Eco designer Martina Spetlova first caught my eye when I was putting together Amelia’s Compendium of Fashion Illustration last year. She has an inimitable ability to combine materials and colours which has made her past two collections every bit as eye catching as that first one I saw. Time for a catch up me thinks.

Martina Spetlova A/W 2011 by Stacie Swift.

For A/W 2011 you shot a more spooky video with a tribal beat, can you speak a bit more about the inspiration for this?
I wanted to work with a dancer and I used a very inspiring film by Maya Deren called A Study In Choreography For Camera as reference. Margarita who performs in my film was loosely choreorgaphed for the piece and then we filmed it over a stretch of a few hours. The music came later and was sourced by Paddy Austin, who got it from an old Italian opera by Roberto De Simone.

Click here to view the embedded video.

Martina Spetlova S/S 2012 by Celine Elliott.

Your use of colour is very intriguing – where do you get the ideas for your mismatches? Is there something in particular that you look at for inspiration each season, or is your colour choice in your DNA?
In order to be sustainable I work with end of line fabrics and yarns which can be quite limiting in terms of colour. I always have an idea of the main colours I would like to use when I start working on a new collection, but I have to also see what is available and what happy accidents I discover along the way. But I suppose you could say that colour is in my DNA, as I seem to know that the choices and combinations I use are right.

Click here to view the embedded video.

Chemical theory is still a dominant theme, how is this applied to the making of your garments for S/S 2012?
My formula I mentioned above takes the ingredients I use – the end of line fabrics and yarns, ethically sourced leathers, textures and colours of elements such as the zips and knit – and combines them with my own experimentation processes to create the finished piece. I studied a chemistry degree in Prague before I went to Central Saint Martins to study fashion and I found some similarities between the two disciplines. The way I experiment with colours and textures in the design process at my studio echos the blending and mixing of chemicals in order to achieve a prescribed reaction within the laboratory. 

Martina Spetlova S/S 2012 by Erin Sleeper.

You first came to my attention as an eco designer – how has a desire to be ethical continued to influence your work, and how do you make sure that all fabrics are sustainably sourced?
I work with end of line fabrics and yarns from European mills which the industry sees as waste material, but which I am able to use for my limited edition collections. I also work with leather companies which have sustainable policies. 

You’ve recently been doing some teaching – how does this compliment and fit in with your design work?
I have just started teaching fashion on Academy of Fine Arts in Warsaw which is a brand new course and full of energy. It gives me an opportunity to step away from my own work, whilst helping the students develop their own ideas in the same way I was encouraged to at Central Saint Martins.

Martina Spetlova S/S 2012 by Stacie Swift.

Where can people buy a piece of Martina Spetlova?
Selected pieces from my A/W 2011 and S/S 2012 collection will be soon available at LN-CC. I am also selling my new collection with Osmoda, which is new online shop.

Any future plans or collaborations that you can tell us about?
I am hoping to carry on collaborating with Atlantic Leather, which I have been working with for a couple of seasons now. I am also looking into a shoe collaboration for the new season, to be shown next February. 

Wonderful stuff! You can see more of Martina Spetlova in Amelia’s Compendium of Fashion Illustration.

Click here to view the embedded video.

Turning up to the Tata Naka presentation I had very little idea of what to expect but I had been most intrigued by their invitation, a dance card with mini pencil attached as if to list dances. I have always loved Tata Naka; their combination of colourful painted print designs and loose fitting but cleverly cut shapes is right up my street.

Tata Naka S/S 2012 by Yelena Bryksenkova.

The presentation was held in the Portico Rooms and as I walked in I felt as though I’d chanced upon a private studio session. Huge lights, photographer, stylist. It took me right back to the days when I spent a lot of time loitering around on fashion shoots for magazines such as The Face and I-D. And, it turns out that this was the entire intention. By combining their time in Somerset House with the creation of look book images, Tata Naka had very cleverly made the most of their time and money as well as opening up the creative process for all to see. Absolutely genius.

Tata Naka S/S 2012 by Yelena Bryksenkova.

The shoot had been going for some hours when I arrived, and the team were onto the last look of the day – seven girls clad in fabulously colourful drop waist, oversized and kaftan shaped tropical dresses. For S/S 2012 Tata Naka were inspired by 1950s east coast chic, combined with flowery resort glamour… and these last garments screamed Aloha.

Taka Naka S/S 2012 by Clare Twomey.

