What began as an ‘art experiment’ by London-based Simeon Farrar has now turned into a successful fashion label; winning not only international acclaim but also the prestigious NEWGEN award three times along the way. Despite being crowned a fashion buyer favourite with stockists such as Liberty in the UK and many more in Paris, Tokyo, and Sydney (to name a few), Simeon hasn’t lost sight of his Fine Art training gained at the University for the Creative Arts in Farnham. Every collection begins with a philosophical root from which the designs and drawings develop and each one-off piece is then created with Simeon’s trademark dash of humour delivered through experiments with colour and print, done by hand in his Shoreditch studio.

Simeon Farrar, all photographs courtesy of Iroquois PR

As someone who trained as a fine artist, what was it that made you want to turn your hand from canvas and paper to fabric?
I’ve always been into printmaking and I used to use a lot of screen-printing in my paintings. I would load them up with all sorts of images and paint over them to form multiple layers. I started putting some of these images on to t-shirts purely as another surface rather than as fashion. The first t-shirts were so loaded with paint like the canvases that they could never be worn. I got so into this that it soon evolved into fashion.

Simeon Farrar S/S 2012 by Jason Lear

As a ‘non-fashion’ person, did you expect to make such a big impression when you first exhibited at London Fashion Week?
Absolutely not. I had no idea what people would think of me. I didn’t even have an order book so I guess I didn’t expect to write any orders. Suddenly I had all these people wanting to order this junk I’d made which I found all a bit weird. It was still an art experiment at that point.

Simeon Farrar S/S 2012 by Abi Hall

What’s the most important lesson you’ve learned about being a designer and the way the world of Fashion works?
As an artist you develop a certain degree of snobbery towards anything that isn’t ‘Art’. I can safely say that I have been cleansed of that snobbery after being welcomed so openly into the fashion world. I’ve learned that it’s all a load of rubbish and an artist just does what ever he/she feels is the most honest path for their creativity and it doesn’t need a label to make it valid.

Butterfly Chiffon Maxi

Your ‘Kate Mouse‘ illustration has become a widely recognised and coveted t-shirt graphic. Why do you think it’s had so much success?
For me it was one of those magical moments when an image just works perfectly. I’d drawn the image for a nursery rhyme collection we were doing at the time and I wanted to do Three Blind Mice. So, to name the file on Photoshop I used ‘Kate Mouse’ so I would recognise it. Then it just clicked, like a light bulb coming on above my head. I think it’s been a success for the same reason. It’s not forced or contrived, just simple and genius. There’s been such a demand ever since her birth that she’s featured in every collection since, with various additions. She gets pimped up every season. Except this forthcoming A/W 2012.

Simeon Farrar S/S 2012 by Alia Gargum

What personally inspired you to create a ‘Kate Mouse’ t-shirt with Net-A-Porter especially for the Japan Earthquake relief appeal?
Two of my staff are Japanese and they have been with me for years so due to that I feel a certain closeness with Japan. We sell a lot in Japan, and since I began the label the Japanese have been so supportive and loyal to my brand that when the earthquake hit it felt like an opportunity to repay some of that. The Kate Mouse print was our obvious big hitter, so I thought it would make the most money if we offered it for the appeal. We did it by ourselves at first, offering a free t-shirt with every donation to Save The Children. That went very well but as we were paying postage we had to limit it to the UK only. My PR company Iroquois and I approached Net-A-Porter so we could take it further. They were amazing with how they took it up and offered so much percentage of the profit to the appeal. I was very impressed with their instant generosity.

Simeon Farrar S/S 2012 by Dana Bocai

Your current S/S 2012 collection not only has your own charming take on the uniquely temperamental British summer through neon colours, raindrop prints and a nod to the new Royalty, but a uniquely feel-good quote that runs throughout. How did the slogan ‘You Are My Silver Lining’ form in your head?
There is always a sense of romance in my collections, and no matter what the theme I always like to bring that in. I like the idea of someone being your Silver Lining. No matter what happens in life there is someone who’s very presence brings with it a sense of hope or a way out of darkness.

Slogan Print Tote with Leather Handles

Simeon Farrar S/S 2012 by Alejandra Espino

What are your favourite colours to print in (at the moment) and why?
I loved using the neon colours in the S/S 2012 collection. I like printing images in neon then overlaying that with a black print and washing it all out so the greys defuse the neon a bit.

Simeon Farrar S/S 2012 by Mitika Chohan

What can we expect for A/W 2012 from Simeon Farrar?
For S/S 2012 we had a ghost print that did very well, so I’ve built the next collection round that. So I guess it’s a Haunted House collection. We’ve got lots of ghost drawings, howling wolves, that kind of thing. But, there’s also a romantic side to it. I’ve always been interested in the tragic side of vampires and the sense of undying love that runs through it. So I’ve brought a lot of that in to the collection. And for the first time, NO KATE MOUSE. I didn’t want to cheapen her and put some fangs on her or something. Kate Mouse is dead, you heard it here first.

Cloud Print Tote Bag

Simeon Farrar S/S 2012 by Gareth A Hopkins

Simeon Farrar’s current S/S 2012 collection is available to buy in store and online at a variety of stockists, and his forthcoming A/W 2012 collection will be exhibited at Tranoi this March.

Amelia’s Compendium of Fashion Illustration featured illustrator Antonia Parker talks us through her year… be inspired!

You’ve said that the launch party for ACOFI early last year was a great kick start to 2011. Why do you think meeting people in person is so important when it comes to gaining work and making contacts in the creative world?
It was really fun illustrating live at the launch. I like to chat with my sitters as I draw them, because it’d be a bit odd to study someone so intently and not try to get to know them. As a result, it was really handy for meeting people. It was also a really happy event, so everyone I met that evening was pleased to talk. It’s ridiculous how much of the work I’ve received this year has been down to the people I met that evening or since on Twitter.

Laurel Harple.

