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

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

Laurel Harple.

Heather Stanton.

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

Will for Heather.

One Mango Tree.

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

Eki Orleans.

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

Ashish S/S 2012 by Antonia Parker.

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

Astrid Andersen S/S 2012 by Antonia Parker.

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

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

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

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

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

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

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

Hilary Alexander at LFW.

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

Antonia Parker is optimistic!

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

Felder Felder S/S 2011 by Antonia Parker.

On arrival at the beautiful newly renovated Museum of London we were greeted by a phalanx of inflatable squirrels – a typical Christopher Raeburn touch.

Christopher Raeburn S/S 2011. All photography by Amelia Gregory.

Downstairs the presentation was split between the Sackler Hall and the Linbury Gallery, with a presentation cum catwalk show in one exhibition space and a musical garment installation in the other. Christopher Raeburn has never done things traditionally and his first major London Fashion Week presentation was no exception.

Christopher Raeburn S/S 2012 by Natalie Horsman.

Using colourful parachute material the space had been divided into colourful strips against which the models, both male and female, posed in a series of outfits from the new collection. Although he has branched out into ready-to-wear, his mainstay remains the outerwear for which he is famed and the overall feel was definitively outdoorsy but luxe. The audience were given just enough time to photograph models before they returned backstage and changed into different outfits.

Back in the installation area we were able to create intriguing sounds by touching the garments that were hanging in colour coded areas. Christopher Raeburn has once again managed to capture the attention of fashion lovers with his clever use of environmentally friendly materials and tactile presentation skills.

Located in Kingston upon Thames, South West London, Kingston University London doesn’t seem to have a buzzing reputation for academia. But with art the institution are widely regarded as one of the best in the country, particularly for fashion education. Kingston fashion graduates have gone on to senior posts in a range of leading labels which include Armani, Burberry, Calvin Klein, Vivienne Westwood and Yves Saint Laurent. And it goes without saying that the Fashion Scout presentation at London Fashion Week is a thoroughly unique opportunity to showcase work to the industry’s elite at such an early stage in a designer’s career.

The university has been presenting the best of it’s MA Fashion graduates at Vauxhall Fashion Scout for two years now, and the theme has remained the same – The Body Laboratory. This time, there was an array of interpretations of the theme from full-on brain-like, mouldy textiles (yes, really) to delicate references through elegant style details. My favourites of the presentation were Stefanie Nieuwenhuyse, Fay Gascoigne, Ninela Ivanova and Han Gu.

Stefanie Nieuwenhuyse by Kirstie Battson

I saw perhaps the most bustle around Stefanie Nieuwenhuyse, who had a corset and shoe displayed as part of a collection inspired by Biomimicry. The pieces were created from an intricate shell of thin wood that was broken into tiny hexagonal shapes then arranged in the most impressive and fiddly way; it must have taken yonks to put together. Her business cards were also made out of the thin wood she had used in her collection pieces – a great touch!

Photography courtesy of Fay Gascoigne.

I asked Fay Gascoigne about her pieces and she spoke with such passion and expression that I couldn’t help but admire her work! She displayed a funky, sporty jacket, formed with purple digital printed fabric, gathered in sections to make a volumnous shape. She also had everyone in the room sniffing her giant white plastic necklace that smelt like lavender.

Ninela Ivanova created a somewhat controversial collection that was displayed in the center of the room in all its glory. The collection, titled Moulded Mind was largely made up of lazer-cut velvet encased in silicone (which created a wonderful veiny/brainy effect). These pieces were named Second Skin. What was even more bizarre was the thick mould that were contained in transparent vests and shoulder pads. This was much more of a textile venture than a fashion one but I was intrigued by the concept, as was everyone else in the room as they touched and stared at the pieces and badgered Ninela with questions.

Han Gu by Aysim Genc

Han Gu’s work stood out beautifully. It was just a shame that there wasn’t more of her collection on display for the presentation. She’d created pieces that were much more wearable but that still showed fantastic textile skill in minute triangular features that seemed to hark back to Japanese origami. It turns out that the collection, titled Triangular Memories, was inspired by memories of her grandma who liked to fold the smallest notes to make little triangles. My favourite feature was the collar, made from tiny transparent plastic triangles; a simple but beautifully constructed piece.

All photography by Amelia Gregory.

The Kingston MA Fashion presentation at Vauxhall Fashion Scout continues to show off the university’s ability to stretch their students’ capabilities, give them the creative freedom to push new boundaries and inject something new into the fashion world.

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

Tata Naka S/S 2012 by Yelena Bryksenkova.

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

Tata Naka S/S 2012 by Yelena Bryksenkova.

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

Taka Naka S/S 2012 by Clare Twomey.

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

Tata Naka S/S 2012 by Vicky Newman.

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

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

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

You can tell that Michael has fun with his designs; much like, say, fellow Newgen designers Louise Gray and Meadham Kirchhoff. He seems to have a less disciplined and somewhat more carefree vibe that runs through his work and for his Spring/Summer 2012 collection this revealed itself in playful prints that darted from block colour to illustrative lines to teeny-tiny florals. It was gorgeous! And landed itself firmly in my LFW top three.