The models stood in formation on chairs against a black background with rose petals scattered across the floor, in an approximation of a famous Pina Bausch dance sequence. The much loved choreographer’s work had inspired the whole shoot, hence the dance card invitations.

Tata Naka S/S 2012 by Vicky Newman.

Attendees were served fresh lemonade in Tata Naka themed bottles decorated with carnations as we circulated around the shoot. We were able to take our own photos and see the others on a computer screen as the team scrutinised the latest official shots.

Tata Naka S/S 2012. All photography by Amelia Gregory.

Twin sisters Tamara and Natasha Surguladze graduated from Central Saint Martins in 2000, and their label, Tata Naka, celebrated it’s tenth anniversary recently. The brand, which encompasses diffusion lines Stolen Memories and Tata Naka Shrunk for children, is celebrated worldwide yet curiously they have no stockists in the UK. It seems utterly bizarre to me that these talented designers are not more widely feted in the country where they trained and have chosen to make their home. Let’s hope that changes soon.

The exhibitions around Somerset House are one of my favourite London Fashion Week pleasures – I enjoy wandering the stands in between shows as it gives you a chance to see all of the clothes close up and even talk to some of the designers about their new collections. One such exhibition that I always make sure I catch, is Headonsim. Curated by legendary milliner Stephen Jones, who has designed for everyone from Marilyn Manson to Beyonce, 2011 marks its third year of existence. Read my S/S 2011 review here.

Charlie Le Mindu by Michelle Pegrume

Four milliners participated – Charlie Le Mindu, Piers Atkinson, Noel Stewart and J Smith Esquire. Situated next to the press lounge in Somerset House this time around, each designer exhibited their best talents on stands placed at different levels in quite a small room on the ground floor (rather than on the lower level as in previous years).

As expected, Charlie Le Mindu offered up some weird yet totally wonderful pieces, including this blue haired creation with amazing top headpiece and veil – the inky blue shades that used for his new pieces are a dramatically cool, dark approach to the lighter summer colours that we have seen on the catwalks so far this season. Le Mindu is well known for his hair couture creations – owing to regular nudity and his creative use of hair, his catwalk shows are always a media, blogger, fashion frenzy. For a background on some of the amazing hair couture collections he has created in the past, read Amelia’s review on his AW11 collection here.

His Headonism collection of blue wigs featured crystals, dip dyed ends and flowing curls given an edge with spiked headbands. Unlike his more avant garde creations, the ones on show at Headonism were a good flavour of what the designer is capable of in a more wearable capacity (if you are so inclined to wear a blue wig, that is!).

Piers Atkinson by Dee Andrews

Piers Atkinson has long been a favourite designer of mine. I love the way that he manages to be fun, quirky and different with his designs but still create pieces with enduring appeal. I reviewed his collection last year when the Hollywood hat stood out for me, he has since designed the cult-status Paris hat, which spawned further ‘Anna’ (but which Anna did he mean?!) and ‘London’ hats (worn by all those working behind the scenes at Somerset House). With his iconic cherry designs and loyal celebrity following (Anna Dello Russo, Kate Moss, Lady Gaga, Rihanna, Kelis, Cate Blanchett and Paloma Faith), his credentials are faultless. As part of the ‘Hot Voodoo’ S/S 2012 collection, this feather boa-esque blue snood is the ‘Ashlie’ and features a banana leaf print by Zandra Rhodes and printed blue silk chiffon Macaw.

Noel Stewart by Claire Kearns

Noel Stewart showed a beautiful collection of bright hats and headpieces, with multi-coloured cactus shapes, day-glo orange and wide rimmed sun hats, his S/S 2012 collection is bursting with the in-your-face shades that dominated many of the catwalks this season. The London based milliner has enjoyed large degrees of success since leaving the Royal College of Arts – the roll call of designers he has worked with is impressive to say the least and includes Hussein Chalayan, Oscar De La Renta and Roland Mouret. Perfectly crystallised in the illustration above, this fashion week he designed the hats for the Ready to Wear Erdem S/S 2012 catwalk show – a floral fantasy in pale blue hues played out in pretty dresses, trench coats and flowing skirts. Delicate in their execution, the small hats complimented the detailed floral prints of the collection wonderfully.

J Smith Esquire by Dee Andrews

J Smith Esquire presented a dreamy collection of Magritte inspired cloud bowler hats, sun hats and intricate leather headpieces. The sky blue and deep blue straw hats pattered with white fluffy clouds were a simple way to skip forward to thoughts of summer. Made from patent leather, his other headpieces have been cut to resemble feathers curling around the head in hues of sky blue, red and pale grey.