Heather Stanton.

One great contact you made was with my partner Dr. Hauschka. What did you create for Heather Stanton and can we see a sneak peak here?
Heather was milling about at the party and looked very friendly, so I grabbed her for a portrait. We’ve kept in touch since, and she commissioned this illustration of her husband for his birthday. 

Will for Heather.

One Mango Tree.

You then worked on the Africa Fashion Guide project, which I believe featured a number of Amelia’s Magazine illustrators. Can you tell us more about that?
Jacqueline Shaw got in touch after the ACOFI launch for a book she was putting together about ethical African fashion. I illustrated One Mango Tree and Eki Orleans, which was great because they both use such gorgeous patterns.

Eki Orleans.

The book launched in September and we were treated to an ethical fashion debate with the LCF Sustainability Centre and the Ethical Fashion Forum, chaired by Eliza Anyangwe of the Guardian.

Ashish S/S 2012 by Antonia Parker.

You’ve been creating imagery for Amelia’s Magazine for London Fashion Week for some time now… why do you enjoy being involved with this part of the magazine so much? What do you think it has helped you to achieve?
I love illustrating for LFW, because it is two weeks of full-on illustration. Not only do I get to discover new designers, but it’s a great time to experiment because you churn out so much work over a short period. When I look through my past work, my favourite pieces tend to be ones I’ve made during Fashion Week. 

Astrid Andersen S/S 2012 by Antonia Parker.

You are a very hands on illustrator and you love to work live as part of a participatory experience, can you tell us more about your handmade photo booth?
I like working live, because it scares the hell out of me! There is so much pressure drawing someone in front of you and handing them their portrait there and then! It’s a risky process and it doesn’t always go to plan, but you make the best of it. I built my handmade photo booth from cardboard and foil a couple of years back and took it to zine fairs – I sit inside the booth, customers come and sit in the other side, I draw them and then post the illustration through a slot in the side.

What are your photo booth plans for the future?
I’m planning on building a more portable, weatherproof version of the booth and would like to spend the summer touring around the UK, illustrating passers-by. Imagine sitting next to the beach, drawing in the sun! Lovely!

Tell us more about the Dexterous Diva… what is it and what did you do for it?
Jo Gifford writes for her blog Dexterous Diva, in which she discusses everything from running, parenting, beauty and working as a freelance creative. She was looking for something bright and exciting to jazz up the blog. It was really fun rebranding the site as she had a good idea of what she wanted, and as a synasthete loves bright colours so I was able to go colour-mad. I made a new header for the blog, illustrated titles, social networking buttons and a special mindmap about Jo. Currently we’re collaborating again to create a set of postcards to raise awareness about endometriosis, a condition in which small pieces of the lining of the uterus grow outside of the uterus, causing extreme abodominal pain and infertility. Generally it take years of what is dismissed as ‘bad period pain’ for women to be diagnosed, by which time their fertility choices and quality of life are already compromised, so it’s important we raise awareness so that more women can be diagnosed sooner and are able to have more control about how they then deal with the consequences. Jo herself has endometriosis and my family are affected by it, so it means a lot to us to help other women.

You have continued to be politically engaged, getting involved with both UK Uncut protests locally, and producing your own Riot inspired artwork. What has been your involvement?
I attended the TUC’s anti-education cuts marches last year, and helped organise the UK Uncut protests in Tunbridge Wells last year. Tunbridge Wells is well-recognised as a bastion of Conservative sensibilities, so the fact that so many people were inspired to protest against the banks and tax-avoiding big high street businesses was quite a coup for the anti-cuts movement.

How do you think artists can be best engaged in political causes?
For me, creating these political illustrations is the best way to express my thoughts about the current political climate – a lot of people seem to subscribe to ideas as suggested by the media and/or the leading political parties, forgetting these groups have their own agenda. For me it’s the best way to suggest things in a succinct way that people might question the version of events they’re being spoonfed. The riots were a chance to make some self-initiated work – It is interesting how Cameron, Osbourne, Clegg and Boris were all out of the country at the time and left it a few days to actually do anything so the general population would be desperate enough to agree to whatever extreme measures they suggested. As far as I’m concerned, everything that Cameron has said about the riots since has been total rubbish, and whilst it was very very scary for those living in proximity at the time, I think the punishments that have been handed out since are too extreme. I also don’t like the connection made since between student protests, TUC protests and these riots, because the protests and the riots came from different places. It’s also worrying how readily the government are discussing watercannons, teargas and blinding lights to disperse future gatherings of people – they’re not trying to prevent future riots, they’re trying to prevent future protest.

What is your involvement with Edit Collective?
Edit Collective has been set up by fellow ACOFI illustrator Faye West as platform for illustrators to promote their commissioned artwork collectively. We’re hoping to hold a exhibition of our work during 2012.

You have also been working with other online magazines, most recently with Tantrum Magazine. What were you commissioned to create for them?
I created fashion illustrations of Courtney Love, Gwen Stefani and Karen O to accompany their piece on style icons in the music world. The women are quite different appearance-wise, so it was really fun to draw them.

Hilary Alexander at LFW.

Any hopes and aspirations for 2012? 
I am very optimistic about 2012, as I’m moving house and will finally have a studio space for the first time in 18 months! It is going to be liberating to be able to make work bigger than A4 again! I have a few projects in the pipeline to look forward to and am making more self-initiated work. This year, I’m especially hoping to get my illustrations into more printed publications. I’m also going to create a few illustrated products for an online shop, so I have a bit more control over my income from illustration. Having left London, it is harder to get to the exhibitions and exciting goings-on than it was before, so I’ll be making more of an effort to stay immersed in the scene, as I have missed it!

Antonia Parker is optimistic!

Find Antonia Parker online at Antonia Makes. You can see more of her lovely work in Amelia’s Compendium of Fashion Illustration.

Felder Felder S/S 2011 by Antonia Parker.

