Amelia’s Magazine | Sister by Sibling: London Fashion Week S/S 2013 Catwalk Review


Sister by Sibling S/S 2013 by Antonia Parker

On the Saturday morning of fashion week I cycled to Somerset House. It was such a sunny, cool morning that I couldn’t help myself. Despite sitting outside the main courtyard for a breather for nearly thirty minutes, I still arrived at the Sister by Sibling salon show sweatier than the Editor-in-chief of French Closer. I couldn’t help it. I don’t know what’s wrong with me at the moment, I just can’t stop bloody sweating. I’m just saying.


Sister by Sibling S/S 2013 by Krister Selin

Anyway, the queue for this hotly anticipated show was enormous and as I stood dabbing my brow I wondered how we were all going to fit inside the tiny Portico Rooms. I managed to find a so-so spot to stand in as the photographers began blocking the entrance. The room was already full, a good percentage of guests modelling this season’s marvellous leopard print numbers. Last minute guests, including my favourite woman (Dame) Suzy Menkes barged in as the show was about to start.

There’s nothing like a bit of dayglo and some X-Ray Spex at a million decibels to wake you up on a Saturday morning. This collection, wonderfully titled ‘Warriors in Woolworths‘, had all the aspects we’ve come to love and expect from Sibling; I was in no doubt when the first model popped from behind the screen that I was going to love everything I was about to see.


Sister by Sibling S/S 2013 by Antonia Parker

Said first model appeared in a white sweater with Sister paint logo daubed across the front and a white ruffle tutu skirt. This was accessorised with the only item you can accessorise a white ruffle tutu skirt with: a full-on lace face mask.

Next came a crocheted top and skirt, complete with ruffles and cap, shortly followed by a pair of white ruffled knickers – but all this white wasn’t fooling me. I knew there’d be some colour pretty soon, and before I could say ‘oh sure’ the colour came coming. Flashes of hot pink, baby pink, yellow and dayglo green appeared on floor length straight-up-and-down no nonsense dresses with matching cardigans.

Crew neck, short-sleeved jumpers and baggy cardigans reminded me of those my grandmother used to wear, expect hers weren’t in illuminous green or embellished with glitter to form reverse skulls. I don’t remember them like that, at least. I much prefer these. A polo-neck dress in green leopard print was a particular favourite, as was a black number with vibrant but delicate flowers splashed all across it.

Punk never looked so fresh.

Categories ,Antonia Parker, ,Cozette McCreery, ,crochet, ,dayglo, ,fashion, ,Joe Bates, ,knitwear, ,Krister Selin, ,london, ,London Fashion Week, ,Matt Bramford, ,Poly Styrene, ,Portico Rooms, ,Punks, ,S/S 2013, ,Sid Bryan, ,Sister by Sibling, ,SS13, ,Suzy Menkes, ,Womenswear, ,X-Ray Spex

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Amelia’s Magazine | Valentino: Master of Couture at Somerset House


Valentino A/W 2005 by Krister Selin

A recent viewing of the documentary Diana Vreeland: The Eye Has To Travel, a film dedicated to the infamous fashion editor’s pioneering feats, highlighted that going to a gallery to view exhibitions of living fashion designers is a relatively new concept. When Vreeland launched an Yves Saint Laurent retrospective in 1983 at the Costume Institute, she set a precedent for a legion of future fashion fairs.

In the modern era, fashion fans have no qualms about trading their hard-earned cash to gaze at frocks on mannequins and fashion retrospectives have dominated galleries with record-breaking visitor numbers. Presenting these exhibitions comes as a challenge to curators: no longer is it a case of whacking a few frocks on mannequins like you’re assembling a high street window display. A quick look at Viktor & Rolf at the Barbican, McQueen at the Met or Louis Vuitton/Marc Jacobs at Les Arts Decoratifs shows the dedication and commitment necessary to present fashion as art.


Valentino A/W 2002 and Natalia Vodianova by Cathleen Naundorf

What better way, then, to present Emperor of Couture Valentino Garavani‘s illustrious history than on one long catwalk? Avoid temptation to sashay past the tableaux as mannequins appear amongst elegant white chairs on either side of a runway, on which you’re the model. The Embankment Galleries at Somerset House have been transformed; no longer tiny catacombs, but brought together for dramatic effect.


Valentino A/W 2002 by Maya Beus

The lower floor showcases a number artefacts appearing in glass cabinets at the start of the exhibition. Letters from prominent designers and magazine editors celebrate Valentino‘s last milestone, his 45th anniversary as King of Couture, showering the Italian with praise for his record-breaking anniversary couture show at the Santo Spirito in Sassia in Rome. Glorious fashion sketches line other cabinets, but as was with Margiela and other exhibitions here, I found myself skimming past these in order to get to the main event upstairs.


Photographs courtesy of Somerset House/Peter MacDiarmid

And so the catwalk comes alive on the upper level, with a breathtaking 130 haute couture creations on models appearing as guests. They are arranged pretty haphazardly amongst the aforementioned white chairs, almost with abandon, without any rigid chronological order. Empty seats bear the names of the great and the good that have worn Valentino and attended countless shows: Princess Margaret, Elizabeth Taylor, Carla Bruni, Diane Kruger, Iman; Diana Vreeland herself.


Valentino S/S 1998 by Annie Rickard Straus


Valentino A/W 1992 by Sandra Contreras

La dolce vita comes alive as you make your way along the displays, featuring floor-sweeping gowns, kaftans, trouser suits and capes. I particularly enjoyed the 1990s section – creations designed with the decadent abandon of an era when the supermodel ruled fashion and Valentino, Gianni Versace and pals were bending over backwards knee-deep in gold chains to appease them. These pieces were without doubt the height of fashion, but have dated the most. Compare these to some numbers from the 1960s: they’re indistinguishable from the output of Maria Grazia Chiuri and Pier Paolo Piccoli, heading Valentino, over recent seasons.


Valentino S/S 2005 by Jamie Wignall


Valentino S/S 1969 by Maya Beus

The show’s dramatic finale sees Princess Marie-Chantal of Greece‘s wedding dress come to life on a dramatic platform. This pearl-encrusted ivory silk gown features a 4.5m train and 12 kinds of lace. Sure.


Princess Marie-Chantal’s wedding dress

While I wouldn’t wear it, it’s one of the greatest examples of dressmaking in history and this presentation allows you to see the astonishing detail in the flesh.


Valentino S/S 2004 by Krister Selin

I particularly enjoyed a personal tribute to le regazze – the girls – the loyal atelier that have produced innumerable tulles, mock-ups and eventual red-carpet-ready frocks for the Grand Master’s enormous following. They’re the stars of groundbreaking documentary film Valentino: The Last Emperor, bickering as they lovingly stitch the last couture collection by the man himself. In the exhibition we’re spoiled with an education of Italian atelier terms – such beauties as ‘Incrostazioni‘ ‘Drappeggio‘ and ‘Budellini‘, a couture technique specific to Valentino where double charmeuse silk is rolled and sewn around a looped length of wool. Each term has a visual representation, occupying a glass box and highlighting the important role that these individual processes have played in Valentino‘s roaring success.


Valentino A/W 2002 by Jamie Wignall


Valentino S/S 1998 by Sandra Contreras

Unmissable. Go.

