Mina Bach. – AmeliasMagazine

Amelia’s Magazine | London Fashion Week A/W 2011 catwalk review: Amanda Wakeley (by Jess)

What an amazing show; Ziad Ghanem has trumped everything else I’ve seen this week. Opening with a model dressing in a dark, prescription this dramatic floor length strapless gown, nurse with green feathers, cheapest stilts and skull makeup the audience were cheering from the off.

The front row was packed out with the eccentrically dressed – Boy George almost blended into the background in a bright yellow hat and full face of makeup. Special mention has to go to the PVC clad, (and complete with blow up hair), London artist Pandemonia, sitting opposite me. Together with a matching blow up dog, she must have been boilin’!

Ziad Ghanem by Alison Day

The loud show, with music changes more frequent than model changes provided clapping, laughing and unanimous approval – so much so that no one seemed to care that the show started an almost an hour late. Male and female models took to the catwalk in stunning creations – capes, gigantic earrings and tremendously tight dresses were wriggled, danced and glided down the runway on joker-style made-up faces.

The models came in all shapes and sizes but voluptuous curves and a heaving bosom was the order of the evening. Corset dresses that pushed said bosoms up and out were so tight that somewhere Scarlett Johansen was blushing. Full length floaty gowns in pale hues of blue, deep reds, sparkling gold and matte grey also allowed for plenty of swishing, and cloak spinning as the models made their way towards the waiting photographers.

Ziad Ghanem by Madi

My favourite dress was the bright fuschia deep cut and backless cocktail dress that nipped in perfectly at the waist. The shiny nature of the material was so unashamedly trashy that it avoided (I think) being either tacky or quality street wrapper-esque. Other notable highlights of the show include a deathly bride and groom, solemnly showering the crowd with petals at the end of the show, and the model who pirouetted her way backwards after walking down the catwalk. All in all, a brilliant show – exciting, entertaining and some truly beautiful clothes.

Ziad Ghanem by Avril Kelly

What an amazing show; Ziad Ghanem has trumped everything else I’ve seen this week. Opening with a model dressing in a dark, pills dramatic floor length strapless gown, site with green feathers, case stilts and skull makeup the audience were cheering from the off.

Ziad Ghanem by Alison Day

Ziad Ghanem by Madi

Ziad Ghanem by Avril Kelly

What an amazing show; Ziad Ghanem has trumped everything else I’ve seen this week. Opening with a model dressing in a dark, this dramatic floor length strapless gown, pilule with green feathers, stilts and skull makeup the audience were cheering from the off.

Ziad Ghanem by Alison Day

Ziad Ghanem by Madi

Rocking up to London Fashion Week for the first time on Day Five feels a bit like having overslept for work: you’re constantly trying to catch up what you’ve missed. Because, case I mean … wow. Just the courtyard of Somerset House is a fashion show of sorts, with the metallic leather, the Jackie O headscarves, the artful hats, the baby-as-accessory, and the miles and miles of feathers-and-corsage up-dos. Not to mention there’s a lot of shoes previously only seen in fashion magazines, girls who look like boys and vice versa, plus a lot of very tall women. At 5’7” I’ve never felt short in my life, but yesterday was a first for this too, as I stood there trying not to twiddle my press pass and look so much like the rookie that I am. But then Helen Martin, a Fashion Week veteran by now, came and rescued me, and together we made our way for the Amanda Wakeley runway show.

Illustration by Sandra Contreras

I had no idea to expect from the Amanda Wakeley show, other than it being ‘grown up’ fashion. Well at least it would be something different, I thought as I brushed some mud off my leg as we found our seats on the second row. A few minutes later people stopped running around, the plastic cover was removed from the runway, lights down, music up, and then – the models. One by one they came, the tall, gangly girls, rolling up the catwalk in their pouts, their towering heels and scraped-back hair. The black dresses came first, then a wave of bright orange, before a third lot of whites.

A few floaty numbers came here and there, but most of the dresses were very sculpted, sitting tight on the body with architectural lines built into the fabric. These all came with a thin, black leather belt, playfully tied into a double knot at the front. The rows of metallic cuffs up models’ arms added to the strict feel of the dresses, each garment subtly different from the next due to an alternative neckline or new skirt shape. Wakeley had maintained a very lady-like dress length on most of her creations, meaning the couple of models wearing flaring minis added a fun touch.