Gareth A Hopkins is surely one of the most committed and original contributors to Amelia’s Magazine, producing many illustrations of consistently good quality over the past few years. He is an absolute pleasure to work with and is also notable for providing much hilarity on the good old twittersphere @grthink and indeed in real life. Gareth A Hopkins is profiled in Amelia’s Compendium of Fashion Illustration and since the year is now drawing to a close I felt it was high time I caught up with him and found out his highlights of 2011.

House Of Worth S/S 2012 by Gareth A Hopkins.

You’ve come along to a few fashion shows to soak up the live experience this year, what was the strangest thing you discovered at London Fashion Week?
Before I arrived at LFW I was so worried I’d stand out as a badly dressed impostor that I’d not really considered how odd everything else was going to be. So I wasn’t prepared for how depressed the models in the live presentations were going to be, or the ferocious speeds that catwalk models move at. Seeing a press-room full of bloggers descend en-masse on a table of cheese and crackers will stay with me for a long time – I’d recently watched an episode of Human Planet which featured a Sky Burial and it reminded me a lot of that.
 

Christian Blanken S/S 2012 by Gareth A Hopkins.

If your 12 year old self had known you would go to a fashion show what would he have said to you?
When I was 12 I was just getting into comics, and my sole concerns were waiting for 2000AD to drop through the letterbox on a Friday morning and getting into the library on the weekends to read graphic novels I was far too immature and unworldly to really appreciate. If as a 12 year old I’d known I’d one day attend a fashion show I’d have probably have asked if I was going to grow up to be gay. 12 year olds can be dickheads like that.
 

The Moth and The Mirror by Gareth A Hopkins.

Why do you continue to volunteer for fashion illustrations? As a non-typical appreciator of fashion what is it about the process that appeals to you so much? You certainly break the mould!
You know, I hadn’t realised I was non-typical for a fashion illustrator until I noticed that all my contemporaries (with a couple of notable exceptions) were ladies who knew about fashion, which I’m the exact opposite of. As to why I enjoy it… I enjoy the freedom that comes with fashion illustration. If you’re illustrating a band, a product, some poetry, or whatever, there’s a certain amount of pressure to fall in-line with pre-existing schemes and ideas, whereas when illustrating fashion all I have to really worry about it being true to the clothes in front of me. As long as I focus on getting the shapes and movement right on the clothes I can experiment with what else I put in there – I can introduce a story or a concept that’s totally personal to me, or just mess about with the background and framing. Plus it’s nice to work with bolder shapes and colour, because my default tends to be to work in very tricky black lines.
 

Intercorstal page 49 detail by Gareth A Hopkins.

Aside from fashion illustration and portraits your big love is The Intercorstal, an ongoing comic project. What have been your Intercorstal related highlights this year and have you got any plans in place for printing it up yet? Any dead certs? What would be your ideal outcome for the Intercorstal in 2012?
I’ve produced 4 individual issues of The Intercorstal this year, printing them off myself, and they’ve all been very different to each other, despite the fact they’ve all been completed in similar ways. The highlight was probably finishing the third one, Witches, which was based on a set of promotional postcards I was sent by P&O – I can’t put my finger on why that one means more that the others… I think Witches was the point where combining found images within the world of The Intercorstal really worked, and the storytelling element is really strong too. Oh, and a postcard sized one-shot I did called Cloud City was included in a Mailart show at Pimlico Library and is now in their collection somewhere.

Pleasure Dancing from The Intercorstal Witches by Gareth A Hopkins.

At the moment, I’m working with my friend/art roadie Daryl Morris, who’s helped throughout the project, to collect everything produced so far – individual pages, one-off strips, photos of decorated toys and installations – and then in the new year we’ll turn that into a collected edition called Elipses. The idea is then to use Elipses to decide which bits work well and which bits don’t, and take those lessons to fill in any gaps to get a rounded, finished, book-sized offering together. And once that’s done, we’ll think about finding a way to get it printed – I’m secretly hoping that there’s a publisher out there just waiting for a barely explainable comic to land in their in-tray and that it will be plain sailing… but I’m ready to investigate print-on-demand or self-publishing if it comes down to it. Even with that activity going on, I’m still working on pages and have at least another two issues planned out – Autocorrection which is based on photos of an abandoned house in Southend and Ladythings which is based on a box of ephemera (hymnbooks, badges, old Polaroids) sent over by an artist in America.

Marconi Poster by Gareth A Hopkins.
 
How did your participation in Chelmsford Arts Trail come about? And can you tell us more about the collaborative comic?
I knew about The Chelmsford Arts Trail from having walked the 2010 trail and when I saw adverts go up inviting applications for 2011 I jumped at the chance. The 2011 Trail was organised by The Shiny Shed, an art collective based in Chelmsford, and they did an amazing job with the limited resources that they had. The idea of responding artistically to a non-gallery venue was really exciting, and I had big plans to turn the window of whatever shop I got into an abstract comic.

The Intercorstal page 44 by Gareth A Hopkins.

I also got really lucky with the venue I was paired with, Man About Town Barbers. When I showed them my portfolio and they saw the portrait I’d done for my review of an Alan Moore’s Unearthing for Amelia’s Magazine they asked me if I’d do a larger version to display at their Pop-Up at V Festival (which got my work on T4 by dint of being in the background of an interview with Professor Green). I could see they weren’t too keen on the Abstract Comics idea so I offered to so a portrait of the shop’s bulldog, Winnie, and that worked out really well.

Gareth A Hopkins by Gareth A Hopkins.

As part of my original pitch, I said that as well as making the shop window into a version of the Intercorstal, I’d do a comic that directly responded to the interior of the shop that would be available throughout the Arts Trail for people to go and get. I hadn’t anticipated how much work the portrait of Winnie would be, though, and with three weeks to the first day of the Trail to go I realised I’d never make it by myself, so put out a call on Twitter. I got a good response, considering how little time there was to do it – Amelia’s contributors Faye West and Dan Lester sent pages in based on photos I’d sent them of the shop, along with Washington-based artist Dakota Crane and Daryl Morris did three pages and part of the cover, as well as sorting out the PDF for me.

