Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Jena.Theo ‘Bandoliers’

The best things about fashion week are, health in order of importance:

1. The shows. Of course, cheap otherwise we wouldn’t be here. I mean, remedy the good ones. Sometimes you want to explain to a designer that just because something can be designed, it doesn’t mean it should be. George Mallory said he wanted to climb Mount Everest “because it’s there” and look what happened to him. I’m pleased to report I’ve liked everything I’ve seen so far though.
2. Free pastries.
3. Looking at people’s crazy crazy outfits. Gorgeous girls are ten a penny at fashion week, so what everyone really wants to see is cone-shaped hairdos, dresses that are basically just a bra sellotaped to climbing apparatus and interesting hats.

The press room is also pretty great. It has benches and foliage:

Cool laptops I’ve seen around Somerset House.

Superior snacks I have seen and eaten:

I did also try to take sneaky pictures of the good-looking men who were providing help in the registration room but I bottled it when one of them looked at me, so I’m afraid you’ll just have to use your imagination.

The best things about fashion week are, pharmacy in order of importance:
1. The shows. Of course, for sale otherwise we wouldn’t be here. I mean, more about the good ones. Sometimes you want to explain to a designer that just because something can be designed, it doesn’t mean it should be. George Mallory said he wanted to climb Mount Everest “because it’s there” and look what happened to him. I’m pleased to report I’ve liked everything I’ve seen so far though.
2. Free pastries.
3. Looking at people’s crazy crazy outfits. Gorgeous girls are ten a penny at fashion week, so what everyone really wants to see is cone-shaped hairdos, dresses that are basically just a bra sellotaped to climbing apparatus and interesting hats.

The press room is also pretty great. It has benches and foliage:

Cool laptops I’ve seen around Somerset House.

Superior snacks I have seen and eaten:


The best things about fashion week are, stuff in order of importance:
1. The shows. Of course, online otherwise we wouldn’t be here. I mean, the good ones. Sometimes you want to explain to a designer that just because something can be designed, it doesn’t mean it should be. George Mallory said he wanted to climb Mount Everest “because it’s there” and look what happened to him. I’m pleased to report I’ve liked everything I’ve seen so far though.
2. Free pastries.
3. Looking at people’s crazy crazy outfits. Gorgeous girls are ten a penny at fashion week, so what everyone really wants to see is cone-shaped hairdos, dresses that are basically just a bra sellotaped to climbing apparatus and interesting hats.

The press room is also pretty great. It has benches and foliage:

Cool laptops I’ve seen around Somerset House.

Superior snacks I have seen and eaten:


The best things about fashion week are, order in order of importance:
1. The shows. Of course, otherwise we wouldn’t be here. I mean, the good ones. Sometimes you want to explain to a designer that just because something can be designed, it doesn’t mean it should be. George Mallory said he wanted to climb Mount Everest “because it’s there” and look what happened to him. I’m pleased to report I’ve liked everything I’ve seen so far though.
2. Free pastries.
3. Looking at people’s crazy crazy outfits. Gorgeous girls are ten a penny at fashion week, so what everyone really wants to see is cone-shaped hairdos, dresses that are basically just a bra sellotaped to climbing apparatus and interesting hats.

The press room is also pretty great. It has benches and foliage:

Cool laptops I’ve seen around Somerset House.

Superior snacks I have seen and eaten:

I did also try to take sneaky pictures of the good-looking men who were providing help in the registration room but I bottled it when one of them looked at me, so I’m afraid you’ll just have to use your imagination.

Illustration by Andrea Peterson

It wasn’t until the Jena.Theo show that I got my first hit of fashion adrenaline this LFW. The design duo Jenny Holmes and Dimitris Theocharidis have created a Spring Summer 2011 collection that combines both the theatrical and the wearable in draped layers of silk and jersey, viagra shot through with the Midas Touch. Gold leaf was applied not only to models’ eyelids and nails, stuff but also to wrists, ankles, collarbones and occasionally a breast or belly button that happened to be exposed.

