What a difference a season makes. This time six months ago I was still moaning to my insufferable friends about how I had waited for almost an hour in the freezing cold waiting to get into the PPQ show only to hear the music began and the burley bouncer announce than no one else would be allowed entry. If I had had the energy, capsule I would have gone wild.
This time around was a different story, and I Frowed with my home boy James who I had advised to wear his TEAM GINGE vest in the hope that Nicola Roberts of Girls Aloud fame would be in attendance, clock his ensemble and, I don’t know, praps marry him. Unfortunately she wasn’t there, but this was a PPQ show: a guaranteed celeb draw, so we waited patiently while a Sugababe, Pandemonia, Erin O’ Connor and Peaches Geldof took to their seats – the paps going insane for the latter who had gone pretty much unnoticed at the earlier Felder Felder show.
It’s always fun fun fun at PPQ and this season was no exception. A selection of 1990s party hits such as Felix’s Don’t You Want Me and Technotronic’s Pump Up The Jam blasted from the sound system as super sexy models sashayed before us with that kind of confidence that would make even a boiler suit seem arousing. I’m not sure if it’s just the shows I’ve been to, but I’m overjoyed to say that there’s plenty of fuller, sexier models around this season. One at Felder Felder, modelling a slinky black bikini, had the hugest breasts I’ve seen on the catwalk since Ziad Ghanem’s A/W 2010 offering. Love that.
The first look brought a hint of 1990s Chanel – a cotton bouclé number with delicate silk fringing and a pencil skirt. More Chanel-esque pieces followed, but they’d been sexed up with cream tights that featured all sorts of embellishments – jewels, ribbon, embroidery.
Next came denim for Lee, so tight you might refer to it as ‘spray on’ if you were a berk. A Texan tuxedo was one of my favourite looks in the entire show, teamed with another pastel blue bouclé jacket worn like a cape. Models were all-American blonde with full red lips; my GOD it was a relief to see some models with sex appeal. Some of them this season have been dire. If I were being paid to walk up and down a runway in clothes like this (chances unlikely) I would most certainly be able to swish it up a bit.
Cute pastel dresses were up next in mint and blush – a more demure offering – soon forgotten when the PPQ crest prints arrived – a sort of monogram for the club kid generation rather than the Bond Street elite. I LOVED this. It evoked that inimitable and glorious 1990s Versace period when Claudia and Naomi and Cindy frolicked in wild prints and enormous gold jewellery (GOD I could Google image those pictures ALL DAY) – but PPQ somehow made it seem as fresh as if it were brand new. I particularly liked the marriage of a blazer, micro skirt, vanity bag and ankle boot all in a PPQ crest/rose print. Daniella Westbrook would go BERSERK for this garb.
Erin caught me pointing my camera in the opposite direction to the model…
Bodycon prints followed, giving the already confident models so much sex appeal that I wouldn’t have been surprised if an orgy had kicked off on row D. Zorro masks worn with straw hats added a hint of kink, and then came blouson blouses, encrusted belt buckles, more embroidery, leather harnesses with playful crystals in primary colours, pearl earrings, bondage tights, more vanity handbags, more denim – it was wonderfully exhausting and by far my favourite show of the day. Nobody parties like PPQ.
Watch the show here:
Written by Matt Bramford on Tuesday September 20th, 2011 5:40 pm
What a difference a season makes. This time six months ago I was still moaning to my insufferable friends about how I had waited for almost an hour in the freezing cold waiting to get into the PPQ show only to hear the music began and the burley bouncer announce than no one else would be allowed entry. If I had had the energy, capsule I would have gone wild.
This time around was a different story, and I Frowed with my home boy James who I had advised to wear his TEAM GINGE vest in the hope that Nicola Roberts of Girls Aloud fame would be in attendance, clock his ensemble and, I don’t know, praps marry him. Unfortunately she wasn’t there, but this was a PPQ show: a guaranteed celeb draw, so we waited patiently while a Sugababe, Pandemonia, Erin O’ Connor and Peaches Geldof took to their seats – the paps going insane for the latter who had gone pretty much unnoticed at the earlier Felder Felder show.
It’s always fun fun fun at PPQ and this season was no exception. A selection of 1990s party hits such as Felix’s Don’t You Want Me and Technotronic’s Pump Up The Jam blasted from the sound system as super sexy models sashayed before us with that kind of confidence that would make even a boiler suit seem arousing. I’m not sure if it’s just the shows I’ve been to, but I’m overjoyed to say that there’s plenty of fuller, sexier models around this season. One at Felder Felder, modelling a slinky black bikini, had the hugest breasts I’ve seen on the catwalk since Ziad Ghanem’s A/W 2010 offering. Love that.
