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Top 25 Art Blog - Creative Tourist

London Fashion Week S/S 2011 Catwalk Review: Charlie Le Mindu

His is always a hot tip, no matter the time of day. We got up bright and early to check out Charlie Le Mindu at Victoria House on Sunday 19th September 2010. And oh what a hairy joy!

Written by Amelia Gregory

Illustration by Eugenia Tsmiklis

After pegging it down the strand, ed I arrived at the BFC tent with less than 30 seconds to spare. My desperate dan demeanour must have won me brownie points somewhere as I was ushered into the catwalk seating area so fast my feet barely touched the floor. Expecting the Issa show to begin, imagine my suprise when Basso and Brooke creations started to walk their way down the catwalk…there must have been some awful mistake?…yes, indeed there was Mr Matt Bramford (who must be reading his timetable upside down last night).

A 9am Sunday morning treat: great turnout (including model Amber Rose – front row), amazing prints and a seamless show. To be able to mix so many colours, prints, patterns and styles into pieces of clothing is a talent few can boast. I have never trained as a fashion designer but I imagine that there comes a time early in their lives, perhaps as a kid choosing between a pencil and a box of crayolas, when their speciality is set for life. In my view, all designers have not so much a signature look as a part of the DNA clothing they excel at: silhouette, colour, print, cut. Some designers can change the way we see the body – I’m thinking of Miuccia Prada –and some fill in the outlines of fashionable shapes with their own individual colour, pattern and texture.

Illustration by Eugenia Tsmiklis

Prints were the order of the day with a slight All Saints (edgy brand not 90s girlband) feel to some of the ones with italic scripting and antique maps running across. After reading the press release, it turns out that the writing is actually handwritten notes by Da Vinci, Tolstoy, Balzac and others in a nod to the non digital past. Digital prints are then sliced into the notes and maps, creating more dramatic, eclectic mixes. Other prints included trompe l’oeil images of ruched fabrics, mainly used in larger panels on the back of dresses but occasionally inserted onto the front. I am personally a huge fan of print design (I was a colour-change felttip pen sort of kid), which I think often gets ignored in favour of more flashy, and by definition, flesh-revealing options (anyone designing an elaborately printed bikini has rather missed the point). There’s something depressing about an off-the-shelf pattern you end up seeing on clothes everywhere, from high street shops to market stalls. I want someone to have sat down and designed the images that appear on the surface of clothes with as much care and dedication as they did every other aspect.

Basso and Brooke’s S/S11 show didn’t pioneer any particular dress shape, although all their clothes look wearable: lots of skater-skirted party dresses, a collared blouse and skirt and filmy jumpsuitst. The skirts had great shape and movement to them, especially the shorter kicky ones; the dresses made use of clashing prints on the front and back and thought had also been put into matching shoes to each look. However, what they do to a tee is the print; everyone knows that when you go to their show you’ll get lovingly rendered prints galore. This also means subtle use of colour, and when the models took their turn all together, it added up to a handwritten, map inspired rainbow.

Shoes at Basso & Brooke

Some of the choices surprised me at first: leopard print? Hermes-scarf style illustrated floral squares? But because they were digitally chopped up with gold foil sections that seemed to creep over the garish parts, or set against a background of pearly grey silk, I think it worked. There is a trend now for mixing up complicated prints, which when it works, looks incredible. One good thing about animal print is that you can’t really beat nature for creating a pleasing whole and by sticking to the silvery sheen of water, brown and rusty orange of animals spots and mineral metallics, there’s a good chance an outfit will hang together, just like Basso and Brooke’s show.

Illustration by Eugenia Tsmiklis

After pegging it down the strand, this I arrived at the BFC tent with less than 30 seconds to spare. My desperate dan demeanour must have won me brownie points somewhere as I was ushered into the catwalk seating area so fast my feet barely touched the floor. Expecting the Issa show to begin, see imagine my suprise when Basso and Brooke creations started to walk their way down the catwalk…there must have been some awful mistake?…yes, indeed there was Mr Matt Bramford (who must be reading his timetable upside down last night).

A 9am Sunday morning treat: great turnout (including model Amber Rose – front row), amazing prints and a seamless show. To be able to mix so many colours, prints, patterns and styles into pieces of clothing is a talent few can boast. I have never trained as a fashion designer but I imagine that there comes a time early in their lives, perhaps as a kid choosing between a pencil and a box of crayolas, when their speciality is set for life. In my view, all designers have not so much a signature look as a part of the DNA clothing they excel at: silhouette, colour, print, cut. Some designers can change the way we see the body – I’m thinking of Miuccia Prada –and some fill in the outlines of fashionable shapes with their own individual colour, pattern and texture.

