John Moore anodised aluminium earrings by Janneke De Jong

It’s the evening of Thursday 8th December, a rainy night, and I’m peering through the windows of the Lesley Craze gallery with anticipation. The windows are currently decorated with a glittering Christmas tree, jewels nestled in its branches, but it’s those it holds inside I am interested in. I have visited the gallery quite a few times in the last year, originally drawn in by the work of a personal favourite, Wendy Ramshaw. Earlier in the week, I had received an invitation for a special Christmas late night opening, and as always, intrigued to see what they have in, I’ve come along for a look, and a welcoming glass of wine.

I’m always surprised when I mention the gallery in conversation, to find out that many people are unaware of it’s presence. I credit the gallery with being well curated, well presented and the staff as always smiling and helpful. The glass cabinets are always gleaming with wares, and as I wander down to the lower room, my attention is grabbed by a huge cabinet that contains the work of John Moore.

John Moore earrings by Miranda Williams

Moore, now based in Brighton, is without a doubt, the embodiment of the label ‘jewellery artist’. With a degree in 3D design, his work is wearable art. The gallery was showing work from two of his collections, but it was the 5 pairs of earrings that enchanted me. These are part of his ‘Elytra‘ collection – an eyecatching range of brightly coloured anodised aluminium designs.

Moore worked on this collection whilst in his final year at university, and is inspired by nature and natural forms. I found some great images of birds feathers on his website; the vibrant colours of the exotic plumes now reflected in his Elytra collection. Apparently the shape was initally inspired by a beetles wing, an influence that you can also identify in the gleaming colour of the treated aluminium. His statement earrings are wondrous. They also hide a secret feature. They can be reversed by passing the top hoop through the opposite end of the drop, to invert the metal petals, or feathers. Combined with their emphasis on colour, they fit perfectly into the S/S 2012 trend for large, statement earrings.

Thomas David bangles by Karolina Burdon

I spotted a familiar collection of work that I had seen at New Designers earlier this year, a bangle set from Sheffield Hallam graduate Tom Wilson, who works under the brand name Thomas David. His designs are dark and moody – blackened copper bangles, which have been made to look like corrugated card – industrial and hard wearing. I also really like the intricate patterns in the bangle collection made from stainless steel and birch plywood. Inspired by now retro spirograph kits, they remind me of when I was a child and plastering pieces of paper with concentric circles. Tom’s designs are a converse combination, tough and uniform, but detailed and delicate.

Ebony Revolution rings, photo courtesy of Simone Brewster

British designer Simone Brewster’s Ebony Revolution rings are the perfect example of her influences from African woodwork and geometric forms. She graduated from the RCA, and I first came across her work when she designed a copper necklace for the store DARKROOM, as part of a charity event in June this year called Love from Darkroom. The rings are made from materials such as ebony, tulipwood, copper, bronze and leather. I also like her large necklaces, which are like Art Deco murals.

Maud Traon rings by Stephanie Brown

On one of my previous visits to the gallery, I was wowed by Maud Traon’s rings for obvious reasons. Her designs conjure up thoughts of My Little Pony on a strong acid trip. The rings demand attention – pops of neon colours, sprayed with glitter, and sometimes mixed with star shapes, or kitsch toy objects. Maud likes to explore the relationship between the idea of value and wearability.

The rings are made from combinations of materials such as clay and copper. I’m not exactly sure just how wearable these are for most, bulky, and often extended height, but they certainly will please those who like their jewellery to be noticed, and would be a great addition to any collection.

Dorothy Erickson brunhilde collar by Karolina Burdon

The work of Western Australian born and trained jeweller Dorothy Erickson is always a pleasure to see. She is known for her ‘kinetic’ jewellery, or body pieces as they are alternatively called. She makes jewellery for the body that includes the wearer as part of the principal design – the jewellery reacts to the wearer’s every move.

I really love the articulated metal choker and bracelet, which reminds me of jewels to be found in collections at the British Museum, or vintage YSL pieces. Chunky, bold and well crafted – I’d wear this necklace and feel empowered. The gold clasp, paired with the silver metal, makes it even more special, a combination that I’m not always a fan of, but works so well here.

Dorothy Erickson bracelet by Fay Newman

One of Erickson’s main inspirations is the unique flora of her native Australia, which has helped to produce the beautiful designs of her precious stone rings. She is also influenced by the work of Viennese painter Gustav Klimt. Big solid rocks hold a firm place in these rings, but they are elegant and refined.