Illustration by Mina Bach

Several of the looser, more transparent dresses had what looked like beading; this was either ‘antique metal sequins’ or something called ’solar encrusted beading’, according to the literature. I especially liked the orange dress with the heavy silver-beaded panel (image above), as with my boyish figure I’ve never found a defined waist to be particularly flattering. There were plenty of boyish shapes among the models as well, but being professional mannequins they pulled off Wakeley’s sometimes unforgiving, figure-hugging dresses with ease. Wakeley actually has a pretty good track record when it comes to designing for real life women, but still, I couldn’t help but think a few curves would have made the outfits look even better, especially the fitted ones. I understand this is the way the world of high fashion works, but coming to this for the first time I guess I’ve not yet fully adjusted my outlook.

Illustration by Sarah Alfarhan

It was over in a flash, and Wakeley showed her face for no more than three seconds to wave, before she disappeared again behind the curtain. All around people were rustling impatiently even though the queue moved quickly towards the door, and by the time I’d made it outside a few of the models were already gathered around the back for a sneaky fag. For them it was just Day Five, but for me it was the first, and sadly the last. For now, that is – it all happens again in September and next time I’ll make sure to show up bright and early.

More of Yelena Bryksenkova’s illustrations can be found in Amelia’s Compendium of Fashion Illustration.

Written by Jessica Furseth on Wednesday February 23rd, 2011 7:41 pm

Categories ,A/W 2011, ,Amanda Wakeley, ,fashion, ,Helen Martin, ,lfw, ,london, ,London Fashion Week, ,Mina Bach., ,Sandra Contreras, ,Sarah Alfarhan, ,Somerset House, ,Yelena Bryksenkova

Amelia’s Magazine | London Fashion Week A/W 2011 catwalk review: Amanda Wakeley (by Jess)

Illustration by Yelena Bryksenkova

Rocking up to London Fashion Week for the first time on Day Five feels a bit like having overslept for work: you’re constantly trying to catch up what you’ve missed. Because, I mean … wow. Just the courtyard of Somerset House is a fashion show of sorts, with the metallic leather, the Jackie O headscarves, the artful hats, the baby-as-accessory, and the miles and miles of feathers-and-corsage up-dos. Not to mention there’s a lot of shoes previously only seen in fashion magazines, girls who look like boys and vice versa, plus a lot of very tall women. At 5’7” I’ve never felt short in my life, but yesterday was a first for this too, as I stood there trying not to twiddle my press pass and look so much like the rookie that I am. But then Helen Martin, a Fashion Week veteran by now, came and rescued me, and together we made our way for the Amanda Wakeley runway show.

Illustration by Sandra Contreras

Illustration by Mina Bach

More of Yelena Bryksenkova’s illustrations can be found in Amelia’s Compendium of Fashion Illustration.

Written by Jessica Furseth on Wednesday February 23rd, 2011 7:41 pm

Categories ,A/W 2011, ,Amanda Wakeley, ,fashion, ,Helen Martin, ,lfw, ,london, ,London Fashion Week, ,Mina Bach., ,Sandra Contreras, ,Sarah Alfarhan, ,Somerset House, ,Yelena Bryksenkova

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Elliott J. Frieze

Anja Maklar by Madi

Ones to Watch is always one of my favourite parts of London Fashion Week, viagra four fresh designers, more about one after another and always packed to the rafters it’s a really nice way to see contrasting styles. Generally it’s a mixed bag, more about read our preview here and last year’s review here. Famous spots in the audience were Susie Bubble and Laura Santamaria.

Anja Maklar

The designer presented a collection of pastels, with cut out and overlap details. In answer to Matt’s pondering in his write up of the designer, she has indeed developed some of the key styles which were seen in her SS11 show, in particular the laser cut detail and the triangle shape of her dresses.

This was a fun, pleasantly pastel, colourful collection with plenty to keep the audience interested.

Kirsty Ward

Kirsty Ward by Anne N’Toko

This is definitely a designer to keep your eye on. Part of a growing crop of young graduates who really bring jewellery into their collections, her AW11 offering was brimming with sparkly adornments and beautiful cut clothes. In particular, the use of cut out panels throughout, was very effective.

A palette with gold, bronze and brown, the autumnal colours were accented with sudden all-in-white outfits and stunning oversized necklaces. A favourite for me was the mesh bronze dress, which caught the light beautifully as the model walked down the catwalk.