Illustration by Eugenia Tsmiklis

Prints were the order of the day with a slight All Saints (edgy brand not 90s girlband) feel to some of the ones with italic scripting and antique maps running across. After reading the press release, it turns out that the writing is actually handwritten notes by Da Vinci, Tolstoy, Balzac and others in a nod to the non digital past. Digital prints are then sliced into the notes and maps, creating more dramatic, eclectic mixes. Other prints included trompe l’oeil images of ruched fabrics, mainly used in larger panels on the back of dresses but occasionally inserted onto the front. I am personally a huge fan of print design (I was a colour-change felttip pen sort of kid), which I think often gets ignored in favour of more flashy, and by definition, flesh-revealing options (anyone designing an elaborately printed bikini has rather missed the point). There’s something depressing about an off-the-shelf pattern you end up seeing on clothes everywhere, from high street shops to market stalls. I want someone to have sat down and designed the images that appear on the surface of clothes with as much care and dedication as they did every other aspect.

Illustrated by June Chanpoomidole

Basso and Brooke’s S/S11 show didn’t pioneer any particular dress shape, although all their clothes look wearable: lots of skater-skirted party dresses, a collared blouse and skirt and filmy jumpsuitst. The skirts had great shape and movement to them, especially the shorter kicky ones; the dresses made use of clashing prints on the front and back and thought had also been put into matching shoes to each look. However, what they do to a tee is the print; everyone knows that when you go to their show you’ll get lovingly rendered prints galore. This also means subtle use of colour, and when the models took their turn all together, it added up to a handwritten, map inspired rainbow.

Photograph by Florence Massey

Some of the choices surprised me at first: leopard print? Hermes-scarf style illustrated floral squares? But because they were digitally chopped up with gold foil sections that seemed to creep over the garish parts, or set against a background of pearly grey silk, I think it worked. There is a trend now for mixing up complicated prints, which when it works, looks incredible. One good thing about animal print is that you can’t really beat nature for creating a pleasing whole and by sticking to the silvery sheen of water, brown and rusty orange of animals spots and mineral metallics, there’s a good chance an outfit will hang together, just like Basso and Brooke’s show.

Illustration by June Chanpoomidole

Illustration by Eugenia Tsmiklis

After pegging it down the strand, buy information pills I arrived at the BFC tent with less than 30 seconds to spare. My desperate dan demeanour must have won me brownie points somewhere as I was ushered into the catwalk seating area so fast my feet barely touched the floor. Expecting the Issa show to begin, viagra 40mg imagine my suprise when Basso and Brooke creations started to walk their way down the catwalk…there must have been some awful mistake?…yes, indeed there was Mr Matt Bramford (who must be reading his timetable upside down last night).

A 9am Sunday morning treat: great turnout (including model Amber Rose – front row), amazing prints and a seamless show. To be able to mix so many colours, prints, patterns and styles into pieces of clothing is a talent few can boast. I have never trained as a fashion designer but I imagine that there comes a time early in their lives, perhaps as a kid choosing between a pencil and a box of crayolas, when their speciality is set for life. In my view, all designers have not so much a signature look as a part of the DNA clothing they excel at: silhouette, colour, print, cut. Some designers can change the way we see the body – I’m thinking of Miuccia Prada –and some fill in the outlines of fashionable shapes with their own individual colour, pattern and texture.

Illustration by Eugenia Tsmiklis

Prints were the order of the day with a slight All Saints (edgy brand not 90s girlband) feel to some of the ones with italic scripting and antique maps running across. After reading the press release, it turns out that the writing is actually handwritten notes by Da Vinci, Tolstoy, Balzac and others in a nod to the non digital past. Digital prints are then sliced into the notes and maps, creating more dramatic, eclectic mixes. Other prints included trompe l’oeil images of ruched fabrics, mainly used in larger panels on the back of dresses but occasionally inserted onto the front. I am personally a huge fan of print design (I was a colour-change felttip pen sort of kid), which I think often gets ignored in favour of more flashy, and by definition, flesh-revealing options (anyone designing an elaborately printed bikini has rather missed the point). There’s something depressing about an off-the-shelf pattern you end up seeing on clothes everywhere, from high street shops to market stalls. I want someone to have sat down and designed the images that appear on the surface of clothes with as much care and dedication as they did every other aspect.