Wendy Ramshaw Geometric Earrings by Sam Parr

Last but certainly not least, Wendy Ramshaw’s selection of works continues to wow me. Wendy is one of Britain’s best known jewellers, and looked up to by many other well-known designers such as Dorothy Erickson. She was born in Sunderland, studied illustration and fabric design in Newcastle, and then undertook postgraduate studied at Central Saint Martins.

Wendy’s signature designs are her divine ring sets, made up from abstract designs in precious metals and finished with gemstones. The stands they are frequently displayed on have also become ornamental designs in their own right.

Wendy Ramshaw Lucciole Necklace by Sam Parr

Her designs are heavily influenced by geometry, and as a fan of this, I always find myself lusting after her geometric gold drop earrings. Made with gemstones such as amethyst, pink tourmaline, blue topaz, and fire opal, they are a gorgeous combination of colour. A design that I had not seen before, the Lucciole necklace, a blown glass ball run through with gold thread was fantastic.

So from one champion of contemporary jewellery, back to another, I urge you all to take a visit to the Lesley Craze Gallery, and enjoy the great selection of work from British, and global, designers.

We first spoke with fashion knitwear designer Brooke Roberts back in 2009. Here she talks about the inspirations behind her new S/S 2012 collection, which was launched with a spectacular dance presentation at The Hospital Club in September.

Brooke Roberts S/S 2012.

We first interviewed you two years ago – what has changed since then? Are you still working part time as a radiographer and if so how are you juggling everything?
It’s busier than ever! I’ve been stocked at Browns Focus for three seasons, and I’m consulting for a menswear label, while running my label and working part-time as a radiographer. It’s seven days a week at the moment!

Brooke Roberts S/S 2012 by Antonia Parker.

Your collections are created in Italy from the best fabrics – what kind of exciting yarns can you tell us about in the new collection, and what are their properties?
I’ve been experimenting with bio-ceramic yarns, which have metabolic and body temperature regulating properties. I’ve also been using retro-reflective yarns, which are a wool base with microscopic glass beads bonded to the surface. I mix these with luxury yarns like extra-fine merino, cashmere and silk for a techno-luxe effect. All of my knits are unique programmes, so mixing the yarns with the programmes allows me to create really personal and innovative fabrics.

Brooke Roberts S/S 2012. Photography by Akeela Bhattay.

Why did you make the move from science into fashion. What do you miss about that world and what do you not miss at all?! Why did you decide that fashion was more important to you than radiography?
Being a radiographer means you lack autonomy in your work. I find that difficult. The medical images I create are incredibly detailed and textural, and inspire the fabrics I create. I think my science degree has given me a unique perspective on technology and design. I’m not the kind of designer who starts a collection by researching fashion history and other designers previous collections. I develop my ideas through interpreting medical images, creating digital knit programs and yarn experimentation. I then use fashion references to develop silhouettes. Fashion allows me to express my perspective on science and design. I find the two to be harmonious. 

Brooke Roberts medical inspired knitwear by Veronica Rowlands.

Why is it important to combine the science and the arts?
Combining the two enhances the understanding and interest in each field. They are inextricably linked. Science gives us the ability to understand and explain the world around us. That is powerful knowledge that can be applied creatively. A great example is the Wellcome Collection and Wellcome Trust, which funds art projects with a basis in biomedical science. Electroboutique at the Science Museum is another great example. 

What science journals, fashion and music blogs do you recommend for a bit of inspiration?
Science and technology – Wired, New Scientist, the RSNA’s Radiology journal, Suzie Sheehy’s blog ‘high heels in the lab‘, Google! I love looking up strange materials and gadgets on the net to develop ideas for my collections. Fashion – Vogue Italia, Stylebubble, Dazed Digital, ShowSTUDIO. Music – I’m a big Radio 6 fan – not so much a music blog reader. 

For your S/S 2012 collection you put on a dance performance in collaboration with Riccardo Buscarini at the Hospital Club which I was sadly unable to attend. What prompted this idea and what was the best part of the performance?
This idea came out of a video of a knitting machine made entirely of lego, which I found on Youtube. Riccardo Buscarini choreographed the piece from this, and Elspeth Brooke composed the score, which she and I recorded at one of the hospitals I work at. I operated the x-ray machines and she recorded the sound. The collection was a commentary on woman and machine, and encorporated high-tech Italian industrial knitting techniques with hand knit, crochet and hand-lacing. 

