Graduate Fashion Week 2010

Amelia’s Magazine | Graduate Fashion Week 2010: Edinburgh College of Art

by

cheap medications photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe house, prescription once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of A Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by the V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard’
Watch the trailer here: the_concise_dictionary_of_dress_trailer

Trailer: The Concise Dictionary of a Dress
sales photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe House, once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of a Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard.’

Watch the trailer here: The Concise Dictionary of a Dress
approved photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe House, once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of a Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard.’

Watch the trailer here: The Concise Dictionary of a Dress
abortion photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe House, patient once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

viagra photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18750″ />

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of a Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard.’

Watch the trailer here: The Concise Dictionary of a Dress

Illustration by Emma Rockett, viagra dosage from her graduate work

So on Sunday it was down to the beautifully named Anastasia Arden-Maccabee to open the Edinburgh College of Art show on Sunday. Her fresh colour palette of a variety of pastel colours brought welcome respite from a lot of monochrome collections at Graduate Fashion Week.

Models were draped in lightweight fabrics that skimmed the knee and gave shapely silhouettes. Intricate flaps and folds had created the illusion of origami.

Making more literal use of Origami techniques was Eliza Borkowska, whose models appeared like futuristic sirens. Defining creases and thick lines shaped short dresses into artistic creations, of which Martin Margiela could even put his name to.

Charlotte Helyar’s collection was one of the most innovative and enjoyable of the week – enjoyable because it was hilarious to watch everybody scrabble for their 3D glasses as her first model appeared.

She’d made use of 3D print techniques, see – and applied them to floor-length dresses and floaty, flattering tops.


Illustration by Charlotte Helyar, from her graduate work

Emma Rockett’s collection screamed English heritage, another theme we’ve seen a lot of this week. Emma had executed it with panache. Traditional tailoring techniques were employed for candy-stripe blazers and high-waisted skirts, accessorised with up-side-down Boater hats and vibrant pink stockings.


Illustration by Emma Rockett, from her graduate work

It was Lisa Leissos who presented the most demure, sophisticated collection of this bunch. Her all-red collection of maxi-dresses and knitwear had real flare, and deeper reds were used for some classic knitwear. Sweeping lines gave the collection a very modern feel.


Illustration by Lisa Leissos, from her graduate work

A refreshing change came in the form of Alistair Nimmo’s mermaid-like goddesses. Flamenco-style fringing on skirt waists and hems created this desired effect, but a palette of nude, aqua and navy kept it contemporary and grown-up. Bustiers and jackets with circles at the chest also gave the collection a sexy edge.

Alexander White’s sweetheart necklines and tulip skirts also oozed sex appeal, while harsh tailored trouser suits contrasted this. Alexander has used an interesting technique for skirts, which had an anatomical look – God knows what it was, but I suspect it may have been organza or wool (!) weaved together in organic forms.

I also loved Isabel Wong’s layered organza jackets and dresses with olive green and nude colours; Louise Manson’s bohemian-inspired collection with synched waists, blouson sleeves and tiny knitted caps; and Louise Holgrove’s exaggerated paper-bag waists and sumptuous, heavy materials.

It was to Qi Zhang to close the show, and while I really liked her modernist collection, I didn’t think it was the best. Models wore lampshade-shaped helmets which were just about translucent enough for them to see, and her patchwork ensembles inspired by her mother made great use of a variety of materials.

While Edinburgh may not have had an outrageous show-stopper, it had technique, innovation and originality aplenty.

Splendid!

All photographs by Matt Bramford

Written by Matt Bramford on Wednesday June 9th, 2010 3:36 pm

Categories ,3D, ,Alexander White, ,Alistair Nimmo, ,Anastasia Arden-Maccabee, ,Boater hats, ,Charlotte Helyar, ,Earls Court, ,Edinburgh College of Art, ,Eliza Borkowska, ,Emma Rockett, ,English Heritage, ,Flamenco, ,Graduate Fashion Week 2010, ,Isabel Wong, ,knitwear, ,Lisa Leissos, ,london, ,Martin Margiela, ,menswear, ,Organza, ,origami, ,Qi Zhang, ,Womenswear

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week 2010: Northumbria

by

I always look forward to the Northumbria University BA fashion degree show for two reasons. One, price because it’s always effing good – the innovation, salve technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (baaaooowappp) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it…

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.

The key theme in this year’s show was digital prints, and it’s a testament to the late, great Alexander McQueen’s legacy that this is such a mainstay on graduate catwalks. Faye Chamberlain’s was the most striking of collections, owing to its wild neon prints reminiscent of MIA’s Kala album cover, and blingy embellishment. Short, short dresses with spikey hips challenged the traditional constraints of the female form.

Further print patrons included the work of Sophie Dee and Ludmila Maida. Sophie Dee presented a feminine, playful collection of vibrant prints, micro shorts and bubble skirts, accessorised with childlike objects such as candy floss and helium balloons, harping back to the glory days of the seaside. Ludmila Maida’s collection was a slightly more mature one, with elegant maxi dresses in neon, gathered into sections to create flattering asymmetrical shapes.

Gemma Williamson also hopped on the print train, with her slightly eery collection making use of religious iconography.


Illustration by Gemma Williamson from her graduate work

Menswear was, as always, well represented; one of the few menswear graduates to win the prestigious Gold Award in recent years was a Northumbria student. Sara Wilson set the standard with a mixture of soft tailoring and Japanese influence – loose fitting blazers were teamed with skinny trousers and shorts, while snood-like pieces of material attempted to cover the face, giving each outfit a martial-art feel.

Louise Dickinson’s inspired outfits seemed to draw influence from historical Britain and tradition in general. An oversized Barbour-style jacket here and a triangular-shaped cape printed with a vintage map there made for a intriguing and genuinely unique collection.

But it was Caroline Rowland’s eccentric tailoring that captured my imagination the most. A bit Sebastian Flyte, a bit Dries Van Noten, it was the perfect mix of traditional tailoring and quirky design flair. Ill-fitting gingham shirts (I presume on purpose) were teamed with tucked-in waistcoats and patterned bow ties, while cropped blazers looked great with high-waisted tailored trousers. You can never go wrong with a sock suspender either.

And now for a quick round of some of my favourite womesnwear collections. It’ll have to be a whistle-stop tour because I have 3 other shows to write up and I’m having my hair cut in an hour.

One of my absolute faves was Julie Perry, who combined body-concious all-in-ones with Meccano-style leather creations. These outfits had real sex appeal – not one for the supermarket but definitely for the fierce fashionista who isn’t afraid to show off. Julie’s pieces were architectural in shape and hinted at a little bit of kink.


Illustration by Julie Perry from her graduate work

Holly Farrar’s super sleek collection toyed with masculine tailoring and models had structured shoulders with outfits tapering downwards. Defined v-necklines gave the outfits an overall geometric look and were very sophisticated indeed.


Illustration by Holly Farrar from her graduate work

These gemoetric-slash-linear-slash-structured themes ran through many a collection, executed most effectively by Stephanie Price. Her futuristic collection married materials with aesthetic appeal with flattering shapes – mesh covered body-concious shift dresses had a dazzling effect, as did this dynamic jacket…


Illustrations by Stephanie Price, from her graduate work

Closing the show was Victoria Kirby, who had clearly been selected for her fresh innovation and coutourier-like craftsmanship. Elegant floor sweepers made from silk and velour had the appearance of two dresses in one, cut and merged down the middle. Exaggerating the shoulders and synching in at the waist created beautiful feminine shapes that flattered.


Illustration by Victoria Kirby, from her graduate work

All photography by Matt Bramford

Written by Matt Bramford on Tuesday June 8th, 2010 7:28 pm

Categories ,Barbour, ,Bow Ties, ,Caroline Rowland, ,Digital Prints, ,Dries Van Noten, ,Elvis, ,Faye Chamberlain, ,Gemma Williamson, ,Gold Award, ,Graduate Fashion Week 2010, ,Hilary Alexander, ,Holly Farrar, ,japanese, ,Julie Perry, ,Kala, ,Lady Gaga, ,Louise Dickinson, ,Ludmila Maida, ,McQueen, ,Meccano, ,menswear, ,MIA, ,Naomi New, ,Neon, ,Newcastle, ,Northumbria, ,print, ,Sara Wilson, ,Sebastian Flyte, ,Sophie Dee, ,Stephanie Price, ,Style Savage, ,Victoria Kirby, ,Womenswear

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week 2010: International Show

by

An androgynous Autumn/Winter collection kicked off Northbrook college’s graduate show with Rhea Field’s take on tuxedos with a twist. The nude and black palette teamed with the surprising use of latex injected just the right amount of femininity to the aptly named ‘About A Boy’ collection. Polka-dot pussy bow blouses in ultra girly chiffon were given the tailored treatment with perfectly-pleated trousers and black lace-up boyish brogues; bow-ties were oversized or sugary pink and shirts were sequin-splattered in a perfect contradictory fashion. ? 

Diana Alves drew her inspiration for ‘Parallel Fashion’ from contemporary architecture. To achieve her shapes she made a 3D pyramid from paper which she mounted on a mannequin. She then proceeded to create her abstract garments using this concept, find teamed with clever tailoring to create her sharp shouldered woollen jackets and satin and silk taffeta zip detailed dresses. ? 