Categories ,Annie Rickard Straus, ,Budellini, ,catwalk, ,couture, ,Drappeggio, ,Embankment Galleries, ,emperor, ,exhibition, ,fashion, ,Grand Master, ,Incrostazioni, ,Italy, ,Jamie Wignall, ,Krister Selin, ,le regazze, ,london, ,Marie-Chantal, ,Matt Bramford, ,Maya Beus, ,Natalia Vodianova, ,Peter MacDiarmid, ,Rome, ,runway, ,Sandra Contreras, ,Somerset House, ,The Last Emperor, ,Valentino Garavani

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Amelia’s Magazine | Oliver Spencer: London Fashion Week A/W 2012 Menswear Catwalk Review


Oliver Spencer A/W 2012 by Gabriel Ayala

I hadn’t spent much time this London Fashion Week at the main show space at Somerset House – the big tent they plonk in the centre of that beautiful courtyard. I’d forgotten what a celebfest it was. As I queued, clutching my printed ticket to my breast, I stood amongst the melee of fashionistas waving their tickets in the air as celebrities were ushered inside, except for the gentlemanly Rick Edwards who politely told the PR girl batting her eyelids that he would queue like everybody else. Swoon.


Oliver Spencer A/W 2012 by Krister Selin

Inside, a frenzy of photographers took pictures of front-rowers and I couldn’t tell who anybody was, apart from remarking to Gareth that I thought I saw a glimpse of Alex Reid. We LOL’d as the show started.

Oliver Spencer is a bit of a maestro when it comes to exquisite tailoring. I’ve been a fan for a while but this was the first show I’d seen. Myself and Gareth had secured goodish seats at the beginning of the catwalk, and despite my reservations, we had a pretty good view of the action.


Oliver Spencer A/W 2012 by Gabriel Ayala

Spencer had taken his inspiration this season from 1970s art-house and the iconic persona of a young Lucien Freud. A wide spectrum of models appeared in the show, from tattooed hipsters to mature gents, each with their own cool kudos.

The show began with said tattooed hipster, who wore a deep red and grey luxury varsity-style jacket with contrast sleeves – a sartorial version of the current trend. Quintessential, English, well-tailored, an effortless fit – buzz words associated with the Oliver Spencer brand.

Next came more cropped wool coats in blues and greys, teamed with tapered trousers and capped-toe oxford shoes. I’m a huge fan of Spencer’s knitwear and this collection came up with the goods. Chunky rollnecks and big scarves worn over the shoulders had a hip retro feel without being fancy dress.

More jackets appeared, and one in particular – a sort of contemporary Fair Isle pattern in navy and white cut above the hip had me swooning more than I did at Rick Edwards‘ courteous approach to queuing. The tattooed hipster modelled it, and I wouldn’t be surprised if there were a few miffed models backstage because he seemed to have been selected to wear the most achingly cool outfits.

A selection of olive and brown jackets came towards the end with a more athletic look about them, worn with looser-fitting trousers. A plaid jacket, buttoned at the top only, was worn over a vibrant red shirt. Some jackets came with cross-over lapels in contrasting colours, worn with camel-coloured trousers. More varsity-style jackets appeared: it seems we’ll all be wearing contrast sleeves come September.


All photography by Matt Bramford

You’ll see from my previous menswear day posts that there are many designers pushing the boundaries of menswear with much whackier collections, but Spencer’s hip appeal with a strong British essence was a welcome break and one that will have sartorial gents begging for more.

Categories ,1970s, ,A/W 2012, ,Alex Reid, ,Athletic, ,AW12, ,british, ,English, ,Fair Isle, ,Gabriel Ayala, ,knitwear, ,Krister Selin, ,London Fashion Week, ,Lucien Freud, ,Matt Bramford, ,menswear, ,Oliver Spencer, ,Rick Edwards, ,Rollnecks, ,Somerset House, ,tailoring, ,Tattoos, ,turban

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


Osman S/S 2013 by Krister Selin

And so it was to Osman to ‘close’ my fashion week, as it were. It was getting late on the Tuesday and, frankly, I couldn’t be arsed to trek to Somerset House. I had a heap of work to do and the thought of going all that way to watch models walk in front of me twice for five minutes was almost too much to bear. In the end, I decided to go, obviously; I’m so glad I did.


Osman S/S 2013 by Antonia Parker

I had a rubbish seat but enjoyed watching people skid on Kuoni-sponsored A3 Osman lookbooks as I waited for the show to start. The catwalk had been adorned with a huge black rope, crossing above the bit where the models come out and trailing up both sides of the catwalk. Osman‘s got a bit of a reputation for putting on a good show and I liked the drama that this backdrop was already creating. There was a lot of fuss on the catwalk before proceedings began – Corinne Bailey Rae was one of many guests that had photographers in a flash bulb frenzy. But it was Osman‘s unique and vibrant colour palette and fashion-forward sense of shape that would really get the crowd going.


All photography by Matt Bramford

Incredible hues of pink and blue appeared before us. Osman Yousefzada always has a crafted ability to whet our appetites for the next summer while the current one is slipping away from us. Strong and dynamic shape was this season’s key theme – angular cuts were aplenty. Kimono shapes with a modern twist were teamed with high-waisted shorts, followed by tailored coats that curved to reveal more short shorts.


Osman S/S 2013 by Krister Selin

The collection progressed with embroidered love heart patterns. The same bold silhouettes were decorated with this beautiful design, having a slightly religious effect on certain dramatic overcoats. Brightly coloured hearts brought black garments to life while complimenting the blue and pink numbers.

More drama came later with Osman‘s unique forms: scooping necklines, wide sleeves, geometric patterns on tops, thick strips of fabric wrapped around models’ shoulders like shawls, sexily revealing only the collarbone.


Osman S/S 2013 by Antonia Parker

Less rigid looks followed with flowing skirts and fabric casually slung around models’ necks, but never without a hint of structure – tapered and cropped trousers defining many looks.

A few all black numbers heightened the drama towards the end – I particularly liked an all-in-one cape worn like a hood over skin-tight shiny trousers and a racy dress cut all the way up to the hip with bondage-like corsetry.

My favourite look was the penultimate outfit consisting of a white upper half with fabric draped all the way to the floor, following the model as she swaggered. It had all the qualities of Osman exuberance – femininity, drama and masses of sex appeal. I bet Osman fans new and old can’t bloody wait to get this stuff on come next year.

Categories ,Antonia Parker, ,BFC, ,Blue, ,Bondage, ,catwalk, ,colour, ,Corinne Bailey Rae, ,embroidery, ,hearts, ,Krister Selin, ,Kuoni, ,London Fashion Week, ,Matt Bramford, ,Osman Yousefzada, ,pink, ,review, ,S/S 2013, ,Somerset House, ,SS13, ,Tuesday, ,Womenswear

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Amelia’s Magazine | Prangsta Costumiers – In Pictures

large_Caitlin_Rose

Illustrations by Emma Black

In a genre steeped in tradition, seek Caitlin Rose springs forth like a breath of fresh air. Stripped down to the sweetest bare essentials, her voice rings clear and true, especially when she sings (at times wistfully, often defiantly) about heartbreak and failed relationships. Case in point: Learning To Ride, the opening track of her new album Own Side Now paints a painfully raw snapshot of a first love; “When I was young I used to ride the wild ones, they were lots of fun but they almost took my life. Now all I need is a simple steed, to take me where I need without putting up a fight.”