Though this would undoubtedly not go down well in the Muslim world today, culturally the show was a mix of the old Arabian Nights- or Prince of Persia to the computer game generation- meets 19th century British colonialism; models’ heads swathed in oversized turbans or hair backcombed into huge Victorian updos.


Illustration by Andrea Peterson

The winners of Fashion Fringe 2009 struck a perfect balance between catwalk creativity and clothes with the potential to actually be worn in real life; with a wonderful take on a Victorian hoop skirt to finish the show. This is what I want from an LFW show; something fun and inventive as well as wearable clothes.

I sat with the team behind the new Young British Designers website, which champions the likes of Jena.Theo; keep an eye out on Amelia’s for an interview with them coming soon. Adriana was in fact loyally wearing an outfit by the design duo.

We were in the second row but got bumped forward into the front row when there were a few spaces at the last minute; which meant I managed to get a really good, close up look at the raw painted gold leaf stiletto platform shoes.

It also of course, meant goody bag ahoy!Ironically, for a fashion gift, this included one of the best brownies I’ve ever eaten; in fact many of the stalls in the LFW exhibitions have sweets or cakes on their stands, though you never see anyone eating them. Except me.Which is why you won’t see me bearing my gilded navel in an Aladdin-esque ensemble anytime soon.


Illustration by Andrea Peterson

Categories ,Andrea Peterson, ,arabian nights, ,Jena.theo, ,lfw, ,S/S 2011, ,Somerset House, ,young british designers

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Amelia’s Magazine | Kirsty Ward: The London Fashion Week S/S 2012 Preview Interview

Kirsty Ward by Kassie Berry
Kirsty Ward S/S 2012 by Kassie Berry.

In the past few seasons I’ve been super impressed with the work of up and coming designer Kirsty Ward. She won’t be taking to the catwalk this season but I still thought I’d do a sneaky catch up interview with her to find out what she’s got in store for S/S 2012. Here goes…

Kirsty Ward by Claire Kearns
Kirsty Ward by Claire Kearns.

How did you come up with your signature look: sculptural boning of organza to create many layered shapes?
It’s something I have been obsessed with since my MA at Central Saint Martins and has evolved since then, check and there’s always a way each season that I want to push it. I probably won’t ever tire of it.

Kirsty Ward S/S 2012
When did your love of the 80s start?
I’m not sure when, and im not sure if its because I was born in 1982 but I like the possibility and forward thinking of the era, it’s when people started to break the mould more.

Kirsty Ward by Maria Papadimitriou aka Slowly The Eggs
Kirsty Ward S/S 2012 by Maria Papadimitriou aka Slowly The Eggs.

You can’t bear stud earrings: do you ever feel the physical effects from your love of such big jewellery? Do you take a break from them when you are working or would we find you hunched over a sewing machine with 3 inch earrings dangling dangerously close to the mechanisms?
Haha when I’m working I will generally be jewelleryless – I like wearing teenage boy clothes, with nothing dangling inbetween pattern cutting and sewing. I’m sure there have been some jewellery related accidents as I’m quite clumsy but I cannot think of any specific incidents.

Why do you think that jewellery is so important these days and what can good jewellery offer to an outfit?
Jewellery is great as it can totally make a boring outfit look cool and it’s also not sizeist, so bigger people can wear it too, as not everyone is built for high fashion garments.

Kirsty Ward SS 2012 inspiration girl
You find lots of jewellery components in hardware shops. Do you have any favourite haunts? eg. Have you ever discovered a treasure trove of ancient hardware bits and if so where was this eureka moment?
I tend to favour the great British institutes such as B&Q, theres this online floristry supplier that I love called Micheal dark and my dad is a carpenter so he has lots of fun stuff in his van/tool box. I also like alot of trade only places filled with guys in high vis vests etc wondering what the hell I’m doing in there buying x40 plumbing parts!