Anna Louise Moxon focused on body proportions in her graphics inspired collection ‘Illustration Subfocus’. With the use of prints she followed contours of the body to create full and feminine silhouettes. Her interesting designs are inspired by special effects in films, symptoms in particular CGI (computer generated imagery) and 3D animation. The retro colour palette of monochrome, dosage grey and red combined with the futuristic concept and use of layered textures and prints make for a really interesting and forward-thinking collection.  ? 
After a extremely brief 30-second interval it was Manchester’s University of Salford’s chance to shine, and shine, one designer in particular, quite literally did. 

Alex Dubell began the show with ‘Modern Hysterics’,the first of three collections inspired by the surprising choice of soap opera Coronation Street, of which he says “just as in reality, life in ‘the street’ can be chaotic with events that are both dramatic and well hidden”.

He has chosen to represent this drama by the medium of extremely exaggerated and structured shoulders in a sparkly midnight blue palette which he describes as “the ‘out of touch’ moments that we all experience, which Coronation Street has dramatised so effectively for many years”. ? 
Emma Lidell had a more futuristic vision judging by her collection ‘Grey Matter’ which does what it says on the tin. The show had a sports-luxe feel to it, courtesy of her use of marl jersey, but presented a twist with a heavy use of Perspex moulding and transparent ‘astronaut’ style skirts. She describes her collections as “garments evoking ambiguous intelligent thought”.

Danielle Ferguson presented the audience with the second Corrie based collection of the night, this time the inspiration came off the back of a particular storyline in her favourite programme rather than the show in general. The collection is named ‘My inner child’ and is based on Sarah Louise Platt’s teenage pregnancy and how becoming a mother at such a young age can force a person into adulthood. ? 

She describes her creations as “both playful and grown up” demonstrated in the her full length adult romper-suit, cute cropped printed blouse which she teamed with a huge teddy bear skirt and a classy ankle length camel coat paired with a teddy bear ears hat. She also shows a penchant for polka-dots which can be found throughout the collection, on both demure scarves and a fitted top with overly-structured pleated sleeves reminiscent of a pretty bow.

Closing the show in spectacular fashion was Charlotte Lee Taylor whose collection ‘Bioluminescent Abyss’  was inspired by the black icy world beneath the sea, a world 13,000 feet beneath the surface untouched by the sun’s rays.

Charlotte invoked this bizarre and dark environment and the electric forms that light it with her midnight-black organza garments, which included a thigh-skimming transparent cage dress and a full length hooped cocoon style dress, the collection was mesmerizing enough without the final collective walk of the models down the runway, when a selection of each outfit burst into glowing halos of light, giving us mere humans a glimpse of the electrifying and mesmerizing world under the sea, never before seen by human eyes. Until now.

Anna Piercy, troche UCA Epsom, generic Illustrated by Lisa Billvik

Well well well the kids certainly know what they’re doing at Graduate Fashion Week this year. Sunday kicked off day one of shows for the creatively minded at our very own Earl’s Court and believe me these are the McQueens of the future.

UWE Bristol showcased some beautiful structured puffball dresses from Georgina Kitchen teamed with knee high socks and see-through metallic partitions. Jessie Potter had a clear vision too, healing showing off an appliquéd felt and wool collection in a 70s pallet of mustard and burgundy with pom-pom headdresses. Jessica Hart clearly had the most funm however – showing a pastel based range of graphic prints that Lady Gaga would feel sheepish in. Necklaces were gigantic, as were pockets, in what was a playful and crisp collection, complete with bow headbands of course. (Read more about UWE Bristol’s show here – with even MORE illustrations!)


Jessica Hart, illustrated by Jenny Goldstone

I was not expecting the standard of design as seen at UCA Epsom University’s show after though. Think of Pilgrim’s, 50s housewives, teddy boys, Julia Roberts in Mona Lisa Smile and a dash of kids TV and you’re half way there. This was a serious clash of icons creating a surprisingly good statement for the University.

But amongst the host of talent there were some definite faces of the fashion future to watch, and a surprising amount of menswear. Remember you heard it here first.

Lucinda Ailes: One so patriotic, not to our fair Blighty mind, but all things American were emblazoned on everything through an array of stars and stripes. Models sported devoted shorts, leggings and maxi dresses but all was kept thoroughly wearable by grey mix-and-match pieces to wear back with the collection.

Katie Barret: A different kind of heritage was displayed in Barret’s show of menswear pieces. Thoroughly Scottish and proud of it, models sported full kilted dresses as well as the traditional skirts. The whole feel was very rugged using natural fabrics and even slightly drab colours. But each look was spiced up with a hint of tomato red, whether it be in a top or the waist detailing of said kilt instantly adding an extra something to the look.

Antonia Lloyd: Another one for the boys but this time not quite so manly. Lloyd made sure the boys sparkled in glittered tuxedo style shirts and knickerbockers to be proud of. There was something quite romantic about the look, with buttons done up to the neck and a palette of muted greys and navies.

Beata Gebka: I told you there were pilgrims and it came from Gebka’s show. Models sported traditional style long dresses accessorized with cloches and capes. As unwearable as it sounds, the pieces were surprisingly covetable, finished off with black ribbon detailing and even bib fronts. This may just be the new look come autumn and one that features heavily around the key muted pallet of greys and navies again.

Stency Kidega: Frills frills and more frills was what Kidega must have been dreaming of. They were added to the shoulders of jackets and the necklines of coats but wherever they were placed they looked beautiful. Kidega pulled off a very tailored collection, which isn’t always the most interesting, but the corset detailing on the dresses and the aforementioned jackets made sure that it was. Delicious.

Eve McDonald: McDonald definitely has a 50s housewife buried inside her otherwise she wouldn’t be able to produce such stunning floral shirts. But she’s also hiding a Teddy Boy too, as pieces were mixed with checked trousers and long shorts. Finished off with floral headscarves tied in oversized bows I almost wanted to pull on my espadrilles and listen to some good old Rock ‘n’ Roll.

Anna Piercy: It’s Piercy who brought the piece de résistance of the whole night for me. Piercey managed to create a collection based entirely around oversized letters. Seriously. Not that much to hear but the fabrics still flowed into beautiful a-line dresses with cut-out detailing. Even more intelligent was the use of panelling and sequins to create letters from the arms and body of a dress. And the finale – Piercey’s models came together to spell out the word ‘RANDOM.’ It was and yet I still liked it.


Illustrations by Lisa Billvik

How nice though that we got to see the faces behind the fashion as each designer (embarrassingly for most but certainly not all) walked the catwalk with one of their models. It was cheers and ovation all round from the crowd and do you know what…. they thoroughly deserved it.

Hear, hear!


Anna Sergunova, look illustrated by Aniela Murphy

It may have been the first ever International Show at Graduate Fashion Week, viagra but the designers did all they could to leave a lasting impression on London; collections came courtesy of universities spanning Europe with one show from students as far as Singapore.

The show launched with a strong start with Wolfgang Jarnach from the Akademie Mode & Design in Munich, his dark collection was made up of voluminous skirts and shoulders teamed with striking tailored jackets, topped off with a dramatic Count Dracula style cape.

In an equally theatrical fashion came Vicole Lang’s collection, which racked up the most air miles for GFW, coming in from the Lasalle College of the Arts in Singapore. The show kicked off with a distinctly fetishism theme opening with a PVC bandage body suit, but seemed to become more gradually demure with each outfit, until the stunning Balenciaga-esque spiked and padded dress closed her a collection in show-stopping fashion.

After Vicole’s electrifying garments, a much needed cool off came courtesy of Lidya Chrisfen’s collection which swished down the runway to the calming sounds of an ebbing tide. The neutral palette, twisted rope detailing and seashell embellishments brought to mind shipwrecks and desert islands, whilst the daringly cut, printed maxi dresses injected a touch of red-carpet glamour to the collection.

Wearability was an apparently unimportant factor for a number of the international designers, as spectators at Earl’s Court witnessed recurring ‘head coverings’ as opposed to headwear from several collections. This theme was kicked off by Linda, hailing from Singapore’s LaSalle College of the Arts, who sent a seemingly ‘blind’ model down the runway in a denim hooded thigh-skimming mini dress, which zipped up balaclava style to the top of her head.


Linda, illustrated by Lisa Billvik

The concept continued in Anna Sergnova’s collection, whose medieval-inspired garments were dreamt up in the halls of Saint Petersburg’s State University of Technology & Design. Four of her six garments completely covered the model’s faces with knight style armour, metal visors and chain-mail helmets, teamed with gauntlets and protective Balmain style padded hips and shoulders. Unfortunately the safety of the models was somewhat blighted by the towering heel-less wedges in which they were precariously balancing on as they walked the runway.

Things only got stranger when Amsterdam Fashion Institute student, Floor Kolen’s creations took to the stage, she too showed a penchant for covering the eyes, this time through the medium of masks, rather scary looking plastic bird masks to be precise. She also took the acrylic route for a selection of her garments and accessories including a moulded bust style T-shirt, plastic feet shoes and demi-gloves which only covered the front part of the hand, but would nethertheless render the wearer helpless.


Floor Kolen, illustrated by Maria del Carmen Smith

It is often the English that are often regarded as the most eccentric people in the world; but maybe it is time to rethink this stereotype, because actually stranger things can and certainly do happen – just ask the international designers at GFW. 