Anna Dello Russo, posing as soon as she spotted Amelia’s camera.

He had the front row that London designers dream of – Alexandra Schulman, Hilary Alexander, Anna Dello Russo (who looked ah-mazing in Prada), good ol’ Harold Tillman and many fashion editors, including ELLE UK fashion director Anne-Marie Curtis (many wouldn’t recognise the ELLE UK team, but I’m a little obsessed. I went into still shock when Rebecca Lowthorpe passed me at Erdem last season; best fashion writer ever). And all without a popstar poser in sight! Okay, I know that it may be fun and exciting to have Marina Diamond or Paloma Faith sit their buttocks on your front row, but there must be something about having this professional fash pack that makes your work feel truly respected.

Harold Tillman, Chairman of the British Fashion Council. Photograph by Georgia Takacs.

It’s been a treat to follow Michael’s journey since his initial sponsorship by BFC Newgen (OH those Newgen designers!) and his collage creations have always been seen as, well, a little bit mad (see Spring/Summer 2011). And his recent collaboration with equally mad Bjork (I love her) on her Biophilia project is clear patchwork evidence of this. Naturally, however, I have often found his designs so playful and daring that they’re often un-wearable. But with this collection? I wanted it all. And so, I imagine, did every other woman in the room. A bold statement, yes. But with a perfectly balanced Spring/Summer colour scheme, casual-luxe dressmaking and just the right amount of garish glamour, Michael was almost spot on.

Michael van der Ham S/S 2012 by Nicola Ellen

The collection’s appeal all lay in the casual, feminine dresses and pencil trouser/shirt combo that was all oh-so-embellished with colour and print upon a subtle mix of matte, jersey and sheer textures. That extra-long sentence made it all seem too much, I know. But there was absolutely nothing try-hard about this collection. There was no black floor-skimming dress in the finale (it’s done much too much) or crazed props sticking out of heads or hanging off models. It was straight-forward, good womenswear that still remained surprising and unpredictable as each look was revealed.

And not forgetting the accessories, which were the type that, rather than giving a brief appreciative nod, were all-round oggleworthy; you just wanted to stare at them and look in closer at their bright, ornate detail. These bold, chunky-but-delicate pieces acted as an extension of the mismatched intricate print, as did the sequined colourful clutches (some of which had the overdone Chanel-esque chain straps that I’m no longer a fan of) which were carried by many of the models.

Michael van der Ham S/S 2012 by Nicola Ellen

Photograph by Georgia Takacs. All other photography by Amelia Gregory.

Photography by Amelia Gregory.

Since his initial sponsorship from BFC’s Newgen, Michael van der Ham has grown up in leaps and bounds. There was a hype around him this season that has evolved from the previous ‘Keep an eye on him! He’s up-and-coming!’ to the sort that screams ‘I’m an established designer, showing my work at London Fashion Week; respect.’ And we do, Michael. We do.

Ones to Watch menswear finished with the most outrageous designer: KYE. Live and Let Live featured plenty of glitzy gold decoration in the form of glittery DMs, foiled prints of skeleton uzis and even a life size crystal encrusted gun bag strapped across a bare chest. Inspired by the images of conflicts and violence that saturate our news networks, this was not a collection for the feint hearted.

Photography by Matt Bramford.

KYE S/S 2012 by Barb Royal.

Woven tasselled scarves worn in multiple around wrists and ankles, on heads and around faces were a nod towards Palestinian fashion – even appearing in a full matching shirts and shorts suit with neon guns emblazoned in embroidery on the back.

KYE S/S 2012 by Barb Royal.

Having grown up in a separated country Korean born designer Kathleen Hanhee Kye pokes fun at excessive militarism, but this was always going to be difficult ground to tread – I am sure that as many people will find this collection distasteful as find it entertaining. Still, whoever said fashion could not cause us to pause and think, or even antagonise? One thing is certain, Live and Let Live was a fun and different way to round up S/S 2012 menswear Ones to Watch.

Photography by Matt Bramford.

Kathleen Hanhee Kye holds a BA and MA in menswear from Central Saint Martins. She hopes to branch out into womenswear next season: I’m intrigued to see what this will look like.

Photography by Amelia Gregory.

Click here to view the embedded video.

Baartmans and Siegel are already making waves in menswear land: the upcoming brand is stocked by Harrods. A look at their S/S 2012 collection reveals why. It is an easy going range of summery suits, accessories and separates in perfect boy tones: lots of pewter, stone, dusty blue and dashes of orange and caramel. Of particular note were the chunky leather satchels, snood silk scarves and cosy striped handknit cotton cardigans and jumpers, all worn with comfy brogues by classic shoemakers Grenson.

All photography by Matt Bramford.

Baartmans Siegel S/S 2012 by Katie Allen.

Wouter Baartman and Amber Siegel are a Dutch/English design partnership who met whilst designing at Viktor & Rolf and became united over their love of beautiful craftsmanship and imaginative design.

Baartmans and Siegel S/S 2012 by Barb Royal.