Kirsty Ward by Debbie Ajia
Kirsty Ward S/S 2012 by Debbie Ajia.

Are you still collaborating with David Longshaw and if so what can we except from him this season, any insider tips?
Of course he’s my boyfriend, he can’t get rid of me! Well there’s lots of prints (of course) of his beautiful illustrations mixed with some fucked up florals (fucked up in a good way).

Kirsty Ward SS 2012 blue
Why did you decide to forgo a catwalk show this season and instead present the collection on a static stand with a film? What can you tell us about the film?
To be honest as a young designer a catwalk show is far too expensive for me at the moment. I thought it would be far more sensible to meet with buyers and press in an environment where I can talk them through my collection, this way they can see all the details and craftsmanship.
The film will be one word – FUN!

Kirsty Ward SS 2012 inspiration
Last season you’d been watching a lot of Star Wars and that seemed to sneak into some of the dress shapes. Have you been watching some influential movies this season and if so what?
I’ve been watching quite a few shit sci-fi movies – generally the crapper they are the more I will like it, I especially like bad acting and awful special effects. I don’t think it has rubbed off too much in the collection, but we will see in the final lookbook photos!

Kirsty Ward SS 2012 inspiration
This season you’ve been inspired by a “mundane mix of officewear, stationary, menswear detailing and suspended layering.” How can stationary influence clothing?!
It’s more about the stationary being used in the jewellery, its taken over from the hardware of past seasons. 

What new fabrics have you used for the upcoming S/S 2012 season?
Well there’s always a sheer, then there’s a mix of luxurious vs sporty with sand washed silks, neoprene, cotton drills and striped shirting.

Kirsty Ward by Samantha Eynon
Kirsty Ward by Samantha Eynon.

Is music important to you and if so what will you be listening to in the run up to Fashion Week? Any favourites on the decks?
Definitely – I hate working in silence, it puts me on edge. At the moment in the studio were playing: Metronomy, Hot Chip, The Knife, Peaches, Lykke Li, Little Dragon, Yelle.

I’m sure you have loads to do, but what will an average day be like in the final run up to LFW? What will you do to rest and relax?
To be honest my life at the moment revolves around ss12, so if I’m not working on it I’m thinking about it, but as we touched on before I so like to watch the odd shit sci-fi movie.

Kirsty Ward inspiration
No more nipples for S/S 2012: you’ve collaborated with designer Josefine Wing of Mint Siren for an underwear collection this season. What has been the best bit about this project?
It’s good to have another persons knowledge and skills to work with as I didn’t have a clue about the technical side of underwear.

Who is the ideal woman to wear your clothes? Do you think you would ever branch out into menswear?
There’s not a specific example, just someone who likes to have fun with their clothing/jewellery and someone that appreciates the hidden details. I wouldn’t say no to menswear – I often do made to measure pieces for male friends, but who knows about an actual collection!

Where can people get their hands on a piece of Kirsty Ward?
My pieces can be found in China, Japan, Amsterdam, and Italy but In the UK my pieces can be found at Young British Designers, Bengt Fashion and I will be selling select and limited edition pieces on my website (www.kirsty-ward.com)

If you’ve only just discovered Kirsty Ward why not check in with our other blogs about this talented designer (with loads of illustrations):

Kirsty Ward S/S 2011
Kirsty Ward Ones to Watch A/W 2011 Preview
Kirsty Ward Ones to Watch A/W 2011
and another blog about Ones to Watch A/W 2011

You can find Kirsty Ward at the static stands during London Fashion Week.