All in all, some exquisite design and now I can’t wait for summer.

I had raced around the Fashion East installations in record time to ensure that I had the opportunity to have enough time to look around the Sibling presentation.

All photography by Matt Bramford

I loved the Sibling A/W 2012 collection so much – a whistle stop tour around East End boozers – that I was a little concerned that they couldn’t top it. Where do take it from there? To the fairground, of course! Entering the room they’d been assigned was a bit like a trip to the fairground itself: a dodgem car was positioned in one corner, in which a mannequin had a TV for a head. It was all part of Sibling’s slightly mysterious world. Enormous illuminated letters spelling out S I B were casually leaning against another wall, and rollercoaster graphics adorned the walls.

Sibling S/S 2012 by Rebecca Strickson

As per usual, there wasn’t a single piece in this new offering that I wouldn’t buy instantly. Each piece evoked childhood memories of fairgrounds and all their kitsch connotations: delicious but dirty food, the rides that satisfy thrill-seekers’ pleasures and the boys you shouldn’t really fancy but who spin you on the waltzers so hard that you occasionally revisit that hot dog that you just ate.

Knitwear was on top form as usual, including cardigans with Argyll prints in edible sorbet colours and the show piece: a grey sweater with a wonderful embroidered pattern, cramming in as much fairground action as possible.

S/S brings an exciting t-shirt range, with LOVE and HATE logos, an I HEART HOT DOG motif, and various other fairground-themed designs. It was a little like fantasy shopping. I particularly like the Waltzer print on a pale blue t-shirt, should anybody wish to buy me a gift.

This season sees the trio collaborate with artist Yuko Kondo, who is responsible for the tattoo-like design on aforementioned sweater and the I HEART HOT DOG logo. Pastel-coloured leopard print sweaters are also a real winner. Playful LOVE and HATE t-shirts are sure to be everywhere come next summer, thanks to this wonderful collection. Last, but not least, I think the denim jacket with Kiss Me Quick emblem speaks for itself.

Sister by Sibling S/S 2012 by Matt Bramford

The weekend before saw the launch of womenswear line SISTER. I didn’t get much time to peruse this offering, such is the jam-packed weekend of London Fashion Week, but what I did see (a girl mounting a carousel horse) had the same fashion-as-fun ethos. Kondo’s emblems, sequins, foil prints and the dreamy leopard-print pattern in similar sorbet tones were the mainstay, proving that Sibling’s unique vision translates from menswear to womenswear with ease.

See highlights from the Sister presentation here:

Harold Tillman, Hilary Alexander and James Goldstein were just a few of the fashion bigwigs to take their prime seating positions in anticipation of the latest John Rocha collection. This was much the same scenario when I attended Rocha’s show last season and the high-flying professionals seem to have become a favoured crowd for Rocha’s front row. And it’s not surprising when, needless to say, the designer is a long-standing, treasured feature of London Fashion Week who is widely celebrated and, most of all, respected.

Model Abbey Lee Kershaw opened the show and took to the runway in the opening outfit. Sporting an all-black voluminous textured dress, her entrance had photographers’ flashes illuminating the BFC tent. Kershaw, who was finally dubbed a supermodel this year by V magazine, had also been presented as a key feature in Rocha’s A/W 2011 show back in February, suggesting that Rocha has seemingly taken quite a shine to the 24 year-old Australian.

John Rocha S/S 2012 by Nicola Ellen

Also just like last season, (Rocha loves his traditions!) the models were styled with wind-swept nymph hair and long braided plaits. Make-up was minimal, pure and simple with pale fresh-faced skin and nude colouring; an overall effortless ethereal look to compliment John Rocha’s signature design ethic.

Much to their delight, I’m sure, John Rocha was one designer that gave models’ skinny-pins a short break from killer heels. In their place were black platformed flat sandals, adding an updated feminine grunge look (minus all the pain!).

John Rocha S/S 2012 by Nicola Ellen

To name a few of the many more intricacies that went into Rocha’s elaborately crafted collection, ribbons were attached to hair and hung long next to plaits and all models sported either wire or feather headdresses. The problem with this idea was that because Abbey had opened the show in a wired headdress with black feathers, I was almost convinced that a major fashion disaster had occurred. Models were appearing with bare wire headdresses; no feathers. They looked absolutely bizarre so I naturally assumed that their feathers must have fallen off. What a nightmare, I thought. This wasn’t the case at all. It was purposeful. Just John Rocha keeping us on our toes, I suppose.