The current collection is for sale in Browns Focus (including some collaborative accessories with Eye of the World), how is that doing and do you have any more plans for new stockists or designer collaborations?
The collection looks great. I’ve seen it in store and one of the styles has already sold out, so that’s great. I just returned from New York where I visited three retailers – more on that next season! I am hoping to work with Riccardo and Elspeth again, and looking forward to seeing what we can create next season. 

Brooke Roberts S/S 2012. Look book image.

What is your muse for the new collection? Any sneak ideas of what to expect, and can we expect anymore exciting shows?
I don’t have a muse. Next season will be a textural delight. Technical cables, geometry and luxury. The rest is top secret.

We can’t wait to see what Brooke Roberts does next season! Catch up with our previous interview with Brooke Roberts in 2009 here and here.

The V&A’s Fashion in Motion programme offers members of the public a rare chance to attend a full-throttle catwalk show, set against the dramatic backdrop of the glorious Raphael Gallery. The production values are the same, if not greater, and there’s the same fashion buzz with people in silly outfits and fights for the front row.

Peter Jensen by Eleanor Shore

All photography by Matt Bramford

The latest FIM celebrated Peter Jensen’s tenth year in fashion. By the time I arrived at the V&A, an enormous queue had already formed and was spilling over into the grand reception, ready to greet me as I legged it inside. The cavernous Raphael Gallery holds hundreds, though, so I wasn’t too worried about getting a good spot. The room filled up quickly but, as there had already been three shows that day, there was a distinct lack of photographers in the ‘pit’. I took the opportunity to stand there for a change, a view that I don’t often get at fashion shows, and it was a real treat. I tend to avoid this area due to the gruesome cretins that tend to populate it at fashion week, and the shots you get tend to be pretty similar to the other 250 photographers trying to get images. But standing right in the centre, with no elbows blocking your view, you really get a sense for the complete package, that you don’t even get on the front row.

The lights fell and silence descended as a pretty eccentric mix of songs, that had been stitched together, boomed from the stereo and the first model appeared. This was to be a celebration of Jensen’s career so far, and so the ensembles on offer represented Jensen’s recent collections. His playful, upbeat style shone on this dramatic catwalk.

Peter Jensen by Janneke de Jong

Long-term collaborator and stylist Lucy Ewing styled this event and had selected the archival pieces that were on offer. Models wore short, slapstick wigs over the top of their own flowing locks, sometimes in contrasting colours. This linked the collection together nicely. Pieces included Peter’s inimitable rabbit motif emblazoned on translucent dresses, low sweetheart necklines teamed with mini-skirts, crisp tailoring in pastille colours, sheers fabrics embellished with sequins, metallics, madras-esque prints (seen on the catwalk only this September), glittery nipple covers seen through opaque smocks, floral prints and Linda Farrow collaboration rabbit sunglasses.

Peter Jensen by Vicky Smith

Music and fashion were both reflective of Jensen’s unique style. It was a great show that earned a deserved wave of applause at the end. I couldn’t help feeling a tiny bit disappointed, though. While I admire Peter Jensen and his playful collections, this show lacked the spectacle I’d come to expect from Fashion in Motion – previous shows from Erdem, Osman Yousefzada and KENZO (to name a few) packed a much bigger punch than this one did. But I can think of worse ways to spend a Friday evening, so I shan’t complain.

The phrase ‘unique dining experience’ usually makes me want to puke. East London, for all its charm, has become a haven for ludicrous events rendering me breathless and thinking ‘what the HELL will they come up with next?!’ Film screenings on fridges, fashion shows in abandoned car parks – ‘pop-up’ bars in your own loo – you get the picture. But I think the latest collaboration between Disappearing Dining Club and 123 Bethnal Green Road is something special: Christ, it was a complete treat.

All photography by Matt Bramford

On entering 123, you’re greeted and given cocktails. This, in my opinion, should be mandatory in all retail outlets. This gives guests a chance to peruse what’s on offer on the lower floor and in the newly refurbished Scout Hut. There’s an excellent range of gifts available in the newly-organised front, and I spent more than a reasonable amount of time cooing over the Beyoncé paper-doll making kit. There’s also a good selection of candles, tea cups, furnishings – the lot. The Scout Hut has now been transformed into a showroom for the latest in new and ethical fashion – it was great to see William Richard Green’s latest collection with a stockist, as well as many designers we’ve enjoyed on the catwalks recently – Lako Bukia being one of my favourites.

