The crowd at Ziad Ghanem was as much of a draw as the catwalk show, as glitter, ruffles, corsetry, big hair and hats shuffled into the main room for a show based around counterculture and the ugly/stylish aesthetic.

“Real people” including students, artists, teachers and magazine editors modelled the clothes, which had a punky, chopped-up look. A nude bodysuit with built-up shoulders left little to the imagination on a male model in platform boots.

Ghanem apparently de- and re-constructed denim items from his sponsor Firetrap to build new clothes, like a mini corset dress with spike-shaped embellishments and the use of the material made sense within the “street-style” overall look of the collection, which was about self-expression far more than following trends or trying to look conventionally beautiful.

There were very wearable items as well, with colourful, geometric tunics in flippy cotton also bouncing down the catwalk.

At the end of the show, just such a conventionally beautiful creature took the stage to sing as the models took their final turn.

The Studio 805 presentation at Fashion Scout reflected some of the prevailing trends on display in the edgier collections shown at Freemason’s House.

Sex-trade details like the wetlook plastic lips forcing models’ mouths wide open contrasted with covered-up woodprint jumpsuits and jaunty beachball accessories. Good clean fun yes?

Or not.

Lady Gaga could well be in there.

The styling distracted a little from what looked like a thoughtfully designed mini-collection with good colour combinations and prints. There have been a lot of gimp-mask style or S&M-influenced looks on show over the past week, as well as the use of beautiful, less conventional models with tattoos and piercings. Fashion Scout has been championing designers coming from a clubwear perspective, experimenting with androgyny and unisex looks and looking at the edgier side of performative sexuality, very different from the pretty creatures over at Somerset House.

Do you know any other 15-19 year olds showing their very first collection at London Fashion Week? Through BBC Blast, ten young creatives got an exceptional opportunity to do just this. Here’s your first-hand report from the front row.

The atmosphere of intrigue that surrounded the empty catwalk was met with an explosive performance from the Dolly Rockers, the latest girlband trio to hit London, singing their new single, ‘Boys Will Be Boys’. This was followed by an exciting range of asymmetric layering, soft lines, and neutral block colours alongside splashes of graphic florals.

Our first impressions of this debut collection were that the standard was primarily high. The fabrics were simple but composed in an innovative conduct, with manipulated jersey combined with cutaway denim and drapes of neon. Plus, it would appear that these budding young fashionistas have created looks that are bang-on trend, seen at some of the big Somerset House shows such as Topshop Unique. Impressive, considering the team had a timescale of just 5-6 months in which, according to project manager (Aindrea Emelife), they had to fit in meetings around the other commitments of a typical teen.

Many cameras remained firmly focused on the intricately designed shoes, from flowery wedges to ‘bling’ brogues, kindly supplied by Irregular Choice. The main aura of the collection was definitely urban meets ‘Best of British’. Union jack bags and ‘LONDON’ waistcoats, apparently influenced by ‘the vintage feel of Brick Lane,’ featured alongside loose-fitting sportswear updated with customised t-shirts (a personal favourite of ours). Menswear comprised of this look plus a tongue-in-cheek pre-school element including dungarees!

The collection’s manifesto stated ‘Conformity does not interest us’. Something which was clearly noticeable in the individuality and pioneering nature of man meets woman, youth meets maturity. Furthermore, the collection definitely encouraged playful experimentation on the conventional silhouette. We took preference to the more signature garments, such as the floor length hooded dress and the navy polka dot harem trousers. The clothes were original and, as suggested by Satu Fox, it is really fresh and inspiring to see a designer’s work at the potential start of their career.

This special evening concluded with a drinks reception, where the audience had a chance to congratulate team members on their impressive creations. Although there has been criticism, it cannot be denied that blogging has become a vital component of fashion journalism – and it was good to see many fresh, young writers in amongst the crowds.

The 1.Wo/Man team’s future in fashion already looks set to continue as there will be a diffusion line of graphic tees online shortly in aid of Children In Need. They are bound to be a sell-out at just ten pounds each. Attention will certainly be drawn to the collection as the BBC is airing a small feature film in the coming months, showing the team’s journey from interviews right up to the catwalk.

We’re pondering on the likelihood of seeing some of the 1.Wo/Man team at Somerset House in the near future. Besides, they’re already half way there!

Follow BBC Blast to find out more about this exciting initiative.

There was a buzz around Hannah Marshall’s tri-cornered catwalk at the Fashion Factory situated in the Old Sorting Office on New Oxford Street yesterday, and it wasn’t just the caffeinated drinks talking. Erin O’Connor was the most familiar face walking for the hotly tipped newcomer, who is known for her black leather creations, but the clothes spoke for themselves, or rather shouted in a rather frightening way.

There is an aggressive feel to Marshall’s new collection, with pointed bra tops echoing, of course, Madonna’s famous efforts in that department. It generally felt very much the 80s remix, updated with delicate pieces of sculpture at the crucial points of shoulder and hip. Shoulders were augmented with visible padding while hips received spiny or shell-like additions, creating an exaggerated female form.

Marshall is an expert at working with black and, although the collection is simple and almost monochromatic except for an unexpected shot of purple, the mixture of soft suede, mesh, leather and silk creates texture and depth. The silhouettes are sexy: short and strapless; but the shapes are mostly form-fitting rather than body-con and boxy suits drape over bare skin to get their effect.

Metal and crystal elements like long curved fangs adorned the models’ arms and jutted from parts of the clothes. Along with the horror-movie-monster rills and black and purple colour palette, there is a seriously sinister edge to Marshall’s vision. But despite this it manages to be wearable and very wantable. After all, Marshall persuaded O’Connor to model for her with ten quid and a cheese Panini, so there must be something rather special about her.