Images courtesy of catwalking.com

Written by Bekkie Gilbert on Wednesday June 9th, 2010 4:52 pm

Categories ,Academie Mode & Design, ,amsterdam, ,Amsterdam Fashion Institute, ,Anna Sergnova, ,Count Dracula, ,Earls Court, ,Floor Kolen, ,Graduate Fashion Week 2010, ,International Show, ,Lasalle College of the Arts, ,Lidya Chrisfen, ,Linda, ,london, ,Munich, ,PVC, ,Saint Petersburg, ,Singapore, ,State University of Technology & Design, ,Vicole Lang, ,Wolfgang Jarnach

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week: Ravensbourne

by

Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Francis Alÿs Tate Modern La Ronde
La Ronde by Francis Alÿs

Last week Francis Alÿs: A Story of Deception opened at the Tate Modern. In the first room we are faced with the artwork that inspired the exhibition’s name: a film of a flickering mirage in the Patagonian desert. Water appears to flood across a dusty highway… vanishing into the distance in a hypnotising shimmer. Originally from Belgium, viagra 40mg Alÿs has been a resident of Mexico City since the mid 1980s, sickness although his work often explores the politics of a worldwide diaspora. Each room encapsulates a particular project, remedy often showcasing the original source material, such as news clippings, and the tiny but beautifully formed oil paintings that Alÿs produces alongside films and other ephemera.

Francis Alÿs Tate Modern 2010 newsclippings
news clippings collected by Francis Alÿs.

Life in teeming Mexico City has provided rich material to plunder – especially in the constant walking walking walking of the city’s street vendors, echoed in the delicate collages displayed in a light box – and the casual violence which Alÿs imitates by carrying his own gun on prominent display through the streets (in Re-enactments) until he is arrested.

Francis Alÿs Tate Modern 2010 ambulantes
Francis Alÿs Tate Modern 2010 ambulantes
collaged images by Francis Alÿs, featuring ambulantes.

Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) is one of the most famous pieces created by Alÿs. In it Alÿs pushes a block of ice around the streets until it is completely melted. Constant movement is a constant theme: whether kicking a can endlessly around the streets (a performance that ended when the absorbed Alÿs stepped in front of a car) leading sheep in a circle or pouring green paint out of a can to retrace the armistice border between Israel and Jordan.

Francis Alÿs Tate Modern 2010 Paradox of Praxis
Still from Paradox of Praxis by Francis Alÿs.
Francis Alÿs Tate Modern 2010
Still from The Loop by Francis Alÿs.
Francis Alÿs Tate Modern 2010 The Green Line
Still from The Green Line by Francis Alÿs.

Through all his methods of creation Alÿs never reaches a single point of resolution, an idea which is explored in the Rehearsal series, wherein a Beetle car is driven up a hill to the tune of a brass band, rolling backwards every time the music reaches a pause, much like Latin American modernisation, which always seems to find some reason for delay.

Alÿs questions the role of the artist in the political, transforming everyday objects into new roles. Half way through the exhibition the floor of a room is covered with rubber car mats decorated with a pop art graphic of a silenced mouth, and Camguns are created out of scrap wood, metal and film canisters. Since 2000 Alÿs has been throwing himself into the eye of the tornadoes that he chases through the countryside, seeing in these natural phenomena an echo of political chaos. If peace is found in the centre will it be possible for change?

Some of the newest work by Alÿs revolves around the concept of the tornado, implosions and explosions – a work in progress which is presented complete with post it notes on a wall in the last room. Some of the beautiful oils in this collection echo the delicate work of ongoing series Le Temps du Sommeil, which features 111 miniature oil paintings on recycled wood that feature dreamlike scenes reminiscent of the actions that crop up time and again in his other work. Not only does Alÿs enjoy the privacy of working in a traditional medium, he also uses the money from the sales of such paintings to finance his larger and less houseworthy projects.

A must see exhibition for anyone with an interest in how multimedia can be to used to effectively tackle difficult political subjects. It runs until 5th September 2010.
Francis Alÿs Tate Modern La Ronde
La Ronde by Francis Alÿs

Last week Francis Alÿs: A Story of Deception opened at the Tate Modern. In the first room we are faced with the artwork that inspired the exhibition’s name: a film of a flickering mirage in the Patagonian desert. Water appears to flood across a dusty highway… vanishing into the distance in a hypnotising shimmer. Originally from Belgium, try Alÿs has been a resident of Mexico City since the mid 1980s, cheapest although his work often explores the politics of a worldwide diaspora. Each room encapsulates a particular project, often showcasing the original source material, such as news clippings, and the tiny but beautifully formed oil paintings that Alÿs produces alongside films and other ephemera.

Francis Alÿs Tate Modern 2010 newsclippings
news clippings collected by Francis Alÿs.

Life in teeming Mexico City has provided rich material to plunder – especially in the constant walking walking walking of the city’s street vendors, echoed in the delicate collages displayed in a light box – and the casual violence which Alÿs imitates by carrying his own gun on prominent display through the streets (in Re-enactments) until he is arrested.

Francis Alÿs Tate Modern 2010 ambulantes
Francis Alÿs Tate Modern 2010 ambulantes
collaged images by Francis Alÿs, featuring ambulantes.

Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) is one of the most famous pieces created by Alÿs. In it Alÿs pushes a block of ice around the streets until it is completely melted. Constant movement is a constant theme: whether kicking a can endlessly around the streets (a performance that ended when the absorbed Alÿs stepped in front of a car) leading sheep in a circle or pouring green paint out of a can to retrace the armistice border between Israel and Jordan.

Francis Alÿs Tate Modern 2010 Paradox of Praxis
Still from Paradox of Praxis by Francis Alÿs.
Francis Alÿs Tate Modern 2010
Still from The Loop by Francis Alÿs.
Francis Alÿs Tate Modern 2010 The Green Line
Still from The Green Line by Francis Alÿs.

Through all his methods of creation Alÿs never reaches a single point of resolution, an idea which is explored in the Rehearsal series, wherein a Beetle car is driven up a hill to the tune of a brass band, rolling backwards every time the music reaches a pause, much like Latin American modernisation, which always seems to find some reason for delay.

Francis Alÿs Tate Modern Rehearsal
Francis Alÿs Tate Modern Rehearsal
Stills from Rehearsal by Francis Alÿs.

Alÿs questions the role of the artist in the political, transforming everyday objects into new roles. Half way through the exhibition the floor of a room is covered with rubber car mats decorated with a pop art graphic of a silenced mouth, and Camguns are created out of scrap wood, metal and film canisters. Since 2000 Alÿs has been throwing himself into the eye of the tornadoes that he chases through the countryside, seeing in these natural phenomena an echo of political chaos. If peace is found in the centre will it be possible for change?

Francis Alÿs Tate Modern 2010 Silencio
Silencio by Francis Alÿs.
Francis Alÿs Tate Modern 2010 Camguns
Camguns by Francis Alÿs.

Some of the newest work by Alÿs revolves around the concept of the tornado, implosions and explosions – a work in progress which is presented complete with post it notes on a wall in the last room. Some of the beautiful oils in this collection echo the delicate work of ongoing series Le Temps du Sommeil, which features 111 miniature oil paintings on recycled wood that feature dreamlike scenes reminiscent of the actions that crop up time and again in his other work. Not only does Alÿs enjoy the privacy of working in a traditional medium, he also uses the money from the sales of such paintings to finance his larger and less houseworthy projects.

Francis Alÿs Tate Modern Tornado
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Details from Le Temps du Sommeil by Francis Alÿs.
A must see exhibition for anyone with an interest in how multimedia can be to used to effectively tackle difficult political subjects. It runs until 5th September 2010.
Francis Alÿs Tate Modern La Ronde
La Ronde by Francis Alÿs

Last week Francis Alÿs: A Story of Deception opened at the Tate Modern. In the first room we are faced with the artwork that inspired the exhibition’s name: a film of a flickering mirage in the Patagonian desert. Water appears to flood across a dusty highway… vanishing into the distance in a hypnotising shimmer. Originally from Belgium, this web Alÿs has been a resident of Mexico City since the mid 1980s, information pills although his work often explores the politics of a worldwide diaspora. Each room encapsulates a particular project, often showcasing the original source material, such as news clippings, and the tiny but beautifully formed oil paintings that Alÿs produces alongside films and other ephemera.

Francis Alÿs Tate Modern 2010 newsclippings
news clippings collected by Francis Alÿs.

Life in teeming Mexico City has provided rich material to plunder – especially in the constant walking walking walking of the city’s street vendors, echoed in the delicate collages displayed in a light box – and the casual violence which Alÿs imitates by carrying his own gun on prominent display through the streets (in Re-enactments) until he is arrested.

Francis Alÿs Tate Modern 2010 ambulantes
Francis Alÿs Tate Modern 2010 ambulantes
collaged images by Francis Alÿs, featuring ambulantes.

Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) is one of the most famous pieces created by Alÿs. In it Alÿs pushes a block of ice around the streets until it is completely melted. Constant movement is a constant theme: whether kicking a can endlessly around the streets (a performance that ended when the absorbed Alÿs stepped in front of a car) leading sheep in a circle or pouring green paint out of a can to retrace the armistice border between Israel and Jordan.

Francis Alÿs Tate Modern 2010 Paradox of Praxis
Still from Paradox of Praxis by Francis Alÿs.
Francis Alÿs Tate Modern 2010
Still from The Loop by Francis Alÿs.
Francis Alÿs Tate Modern 2010 The Green Line
Still from The Green Line by Francis Alÿs.

Through all his methods of creation Alÿs never reaches a single point of resolution, an idea which is explored in the Rehearsal series, wherein a Beetle car is driven up a hill to the tune of a brass band, rolling backwards every time the music reaches a pause, much like Latin American modernisation, which always seems to find some reason for delay.

Francis Alÿs Tate Modern Rehearsal
Francis Alÿs Tate Modern Rehearsal
Stills from Rehearsal by Francis Alÿs.

