Angela Lamb – AmeliasMagazine

Amelia’s Magazine | Vita Gottlieb: London Fashion Week Fashion Fringe S/S 2013 Catwalk Preview Interview

vita gottlieb by Alexa Coe
Vita Gottlieb A/W 2012 by Alexa Coe.

I’ve known of Vita Gottlieb through mutual friends for many years so when I bumped into her recently it was something of a surprise to hear of plans to launch herself as a fashion designer, having worked previously in fine art, film and textile design. I was then really happy to discover (via facebook, where else?) that she had been shortlisted as a finalist for this season’s Fashion Fringe. Here she describes the incredible journey she has made: inspiring stuff for all would be fashion designers!

Vita Gottlieb by Angela Lamb.

You are a textile designer by training – how difficult was it to become a fashion designer? Where did you learn to think in terms of putting your textiles on the body?
I actually trained in the more theoretical area of art history – then did an MA in Fine Art – it was here I started to experiment with my illustrative and graphical sketches, putting them into prints and wall hangings. It seemed natural to move into textiles from there and then translate these 2-D forms into 3-D with fashion. I’ve always needed to work with my hands and love the direct process of designing textile prints, then using these to design on the body. The prints inform the process and I absolutely love it. Finally I feel I can use and be inspired by all my passions – film, art, stories, travel and wilderness.

Vita Gottlieb AW 2012

Vita Gottlieb A/W 2012.

Prior to that you also worked in film and gained a degree in fine art. What do you think led you to fashion after so many years in other design disciplines?
I suppose I like to slow-cook things! Sometimes you need a bit of time to work through all the peripheral ambitions and come slowly into settling on something that feels right and at the right time. I don’t think I would have been good in the fashion industry in my early 20s – I was quite sensitive and volatile, and probably would have been swallowed up or waylaid by it all! I love film and always will but ultimately wanted to be in control of a more contained aesthetic, and with fashion, you really can make things happen in an exciting, organic way. It’s akin to being an artist – it’s your vision, your story, but you need to communicate this message clearly in order to make it happen. Art and film will always feed into my work though, through the creation of story and mood, the use of print and fabric manipulation. I’ve also always loved texture, the feel and emotion of strong colour, of materials themselves. Fashion seems to encapsulate all of these things in such a magical way.

Vita Gottlieb AW 2012

Vita Gottlieb A/W 2012.

What did you learn from your years working in interiors that you have been able to apply to your fashion designs?
For around 3 years I free-lanced as a textile designer in both the interiors market and also, I designed and made my own accessories for the body which sold at trade and public fairs. The biggest learning curve from that for me has been understanding how to translate ideas from the graphic ‘doodles’ I was making in textile print – which had a flat, albeit malleable substrate – into a conversation with construction, silhouette, movement. The amazing thing for me now is witnessing how much the 3-dimensional form in the movement of fabric can really alter my thinking on a design. It’s wonderful to watch it develop through sketches, into a pattern, all the protos and finally, to see a garment on a real body is just so exciting.

Vita Gottlieb AW 2012 scarf
What makes your scarf collection so unique?
I’d say my use of colour, graphic repeat prints and intricate detail. They’re trans-seasonal, so can be worn with anything and by anyone all year round.

Vita Gottlieb, Illustration by Rosa and Carlotta Crepax, Illustrated Moodboard
Vita Gottlieb S/S 2013 preview by Rosa and Carlotta Crepax, Illustrated Moodboard.

What was the inspiration behind your A/W 2012 collection?
AW12 was inspired by elements of the forest floor and the tactile quality of bark, moss, the underside of mushrooms. I had this image of a disenchanted forest filled with creeping lianas and the raw-edged, tactile textures of fallen leaves. Also, the colours of dusk. Dusk and moonlight, magic hour – I think these qualities of light will form a puncture through many collections to come.

Vita Gottlieb SS 2012 Nightbird (illustrated preview by Vita)
Vita Gottlieb S/S 2012 Nightbird (illustrated preview by Vita).

What was the process of being picked for Fashion Fringe? Where did it all start?!
It’s been an amazing journey so far! It started with a question – should I really apply? Do I have a chance? I thought it was a no until I woke up one day and just said to myself ‘there’s nothing to lose’ – classic, really. Something in the way the criteria for entry was written gave me hope as it seemed to me to encapsulate everything I wanted my label to be. It’s incredible to have got this far! I remember the day Christopher Bailey called, personally, to say I was a Semi-Finalist; I was in New York at the time and literally jumped around the room I was in. Being announced as a Finalist was one of those moments I won’t forget – the elation, nerves, and fear! I think I’m more afraid of success than I am of failure, much as I want and am working for it – but there’s no looking back now. The team at Fashion Fringe have been amazing and so supportive throughout, which amongst many other things has made the whole process such a joy and privilege.

Vita Gottlieb SS 2012 Tamsin (illustrated preview by Vita)q
Vita Gottlieb S/S 2012 Tamsin (illustrated preview by Vita)

I can’t wait to see your new collection: the description sounds incredibly romantic and dreamy – are you a dreamer? What’s the best dream you’ve ever had?
Oh, man, I am a consummate dreamer! Both day and night. Reverie is a favourite hobby of mine. Often I dream of flying through the universe, diving in and out of colours and natural patterns of movement – sometimes I go back in time and poke about cobbled alleys and strange places. Always there’s a lot of movement, colour and music. I wake up shaking from the images sometimes. But it’s so much a part of me.