Asger Juel Larsen S/S 2012 by Gareth A Hopkins.
 
What will your role as Story Minister consist of at the Ministry Of Stories in Hoxton next year? What is the event all about?
The Ministry of Stories is a charity that supports creative writing and mentoring for young people in East London. I initially got involved as a live illustrator for their Storymaking Workshops, where a class comes up with a story together, and as they do so the illustrator creates three images based on the characters and scenarios that come up. It’s really fun to be a part of, and also a healthy challenge as an illustrator as you get asked to draw things you’d never have thought to do before – for instance, I’ve drawn vampire ducks wearing top-hats, gigantic multicoloured bees that live in the Antarctic and a tiny speck of dust that lived in a Cherry House. I enjoyed those so much that I’ve become a Story Minister. That involves spending time with the young people with their writing during sessions, and encouraging them to be as creative as possible. It’s a great organisation and I’m really glad that I’ve had the opportunity to be a small part of it.

Paul Foot Farm Jigsaw Madnesss by Gareth A Hopkins.
 
When ACOFI was on tour you met up with someone who commissioned you for several projects – can you tell us about them in detail? What was your favourite part of the process?
I met Karen Hart, who at the moment volunteers as PR for a number of charities, including Stepney City Farm. She mentioned that they had an event coming up during which the comedian Paul Foot would attempt to assemble the world’s biggest jigsaw, and both Alia Gargum (who was also in the Chelmsford Arts Trail, BTW) and I offered to draw up some fliers for the event. And then once those were out of the way, I offered to do a similar job for Folkestone’s A Town Unearthed archaeology project. This might sound odd, but my favourite part of the whole thing (other than meeting Karen, of course) was finding I have a natural affinity for drawing farm animals, which wasn’t something I’d really expected. And I’ve found knowing how to draw animals very useful when keeping my 2yr old son occupied.

Frankenstein’s Monster by Gareth A Hopkins.
 
A comic for a Hague exhibition sadly got lost in the post – any upsides to this tale of woe?
I was invited by the artist and curator Ibrahim Ineke to contribute to a cross-Atlantic project between his gallery and Altered Esthetics in Minneapolis. The concept was that five US artists and five European artists would swap comics, and then create large-scale artworks based on the gap between two panels of their choosing. It was for this project that I did the IKEA-based Intercorstal: Collider. I was given a handbook on how to build a High Tunnel, which is a type of greenhouse, and chose to illustrate the space between two panels which showed how to fix two planks of wood together.

Howkapow Scarf by Gareth A Hopkins.

I finished the piece in good time, and sent it off, and a couple of days before the show was due to start got an email asking when I thought it might arrive. I calmly said it was in the post and they’d get it no problem. The day before the opening I got another email saying it still hadn’t turned up, and that they’d have to go ahead without my piece. A week after the show closed I got another email, saying that the package had been picked up by Ibrahim’s neighbour who for some reason hadn’t passed it on… it had been feet away from inclusion the whole time. The upside is that without this project, I wouldn’t have made Collider, and without that I probably wouldn’t have taken the Intercorstal project so off-piste. That and getting on of Ibrahim’s comics as a ‘thanks’.

Toni and Guy S/S 2012 by Gareth A Hopkins.
 
What has been the best thing about being involved with ACOFI and the Amelia’s Magazine process in general? Any highlights?
The whole thing’s just been a huge learning experience. I mean, I now have favourite fashion designers, which before I started working with Amelia’s would have been inconceivable. And my style and ability as an illustrator has really improved from the breadth of interesting things I’ve drawn, and I’ve been able to use assignments to test out new ways of working, finding out what works best and what people respond to most strongly. And that’s not to mention all the great people I’ve met, either virtually or in real life.

Winnie by Gareth A Hopkins.
 
Anything exciting in store as we come up to Christmas, and how can interested people get involved?
After the success of the portraits I did for the Chelmsford Arts Trail (as well as the dog portrait and the larger Alan Moore, I did one of Marconi for some posters) I’ve started offering them on a commission basis, and so I’ve been busy with those in the run-up to Christmas, a good mixture of pets and humans so far. I’ve got prices up on my blog, and please feel free to email me with any questions.

Wild Bill Hopkins by Gareth A Hopkins.

You can see more work by Gareth A Hopkins in Amelia’s Compendium of Fashion Illustration, which is incidentally the perfect Christmas gift, available in all good art bookshops and online from my website.

Sole by Gareth A Hopkins.

Online fashion portal Fashion Capital has been showcasing their very own catwalk show since 2001. Now in their 10th season, the online trend forecasters have successfully established themselves as the link between Graduate Fashion Week and London Fashion Week. Held at the extravagant Grand Soane Hall at One Marylebone, the press release promised the best of emerging talent from London and beyond, not to mention a little nugget of comedy in the form of Lauren Goodger’s debut collection; the 25-year-old reality TV star mildly famous for her part in The Only Way Is Essex.
 


Kelly Love. All photography by Sarah Deane.
 
Holding their own throughout the show was a number of up-and-coming designers, offering wearable, high street tailored designs for S/S 2012. If I’m honest, some of the looks on show wouldn’t have looked too out of place in a Jane Norman-esque store, but the static trade show was successful in delivering a promising variety of new names from here in the UK and around the world.

Jezabel Jones by Estelle Morris.
 



ANAR by Estelle Morris.

Catching my sceptical eye at the show was London-based Jezabel Jones who showcased minimalist shapes in a straight forward colour palette of black and grey complete with sheer detailing and striking gold chokers. Eurasian-born designer ANAR also delivered a selection of wearable looks with a retro-modernist collection that featured ’20s style skull caps alongside modern body-con dresses and luxe fabrics.
 



