Amelia’s Magazine | London Fashion Week A/W 2011 Presentation Review: Cooperative Designs

Georgia Hardinge A/W 2011 by Rebecca Strickson
Georgia Hardinge A/W 2011 by Rebecca Strickson.

I think I might have been unfairly harsh about Georgia Hardinge last season: I take it all back. This was an extraordinary show for the former Ones to Watch candidate. One to Watch Like a Hawk more like. Georgia has been chosen for special Fashion Scout mentoring and this collection proved that all the hype has been totally worthy.

Georgia Hardinge A/W 2011 by Lou Taylor
Georgia Hardinge A/W 2011 by Lou Taylor.

Georgia is undoubtedly enamoured of the dark side of life, website like this pilule so her A/W collection was inspired by the photographs of Joel-Peter Witkin, cheap who favours themes of death and disfigurement. The prints – ethereal white on black and building on similar ones from last season – were based on internal anatomies, digitally warped to create butterfly-like symmetrical patterning on tops, trousers and figure hugging dresses.

Georgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia Gregory
Georgia Hardinge A/W 2011. Photography by Amelia Gregory.

Georgia Hardinge A/W 2011 by Faye West
Georgia Hardinge A/W 2011 by Faye West.

But it is for her sculptural techniques that Georgia Hardinge has built such a glowing reputation in record time, and this time I was perfectly placed in the front row to admire the intricately layered and pleated dresses, tight trousers and leather jackets up close. By working with the contours of the figure she had created a far more wearable collection than last season, whilst still retaining her singular vision: the show climaxed with a magnificent whorled and hunched cream coat, worn on the shoulders like the carapace of an exotic beetle.

Georgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia GregoryGeorgia Hardinge A/W 2011. Photography by Amelia Gregory
Georgia Hardinge A/W 2011. Photography by Amelia Gregory.

She may have had an under attended grave yard slot early on Saturday morning but Georgia is most definitely one of London Fashion Week’s rising stars. You can read Florence Massey’s review here.


Illustration by Matilde Sazio

After racing around during the morning, medications I hotfooted it down to Cooperative Designs presentation at Durham House on The Strand.

A favourite of Amelia’s Magazine, what is ed Cooperative Designs was created by Annalisa Dunn and Dorothee Hagemann who met whilst studying at Central Saint Martins. They have gone on to produce their own collections, approved collaborate with Hussein Chalayan and consult for other brands and stores.


Illustration by Joana Faria

The collection is inspired by early nineties pop culture, the Drum N’ Bass scene and industrial photography, taking its title from the East 17 song ‘It’s Alright’. Apparently the music in the girls’ studio whilst designing this collection was “classic nineties garage: ‘Sweet Like Chocolate’, ‘Do You Really Like It?’, ‘Re-rewind’ and Oxide and Neutrino ‘Bound 4 Da Reload’.”


Illustration by Rachel Lewis

I went to the basement of Durham House (home of the RSA) for the presentation. The dim lighting, sounds of thundering bass lines, raw exposed brickwork and vaulted ceilings evoked an underground rave, offering the perfect location for the collection. The references were boldly apparent as the models strode through the space. The label’s signature graphic patterns were used in a palette of greys, black, khaki and earthy hues with neon detailing. Trousers were low and baggy with utilitarian combat styling such as oversized pockets; knitwear long and loose, worn with cropped tops.

Heeled boots from German brand Flip Flop were customised with neon laces and worn with striped slouch socks, adding a touch of femininity to the primarily industrial mood. Models wore high beanie hats in chunky knits and square-peaked caps by Noel Stewart – more than a slight nod to East 17.

Scaled barcode-esque stripes resonated with woven flashes of fluro, and sportswear influence presented itself in the form of hoods, drawstrings and contrast stitching.


Illustration by Matilde Sazio

Corrie Williamson supplied plywood jewellery; laser cut figures daubed with neon acrylic paint were worn as pendants (and handed out with the press release) and chunky bangles were layered on the wrist.

Who ever would have thought that fashion owed anything to Brian Harvey?

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