Alÿs questions the role of the artist in the political, transforming everyday objects into new roles. Half way through the exhibition the floor of a room is covered with rubber car mats decorated with a pop art graphic of a silenced mouth, and Camguns are created out of scrap wood, metal and film canisters. Since 2000 Alÿs has been throwing himself into the eye of the tornadoes that he chases through the countryside, seeing in these natural phenomena an echo of political chaos. If peace is found in the centre will it be possible for change?

Francis Alÿs Tate Modern 2010 Silencio
Silencio by Francis Alÿs.
Francis Alÿs Tate Modern 2010 Camguns
Camguns by Francis Alÿs.

Some of the newest work by Alÿs revolves around the concept of the tornado, implosions and explosions – a work in progress which is presented complete with post it notes on a wall in the last room. Some of the beautiful oils in this collection echo the delicate work of ongoing series Le Temps du Sommeil, which features 111 miniature oil paintings on recycled wood that feature dreamlike scenes reminiscent of the actions that crop up time and again in his other work. Not only does Alÿs enjoy the privacy of working in a traditional medium, he also uses the money from the sales of such paintings to finance his larger and less houseworthy projects.

Francis Alÿs Tate Modern Tornado
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Details from Le Temps du Sommeil by Francis Alÿs.
A must see exhibition for anyone with an interest in how multimedia can be to used to effectively tackle difficult political subjects. It runs until 5th September 2010.
Francis Alÿs Tate Modern La Ronde
La Ronde by Francis Alÿs

Last week Francis Alÿs: A Story of Deception opened at the Tate Modern. In the first room we are faced with the artwork that inspired the exhibition’s name: a film of a flickering mirage in the Patagonian desert. Water appears to flood across a dusty highway… vanishing into the distance in a hypnotising shimmer. Originally from Belgium, recipe Alÿs has been a resident of Mexico City since the mid 1980s, healing although his work often explores the politics of a worldwide diaspora. Each room encapsulates a particular project, this often showcasing the original source material, such as news clippings, and the tiny but beautifully formed oil paintings that Alÿs produces alongside films and other ephemera.

Francis Alÿs Tate Modern 2010 newsclippings
news clippings collected by Francis Alÿs.

Life in teeming Mexico City has provided rich material to plunder – especially in the constant walking walking walking of the city’s street vendors, echoed in the delicate collages displayed in a light box – and the casual violence which Alÿs imitates by carrying his own gun on prominent display through the streets (in Re-enactments) until he is arrested.

Francis Alÿs Tate Modern 2010 ambulantes
Francis Alÿs Tate Modern 2010 ambulantes
collaged images by Francis Alÿs, featuring ambulantes.

Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) is one of the most famous pieces created by Alÿs. In it Alÿs pushes a block of ice around the streets until it is completely melted. Constant movement is a constant theme: whether kicking a can endlessly around the streets (a performance that ended when the absorbed Alÿs stepped in front of a car) leading sheep in a circle or pouring green paint out of a can to retrace the armistice border between Israel and Jordan.

Francis Alÿs Tate Modern 2010 Paradox of Praxis
Still from Paradox of Praxis by Francis Alÿs.
Francis Alÿs Tate Modern 2010
Still from The Loop by Francis Alÿs.
Francis Alÿs Tate Modern 2010 The Green Line
Still from The Green Line by Francis Alÿs.

Through all his methods of creation Alÿs never reaches a single point of resolution, an idea which is explored in the Rehearsal series, wherein a Beetle car is driven up a hill to the tune of a brass band, rolling backwards every time the music reaches a pause, much like Latin American modernisation, which always seems to find some reason for delay.

Francis Alÿs Tate Modern Rehearsal
Francis Alÿs Tate Modern Rehearsal
Stills from Rehearsal by Francis Alÿs.

Alÿs questions the role of the artist in the political, transforming everyday objects into new roles. Half way through the exhibition the floor of a room is covered with rubber car mats decorated with a pop art graphic of a silenced mouth, and Camguns are created out of scrap wood, metal and film canisters. Since 2000 Alÿs has been throwing himself into the eye of the tornadoes that he chases through the countryside, seeing in these natural phenomena an echo of political chaos. If peace is found in the centre will it be possible for change?

Francis Alÿs Tate Modern 2010 Silencio
Silencio by Francis Alÿs.
Francis Alÿs Tate Modern 2010 Camguns
Camguns by Francis Alÿs.

Some of the newest work by Alÿs revolves around the concept of the tornado, implosions and explosions – a work in progress which is presented complete with post it notes on a wall in the last room. Some of the beautiful oils in this collection echo the delicate work of ongoing series Le Temps du Sommeil, which features 111 miniature oil paintings on recycled wood that feature dreamlike scenes reminiscent of the actions that crop up time and again in his other work. Not only does Alÿs enjoy the privacy of working in a traditional medium, he also uses the money from the sales of such paintings to finance his larger and less houseworthy projects.

Francis Alÿs Tate Modern Tornado
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
Details from Le Temps du Sommeil by Francis Alÿs.

Worth it to see these paintings alone, this is a must see exhibition for anyone with an interest in how multimedia can be to used to effectively tackle difficult political subjects. It runs until 5th September 2010.

Vivienne Westwood, viagra 100mg illustrated by Kerry Lemon

While things like free booze and miniature pies are thoroughly good perks of a fashion week, buy information pills it is also completely inevitable that you somehow manage to end up with hundreds of bits of paper and about six half-drunk bottles of water rolling around in your bag, and sure enough by the time I reached the Ravensbourne show I had unwittingly acquired three in the space of forty five minutes. Out of all the shows at Graduate Fashion Week, Ravensbourne is the hottest ticket – so hot, in fact, that only Vivienne bloody Westwood was in the audience. We found out afterwards that she’s working on a climate change television project with the college’s media course and went to support the fashion students. Her presence proved a bit of a personal distraction during the show and I seemed less concerned about what I was thinking than what she was thinking. It was a bit difficult to tell though.
 
Judging by the pleasantly psychotic combinations of ideas on show one can only presume that the class of Ravensbourne BA 2010 took a trip to the zoo on a cocktail of hallucinogens and then sat down to design their collections. With the extensive parade of animals on show it was like the four-footed refugees of Noah’s Ark had washed up on the beaches of Graduate Fashion Week – after a more muted and minimalist BA show from Central St Martins, it was a eye-popping joy to watch, with cartoons and pop art emerging as other pungent themes. The show was opened by Bobby Charles Abley with a menswear collection that proved children’s cartoons and bondage need not be two mutually alienating concepts, even if they are more than a little disturbing when thrown together. Speech bubble printed trousers, stuffed teddy bears and hoods with animal ears were paired with bondage straps in innocuous looking primary colours.
 
While Ravensbourne is particularly well known for producing amazing digital prints, Sera Ulger’s womenswear collection featured beautifully hand painted animal motifs on silk, featuring a crow, a lemur, a tarsier and an owl with its eyes in suggestive places on a selection of mohair dresses.


 
Ravensbourne took the Menswear Award for the second year in a row with Thomas Crisp’s elegantly tailored collection of leather and velvet jackets, based on Parisian street gangs in the late 1800s.


 
Amy Addison’s designs featured digital prints, miniskirts, thigh high socks and sleeves ending in boxing gloves…

…while Jessica Holmes’s cocktail dresses were emblazoned with ducks and Dumbos.


 
We’ve also come to expect a lot of accomplished knitwear. Harriet Clinch’s retro knitwear was basically a walking seventies ski lodge – simple jumpers and a star-spangled poncho with a vast selection of different knits thrown into the mix – stripes, bobbles, fair isle and cables, accessorised with sheepskin oven mitts and even a knitted camera. 

photographs courtesy of catwalking.com

Written by Jonno Ovans on Tuesday June 22nd, 2010 4:34 pm

Categories ,1800s, ,Amy Addison, ,Bobby Charles Abley, ,cartoons, ,Central Saint Martins, ,Climate Change, ,Digital Prints, ,ducks, ,Earls Court, ,fashion, ,Graduate Fashion Week 2010, ,Harriet Clinch, ,knitwear, ,london, ,menswear, ,Pop Art, ,ravensbourne, ,Sera Ulger, ,Ski, ,Teddy Bears, ,Thomas Crisp, ,Velvet, ,Womenswear

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week 2010: London College of Fashion Graduate Natalie Rae

by

Natalie Rae graduated from the London College of Fashion 2010 class with a BA in fashion design technology (Womenswear). The designer caught Amelia’s Magazine’s attention for her stance against the use of fur in the fashion industry and the application of embroidery to create stunning textures on jacket shapes based on 1980′s casual wear. Speaking to Natalie was an insight into the difficulties that await any designer (especially for students) branching into sustainable fashion design, symptoms namely the time and cost it takes to source from ethical sources.

With this fantastic collection Natalie blows apart the misconceived assumption that sustainable fashion has no place on the catwalk.

What was the starting point for your collection?

Before embarking on my initial research for my collection concepts, abortion I knew I wanted all of my ideas to centre around sustainability. To be conscious of how I would be producing my garments, using only organic or recycled materials as well as making sure my production methods where compliant with fair trade. This was very important to me through every step of this project. Also craft is something I have always been fascinated with; many different types of crafts, not just related to fashion; this was how I came across Ryan Berkley’s amazing animal portraits. These illustrations gave me a great starting point to help build a story for my collection and opened me up to using lots and lots of colors.

How does your creative process begin?