When we’d had a browse we were informed to climb the three flights of stairs to the very top of the building to begin our feast. The newly-refurbished, gentlemen’s lounge-style menswear floor (above) is breathtaking. Old wood panels, cabinets with trinkets and a roaring fire greeted us, as did two bowls of punch – one rum & pineapple, the other a wintery mix of gin, cranberries and spices. Small canapés were served, with plenty to choose from: butternut squash soup in vintage sherry glasses, potted meat on sourdough chunks and cheese pastries.

Beef Bourguignon by Gareth A Hopkins

You’re given an allocated time for your main course, which takes place on the first floor surrounded by ladieswear and lingerie. A guide told us to grab a plate and a knife and fork and tuck in, which I did with ease. Two huge cast iron hot pots of beef bourguignon and aubergine and chickpea stew were on offer in the centre of a large wooden table, giving off aromas only achievable through slow-cooking techniques that, frankly, I can never be arsed with.

Breads were aplenty and wine free-flowed at one end. We took our seats and tucked in – savouring every mouthful as if it might be our last. It’s no use organising these experimental evenings if your cooking isn’t up to scratch – but I couldn’t raise a single criticism about any of this hearty food. In addition, bowls of heaped salads were there for the taking – featuring tasty combinations like couscous & pomegranate and butternut squash & honey orange. Unfortunately we were seated at the same time as a rather rowdy bunch who were celebrating an even rowdier friend’s birthday. He was a little annoying.

Cocktails by Gareth A Hopkins

As if that wasn’t enough, desert was served in the bunker café – the original venue for the Amelia’s Compendium of Fashion Illustration (ACOFI) launch party. We were greeted with a cocktail – we opted for a whiskey and Canadian maple syrup option – delicious and the perfect wash-down for a mince pie. I skipped the ice-cold rum shots – by this point I was already questioning my own name, and we left pretty soon afterwards, leaving Rowdy McRowd and his pals to party the night away, guzzling even more cocktails while a DJ played.

A great concept – and diners get 10% off to stock up on ethical fashion designers and Christmas gift ideas. It’s not cheap – at £50 a head, this sort of thing is best saved for a special occasion, but it’s definitely worth it if you’ve got one coming up. Don’t eat lunch, though, and don’t expect to leave sober – sometimes too much can be enough.

Too Much is Never Enough runs every Tuesday, Wednesday and Thursday at 123 Bethnal Green Road from Tuesday 22 November to Thursday 22 December.

The relationship between a fashion designer and his business manager-cum-lover isn’t a new concept to cinema. Anybody who has seen Valentino: The Last Emperor will have already witnessed the trials and tribulations when two men – one a rare, creative genius, the other a businessman, have to work together on a daily basis for fifty consecutive years.

Yves Saint Laurent and Pierre Berge by Karolina Burdon

L’Amour Fou is a little different, however. For starters, where The Last Emperor was a celebration of Valentino’s illustrious career, L’Amour Fou doubles as a celebration of Yves Saint Laurent’s life. This film is more of a romantic tribute to the designer through the eyes of his partner, Pierre Berge.

Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Cruz

From the opening credits, I was hooked. An homage to Yves‘ ‘Love‘ cards that he designed and produced for staff (many on display at the Majorelle Gardens, Marrakech), flashes of colour and geometric shapes flood the screen. I saw the film at the ICA, and its diminutive cinema with old fashion red velour seats and dusty projector make the experience even more apt.

Yves Saint Laurent at his final show by Mitika Chohan

When the title sequence has rolled, we see Yves at a press conference declaring his resignation, juxtaposed with Berge’s touching eulogy at Saint Laurent’s funeral. We’re only about 6 minutes into the film here, and already I’m in pieces.

Yves Saint Laurent at Dior by Cruz

The film features archival footage of Yves Saint Laurent, from his days at Dior through to his greatest collections during the 1970s and 1980s, pieced together by Pierre’s narration. The film skips between Yves Saint Laurent the fashion designer, Yves Saint Laurent the art collector, and Yves Saint Laurent the tempestuous lover. The film culminates with the dramatic, poignant and record-breaking art auction of 2009 in which Yves and Pierre’s entire art collection was auctioned for AIDS charities.

Yves Saint Laurent Wedding Dress S/S 1999 by Janneke de Jong

The film explores the early relationship between the pair – they met at Christian Dior’s funeral and it was pretty much love at first sight. You can tell by how Pierre talks about Yves that this was not an easy relationship. Yves‘ crippling depression, substance abuse, morbid insecurities and changeable state of mind have taken their toll on ol’ Berge. But through all this, a glint in his eyes remains, as his relates countless stories about one of the world’s greatest, creative men.

