Amelia’s Magazine loves Bernard Chandran. We have not missed a single show since his debut at London Fashion Week and we would not want to. Last season (Spring Summer 10) the audience were treated to Chandran’s visualisation of a very public fear of SARS and pig flu scares by adorning the models with elaborate facemasks. An intriguing accompaniment to the structured dresses and body cast bustiers, sildenafil the folds of the dresses said to be inspired by a paper lantern hanging in the designer’s studio.
Autumn Winter 2010 is potentially more commercially viable than previous seasons, saw Bernard retain strong architectural forms that broke down into Chandran’s image of the sophisticated cocktail party. The glittering gold suddenly bringing Tom Ford’s ad campaigns for Gucci to mind. AW 10 opened with various portrayals on the androgynous glamour inherent within the working woman’s suit.
The models accompanied by Daphne Guinness hair, face paint, 60’s flicked eyes and block coloured lips wore a pared down approach to Chandran’s architectural style. Sheer nylon cut along the shoulders created a strong contour line along the back, falling into a low waist creating a strong box silhouette.
The block navy blues slowly gave way to luxuriant golds and bronzes. Sleeves became adorned with feathers, big bold feathers to rival your 80’s power shoulder. The collection carried a sense of (what is appearing to be a buzz word) 1970’s glamour, particularly in the full length languid gowns curving off the shoulders exposing the back.
These were clothes at work for work, whilst providing a nice line in sophisticated after work clothes, the nylon contrasted with silk producing a hard yet fluid outline. Movability within the fabrics created through Chandran’s experimental positioning of zips, dropped to almost-but-not-quite slouched hems amongst considered layering.
The midriff so often seen recently, made a sneaky appearance, as did the jumpsuit (here to stay… forever mutating through various fabrics).
Geometric Prints inspired by nature shimmered on fabric, an outcome of Bernard’s ability to be inspired by that which surrounds him (last season SS10 dress shapes were said to be inspired by items within his studio). The embellished dresses beautiful in their peacock colours.
Photographs by Matt Bramford
Illustrations by Katie Harnett
Amelia’s Magazine loves Bernard Chandran. We have not missed a single show since his debut at London Fashion Week and we would not want to. Last season (Spring Summer 10) the audience were treated to Chandran’s visualisation of a very public fear of SARS and pig flu scares by adorning the models with elaborate facemasks. An intriguing accompaniment to the structured dresses and body cast bustiers, visit the folds of the dresses said to be inspired by a paper lantern hanging in the designer’s studio.
Autumn Winter 2010 is potentially more commercially viable than previous seasons, saw Bernard retain strong architectural forms that broke down into Chandran’s image of the sophisticated cocktail party. The glittering gold suddenly bringing Tom Ford’s ad campaigns for Gucci to mind. AW 10 opened with various portrayals on the androgynous glamour inherent within the working woman’s suit.
The models accompanied by Daphne Guinness hair, face paint, 60’s flicked eyes and block coloured lips wore a pared down approach to Chandran’s architectural style. Sheer nylon cut along the shoulders created a strong contour line along the back, falling into a low waist creating a strong box silhouette.
The block navy blues slowly gave way to luxuriant golds and bronzes. Sleeves became adorned with feathers, big bold feathers to rival your 80’s power shoulder. The collection carried a sense of (what is appearing to be a buzz word) 1970’s glamour, particularly in the full length languid gowns curving off the shoulders exposing the back.
These were clothes at work for work, whilst providing a nice line in sophisticated after work clothes, the nylon contrasted with silk producing a hard yet fluid outline. Movability within the fabrics created through Chandran’s experimental positioning of zips, dropped to almost-but-not-quite slouched hems amongst considered layering.
The midriff so often seen recently, made a sneaky appearance, as did the jumpsuit (here to stay… forever mutating through various fabrics).
Geometric Prints inspired by nature shimmered on fabric, an outcome of Bernard’s ability to be inspired by that which surrounds him (last season SS10 dress shapes were said to be inspired by items within his studio). The embellished dresses beautiful in their peacock colours.
Photographs by Matt Bramford
Illustrations by Katie Harnett
Amelia’s Magazine loves Bernard Chandran. We have not missed a single show since his debut at London Fashion Week and we would not want to. Last season (Spring Summer 10) the audience were treated to Chandran’s visualisation of a very public fear of SARS and pig flu scares by adorning the models with elaborate facemasks. An intriguing accompaniment to the structured dresses and body cast bustiers, viagra approved the folds of the dresses said to be inspired by a paper lantern hanging in the designer’s studio.
Autumn Winter 2010 is potentially more commercially viable than previous seasons, information pills saw Bernard retain strong architectural forms that broke down into Chandran’s image of the sophisticated cocktail party. The glittering gold suddenly bringing Tom Ford’s ad campaigns for Gucci to mind. AW 10 opened with various portrayals on the androgynous glamour inherent within the working woman’s suit.
The models accompanied by Daphne Guinness hair, face paint, 60’s flicked eyes and block coloured lips wore a pared down approach to Chandran’s architectural style. Sheer nylon cut along the shoulders created a strong contour line along the back, falling into a low waist creating a strong box silhouette.