Categories ,1980s, ,B&Q, ,Bengt Fashion, ,Central Saint Martins, ,Claire Kearns, ,David Longshaw, ,Debbie Ajia, ,Earrings, ,Film. Mint Siren, ,Hardware, ,Hot Chip, ,interview, ,jewellery, ,Josefine Wing, ,Kassie Berry, ,Kirsty Ward, ,Little Dragon, ,London Fashion Week, ,Lykke Li, ,ma, ,Maria Papadimitriou, ,metronomy, ,Peaches, ,preview, ,S/S 2012, ,Samantha Eynon, ,Sci-Fi, ,Slowly the Eggs, ,Star Wars, ,Stationary, ,Structural, ,The Knife, ,Yelle, ,young british designers

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Amelia’s Magazine | Little Women AW15: an interview with Renli Su

Renli Su by Bonaramis
Renli Su AW15 by Bonaramis.

Chinese born designer Renli Su first caught my eye when her collection appeared on the catwalk as one of the Fashion Scout Ones to Watch crew in 2013. The designer explores the idea of Time and Memory, with each season expanding and developing on this theme. For SS15 and AW15 she has been inspired by the tale of Little Women, resulting in two ‘strong yet feminine’ collections that reflect the typical dress sense of elegant and charming girls living in the mid-late 19th century.

Renli Su AW15
Renli Su AW15
Where did you train in fashion design and what was your biggest design inspiration growing up?
I began studying painting and then completed BA Fashion Design at the Central Academy of Fine Arts in Beijing. Being surrounded by artists I found an appreciation for fabric as a material for my work, which is where my fashion education began. After my BA, I came to London to study MA Fashion Design and Technology Women’s wear at London College of Fashion, and I’ve been based in London ever since.

Renli Su AW15
Renli Su AW15
How did you first start researching the Little Women collections?
The most part of my research came from my travels. The materials used were Chinese Summer Fabric, Indian hand-woven cotton, Indian black print cotton and Irish innovative cotton linen, so this meant I spent time in all of these countries, finding the fabrics and exploring the traditional techniques used to create them.

Renli Su AW15
I source fabrics from all over the world. For AW15, again I used the four materials that made up the SS15 collection, but I also added Tibetan Yak Wool and Chinese Silk. I am passionate about sourcing and reviving traditional techniques from different parts of the world as each of the materials are made in a different way and I meet interesting people who have dedicated their lives to creating these fabrics, it’s something I want to explore further.

Renli Su AW15
Renli Su AW15
What have been the biggest hurdles in terms of getting the collections together?
There is a lot of research involved in the early stages and then in the later stages it requires a lot of dedication to create a collection that will stand the test of time in elegance, cut and quality.

Renli Su AW15
Renli Su AW15
Where can your garments be bought?
Young British Designers in the UK, Dongliang in Shanghai, China, Dongliang in Beijing, China and Berween in Changsha, China. And of course online from www.renlisu.com.

Categories ,AW15, ,beijing, ,Berween, ,Bonaramis, ,Central Academy of Fine Arts, ,Dongliang, ,Ecofashion, ,ethical, ,fashion, ,Fashion Scout, ,interview, ,Kristel Pent, ,Little Women, ,London College of Fashion, ,Ones To Watch, ,organic, ,Renli Su, ,SS15, ,Time and Memory, ,young british designers

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Amelia’s Magazine | Christmas Gift Ideas 2013: Babies and Toddlers

Slugs and Snails tights for boys blue

Slugs and Snails tights for boys.

So, what do you do if you need to buy something for the little person in your life at Christmas? We buy very few new clothes for Snarfle (and are very grateful for the many hand me downs that he wears) but when we do buy new we often buy from smaller independent designers who create unique looks that you will not find on the high street. These wonderful pieces are more often that not designed with love by someone who is a mum themselves. They know what little people like, and they create with passion.

Mini Magpie London upcycled wool gilet

Mini Magpie clothes are all created from upcycled adult garments by mum Kimberley. I am particularly hankering after this little knitted waistcoat that is adorned with plentiful pompoms… but do take a look at all her clothing for little ones… such cute stuff, including little denim jackets, leggings and much more.