But while she is a very much a modern girl; smart, opinionated and droll, she is never mocking of her beloved Country music. “I hate a lot of words” she declares in a short video bio of her; eyes shaded by Ray Bans as she stands in front of her place of work, Bobby’s Dairy Dip. She runs through the words in question…. I hate the word “Indie”, and I hate the word ‘Contemporary’…. I hate a lot of words, but ‘Country’s’ a word that I actually really like”.

The popularity of her debut album, “Own Side Now” has meant that a few one off dates have morphed into a full European tour and she draws her summer of English festival appearances to a close with a performance at The End Of The Road Festival on September 11th.

What can we expect from your new album, Own Side Now? Am I right in thinking that it is going to be less acoustic than your debut EP?
It’s a full band record. There’s a pretty stripped down cut of Sinful Wishing Well though.

How did you make your first start into the Nashville music scene? Can you remember your first gig?
My first show was at a pool party and I was 16. I was too nervous to finish any of the songs.
For a time after that I opened shows for my then-boyfriend’s angry suburban punk band. We broke up and he got all the friends so I had to make new ones. Luckily I met some cool people and a few thought I was a decent songwriter. I used to play a dive called the Springwater and whatever anyone else would throw at me. I wasn’t 21 so I took what I could get.

Country music has passed so much of Britian by, it’s almost criminal. If you were to hand pick a record collection for someone who knew nothing about country music, what records would you put in?
How big? I’d suggest a Merle Haggard Greatest Hits album, some Loretta Lynn, John Prine’s first two albums. Marty Robbin’s Gunfighter Ballads. “Our Mother the Mountain” by Townes Van Zandt.
Guy Clark’s “Old No 1″. As much George Jones as possible. Gram Parsons “GP”. Any of Dolly’s old records. Some essential Patsy Cline. “Hank Williams sings Kaw-Liga and other Funny Songs” is a good one too. Some Carter Family. The Louvin Brother’s “Satan is Real” and throw in a couple of Linda Ronstadt’s early records for appropriate country rock measure. Early Tanya Tucker is good too.
I could go on, but that’s already a lot. Country music’s all about the song. If you see a record and you think you might like it, buy it (especially if it’s cheap) and figure out your favorite song. That’s the funnest part.

Can you tell us 5 things that we don’t know about Caitlin Rose?
I sleep on cowboy sheets.

I collect talismans and other people’s I.D.’s.

I’m no good with numbers.

I’m a terrible cook.

I’ve had 5 cavities.

Your songs are already known for being pretty straight talking; are you as straight talking in your day to day life?
Not as much as I would like to be.

If Amelia’s Magazine were to come visit you in Nashville (if you would have us!), what would we get up to?
I’d show you the Country Music Hall of Fame, Webb Pierce’s guitar shaped swimming pool and Dino’s Bar & Grill on Gallatin Road. I’ve also been hearing a lot about amateur wrestling matches held at a hotel downtown, that sound pretty intriguing.

You have already had some pretty major accomplishments in your career; what have been some of the highlights so far for you?
Bonnaroo and the review in German Rolling Stone were both exciting.

I loved the YouTube video of you by Seth Graves; do you still work at Bobbys Dairy Dip? It would be so cool if you do, but I’m thinking that with your music career going stratospheric it’s left little time for anything else.
No, but I miss it a lot, especially the sweet potato fries.

What would you like to have achieved by the time you are 30? (professionally, and personally)?
A few really good albums, a solid band and the cover of the Rolling Stone.
Also, to be completely free of anything resembling a zit or a pimple for the rest of my life. Kids are cool too.

Am I the first person to tell you that your songs give me goose bumps? (I write this in a non-creepy way, I promise you!)
If you’re worried about sounding creepy then I’m worried about sounding arrogant by saying that you’re not the first.


Illustrations by Emma Block

In a genre steeped in tradition, information pills Caitlin Rose springs forth like a breath of fresh air. Stripped down to the sweetest bare essentials, pills her voice rings clear and true, viagra 60mg especially when she sings (at times wistfully, often defiantly) about heartbreak and failed relationships. Case in point: Learning To Ride, the opening track of her new album Own Side Now paints a painfully raw snapshot of a first love; “When I was young I used to ride the wild ones, they were lots of fun but they almost took my life. Now all I need is a simple steed, to take me where I need without putting up a fight.”

But while she is a very much a modern girl; smart, opinionated and droll, she is never mocking of her beloved Country music. “I hate a lot of words” she declares in a short video bio of her; eyes shaded by Ray Bans as she stands in front of her place of work, Bobby’s Dairy Dip. She runs through the words in question…. I hate the word “Indie”, and I hate the word ‘Contemporary’…. I hate a lot of words, but ‘Country’s’ a word that I actually really like”.

The popularity of her debut album, “Own Side Now” has meant that a few one off dates have morphed into a full European tour and she draws her summer of English festival appearances to a close with a performance at The End Of The Road Festival on September 11th.

What can we expect from your new album, Own Side Now? Am I right in thinking that it is going to be less acoustic than your debut EP?
It’s a full band record. There’s a pretty stripped down cut of Sinful Wishing Well though.

How did you make your first start into the Nashville music scene? Can you remember your first gig?
My first show was at a pool party and I was 16. I was too nervous to finish any of the songs.
For a time after that I opened shows for my then-boyfriend’s angry suburban punk band. We broke up and he got all the friends so I had to make new ones. Luckily I met some cool people and a few thought I was a decent songwriter. I used to play a dive called the Springwater and whatever anyone else would throw at me. I wasn’t 21 so I took what I could get.

Country music has passed so much of Britian by, it’s almost criminal. If you were to hand pick a record collection for someone who knew nothing about country music, what records would you put in?
How big? I’d suggest a Merle Haggard Greatest Hits album, some Loretta Lynn, John Prine’s first two albums. Marty Robbin’s Gunfighter Ballads. “Our Mother the Mountain” by Townes Van Zandt.
Guy Clark’s “Old No 1″. As much George Jones as possible. Gram Parsons “GP”. Any of Dolly’s old records. Some essential Patsy Cline. “Hank Williams sings Kaw-Liga and other Funny Songs” is a good one too. Some Carter Family. The Louvin Brother’s “Satan is Real” and throw in a couple of Linda Ronstadt’s early records for appropriate country rock measure. Early Tanya Tucker is good too.
I could go on, but that’s already a lot. Country music’s all about the song. If you see a record and you think you might like it, buy it (especially if it’s cheap) and figure out your favorite song. That’s the funnest part.

Can you tell us 5 things that we don’t know about Caitlin Rose?
I sleep on cowboy sheets.

I collect talismans and other people’s I.D.’s.

I’m no good with numbers.

I’m a terrible cook.

I’ve had 5 cavities.

Your songs are already known for being pretty straight talking; are you as straight talking in your day to day life?
Not as much as I would like to be.

If Amelia’s Magazine were to come visit you in Nashville (if you would have us!), what would we get up to?
I’d show you the Country Music Hall of Fame, Webb Pierce’s guitar shaped swimming pool and Dino’s Bar & Grill on Gallatin Road. I’ve also been hearing a lot about amateur wrestling matches held at a hotel downtown, that sound pretty intriguing.

You have already had some pretty major accomplishments in your career; what have been some of the highlights so far for you?
Bonnaroo and the review in German Rolling Stone were both exciting.