Just as was the case with his A/W11 collection, the colour palette was ultra-minimal with neutral tones dominating throughout. In fact, there were only three colours on the agenda; all rich-black ensembles led to cream creations which then led to head-to-toe stark white. With only black, cream and white, the focus shifted away from colour to texture instead. Texture was intricately and ornately crafted with Abbey’s opening black raffia dress, raw raffia that made up other ensembles, loops of black rubber and Lurex threads intertwined in the cream and white garments.

John Rocha S/S 2012 by Nicola Ellen

Towering tall over John Rocha, Abbey Lee Kershaw once again led the Hong Kong born designer down the catwalk for another of his gracious finales. And, as has become tradition, he placed a kiss on Abbey’s cheek at the feet of the snapping papz, and then John Rocha was off, thanking and bowing to the audience as he went.

All photography by Duilio Marconi

Craig Lawrence S/S 2012 by Meagan Morrison

I’m quite partial to a knitted design – one of my favourite designers is Mark Fast, whose spun creations I yearn for, and I loved the A/W 2010 work of graduate student Phoebe Thirlwall. I’m also very fond of Craig Lawrence, whose work I have followed and celebrated, and so I was eagerly anticipating his intimate salon show at The Portico Rooms at Somerset House, the perfect surrounding for the debut of his S/S 2012 collection. An excitement it appeared that was shared by everyone else attending London Fashion Week… The queue for the presentation wound round the marble staircase of Somerset House, and snaked along the grand hall – a bit of a change from what Matt Bramford had seen the previous year.

Craig Lawrence S/S 2012 – All photography courtesy of Ella Dror PR

Craig Lawrence is a London Fashion Week must-see. For six seasons, before he graduated from Central Saint Martins and set up his own label, Craig produced knitwear for the outlandish designer Gareth Pugh. He showed his debut collection for A/W 2009, which won him The British Fashion Council’s NEWGEN sponsorship. The Council’s faith and support continues, as this season sees Craig celebrating his sixth season under the sponsorship. As I was finally ushered into the room and asked to find myself a square inch of space, I spotted blogger Susie Bubble on the front row. I realised what a hot ticket this show was, and thought that maybe next year’s space should be rethought, regardless of the atmospheric surroundings. By the time the doors were closed, every seat in the room had been taken, but in this close setting, I couldn’t have asked for a better view of the clothes.

Craig’s primary inspiration for the collection was the seaside photo sets of British documentary photographer Martin Parr. Parr is known for projects that explore modern life in England, and for his sense of humour that runs through his photos. He claims that the seaside is one of the most fascinating places for people watching, where we lose our inhibitions and where true personalities are unveiled. As the first looks of Craig’s collection were presented, the influence of the British seaside towns was clear, but rather from the depths of the sea, instead of the beach and its holiday makers. The models were enchanting sea creatures. Adorned in the metallic threads of a fisherman’s net or wrapped seaweed, in the colours of the ocean and washed up treasures and sun baked sand, with headpieces like sea coral reefs. Craig presented a rich and textured collection of knitwear in a palette of pastel and muted hues, run with metallic details.

Last season’s moody palette of dark metallic blues, purples and black was replaced with a lighter, gentler combination of creams, pale mint greens and pinks. As the models swayed down the short catwalk they glistened with every step. Craig Lawrence collaborated with Swarovski Elements for this collection which gave a sparkle of luxury to his intricately knitted designs. Swarovski Pale Crystal yarns and fibres had been woven into individual pieces, which caught the bright lights of The Portico Rooms as the models revolved to face each wall of the room. The Swarovski crystals were also sewn in to other designs as pure embellishment.

Craig Lawrence S/S 2012 by Megan Thomas

It was apparently the idea of the Essex phenomenon ‘vajazzling’ that inspired Lawrence’s use of Swarovski crystal fibres for this season, but with this influence aside, it was a sophisticated and refined concept that pushed the collection to another level. Craig’s material of choice, unique Kyototex metallic yarns, keeping to the sea-theme in cream and shell colours, were woven into the designs, adding to the luxuriance and feminine appeal of each look.