Slugs and Snails tights for boys

It is no secret that Snarfle lives in his Slugs and Snails patterned tights (see my instagram feed). After a summer off (during which he grew out of his last selection) I literally don’t know what we would do without them during the cold weather. Nothing is as snug and cosy as tights – socks always seem to crumple off in little deposits all over the house to leave behind freezing cold tootsies (not that he seems to mind, they bother me a lot more). I was a bit worried about how he might ‘style’ them (don’t laugh) now he is a fully grown walking mini person, but actually they look bloody great under baggy pants, or peeking out from under leggings (which he also lives in, most of ours come from Oh Baby London). My new favourite design is Storm, featuring clouds and rainbows on a steely grey background. Utterly fab: these really are the best gift you can give a little one, boy or girl. You can read my interview with creator Kathleen Redmond here, she’s an inspiration to all us mums.

The Bright Company - Knapp Blanket for babies

When Snarfle was smaller he was always tucked up (in our bed) inside a sleeping bag. How did we ever manage back in the old days, before these genius inventions? Ours were all second hand, but if I was looking for a very sweet and unique version I’d go for one by The Bright Company, all handmade and printed in the UK. Their Kipp Sleeping Bag for £38 is covered in a very retro modern hexagon design in their signature bright blue and orange colour way. Or how about the Knapp Blanket for £30 in unisex colour ways, a great gift for little people that can be used to swaddle them in the Moses basket (if yours will sleep in one that is, our basket was passed on very quickly) or to keep them warm in a buggy or in the carrier. Later on it could even become a fantastic den maker!

Day Job Katie Johnston hobby horse toys

Hankering after a toy that’s not garish and over the top, that will allow your child’s imagination to run free for many years to come? Then why not consider a Hobby Horse. These ones are by Katie Johnston of the Day Job collective, and come in a host of possible colours. You choose! It’s just like the good ol’ days…

The Baltic Baby Leggings by Modéerska Huset

Kyna Boutique specialises in organic children’s clothing and many of the brands are sourced from Scandinavia, which seems to specialise in the kind of bold patterned clothing that I love so much but which English designers shy away from. I really like The Baltic Baby Bodysuit and Leggings by Modéerska Huset, covered in islands, ferries, waves and swans. Swedish designer Jenny Modéer works in a slightly more subtle but nonetheless unusual colour palette. Kyna Boutique offers free delivery within the UK, and free returns too!

Ruff and Huddle varsity jacket with zakee shariff

Ruff & Huddle has had a super busy year, with successful launches in Selfridges and great press all over the place. Their collaboration with ace illustrator Zakee Shariff has produced some wonderful clothing, and I am particularly in love with this London Varsity jacket that has ROAR embroidered on the front and a lion on the back (see left in the photo above). Why should the Americans have all the fun? At £50 it’s a considered purchase, but one that is bound to be a practical favourite with your little one.

Sian Zeng - Blue duvet set and sew your own bear

Sian Zeng is a Cockpit Arts based designer who creates a variety of objects and homeware items that span the generations. Her classic bespectacled Office Bear comes as a kit you sew up yourself for £25, and here they are seen in a variety of colour ways lounging against a duvet set, also designed by Sian. Snarfle has one of these, but it did have to be sewn up by an adult (his dad!) – so this is a fun gift that could kill two birds with one stone (so to speak).

Lil Beans red baby fringe moccasin booties

Lil’ Beans is a new online kidswear retailer that was set up with the aim of selling brands that offer high quality design, uniqueness, comfort and durability. Due to their American connections they have also brought some lesser known brands to these shores and I am just a little bit in love with these adorable red fringed moccasins for babies for £35. Adorable. Also look out for their Thrifted section, featuring second hand loveliness for bargain prices.

Lastly, I’ll be bringing you my ideas for the prettiest and most unusual homemade decorations that I’ve found on my travels around the web. Here’s hoping that I get time to make a few myself as well.