The first look brought a hint of 1990s Chanel – a cotton bouclé number with delicate silk fringing and a pencil skirt. More Chanel-esque pieces followed, but they’d been sexed up with cream tights that featured all sorts of embellishments – jewels, ribbon, embroidery.
Next came denim for Lee, so tight you might refer to it as ‘spray on’ if you were a berk. A Texan tuxedo was one of my favourite looks in the entire show, teamed with another pastel blue bouclé jacket worn like a cape. Models were all-American blonde with full red lips; my GOD it was a relief to see some models with sex appeal. Some of them this season have been dire. If I were being paid to walk up and down a runway in clothes like this (chances unlikely) I would most certainly be able to swish it up a bit.
Cute pastel dresses were up next in mint and blush – a more demure offering – soon forgotten when the PPQ crest prints arrived – a sort of monogram for the club kid generation rather than the Bond Street elite. I LOVED this. It evoked that inimitable and glorious 1990s Versace period when Claudia and Naomi and Cindy frolicked in wild prints and enormous gold jewellery (GOD I could Google image those pictures ALL DAY) – but PPQ somehow made it seem as fresh as if it were brand new. I particularly liked the marriage of a blazer, micro skirt, vanity bag and ankle boot all in a PPQ crest/rose print. Daniella Westbrook would go BERSERK for this garb.
Erin caught me pointing my camera in the opposite direction to the model…
Bodycon prints followed, giving the already confident models so much sex appeal that I wouldn’t have been surprised if an orgy had kicked off on row D. Zorro masks worn with straw hats added a hint of kink, and then came blouson blouses, encrusted belt buckles, more embroidery, leather harnesses with playful crystals in primary colours, pearl earrings, bondage tights, more vanity handbags, more denim – it was wonderfully exhausting and by far my favourite show of the day. Nobody parties like PPQ.
Watch the show here:
Written by Matt Bramford on Tuesday September 20th, 2011 5:40 pm
Winners of Fashion Fringe 2011: Fyodor Golan S/S 2012 by Antonia Parker
If you’ve read Matt’s or my account of The Swedish School of Textiles show at Fashion Scout, dosage you’ll know it went on for an insanely long time. This means I’m ridiculously (half an hour!) late for Fashion Fringe, which is showing on the opposite side of the WC2 postcode, near Trafalgar Square. Once again I wonder if London Fashion Week organisers have conferred to place shows at nonsensical distances from each other just so that the frustration of the press may create humorous fodder for them.
Luckily I’m not one that insists on wearing heels at fashion week (or ever), so I’m able to run comfortably – well, as comfortably as one can in the relentless monsoon like rain and when one is wearing a wholly impractical maxi dress (I suppose that eclipses my wise footwear choice).
8 Northumberland Avenue is not easy to find, especially when the familiar sight of an impatient queue has vanished, leaving no sign that reveals ‘catwalk show here!’ So after zipping across the street twice, I finally stumble upon, quite literally, the Fashion Fringe venue. I’m out of breath and drowning in rain and sweat (not quite how I’d wanted to present myself), but I’m here and it appears the show hasn’t started yet. Phew.
My Fashion Fringe invite gets a scrutinising glance before someone is told to get a wristband on me and rush me into the arena. More running and I’m there. “You can stand anywhere at the back,” I’m told – this guy obviously hasn’t scrutinised my invite. I proceed to find my seat and of course, as luck would have it, my view is being obscured by those of a superior height. I complain about my predicament to my new neighbouring friends; they’re writing for a publication in Toronto and tell me they “loveAmelia’s Magazine“.
A fuss is being made of a couple of celebrities as they make their predictable late entrance and ‘flash flash, snap snap’ croon those domineering cameras. Damn it, I can’t see from where I’m sat, so naturally I take to the raised runway to peer at Claudia Schiffer and Roland Mauret, this year’s Fashion Fringe judges. The photographers are been ushered away, but I take my chance and ask Claudia and Roland if I may take a picture – “of course,” they agree and I triumphantly click the shutter on my camera.
The show is about to start and I can hear a voice shouting, “Quiet please!” I take a seat on the floor, knowing it’s the only way I’m going to get any half-decent pictures of the show. Sat across from me, Hilary Alexander offers me a smile and I hope it’s because she approves of my determination rather pitying my plight.