Sara Bro Jorgensen

Sara Bro Jorgensen by Joe Turvey

Definitely my favourite collection out of the four, Jorgensen has a hint of Mark Fast and Laura Theiss about her designs but has added an edgier, rocky feel to knitted yarns.

Mostly black, her collection showcased knitted dresses with lots of hanging threads and beads. There were also some highly covetable leggings with shiny black slivers of PVC running down the middle of the leg.

My favourite part of the collection, however, was the cute headgear sported by all the models. Little knitted caps in black and dark blue were worn with nearly every single look.

As well as the black, white knitted cardigans and dresses were worn with grey, splatter print swingy trousers and shorts. The black versus white theme was continued with trompe l’oeil printed dresses complete with tuxedo jacket, waistcoat, shirt and bow tiees.

Tze Gogh

Tze Gogh by Joe Turvey

The last of our Ones to Watch is Tze Gogh who graduated from Parsons in New York and then completed his masters at Central Saint Martins.

Slightly disappointing for me in terms of pushing boundaries, Gogh’s collection was understated, with clean simple lines in block colours of midnight blue, husky grey and black. The structured coats, dresses and jackets cleverly retained their shape as the models walked and I would love to know what material he uses, but I couldn’t help feeling that more could have been done to make the collection stand out.

However, I do applaud how he has retained from over designing his clothes and has kept a minimal aesthetic.

Illustration by Mina Bach

If I could taste something as delish for the mouth as Elliott J. Frieze is for the eyes, cialis 40mg I’d eat it up so fast that time may go backwards. It’s my second LFW show of newcomer Elliott J. Frieze and I’m seriously beginning to LOVE this guy. Like, shop true sartorial love. His work needs to be up there with the best on the BFC Catwalk. NEEDS.

Illustration by Matilde Sazio

Saying that, approved however, he did bag a rather delectable venue anyway. Especially for his third London Fashion Week show. It was a bit of an epic walk in the rain down the entire length of the Strand, but for the beautiful Charing Cross Hotel? Well worth it. And with free champagne, who’s complaining? Not me. Well actually, me a bit… I thought ‘Great! Bit of bubbly will numb my stabbing sore throat’ – WRONG. (Note To All – 1 in 2 people at fashion week are ill like moi). After a sneaky chat with someone in the production team, Amelia, Matt and I got first dibs on seats, as well as a lovely lady from Grazia. She lent me a lush pen that had me wishing she’d forget to ask for it back. We spread ourselves amongst the front rows for different perspectives and then it was the hipsters turn to pick-and-choose. It sure felt good to have one-up on them this time! The crowds then gushed in with one lady’s hat towering tall above them all. We couldn’t help staring in the champagne reception, it genuinely looked like a Philip Treacy. Jealous.

Illustration by Kerriann Hulme

The runway for the show was unique in that it snaked around the room, this insanely beautiful ornate room. A gleaming chandelier hung high over our heads, for goodness sake. And velvet and marble was coming in from all directions. So were the clothes as luxe as the location?

Illustration by Natsuki Otani

HELL yes, they were. The collection, once again, embodied his natural design ethos, paying homage to classic British Tailoring intertwined with sexy modernity. I remember this creepy boy from my childhood wore green corduroy trousers to school everyday, so I usually REPELL corduroy. However, Elliott J. Frieze has officially turned me with suitable injections of camel-coloured corduroy – think pencil skirts and jacket details. Lush.

The whole colour pallette was perfection on the eyes. Frieze centred it around a combination of ‘caffeine mixtures’ represented by Latte, Mochas and Expresso. Considering i’m a die-hard lover of anything coffee-flavoured, this must be why i wanted to eat the collection up! Everything was very well co-ordinated.

Frieze drove the boundaries of his classic British foundations with cocktail dresses made from lambswool and a long beautiful dress that was constructed by some of the most impressive jersey draping I have EVER seen. No wonder he’s dressed such power-women as Yasmini Le Bon, Lily Cole & Erin O’ Connor.

The idea is that the look reflects Elliott’s story from Country to City. From all those old-fashioned favourite textures to a bit of spectacular cinching, draping and tucking to prepare the country Lord/Lady for the London ratrace!

Much inspiration was taken from the 1970s. Therefore, just like last season, hair was big, curly and volumnous. Suitable additions of sunglasses courtesy of Persol and gloves by Southcombe set the whole look off, creating a powerful and sexy image.

