Graduate Fashion Week 2010: Bath Spa

Bath Spa explode onto the Graduate Fashion Week scene on Tuesday 8 June, with 1920s glitz, European nobilty AND lampshades on heads... AGAIN!

Written by Nina Joyce


Ruth Strugnell

Bath Spa’s electric and original collections show they’re not afraid to mix things up at Graduate Fashion Week. 

Bath Spa began with all guns blazing for their boutique show with Bournemouth, setting the scene with a soundtrack of haunting thunder and lightning. As suspense grew, a model stepped into the spot light…with a lampshade on her head. As more models filtered onto the catwalk, Ruth Strugnell’s quirky eccentricity became clearer in garments that made the most of mismatching, from multicoloured socks to panels composed of various prints and wools. Despite looking like they might’ve had a tussle in a dressing up box, the models’ nipped in waists and cute, soft take on the harem pants added a sense of maturity and direction to the pieces.  

Jack Duffy mixed things up again with clashing prints and a melding of culture; oversize jackets suggested elements of Eastern tradition, whilst large, ornate collars mould themselves round the body into demi-hoods more befitting of European nobility. 

Thierry Davies’s hypnotic monochrome prints bend the mind but when paired with a neat, boxy jacket a line of harmony seems to be drawn amongst the chaos. Another perennial favourite of this year appears again – the jump-suit, this time spruced up with a dramatic contrast between blue and white sections. 

Jodie Clay’s garments varied from the loose, long hem of her black jacket to the glitz of a bespoke neckpiece and sheer blouse. The wardrobe of the 1920s women was re-examined in the modern context and energised with splashes of murky blues, but held an element of reticent class.

Natalie Ellis’s use of vintage fur coats and gloves reminded us of the staple role they played in the wardrobes of women gone by, but cropped double colour trousers were a reminder of Ellis’s unfailing dedication to modernity. Interesting shapes appeared on the body as high waisted trousers split cream khaki and black across the body, complimented by ethereal, floating blouses and fur barrel bags. 
*Here at Amelia’s Magazine we don’t advocate any wearing of fur at all, so we hope this is fake, otherwise, DON’T WEAR IT!*

Outi Silvola deconstructed apparel in the most immediate sense, repositioning collars, shoulders and buttons to give a mixed up feel that wouldn’t look out-of-place in Dover Street Market. A fully made collar placed forward on the body was a walking work of art. A shirt is at once open at yet concealing the figure, showing a careful appreciation of the simple practise of putting clothes on the human body. 

Photographs by Sally Mumby Croft

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