First up is the endearing partnership Fyodor Golan with their spring summer collection ‘Flowers of evil’, inspired by the anthology of the same title by Charles Baudelaire. The showcase narrates the story of a nymph (I’m guessing she’s a water nymph by the appearance of the straggly, uncombed, just out of the river after a star light dip hair the models are wearing) that experiences an excruciating metamorphosis.
The transition begins with her appearing in symbolic white, in contrasting textures; the strong and the delicate. Stencilled into the garments are birds as if signalling the fair creature’s desire to take flight and be free, whilst the gleaming gold choker that threatens to asphyxiate her, pulling her in to a world that promises contentment only in death.
As nature supports her frail demeanour, life appears brighter and the progressing metamorphosis reveals itself in form of a white dress veneered in vividly coloured blossom. The neck shackle however, remains, unforgiving.
The transformation sees the nymph freeing herself from the shackles of her former life and enjoying the dangerous opulence of the new and the darkest ebbs of human nature, but the shackle now replaced by her very own hair appears to reveal that she has become her own enemy. Golan Frydman and Fyodor Podgorny have clearly put a lot of thought in to the theatrical element of the show and this is very much evident as their nymph’s painful transition into maturity is depicted by an older than average model – not a common sight at fashion week, so a high-five to them!
The finale presents the protagonist in a severely structured, yet elegant black gown that trails the catwalk. Her head is held high, but her face hidden by a staggering collar, beautiful but all consuming. It’s a tragic tale and a timeless one, but the collection itself hasn’t quite enthralled me.
Fashion Fringe Runner-up: Heidi Leung S/S 2012 by Antonia Parker
After that dramatic performance, Heidi Leung’s collection inspired by Orientalism (‘East Asia and the Middle East’ highlights the press release) and 60s holiday photos appears a far more light-hearted an affair. The colour palette of lively greens, oranges and yellows, combined with a neutralising tan and blue and white checks incite summer days on sandy beaches, neon beach-balls and a nearly cloudless sky and picnics on a luscious green field dotted with pretty flora. The hair is styled simply; straight and easy with a prominent centre parting and the make-up complements with sixties’ neutrals and accentuated eyes.
I’m a massive fan of layering, but if you’re not, Leung’s collection is going to be wearisome to comprehend. Every outfit appears to be made up of at least three layers; sixties style gingham undies (which I love), a chiffon overlay with a mandarin collar and a loose cape or a coat to complete the look.
Leung also combines crochet and embroidery within her collection, revealing an element of couture (in its original sense) and the use of ancient handicrafts. The crocheted and embroidered pieces sit upon gingham foundations and hang from the neck. I must say these pieces resemble table runners I’m sure reside on an antique oak table somewhere, in the parlour of a country cottage where a village tea party is being enjoyed. I love this collection.
My favourite pieces include the frilly three quarter pants, reminiscent of undergarments of a past era, the knitwear, pleated tops and skirts and the long, softly moving, elegant coats. And have I mentioned the footwear? Okay, so a platform shoe covered in pastel coloured rosettes and secured with a transparent covering may not be the most flattering of foot accessories, but think about how much fun they’d be to wear? They’ve made me smile and I’m only looking at them.
Nabil Nayal is the final Fashion Fringe contestant showing his collection titled ‘All the Riches She Deserves’. The collection conveys the story of a wealthy heroine who is taken to safety as her mansion of splendour burns to the ground at dawn. The make-up and hair conform to the narrative with captivating smoky eyes and voluminous, gracefully wild locks; a look inspired by the 1970s.
Fashion Fringe Runner-up: Nabil Nayal S/S 2012 by Antonia Parker
The colours that empower the collection echo the tones of smoke, fire and ash and perfectly cloak the strong, modern and feminine silhouettes. Nayal’s innovative construction of his collection boasts a myriad of wonderfully cultivated techniques and the use of a whole host of fabrics and textures. The Syrian born and Sheffield raised designer uses soft leathers, luxury silk jacquards and transparent fabrics such as organza and chiffon to concoct a dynamic presence, a characteristic each of his pieces flaunt.
Nayal’s love and admiration for the fashions of the Elizabethan era are manifested in the bulbous ruffs of his magnificent capes, whilst his appetite for elegance is evident in the long, flowing gowns, most notably the kimono style dress in antique gold lace. The tailored tulip dresses and skirts endeavour to promote a sense of a strong, ambitious, feminine character that never fails to look chic.