I work straight into pattern cutting, I collect all my research into one book to refer to and start pulling from each image, creating random sketches and then go straight into sampling either textures, silhouettes or details. I am very visual and hands on about everything I do, I find I absorb ideas better this way. I also don’t like wasting time, I like to get started right away with things, that is way I go straight into patterncutting and sampling. All of this really helps me to create more ideas and to start pulling things together into one cohesive collection of ideas.

What techniques do you use to minimize waste when pattern cutting or constructing the garments?

I try to minimize the amount of fabric and paper I use while patterncutting and sewing by trying to fit my patterns in a way that they don’t waste massive amounts of small bits. This can be really tricky sometimes because in some cases you just can’t help it. I have a box for scraps for both paper and fabric, I use the scrapes usually for sampling ideas or making small details like pockets and such. I also try to reuse my twilling samples for other project as much as i can by refitting them or just cutting them up to create something else.

How did you become interested in designing sustainable clothes?

It’s my lifestyle essentially. Its somewhat hard to say where it begin because it is something I’ve always agreed with and tried to incorporate into my everyday life. I will admit that when I started fashion design here in London, I became a bit more religious about it and started re-educated myself on the different areas of sustainability but particularly those in fashion and realized there is such massive gap in the fashion industry for it.

How do you think this gap in fashion with regards to sustainability can be closed?

I can honestly say that while I don’t think sustainability will ever take over fashion, it needs to more prominent then it is at the moment, something I believe it can and will be in the near future. It is important not only to create brands that are sustainable, but that existing brands switch to more sustainable practices. These brands already have a place in the market and have seen the industry and its effects, they have the power to modify these existing problems and I feel if they promoted more sustainable/ethical ideals other people will follow. But saying that, I do think new brands coming into the market place promoting sustainable/ethical fashion is important too. Making people aware of the effects of both non-sustainable and sustainable fashion is something that needs to be done, if they can see the before and after, it helps put things in prospective.

I also think design should not be sacrificed when creating sustainable/ethical fashion. Some students at my university still think sustainable fashion feels dated and they always imagine it being another scratchy hemp sack. This is far from the truth, sustainable fashion design and fabrics have come a long way, even brands like H&M and Topshop carry small amounts of sustainable/ethical pieces in their collections that are very on trend. The problem is that people don’t realise it, as it’s not promoted as much as it should be

Where did the idea of embroidery develop from and what is your stance on the use of fur within the fashion industry?

I am very in to surface textiles and I have always loved the use of embroidery in both art and fashion, it reminds me of something that is a bit more special and authentic. The uniqueness and beauty of hand crafted embroidery is hard to copy, so when you buy a piece that has that, you feel special and that you have something no-one else has. Previously I worked at a couture bridal salon, where we would create these beautiful one off gowns with amazingly small details people just loved, I wanted to recreate that idea with my garments, by creating pieces that make you feel special everyday, not just for one.

With the subject of fur, I came into animals rights activism at a young age, I never saw the use of fur as a necessity in fashion. To me the whole concept is really grotesque and I can’t understand it even in the smallest of ways. The production and use for creating fur is so inhumane, we have so many alternatives (and I am not talking about synthetic furs) in fashion for creating warmth but I know that this is not just the issue, people see it as luxury, but how can one see the death of animals as a luxury? Be creative. I wanted to show that you can still have luxury with out death.

Why the illustrations of Ryan Berkley? How were his anthropomorphic illustrations transferred into the collection?

I saw each of Berkley’s illustrations as a great story of each animal. Giving me an insight into their lives, how they dressed themselves and even the expressions on their faces told me that they may be a bit more serious about their daily lives, trying to pass off as proper civilized humans. It reminded me of working class and how we must put on a costume or character for work that is not really who we are; trying to restrain the animal inside. The collection really shows a coming through or breaking out; the wild with the restrained.

Where did the 1980′s american shape of the collection develop from?

I am big on causal attire, anyone that hangs around me will tell you I am a jeans and t-shirt kind of gal! But saying that, I love well tailored pieces that are easy to wear and mix into your wardrobe. I wanted to convey that with this collection. I also needed that concept to fit with my working class animals idea. I found images from the early 80’s of designers I admire such as Calvin Klein and Perry Ellis; I felt that the style of the early 80‘s causal american mixed with a little bit of tailoring was perfect way to show my love for two kinds of style.

Who are Hand and Lock of London?

Hand and Lock are a London based embroidery company that have been around since the mid 1700‘s, and is the merging of two long established embroidery companies. I chose Hand and Lock because of their many, many years of experience and expertise as well as their professionalism and friendliness. They where extremely easy to work with and everything was done in a very timely fashion. When I was searching for embroidery companies, my top priority was for finding fair trade work conditions. Hand and Lock had just opened a factory in India to balance their work load and I was reassured, very adamantly, that the employees are paid fair trade wages and have good quality working conditions. I was very happy in the end that my work would be done in India, where the craft and tradition of embroidery is such an amazing part of the culture and I could promote it and show the beauty of it in a small way.

Where did you source your materials?

The vast majority of my materials came from India, some were sources directly from companies in India and some were from UK companies that supply materials from India. The biggest challenge I came across with using organic materials was finding variations in colours. This was a problem because my collection has so many colours and organic materials rarely come in a vast amount of colorways. I knew all this to begin with and tried to stick with what I could find but silly me! I kept choosing fabrics that came in only one colorway – the base color, which is an un-dyed cream. In the end, I researched the self dying of natural dyes and low impact dyes to solve this problem. I didn’t want to create another step in production that would create more waste but I also wanted to create a beautiful vibrant collection that was sellable and wearable, so I had to make the sacrifice. I was very conscious of my consumption of water and tried my best to conserve as much as I could by minimizing the amount of dying that needed to be done. In the end it wasn’t so terrible but the experience defiantly made me want to research more into the process of fabric dying.

Where the fabric companies you used part of fair trade initiatives? Do you have tips to other fashion students considering using ethical/sustainable fabric?

It can be tricky business finding organic/fair trade suppliers, especially ones that will supply in smaller quantities but they are out there and there are more then people realize. All of the suppliers I used are certified organic fabric suppliers and each company also states their practice fair trade principles. Only some of the companies are part of The Fair Trade Foundation. As far as finding organic/fair trade suppliers, there are sites that will help direct you to suppliers: The Green Directory, Ethical Junction and the Ethical Fashion Forum. Additionally, some suppliers have references to other sites relating to eco suppliers and going to trade shows is very important. I try to attend as many textile trade shows as possible, even ones that don’t say anything about sustainable/ethical fabrics because there are always a few companies that do provide them or are trying to cross over into more sustainable practices. It is important to be able to talk to a rep about the company, as this way you can find out more, about what individual companies consider to be sustainable and see the products in person.

I found all of my fabric suppliers either through tons of research, collecting from fabric libraries or from my work experience with ethical brands. People in ethical fashion are very friendly and very willing to help. Going to any type of ethical fair/ marketplace or event with sustainable brands where you can speak to people is always a good start, most people will give you good tips and suggestions.

Can the same be said of the embroidery through hand and lock?

Unfortunately no. When I came to Hand and Lock my first question to them was about fair trade practices, they could only reassure me that they do pay fair wages and have good working conditions for their employees in India. They seemed very honest and actually happy that someone asked them. I do wish I could say they are part of the fair trade initiative and maybe they will be, as the factory in India is still new. At the time that I choose to work with them, I was very short on time and had to make a quick decision, they are such lovely people that it was hard to say no. As well, one thing I learned from my work experience with sustainable brands is that you can’t tick every box with it comes to being ethical and sustainable, its very difficult and in the end, you can only do the best you can and to be honest every step of the way.

What’s next for Natalie Rae?

I take things day to day and try not to restrict myself from any new ideas. At the moment I am sorting out my next big move, whether I do an MA or gain more work experience. I do want to gain more experience with in the fashion industry before I move on to create my own label in the future. But who knows, things change……

Photography by Sean Michael and the Creative Director was Rob Phillips

Written by Sally Mumby-Croft on Wednesday June 16th, 2010 1:51 pm

Categories ,BA, ,Calvin Klein, ,craft, ,Creative Director Rob Phillips, ,Embroidary, ,Ethical Fashion, ,Ethical Fashion Forum, ,Ethical Junction, ,Fair Trade, ,Fur is Murder, ,Graduate Fashion Week 2010, ,Hand and Lock, ,India, ,London College of Fashion, ,Natalie Rae, ,Perry Ellis, ,photography Sean Michael, ,Research, ,Ryan Berkley, ,Sketchbooks, ,Sourcing the Global Market Place, ,Sustainable Fashion

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week 2010: UWE Bristol and UCA Epsom

by


I always look forward to the Northumbria University BA fashion degree show for two reasons. One, look because it’s always effing good – the innovation, prostate technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.


I always look forward to the Northumbria University BA fashion degree show for two reasons. One, try because it’s always effing good – the innovation, sickness technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, cialis 40mg I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.


I always look forward to the Northumbria University BA fashion degree show for two reasons. One, ask because it’s always effing good – the innovation, mind technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, visit this site I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.



Anna Piercy, website like this UCA Epsom, advice Illustrated by Lisa Billvik

Well well well the kids certainly know what they’re doing at Graduate Fashion Week this year. Sunday kicked off day one of shows for the creatively minded at our very own Earl’s Court and believe me these are the McQueens of the future.

UWE Bristol showcased some beautiful structured puffball dresses from Georgina Kitchen teamed with knee high socks and see-through metallic partitions. Jessie Potter had a clear vision too, showing off an appliquéd felt and wool collection in a 70s pallet of mustard and burgundy with pom-pom headdresses. Jessica Hart clearly had the most funm however – showing a pastel based range of graphic prints that Lady Gaga would feel sheepish in. Necklaces were gigantic, as were pockets, in what was a playful and crisp collection, complete with bow headbands of course. (Read more about UWE Bristol’s show here – with even MORE illustrations!)