I loved the YouTube video of you by Seth Graves; do you still work at Bobbys Dairy Dip? It would be so cool if you do, but I’m thinking that with your music career going stratospheric it’s left little time for anything else.
No, but I miss it a lot, especially the sweet potato fries.

What would you like to have achieved by the time you are 30? (professionally, and personally)?
A few really good albums, a solid band and the cover of the Rolling Stone.
Also, to be completely free of anything resembling a zit or a pimple for the rest of my life. Kids are cool too.

Am I the first person to tell you that your songs give me goose bumps? (I write this in a non-creepy way, I promise you!)
If you’re worried about sounding creepy then I’m worried about sounding arrogant by saying that you’re not the first.


Illustrations by Emma Block

In a genre steeped in tradition, thumb Caitlin Rose springs forth like a breath of fresh air. Stripped down to the sweetest bare essentials, see her voice rings clear and true, viagra especially when she sings (at times wistfully, often defiantly) about heartbreak and failed relationships. Case in point: Learning To Ride, the opening track of her new album Own Side Now paints a painfully raw snapshot of a first love; “When I was young I used to ride the wild ones, they were lots of fun but they almost took my life. Now all I need is a simple steed, to take me where I need without putting up a fight.”

But while she is a very much a modern girl; smart, opinionated and droll, she is never mocking of her beloved Country music. “I hate a lot of words” she declares in a short video bio of her; eyes shaded by Ray Bans as she stands in front of her place of work, Bobby’s Dairy Dip. She runs through the words in question…. I hate the word “Indie”, and I hate the word ‘Contemporary’…. I hate a lot of words, but ‘Country’s’ a word that I actually really like”.

The popularity of her debut album, Own Side Now has meant that a few one off dates have morphed into a full European tour and she draws her summer of English festival appearances to a close with a performance at The End Of The Road Festival on September 11th.

What can we expect from your new album, Own Side Now? Am I right in thinking that it is going to be less acoustic than your debut EP?
It’s a full band record. There’s a pretty stripped down cut of Sinful Wishing Well though.

How did you make your first start into the Nashville music scene? Can you remember your first gig?
My first show was at a pool party and I was 16. I was too nervous to finish any of the songs.
For a time after that I opened shows for my then-boyfriend’s angry suburban punk band. We broke up and he got all the friends so I had to make new ones. Luckily I met some cool people and a few thought I was a decent songwriter. I used to play a dive called the Springwater and whatever anyone else would throw at me. I wasn’t 21 so I took what I could get.

Country music has passed so much of Britian by, it’s almost criminal. If you were to hand pick a record collection for someone who knew nothing about country music, what records would you put in?
How big? I’d suggest a Merle Haggard Greatest Hits album, some Loretta Lynn, John Prine’s first two albums. Marty Robbin’s Gunfighter Ballads. “Our Mother the Mountain” by Townes Van Zandt.
Guy Clark’s “Old No 1″. As much George Jones as possible. Gram Parsons “GP”. Any of Dolly’s old records. Some essential Patsy Cline. “Hank Williams sings Kaw-Liga and other Funny Songs” is a good one too. Some Carter Family. The Louvin Brother’s “Satan is Real” and throw in a couple of Linda Ronstadt’s early records for appropriate country rock measure. Early Tanya Tucker is good too.
I could go on, but that’s already a lot. Country music’s all about the song. If you see a record and you think you might like it, buy it (especially if it’s cheap) and figure out your favorite song. That’s the funnest part.

Can you tell us 5 things that we don’t know about Caitlin Rose?
I sleep on cowboy sheets.

I collect talismans and other people’s I.D.’s.

I’m no good with numbers.

I’m a terrible cook.

I’ve had 5 cavities.

Your songs are already known for being pretty straight talking; are you as straight talking in your day to day life?
Not as much as I would like to be.

If Amelia’s Magazine were to come visit you in Nashville (if you would have us!), what would we get up to?
I’d show you the Country Music Hall of Fame, Webb Pierce’s guitar shaped swimming pool and Dino’s Bar & Grill on Gallatin Road. I’ve also been hearing a lot about amateur wrestling matches held at a hotel downtown, that sound pretty intriguing.

You have already had some pretty major accomplishments in your career; what have been some of the highlights so far for you?
Bonnaroo and the review in German Rolling Stone were both exciting.

I loved the YouTube video of you by Seth Graves; do you still work at Bobbys Dairy Dip? It would be so cool if you do, but I’m thinking that with your music career going stratospheric it’s left little time for anything else.
No, but I miss it a lot, especially the sweet potato fries.

What would you like to have achieved by the time you are 30? (professionally, and personally)?
A few really good albums, a solid band and the cover of the Rolling Stone.
Also, to be completely free of anything resembling a zit or a pimple for the rest of my life. Kids are cool too.

Am I the first person to tell you that your songs give me goose bumps? (I write this in a non-creepy way, I promise you!)
If you’re worried about sounding creepy then I’m worried about sounding arrogant by saying that you’re not the first.


Illustrations by Emma Block

In a genre steeped in tradition, viagra approved Caitlin Rose springs forth like a breath of fresh air. Stripped down to the sweetest bare essentials, her voice rings clear and true, especially when she sings (at times wistfully, often defiantly) about heartbreak and failed relationships. Case in point: Learning To Ride, the opening track of her new album Own Side Now paints a painfully raw snapshot of a first love; “When I was young I used to ride the wild ones, they were lots of fun but they almost took my life. Now all I need is a simple steed, to take me where I need without putting up a fight.”

But while she is a very much a modern girl; smart, opinionated and droll, she is never mocking of her beloved Country music. “I hate a lot of words” she declares in a short video bio of her; eyes shaded by Ray Bans as she stands in front of her place of work, Bobby’s Dairy Dip. She runs through the words in question…. I hate the word “Indie”, and I hate the word ‘Contemporary’…. I hate a lot of words, but ‘Country’s’ a word that I actually really like”.

The popularity of her debut album, Own Side Now has meant that a few one off dates have morphed into a full European tour and she draws her summer of English festival appearances to a close with a performance at The End Of The Road Festival on September 11th.

What can we expect from your new album, Own Side Now? Am I right in thinking that it is going to be less acoustic than your debut EP?
It’s a full band record. There’s a pretty stripped down cut of Sinful Wishing Well though.

How did you make your first start into the Nashville music scene? Can you remember your first gig?
My first show was at a pool party and I was 16. I was too nervous to finish any of the songs.
For a time after that I opened shows for my then-boyfriend’s angry suburban punk band. We broke up and he got all the friends so I had to make new ones. Luckily I met some cool people and a few thought I was a decent songwriter. I used to play a dive called the Springwater and whatever anyone else would throw at me. I wasn’t 21 so I took what I could get.

Country music has passed so much of Britian by, it’s almost criminal. If you were to hand pick a record collection for someone who knew nothing about country music, what records would you put in?
How big? I’d suggest a Merle Haggard Greatest Hits album, some Loretta Lynn, John Prine’s first two albums. Marty Robbin’s Gunfighter Ballads. “Our Mother the Mountain” by Townes Van Zandt.
Guy Clark’s “Old No 1″. As much George Jones as possible. Gram Parsons “GP”. Any of Dolly’s old records. Some essential Patsy Cline. “Hank Williams sings Kaw-Liga and other Funny Songs” is a good one too. Some Carter Family. The Louvin Brother’s “Satan is Real” and throw in a couple of Linda Ronstadt‘s early records for appropriate country rock measure. Early Tanya Tucker is good too.
I could go on, but that’s already a lot. Country music’s all about the song. If you see a record and you think you might like it, buy it (especially if it’s cheap) and figure out your favorite song. That’s the funnest part.