Categories ,2013, ,Babies, ,Babywear, ,Christmas, ,Cockpit Arts, ,Day Job, ,gifts, ,Hobby Horse, ,Jenny Modéer, ,Kathleen Redmond, ,Katie Johnston, ,Kipp Sleeping Bag, ,Knapp Blanket, ,Kyna Boutique, ,Leggings, ,Lil’ Beans, ,London Varsity jacket, ,Mini Magpie, ,Modéerska Huset, ,Office Bear, ,Oh Baby London, ,Ruff & Huddle, ,Sian Zeng, ,Slugs and Snails, ,Snarfle, ,Storm, ,TBC, ,The Baltic Baby Bodysuit, ,The Bright Company, ,Thrifted, ,Toddlers, ,Zakee Shariff

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Amelia’s Magazine | An interview with Young British Designers


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, no rx so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, viagra of course, malady didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads. Ah, well.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection:

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, viagra 100mg so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, capsule of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, sale so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, visit this site of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, help so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Illustration by Annejkh Carson

I have absolutely no idea why I’ve struggled so much with this one. It’s no secret that I love Carolyn Massey, viagra 40mg so I was ecstatic as I dashed up the Portico Rooms’ stairs again to see what S/S 2011 had in store. Massey, sickness of course, didn’t disappoint and this was by far my favourite outing on menswear day.

This season saw Carolyn draw inspiration from picture books, notably – Tibor Kalman’s (un)Fashion and Jackie Nickerson’s Farm. The influence of the stark images in these two publications was clear and Massey had taken the visual culture of these opposing landscapes and fused them together.

Entering the room, Massey’s army of models stood in an arrow-facing shape. At first, attendees bunched together in front of the models, unsure as to what exactly to do, but the show was predictably oversubscribed and they soon started to spill all over the place. I quickly dashed around trying to take photographs so that I wouldn’t have a million people in the background, which was stressful I tell ya. I love taking pictures in the static shows. You can probably tell. I took my eyes off the collection for a while (subconsciously, I think, to prevent myself from de-robing these boys and legging it with a handful of coats) and got a little obsessed with taking photographs of the models’ heads.

This collection was by far Carolyn Massey’s most sophisticated yet. Her unique approach to contemporary tailoring keeps journos guessing season after season as to what each new collection will hold. Moving on from her utilitarian collection for A/W 2010, which featured a muted colour palette, lots of heavy fabrics and military blazers, this time around Carolyn presented a softer, more wearable array: more English, more practical, more fun.

Massey’s sophisticated eye for colour was omnipresent with a gorgeous selection of petrol blue, sand, rust, navy and a burst of bright orange. This dreamy colour palette was applied accross the entire collection; on drawstring sports-luxe trenches, tailored jackets and rolled-up trousers. The onset of stripes used on tailored shirts managed to dilute a generally smooth collection. The influence of Eastern military and battle is evident, too.

Each piece in the collection radiated a timeless feel – and while Massey’s collections couldn’t ever be described as anything less than super contemporary, they also avoid being trend-led and instead focus on more connected, enduring style.


Illustration by Annejkh Carson

This season, to my unashamed glee, also sees Carolyn introduce accessories. Suede desert boots in tonal colours similar to the collection are featured, as are the most desirable black leather cases, which come in varying sizes and are modelled on vintage doctors’ cases.

I’ve been mesmerised by fashion film this season, with many designers producing films to show alongside their static presentations (Craig Lawrence, Sibling and Ziad Ghanem have been my faves). This was no exception – a film directed by Chris Brooks played discretely in the corner, featuring a gent making his way through a green landscape. Beautifully shot and edited, it really enhanced the hour we had to enjoy the collection. See it here.

When I discovered that Massey would be hosting a presentation this season rather than a catwalk show, like many other designers, I couldn’t help but feel a little disappointed; my general feeling after seeing so many, though, is that they’re far more preferable. Catwalk shows are over in a flash; you have literally seconds to view an outfit, photograph it and digest it. With a presentation, though, particularly one with so much style like Massey’s, you have a really good chance to absorb everything. There’s also something quite haunting about stock-still models who avoid eye contact and barely move, and allowing press and buyers to see your work and craftsmanship in so much detail opens you up to a broader range of criticism. With Carolyn Massey, though, it simply allowed us to see exactly what she’s capable of.