If I wasn’t currently a student and could afford to invest in any up-and-coming designer, I would go straight to Elliott J. Frieze! He’s my definate one-to-watch so, if I were you, I’d keep an eye on him.

Photos by Georgia Takacs

Written by Georgia Takacs on Tuesday February 22nd, 2011 12:59 pm

Categories ,A/W 201, ,Elliott J Frieze, ,kerriann hulme, ,lfw, ,Matilde Sazio, ,Mina Bach., ,Natsuki Otani

Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: John Rocha

KONICA MINOLTA DIGITAL CAMERA

Illustration by Mina Bach

If I could taste something as delish for the mouth as Elliott J. Frieze is for the eyes, pill I’d eat it up so fast that time may go backwards. It’s my second LFW show of newcomer Elliott J. Frieze and I’m seriously beginning to LOVE this guy. Like, true sartorial love. His work needs to be up there with the best on the BFC Catwalk. NEEDS.

Saying that, however, he did bag a rather delectable venue anyway. Especially for his third London Fashion Week show. It was a bit of an epic walk in the rain down the entire length of the Strand, but for the beautiful Charing Cross Hotel? Well worth it. And with free champagne, who’s complaining? Not me. Well actually, me a bit… I thought ‘Great! Bit of bubbly will numb my stabbing sore throat’ – WRONG. (Note To All – 1 in 2 people at fashion week are ill like moi). After a sneaky chat with someone in the production team, Amelia, Matt and I got first dibs on seats, as well as a lovely lady from Grazia. She lent me a lush pen that had me wishing she’d forget to ask for it back. We spread ourselves amongst the front rows for different perspectives and then it was the hipsters turn to pick-and-choose. It sure felt good to have one-up on them this time! The crowds then gushed in with one lady’s hat towering tall above them all. We couldn’t help staring in the champagne reception, it genuinely looked like a Philip Treacy. Jealous.

Illustration by Kerriann Hulme

Illustration by Natsuki Otani

Illustration by Mina Bach

If I could taste something as delish for the mouth as Elliott J. Frieze is for the eyes, more about I’d eat it up so fast that time may go backwards. It’s my second LFW show of newcomer Elliott J. Frieze and I’m seriously beginning to LOVE this guy. Like, pharm true sartorial love. His work needs to be up there with the best on the BFC Catwalk. NEEDS.

Illustration by Matilda Sazio

Saying that, buy more about however, he did bag a rather delectable venue anyway. Especially for his third London Fashion Week show. It was a bit of an epic walk in the rain down the entire length of the Strand, but for the beautiful Charing Cross Hotel? Well worth it. And with free champagne, who’s complaining? Not me. Well actually, me a bit… I thought ‘Great! Bit of bubbly will numb my stabbing sore throat’ – WRONG. (Note To All – 1 in 2 people at fashion week are ill like moi). After a sneaky chat with someone in the production team, Amelia, Matt and I got first dibs on seats, as well as a lovely lady from Grazia. She lent me a lush pen that had me wishing she’d forget to ask for it back. We spread ourselves amongst the front rows for different perspectives and then it was the hipsters turn to pick-and-choose. It sure felt good to have one-up on them this time! The crowds then gushed in with one lady’s hat towering tall above them all. We couldn’t help staring in the champagne reception, it genuinely looked like a Philip Treacy. Jealous.

Illustration by Kerriann Hulme

Illustration by Natsuki Otani

Illustration by Gilly Rochester

I have always been a huge fan of Alice Temperley; in fact my whole family has, prostate with both my 19 year old sister and my mother owning pieces by Temperley London. This is testament to the timeless nature of the designs- its a label that seems above trends and fads, healing always unmistakeably Temperley, with the monochrome patterns, flowing silhouettes and oodles of embellishment. Inspired by Venetian fans, this collection had a decidedly Spanish feel, with flared flamenco style skirts and splashes of red.The focus went back to the brand’s roots: eveningwear- with delicate tulle dresses covered with either embroidery or encrusted with crystals.

Illustration by Joana Faria

Illustration by Gemma Milly

The opulence and extravagance reminded me of Marchesa’s latest collection, and dare I say it, even some of the last McQueen pieces. Other dresses were covered in stars, harking back to Alice’s love of the circus evident in earlier collections. A collared dress with 50s style skirts brought a vintage feel to the collection, whilst stunning shoes from Charlotte Olympia kept the whole thing contemporary.