Can you tell us 5 things that we don’t know about Caitlin Rose?
I sleep on cowboy sheets.

I collect talismans and other people’s I.D.’s.

I’m no good with numbers.

I’m a terrible cook.

I’ve had 5 cavities.

Your songs are already known for being pretty straight talking; are you as straight talking in your day to day life?
Not as much as I would like to be.

If Amelia’s Magazine were to come visit you in Nashville ( if you would have us! ), what would we get up to?
I’d show you the Country Music Hall of Fame, Webb Pierce’s guitar shaped swimming pool and Dino’s Bar & Grill on Gallatin Road. I’ve also been hearing a lot about amateur wrestling matches held at a hotel downtown, that sound pretty intriguing.

You have already had some pretty major accomplishments in your career; what have been some of the highlights so far for you?
Bonnaroo and the review in German Rolling Stone were both exciting.

I loved the YouTube video of you by Seth Graves; do you still work at Bobbys Dairy Dip? It would be so cool if you do, but I’m thinking that with your music career going stratospheric it’s left little time for anything else.
No, but I miss it a lot, especially the sweet potato fries.

What would you like to have achieved by the time you are 30? (professionally, and personally)?
A few really good albums, a solid band and the cover of the Rolling Stone.
Also, to be completely free of anything resembling a zit or a pimple for the rest of my life. Kids are cool too.

Am I the first person to tell you that your songs give me goose bumps? (I write this in a non-creepy way, I promise you!)
If you’re worried about sounding creepy then I’m worried about sounding arrogant by saying that you’re not the first.


Illustrations by Emma Block

In a genre steeped in tradition, doctor Caitlin Rose springs forth like a breath of fresh air. Stripped down to the sweetest bare essentials, sildenafil her voice rings clear and true, especially when she sings (at times wistfully, often defiantly) about heartbreak and failed relationships. Case in point: Learning To Ride, the opening track of her new album Own Side Now paints a painfully raw snapshot of a first love; “When I was young I used to ride the wild ones, they were lots of fun but they almost took my life. Now all I need is a simple steed, to take me where I need without putting up a fight.”

But while she is a very much a modern girl; smart, opinionated and droll, she is never mocking of her beloved Country music. “I hate a lot of words” she declares in a short video bio of her; eyes shaded by Ray Bans as she stands in front of her place of work, Bobby’s Dairy Dip. She runs through the words in question…. I hate the word “Indie”, and I hate the word ‘Contemporary’…. but ‘Country’s’ a word that I actually really like”.

The popularity of her debut album, Own Side Now has meant that a few one off dates have morphed into a full European tour and she draws her summer of English festival appearances to a close with a performance at The End Of The Road Festival on September 11th. Recently we emailed Caitlin a bunch of questions, to find out a little bit more about the twenty-three year old girl who is already drawing comparisons to Patsy Cline.

What can we expect from your new album, Own Side Now? Am I right in thinking that it is going to be less acoustic than your debut EP?
It’s a full band record. There’s a pretty stripped down cut of Sinful Wishing Well though.

How did you make your first start into the Nashville music scene? Can you remember your first gig?
My first show was at a pool party and I was 16. I was too nervous to finish any of the songs.
For a time after that I opened shows for my then-boyfriend’s angry suburban punk band. We broke up and he got all the friends so I had to make new ones. Luckily I met some cool people and a few thought I was a decent songwriter. I used to play a dive called the Springwater and whatever anyone else would throw at me. I wasn’t 21 so I took what I could get.

Country music has passed so much of Britian by, it’s almost criminal. If you were to hand pick a record collection for someone who knew nothing about country music, what records would you put in?
How big? I’d suggest a Merle Haggard Greatest Hits album, some Loretta Lynn, John Prine’s first two albums. Marty Robbin’s Gunfighter Ballads. “Our Mother the Mountain” by Townes Van Zandt.
Guy Clark’s “Old No 1″. As much George Jones as possible. Gram Parsons “GP”. Any of Dolly’s old records. Some essential Patsy Cline. “Hank Williams sings Kaw-Liga and other Funny Songs” is a good one too. Some Carter Family. The Louvin Brother’s “Satan is Real” and throw in a couple of Linda Ronstadt‘s early records for appropriate country rock measure. Early Tanya Tucker is good too.
I could go on, but that’s already a lot. Country music’s all about the song. If you see a record and you think you might like it, buy it (especially if it’s cheap) and figure out your favorite song. That’s the funnest part.

Can you tell us 5 things that we don’t know about Caitlin Rose?
I sleep on cowboy sheets.

I collect talismans and other people’s I.D.’s.

I’m no good with numbers.

I’m a terrible cook.

I’ve had 5 cavities.

Your songs are already known for being pretty straight talking; are you as straight talking in your day to day life?
Not as much as I would like to be.

If Amelia’s Magazine were to come visit you in Nashville ( if you would have us! ), what would we get up to?
I’d show you the Country Music Hall of Fame, Webb Pierce’s guitar shaped swimming pool and Dino’s Bar & Grill on Gallatin Road. I’ve also been hearing a lot about amateur wrestling matches held at a hotel downtown, that sound pretty intriguing.

You have already had some pretty major accomplishments in your career; what have been some of the highlights so far for you?
Bonnaroo and the review in German Rolling Stone were both exciting.

I loved the YouTube video of you by Seth Graves; do you still work at Bobbys Dairy Dip? It would be so cool if you do, but I’m thinking that with your music career going stratospheric it’s left little time for anything else.
No, but I miss it a lot, especially the sweet potato fries.

What would you like to have achieved by the time you are 30? (professionally, and personally)?
A few really good albums, a solid band and the cover of the Rolling Stone.
Also, to be completely free of anything resembling a zit or a pimple for the rest of my life. Kids are cool too.

Am I the first person to tell you that your songs give me goose bumps? (I write this in a non-creepy way, I promise you!)
If you’re worried about sounding creepy then I’m worried about sounding arrogant by saying that you’re not the first.


Minna S/S 2010, here illustrated by Yelena Bryksenkova

Ever uttered the words “I’d love to make my own clothes” but then never actually got round to it? Well you wouldn’t be alone, ampoule myself included. I have the basic skills and desire to want to make my own clothes but find it so easy not to do when you succumb to the call of vintage and second hand shops. The impulse and excitement of rummaging makes you forget your previous desire to be your own individual stylist. But moving into the world of creator actually has massive satisfaction and many bragging benefits.  

There have been so many beautiful trends this summer to inspire us but the one that stood out the most to anyone who is thinking of making their own clothing is lace.

Lace is everywhere, on the catwalks, on the high street, and even on our net curtains! Grannies worldwide will have a stash of vintage lace table cloths and curtains prime for the picking to create beautiful one off designs (Which your friends will never be able to copy), and will please your eco-conscience. 


Illustration by Naomi Law

The high street is a great start for inspiration for design, but there are also some amazing individual finds on the internet too. Check out eco-designer Minna Hepburn; her ‘Minna Classics’ collection is a treasure trove of gorgeous lace designs, feminine and playful, and all manufactured in the UK to help support local businesses. If you’re thinking of starting small, Minna offers inspiration not only in clothing but jewellery too, her ‘Kristiina‘ necklace is entirely hand made and created using recycled fabrics including lace and decorated with buttons and beads, something we could all aspire to do. 