Keep an eye out for an interview with Carolyn in the coming weeks, if I can ever pin her down…!

All photography by Matt Bramford


Felicity Brown Gabrielle dress, help illustrated by Kate Copeland

Amidst the commotion of catwalks and exhibitions at London Fashion Week, one website had everyone talking; Young British Designers. Grabbing attention with their eye-catching launch video, the team behind YBD are providing a platform for the fashion conscious everywhere to buy designs by the next generation of British greats. Ada Zanditon, Jena.Theo, Jasper Garvida, Eudon Choi and Felicity Brown are just a few of fashion’s bright young things being championed by the site, where you can read about the designers themselves as well as investing in their clothes, shoes and accessories. But who is behind the venture? Though they are prolific on Twitter and becoming a household name amongst bloggers and press, little has been revealed about the individuals behind Young British Designers; until now.  


Left-right: Ada Zanditon, Charlotte Taylor, David Longshaw

Tell us about the people behind Young British Designers; how did you end up working together? 
YBD comprises four people, Adriana, Stuart, Debra and Julian – two couples. Adriana and Stuart had a great idea to champion developing British design talent and approached Deb and Julian to enable the idea to fly; all four were totally taken with the concept, it seemed such an obvious thing to do, none of us could really believe that nobody had thought of it before. Then came London Fashion Week in February 2010 – the breadth of new, naïve British talent was clear for us to see and the thought of bringing it all together ‘under one roof’ (so to speak) became an increasingly enthralling prospect. But every idea needs its seminal moment, for us it was Adriana and Debra entering the hall at Vauxhall Fashion Scout that cold and windy Monday afternoon; the room was empty – and the utterly beautiful Felicity Brown dresses called across the room. For us, that moment encapsulated the sheer joy of finding new talent – and in knowing that we could bring our own talents and experience to introduce them to an emerging global market. 


Eudon Choi Grey Lace Up Military Shoe Boot, Rae Jones Scarlett Leather Brogues, illustrated by Kate Copeland

We ended up working together because of a shared passion, but it was more than that – our skills were compatible: design, marketing, business, sustainability and communications. We also wanted to take a risk – a risk on a new venture, to do something really significant in our own way. We like each other too.  

It’s a difficult time for young British designers starting out today; what inspired you to champion them in this way?  
No one focuses purely on the promotion of new British talent – a handful of designers make it through to retailers each year, but it’s not many and even those that do are a small part of massive collections made up primarily of well known, established names. We believe that many more of our designers deserve to be showcased and that our designers’ stories be more thoroughly told and their developing brands be enhanced. We also believe that this is absolutely in keeping with the developing trend for highly individual style statements amongst increasingly discerning consumers. ? 


Clockwise from top left: Bionda Castara, Cabinet, Sophie Gittins, Simeon Farrar, Issi

Your launch video is impeccably styled and really captures the timelessness of British style. What do you think distinguishes British fashion designers from the rest of the world? 
We hope the video captures the passion we all have for British fashion, the cues from the past, the energy, the excitement, the ready to risk all and have a go idealism. The sheer bloody eccentricity and quintessentially quirkiness only to be found on this island. Wonderful. 


Illustration by Kate Copeland

How do you go about selecting which designers to feature? 
We are really emotional and subjective in our approach to selecting the designers for our collections – does the design make our heart sing? The hairs on the back of our neck stand on end? Can we imagine that our customers will love it as much as we do?    