The Dust Drifters collection was inspired by the colours of an arid landscape, perfect for the modern traveller and Baartmans and Siegel’s use of quality fabrics such as Irish linen and silk crepe contributes to the air of luxury. They describe themselves as ‘modern traditionalists’ and it’s easy to see how this ethos has been translated into clothing. Beautiful.

All photography by Amelia Gregory.

Click here to view the embedded video.

She concluded her MA in Womenswear at Central Saint Martins only three years ago, but Masha Ma has already a made a name for herself amongst London Fashion Week goers, and is even one of Amelia Gregory’s favourites! True story. We therefore, of course, made our way back to Vauxhall Fashion Scout to see what she’d been up to and what her S/S 2012 range had to offer.

In our interview with the award-winning designer last August, just prior to her London Fashion Week debut, Masha described her design agenda as ‘chic, modern arrogance and semi-couture’. Since then, we’ve seen her work evolve from her exquisite take on classic chic to what Amelia and I witnessed on that Saturday morning; a futuristic, bold mission into the female silhouette with accomplished fashion-forward detail.

Masha Ma S/S 2012 by Meagan Morrison

Inspired by the reconstruction of the famous Palace of Versailles, France, the collection displayed a combination of disciplined colours and textures juxtaposed with distressed sheers and unfinished edges. Most looks were slim, elegant, elongated assemblies with a tough sportswear vibe running throughout, complete with strategically placed zips, head gear and androgynous tailoring.

Masha Ma S/S 2012 by Kassie Berry

The show began with icy ensembles of muted blues and green pieces in numerous tones of mint and sea foam. For me, it was a stunning colour pallette which illuminated upon a delicate canvas of fluid silks, satins and sheers. These light references to an underwater odyssey (helped along by the gentle water sounds on the soundtrack) blended in-and-out amongst the Palace-inspired printed pieces. Thematically, the consistency did seem to lack. This, however, didn’t prevent me from finding the collection’s many contrasting elements equally delightful.

Masha Ma S/S 2012 by Meagan Morrison

Sheer white gauze skimmed down legs and clung loosely around calves, whilst delicate tight-pleated mini skater skirts in mint tones swayed across thighs. It was an unusually sexy composition that contrasted with smart, high-necked tailored shirts. Intelligent construction existed in the zipping together of a-symetric skirt and dress layers with other zips utilised as shaping detail to flatter the figure. The female silohuette was considered, embraced and pushed to new boundaries.

Masha Ma S/S 2012 by Marta Spendowska

Amongst my favourite pieces were the breathtakingly skilled coats that dominated the show, pre-finale. Original and dramatic in design, yet extremely wearable for the Spring/Summer seasons, I was being seduced into the idea of owning one of Masha’s beautifully crafted outerwear pieces. (The matte-white one took my fancy; a girl can always dream.)

All photography by Amelia Gregory

As opposed to the radical design ethic that is so deep-seated in London fashion today, observing a collection so fine in detail and delicate in reference is something rare and refreshing. In her return to London Fashion Week for her third solo collection, Ma didn’t disappoint. In fact, it extended our vision as to her dress-making capabilities. With the art direction intriguing and beautifully illustrated, the construction unique and the detail impeccable, Masha Ma certainly (and, perhaps, unknowingly) reaffirmed herself as one of Amelia’s Magazine’s firm favourites.

Following the catwalk show from Deng Hao there was a brief interlude with a video from the Shenzhen Tourist Board and then I was delighted to see the collection of Haiping Xie in motion. An oriental version of La Vie en Rose played in the background as Xie’s models came out in metallic bronze make-up with their hair styled in blunt bowl cuts covered in printed bandanas.

Haiping Xie for Fashion Shenzhen by Caragh Jackson.

The atmospheric abstract prints were similar to the ones I had seen at the exhibition, with an appealing grainy quality. They featured colourful iconography from Chinese mythology and butterflies that enticed us into an Oriental garden on a spring day. There were lots of textures in this collection; exaggerated tiers of ruffles on skirts, sheer neon yellow underskirts, feather-like shrugs, pure white and cyan tulle, taffeta and rosettes.

Haiping Xie for Fashion Shenzhe by Clarie Kearns.

Haiping Xie for Fashion Shenzhen by Debbie Ajia.

As with Deng Hao, traditional garments were juxtaposed with European style dress such as skater skirts, chain halter necks, swing dresses and an exaggerated Spanish flamenco style dress as the main finale. This was a bold, bright and bouncy show but I felt the Shenzhen heritage and mystique was slightly lost underneath the many prints and textures – I preferred the traditional dresses at the exhibition.

All photography by June Chanpoomidole.

Nevertheless it was very interesting to see how Deng Hao and Haiping Xie have created their own ways of uniting western and eastern cultures together.

Watch the full video of the catwalk show and see what you think. Don’t forget to check out my review of the Deng Hao show too.

Click here to view the embedded video.

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

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

John Rocha S/S 2012 by Nicola Ellen

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

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

John Rocha S/S 2012 by Nicola Ellen

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

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

John Rocha S/S 2012 by Nicola Ellen

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

All photography by Duilio Marconi