Vita Gottlieb S/S 2013 preview by Catherine Moody.

The collection will layer eastern and western references – what motifs have you taken from each place, and how have you mixed them up?
SS13 is inspired in part by Paul Poiret‘s 1911 party ‘Thousand and Second Night‘, where guests were asked to wear Persian dress and indulge in dancing in the moonlight… I love the idea of layering Eastern influences into Western ideas; some of the prints are inspired by and use motifs from Georges Barbier‘s early twentieth century illustrations. I also thought about moonlight as a mood and infused some of the colours of that hour, just after dusk, in an imaginary city full of minarets and flickering lights. In terms of Western influences, I’ve tried to create a bit of a puncture through accessories and silhouettes.

You are an avid fan of Pinterest – how do you use it to collate and filter your ideas?
Yes, I love it as it’s such an easy way of keeping all your ideas and inspirations in once place. I’m a real sketchbook hoarder and keep everything I sketch or write in books at home or in the studio – but Pinterest I use more for general interest inspiration. And for food porn, it’s great for that!

Vita Gottlieb A/W 2012 by Lea Rimoux.

In fact you are quite internet savvy all around, why do you think (as an up and coming designer) it’s important to be so visible on social media networks? Do you plan to sell all your collections online?
Being social-media savvy doesn’t necessarily come naturally and I was definitely a Facebook/Twitter abstainer for a LONG time. But once I’d set up my business I recognised just how useful it can be and have become a lot more interactive now. It’s mainly for business but I try to pepper what I post with some personal and quirky content too. I think it’s important not to forget that there is a person behind the label and to inject some personality into it all. As an emerging designer I think it’s imperative to use social media to maximise your profile – and to keep in touch with what your potential customers want, that’s key too. Currently I sell my scarves online but yes, eventually I do plan on selling the collections too. It’s exciting to see what the internet can realise for my label – you can’t ignore it anymore!

Vita Gottlieb A/W 2012 by Lea Rimoux.

I believe you are a foodie – what is your must have edible delight whilst working on your new collection?
Ah, I am definitely a foodie! I’ve always loved food – eating, cooking, everything really. I read recipe books as pleasure. Hmm, must-have edible delight? Hard to say as I love so many things – Asian flavours, home-cooked, big, flavoursome dishes, vegetables from the garden (one radish, this year..no time to garden!), things like shepherd’s pie and fresh peas or glazed salmon in honey, mirin and lime. Don’t get me started! But it has to be savoury, I’m not really inclined toward sweet things.

Can you give us any hints as to what to expect in your Fashion Fringe catwalk show? (music… casting.. atmosphere etc)
I believe you’ll be there, so, you will have to wait and see, Amelia!

Vita Gottlieb A/W 2012 by Lea Rimoux.

What are your hopes for the future?
I’d like to build a successful, well-regarded and creative womenswear label, branching out with a diffusion line, travel lifestyle and perhaps lingerie. One day I’d love to open a kind of eco-lodge in a hot tropical country by the sea. You see, I am a dreamer! More locally, I’m interested in collaboration with other artists and creative professionals, making fashion films, happenings and shows, and see the future as a very exciting thing.

Vita Gottleib A/W 2012 by Gemma Sheldrake.

See more from Vita Gottlieb here… I can’t wait to see the entire collection on the catwalk! Vita Gottlieb shows alongside Haizhen Wang and Teija Eilola in the BFC Courtyard Show Space on Tuesday 18th September 2012.

vita-gottlieb by Melissa Angelik
Vita Gottlieb by Melissa Angelik.

Written by Amelia Gregory on Monday September 10th, 2012 10:30 am

Categories ,Alexa Coe, ,Angela Lamb, ,Catherine Moody, ,Christopher Bailey, ,Courtyard Show Space, ,Fashion Fringe, ,film, ,Fine Art, ,Gemma Sheldrake, ,Georges Barbier, ,Haizhen Wang, ,Illustrated Moodboard, ,Lea Rimoux, ,lfw, ,Melissa Angelik, ,Nightbird, ,Paul Poiret, ,Pinterest, ,Rosa and Carlotta Crepax, ,S/S 2013, ,Tamsin, ,Teija Eilola, ,Textile Design, ,Thousand and Second Night, ,Vita Gottlieb

Amelia’s Magazine | Modern Love: S/S 2012 Preview Interview with designer Sarah Arnett

Modern Love by Ola Szpunar.

Sarah Arnett is a multi talented designer who just happened to train at the same university as me. She graduated the year above, and since then has had an extremely interesting and varied career – from contributing illustrations to Amelia’s Magazine to creating a beautiful fashion line that is exclusively stocked in Liberty – it seems she is capable of turning her hand to all aspects of design! Prepare to be very inspired….

Modern Love SS12
sarah arnett Modern Love by angela lamb
Modern Love by Angela Lamb.