You feature a number of ethical designers on YBD; do you think more designers will start taking sustainability into consideration as the ethical fashion industry grows? 
Great design is at the heart of solving the problems of natural resource depletion and global warming. Our wish is to promote the talents of the best British designers and to encourage them to see the beauty in an ethical heart to their designs … and we will promote the beauty they create to our customers. Delivering sustainable and ethical solutions take on many forms, we’re delighted to promote the recycled materials in Issi’s bags, the employment of impoverished Hungarian workers in making Emesha’s beautiful clothes and in encouraging the continued employment of local manufacturing in the UK.  


JW Anderson Saint Circle Ring, Lucy Hutchings Zelda Necklace, illustrated by Kate Copeland

Lots of your designers are showing at LFW, which presentations moved you most? 
Jena.Theo – because they so successfully retained their original style signature yet moved forward to embrace both a new season and a new confidence. Eudon Choi for showing all the assurance of a brand that is well established and all the freshness and energy of a designer who is still exploring the limits of his talent. 

What are your hopes for the future of YBD? 
That leading retailers come together online and off to enthusiastically support the best interests of our developing talent by promoting them generously and not seeking to put their own interests first by insisting on exclusivity of supply. This in turn limits a growing brand and can stifle it and its demand at its most crucial fledgling stage.

All products are available now over at Young British Designers!

Categories ,Ada Zanditon, ,british, ,Eudon Choi, ,fashion, ,interview, ,Jena.theo, ,JW Anderson, ,platform, ,website, ,young british designers

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Amelia’s Magazine | An unoriginal Tee

Whilst researching a new label founded by two LA socialites Lauren Alexander and April Leight, appropriately called LnA, I started thinking about the ever fading line separating men’s and women’s clothes. The pair’s debut ‘Boyfriend Tee Collection’, launched in Spring/Summer 2007, is described on their website as “a colourful, flattering and wearable take on the men’s under tee” and is made up of lots of different designs of plain, basic tees, all 100% cotton and all comfortable.


lna_web%5B2%5D%20%282%29.jpg

I’m kind of missing the link between their masculine inspiration and the final product. Correct me if I’m wrong, but these look like plain women’s Tees to me. What’s so special about these designs? Upon reading of the website I discovered; “The duo’s designs are wholly inspired by their lifestyles, sharing an affinity for wearing their boyfriend’s Tees out to LA’s hotspots.” Surely more inspiration can be found living in sunny LA, surrounded by movie star history and going to all those crazy ‘hotspots’?

As well as a love for wearing boyfriend tees, the website says that the partners originally bonded over their fashion backgrounds. High fashion aspirations might explain the high prices, but the less than high fashion designs lead me to wonder whether their ‘fashion backgrounds’ amount to much more than that they both love a good shopping sesh. Then again, maybe I’ve been too harsh. I mean, these t-shirts do come in at least FIVE different colours. 
 
 


lna_yellow%20tshirt.jpg

lna_blue%20tshirt.jpg

As can be expected, the celebrity following of the brand is huge. Nicole Richie, Rachel Bilson, Paris Hilton – they’re all wearing it. Lauren Alexander and April Leight evidently have some good contacts. This celebrity interest has no doubt affected the popularity of the brand (as these things do.) One review I found was from a massive fan of the ‘Deep V T-shirt’ (all the items are named after their cut – another injection of creativity from LnA) as seen on Mary-Kate Olsen. The fan boasts having the garment in seven different colours. I worked this out and, if my calculations are correct, she spent $392 (that’s around £196) on seven plain T-shirts. Either the tops are lined with gold or that’s one major Olsen fan.

In case you didn’t pick up on it, I’m not much of a fan. LnA ask for a lot of money for something so simple (which they claim to be the product of an individual idea). Yes, ok, they are 100% cotton, but you would think that for $50 you would be, I don’t know, helping the environment or half the cost would be donated to charity? Unfortunately no, you’re not. Although I’m all for basic, classically cut clothes with no prints or fancy bits, the way in which they seem to claim the ownership of the popular T-shirt design annoys me. Because of this I can’t get the idea of money grabbing attachment to this brand out of my mind.



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