When your creativity has peaked and your fingers are itching with excitement for what your about make, head over to www.instructables.com. this website has pretty much anything you could hope to make on it. Blog updates allow you to fill your days by becoming a crafty expert – not only with lace, you can expand your skills to run on for seasons with the amount of ideas and tutorials.

If your still needing that shopping fix, though – as so many of us do, head down to your local second hand book shop where your most likely to find some great new and old pattern books, where you can cut out the patterns and follow the instructions in detail. 


Illustration by Faye West

Whatever you decide to make enjoy the pleasure of creating your own one off, hand made pieces of clothing. It’s time to start paying visits to your friends and families, wardrobes, cupboards, lofts, and basements, for the treasures you never knew you had. Just remember though, – wait until your grannies have finished with their lace net curtains before you start cutting holes in them and fashioning them into on-trend emsembles!  


Lace detail (and one above) by Yelena Bryksenkova

Look out for an interview with Minna soon… but for now, check out our previous chat with her here.


Prangsta, stuff illustrated by Joana Faria

Now, visit web here’s a treat. Hopefully you caught Georgia Takacs’ wonderful insight into the awe-inspiring world of Prangsta Costumiers last week: the celebrated (if somewhat unconventional) Alice in Wonderland-esque bazaar in New Cross.

Now I would never in a million years suggest that readers of Amelia’s Magazine come to the site just to look at pretty pictures, what with our bursting-at-the-seams stock of fabulous writers, but in order to bring a little sunshine and entertainment to a so far grey Wednesday, feast your eyes on some glorious images and illustrations from Prangsta.

Georgia, who wrote the article, took part in a shoot with the team there, capturing the many faces that pass through the doors and even more of the craft-packed corners of this wonderful find. So here they are. I’m convinced you could look at this place all day and never get bored – I hope you agree!


Illustration by Krister Selin

The latest shoot focuses on a somewhat macabre Snow White, shown with an array of weird and wonderful friends:






Illustration by Rachel de Ste. Croix

Prangsta also worked with ethereal fashion photographer Ellen Rogers, and the result is astonishing. Rogers’ photographs make heavy use of photographic techniques from long ago, evoking (for me at least) images of Marlene Dietrich in Hot Venus and the eery portraits of death popular in the Victorian age. Whatever they evoke, this marriage of Prangsta and Rogers is incredible.




Photographs by Ellen Rogers

To read the original article about the wonderful world of Prangsta, click here.

Categories ,Alice in Wonderland, ,Dwarves, ,Ellen Rogers, ,Georgia Takacs, ,illustration, ,Joana Faria, ,Krister Selin, ,Lion, ,london, ,Matt Bramford, ,New Cross, ,photography, ,Prangsta Costumiers, ,Rachel De Ste. Croix, ,snow white

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Amelia’s Magazine | Marina Spetlova: creating fabulous upcycled fashion garments from zips

Martina Spetlova S/S 2011 by Krister Selin
Martina Spetlova S/S 2011 by Krister Selin.

Fashion designer Martina Spetlova hails from Bohemia in the southern part of the Czech Republic. She studied Chemistry and Biology at university in Prague before coming to London where she was accepted onto a print design BA at Central Saint Martins, sickness despite the absence of a portfolio. Having recently graduated from her MA she is now working on her second collection. En route she has won several prestigious competitions. Studying for an MA at Central Saint Martins seems to open doors.

During her year out from Central Saint Martins she set up a fairtrade embroidery network with women in Pakistan, stuff spending six months living in the area to network between communities and fashion designers, which was great fun but also a lot of responsibility. There was an exhibition in London but sadly the project didn’t last much longer after she left. I am now busy with my own label but I hope to incorporate similar projects into my work in the future. Thanks to her print design background Martina is able to fund her label from the sale of her printed textile designs and she also teaches pattern cutting to a small group of ladies…

Read the rest of this interview and see more illustrations of Martina Spetlova’s clothing in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.

Categories ,ACOFI, ,Amelia’s Compendium of Fashion Illustration, ,Central Saint Martins, ,Czech Republic, ,Eco fashion, ,embroidery, ,Ethical Fashion, ,fairtrade, ,Krister Selin, ,Martina Spetlova, ,Pakistan, ,Prague, ,recycling, ,Upcycling, ,Zips

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Amelia’s Magazine | Mark Fast: London Fashion Week S/S 2014 Catwalk Review


Mark Fast S/S 2014 by Krister Selin

Mark Fast‘s S/S 2014 outing at Somerset House on Saturday was a far cry from what he delivered last season. Gone were floor-sweeping full feather skirts and asymmetric capes. This season Fast returned to his figure-hugging, unforgiving knits that captured imagination and intrigue.


All photography by Matt Bramford

In my honest opinion it had all gone a bit Julien Macdonald, so I was glad to see this triumphant comeback. The Black Swan-esque skintight caps were banished and made way for enormous, backcombed, haphazard, grungy hair dos – the theme for this rave of a collection. Hedonistic techno, grunge and bright blue skies in teen shows of the 1990s all had a part to play in this collection. Acid greens and pale blues were combined to form super tight separates worn with knickers. Neon yarns had been whipped into a frenzy to create Fast‘s unique bodycon dresses, styled with chunky patent boots and black tight socks. Each piece was SO tight that it left me wondering if Fast had actually woven them around the provocative models.


Mark Fast S/S 2014 by Krister Selin

It was a colourful journey from black to the aforementioned acid greens that made way for pale, luxury blues, referencing the ‘water colour flashbacks’ of said 1990s television. I can’t put it any better than the show notes, that read that this collection was a mash up of ‘The Craft crocheted, Kurt and Courtney knitting and Aaliyah underwater’. It was an matchless mix of calm and chaos, and it looks like our love affair with the 1990s will continue for some time yet.

Categories ,catwalk, ,knitwear, ,Krister Selin, ,london, ,London Fashion Week, ,Mark Fast, ,Matt Bramford, ,review, ,Show Space, ,SS14, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Michael Van Der Ham

fashion illustration by Amy Martino

Illustration by Amy Martino

At the Bodyamr show, viagra 100mg the celebrities nearly outshone the clothes. Lily Allen, adiposity Nick Grimshaw, Keisha from the Sugababes and the TV Chef Gizzi Erskine all waltzed in past us mere mortals crammed outside the Vauxhall Fashion Scout hall, (made more manic by the decision to cram two presentations into one catwalk show) cue much jostling and craning of necks by my fellow bloggers to get a good photo.

Once inside, the celeb fest continued – the press release reeled off a list of starlets who loved Bodyamr (Florence Welch, Beyonce, and Cheryl Cole dontcha know), and the crowd whispered about Daisy Lowe opening the show and Kanye West’s girlfriend Amber Rose closing. The scrum for goodie bags as everyone sat down added to the excitement – a recent collaboration with Rixos hotels meant a rather bizarre mix of hotel freebies and glossy brochures was under every seat.