You’ve had an eclectic career, training firstly in woven textiles for fashion on the same course as me at Brighton Uni, and then moving into illustration, interior design and back into the world of fashion. Can you tell us more about your journey across these disciplines?
I found it very difficult to decide what to do in the first place, all I knew was that I wanted to go to art college, I grew up with a family of designers and makers so being able to sew and paint seemed normal and I used to watch my father work in his studio, everyone was able to draw, paint… in fact my great uncle designed fabrics for Liberty. Things happen in your life like having children, and other things become important… it’s the same with my work, other things become more exciting and more important. I am totally inspired by the process and that drives me to try more things. It’s an exciting time for crossing over disciplines and I have always just thought of my self as a designer… It could be fashion, interiors… or illustration. I am so inspired by working on a range of projects; in the last couple of years year I have shown in a couple of exhibitions at Somerset House, worked on Modern Love, designed the new look of the uniform for the National Trust, as well as creating illustrations for The Sunday Times Style Magazine. I also design a small bridal collection that I sell through a vintage shop in Brighton… and there is a long list of other things that I want to do!

Modern Love SS12
Sarah-Harnett-by-Laura-Griffin
Modern Love by Laura Griffin.

What is the highlight of working across disciplines?
No day is the same….

Modernlove ss12 Long v neck dress
And what have been the difficult parts?
I love and hate fashion, sometimes I think it’s a frivolous waste of time and on the other hand can make someone feel beautiful and have a real impact on their life… I don’t think I am a fashionable person and have never felt very comfortable in my own skin, but I am and have always been fascinated by clothes. I find fashion a very big challenge. The stress of running your own business is hard work, as is that freelancer’s worry of where the next job will be coming from… and there is always self doubt. But I look at all of these as things that drive me on to try and do better.

Sarah Arnett Modern Love by Isher Dhiman
Sarah Arnett’s Modern Love by Isher Dhiman.

Why did you name your clothing brand Modern Love?
Myself and my business partner Kim Hunt really liked the idea of a name that encompassed what we felt and admired about good design. The Love of beauty, vintage, heritage and the feminine and the Modern… a way of thinking, responsibility to the environment, ethical and local manufacturing, our vision, our way of working and maintaining a good work/life balance for ourselves (we did have our production meeting on the beach over looking a very calm sea today!) and a reference to David Bowie never hurt anyone! I

Modern Love print design SS 2012
Print design from the current collection.

For S/S 2012 Modern Love is all about a mix of tropical and country garden prints – described as earthy African hues meet the soft English sky (love that description) Where did you find inspiration for the imagery?
I find that I am constantly working and re-working the same themes which are a mix of my African, big sunshine early influences and my love of the softer, rolling South Downs up-bringing. I can’t ever choose between them. If I admire or value or find something beautiful or fascinating I am drawn to design with it, I think it’s a very similar sensation to eating something or collecting things. It’s a different way of owning or tasting something. I draw it.

Modern Love print design SS 2012
How do you reconcile living on the sometimes rainy south coast of Brighton with your fabulous African childhood? Are there ways to bring a bit of African sunshine back into your life?!
In a strange way having the coast and that big expanse of water and sky to look can be as dramatic and uplifting as the sunshine and dry African plains: I walk down to the sea every day I possibly can, it’s very important to me. Without it I would hate the winter even more than I do! My ideal situation would be six months here, six months there.

Modern Love print design SS 2012
How easy is it to design shapes to suit your prints, or do you begin the other way around?
The collection starts out with shapes and a woman in mind first. Then I feel like I have to think about that woman, what she would wear and start to fit the prints around it. It’s always a bit of a narrative, there has to be a reason for the print to be there. Quite often we will find an image of a woman for each season and then we will always question whether she will wear each design. Kim and I design the shapes together so we talk and talk and draw and have to justify why it has to be there. Once we have the bones of the collection together I go into my own world for a few weeks getting the new prints together. I like to engineer the print to the pattern pieces of the garment.

Modern Love print design SS 2012
Why did you decide to print the fabrics in Como, Italy?
There is a fantastic tradition of textiles in Como. I first went there when I did a work placement in Switzerland. We were very near to Como and visited it often. If you have to choose a location for a factory visit, I can’t imagine anything more beautiful! The printers I work with have printed in a traditional way for a couple of generations and then moved over to digital twenty years ago when it was first being experimented with. The laying down of pigment, whether via digital or by screen print, is only part of the process. They are very skilled in the handling and finishing of the fabrics which makes them feel beautiful and gives them a longevity. The digital process is much cleaner than traditional screen printing and uses far less water and energy. I like the tradition and the finesse of the final production. What they lack in delivering on time they make up in the detail and quality!

Modern Love SS12
Modern Love SS12 5

Modern Love by Nanae Kawahara.

Who are the craftspeople who make the collection for you? Can you introduce us to them!
Brighton is so full of talented machinists and pattern cutters, it’s a very sociable place and over the years I have met lots of people I can call on to help me. I have used the same machinists for the last ten years. They work form home and small studios as well as working for me they are working for lots of top designers; a good machinist is worth her weight in gold! There used to be a lot of small garment factories in the area and it’s a shame they have all disappeared. There is a new initiative called The Fashion Trust based in Sussex which is trying to pull all the local resources together which will be great for designer just starting up.

Modern Love SS12
Sarah Arnett Modern Love by Jacqueline Valencia
Sarah Arnett’s Modern Love by Jacqueline Valencia.

Modern Love is stocked exclusively in Liberty – a dream for most clothing brands. How did you get the label into this most prestigious of shops?
Well, Liberty made it very easy, even with beautiful photographs and constant emailing it’s very difficult to get the attention of the buyers unless you see them face to face at a show. We lined up with everyone else at their Best Of British Open Call and were the only womens wear brand to have got through last year. It was a great experience because at least you knew you had a few minutes of complete attention to show your collection in the flesh. I think it has been a great success and we feel very proud to have our collection there, especially since it was our first goal when starting Modern Love.