Illustration by Donya Todd

The obligatory chunky knit and even a feminine take on the tux with a ruffled shirt meant that there was actually a huge range within a collection that still managed to maintain one coherent aesthetic. Described as a ‘coming of age’ collection for Temperley, it really does prove Alice to be at the top of her game. There are no gimmicks here- just luxury, feminine, red-carpet worthy looks that your grandchildren will be whipping out as ‘vintage’ in years to come.

Illustration by Joana Faria

Illustration by Gemma Milly

Illustration by Gilly Rochester

Illustration By Artist Andrea

I was very nervous about Jasper’s show, this as I adored his Spring/Summer collection so much that I was worried my expectations would be too high. But I wasn’t disappointed- the sound of rainfall set the mood for the show, search and the slats of the more theatrical pieces replicated this noise as the models walked. One maxi-dress was tied at the waist with a belt hung with oversized keys, which clinked together as she walked. The inclusion of sounds in a catwalk show helps to make it all seem more three dimensional. Reworked, instrumental covers of 90s tunes by the likes of Nirvana also created a great soundtrack.

Whilst a number of the dresses were so ostentatious- and according to reports from friends of mine backstage, so incredibly heavy-that they are unlikely to be worn by the likes of you and me, Jasper cleverly takes the textures of these pieces and works them into accessories like clutch bags and statement ruff-style necklaces that are much easier to integrate into your real-life wardrobe.

Illustration by Artist Andrea

Inspired by the novel ‘Soie’ by Alessandro Baricco about a European man who becomes enchanted with the East, there is a distinct oriental feel to the colour palette and the silhouettes.Lace dresses with thigh-high slits and completely backless, full length evening gowns added to the sensuality of the silk and lace.

Iconic Fornasetti-inspired prints make fantastic statement pieces, as well as a knitted maxi number, the knitwear trend instigated by the likes of Craig Lawrence and Mark Fast showing no sign of dying.The hair was elegantly side-swept in a vintage-inspired up-do; a look complimented by Lucas Jack drop earrings.

Its no coincidence that my favourite shows on Friday, and so far of LFW altogether, are the two that featured lots of colour, a few show-stopping, theatrical pieces, gorgeous vintage-inspired prints, and silhouettes designed for a womanly shape.I’m referring to Prophetik and Jasper Garvida. However, both shows also share the same single criticism from me- these are sexy designs, can you please put them on women with sexier figures?They would look BETTER.Honest.The corsets of Prophetik were desperate for some heaving bosoms a la costume drama, whilst some of Jasper’s models were painfully thin.Its something I noticed at his last show too, and I’ve heard the same feedback from a number of people, even the illustrators I sent my photos to were shocked.Jasper is represented by one of the loveliest, most down-to-earth PR companies around, so I really hope they pass thes comments on to him, as its really the only criticism I have of the show.

Illustration By Artist Andrea

I was very nervous about Jasper’s show, more about as I adored his Spring/Summer collection so much that I was worried my expectations would be too high. But I wasn’t disappointed- the sound of rainfall set the mood for the show, troche and the slats of the more theatrical pieces replicated this noise as the models walked. One maxi-dress was tied at the waist with a belt hung with oversized keys, which clinked together as she walked. The inclusion of sounds in a catwalk show helps to make it all seem more three dimensional. Reworked, instrumental covers of 90s tunes by the likes of Nirvana also created a great soundtrack.

Whilst a number of the dresses were so ostentatious – and according to reports from friends of mine backstage, so incredibly heavy – that they are unlikely to be worn by the likes of you and me, Jasper cleverly takes the textures of these pieces and works them into accessories like clutch bags and statement ruff-style necklaces that are much easier to integrate into your real-life wardrobe.

Illustration by Artist Andrea.

Iconic Fornasetti-inspired prints make fantastic statement pieces, as well as a knitted maxi number, the knitwear trend instigated by the likes of Craig Lawrence and Mark Fast showing no sign of dying. The hair was elegantly side-swept in a vintage-inspired up-do; a look complimented by Lucas Jack drop earrings.

It’s no coincidence that my favourite shows on Friday, and so far of LFW altogether, are the two that featured lots of colour, a few show-stopping, theatrical pieces, gorgeous vintage-inspired prints, and silhouettes designed for a womanly shape.I’m referring to Prophetik and Jasper Garvida. However, both shows also share the same single criticism from me – these are sexy designs, can you please put them on women with sexier figures? They would look BETTER. Honest. The corsets of Prophetik were desperate for some heaving bosoms a la costume drama, whilst some of Jasper’s models were painfully thin. It’s something I noticed at his last show too, and I’ve heard the same feedback from a number of people, even the illustrators I sent my photos to were shocked. Jasper is represented by one of the loveliest, most down-to-earth PR companies around, so I really hope they pass thes comments on to him, as its really the only criticism I have of the show.