Tobi Hannah by Rachel James.

Rachel Antonio by Cruz.

Other highlights included sweetly designed summertime shorts and maxi dresses by Australian-based designer Kelly Love. Undoubtedly a little too sickly-sweet for some, the collection featured soft wearing fabrics complete with delicate rose prints in blush and fuchsia pink. Wedding dress designer Tobi Hannah offered an electric range to satisfy all tastes, from elaborate ruffle hem minis to exotic printed dresses in sheer fabrics, whilst Rachel Antonio offered elegant evening wear – notable her extravagant multi-layered maxi dress in red.

Vjera Vilicnik by Rachel James.

Putting on probably the most covetable show of the evening was British designer Vjera Vilicnik, presenting masterfully hand-crafted dresses in white and black complete with ’40s-inspired shapes and opulent bursts of sapphire green.
 

Christina Dami.

Christopher Waler.
 
For those of you interested in what the show’s supposed selling point had to offer, here’s a small snippet of Lauren Goodger’s debut collection Lauren’s Way. Burning my eyes with flamenco pink dresses and tiered peplum detailing, I’ll spare you from too much trauma with just a couple of images from the pink-infused collection…
 

I was very surprised and pleased to encounter German designer Miriam Lehle of Prose Studio at the stands during London Fashion Week in September. You may remember that I was most entranced by her rose covered A/W 2011 collection (read my interview here) but I was equally stunned by her skeleton influenced collection for S/S 2012.

Prose S/S 2012 Skeleton Lace Top by Farzeen Jabbar.

It was lovely to see you at LFW – what was behind your choice to present the new collection in the UK and was it a success?
First of all: I love London. It feels like a second home. But it’s also the home of innovative, internationally renowned young labels. Nowhere else is given so much support to young designers. We had great feedback, met a lot of interesting people and got lots of good press. We will be definitely back next season. It won’t work out without consistency. 

I love your use of different models in the look book – what inspired this choice and where did you find the models?
I wanted the new collection to be presented by people that have their own special something and are all beautiful because of their individuality. The cast of models is a potpourri: friends, neighbours and additionally we did a street casting. 

Prose S/S 2012 by SarahJayneDraws aka Sarah Jayne Morris.

The lace pattern has the effect of looking almost like bones and the whole collection has a tribal feel – was this intentional and are you happy with this interpretation?
Many pieces have names such as Skeleton Dress or X-ray shirt. The idea has been to adapt the lace to the body so that the natural shape and construction of the body is emphazised. 

What inspired the colour palette, which is very neutral apart from a coral pink?
I wanted to focus on the way of using the lace and the combination of heavy and light materials, playing with transparency. I was not interested in using colour this season. 

Prose S/S 2012 Skeleton Lace Top by Farzeen Jabbar.

Who do you hope will wear Prose S/S 2012?
The collection movie is the answer to that question. I’m not designing for a type. People can mix and match and adjust the clothes to their individual needs and sytle. 

Click here to view the embedded video.

Click here to view the embedded video.

Where can we buy this in the UK?
The collection will be avaialble in New York, Paris and Italy. And online at Miosato.

Prose S/S 2012 by Estelle Morris.

Will we see you next season, and do you have anything special planned that you can share with us?
Definitely a beautiful new collection and hopefully presented on the catwalk! We are busy on working out the plans for next season. 

Last week I returned to Łódź in Poland for my second dose of Fashion Philosophy Fashion Week Poland. This time around I knew more about what to expect and already had some designers in mind to watch. I was also determined to see as many off schedule shows as possible, because as is often the case this is where the most exciting new talent resides.

Once again I stayed at the Andels Hotel, a fabulous establishment created from one of the many old factories that typify the landscape of Łódź. Andels has neon rimmed curved cut outs between floors and high ceilinged bedrooms that belie it’s industrial origins, and the breakfast is yummy. What more could you want?

Unfortunately I had no time to sample their spectacular overhanging rooftop swimming pool because I had a hectic four days of shows, with up to 12 shows to see each day. To make things even more exciting I offered to take over the official Fashion Week Poland twitter feed @fashionweek_pl for the duration of my visit. Twitter really hasn’t taken off in Poland yet, but I was determined to show them how important it is to reach an international fashion audience. So for four days, not only was I taking photos and editing between shows, I was also twittering as much as I could given a sometimes shaky internet connection (better wi-fi than London Fashion Week though I might add). Interestingly Facebook is huge news for business, with many designers using it as their sole means of communication on the web.

Pregnant ladies on the front row: myself with Fashion Trends Analyst Marlena Woolford.

Eating Polish pancakes at Manekin with my lovely guide Joanna Dyrdowska and Fashion Week Poland organiser Małgorzata Kralkowska.

Having been to Fashion Philosophy Fashion Week Poland twice I now have a much stronger idea of what I would determine to be uniquely Polish in fashion – they excel at a curious mix of grungey draping, downbeat mumsy colours and 80s brashness. Polish style at it’s best revels in odd colour combinations and contrasting fabrics and it’s refreshing to see a strong strain of environmental awareness manifested in both materials and design inspiration (I sadly missed the Re-Act eco fashion show on Wednesday night). Grey jersey draping is such a common theme across collections that when used unimaginatively it quickly becomes very tiring, but when done well it adds to that essential Polish feel, as typified by the likes of Monika Ptaszek. Her S/S 2012 menswear collection was one of my favourites, and showcased the very best of what is essential Polish style.

Monika Ptaszek S/S 2012.

Aside from a very Polish strain to many collections there were noticeably more international trends running through the shows this season, as compared with last. Sheer fabrics reigned supreme, (exposed bums and boobs, hello) as did ikat and digital prints, plus the mini maxi combo that leaves models struggling to align fabric in the best position for cameras as they stride down the catwalk.

Sheer at Joanna Klimas S/S 2012.

