Every season I eagerly anticipate Fashion Scout’s Ones to Watch because it is invariably a wonderful place to discover raw talent before everyone else does. This season we even ran a preview to prompt early onset salivating.
Kirsty Ward A/W 2011 by Charlotte Hoyle.
Unfortunately I was late to arrive and had to make do with an abysmal spot at the back, hence my far from fabulous photography. The perils of an action packed opening day to LFW. I do apologise.
Straight off the starting blocks was Kirsty Ward, who first came to our attention when she created jewellery for boyfriend David Longshaw when he himself showed as part of Ones to Watch a year ago. Last season she created her first collection, on view at the static stands at Fashion Scout… and I knew straight away I’d discovered something very special.
Needless to say Kirsty Ward’s first foray onto the catwalk proper did not disappoint. Working in a range of materials she kept to her sculpted best, whilst also working with new ideas such as the sheer asymmetric flip sided shirt.
Kirsty Ward A/W 2011 by Gilly Rochester.
As ever the jewellery was an integral part of her designs, sometimes embedded within the fabric, but always well considered. When I spoke to Kirsty at the stands she talked of her ongoing love with everyday household items: coat hangers and miniature hinges get her in an excitable tizz. But there’s no single clear influence in an innovative collection that will no doubt stand the test of time – one stand out piece was inspired by the shape of a Stormtrooper mask, albeit not through any conscious decision. Amusingly she tried to use as many “sick colours” as possible and was almost disappointed that fashionistas have been referring to her colour palette as “autumnal.” I love Kirsty Ward’s vision and an interview with this talented lady is long overdue….
Coming second we were treated to Anja Mlakar’s collection, which was a confident showing of bouncy tulip skirted dresses in pastels, red and black. Cutaways were a big feature, and I liked the styling with what looked like round padded foam belts, roughly tied at the waist. Definitely an intriguing proposition.
Next up was possibly my least favourite, simply because I am not a minimal kind of gal: no offence intended. Tze Goh works in a kind of compacted foam jersey material that can be easily sculpted into shapes which stand proud of the body.
Tze Goh A/W 2011 by Sarah Wharton.
Capes, hairy and smooth, were the order of the day – in steely greys, deep purples and heathery blues.
Lastly Sara Bro-Jorgensen created an intriguing collection using trompe l’oeil print and intarsia techniques to play with definitions of clothing. One outfit featured the imprint of a tuxedo, accessorised with a bow tie and knitted hood. She replicated her beloved leather jacket in intarsia, (it also features as part of the collection), using an old 1960s knitting machine available only at the Royal College of Art (the bonus of being an alumni).
At her exhibition stand she freely admitted that she is not sure how she can reproduce the look commercially. Sometimes, it seems, old technology really is best. My favourite outfit was a trompe l’oeil intarsia cape dress out of which the model’s arms protruded frontways, encased in creamy childlike mittens. I wouldn’t recommend adopting such a stance of an evening on the town but on the catwalk this styling was a lot of fun.
Sara Bro-Jorgensen A/W 2011 by Stellabombella.
Sara Bro-Jorgensen A/W 2011. All photography by Amelia Gregory.
ACOFI, Amelia's Compendium of Fashion Illustration, Anja Mlakar, Charlotte Hoyle, Fashion Scout, Florence Massey, Freemasons' Hall, Gilly Rochester, Intarsia, June Chanpoomidole, June Sees, Karolina Burdon, Kirsty Ward, knit, Maria Papadimitriou, Mhairi-Stella McEwan, Ones To Watch, Royal College of Art, Sara Bro Jorgensen, Sarah Wharton, Slowly the Eggs, Stellabombella, Stormtrooper, Tze Goh, YesGo Illustration
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