Illustrated by June Chanpoomidole

Basso and Brooke’s S/S11 show didn’t pioneer any particular dress shape, although all their clothes look wearable: lots of skater-skirted party dresses, a collared blouse and skirt and filmy jumpsuitst. The skirts had great shape and movement to them, especially the shorter kicky ones; the dresses made use of clashing prints on the front and back and thought had also been put into matching shoes to each look. However, what they do to a tee is the print; everyone knows that when you go to their show you’ll get lovingly rendered prints galore. This also means subtle use of colour, and when the models took their turn all together, it added up to a handwritten, map inspired rainbow.

Photograph by Florence Massey

Some of the choices surprised me at first: leopard print? Hermes-scarf style illustrated floral squares? But because they were digitally chopped up with gold foil sections that seemed to creep over the garish parts, or set against a background of pearly grey silk, I think it worked. There is a trend now for mixing up complicated prints, which when it works, looks incredible. One good thing about animal print is that you can’t really beat nature for creating a pleasing whole and by sticking to the silvery sheen of water, brown and rusty orange of animals spots and mineral metallics, there’s a good chance an outfit will hang together, just like Basso and Brooke’s show.

Illustration by June Chanpoomidole

Illustration by Eugenia Tsmiklis

After pegging it down the strand, sickness I arrived at the BFC tent with less than 30 seconds to spare. My desperate dan demeanour must have won me brownie points somewhere as I was ushered into the catwalk seating area so fast my feet barely touched the floor. Expecting the Issa show to begin, imagine my suprise when Basso and Brooke creations started to walk their way down the catwalk…there must have been some awful mistake?…yes, indeed there was Mr Matt Bramford (who must be reading his timetable upside down last night).

A 9am Sunday morning treat: great turnout (including model Amber Rose – front row), amazing prints and a seamless show. To be able to mix so many colours, prints, patterns and styles into pieces of clothing is a talent few can boast. I have never trained as a fashion designer but I imagine that there comes a time early in their lives, perhaps as a kid choosing between a pencil and a box of crayolas, when their speciality is set for life. In my view, all designers have not so much a signature look as a part of the DNA clothing they excel at: silhouette, colour, print, cut. Some designers can change the way we see the body – I’m thinking of Miuccia Prada –and some fill in the outlines of fashionable shapes with their own individual colour, pattern and texture.

Illustration by Eugenia Tsmiklis

Prints were the order of the day with a slight All Saints (edgy brand not 90s girlband) feel to some of the ones with italic scripting and antique maps running across. After reading the press release, it turns out that the writing is actually handwritten notes by Da Vinci, Tolstoy, Balzac and others in a nod to the non digital past. Digital prints are then sliced into the notes and maps, creating more dramatic, eclectic mixes. Other prints included trompe l’oeil images of ruched fabrics, mainly used in larger panels on the back of dresses but occasionally inserted onto the front. I am personally a huge fan of print design (I was a colour-change felttip pen sort of kid), which I think often gets ignored in favour of more flashy, and by definition, flesh-revealing options (anyone designing an elaborately printed bikini has rather missed the point). There’s something depressing about an off-the-shelf pattern you end up seeing on clothes everywhere, from high street shops to market stalls. I want someone to have sat down and designed the images that appear on the surface of clothes with as much care and dedication as they did every other aspect.

Illustrated by June Chanpoomidole

Basso and Brooke’s S/S11 show didn’t pioneer any particular dress shape, although all their clothes look wearable: lots of skater-skirted party dresses, a collared blouse and skirt and filmy jumpsuitst. The skirts had great shape and movement to them, especially the shorter kicky ones; the dresses made use of clashing prints on the front and back and thought had also been put into matching shoes to each look. However, what they do to a tee is the print; everyone knows that when you go to their show you’ll get lovingly rendered prints galore. This also means subtle use of colour, and when the models took their turn all together, it added up to a handwritten, map inspired rainbow.

Photograph by Florence Massey

Some of the choices surprised me at first: leopard print? Hermes-scarf style illustrated floral squares? But because they were digitally chopped up with gold foil sections that seemed to creep over the garish parts, or set against a background of pearly grey silk, I think it worked. There is a trend now for mixing up complicated prints, which when it works, looks incredible. One good thing about animal print is that you can’t really beat nature for creating a pleasing whole and by sticking to the silvery sheen of water, brown and rusty orange of animals spots and mineral metallics, there’s a good chance an outfit will hang together, just like Basso and Brooke’s show.