As for the clothes – Bodyamr do a fine line in creating flattering, skin-tight looks for powerful women (hence the appeal for starlets). True to form, their inspiration for S/S 2011 was a cross between Josephine Baker wrapping jewels ‘seductively around her naked body’ and a 90s supermodel. It was a fun, glamorous collection, with pieces that wouldn’t look out of place in Studio 54 (sequins, kaftan style dresses, jersey, Grecian draping), a nice dose of body con and some sheer chiffon dresses printed with art deco jewels (there’s the naked Josephine Baker for you). There was even some slouchy, slinky daywear amongst the goddess dresses tailor-made for the red carpet. And yes, Daisy looked amazing – I just hope people weren’t too star-struck to notice her beautifully draped white jersey jumpsuit.

Illustration by Krister Selin

I was very excited to see what NEWGEN winner Michael Van Der Ham would have in store this season at his first solo show. He’s quickly rising up the fashion ranks – he only bloody graduated a year ago, erectile for God’s sake, more about and it was inevitable that this was going to be a good ‘un.

A quick cycle across Waterloo Bridge took me to the erstwhile Eurostar Terminal at Waterloo Station. London Fashion Week is SO much better by bike. Despite the odd trauma here and there, specific to my unlucky self, to be able to zip between the many venues without relying on public transport is a Godsend.

The building is like a ghost town these days since the firm’s relocation to St Pancras. Apparently it’s costing millions to upkeep, so hopefully Topshop’s little foray into hosting fashion events there has helped. Sir Phillip Green certainly doesn’t need the money, that’s for sure.

Directed by awkward looking teenagers dressed in grey branded bolier suits, we were ushered through the labyrinth that is left behind. There’s something a bit spooky about it – escalators are motionless, luggage belts are empty and all electrical devices like light-up signs for directions are, of course, turned off. There’s also a sense of poignancy in the air in this abandoned haunt. Nobody else seemed to sense this misery as they clacked around on their heels, so this might have been due to the eight coffees I had consumed that morning. Arriving at the top with the beautiful afternoon light bathing through the glass roof was quite something, though.

I had a little wander around, Ham-ing it up and taking a few pics of people glugging booze, and then a loud speaker announced that we should take our seats. The catwalk was the very last platform on the south side of the building, with tiered seating on one side only. Those models sure were close to the track. I did worry, especially after the trend of tumbling models we’ve seen this season.

The usual front rowers were there, including Alexandra Shulman, Brix Smith Start, Anna Dello Russo, and Sarah Mower. While it was nice to be in the daylight, the building doesn’t allow for any dramatic changes in light, so without any prior warning the show began. It’s a long catwalk n’all – there I was, worrying again that these models might not have eaten and would pass out from all that exercise.


Illustration by Krister Selin

Michael Van Der Ham’s clothing is a little odd when you first view it – seams are all over the place, fabrics are diverse, colours clash, outfits are classifiable on one side and then something totally different by the other. But somehow, they work. Rich tones of blue, pale and hot pinks, graphic patterns and pale colours all combine to make unique pieces and were styled very simply to allow them to have maximum impact. Themes like disco and dance spring to mind.

Because of Michael’s expert fusing of varying fabrics and cuts, there isn’t really any kind of silhouette to talk about – skirts were short, and then long; necklines were high, and then low; waists were diagonal and then horizontal, sleeves were short and then high – there was bias cut, flattering fabrics, body-con fabrics, the lot… I was a nervous wreck by the time the show finished. It’s all pretty baffling but beautiful to look at.

My favourite elements were crushed velours and velvets, embellished skirts, skirts that had been gathered to create gorgeous, soft shapes, and floating translucent fabrics that were attached like super-hero capes.

It’s a brave woman that can pull off the Michael Van Der Ham look. But those who can, should.

All photography by Matt Bramford

Categories ,Eurostar, ,illustration, ,Krister Selin, ,London Fashion Week, ,Michael van der Ham, ,Newgen, ,platform, ,review, ,S/S 2011, ,Topshop Space, ,Waterloo

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Amelia’s Magazine | London Fashion Week S/S 2011 Catwalk Review: Ones to Watch

LFW-Georgia Hardinge_by Krister Selin
Georgia Hardinge by Krister Selin.

I really enjoy the Ones to Watch because it inevitably features a plethora of new talent all wheeled out in one show on the same hastily repackaged models, page meaning that a compromise must inevitably be reached concerning casting, viagra 60mg hair and make up – for timing’s sake. And usually the standard is very high. This time round we were treated to four very different young designers, side effects or at least young to the world of fashion:

LFW_Lillee_Abigail Nottingham
Lilee by Abigail Nottingham.

London College of Fashion graduate Lilee showed an all cream collection (or was that the yellow glow of the lights?) of drapes and folds and pleats, though I found it hard to make out the exciting sculptural qualities promised by her previous collections as seen online. It was very demure and tasteful, but not that exciting for a colour hound like myself.

Fashion Scout Ones to Watch Lilee photo by Amelia Gregory
Fashion Scout Ones to Watch Lilee photo by Amelia Gregory
All photography by Amelia Gregory.

Next up was my pick of the bunch: Charlotte Taylor laid breast plate adornments and over-sized pendants over a confident collection of dresses and shorts presented in a chirpy fashion. I loved the fetching colour range of tomato, mustard, fresh mint green and wedgewood blues, presented with robot prints and striped cutaway detailing. Her blog states ” Don’t expect – black” Very good. We like. Apparently she used to work at Luella, and this easy going, playful and highly wearable collection was synonymous with the style that Luella was so well known for. I particularly loved the high wasted velvet shorts and crop top combo. Keep an eye on this designer.

Fashion Scout Ones to Watch Charlotte Taylor photo by Amelia Gregory
Fashion Scout Ones to Watch Charlotte Taylor photo by Amelia Gregory
Fashion Scout Ones to Watch Charlotte Taylor photo by Amelia Gregory
Fashion Scout Ones to Watch Charlotte Taylor photo by Amelia Gregory
Fashion Scout Ones to Watch Charlotte Taylor photo by Amelia Gregory
Fashion Scout Ones to Watch Charlotte Taylor photo by Amelia Gregory
Fashion Scout Ones to Watch Charlotte Taylor photo by Amelia Gregory
LFW_Charlotte Taylor by Abigail Nottingham
LFW_Charlotte Taylor by Abigail Nottingham
Charlotte Taylor by Abigail Nottingham.

Sadly A.Hallucination did not show psychedelic fare as I had rather hoped for: but rather some quite nice dandyish menswear. The duo of Hwan Sun Park and Chung Chung Lee are graduates of you know where…. (Central… need I say the rest?) and cut an amusing pair when they took their turn to bow on the catwalk. It was also a highly polished – fun yet wearable – collection, and I liked the shorts paired with low slung cut waistcoats and jackets featuring pretty details such as toggles and zippered pleats.

Fashion Scout Ones to Watch A.Hallucination photo by Amelia Gregory
Fashion Scout Ones to Watch A.Hallucination photo by Amelia Gregory
Fashion Scout Ones to Watch A.Hallucination photo by Amelia Gregory
Fashion Scout Ones to Watch A.Hallucination photo by Amelia Gregory
Fashion Scout Ones to Watch A.Hallucination photo by Amelia Gregory
LFW-A Hallucination by Krister Selin
LFW-A Hallucination by Krister Selin
A.Hallucination by Krister Selin.