Modern Love SS12

Find Modern Love at Liberty right here.

Written by Amelia Gregory on Thursday March 29th, 2012 2:56 pm

Categories ,africa, ,Angela Lamb, ,Best of British, ,Best Of British Open Call, ,Bridal, ,brighton, ,Como, ,David Bowie, ,fashion, ,Fashion Textiles, ,illustration, ,Interior Design, ,Isher Dhiman, ,Italy, ,Jacqueline Valencia, ,Kim Hunt, ,Laura Griffin, ,liberty, ,Modern Love, ,Nanae Kawahara, ,National Trust, ,Ola Szpunar, ,print, ,Sarah Arnett, ,Somerset House, ,Sunday Times Style Magazine, ,Sussex, ,The Fashion Trust, ,University of Brighton, ,vintage, ,Woven Textiles

Amelia’s Magazine | New S/S 2013 Season Interview: Fanny & Jessy present Uscopia

Fanny & Jessy by Rebecca Higgins.

A year ago I was blown away by the S/S 2012 catwalk collection by design duo Fanny & Jessy. This season the androgynous style of Uscopia is presented in the otherworldly terrain of… Somerset (with added foil). Sporty utilitarian shapes are given the Fanny & Jessy treatment with metallic fabrics and digital prints inspired by the Northern Lights.

How did Fanny & Jessy start life?
We met at London College of Fashion in our very first pattern cutting class!

Fanny and Jessy S:S 2013
What sets Fanny & Jessy apart from other fashion brands?
We tend to make clothes that we would like to wear and based very much on us, our likes, personalities and what we’re influenced by rather than following trends – although there’s obviously a lot of sub-conscious influence from living where we do. We are also moving away from the un-written rules of the industry, this is a recent change, but definitely sets us apart from other brands. We are moving away from season’s and having direct contact with our customer through our new E-Commerce site and social networks.

Fanny and Jessy S:S 2013
Can you tell me a bit more about Uscopia, the current collection?
Welcome to Uscopia! After spending a long season delving in to images of other-worldly terraines, earthscapes and mind-bending natural formations we have created our own world. Using found images of the northern lights in Iceland, manipulated by artist Leif Podhajsky we have created a colourful yet organic print which includes the seemingly unnatural colours that run through the entire collection.

Fanny and Jessy S:S 2013
How and where was the new look book shot?
We went off on our own little adventure to the countryside to shoot our new campaign and make some short films with a dream team gang consisting of photographer Rory DCS, film-maker Danny Sangra, megababe models Georgia Frost and Polly Brown, stylist Siobhan Lyons and make-up artist Poppy France. We went and explored the (suprisingly) supernatural landscape of our home county Somerset and came out with some beautiful results!

Fanny and Jessy SS2013 by Shy Illustrations
Fanny and Jessy S/S 2013 by Shy Illustrations.

You’ve decided to sell your clothes from your own online store, what led to this decision?
We are taking a step away from being a traditionally seasonal brand, and looking more towards the way we felt when we started the label, making our own rules, setting our own deadlines and feeling closer to our customers. We will be stepping outside of the all consuming Fashion Orb and see what new places we can discover along the way!

Fanny and Jessy S:S 2013
<a target="_blank" href="http://www.vimeo.com/49397264" rel="noopener">http://www.vimeo.com/49397264</a>
What did you do with Danny Sangra over LFW, and how did this come about?
We have worked with Danny since we first started the label, he designed our Logo and also the cult I Hope You Die Soon T-shirts that became synonymous with our label in the early days. He is one of our best friends and favourite people to work with so it was natural to start this new adventure with him. We made 5 video stings for our online launch, 1 for each day of fashion week. See all 5 stings above. We also got him to graffiti all over The Salon Club‘s gorilla – they have a big white gorilla as part of their furniture and Danny drew all over him for the launch!

fanny&jess by_angela lamb
Fanny & Jessy by Angela Lamb.

What else did you do to launch the current collection?
We threw an exclusive party at The Salon Club in Mayfair for friends of the label after fashion week with our favourite boys and band of the moment Splashh who played a live set with visual projections and special DJ set from the masterful Leif Podhajsky. It was a great way to share the excitement of our revolution!

Fanny and Jessy S:S 2013
Fanny&Jessy SS13_IsherDhiman
Fanny & Jessy S/S 2013 by Isher Dhiman.

What next for Fanny & Jessy?
Collaborations, small capsule collections and a new film.. also an exciting Advent Calendar Christmas sale to get your hands on some of our A/W 2012 Sea Foam in Your Eyes collection!

Written by Amelia Gregory on Monday November 12th, 2012 9:43 pm

Categories ,A/W 2012, ,Angela Lamb, ,Danny Sangra, ,Fashion Orb, ,Georgia Frost, ,I Hope You Die Soon, ,interview, ,Isher Dhiman, ,Leif Podhajsky, ,London College of Fashion, ,Polly Brown, ,Poppy France, ,Rebecca Higgins, ,Rory DCS, ,S/S 2013, ,Sea Foam in Your Eyes, ,Sheilagh Tighe, ,Shy Illustrations, ,Siobhan Lyons, ,Splashh, ,The Salon Club, ,Uscopia

Amelia’s Magazine | Pam Hogg: London Fashion Week S/S 2013 Catwalk Review

Pam Hogg S/S 2013 by Faye West.