Bottoms on show at Poitr Drzal S/S 2012.

Ikat meets maximini at Blessus S/S 2012.

In my upcoming blogs I’ll give a flavour of how this emerging fashion centre is evolving and I will of course concentrate on the most exciting Polish designers to watch out for. There are plenty of Polish designers who have studied and are now working to considerable acclaim in London, and there’s no reason why home trained talent should not make a bigger mark on the international scene in the years to come too.

I first saw the weird and wonderful work of Ramil Makinano at the Toni&Guy Hair Show during London Fashion Week last month. The show, which I very much enjoyed, was all about hair as you can imagine; the clothes were selected to compliment the hairstyles and were pretty basic. That is, except for the final pieces. Vibrant colours and odd shapes flooded the runway, and as a result of my review, Ramil got in touch to introduce himself. I couldn’t wait to find out more about this unique designer.

I met Ramil on a chilly Monday evening at Bar Music Hall in Shoreditch. It had been hard to pin him down, and I was about to find out why. Born and raised in the Philippines, Ramil moved to London fifteen years ago on a nursing scholarship with the NHS, despite being thoroughly passionate about fashion from an early age. ‘It was a good way to move away,’ Ramil told me as we took a seat with our beers. ‘I was interviewed in Manilla, and was one of the first few people to be brought over by the NHS.’ Ramil’s passion for nursing and inevitable need to fund his collections still see him working at St Thomas’ Hospital at weekends.

Ramil Makinano’s Graduate Collection illustrated by Maria del Carmen Smith

After 8 years working as a nurse after qualifying in London, Ramil decided to return to his desire to become a fashion designer and had naturally heard of the world’s most famous fashion school – Central Saint Martins. By this time Ramil had obtained British citizenship and secured a place on the foundation course, professing to the degree specialising in print.

It was whilst studying at Saint Martins on a sandwich course that Ramil undertook placements with some of fashion’s greatest talent, experiences that he remembers very fondly. Internships at Matthew Williamson, Elisa Palomino and Diane Von Furstenberg allowed Ramil to fully explore his penchant for print. As I rub my hands together hoping for some juice on these fashion figures, I’m only slightly disappointed when Ramil has nothing but great things to say about the designers. He tells me a story about Von Furstenberg calling all the interns to the rooftop apartment of her 14th Street studios for lunch. ‘We were just sitting there, having lunch, on the roof, with Diane Von Furstenberg. It was INCREDIBLE!’ he exclaims. He attributes his successes whilst studying to course lecturer Natalie Gibson. ‘I owe her so much,’ he tells me, ’she’s an incredible woman.’

Ramil Makinano’s Graduate Collection illustrated by Estelle Morris

We move on to talk about Ramil’s breathtaking final collection that I saw at the Toni&Guyshow and that he presented during the CSM presentations in the summer. He digs out his portfolio and comes across a little nervous when talking me through it. ‘I feel like it’s a job interview!’ says Ramil. I feel like Diane Von Furstenberg for a mere moment, and I’m not complaining. Ramil’s inspiration for his collection came from two disparate sources – Medieval armour and Margaret Thatcher. Well, not that disparate when you consider satirical cartoons of the Iron Lady in Medieval garb, I suppose.

Pages from Ramil Makinano’s sketchbooks

His obsession with colour, texture and the aesthetic properties of materials is all over this collection. It’s fascinating to see where a designer started with their research and where they finished; where the collection has come from. Ramil leafs through page after page of design inspiration; vibrant patterns, sketches of Thatcher, photocopies of Medieval source material, grabs from movies like 2001: A Space Odyssey and Star Wars. His journey began at the Tower of London, and it is the armoury he saw there, with its bold silhouettes and sense of purpose that inspired Ramil so much. Throw in a powerful woman like Thatcher and you’ve got a seriously ambitious collection on your hands. ‘I didn’t want it to be serious, though,’ Ramil informs me. ‘I wanted to keep it playful; to be fun.’ Even the hardest-nosed critics would have trouble not finding any fun in this set of outfits.

Shapes in the collection are visibly inspired by the curves and sculpture of armoury, constructed from neoprene using techniques Ramil created himself. These are presented in a variety of bold colours, and the ensembles feature playful, almost childlike, prints of rockets and spaceships. It wasn’t a easy task by any means. ‘I had to make at least 8 toilles per garment,’ Ramil explains. ‘I am always seeking perfection.’ We discuss the surge in digital printing. ‘I do like digital prints, but I prefer traditional methods. I spent hours in the studio matching colours, testing colours – I like the interaction between fabrics and dyes that you don’t get with digital methods. I spent my whole student life in the print room, but I have no regrets. It’s not glamorous either, it’s dirty work!’

Ramil Makinano’s Graduate Collection illustrated by Milly Jackson

So who does he admire? ‘Matthew [Williamson] and Diane [Von Furstenberg] especially – people who are successful in fashion but have their feet firmly on the ground.’ He also likes labels that continue to employ traditional methods – only Eley Kishimoto and Zandra Rhodes, he believes. What else does he get up to? It’s a pretty packed week, researching Monday to Friday and nursing at the weekends. ‘I love London galleries!’ he tells me, ‘because there’s so much to see. The Design Museum, the V&A, the National Gallery – they are all so wonderful.’ He try to persuade me to get a National Trust membership, one of his favoured possessions.

Pages from Ramil Makinano’s sketchbooks

He tells me he’s a ‘child of the MTV era’ and finds much inspiration in the graphics of music videos. It was an MTV show, House of Style, and Style with Elsa Klensch, that are amongst his earliest fashion memories. He tells me ‘I used to fight with my brother all the time because Elsa Klensch’s show was on at the same time as American Basketball!’