Of all the competitors, I believe Nabil Nayal’s design appear the most expertly put together and the commercial aspect of fashion design has clearly been considered. I can certainly see the entire collection being bought and it adhering to the taste of many women, but would I wear the fastidiously put together collection? My desire for colour and eccentricity says “no”.
In contrast to my response to Fyodor Golan’s narrative, Nayal’s narrative isn’t one that I (or many others, I’m sure) can empathise with – I mean, how many of us enjoy power and wealth and the promise of a silk lined, jewel encrusted safety net, lest we fall?
I’m ready to mosey on home by the time the show ends; I’m exhausted and feeling a little faint (where’s the Vitamin Water when you need it?), but instead of being lead out of the venue, guests are taken down into the basement where the Fashion Fringe after-party is getting under way. I’ve never understood why these parties happily offer alcoholic beverages, but never provide decent non-alcoholic beverages. I feel like I’m being persecuted for being a non-drinker as I sip my medicinal tasting One Water.
A flurry of excitement commands the attention of the crowd; Claudia Schiffer, Roland Mauret and Colin McDowell take to the stage. A moment of silence, then Fyodor Golan are announced the winners of Fashion Fringe 2011. I hadn’t expected it, but I’m impressed that the judges haven’t simply been dragooned into championing the familiar and the chary. I’m very curious to see what Fyodor Golan will be delivering to the world of fashion in the future; I wonder if I could persuade them to create a collection around the poem ‘Lamia’ by Keats?
Imagery throughout courtesy of Tobacco and Leather.
As we all know, site the internet is awash with fashion blogs with many focusing upon the fashion choices of the blogs’ author. This is where Tobacco and Leather (aka Abbey Watkins) differs. An incredibly talented illustrator, recipe Tobacco and Leather posts her work alongside some of the most pioneering fashion editorials being produced across the world.
Fashion illustration really is due a resurgence, as it is the antithesis of “Fast Fashion” with a rich heritage, that provides influence for designers creating clothes today. You only need to look at the many Vogue covers created by Eduardo Benito or George W Plank in the 1920’s to see how powerful an illustration can be at portraying the magic of fashion.
Fashion is, by its own admission a world of fantasy and imagination. Illustration, it could be argued is a stronger medium with which to represent this creativity than the photograph, which no matter how elaborate, reworked or altered still represents a captured moment in reality, whereas illustration is as free as the imagination of the artist.
Hi Abbey, Could you tell our readers a little bit about yourself?
I study Textile Design for Fashion at Manchester Metropolitan University. I’m in my second year now and am really enjoying it. Manchester really is a great city and is a different world to where I grew up in Herefordshire.
I found out about you through your AMAZING blog; Tobacco and Leather, which I have been following for the past 5 months. How long have you been blogging for, and what made you start?
Well first of all, thank you! I really appreciate it when people get in touch, it makes having a blog all the more worth while. I started blogging a little over a year ago now. I was told by my tutors at university that I would one day need a blog to get my work out into the world and although it wasn’t an immediate necessity I decided I wanted one right away! That’s how Tobacco and Leather came about. It soon started to become more about the editorials and the fashion world than my work, but I like to think there’s a good enough mix.
Your blog is definitely my favorite, as it is mix of high end editorial, the cream of the crop of fellow bloggers, plus you are a very talented illustrator yourself! What other blogs do you rate? What are your top five?
There are so many amazing blogs out there these days. To be someone’s favourite is a huge compliment! A top five is going to be hard to list. I like my blogs a bit arty, a bit mixed up and a little bit weird. Putting them in order would be impossible so here are 5 that I can’t keep away from at the moment; 30 Doradus, 00888 (previously known as I love psycho), In a Fraction of a Second, Panache and Viktor Vauthier.
In your Illustration, you are heavily influenced by the beauties and the models of the fashion world, when did you start with illustration? What/who else are your influences?
Since the day I learnt to hold a pencil, I have always been drawing, I guess it’s the thing that comes naturally to me. I remember my mum having to take me to work and she would just sit me in the corner with a pen and some paper and that would keep me quiet for hours! But I really got into fashion illustration and started finding my niche when I went to Art College to do a foundation year. That was about 3 years ago now. My influences? Well I clearly have a little obsession with beautiful models! Such as Abbey Lee, Claudia Schiffer, Natasha Poly, Jessica Stam and the greats. A more recent influence of mine is fantasy art and the creatures of mythology; I love how mystical it all is. I love how you can write it yourself and make up the rules. Look out for part two coming tomorrow…