Layering was an important detail across the whole collection. The dresses and skirts were flowing, with knitted bralets, metallic leggings and tights worn underneath. There was also a mix of body-con wrap pieces, worn over designs such as a flowing lace-hole knitted maxi skirt, or tank top dress, and super wearable raglan-sleeved tops with elasticated vests which would add a perfect metallic shimmer for day or night. The Swarovski crystal embellishments added texture, and luxuriance. The draped designs left the body effortlessly, as the narrator explained how the pieces were knitted without elastic to create a looser, relaxed fit.

One of the best things about a salon show is the chance to gain a greater understanding of the make up of the collection. For each of the 18 looks, a very well spoken narrator took the audience through the individual components, and explained the techniques undertaken. This replaced the usual upbeat modern song, and was a welcome point of difference. Through this, the salon show to me felt like a proper couture show, harking back to old fashion houses and buying appointments. There was a real sense of charm and nostalgia to this which I know is also an influence that Craig cites from his childhood in the countryside town of Ipswich.

It was great – the audience was able to learn so much from the commentary. The narrator gave away details of craftsmanship that made you study Craig’s work as it came out one by one. We learnt that many of the pieces were created from a single thread to maintain the weightlessness. Indeed some of the designs looked like finely spun gold fisherman’s nets, and the models were beautiful sea creatures that had been caught in the webbing. The narration really helped to emphasise the level of work that had gone into creating this collection.

Craig Lawrence S/S 2012 by Gilly Rochester

This was not the only aspect of the salon show that ensured it achieved a polished finish – the show was also styled by Dazed and Confused’s fashion editor Kate Shillingford, who has been a strong support of Craig’s career from the start, and oversees the creative direction of the label. Her expertise was really evident – no hanging yarn was out of place, the handmade shoes from Natacha Marro shoes fitted with the otherworldly air, and the delicate woven headpieces made by Steven Doherty were a superior finish acting as sparkling coral reefs, encased around the models heads.

I was mesmerized by Craig Lawrence’s embellished and shimmering sea-bed inspired offering. The pastel tones, metallic yarns and crystal details were subtle, serene and luxuriant. It was a fantastic collection that fully demonstrated his ability for producing knitwear that is challenging yet wearable, and significantly as a young designer, constantly pushing forward.

The Fashion East Menswear display always guarantee a treat at fashion week. The grandiose rooms around the courtyard at Somerset House are transformed into mini installations of the various menswear designers, and it’s grand to see so much talent side by side.

This season was no exception. I started at the main entrance, naturally, where burley bouncers were insisting anyone let inside had pre-registered with the British Fashion Council. So, for example, if one of the designers’ grandmothers wanted to see the fruits of their grandchildrens’ successes, they had to go to the other side of Somerset House to register. A bit silly, I thought.

Nevertheless, once I’d presented my credentials I was allowed inside and I quickly necked a champagne. Here’s a whistle stop tour via the wonderful mediums of illustration and photography.

WILLIAM RICHARD GREEN

William Richard Green S/S 2012 by Rukmunal Hakim

ASTRID ANDERSEN

Astrid Andersen S/S 2012 by Celine Elliott

MATTEO MOLINARI


Matteo Molinari S/S 2012. Amazing sunglasses that I’m already saving up for. That is all.

CASSETTE PLAYA

Cassette Playa by Gabriel Ayala

AGI & SAM

Agi & Sam S/S 2012 by Claire Kearns

All photography by Matt Bramford

Watch some highlights from the installations here:

For this season Peter Jensen was inspired by the force of nature that was Nina Simone, picking on the many facets of her legendary life for inspiration, including her overwhelming devil-may-care attitude. Presented in the Portico Rooms to a backdrop of classical music played live on a grand piano by Maria Marchant, this was a confident collection from a man who is assured of his place in the pantheon of established fashion designers.

Peter Jensen SS-2012 by Barb Royal.

Against the kitsch decor of a gold potted palm tree and signature neon bunny Peter Jensen sent out his girls in rabbit eared shades from Fabris Lane and elegant headscarfs by Bernstock Speirs: broderie anglaise, pan collars, pencil skirts with peplums, big hoop earrings by Erickson Beamon and ankle socks with t-bars all alluded to Nina Simone’s early days as a good church going Southern girl.

Peter Jensen S/S 2012 by Rebecca Strickson.

Then from the 70s Peter Jensen brought us relaxed gold lame jerseywear teamed with swinging gold clasp handbags and bow decorated clutches. Sexy figure hugging scribble leopard print pants were teamed with lightweight gold cable knit jumpers. A colourful block print safari on a slim trench coat and crop-legged suit was inspired by the flickering TV static of constant attention on Nina Simone, from both audience and media.