So what’s next for Ramil? He’s currently researching his next collection – A/W 2012 – which promises to be ’something completely different.’ It will most likely be print-based, but that’s all Ramil can tell me at this stage. One thing he is certain on is that he’s staying put here in London, and currently applying to various fashion bodies in the hope of a debut solo show during fashion week next September. I look forward to seeing his name on the schedule.

Photographs courtesy of Ramil Makinano

This year Lu Flux decided to show in the main exhibition area of London Fashion Week, away from Estethica for the first time. I was delighted to see that her stand was the usual riot of colour, a return to the mix and match patchwork aesthetic from which she strayed a tiny bit last season. Under the desk was a giant cookie, created by Millie’s Cookies as a winning design for their Cookie Couture Collection. It was inspired by her new S/S 2012 A-Lu-Ha collection, with bold swirls based on the design of a Tiki mask. It’s been awhile since I checked in with ACOFI featured eco designer Lu Flux, so it’s definitely time to catch up on the past two seasons.

Lu Flux A/W 2011 by Estelle Morris.

For your A/W 2011 collection you worked with Shetland wool producers Jamieson & Smith – how did this come about and did you learn anything interesting about wool production on your recent trip to the Shetland isles?
I have always appreciated and supported British manufacturers and the use of local produce; I believe that Jamieson & Smith represent the essence of this very well. I am also drawn to the Shetland Islands and was very intrigued to understand the natural and careful processing of the wool, which uses the crofters’ traditional and precious methods from start to finish. 

Lu Flux A/W 2011 by Sarah Jayne Morris.   

The collection was inspired by creatures of the deep sea – how did this translate into the full collection, which features some opulent velvets and beautiful bold prints?
The collection takes moments from the deep dark depths of the sea and exaggerates their textures and forms, the embroidery for example references the bioluminescent creatures and the fabric was manipulatated to resemble giant clams and anemones.    

Lu Flux Sea & Be Seen A/W 2011 by Sam Parr.

Sea & Be Seen is in the shops now – where can fans of Lu Flux find a piece in the UK?
You can find the new collection in Labour of Love in Islington, London, 69b Broadway Market, East London and Wolf & Badger in West London.

Click here to view the embedded video.

Lu Flux S/S 2012 by Amber Grayson.

Click here to view the embedded video.

Lu Flux S/S 2012 by Antonia Parker.

This season sees a return to your colourful patchwork best… what is it that you love most about creating fashion and which processes can you not live without?
I love that I am able to create fashion every day and I like to think about my garments being found in all four corners of the world, seen by a worldwide audience. I would say patchworking is my inherent process, as it is my signature technique and I include it in all of my collections.    

Lu Flux Tiki face by Amber Grayson.

What do you think it is in your DNA that makes you so attracted to colourful whimsy? Can you directly relate it back to anything you grew up with or fell in love with as a child?
Ha! I must have been born on a patchwork rug! Well I have learnt a lot from my mum in terms of the methods I use. My first making memory I have is of myself, my mum and my cousin making ragdolls together -mine had long black plaited wool hair in bunches but we never got around to creating the facial features. I still have her, but I have never put a face on her.    

Lu Flux S/S 2012 by Megan Turner-Jones.

Do you ever take notice of wider fashion trends, or indeed other trends in life and do these ever effect the way you design?
I don’t really take any notice of the trends going on around me; I just design and build in my own world.

Lu Flux S/S 2012 by Estelle Morris.

What started on you the path of design for the current collection – eg tiki masks and aloha style – A-Lu-Ha!
It was a day in the depths of winter and I was listening to Hawaii Hour on Angel radio (an Isle of Wight radio station with the tag line Music for the Mature Listener) and it played brilliant non-stop vintage Hawaii songs. I think that was the seed of inspiration which led me to this collection. 

Lu Flux S/S 2012 by Lesley T Spencer.

I really love the way your champion other designers on your own blog. For example you have friends all over the world such as Judi of Vanguard Works and Studio Tipi – where do you meet these people and will you collaborate with any of them?
Well Judi actually found me; she has a couple of my dresses. I love discovering new artists and illustrators, it opens more doors and by collaborating with them it adds other dynamic elements to my work.    

Lu Flux S/S 2012 by Estelle Morris.

How do you find out about Lu Flux fans such as the Japanese blogger Chiaki, and who would your ideal Lu Flux wearer be?
I found out about Chiaki through my Japanese agents who are constantly updating me on the goings on in Japanese fashion and press. I like it when people wear outfits which match their character, like Brie Larson for example. She is an American actress who stars in a show called The United States of Tara and she wore my Boo Boo Bear dress. After meeting her I thought they went hand in hand.

You can read more about Lu Flux in Amelia’s Compendium of Fashion Illustration.

Nicola Roberts has been slowing creeping into my consciousness… first there was the reinvention as a fashionista as we started to spot her sitting on the front row at London Fashion Week.

Then there have been the two singles which steadfastly refuse to tread the usual girl band solo rubbish. Beat of My Drum features Nicola jumping around to a cracked up bass line courtesy of Diplo and Dimitri Tikovoi. With lyrics clearly inspired by her first ugly duckling days as the youngest member of Girls Aloud, it is resolutely individual.

Click here to view the embedded video.

Then came the genius pop tune that is Lucky Day, produced by Canadian electropop group Dragonette and shot by indie director Stephen Agnes in New York with Nicola wearing just one outfit, a ridiculously short floral tent dress.

Click here to view the embedded video.

Now for the album: Yo Yo gleans its big retro sound from many an 80s pop anthem. Cinderella’s Eyes is a more obviously pop record, though it benefits from some particularly high episodes where Nicola sounds the spit of Kate Bush (no really). Porcelain Heart is another big and potentially commercial dance number.

Nicola Roberts by Lizzie Mary Cullen.

Then comes her collaboration with the magnificent Metronomy; I benefits from a typically off kilter arrangement which begins with ethnic sounding plinky plonks that slowly creep to life. The track never shies away from Nicola’s occasionally shrill falsetto, instead toying languidly with it before fading out.