All photography by Katie Antoniou.

Illustrations by Ankolie

Even the invitation to this show had me excited; detail of a vintage toile print on a fabric corset lined with vintage style brass buttons and the byline ‘inspired by the court of Louis XV when art became frivolous’ grabbed my attention.Because all of this is frivolous, diagnosis isn’t it?We’re in the middle of a recession and yet here we are, medical still feeding are obsession with fashion and art because it has become such an integral part of our lives.Combining fashion and music is a big part of my job as a stylist to musicians, find so opening the show with Analize Ching on the violin was a big hit with me, followed by wonderful orchestral music that evoked the atmosphere of a French royal court.

I’d been a little underwhelmed by a lot of very drab Autumn/Winter collections, where hues vary only from black,to greys, some cream and back to black. The colours Prophetik used are all natural, with plum shades blended from madder root, rumex, logwood and indigo, and burgundy mixed from madder root, curled dock and gallnut. Adding yet more splashes of colour and prints were the quilted pieces, handed down from Jeff’s grandmother Lola from Tennesse. Hemp, cactus silk and ostrich feathers provided stunning texture and shape to the pieces. Accessories label ‘Dotted Loop’ provided reworked vintage accessories and even the shoes were made from vegetable-tanned leather.

Its rare that I can get at all excited by menswear, but the pieces in this collection spoke to the avid period-drama fan inside me. Military inspired jackets and riding boots?Phwoar.Yes please. Jeff himself appeared at the end showing how the look can be worked, though I’m sure he could probably get a way with wearing pretty much anything and still look like he just finished writing poetry/surfing/horse-riding; all listed as his hobbies.Only someone this comfortable with his masculinity could design coats for men made out of pastel pink quilts.

Corsets, tailored jackets and voluminous skirts; Jeff is very good at designing clothes for real women’s bodies.He recently dressed the lovely Livia Firth for the 2011 Golden Globes, and I can only imagine that his celebrity following will continue to increase.The final dress, ‘Mrs Moulton’ features ostrich feathers that shed naturally twice a year (from the ostrich, not the dress-that would be a high maintenance frock indeed) hand sewn on white silk and organza- I can totally picture this as a celebrity wedding dress.Watch this space.

I’ll leave you with Jeff’s take on Renaissance Art.I think it’s very interesting considering our current pre-occupation with all things vintage.
‘Renaissance art is not a rebirth as one implies, but freedom from the past. Unconcerned with what has been said or done, living in the present with an immediate relation to all things…achievement does not birth beauty but raw effort confessing its own failures and in the confession is the beauty of Art.’

Illustration by Mina Bach

If I could taste something as delish for the mouth as Elliott J. Frieze is for the eyes, stomach I’d eat it up so fast that time may go backwards. It’s my second LFW show of newcomer Elliott J. Frieze and I’m seriously beginning to LOVE this guy. Like, true sartorial love. His work needs to be up there with the best on the BFC Catwalk. NEEDS.

Illustration by Matilda Sazio

Illustration by Kerriann Hulme

Illustration by Natsuki Otani

Photos by Georgia Takacs

Illustration by Gilly Rochester

I have always been a huge fan of Alice Temperley; in fact my whole family has, visit this with both my 19 year old sister and my mother owning pieces by Temperley London. This is testament to the timeless nature of the designs- its a label that seems above trends and fads, side effects always unmistakeably Temperley, visit this site with the monochrome patterns, flowing silhouettes and oodles of embellishment. Inspired by Venetian fans, this collection had a decidedly Spanish feel, with flared flamenco style skirts and splashes of red.The focus went back to the brand’s roots: eveningwear- with delicate tulle dresses covered with either embroidery or encrusted with crystals.