Pam Hogg was, as ever, a hot ticket this season – ensuring that the likes of Bobby Gillespie, Nick Cave, and Nick Rhodes had snagged a front row seat. Celeb spotting is always a highlight of any Pam Hogg catwalk show. Because, let’s face it – you pretty much know what you are going to get: intricately cut catsuits, famous tit and ass… plus some tantalisingly wonderful clothes.

Pam Hogg SS 2013 Sept 2012-photography by Amelia Gregory

This season Pam Hogg took as inspiration the uniforms of nurses and air hostesses mixed in with a small dose of inpatient chic: out stepped models in barely there white voile outfits that covered only the necessities (or not even that in the case of Alice Dellal, who revealed her pert bottom in a peek-a-boo dress.) A small white strip or peaked hat served as head decoration, worn with high metallic platforms. Zips were a major feature used to describe the shape of looser all-in-ones, space station worthy in silver on Dellal once more.

Pam Hogg SS 2013 Sept 2012-photography by Amelia Gregory

Pam Hogg S/S 2013 by Angela Lamb.

For S/S 2013 the signature panelled Hogg catsuit comes in a stunning metallic colourway: russet, coffee, lime green and yellow. She also revisited the brilliant dirndl skirt of last season, this time in flaming shades of sunshine. Sequinned mesh and copious quantities of frothy netting guaranteed there was plenty of flesh on show, with one of the slightest outfits worn by Lady Mary Chateris: she who recently married her rock star man in stripper-style Hogg. Another look called to mind an exotic chicken.

Pam Hogg SS 2013 Sept 2012-photography by Amelia Gregory

Closing the show came the most interesting garments: densely ruffled skirts and bodices that were both stiff and light at once, worn with high pleated headdresses worn proud on the back of the head. One stunning dress furled out around the face in an echo of the skirt below, like some extraordinary decadent flower. How I wish that our Pam would build on ideas like these.

Pam Hogg SS 2013 Sept 2012-photography by Amelia Gregory

Pam Hogg S/S 2013. All photography by Amelia Gregory.

<a target="_blank" href="http://www.vimeo.com/49641355" rel="noopener">http://www.vimeo.com/49641355</a>

Written by Amelia Gregory on Wednesday September 26th, 2012 8:51 am

Categories ,Alice Dellal, ,Angela Lamb, ,Bobby Gillespie, ,Faye West, ,Lady Mary Chateris, ,Nick Cave, ,Nick Rhodes, ,Pam Hogg, ,S/S 2013

Amelia’s Magazine | LCF MA Fashion Show 2013, Womenswear: London Fashion Week Catwalk Review

Yi Xie by Jacqueline Valencia.

London College of Fashion womenswear designers showed a series of polished collections, most of which were accessoried with amazing footwear that I was able to ogle as the models climbed the reflective steps onto the raised catwalk at the Royal Opera House.

LCF MA fashion AW 2013-Maddalena Mangialavori

Maddalena Mangialavori applied raffia fringing to loose fitting dresses, and pretty ruffs to bodices worn with A-line and pencil skirts. Lop-sided low-brimmed hats collapsed over one eye, lending a jaunty air to muted colours in a variety of different textures.

LCF MA fashion AW 2013 Nadia Scullion

Nadia Scullion played with ice cream shades; pastel blues and lemon yellow layered together to create a collection of clean lines that were broken with raggy edged socks and collars. A darker coat decorated with a baby blue waist trim was one of the pieces that caught my eye.

LCF MA fashion AW 2013-Min Wu

Min Wu‘s beautiful collection took the concept of tie-dye to a new level; jelly coloured panels fading into creamy white furls of fabric that lay flat against the waist or swung nonchalantly from the neck. Plastic soled shoes worked brilliantly with these gorgeous garments.

LCF MA fashion AW 2013-Sian Davies

Sian Davies worked in blocky oatmeal shades; tight latex paired with over-sized tops.

LCF MA fashion AW 2013-Yi Xie

yi xie
LFW Yi Xie by Angela Lamb
Yi Xie by Angela Lamb.

I absolutely adored the work of Yi Xie, as did my instagram feed when I shared a photo of her intricate pleated trouser suit, luscious flames of orange licking against the vibrating blues on shoulder, waist and calves. I can see her undulating body con dresses selling really well.

LCF MA fashion AW 2013-Keiko Nishiyama

LCF-MA_by_Gaarte
Keiko Nishiyama by Gaarte.

Last and by no means least came possibly my favourite collection of all: Keiko Nishiyama covered blowsy shirts and bib fronted dresses with stunning engineered floral prints that made the digital revolution all her own: fields of flowers on a white ground were styled with matching patterned tights and peasant shoes with exaggerated up-turned toes. Just delightful!

LCF MA fashion AW 2013-Keiko Nishiyama

All photography by Amelia Gregory.