Illustration by June Chanpoomidole

Illustration by Eugenia Tsmiklis

After pegging it down the strand, sale I arrived at the BFC tent with less than 30 seconds to spare. My desperate dan demeanour must have won me brownie points somewhere as I was ushered into the catwalk seating area so fast my feet barely touched the floor. Expecting the Issa show to begin, store imagine my suprise when Basso and Brooke creations started to walk their way down the catwalk…there must have been some awful mistake?…yes, viagra sale indeed there was Mr Matt Bramford (who must be reading his timetable upside down last night).

A 9am Sunday morning treat: great turnout (including model Amber Rose – front row), amazing prints and a seamless show. To be able to mix so many colours, prints, patterns and styles into pieces of clothing is a talent few can boast. I have never trained as a fashion designer but I imagine that there comes a time early in their lives, perhaps as a kid choosing between a pencil and a box of crayolas, when their speciality is set for life. In my view, all designers have not so much a signature look as a part of the DNA clothing they excel at: silhouette, colour, print, cut. Some designers can change the way we see the body – I’m thinking of Miuccia Prada –and some fill in the outlines of fashionable shapes with their own individual colour, pattern and texture.

Illustration by Eugenia Tsmiklis

Prints were the order of the day with a slight All Saints (edgy brand not 90s girlband) feel to some of the ones with italic scripting and antique maps running across. After reading the press release, it turns out that the writing is actually handwritten notes by Da Vinci, Tolstoy, Balzac and others in a nod to the non digital past. Digital prints are then sliced into the notes and maps, creating more dramatic, eclectic mixes.

Other prints included trompe l’oeil images of ruched fabrics, mainly used in larger panels on the back of dresses but occasionally inserted onto the front. I am personally a huge fan of print design (I was a colour-change felttip pen sort of kid), which I think often gets ignored in favour of more flashy, and by definition, flesh-revealing options (anyone designing an elaborately printed bikini has rather missed the point). There’s something depressing about an off-the-shelf pattern you end up seeing on clothes everywhere, from high street shops to market stalls. I want someone to have sat down and designed the images that appear on the surface of clothes with as much care and dedication as they did every other aspect.

Illustrated by June Chanpoomidole

Basso and Brooke’s S/S11 show didn’t pioneer any particular dress shape, although all their clothes look wearable: lots of skater-skirted party dresses, a collared blouse and skirt and filmy jumpsuitst. The skirts had great shape and movement to them, especially the shorter kicky ones; the dresses made use of clashing prints on the front and back and thought had also been put into matching shoes to each look. However, what they do to a tee is the print; everyone knows that when you go to their show you’ll get lovingly rendered prints galore. This also means subtle use of colour, and when the models took their turn all together, it added up to a handwritten, map inspired rainbow.

Photograph by Florence Massey

Some of the choices surprised me at first: leopard print? Hermes-scarf style illustrated floral squares? But because they were digitally chopped up with gold foil sections that seemed to creep over the garish parts, or set against a background of pearly grey silk, I think it worked. There is a trend now for mixing up complicated prints, which when it works, looks incredible. One good thing about animal print is that you can’t really beat nature for creating a pleasing whole and by sticking to the silvery sheen of water, brown and rusty orange of animals spots and mineral metallics, there’s a good chance an outfit will hang together, just like Basso and Brooke’s show.

Illustration by June Chanpoomidole

LFW-CharlieleMindu-Andrea-Peterson
Charlie Le Mindu by Andrea Peterson.

There’s precious little rest to be had over Fashion Week as anyone who’s involved will know. And so it was that I found myself hurriedly uploading a blog this morning before the Charlie Le Mindu show – having barely slept – when I saw a tweet from Matt saying that the queue was already huge. So it goes: it doesn’t matter what shitty time slot you have in the schedule, prescription if you’re a big enough draw then they’ll be rolling out of their beds, online dressed to the nines for the cameras.

LFW Charlie Le Mindu by Jessica Singh
LFW Charlie Le Mindu by Jessica Singh
LFW Charlie Le Mindu by Jessica Singh
Charlie Le Mindu by Jessica Singh.

So I chucked my slap on and rode like the wind, getting into Bloomsbury Square in just fifteen minutes albeit a bit sweatily, where I crashed past the poseurs. Take that, you fashion victims. See, I’m not even dressed wackily. Well, only in so far as I always dress in a *slightly* colourful and mismatched combination of high street and vintage 80s finds.