The block navy blues slowly gave way to luxuriant golds and bronzes. Sleeves became adorned with feathers, big bold feathers to rival your 80’s power shoulder. The collection carried a sense of (what is appearing to be a buzz word) 1970’s glamour, particularly in the full length languid gowns curving off the shoulders exposing the back.
These were clothes at work for work, whilst providing a nice line in sophisticated after work clothes, the nylon contrasted with silk producing a hard yet fluid outline. Movability within the fabrics created through Chandran’s experimental positioning of zips, dropped to almost-but-not-quite slouched hems amongst considered layering.
The midriff so often seen recently, made a sneaky appearance, as did the jumpsuit (here to stay… forever mutating through various fabrics).
Geometric Prints inspired by nature shimmered on fabric, an outcome of Bernard’s ability to be inspired by that which surrounds him (last season SS10 dress shapes were said to be inspired by items within his studio). The embellished dresses beautiful in their peacock colours.
Photographs by Matt Bramford
Illustrations by Katie Harnett
Amelia’s Magazine loves Bernard Chandran. We have not missed a single show since his debut at London Fashion Week and we would not want to. Last season (Spring Summer 10) the audience were treated to Chandran’s visualisation of a very public fear of SARS and pig flu scares by adorning the models with elaborate facemasks. An intriguing accompaniment to the structured dresses and body cast bustiers, for sale the folds of the dresses said to be inspired by a paper lantern hanging in the designer’s studio.
Autumn Winter 2010 is potentially more commercially viable than previous seasons, rx saw Bernard retain strong architectural forms that broke down into Chandran’s image of the sophisticated cocktail party. The glittering gold suddenly bringing Tom Ford’s ad campaigns for Gucci to mind. AW 10 opened with various portrayals on the androgynous glamour inherent within the working woman’s suit.
The models accompanied by Daphne Guinness hair, medicine face paint, 60’s flicked eyes and block coloured lips wore a pared down approach to Chandran’s architectural style. Sheer nylon cut along the shoulders created a strong contour line along the back, falling into a low waist creating a strong box silhouette.
The block navy blues slowly gave way to luxuriant golds and bronzes. Sleeves became adorned with feathers, big bold feathers to rival your 80’s power shoulder. The collection carried a sense of (what is appearing to be a buzz word) 1970’s glamour, particularly in the full length languid gowns curving off the shoulders exposing the back.
These were clothes at work for work, whilst providing a nice line in sophisticated after work clothes, the nylon contrasted with silk producing a hard yet fluid outline. Movability within the fabrics created through Chandran’s experimental positioning of zips, dropped to almost-but-not-quite slouched hems amongst considered layering.
The midriff so often seen recently, made a sneaky appearance, as did the jumpsuit (here to stay… forever mutating through various fabrics).
Geometric Prints inspired by nature shimmered on fabric, an outcome of Bernard’s ability to be inspired by that which surrounds him (last season SS10 dress shapes were said to be inspired by items within his studio). The embellished dresses beautiful in their peacock colours.
Photographs by Matt Bramford
Illustrations by Katie Harnett
Caroline Charles drew quite the crowd on the first day of London Fashion Week. Her AW10 collection specifically drew my attention due to the vast variety on offer; with the collection separated into two key sections; day and evening.
Illustration courtesy of Gemma Milly.
Shiny leather hats lightened the mood with a playful edge, sildenafil along with large sunglasses, dosage and fur coats. Fur was present throughout sampled in scarves and hats too, making the statement that it is most definitely set to be big once again – come next winter. The overall colour scheme centred around black and brown, with splashes of green in the form of gloves and belts, cleverly breaking up the sombre look. Pattern was everywhere, ranging from lines, checks and tweeds, incorporating nature-inspired prints.
Images courtesy of Fashion156.
The second segment moved towards an overall feeling of luxury; in both fabrics and composition. Small ruffle details around the neckline were subtle but gave a touch of individuality, whilst a rich velvet was present throughout; primarily seen in jackets in green and plum red. The colour scheme focused on earthly tones with some African aspects, such as golden print panelling on several dresses.
Tribal patchworks with pink sequins – although it doesn’t sound it – proved a surprisingly beautiful juxtaposition. Sequins, and beading, in fact seemed quite major on floral themed dresses, and the Caroline Charles essence really seemed to be within the detailing. Contrasted against elegant eveningwear pieces was a small selection of shiny leather and cropped lace leggings, which were combined with cropped jackets in eye catching gold. Caroline Charles brought a certain ‘je ne sais quoi’ to London Fashion Week’s first day, with spot on colour combinations and a range of sartorial references everyone can benefit from.
Categories ,BFC, ,Camilla Sampson, ,Caroline Charles, ,Fashion156, ,Gemma Milly, ,lfw
Similar Posts:
- London Fashion Week A/W 2011 Catwalk Review: Caroline Charles
- Rokit launch new vintage-inspired collection
- London Fashion Week A/W 2010 Catwalk Review: Ashley Isham
- London Fashion Week A/W 2010 Catwalk Review: Carlotta Gherzi for SADO
- London Fashion Week: Olanic