Illustration by Joana Faria

Illustration by Gemma Milly

Illustration by Donya Todd

Photos by Katie Antoniou

Illustration by Joana Faria

Illustration by Gemma Milly

Illustration by Gilly Rochester

Illustration by Jaymie O’ Callaghan

He’s the long-standing fashion designer that, information pills despite his teeny tiny height, find you could spot a mile away. Much like his clothes, visit web really. A spot-on show with a dark soundtrack, breath-taking texture and an etheral beauty about the whole thing. This was John Rocha A/W 2011…

The queues to clamber into the BFC catwalk space were pretty epic. It was more of a crowd than a queue! Upon taking my seat, I began to regret wearing layers due to sauna temperatures and not enough space around me to take off my leather jacket. People were literally using the programs as fans to cool themselves. REALLY. Not so glamorous. THE Blogging Power-Couple, Scott Schuman and Garance Dore, sat themselves on the front row along with Susie Bubble (of course) and Alexandra Schulman, Editor of Vogue UK. And then came Hilary Alexander in her signature fur hat (*growl*) who sat RIGHT there in front of me – oh the excitement. She had a good look around her, peering over the top of her glasses as she does, exchanged a few words with fellow Times writers and then sat quietly waiting for showtime.

Illustration by Mina Bach

And here we go! Alas, after spotting Neil Young’s Harvest Moon as John Rocha’s inspiration on the program I was half expecting Old Man on the playlist. Ah well. Instead some heavy dark beats a la Stone Roses boomed across the catwalk as the first model took to the runway, in black black black and a MASSIVE head piece. Most models were baring these great creations that looked like a jamaican man’s dreadlocks tied up in a heap with wool knitted into it and a ton of volumising hairspray thrown in. PHEW. How these girls were managing that AND high heels, i don’t know.

The girls’ hair were styled in sweet little braids with slick, neatly parted roots. With that and all the textures of wool and fur (*more growls*) and what appeared to be silk chiffon, I was beginning to get a rustic, hippy and elvish feel with a suitable addition of elegance. People living in wood shacks in a snowy forest sprang to mind. NATURE sprang to mind.

Model of the moment, Abbey Lee, graced the spotlight towering high and elegant above many of the male models and sporting a dread-lock-esque headpiece herself! After a series of floor skimming gothic-looking gowns, it was time for some colour injection with browns, creams and bold under-skirt splashings of bold red, including a big painted tribal design that followed the hem of a floor-length skirt. It was a show full of twists and turns and surprises.

The lights dimmed and there was a moment of stillness before John Rocha, hand placed on chest as if deeply emotional with gratitude, led all models and creations up and down the catwalk, linking arms with Abbey Lee. She bent down to kiss him on the cheek infront of the cameras before he rushed off stage, clapping the audience saying thank you. A gracious finale to a glorious show!

Photographs by Georgia Takacs

Written by Georgia Takacs on Tuesday February 22nd, 2011 11:12 pm

Categories ,Abbey Lee, ,Jaymie O’Callaghan, ,John Rocha, ,LFW A/W 2011, ,Mina Bach., ,plaits

Amelia’s Magazine | Latitude 2010: Coco de Mer Circus Child Catwalk Review

Central Saint Martins followed swiftly on from the Chelsea College of Art and Design’s graduate collections.

I loved the big fluffy creations of this designer.

Latitude 2010-Felipe Rojas Llanos by Amelia Gregory

Felipe Rojas Llanos presented blue and purple silk tailoring on pouty youths, pills this site a welcome diversion from womenswear.

Latitude 2010-Anne Karine Thorbjoernsen by Amelia Gregory

Anne Karine Thorbjoernsen’s spiked dresses and jackets were dramatically sensual and dangerous.

Latitude 2010-fashion hat by Amelia Gregory
Half hats and shaggy Mr Tomlinson trousers.

Fabulous curled entwined knitwear from Sabrina Brytesson.

Latitude 2010 Lee Brown by Amelia Gregory

Sports influenced tailoring from Lee Brown.

Latitude 2010-Sorcha O’Raghallaigh by Amelia Gregory

80s influenced layered creations from Sorcha O’Raghallaigh were eminently wearable but the star of her collection was the stilt walker.

Latitude 2010-Zoe Sherwood by Amelia Gregory

Sadly I only caught the best headers from Zoe Sherwood’s feathery collection from the back. However, if there’s one thing for sure she does backs well as this turquoise dress proves.

Latitude fashion 2010-family fun by Amelia Gregory

The fashion shows were delightfully laid back, and enjoyed by plenty of families and young girls who would otherwise not get to see such calibre of upcoming design talent. Despite the lack of information about the presenting designers and the sometimes klutzy new models (Elite, you might want to give a few of them some catwalk training) this was a brilliant addition to Latitude, and with a bit of fine-tuning will hopefully become a festival staple.
Latitude 2010-Coco de Mer burlesque dancer by Amelia Gregory
Mademoiselle Adeline struts here stuff. Photography by Amelia Gregory.