Written by Amelia Gregory on Sunday February 17th, 2013 11:35 pm

Categories ,2013, ,Angela Lamb, ,bodycon, ,Digital Prints, ,floral, ,Gaarte, ,graduate, ,Jacqueline Valencia, ,Keiko Nishiyama, ,London College of Fashion, ,London Fashion Week, ,Maddalena Mangialavori, ,Min Wu, ,Nadia Scullion, ,review, ,Royal Opera House, ,Sian Davies, ,Womenswear, ,Yi Xie

Amelia’s Magazine | Fiona Paxton: London Fashion Week S/S 2013 Preview Interview

Fiona Paxton Green dress - Yasuko necklace
Fiona Paxton is a jeweller who works with the fine art of tambour beading to create bold earrings, necklaces and bracelets. I spoke with her about her intriguing career and her eye-catching designs.

You started out as a textile designer: how did you make the transition to making jewellery?
I wanted to launch my own collection and the initial idea was fringed scarves with fine chains. During the design and sampling process I tried some scarves with the chains looping around. It then just snowballed from there – I showed a few people the samples and the reaction was incredible. I just built on the original designs each season and broadened the collection. I have had to learn everything along the way and I still am.

Fiona Paxton by Claire Bartrop.

Can you tell us a bit more about your life as textile designer: who did you work for and what was the most exciting thing you created?
I worked freelance when I left the Royal College of Art for many different companies. It was great experience but I wanted to learn from other designers and be part of a team. I worked for Michiko Koshino for 3 years designing her catwalk prints. The opportunity then came to be the Art Director of a new textile design studio. We worked with all of the major international fashion houses creating prints and embroideries for their collections. It was very exciting and great to work with so many creative people over the years.

Fiona Paxton Blue dress- Gia necklace
Where did you learn how to work so intricately with beads?
When I worked in my last job we worked with Indian beaders. I learnt a little bit but really I have learnt as I have gone along. Working with the beaders watching how they work and learning to interpret the designs.

Fiona Paxton by Tara Anne Bush.

You have been inspired by travel, what is the most beautiful place you have visited? And how has that found a home in your designs?
Travel is very inspiring and from a fashion point of view it is not necessarily the most beautiful that inspires. People watching is great and seeing how people dress and the style of different cities is what I find inspiring. How people mix and wear clothes and jewellery. Visiting New York gives me a huge buzz, Paris during show times is amazing and Hong Kong is great for the mix of High fashion in such a vibrant setting.

Fiona Paxton green
Who are the artisans who create your collections? And what is the process of working with them?
They are all trained tambour beaders. I draw out my designs on paper and then they are traced onto the fabric or leather we are using. They then work with the beads to build up the designs, I usually spend time working with them to ensure it is how I envisaged it but many times they suggest different ways or how I imagined it proves too difficult so we compromise and adapt the original idea.

Fiona Paxton necklace
What inspired your latest A/W 2012 collection?
It was inspired by a mix and clash of cultures. Japanese mixed with an African feel and colour clash. Grace Jones was the inspiration and the colour was the really important thing. Intense dark with hot colours. I really like the idea of rich tropical inspired colours for Winter.

fiona_paxton_by_angela_lamb
Fiona Paxton by Angela Lamb.

How do your men’s collections differ?
I think you can be bolder and stronger in your statement.

You’re a big fan of Bjork – what other music is on your stereo right now?
Continuing the Icelandic theme Sigur Ros has also been a favourite over the summer but the alt-J album is flawless and the best album I have bought in ages.

Fiona Paxton yellow blue
What can we expect for next season? Any hints?
A real change in direction which is very exciting. The whole colour palette is radically altered and inspiration has taken me in quite a different direction.

Written by Amelia Gregory on Thursday September 13th, 2012 9:57 pm

Categories ,Alt J, ,Angela Lamb, ,Claire Bartrop, ,Fiona Paxton, ,Michiko Koshino, ,Royal College of Art, ,sigur ros, ,Tambour beading, ,Tara Anne Bush

Amelia’s Magazine | Jean-Pierre Braganza: London Fashion Week A/W 2013 Catwalk Review

Jean-Pierre Braganza A/W 2013 by Daniel Alexander.

For A/W 2013 Jean-Pierre Braganza once again explored geometry, this time influenced by Cosmic Symbolism, Fantasy and an imagined Sci-Fi world where women are leaders. Starkonnen was dominated by this season’s favourite minimalist colours of black and white, here given a utilitarian space ship vibe with Braganza‘s signature sharp panelled tailoring and the addition of a round pattern intersected with lines, reminiscent of Leonardo da Vinci‘s infamous image of the Vitruvian Man. Apparently this arrangement of circles and lines forms perfect geometry in which every known shape appears. Matching fractal designs were inspired by the scales of a dragon and appeared as placements prints intersected with jagged bursts of peachy coral or across oversized collars and draped around legs on maxi skirts. A glowing teal blue was the only other highlight, used in large swathes for a simple shift dress and elegant trouser suit.

Jean Pierre Braganza AW 2013-photo by Amelia Gregory

Jean-Pierre Braganza A/W 2013 illustrations by Daniel Alexander.

Long fabric waist ties were inspired by ‘samurai silhouettes‘ and gave a softer vibe to the dramatic lines, intended to convey ‘power, wisdom and elegance‘. Around the necks hung beautiful beaded and knotted necklaces by Janine Barraclough, and the occasional model swung an elegant leather clutch bag by Bracher Emden. Sleek hair hung parted from the middle and swished smoothly, apart from at the crown, where a neatly bound top knot perched. I imagine that Jean-Pierre Braganza must have watched a few Sci-Fi films as research for Starkonnen as this all added to the impression that these women could be tribes from a far off galaxy, elegantly swishing through an intergalactic ship amongst many other races.