Jessica Hart, illustrated by Jenny Goldstone

I was not expecting the standard of design as seen at UCA Epsom University’s show after though. Think of Pilgrim’s, 50s housewives, teddy boys, Julia Roberts in Mona Lisa Smile and a dash of kids TV and you’re half way there. This was a serious clash of icons creating a surprisingly good statement for the University.

But amongst the host of talent there were some definite faces of the fashion future to watch, and a surprising amount of menswear. Remember you heard it here first.

Lucinda Ailes: One so patriotic, not to our fair Blighty mind, but all things American were emblazoned on everything through an array of stars and stripes. Models sported devoted shorts, leggings and maxi dresses but all was kept thoroughly wearable by grey mix-and-match pieces to wear back with the collection.

Katie Barret: A different kind of heritage was displayed in Barret’s show of menswear pieces. Thoroughly Scottish and proud of it, models sported full kilted dresses as well as the traditional skirts. The whole feel was very rugged using natural fabrics and even slightly drab colours. But each look was spiced up with a hint of tomato red, whether it be in a top or the waist detailing of said kilt instantly adding an extra something to the look.

Antonia Lloyd: Another one for the boys but this time not quite so manly. Lloyd made sure the boys sparkled in glittered tuxedo style shirts and knickerbockers to be proud of. There was something quite romantic about the look, with buttons done up to the neck and a palette of muted greys and navies.

Beata Gebka: I told you there were pilgrims and it came from Gebka’s show. Models sported traditional style long dresses accessorized with cloches and capes. As unwearable as it sounds, the pieces were surprisingly covetable, finished off with black ribbon detailing and even bib fronts. This may just be the new look come autumn and one that features heavily around the key muted pallet of greys and navies again.

Stency Kidega: Frills frills and more frills was what Kidega must have been dreaming of. They were added to the shoulders of jackets and the necklines of coats but wherever they were placed they looked beautiful. Kidega pulled off a very tailored collection, which isn’t always the most interesting, but the corset detailing on the dresses and the aforementioned jackets made sure that it was. Delicious.

Eve McDonald: McDonald definitely has a 50s housewife buried inside her otherwise she wouldn’t be able to produce such stunning floral shirts. But she’s also hiding a Teddy Boy too, as pieces were mixed with checked trousers and long shorts. Finished off with floral headscarves tied in oversized bows I almost wanted to pull on my espadrilles and listen to some good old Rock ‘n’ Roll.

Anna Piercy: It’s Piercy who brought the piece de résistance of the whole night for me. Piercey managed to create a collection based entirely around oversized letters. Seriously. Not that much to hear but the fabrics still flowed into beautiful a-line dresses with cut-out detailing. Even more intelligent was the use of panelling and sequins to create letters from the arms and body of a dress. And the finale – Piercey’s models came together to spell out the word ‘RANDOM.’ It was and yet I still liked it.


Illustrations by Lisa Billvik

How nice though that we got to see the faces behind the fashion as each designer (embarrassingly for most but certainly not all) walked the catwalk with one of their models. It was cheers and ovation all round from the crowd and do you know what…. they thoroughly deserved it.

Hear, hear!

Photographs courtesy of catwalking.com

Written by Jemma Crow on Tuesday June 8th, 2010 1:40 pm

Categories ,1950s, ,70s, ,americana, ,Anna Piercy, ,Antonia Lloyd, ,Beata Gebka, ,Earls Court, ,Eve McDonald, ,Georgina Kitchen, ,Graduate Fashion Week 2010, ,Jemma Crow, ,Jessie Potter, ,Julia Roberts, ,Katie Barrett, ,Kids TV, ,Lady Gaga, ,Lisa Billvik, ,Lucinda Ailes, ,McQueen, ,menswear, ,metallics, ,Pilgrims, ,scotland, ,Stency Kidega, ,Sunday, ,Teddy Boys, ,Tuxedo, ,UCA Epsom, ,UWE Bristol, ,Womenswear

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week 2010: London College of Fashion Graduate Natalie Rae

by

Natalie Rae graduated from the London College of Fashion 2010 class with a BA in fashion design technology (Womenswear). The designer caught Amelia’s Magazine’s attention for her stance against the use of fur in the fashion industry and the application of embroidery to create stunning textures on jacket shapes based on 1980′s casual wear. Speaking to Natalie was an insight into the difficulties that await any designer (especially for students) branching into sustainable fashion design, symptoms namely the time and cost it takes to source from ethical sources.

With this fantastic collection Natalie blows apart the misconceived assumption that sustainable fashion has no place on the catwalk.

What was the starting point for your collection?

Before embarking on my initial research for my collection concepts, abortion I knew I wanted all of my ideas to centre around sustainability. To be conscious of how I would be producing my garments, using only organic or recycled materials as well as making sure my production methods where compliant with fair trade. This was very important to me through every step of this project. Also craft is something I have always been fascinated with; many different types of crafts, not just related to fashion; this was how I came across Ryan Berkley’s amazing animal portraits. These illustrations gave me a great starting point to help build a story for my collection and opened me up to using lots and lots of colors.

How does your creative process begin?

I work straight into pattern cutting, I collect all my research into one book to refer to and start pulling from each image, creating random sketches and then go straight into sampling either textures, silhouettes or details. I am very visual and hands on about everything I do, I find I absorb ideas better this way. I also don’t like wasting time, I like to get started right away with things, that is way I go straight into patterncutting and sampling. All of this really helps me to create more ideas and to start pulling things together into one cohesive collection of ideas.

What techniques do you use to minimize waste when pattern cutting or constructing the garments?

I try to minimize the amount of fabric and paper I use while patterncutting and sewing by trying to fit my patterns in a way that they don’t waste massive amounts of small bits. This can be really tricky sometimes because in some cases you just can’t help it. I have a box for scraps for both paper and fabric, I use the scrapes usually for sampling ideas or making small details like pockets and such. I also try to reuse my twilling samples for other project as much as i can by refitting them or just cutting them up to create something else.

How did you become interested in designing sustainable clothes?

It’s my lifestyle essentially. Its somewhat hard to say where it begin because it is something I’ve always agreed with and tried to incorporate into my everyday life. I will admit that when I started fashion design here in London, I became a bit more religious about it and started re-educated myself on the different areas of sustainability but particularly those in fashion and realized there is such massive gap in the fashion industry for it.

How do you think this gap in fashion with regards to sustainability can be closed?

I can honestly say that while I don’t think sustainability will ever take over fashion, it needs to more prominent then it is at the moment, something I believe it can and will be in the near future. It is important not only to create brands that are sustainable, but that existing brands switch to more sustainable practices. These brands already have a place in the market and have seen the industry and its effects, they have the power to modify these existing problems and I feel if they promoted more sustainable/ethical ideals other people will follow. But saying that, I do think new brands coming into the market place promoting sustainable/ethical fashion is important too. Making people aware of the effects of both non-sustainable and sustainable fashion is something that needs to be done, if they can see the before and after, it helps put things in prospective.

I also think design should not be sacrificed when creating sustainable/ethical fashion. Some students at my university still think sustainable fashion feels dated and they always imagine it being another scratchy hemp sack. This is far from the truth, sustainable fashion design and fabrics have come a long way, even brands like H&M and Topshop carry small amounts of sustainable/ethical pieces in their collections that are very on trend. The problem is that people don’t realise it, as it’s not promoted as much as it should be

Where did the idea of embroidery develop from and what is your stance on the use of fur within the fashion industry?

I am very in to surface textiles and I have always loved the use of embroidery in both art and fashion, it reminds me of something that is a bit more special and authentic. The uniqueness and beauty of hand crafted embroidery is hard to copy, so when you buy a piece that has that, you feel special and that you have something no-one else has. Previously I worked at a couture bridal salon, where we would create these beautiful one off gowns with amazingly small details people just loved, I wanted to recreate that idea with my garments, by creating pieces that make you feel special everyday, not just for one.

With the subject of fur, I came into animals rights activism at a young age, I never saw the use of fur as a necessity in fashion. To me the whole concept is really grotesque and I can’t understand it even in the smallest of ways. The production and use for creating fur is so inhumane, we have so many alternatives (and I am not talking about synthetic furs) in fashion for creating warmth but I know that this is not just the issue, people see it as luxury, but how can one see the death of animals as a luxury? Be creative. I wanted to show that you can still have luxury with out death.

Why the illustrations of Ryan Berkley? How were his anthropomorphic illustrations transferred into the collection?

I saw each of Berkley’s illustrations as a great story of each animal. Giving me an insight into their lives, how they dressed themselves and even the expressions on their faces told me that they may be a bit more serious about their daily lives, trying to pass off as proper civilized humans. It reminded me of working class and how we must put on a costume or character for work that is not really who we are; trying to restrain the animal inside. The collection really shows a coming through or breaking out; the wild with the restrained.

Where did the 1980′s american shape of the collection develop from?

I am big on causal attire, anyone that hangs around me will tell you I am a jeans and t-shirt kind of gal! But saying that, I love well tailored pieces that are easy to wear and mix into your wardrobe. I wanted to convey that with this collection. I also needed that concept to fit with my working class animals idea. I found images from the early 80’s of designers I admire such as Calvin Klein and Perry Ellis; I felt that the style of the early 80‘s causal american mixed with a little bit of tailoring was perfect way to show my love for two kinds of style.