Everybody’s Got To Learn Sometime, originally by The Korgis, is the only cover on an album that is otherwise entirely penned by Nicola herself. She manages to give the 80s track a suitably modern electro twist and it is on this that her voice sounds at its best. Say it Out Loud is another floor filler with a driving beat that builds to a nice crescendo before dying away in a Euro stylee. Gladiator sticks with the same sort of dance vibe, but with the addition of some quite bonkers lyrics.

Nicola Roberts by Dana Bocai.

The Metronomy glitches are back with Fish Out Of Water, another song that harks back to Nicola’s less confident days. Take a Bite is a truly great tune, a real fighting anthem: check these lyrics. ‘Get your teeth round this open wide, Eyes bigger than your belly tonight, If you think you’re hard take a bite‘ and ‘Just because you’re twice the size of me, Doesn’t mean I’m scared of World War III, Sit back and grab a cup of tea, I’m gonna kick your arse now in 3D‘ As she states, ‘Everybody’s got a limit alright‘ and it looks like this deceptively frail looking woman reached hers some time ago.

The album ends on a the most downbeat song. Sticks & Stones covers Nicola’s hardest times as the most derided member of the band. ‘How funny that I was too young for so many things, Yet you thought I’d cope with being told I’m ugly.’

Nicola Roberts by David White.

I’ve always loved clever pop music and Cinderella’s Eyes most definitely fits the bill – it’s a great slice of off kilter ballsiness from the most singular and talented member of Girls Aloud.

It has been quite something to watch Nicola Roberts‘ transformation since Girls Aloud won Popstars: The Rivals nearly ten years ago. Looking back at the young girl who hid behind a thick smothering of fake tan, who could have predicted this outcome? Certainly not I… life really is full of surprises.

Cinderella’s Eyes is out now on Polydor. You can hear the whole album streamed here. But before you go, check out this brilliant b-side for Beat of My Drum.

Click here to view the embedded video.

Simon Ekrelius has been slowly building a reputation for his futuristic yet feminine style. Here’s a peek into his new S/S 2012 collection Bar-Red, and a chance to find out more about his unique vision.

Simon Ekrelius S/S 2012 by Milly Jackson.

What brought you from Sweden to set up your studio in London? 
I first discovered London in 1993 and since then I have been back and forth. My designs work better in London than in Sweden, where people are very careful with their wardrobe. In 2002 my partner Tom and I decided to move here and settle down.

All photography by Marc Lavoie.

Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You have a wonderful way of making futurism seem eminently female and wearable – what inspires you and how do you keep this look fresh each season?  
I’m inspired by many things other than fashion; architecture, painting, sculpture and artistic movements in general. I don’t look at the work of other fashion designers because I can’t help but be affected, which is not good for my creative process. I also tend to avoid fashion magazines, which helps to keep my head clear and enable me to work hard on my feelings for the next season. I decide what I really like and what I feel will work, bearing in mind that it’s easy to go way too crazy and futuristic. It’s important to find the right balance – that’s what fashion is all about.

Simon Ekrelius S/S 2012 by Natalia Nazimek.

What in particular is the new season’s collection Bar-Red based on and what does the name refer to?
I think that back in 1919 people were maybe experiencing similar things to what we are going through now, so Bar-Red is based on the Bauhaus movement, mainly with regards the geometric forms used in architectural design. I like the way that the Bauhaus integrated different forms in order to construct a new kind of style and I translated this into our time so that the collection is not completely retrospective. Bar-Red is so named because it can also mean Barred. The shape of a Bar is rectangular and the colour Red is the main colour in the collection, plus the words Bar and Red work together perfectly. I used bar-shaped objects in my prints such as cigarettes and there are big chunky arrows pointing at naughty areas or sometimes just away.

Simon Ekrelius S/S 2012 by Sampo Lehtinen.

You showed in Ottawa this season which is quite exciting – how did this come about?
I was asked to take part by the organisers of Ottawa Fashion Week and at first I did not even believe they had a fashion week. Plus it was during Paris Fashion Week, which was very awkward. But they wanted me to come so badly that they offered me a very good package, so then I just couldn’t say no, especially since the economy in Europe is so tough now. I met members of the Swedish embassy when I was over there and that was interesting because they want to import more independent Swedish design to Canada.

Simon Ekrelius by Gareth A Hopkins.

Will you be showing again in London anytime soon? We loved your last catwalk show with On/Off here. Any London based plans that we can share with readers?
Yes, absolutely, I’m planning to do an exhibition again next season at London Fashion Week. Perhaps I will share space with another designer to see how that goes, and after that I’m sure that I will be back on the catwalk again. But it all depends on the sales I’m afraid…

Simon Ekrelius S/S 2012 by Lesley T Spencer.

What is your preferred music to listen to when you are working and have you discovered any new musicians or bands recently that we should know about?
I’m just putting together a playlist on Spotify, and it features Grace Jones, Best Coast, Fever Ray, The xx and The Knife. When I am working I sometimes listen to 6 Music, but sadly I don’t have much time to really discover new bands.

Illustration by Simon Ekrelius.

Your fashion illustrations are beautiful – how do you ensure this side of your work practice stays alive?
I do my illustrations as I go along. I create them in my head and then if I have a pen, some colours and a bit of paper they will come out automatically like a machine. So I will always illustrate as long as I am creatively productive. They are not always pretty – sometimes they are just a few lines that will help me to remember what has come into my head.

Simon Ekrelius S/S 2012 by Milly Jackson.

What are your future plans for the Simon Ekrelius brand? 
Aww, this is a difficult one! I think for the moment I just want to get a better relation with buyers abroad and perhaps one boutique here in London to stock Simon Ekrelius exclusively. But then of course it would be great to eventually do my own shows in Paris or London, with high level production so that I can explain my stories properly in all areas. After that I would like to have my own place (to sell from). But first I need to focus on finding buyers.