A cheeky bi colour repeat parrot print gave a modern edge to a bare-shouldered peplum dress. Flounces running down the shoulders of a denim blue bib dress and frills just below the waist of a full gingham skirt were indicative of the cheeky feel that ran throughout this collection and was equally matched in the relaxed glamour stakes – pure Peter Jensen in other words.

Peter Jensen S/S 2012. All photography by Amelia Gregory.

Spotted in the audience, a man with the most amazing twirly beard.

I’d received two standing tickets for Christopher Shannon’s S/S 2012 show; the first show I would see on glorious menswear day. I only have two legs and while I know I’ve put on a few pounds, I thought two a little excessive. I also forgot to print either of them out, so I joined the queue for people with no tickets; the chancers’ queue, you might call it. Mere moments before the show started we were allowed in, to find the BFC venue about 75% full. Pfft.

Christopher Shannon S/S 2012, illustrated by Naomi Law

I didn’t have much chance to do anything before the show started. I’m not sure what I’d do exactly, but it is nice to do a bit of people watching. There was no time for that this morning as no sooner had I got my camera out of my bag than the lights had fallen and the music started – this season a jazzed-up blend of indie tunes including the Happy Mondays. A sort of cardboard jungle had been constructed at the beginning of the catwalk, from which appeared Shannon’s first model. It seems his sports-luxe aesthetic is here to stay (and quite rightly so). A nylon knee-length coat with a crisp white shirt and black polka dot shorts soon had us all imagining what was to follow.

All photography by Matt Bramford

Next came more nylon jackets and windbreakers with shirt collars and hoods that juxtaposed sporty nylon with softer cottons in geometric shapes. A palette of slate, black and pastel blue seemed a little more A/W than S/S, but as the collection progressed bright tassels on the hems of tops and vibrant Madras patterns that split shirts in half provided a welcome burst of colour. Hasidic-inspired hairstyles complimented these influenced looks.

Christopher Shannon S/S 2012 by Sam Parr

There was an enviable mix of formal wear and casual wear – grey marl joggers looked ace teamed with a navy shirt that had bright coloured panels towards the lower half. Sharp tailored shorts were given a slight dressing down by the aforementioned Madras tops.

Slick hair-dos, now becoming a Shannon trademark, made a glorious return. I wish I could do that with my barnet. Some models wore a selection of combs as headpieces, which was a little silly on reflection, but in the moment you can’t help being drawn into Shannon’s mysterious but oh-so-stylish world.

Christopher Shannon S/S 2012 by Michelle Urvall Nyrén

I’m pleased to report that there’s still an element of chav to Christopher Shannon’s collections, although this one did feel like his most grown-up to date, whilst still retaining his inimitable blend of sportswear and tribal influences. And long may it continue.

Watch the video here:

There aren’t many designers who make me so excited I can hardly breathe, but that tends to be a side effect of watching an Ashish catwalk show. Out they came, a stream of beautiful girls dressed in brightly coloured sequinned floral creations… except this being Ashish flowers were not staid or overly girly.

Ashish S/S 2012 by Antonia Parker.

Sunflowers were emblazoned against monochrome stripes, giant daisies ran riot, roses and primroses entwined, glossy orange lilies had stamens the size of forearms, a blouse was printed with marigolds and offset against a mini skirt in a bold brick design. There were chequerboards and zebra stripes, zigzags and leopard spots. Bright neon grounds gave a bolder edge to curling florals.

Paloma Faith was sporting an Ashish jacket on the front row.

Ashish S/S 2012 by Gilly Rochester.

Girls were styled to perfection by Celestine Cooney in DMs and straw fedoras with loose plaits, glittery eyes and dark glossy lips. Flowers popped out of boots, circling elegant calves in sprigs that dropped petals in a trail along the catwalk.

Ashish S/S 2012 by Kristina Vasiljeva.

As each outfit came out I just about managed to contain my excitement, imagining just how easy it would be to wear these beautiful clothes: simple shift dresses with cowl backs, drawstring waisted shorts, casual t-shirts and floppy collared jackets that would suit women of all shapes and sizes.

Ashish S/S 2012 by Kate Eldridge.

Le Jardin d’Ashish was everything that Ashish does best: using signature sequins to inject very wearable clothing with a sense of colour and fun that no other designer could ever dare replicate. Long may Ashish continue to plough his very own idiosyncratic fashion furrow. He even thanked his mum on the show notes, how sweet is that?

All photography by Amelia Gregory.