Yves Saint Laurent for Zizi Jeanmaire by Joana Faria

Amidst the drama of the relationship, fashion fans won’t be disappointed. The film features never-before-seen photographs of Yves at Dior, adjusting hemlines and admiring his creations on models. There’s film footage of his most celebrated collections, from bridal wear to Russian-inspired collections in the mid-seventies. We see Zizi Jeanmaire dancing in one of Yves’ most spectacular creations made of feathers.

Opium advert (1977) by Katrina Conquista

Wondrous footage of the original Opium ad is one of the film’s many highlights – and Berge describes how controversial this was; not so much the advert but the name (the controversial adverts would follow, with Sophie Dahl naked and spread eagle for Opium and the first ever fully naked man in a print advertisement for M7). The irony, as Berge describes, was that Yves selected a name with a narcotic reference, when it would be alcohol and drugs that would almost destroy their relationship. Berge talks about this at length, and how Yves would only ever be happy moments after a show; Berge would have to wait another six months to witness that same level of happiness.

Opium advert (2000) featuring a naked Sophie Dahl by Katrina Conquista

But it is the couple’s love of art that dominates this film. After Yves‘ death, Berge decided to sell the collection that they had tirelessly put together over twenty years. Why? Because, after Yves‘ death, ‘the collection had lost the greater part of its significance.’ There are less sombre anecdotes in the film: ‘When Yves designed the Mondrian dress, we never dreamt that one day we would own one,’ Berge says with a smile.

Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Mitika Chohan

And so at the end of the film, during the auction, we see Pierre sitting backstage clapping his hands and marvelling at the record-breaking sales prices. Finally, he’s the last to leave the auction and we see him walking down the stairs of the Grand Palais. It’s a poignant ending to a pretty poignant film, and there’s something a bit sinister about it that I couldn’t really put my finger on – the endless shots of empty rooms? Christies‘ employees, the ‘undertakers of art’, boxing up paintings? Berge’s willingness to openly discuss every facet of Yves’ personality, at the risk of seeming a little bitter? I’m not sure. But I loved it, nonetheless. It’s a sombre tribute, but a colourful one.

I can’t bear having my photograph taken. That’s why I’m not a model. That’s the only reason. But imagine having your photograph taken consecutively for sixty years, by some of the greatest photographer that ever lived. It’s quite the achievement when you really think about it.

I’m taking about Carmen Dell’Orrefice, affectionately referred to as ‘the world’s most enduring supermodel’. A new exhibition at the London College of Fashion’s Fashion Space Gallery proves why Carmen deserves that accolade.

All photography by Matt Bramford

It’s rare to find exhibitions that celebrate the career of a model rather than the photographers that document them. In recent years, grand masters like Avedon and Penn have been honoured with mammoth exhibitions, so this collaboration between LCF and David Downton is a welcome break, and it’s been put together with feeling (Dowton is a close personal friend of Dell’Orefice) and no stage of her career is left unrepresented.

Carmen Dell’Orefice by Celine Elliott

Carmen Dell’Orefice was born on Welfare Island in 1931 to an Italian father and Hungarian mother. Her first modelling duty was at the age of 13 – Carmen is now 80 and still modelling. As she moved around the room, talking to Colin McDowell, Frances Corner OBE (head of the LCF) I simply couldn’t take my eyes off her. She’s one of those lucky buggers that have matured with grace and elegance and maintained her unique looks without going anywhere near Wildenstein.

Looking around the room at the works is like an encyclopaedia of the great fashion photographers – Penn, Beaton, Coffin, Avedon, Derujinsky, her second husband Richard Heimann, Parkinson; it’s wonderfully exhausting. Reporductions of Vogue and Harper’s covers are mounted on some walls, while others hold photographs ranging from her frolicking in the Bahamas (shot by Parkinson) and basking in Hawaii (shot by Derujinsky).

The crescendo is a stunning selection of portraits commissioned especially by LCF and photographed by Ali Mahdavi. I’ve purposefully omitted any images of these photographs in the hope that you’ll go along and view the exhibition yourself. They are fresh and classical at the same time – there’s something intimately special about them. Please go.

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…
 

The third annual Fashioning the Future Awards took place last Thursday, where guests from the world of fashion, business and sustainable living came together to celebrate international sustainable fashion talent. Supported by the United Nations, the awards promote students who produce fashion with conscience.