Jean Pierre Braganza AW 2013-photo by Amelia Gregory

Jean Pierre Braganza A/W 2013 by Jane Young.

Jean Pierre Braganza AW 2013-photo by Amelia Gregory

Jean Pierre Braganza A/W 2013. All photography by Amelia Gregory.

Jean Pierre Braganza by Angela Lamb.

Written by Amelia Gregory on Thursday February 21st, 2013 1:42 pm

Categories ,A/W 2013, ,Angela Lamb, ,Bracher Emden, ,Cosmic Symbolism, ,Daniel Alexander, ,fantasy, ,Jane Young, ,Janine Barraclough, ,Jean Pierre Braganza, ,Leonardo Da Vinci, ,London Fashion Week, ,London Kills Me, ,Sci-Fi, ,Starkonnen, ,Vitruvian Man

Amelia’s Magazine | Carlotta Actis Barone: London Fashion Week S/S 2013 Catwalk Review

Carlotta Actis Barone SS 2013 by gaarte
Carlotta Actis Barone S/S 2013 by Gaarte.

Carlotta Actis Barone always makes great use of the catwalk to showcase her zany aesthetic, but last season I felt that the concept had begun to overshadow the garments.

Carlotta Actis Barone SS 2013 September 2012-photo by Amelia Gregory

Thankfully this season the charismatic designer took a more lighthearted approach – no seal clubbing or nazi references here: instead she sent out a vibrant collection styled with over the top sculpted wigs of frothy orange curls. These were a reference to her source material – the famous opera The Magic Flute, (and the title of this show) – but they also lent a cartoonish air to the proceedings.

Carlotta-Actis-Barone-by-Isabelle-Mattern-iszaa
Carlotta Actis Barone S/S 2013 by Isabelle Mattern.

As if to truly banish all memory of more macabre collections this was described in the show notes as ‘a celebration of happiness, protection, sisterhood and love.’ Aw. It opened with a bevy of ballet dancers twirling in catsuits and boned pill shaped tutus to Mozart.

Carlotta Actis Barone SS 2013 September 2012-photo by Amelia Gregory

Carlotta Actis Barone S/S 2013 by Antonia Parker.

Each season Carlotta Actis Barone chooses lettering which is imprinted on transparent netting and used in bodystockings: this season it was sheet music that was transcribed into a curvy typographic print design. This was the best I have seen it work, as a neat foil to the bold colour palette of the over garments that included zinging tangerine, deep purple, blinding yellow, plum and lime green. A large swirly print was used in panelling on tight high waisted trousers and intersected by binding in lines that emphasised womanly curves. These ‘ribs’ were inspired by cages carried by Papageno in the opera, this time symbolic of freedom. The idea reached its apogee in a stunning strapless boned gown which flared at the hem to create a unique and dramatic silhouette.

Carlotta Actis Barone SS 2013 September 2012-photo by Amelia Gregory

Carlotta Actis Barone S/S 2013. All photography by Amelia Gregory.

Flouncy feathers accessorised up-does where wigs failed to do the job; opaque tights (not so summery!) and shoes with spike heels echoed the bold tropical palette. Points accentuated shoulders and sharpened ripples of fabric at waists on tailored two pieces, which were worn with draw-waisted jackets made from plasticised fabrics.

Carlotta Actis Barone SS 2013 September 2012-0080
Carlotta Actis Barone by Claire Kearns
Carlotta Actis Barone S/S 2013 by Claire Kearns.

The show closed with a swirling orange satin frock, perfect for sweeping down a grand staircase. And of course another appearance from the ballet dancers, who leapt down the catwalk with Carlotta in tow for a deep formation curtsey in front of Snarfle, who was wearing the gold coin found in our goodie bags as a necklace.

snarfle at fashion week
Jasper at Carlotta
Snarfle was joined on the front row by his friend Jasper.

<a target="_blank" href="http://www.vimeo.com/49461388" rel="noopener">http://www.vimeo.com/49461388</a>

Written by Amelia Gregory on Monday September 17th, 2012 10:42 pm

Categories ,Antonia Parker, ,Carlotta Actis Barone, ,Claire Kearns, ,Fashion Scout, ,Gaarte, ,Isabelle Mattern, ,lfw, ,Mozart, ,Papageno, ,S/S 2013, ,The Magic Flute

Amelia’s Magazine | Dans La Vie: London Fashion Week S/S 2013 Catwalk Review

Dans La Vie S/S 2013 by Jenny Robins.

And so for London Fashion Week S/S 2013, which I am covering in a reduced capacity this season due to Snarfle demands: he will intermittently be joining me at the shows and no doubt vocalising his opinions. Our first show of Friday was Dans La Vie by Rira Sugawara at Fashion Scout, and I was pleased to find that Snarfle was perky and very interested in his first front row experience, particularly the flashing lights of the photographers at the end of the catwalk.

Dans La Vie S/S 2013 by Gareth A Hopkins.

Dans La Vie SS 2013 September 2012-photo by Amelia Gregory

Dans La Vie S/S 2013 by Jenny Robins.

