, true to form, the show was running late and hadn’t even been seated when I showed up. I was right at the back of the queue, though – AGAIN – so decided to perch by the photographer’s pit in the hope of getting a better shot than I would have positioned on one of the back rows.

This show saw Soar draw inspiration from the 1970s, and in particular David Bowie’s character ‘Mr Newton’ in Nicholas Roeg’s epic ‘The Man Who Fell To Earth.’ This inspiration was, in true Tim Soar style, handled with delicacy and acted only as a descrete reference here and there. Trousers flared off, but not in a grotesque fancy dress sense, and lapels were elongated, but not in a Stayin’ Alive, Stayin’ Alive, Hah Hah Hah Hah sense. The bulk of the collection relied on Soar’s showmanship as a really great tailor with a unique vision.


Illustration by Abby Wright

Making the best use of luxe fabrics like mohair, satin, wool crepe and linen, models wore strict suits with a piecemeal utilitarian aesthetic. The use of Tyvek, the waxy crushed industrial material usually reserved for workers boiler suits, also adds to this technical flavour.

Blazers were banded with cummerbund-like straps in contrasting colours – where jackets were dark, the bands were of gold silk, and where jackets were sand, the bands were black. Denim made an appearance, also creating horizontal lines across structured tailoring.

Alongside this semi-formal attire, there were the usual design quirks that Tim Soar is quickly faming himself for. His appreciation of the aesthetic properties of materials and quality of texture was also on display, with crushed materials and bursts of vibrant colour (he is, after all, also a graphic designer).

It’s hard to imagine how a Tyvek jailer-style striped suit will work alongside an exemplary tailored blazer, but somehow Tim Soar’s collections always convey a stylish coherence.

This season also brought more womenswear, which is basically menswear with allowances for hips, busts and bums. It’s a testament to Tim Soar’s generally cool attitude, though, that his aesthetic works wonders on both women and men.

All photography by Matt Bramford

Categories ,1970s, ,Abby Wright, ,David Bowie, ,London Fashion Week, ,menswear, ,Mr Newton, ,S/S 2011, ,Tim Soar, ,Tyvek, ,Vauxhall Fashion Scout

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