Who are Hand and Lock of London?

Hand and Lock are a London based embroidery company that have been around since the mid 1700‘s, and is the merging of two long established embroidery companies. I chose Hand and Lock because of their many, many years of experience and expertise as well as their professionalism and friendliness. They where extremely easy to work with and everything was done in a very timely fashion. When I was searching for embroidery companies, my top priority was for finding fair trade work conditions. Hand and Lock had just opened a factory in India to balance their work load and I was reassured, very adamantly, that the employees are paid fair trade wages and have good quality working conditions. I was very happy in the end that my work would be done in India, where the craft and tradition of embroidery is such an amazing part of the culture and I could promote it and show the beauty of it in a small way.

Where did you source your materials?

The vast majority of my materials came from India, some were sources directly from companies in India and some were from UK companies that supply materials from India. The biggest challenge I came across with using organic materials was finding variations in colours. This was a problem because my collection has so many colours and organic materials rarely come in a vast amount of colorways. I knew all this to begin with and tried to stick with what I could find but silly me! I kept choosing fabrics that came in only one colorway – the base color, which is an un-dyed cream. In the end, I researched the self dying of natural dyes and low impact dyes to solve this problem. I didn’t want to create another step in production that would create more waste but I also wanted to create a beautiful vibrant collection that was sellable and wearable, so I had to make the sacrifice. I was very conscious of my consumption of water and tried my best to conserve as much as I could by minimizing the amount of dying that needed to be done. In the end it wasn’t so terrible but the experience defiantly made me want to research more into the process of fabric dying.

Where the fabric companies you used part of fair trade initiatives? Do you have tips to other fashion students considering using ethical/sustainable fabric?

It can be tricky business finding organic/fair trade suppliers, especially ones that will supply in smaller quantities but they are out there and there are more then people realize. All of the suppliers I used are certified organic fabric suppliers and each company also states their practice fair trade principles. Only some of the companies are part of The Fair Trade Foundation. As far as finding organic/fair trade suppliers, there are sites that will help direct you to suppliers: The Green Directory, Ethical Junction and the Ethical Fashion Forum. Additionally, some suppliers have references to other sites relating to eco suppliers and going to trade shows is very important. I try to attend as many textile trade shows as possible, even ones that don’t say anything about sustainable/ethical fabrics because there are always a few companies that do provide them or are trying to cross over into more sustainable practices. It is important to be able to talk to a rep about the company, as this way you can find out more, about what individual companies consider to be sustainable and see the products in person.

I found all of my fabric suppliers either through tons of research, collecting from fabric libraries or from my work experience with ethical brands. People in ethical fashion are very friendly and very willing to help. Going to any type of ethical fair/ marketplace or event with sustainable brands where you can speak to people is always a good start, most people will give you good tips and suggestions.

Can the same be said of the embroidery through hand and lock?

Unfortunately no. When I came to Hand and Lock my first question to them was about fair trade practices, they could only reassure me that they do pay fair wages and have good working conditions for their employees in India. They seemed very honest and actually happy that someone asked them. I do wish I could say they are part of the fair trade initiative and maybe they will be, as the factory in India is still new. At the time that I choose to work with them, I was very short on time and had to make a quick decision, they are such lovely people that it was hard to say no. As well, one thing I learned from my work experience with sustainable brands is that you can’t tick every box with it comes to being ethical and sustainable, its very difficult and in the end, you can only do the best you can and to be honest every step of the way.

What’s next for Natalie Rae?

I take things day to day and try not to restrict myself from any new ideas. At the moment I am sorting out my next big move, whether I do an MA or gain more work experience. I do want to gain more experience with in the fashion industry before I move on to create my own label in the future. But who knows, things change……

Photography by Sean Michael and the Creative Director was Rob Phillips

Written by Sally Mumby-Croft on Wednesday June 16th, 2010 1:51 pm

Categories ,BA, ,Calvin Klein, ,craft, ,Creative Director Rob Phillips, ,Embroidary, ,Ethical Fashion, ,Ethical Fashion Forum, ,Ethical Junction, ,Fair Trade, ,Fur is Murder, ,Graduate Fashion Week 2010, ,Hand and Lock, ,India, ,London College of Fashion, ,Natalie Rae, ,Perry Ellis, ,photography Sean Michael, ,Research, ,Ryan Berkley, ,Sketchbooks, ,Sourcing the Global Market Place, ,Sustainable Fashion

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week 2010: UWE Bristol and UCA Epsom

by


I always look forward to the Northumbria University BA fashion degree show for two reasons. One, look because it’s always effing good – the innovation, prostate technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.


I always look forward to the Northumbria University BA fashion degree show for two reasons. One, try because it’s always effing good – the innovation, sickness technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, cialis 40mg I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.


I always look forward to the Northumbria University BA fashion degree show for two reasons. One, ask because it’s always effing good – the innovation, mind technique and creativity on display is second to pretty much nobody at Graduate Fashion Week. Secondly, visit this site I studied at the university, so this review might seem like a big fat plate of bias – I assure you, though, that it isn’t.

Nestled on the front row in between Style Savage Steve and the ever wonderful Hilary Alexander (who bopped, sketched and scribbled her way through the show) I was a little concerned that my big lens (said the actress to the bishop) might block the view of either of these fashion journalists. Neither said anything though, so I think I got away with it.

Opening the show with an explosion of glam-rock-meets-Elvis-meets-Lady-Gaga, Naomi New presented a very polished micro-collection featuring exaggerated shoulders of leather, spikes and studs, and horse-hair tails. Models strutted back and forth with real sex appeal and the quality of Naomi’s craftsmanship looked, from what I could see, incredible.



Anna Piercy, website like this UCA Epsom, advice Illustrated by Lisa Billvik

Well well well the kids certainly know what they’re doing at Graduate Fashion Week this year. Sunday kicked off day one of shows for the creatively minded at our very own Earl’s Court and believe me these are the McQueens of the future.

UWE Bristol showcased some beautiful structured puffball dresses from Georgina Kitchen teamed with knee high socks and see-through metallic partitions. Jessie Potter had a clear vision too, showing off an appliquéd felt and wool collection in a 70s pallet of mustard and burgundy with pom-pom headdresses. Jessica Hart clearly had the most funm however – showing a pastel based range of graphic prints that Lady Gaga would feel sheepish in. Necklaces were gigantic, as were pockets, in what was a playful and crisp collection, complete with bow headbands of course. (Read more about UWE Bristol’s show here – with even MORE illustrations!)


Jessica Hart, illustrated by Jenny Goldstone

I was not expecting the standard of design as seen at UCA Epsom University’s show after though. Think of Pilgrim’s, 50s housewives, teddy boys, Julia Roberts in Mona Lisa Smile and a dash of kids TV and you’re half way there. This was a serious clash of icons creating a surprisingly good statement for the University.

But amongst the host of talent there were some definite faces of the fashion future to watch, and a surprising amount of menswear. Remember you heard it here first.

Lucinda Ailes: One so patriotic, not to our fair Blighty mind, but all things American were emblazoned on everything through an array of stars and stripes. Models sported devoted shorts, leggings and maxi dresses but all was kept thoroughly wearable by grey mix-and-match pieces to wear back with the collection.

Katie Barret: A different kind of heritage was displayed in Barret’s show of menswear pieces. Thoroughly Scottish and proud of it, models sported full kilted dresses as well as the traditional skirts. The whole feel was very rugged using natural fabrics and even slightly drab colours. But each look was spiced up with a hint of tomato red, whether it be in a top or the waist detailing of said kilt instantly adding an extra something to the look.

Antonia Lloyd: Another one for the boys but this time not quite so manly. Lloyd made sure the boys sparkled in glittered tuxedo style shirts and knickerbockers to be proud of. There was something quite romantic about the look, with buttons done up to the neck and a palette of muted greys and navies.

Beata Gebka: I told you there were pilgrims and it came from Gebka’s show. Models sported traditional style long dresses accessorized with cloches and capes. As unwearable as it sounds, the pieces were surprisingly covetable, finished off with black ribbon detailing and even bib fronts. This may just be the new look come autumn and one that features heavily around the key muted pallet of greys and navies again.

Stency Kidega: Frills frills and more frills was what Kidega must have been dreaming of. They were added to the shoulders of jackets and the necklines of coats but wherever they were placed they looked beautiful. Kidega pulled off a very tailored collection, which isn’t always the most interesting, but the corset detailing on the dresses and the aforementioned jackets made sure that it was. Delicious.

Eve McDonald: McDonald definitely has a 50s housewife buried inside her otherwise she wouldn’t be able to produce such stunning floral shirts. But she’s also hiding a Teddy Boy too, as pieces were mixed with checked trousers and long shorts. Finished off with floral headscarves tied in oversized bows I almost wanted to pull on my espadrilles and listen to some good old Rock ‘n’ Roll.

Anna Piercy: It’s Piercy who brought the piece de résistance of the whole night for me. Piercey managed to create a collection based entirely around oversized letters. Seriously. Not that much to hear but the fabrics still flowed into beautiful a-line dresses with cut-out detailing. Even more intelligent was the use of panelling and sequins to create letters from the arms and body of a dress. And the finale – Piercey’s models came together to spell out the word ‘RANDOM.’ It was and yet I still liked it.


Illustrations by Lisa Billvik

How nice though that we got to see the faces behind the fashion as each designer (embarrassingly for most but certainly not all) walked the catwalk with one of their models. It was cheers and ovation all round from the crowd and do you know what…. they thoroughly deserved it.