Following the Graduate Fashion Shows Coco de Mer also hit the Latitude Waterfront catwalk with a range of fun sequinned swimsuits, order little tailored jackets and hats by Victoria Grant. Inspired by a Victorian circus ringmaster, ailment sales of this bespoke collection will raise funds for the Circus Child charity.

Latitude 2010-Coco de Mer Circus Child by Amelia Gregory

Coco-de-Mer-Circus-Child-by-Mina-Bach
Illustration by Mina Bach.

Andrea Peterson Latitude waterfront fashion coco de mer
Illustration by Andrea Peterson.

Latitude 2010-Coco de Mer Circus Child by Amelia Gregory

james_clare_Coco_De_Mer
Illustration by James Clare.

The skinny Elite new faces were completely overshadowed by the fabulous wriggling coquetry of the Burlesque artist who flounced down the catwalk with a pair of huge red feathered fans and a whole lot of sassiness. Now that’s what fit and healthy girls should look like with their clothes off.

Latitude 2010-Coco de Mer burlesque dancer by Amelia Gregory

Written by Amelia Gregory on Wednesday July 21st, 2010 1:06 pm

Categories ,Andrea Peterson, ,Burlesque, ,Circus, ,Coco de mer, ,James Clare, ,Latitude Festival, ,Mademoiselle Adeline, ,Mina Bach., ,Victoria Grant, ,Victorian, ,Waterfront Stage

Amelia’s Magazine | Latitude 2010: Central Saint Martins Catwalk Review

Latitude 2010-Matthew Inett by Amelia gregory
Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

I nestled in rushes amongst the clacking grasshoppers and giggling tweenies to watch the Latitude graduate fashion shows, what is ed played out along a catwalk linked to the Waterfront Stage. A selection of new faces from Elite formed a somewhat confusing parade between two stop offs on either side of the lake, not helped by a complete lack of clarity in announcements of each designer – What follows is the best of what I managed to catch, so if I’ve got any wrong please do let me know.

Latitude 2010-kids Amelia gregory
Latitude 2010-happy teen by Amelia Gregory
Photography by Amelia Gregory.

First up came the students from Chelsea College of Art and Design:

Latitude 2010-Ellen Chatelain by Amelia Gregory

Ellen Chatelain didn’t disappoint with her patchwork knitwear.

Latitude 2010-Sorcha Herbert by Amelia Gregory
More colourful knitwear, or is it weave, from Sorcha Herbert?

Latitude 2010 fashion by Amelia Gregory
Gorgeous printed textiles by Charmaine Dresser worked perfectly shooting into the sun.

Latitude 2010 fashion by Amelia Gregory
Spectacular lasercut tailoring.

Latitude fashion Michelle Urvall Nyrén

Ruched swimwear in mustard and greens. Illustration by Michelle Urvall Nyrén.

Latitude 2010 fashion by Amelia Gregory
More patchworked style.

Latitude 2010 fashion by Amelia Gregory
Subtle tones of caramel and slate.

Latitude 2010-fashion by Amelia Gregory

Padded and stitched capes combined with strange animal and psychedelic prints.

Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

Sadly the wonderful creations of Bethan Smith never crossed the lake – I guess the models were worried they might fall in. Fair play.

Latitude 2010-fashion by Amelia Gregory

More monochrome geometrics and slate shades from Helen Lawrence.

Latitude 2010-Shawana Grosvenor by Amelia Gregory

For Shawana Grosvenor creamy circular layers rule.

Latitude 2010-Matthew Inett by Amelia Gregory
Tagged onto the end of the first half Matthew Inett reprised his 2008 London College of Fashion catwalk show, which featured almighty curved shoulders and exaggerated hips in pastel checks.
Bethan Smith Latitude Festival by Krister Selin
Bethan Smith by Krister Selin.

I nestled in rushes amongst the clacking grasshoppers and giggling tweenies to watch the Latitude graduate fashion shows, seek played out along a catwalk linked to the Waterfront Stage. A selection of new faces from Elite formed a somewhat confusing parade between two stop offs on either side of the lake, story not helped by a complete lack of clarity in announcements of each designer – What follows is the best of what I managed to catch, so if I’ve got any wrong please do let me know.