Nani Puspasari_charlie le mindu
Charlie Le Mindu by Nani Puspasari.

I took my seat next to a five year old and two year old (with their parents OBVIOUSLY) – just some of many kids at this and other shows today – I think Sunday tends to bring the families out. I was a little concerned though, I have to say, when the pounding music started up and mum needed to cover the poor wee one’s ears. Tut tut. Your hearing never recovers from even the most minor damage and all that.

Charlie Le Mindu by Nani Puspasari
Charlie Le Mindu by Nani Puspasari.

Okay, you probably know that we like Charlie Le Mindu. He’s a lot of fun. Of course it’s never been about the clothes as such, though the blurb on his hand out did make me laugh. “Get your passports ready as Charlie jets you off in style with a perfect combination of sexy wigs and super hot, super wearable clothes and accessories.” Hang on, let’s just go through that once again. Super wearable? Am I thinking of the same designer? The one that covers his models head to toe in human hair as if it was some kind of exotic fur? And now that’s really got me thinking. Where on earth does one source all this hair from anyway? I’d love to do a little investigation and find out, for instance, how many nationalities made up the black pantaloon number with red leopard spots. And do you think they were shorn humanely?

Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory
All photography by Amelia Gregory.

Really though, what’s necessary with Le Mindu is just to set all rational thought aside, sit back and enjoy the show. A model bearing the headlamps of fast cars in her metallic gilded claws? Check. A pink poodle head headdress. Check. Lady Gaga-esque neon yellow wigs. Check.

Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory

Hang on, are the wigs on the heads made of human hair, or is it only for the dresses? That’s got me really confused.

Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory

Bubblegum pink floor length bubble hair skirts? Check. Flamingo accessories? Bare boobs and utterly smooth lady bottoms. Now there’s something to theorise over. No hair where there should be some, and mounds of someone else’s hair everywhere else. I think you’re getting the idea… bizarre, enjoyable, but also vaguely unsettling.

Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory

In retrospect a quick glance through my photos reveals that there were a few wearable swimsuits hidden amongst the eye popping spectacle. But they weren’t what I will remember this show for.

Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory

Of course, all of this was a joy to photograph and illustrate. So let’s just enjoy, eh? Til next time Charlie

Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory
Charlie le Mindu SS2011 photo by Amelia Gregory

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9 Responses to “London Fashion Week S/S 2011 Catwalk Review: Charlie Le Mindu”

  1. Katherine Tromans says:

    lovely illustrations on this one :) and definitely the most bizarre collection I’ve seen so far!

  2. possibly the most amazing showstopping production of hair i have ever seen! le mindu is god.

  3. do it more says:

    Marvellous nudity.
    Why not doing this in all catwalks? Models with no limit in clothes, free wearing.
    It is wow impactant and nice in stetics.
    Wonderful Art.
    For a more natural and open minded world, tremendous beauty.

  4. Sue says:

    lovely bodies but is it fashion?
    Sue

  5. Cat says:

    Fashion is art. Art is meant to be thought provoking and challenging. This show covers all of that nicely. *g*

    Cat

  6. Paige says:

    I’m so glad I found this lovely website otherwise I wouldn’t have known of the wild and wonderful creator that is Charlie Le Mindu! This collection is so out there and love how it makes a bold fashion statement using little no clothes at all.

    I did my own mindu post inspired by yours and I love the illustrations.

    I credited your images of course, you must have had a great seat!

    Enjoy! :) http://collegegirl93.wordpress.com/2011/01/29/never-seen-a-girl-like-you-before/

  7. Paige says:

    love this s/s collection and how mindu makes a fashion statement with his models wearing barely any clothes. Genius!

    I also adore the illustrations, really amazing, I was inspired by your photographs to do my own mindu post, I credited the photos to you of course!! :)

    Enjoy!

    http://collegegirl93.wordpress.com/2011/01/29/never-seen-a-girl-like-you-before/

  8. [...] LE MINDU {Description} London Fashion Week S/S 2011 Catwalk Review: Charlie Le Mindu on Amelias magazine {Medium} Color pen on paper – 20 cm x 25 [...]

  9. [...] LE MINDU {Description} London Fashion Week S/S 2011 Catwalk Review: Charlie Le Mindu on Amelia’s magazine {Medium} Color pen on paper – 20 cm x 25 cm [...]

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