The setting for this glamorous occasion – the East Wintergarden, part of the Canary Wharf complex – seemed a little unusual in the wake of the current financial crisis, and it’s not the first destination I’d think of if I wanted to host a conscious do. But, I was to learn, that Canary Wharf are committed to environmental issues. The Canary Wharf Group is, in fact, one of the country’s top ‘green’ companies.

Two of the finalists’ work by Joana Faria

Inside the venue, a load of wooden cogs had been dotted around the room, on which frozen models posed for the duration of the evening. Large zoetropes descended from the ceiling, requiring manmade kinetic power to operate that involved guests turning winches in order for them to animate. Drinks flowed and there was no obvious stage or focal point, creating a strange but enjoyable atmosphere that allowed guests to freely mingle amongst the spools and lights.

All photography by Matt Bramford

Circular tubes also hung from the celing, a little lower than average height, in which guests could stand, head fully immersed inside, and listen to interviews with the shortlisted nominees while looking a little silly. It all made for good fun and took the sometimes stifling atmosphere of these kind of events quickly away.

The ceremony itself was delayed in the hope that the members of the celebrity judging panel who could make it (Erin O’Connor and Lucy Siegle had already pulled out for unspecified reasons) would eventually show up. It was repeatedly announced that Jo Wood and BFC chairman Harold Tillman were, together, stuck in traffic. Eventually the producers of the awards gave up and the show commenced, glamourously hosted by fashion protagonist Caryn Franklin. The lights dimmed and Caryn took her place in the centre of the room under one of the zoetropes. Guests were invited to sit, anywhere, or stand to view the ceremony.

Jo Wood and Harold Tillman stuck in traffic by Gareth A Hopkins

Five awards were presented across a diverse range of subjects, including design and innovation, under this year’s theme: Biodiversity.

One of the finalists’ work by Jaymie O Callaghan

Unique Balance
Sara Emilie Terp Hansen scooped the coveted prize for Unique Balance with her intriguing and aesthetically brilliant collection made from cork. The judges said Sara Emilie had ‘found an opportunity to utilise an unexpected material in a fashion context, allowing nature to dictate design.’ It was quite the striking collection and Sara, one of the only recipients to collect her award in person, looked heartwarmingly shocked to receive the award.

One of the finalists’ work by Justyna Sowa

Unique Materials and Processes
The second award, for Unique Materials and Processes, was due to be presented by the aforementioned Jo Wood. Guests still hoped she would leg it in last minute and snatch the mic, but still no joy. Massive props must go to Alex McIntosh from the Centre for Sustainable Fashion who took to the stage (metaphorically speaking as there wasn’t one, of course) and presented also absent Evelyn Lebis‘ wearable light collection with the award.

One of the finalists’ work by Katrina Conquista

Unique Enterprise
Australian Alice Payne scooped the Enterprise award for her conceptual approach to business. ‘Think Lifecycle’ is a sort of social media platform for big companies, allowing them to harness environmental sustainability across the entire business. No, I didn’t completely understand it either, but I did like her spider diagrams.

Unique Design
LCF graduate Lara Torres picked up the award for Unique Design. Professor Frances Corner OBE, head of the LCF, said ‘ironically the design category was the hardest to judge; it’s very hard not to fixate on the idea that the winning entry has to be a perfectly realised garment’. In fact, it wasn’t – Lara’s entry examined the role of the fashion designer in modern society and the relationship we have with the clothing we wear.

The Body Shop One to Watch Award
The final award, presented by Ann Massal, International Brand Director of The Body Shop, went to Ashley Brock, who had flown all the way from the USA for the occasion. Eek. It was a sort of all-encompassing award for the prize student who hadn’t been acknowledged in the other categories. Ashley’s collection showed how ’seemingly obsolete garments can be re-purposed’.

Erin O’ Connor realxing in the shower and Jo Wood stuck in traffic by Antonia Parker

And so the awards were wrapped up with a brief catwalk show where models stood up from their spools, sashayed around the room and then formed an imposing group under the centre spotlight. Still no sign of Jo Wood or Harold Tillman. It was a marvellous ceremony – genuinely unique – and a celebration of wearable sustainable fashion. I did wonder if it was entirely appropriate that these two were sitting in a car somewhere when they were supposed to be part of an environmentally-aware event (why they didn’t just get out of their bloody cars and get on the bloody tube is beyond me) but infact it didn’t matter; it made the evening entirely about the fashion, the winners, and the real message.

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