Next up was the hot tip for the show – Georgia Hardinge. And I must say that the ruffle covered wedding-ish concoctions were initially as appealing as Bjork dressed in THAT swan dress: even the shoes and models’ poker straight hair did not escape a serious ruffling. But then came the real show stoppers – netted chiffon sculptural dresses that seemed almost to have come from the mind of a different person altogether. These emphasised the hips and waist in peculiar ways – destined, like the ruffles, only to look good on the most waifish of people.

Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory
Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory
Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory
Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory
Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory
Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory
Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory
LFW-Georgia Hardinge by Krister Selin
LFW-Georgia Hardinge by Krister Selin
Georgia Hardinge by Krister Selin.

Previous collections have been interesting, but I’m not sure I was sold on the concept of this one, which was allegedly an analysis of what a woman is… I did however like the final bright yellow number, which looked less meringue bridesmaid and more cheeky 80s cocktail dress. I’m definitely sticking with Charlotte Taylor as my fave though.

Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory
Fashion Scout Ones to Watch Georgia Hardinge photo by Amelia Gregory

Categories ,A.Hallucination, ,Abigail Nottingham, ,Charlotte Taylor, ,Chung Chung Lee, ,Georgia Hardinge, ,Hwan Sun Park, ,Krister Selin, ,lfw, ,Lilee, ,London Fashion Week, ,Ones To Watch

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Jean Pierre Braganza (by Matt)

After the safety of school, stuff facing the real world can make artists feel a bit lost – this is why the working artists at the Core Gallery started ‘DIY Educate’. Starting from Saturday 26th February, this there will be workshops, prostate critiques and lectures to help with the practical aspects of art life.

Rosalind Davis

‘I came out of five years of education with a BA and an MA, but I still didn’t know where to begin when it came to knowing how the art world works,’ says Rosalind Davis, co-director of the Core Gallery. A lot of people who graduated university with an arts or humanities degree are likely to identify with this sentiment; while art school is good for finding your voice, it’s not so good when it comes to teaching you about running a business. This is where Rosalind, and her fellow Core Gallery artists, hope to be able to help.

Enver Gursev

The Core Gallery was set up in April 2010, and puts on exhibitions by emerging curators. ‘We want to be a dynamic, exploratory space,’ says Rosalind. Their DIY Educate programme kicks off this spring, focusing firmly on ‘what they don’t teach you in school’: how to apply for an exhibition, how to sell your work, how to approach a gallery. The workshops will also go over how to find grants, or how to find an arts-related side-job to keep food on the table. One-on-one tutorials are also part of the package, with esteemed painter Graham Crowley offering his honest opinion for starters, with more names to be added. ‘There will also be peer critique sessions, and the opportunity to exchange ideas in a friendly place’, says Rosalind, emphasising how the most important thing is to create a space where artists feel nurtured.

Graham Crowley

‘Lots of art school practice is about the concept and processes of art, and there is less focus on the business side,’ says Rosalind. ‘But artists can be shy about marketing themselves, and they will often need encouragement.’

I ask Rosalind why the business side this isn’t covered better in school, and she says it’s difficult to say, but part of the reason may be that artist teachers in university may not be that great at promoting themselves either. She lectures about the business side of art herself, but she thinks it should be a mandatory subject to better prepare students for what’s to come.

Arnold Borgerth

DIY Educate will include talks by curators and artists, plus practical workshops. Membership costs £18 per year, granting free or reduced price access to events. Non-members can attend too, paying full price. DIY Educate is a not-for-profit programme that receives no independent funding, and Rosalind hopes to be able to expand offerings as things get going.

Elizabeth Murton

The programme kicks off this Saturday, 26th February, with a peer critique sesson followed by an artist and curator dialogue. On Tuesday night, 1st March, there will be a ‘nuts and bolt’ workshop on how to be an artist.

‘We plan to have one of these ‘nuts and bolts’ workshop every other month or so, plus a series of art workshops through the spring and summer,’ Rosalind explains. Initially the gallery plans to have two tutorials a month, but this could grow as more artists join Graham Crowley in offering them.

All images courtesy of Core Gallery and its resident artists.

The DIY Educate website is here – find the Core Gallery in Deptford: C101 Faircharm Trading Estate, 8-12 Creekside, London SE8 3DX

Illustration by Joana Faria

If I ever meet Jean Pierre Braganza in person, buy I might give him a little squeeze. His A/W 2011 show on Friday leaps right into my top 5 – and I’m writing this at the end of a very long and pretty stressful Day 3.

One of my favourite things during fashion week is getting to see interesting buildings that I never knew existed and wouldn’t normally take the slightest interest in. Braganza’s show was to take place at the ‘Show Space‘ – part of one of those centuries-old hotels with Baroque interiors and branded soaps. Me and Amelia skipped the queue and sneaked inside to find the most beautiful chandeliers and lots of OTT dressed punters. The actual room in which the show was to take place was equally as decadent, save for the make-shift catwalk that looked like it could topple at any second – and the tiny gap down the side of said catwalk through which we all had to squeeze. ‘I predict a bottle neck’ I thought as we entered, and my premonition came true on the way out.


Illustrations by Krister Selin

A little wait ensued while it was ensured that every inch of carpet had somebody to occupy it, so I took a few snaps of the room and got a bit excited about the juxtaposition of this past interior and Braganza’s future aesthetic.

On with the show with bangin’ beats and gorgeous models wearing more gorgeous clothes. Masculine tailoring appeared first, dynamically cut and decorated with a transfixing splatter pattern in tonal greys. This pattern was set to become a theme, appearing in both menswear and womenswear. After only a few pieces I instantly thought that Braganza’s collections are always meticulous and polished – rich, full fabrics are combined with unique cuts and expert craftsmanship – the entire collection was technically faultless.

Models appeared one after the other, pausing a third of the way down the catwalk so we could all get a good look. I like this set up – much better for pictures (and I’ve really struggled with pictures this season – bloody A/W and it’s sea of dark colours).


Illustrations by Krister Selin

Branganza took the collection forward concentrating on luxe materials that have high aesthetic value: rich and heavy knits, leather and mohair; add a science-fiction influence and you’ve got a real fashion forward collection.

Geometric cuts featured patches of contrasting materials. Nautical stripes in monochrome contrasted with the smoothness of jersey; gents wore Cuban heels with their military tailoring with contrasting sleeves. Braganza has an incredible ability to combine leather architectural pieces with beautifully elegant silk frocks – sounds hideous on paper but as a collection it was completely coherent.


Illustration by Joana Faria

I usually can’t get it up for a predominantly black collection, but with Jean Pierre Braganza’s vision of the future I most certainly can. Bursts of lipstick red shook things up a bit: a gent’s suit with a synched back and skinny trousers that finished with points; embellished onto a mind-blowing shift dress; on short skirts. But it will be Braganza’s black that I remember this collection for: leather sleeves for gents and cutaway dresses in leather with a hint of bondage that oozed sex appeal for the ladies. Eyes peeled folks, this is what the future looks like.

All photography by Matt Bramford

See more of Joana Faria and Krister Selin’s illustrations in Amelia’s Compendium of Fashion Illustration.

Categories ,A/W 2011, ,architectural, ,baroque, ,black, ,Catwalk review, ,Croydon face lift, ,Cuban heels, ,Futuristic, ,geometric, ,Jean Pierre Braganza, ,Joana Faria, ,Krister Selin, ,London Fashion Week, ,Northumberland Avenue, ,Red, ,The Show Space, ,Trace Publicity

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