For her Moving Print Bodies collection the Japanese designer used her signature plasticised printed fabrics to create a range of dramatic silhouettes in unusual colour combinations of mossy greens, pastel blues, mustard, blood red and teal. Gingham and python happily co-existed with gigantic bows and pictorial prints inspired by traditional Japanese gods. Waists were a big feature, cinched in with wide belts and exaggerated with tulip skirts and widened shoulders. The theme went somewhat haywire with the appearance of printed mesh catsuits that had panels across crotch and thighs in the style of Pam Hogg.

Dans La Vie SS 2013 September 2012-photo by Amelia Gregory

Dans La Vie S/S 2013. All photography by Amelia Gregory.

Fantastical make up was inspired by the patterns of the fabric…. blackened eyes topped with chequerboard foreheads or square blocks smeared across cheek and chins. For the finale Sugawara sent out my favourite look: a searing azure blue swing skirted dress with bodice frills spiked over the face in great fans like the frilled neck of a lizard.

Dans La Vie SS 2013 September 2012-photo by Amelia Gregory

Dans La Vie S/S 2013 by Deborah Moon.

Dans La Vie has a very strong signature look but this season if felt a bit as if Sugawara was trying to shoehorn in as many of the prevailing trends as possible. The result? Individual pieces worked well but the collection as a whole came across as a bit of a style mish mash. Still, Snarfle gave it the thumbs up, so who am I to judge? Watch the catwalk show here:

<a target="_blank" href="http://www.vimeo.com/49454555" rel="noopener">http://www.vimeo.com/49454555</a>

Written by Amelia Gregory on Monday September 17th, 2012 10:34 am

Categories ,Dans La Vie, ,Deborah Moon, ,Fashion Scout, ,Gareth A Hopkins, ,London Fashion Week, ,Moving Print Bodies, ,Pam Hogg, ,Rira Sugawara, ,S/S 2013, ,Snarfle

Amelia’s Magazine | Welcome, Snarfle Monkey

Snarfle Monkey by Sam Parr.

Yesterday I finally registered the birth of my first child, a gorgeous little boy named Lucian Indigo whom I gave birth to 6 weeks ago. It’s taken me a good month to put thoughts to screen, and I’m still a little unsure of what I am going to say in this blog – and as those who know me will testify it’s not often that I am lost for words.

Snarfle Monkey and friends May 2012
This blog won’t become a baby centred place, but I feel I need to share his coming into my world because it has affected and will continue to affect how I can maintain this website – after all his needs come first and there are times when I just can’t work. In fact, as I have discovered, that’s quite often already… although I am getting adept at typing one handed as the little man breast feeds or kips between me and the computer on a pillow. And I am discovering a whole new world of baby stuff, some of which may make an appearance on here: for instance, illustrated reusable nappies?! Now that’s something I like.

Amelia & Lucian by Gilly Rochester.

So briefly: Lucian Indigo, otherwise known as Snarfle Monkey, was born in the Royal London by emergency C-section – which was the exact opposite birth to the one I had hoped for. I had been booked into the Barkantine birth centre in the Docklands, but when my waters broke and then I didn’t go into labour that was out of the question. A day later (I stalled quite a bit, hoping to avoid induction) I found myself hooked up to a monitor in the hospital labour ward. Everything seemed fine for a few hours and I had almost convinced the doctor to let me go home when suddenly my baby’s heartbeat went haywire. Within half an hour (sign here!) I was in theatre having a spinal block whilst my partner looked as though he might faint: I personally think it was worse having the needle in my back. Just a few minutes later Snarfle was born, heaved out of my insides, checked over, cleaned and plonked on my chest. I was so drugged up that I barely registered they were still ferreting around in my stomach to stitch me up. All in all a long way from the natural Hypnobirthing water birth I had planned for.

Snarfle Monkey birth hospital April 2012

Snarfle Monkey by Karina Järv.

Because of worries about infection, and then his weight, we ended up staying in the Royal London for 12 days. During which time I became just a bit too familiar with the post natal ward staff, not to mention the disgusting food (Jamie Oliver, do hospitals please!) It’s bad enough dealing with a newborn’s round the clock feeding requirements without constant interventions from well meaning doctors and nurses, usually just when I had managed to fall into some much needed sleep, but eventually we got out and started our somewhat belated life together in the outside world.

Snarfle Monkey and friends May 2012

Snarfle Monkey by Sarah Jayne Draws.

So here we are, Snarfle, father and me… adjusting to our new lives as a family. Unlike many other new mums I of course don’t have official maternity leave, and my baby is what is known as *high needs* meaning that he doesn’t sleep much and wants constant attention day and night, so we’re having fun working together as the PR requests keep rolling in.

Snarfle Monkey and friends May 2012

Snarfle by Angela Lamb.

Snarfle Monkey 23rd May 2012
I will be there for my boy whenever he needs me, but I love my work too so we’ll see how it all pans out. For now I am knackered but happy…

Snarfle_monkey by simon mclaren
Snarfle Monkey by Simon Mclaren.

Written by Amelia Gregory on Wednesday May 23rd, 2012 7:24 pm

Categories ,Angela Lamb, ,Barkantine Centre, ,Birthing Experience, ,C-Section, ,Gilly Rochester, ,Hypnobirthing, ,Jamie Oliver, ,Karina Jarv, ,Natural Birth, ,Royal London, ,Sam Parr, ,Sarah-Jayne Draws, ,Simon Mclaren, ,Snarfle Monkey, ,Water Birth

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