Hear, hear!

Photographs courtesy of catwalking.com

Written by Jemma Crow on Tuesday June 8th, 2010 1:40 pm

Categories ,1950s, ,70s, ,americana, ,Anna Piercy, ,Antonia Lloyd, ,Beata Gebka, ,Earls Court, ,Eve McDonald, ,Georgina Kitchen, ,Graduate Fashion Week 2010, ,Jemma Crow, ,Jessie Potter, ,Julia Roberts, ,Katie Barrett, ,Kids TV, ,Lady Gaga, ,Lisa Billvik, ,Lucinda Ailes, ,McQueen, ,menswear, ,metallics, ,Pilgrims, ,scotland, ,Stency Kidega, ,Sunday, ,Teddy Boys, ,Tuxedo, ,UCA Epsom, ,UWE Bristol, ,Womenswear

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week 2010: Middlesex

by


Rebecca McClure, there check illustrated by Alli Coate

There was more than one graduate show going on during Tuesday evening… it was time for some Middlesex action. After Northampton, purchase they had some stiff competition to beat – but they pulled it out of the bag…

Hannah Ellis: A menswear collection almost turning the grown models back into child like beings in their long shorts. There were even braces, man capes and some stunning shirts cum cardigans all in beautiful hues of midnight blue and off white that made the whole collection slightly romantic when teamed with the pulled up socks and deck shoes. Perfect for a stroll along the river then a spot of croquet (or maybe I’ve been watching too much Brideshead Revisited). 

Liesemarie Schulte-Kitzing: This was a conceptual collection with a real vision. Mantilla-inspired headpieces veiled the models’ faces, complimenting a collection of intriguing design including a smooth, shapely vinyl waistcoat which had the apperance of wood. Accessories in the form of square rucksacks provided a refreshing change, as did shapeless floor-length smocks, with each piece embellished with a laser-cut flower pattern.

Jessica Shaw: Shaw’s collection was full of patchwork effects made up from a multitude of sheer fabrics. Some were big oversized checks and others were big and small polka dots but together they managed to complement each other. Throw in some sultry long dresses and chunky knits and the look is a whole collection of ambiguity.


 
Malene Oddershede Bach: This was a rocky look and do you know how we could tell that? The chunky black fringe extensions that the models were made to wear turned them into a mix between Karen O and Agyness Deyn. But the clothes made it too with printed maxi dresses teamed with a cropped biker jacket and oh so mini dresses complete with cut-out detailing on the arms. Even the longer skirts were sheer to add to the “so don’t give a damn” attitude. Rock and Roll indeed. 


Malene Oddershede Bach, illustrated by Pieter de Groot

Helen Carney: Carney’s collection featured fashionable muted colours and had a distinct industrial feel, glamorised with the addition of techinical yet soft exaggerated ruffs, which entombed one model from neck to waist and provided enhanced shoulders on another. Sophisticated, yet sexy.

Rebecca McClure: Special commendation needs to go to Rebecca McClure who designed American style mail box head pieces and even a white picket fence skirt. Maybe not so practical for the morning commute but the headpiece is definitely going straight on my ‘need not want’ list. 

The students at these shows have worked so hard and the collections they have produced are inspiring and beautiful. It looks like there’s a lot of good vibes for the future of British Fashion.

Images courtesy of catwalking.com

Written by Jemma Crow on Thursday June 10th, 2010 12:25 pm

Categories ,americana, ,Brideshead Revisted, ,British Fashion, ,Earls Court, ,Graduate Fashion Week 2010, ,Hannah Ellis, ,Jemma Crow, ,Jessica Shaw, ,london, ,Malene Oddershede Back, ,menswear, ,Middlesex, ,Picket Fence, ,Rebecca McClure, ,Womenswear

Similar Posts:






Amelia’s Magazine | Graduate Fashion Week 2010: Northampton

by

It may have been the first ever International Show at Graduate Fashion Week, erectile but the designers did all they could to leave a lasting impression on London; collections came courtesy of universities spanning Europe with one show from students as far as Singapore.

The show launched with a strong start with Wolfgang Jarnach from the Akademie Mode & Design in Munich, ambulance his dark collection was made up of voluminous skirts and shoulders teamed with striking tailored jackets, cost topped off with a dramatic Count Dracula style cape.

In an equally theatrical fashion came Vicole Lang’s collection, which racked up the most air miles for GFW, coming in from the Lasalle College of the Arts in Singapore. The show kicked off with a distinctly fetishism theme opening with a PVC bandage body suit, but seemed to become more gradually demure with each outfit, until the stunning Balenciaga-esque spiked and padded dress closed her a collection in show-stopping fashion.

After Vicole’s electrifying garments, a much needed cool off came courtesy of Lidya Chrisfen’s collection which swished down the runway to the calming sounds of an ebbing tide. The neutral palette, twisted rope detailing and seashell embellishments brought to mind shipwrecks and desert islands, whilst the daringly cut, printed maxi dresses injected a touch of red-carpet glamour to the collection.

Wearability was an apparently unimportant factor for a number of the international designers, as spectators at Earl’s Court witnessed recurring ‘head coverings’ as opposed to headwear from several collections. This theme was kicked off by Linda, hailing from Singapore’s LaSalle College of the Arts, who sent a seemingly ‘blind’ model down the runway in a denim hooded thigh-skimming mini dress, which zipped up balaclava style to the top of her head.

Linda, illustrated by Lisa Billvik

The concept continued in Anna Sergnova’s collection, whose medieval-inspired garments were dreamt up in the halls of Saint Petersburg’s State University of Technology & Design. Four of her six garments completely covered the model’s faces with knight style armour, metal visors and chain-mail helmets, teamed with gauntlets and protective Balmain style padded hips and shoulders. Unfortunately the safety of the models was somewhat blighted by the towering heel-less wedges in which they were precariously balancing on as they walked the runway.

Anna Sergunova, illustrated by Aniela Murphy

Things only got stranger when Amsterdam Fashion Institute student, Floor Kolen’s creations took to the stage, she too showed a penchant for covering the eyes, this time through the medium of masks, rather scary looking plastic bird masks to be precise. She also took the acrylic route for a selection of her garments and accessories including a moulded bust style T-shirt, plastic feet shoes and demi-gloves which only covered the front part of the hand, but would nethertheless render the wearer helpless.

It is often the English that are often regarded as the most eccentric people in the world; but maybe it is time to rethink this stereotype, because actually stranger things can and certainly do happen – just ask the international designers at GFW. 

Images courtesy of catwalking.com

Garry Butterfield, viagra photographed by Matt Bramford

We are almost at the end of Graduate Fashion Week for another year, viagra but there’s still plenty of talent left to see. 

After hearing that one of the Northampton students, see Garry James Butterfield, had been snapped for Vogue by no other than Rankin I was intrigued to see how the show would pan out.

And it was a right old mix between the neutral pallets and technical draping (grey and navy was everywhere this year) and the ever so slightly eccentric. Perfect! 

Hayley Powell: Powell erred on the neutral side sticking to a delicious mix of chocolates, khaki and creamy silks. Even more enticing was the oversized proportions of the high waisted trousers shown with a tucked in top and tied up with a battered leather belt. Definitely a contender to take Chloé’s throne and a winner in my eyes, if only for featuring a beautiful pair of printed culottes. 


Hayley Powell, illustrated by Abi Daker

Lauren Dewer: Now the first look in this grouping didn’t have such an appeal but as the models waltzed out the bigger picture became clear. Using piping detail to create frills on skirts and structure on dresses, Dewer pulled off the bumblebee pallet and brought each individual piece together. To top it off, models sported yellow socks over their black tights, still a big look for autumn following on from London Fashion Week in February. 

James Cottle: This was the first menswear collection I’ve seen in a while designed by a man. I digress. Cottle pulls together a simplistic uniform of peg leg trousers worn rolled up with romantically bibbed shirts and easy grey marl tops. Finished off with desert boots, the look was so laid back and perfect, the only thing I want to know is what did the badges on the jackets say? A mystery.

Eleanor Burton: A flashback to Dynasty and Robert Palmer’s “Addicted to Love” video aren’t uncommon musings to conjure when watching Burton’s pieces stomp down the catwalk. It was red. It was Black. It was all about shoulders and bodysuits. Simple, yes; but totally wearable all the same. And it shows you don’t need the glitz and glamour to make a statement in fashion.  


Eleanor Burton, illustrated by Krister Sellin

Amy Robinson: Nirvana. One simple word that pretty much sums up Robinson’s nod to the 90s. It was grungy lace intertwined with silky vest tops and….cycling shorts? Ok so maybe that’s a piece best left on the catwalk but I’m ready to get me a pair of net curtains and start sewing… (Sorry Gran)! 


Amy Robinson, illustrated by Naomi Law

What was nice about the Northampton shows was that they had clearly planned the manoeuvres down to a T. Each designers end pose related to the theme and their collection, and the hair was swept cleanly on top of the head and finished intertwined with ribbon. Beautiful show, well done guys. 

Images courtesy of catwalking.com

Written by Jemma Crow on Thursday June 10th, 2010 10:44 am

Categories ,1980s, ,1990s, ,Addicted to Love, ,Amy Robinson, ,Chloe, ,Dynasty, ,Earls Court, ,Eleanor Burton, ,Garry James Butterfield, ,Graduate Fashion Week 2010, ,Hayley Powell, ,James Cottle, ,Lauren Dewer, ,london, ,menswear, ,nirvana, ,Rankin, ,Robert Palmer, ,vogue, ,Womenswear

Similar Posts: