Illustration by Eugenia Tsimiklis
In my honest opinion, buy the V&A is the single most wonderful museum in the world. Where else can you pass by Medieval sculpture, breeze by centuries-old Japanese textiles and pass under Renaissance frescos to marvel at Dame Edna’s full-english-breakfast frock? At the V&A, I tell ya!
I was here today for the latest Fashion in Motion catwalk show – events that bring the runway to the public and make watching fashion, in this sense, accessible.
This time it was the turn of Osman Yousefzada, Afghan-born and British-based fashion designer.
Illustration by Leah Wilson
Taking my seat on the front row, it’s always incredible to look around and see what type of people attend these events. Today’s crowd was made up mostly of the usual breed of fashionista-slash-scenester, but it’s always great to see how diverse this crowd is – particularly the two little old dears who were sitting by my side. They were in the mid-to-late seventies I’d say, but they looked absolutely gorgeous and told me ‘they love a catwalk show!’
The show began with a burst of loud music and a very muscular man appeared wearing one of Osman’s body-concious floor-length creations (womenswear, I hasten to add). As he moved down the catwalk robotically, whoops and cheers were heard, and his lean frame began to dance in that fascinating interpretative style that I defy anybody to fully explain or understand. He was joined by a girl who came hurtling and spinning down the catwalk, her aesthetic a-line pleated Osman creation getting maximum exposure from her delicate moves.
When the ‘fashion’ part of the show kicked in, it was easy to see why Osman is celebrated internationally for his forward-thinking fashion. In this semi-retrospective of his work, the key themes were glamour, sophistication and body-concious ensembles. These four strutted their stuff first.
Quickly the show gathered pace and we were treated to a whistle-stop tour of Osman’s previous and present collections. Body-con was again high on the list of things to see, along with a range of delicate and very, very feminine short dresses.
Illustration by Eugenia Tsimiklis
Osman’s style is hard to pin down. It’s glamorous, at times futuristic but never, ever boring. At first glance many of the pieces are wonderfully simple, but always with a twist: like an oversized tafetta corsage in post-box red, or metallic gold bodice.
Osman relies on a natural colour palette; futuristic grays are a strong theme along with fashionable nudes, and it is the craftsmanship and engineering of these Japanese-inspired pieces that work the hardest.
Hot pink blouses and gold lamé macs brought a welcomed splash of colour, however.
Illustration by Leah Wilson
Illustration by Eugenia Tsimiklis
In my honest opinion, prostate the V&A is the single most wonderful museum in the world. Where else can you pass by Medieval sculpture, ampoule breeze by centuries-old Japanese textiles and pass under Renaissance frescos to marvel at Dame Edna’s full-english-breakfast frock? At the V&A, order I tell ya!
I was here today for the latest Fashion in Motion catwalk show – events that bring the runway to the public and make watching fashion, in this sense, accessible.
This time it was the turn of Osman Yousefzada, Afghan-born and British-based fashion designer.
Illustration by Leah Wilson
Taking my seat on the front row, it’s always incredible to look around and see what type of people attend these events. Today’s crowd was made up mostly of the usual breed of fashionista-slash-scenester, but it’s always great to see how diverse this crowd is – particularly the two little old dears who were sitting by my side. They were in the mid-to-late seventies I’d say, but they looked absolutely gorgeous and told me ‘they love a catwalk show!’
The show began with a burst of loud music and a very muscular man appeared wearing one of Osman’s body-concious floor-length creations (womenswear, I hasten to add). As he moved down the catwalk robotically, whoops and cheers were heard, and his lean frame began to dance in that fascinating interpretative style that I defy anybody to fully explain or understand. He was joined by a girl who came hurtling and spinning down the catwalk, her aesthetic a-line pleated Osman creation getting maximum exposure from her delicate moves.
When the ‘fashion’ part of the show kicked in, it was easy to see why Osman is celebrated internationally for his forward-thinking fashion. In this semi-retrospective of his work, the key themes were glamour, sophistication and body-concious ensembles. These four strutted their stuff first.
Quickly the show gathered pace and we were treated to a whistle-stop tour of Osman’s previous and present collections. Body-con was again high on the list of things to see, along with a range of delicate and very, very feminine short dresses.
Illustration by Eugenia Tsimiklis
Osman’s style is hard to pin down. It’s glamorous, at times futuristic but never, ever boring. At first glance many of the pieces are wonderfully simple, but always with a twist: like an oversized tafetta corsage in post-box red, or metallic gold bodice.
Osman relies on a natural colour palette; futuristic grays are a strong theme along with fashionable nudes, and it is the craftsmanship and engineering of these Japanese-inspired pieces that work the hardest.
…Whilst some pieces, like this beautiful bell-like creation, seemed to float over the model as she effortlessly walked the catwalk.
Hot pink blouses and gold lamé macs brought a welcomed splash of colour, however.
Illustration by Leah Wilson
Illustration by Eugenia Tsimiklis
In my honest opinion, shop the V&A is the single most wonderful museum in the world. Where else can you pass by Medieval sculpture, breeze by centuries-old Japanese textiles and pass under Renaissance frescos to marvel at Dame Edna’s full-english-breakfast frock? At the V&A, I tell ya!
I was here today for the latest Fashion in Motion catwalk show – events that bring the runway to the public and make watching fashion, in this sense, accessible.
This time it was the turn of Osman Yousefzada, Afghan-born and British-based fashion designer.
Illustration by Leah Wilson
Taking my seat on the front row, it’s always incredible to look around and see what type of people attend these events. Today’s crowd was made up mostly of the usual breed of fashionista-slash-scenester, but it’s always great to see how diverse this crowd is – particularly the two little old dears who were sitting by my side. They were in the mid-to-late seventies I’d say, but they looked absolutely gorgeous and told me ‘they love a catwalk show!’
The show began with a burst of loud music and a very muscular man appeared wearing one of Osman’s body-concious floor-length creations (womenswear, I hasten to add). As he moved down the catwalk robotically, whoops and cheers were heard, and his lean frame began to dance in that fascinating interpretative style that I defy anybody to fully explain or understand. He was joined by a girl who came hurtling and spinning down the catwalk, her aesthetic a-line pleated Osman creation getting maximum exposure from her delicate moves.
When the ‘fashion’ part of the show kicked in, it was easy to see why Osman is celebrated internationally for his forward-thinking fashion. In this semi-retrospective of his work, the key themes were glamour, sophistication and body-concious ensembles. These four strutted their stuff first.
Quickly the show gathered pace and we were treated to a whistle-stop tour of Osman’s previous and present collections. Body-con was again high on the list of things to see, along with a range of delicate and very, very feminine short dresses.
Illustration by Eugenia Tsimiklis
Osman’s style is hard to pin down. It’s glamorous, at times futuristic but never, ever boring. At first glance many of the pieces are wonderfully simple, but always with a twist: like an oversized tafetta corsage in post-box red, or a metallic gold bodice.
Osman relies on a natural colour palette; futuristic grays are a strong theme along with fashionable nudes, and it is the craftsmanship and engineering of these Japanese-inspired pieces that work the hardest.
…Whilst some pieces, like this beautiful bell-like creation, seemed to float over the model as she effortlessly walked the catwalk.
Hot pink blouses and gold lamé macs brought a welcomed splash of colour, however.
Illustration by Leah Wilson
Illustration by Eugenia Tsimiklis
In my honest opinion, online the V&A is the single most wonderful museum in the world. Where else can you pass by Medieval sculpture, pilule breeze by centuries-old Japanese textiles and pass under Renaissance frescos to marvel at Dame Edna’s full-english-breakfast frock? At the V&A, remedy I tell ya!
I was here today for the latest Fashion in Motion catwalk show – events that bring the runway to the public and make watching fashion, in this sense, accessible.
This time it was the turn of Osman Yousefzada, Afghan-born and British-based fashion designer.
Illustration by Leah Wilson
Taking my seat on the front row, it’s always incredible to look around and see what type of people attend these events. Today’s crowd was made up mostly of the usual breed of fashionista-slash-scenester, but it’s always great to see how diverse this crowd is – particularly the two little old dears who were sitting by my side. They were in the mid-to-late seventies I’d say, but they looked absolutely gorgeous and told me ‘they love a catwalk show!’
The show began with a burst of loud music and a very muscular man appeared wearing one of Osman’s body-concious floor-length creations (womenswear, I hasten to add). As he moved down the catwalk robotically, whoops and cheers were heard, and his lean frame began to dance in that fascinating interpretative style that I defy anybody to fully explain or understand. He was joined by a girl who came hurtling and spinning down the catwalk, her aesthetic a-line pleated Osman creation getting maximum exposure from her delicate moves.
When the ‘fashion’ part of the show kicked in, it was easy to see why Osman is celebrated internationally for his forward-thinking fashion. In this semi-retrospective of his work, the key themes were glamour, sophistication and body-concious ensembles. These four strutted their stuff first.
Quickly the show gathered pace and we were treated to a whistle-stop tour of Osman’s previous and present collections. Body-con was again high on the list of things to see, along with a range of delicate and very, very feminine short dresses.
Illustration by Eugenia Tsimiklis
Osman’s style is hard to pin down. It’s glamorous, at times futuristic but never, ever boring. At first glance many of the pieces are wonderfully simple, but always with a twist: like an oversized tafetta corsage in post-box red, or a metallic gold bodice.
Osman relies on a natural colour palette; futuristic grays are a strong theme along with fashionable nudes, and it is the craftsmanship and engineering of these Japanese-inspired pieces that work the hardest.
…Whilst some pieces, like this beautiful bell-like creation, seemed to float over the model as she effortlessly walked the catwalk.
Hot pink blouses and gold lamé macs brought a welcomed splash of colour, however.
Illustration by Leah Wilson
Illustration by Eugenia Tsimiklis
In my honest opinion, viagra buy the V&A is the single most wonderful museum in the world. Where else can you pass by Medieval sculpture, pills breeze by centuries-old Japanese textiles and pass under Renaissance frescos to marvel at Dame Edna’s full-english-breakfast frock? At the V&A, I tell ya!
I was here today for the latest Fashion in Motion catwalk show – events that bring the runway to the public and make watching fashion, in this sense, accessible.
This time it was the turn of Osman Yousefzada, Afghan-born and British-based fashion designer.
Illustration by Leah Wilson
Taking my seat on the front row, it’s always incredible to look around and see what type of people attend these events. Today’s crowd was made up mostly of the usual breed of fashionista-slash-scenester, but it’s always great to see how diverse this crowd is – particularly the two little old dears who were sitting by my side. They were in the mid-to-late seventies I’d say, but they looked absolutely gorgeous and told me ‘they love a catwalk show!’
The show began with a burst of loud music and a very muscular man appeared wearing one of Osman’s body-concious floor-length creations (womenswear, I hasten to add). As he moved down the catwalk robotically, whoops and cheers were heard, and his lean frame began to dance in that fascinating interpretative style that I defy anybody to fully explain or understand. He was joined by a girl who came hurtling and spinning down the catwalk, her aesthetic a-line pleated Osman creation getting maximum exposure from her delicate moves.
When the ‘fashion’ part of the show kicked in, it was easy to see why Osman is celebrated internationally for his forward-thinking fashion. In this semi-retrospective of his work, the key themes were glamour, sophistication and body-concious ensembles. These four strutted their stuff first.
Quickly the show gathered pace and we were treated to a whistle-stop tour of Osman’s previous and present collections. Body-con was again high on the list of things to see, along with a range of delicate and very, very feminine short dresses.
Illustration by Eugenia Tsimiklis
Osman’s style is hard to pin down. It’s glamorous, at times futuristic but never, ever boring. At first glance many of the pieces are wonderfully simple, but always with a twist: like an oversized tafetta corsage in post-box red, or a metallic gold bodice.
Osman relies on a natural colour palette; futuristic grays are a strong theme along with fashionable nudes, and it is the craftsmanship and engineering of these Japanese-inspired pieces that work the hardest.
…Whilst some pieces, like this beautiful bell-like creation, seemed to float over the model as she effortlessly walked the catwalk.
Hot pink blouses and gold lamé macs brought a welcomed splash of colour, however.
Illustration by Leah Wilson
Oh, and the shoes were pretty amazing, too – and looked surprisingly comfortable (although I’m not sure I’ll be wearing any anytime soon)
We’ll look forward, then, to Osman’s future collections now we’ve revelled into this little delve into his past. If you want to find out more about Fashion in Motion and future events, check out the listings section or the V&A website.
You can also see the previous Fashion in Motion event, Erdem, here.
Would it be wrong of me to say that London has become oversaturated with sombre bands that focus on their image rather than entertain their audience? It would be a lie for me to deny that many of the gigs I’ve attended recently have done little to evoke much excitement. Perhaps this is something I’ve come to recognise because Sia’s gig at Camden’s Roundhouse last Thursday was far from the stale acts I’ve been subjecting myself to lately. I’ve come to the conclusion that this is because the performance was constructed with one very significant word in mind – fun!
Fun began the moment I stepped into the venue and was confronted with a stage design that had made extensive effort to use every possible colour the eye can conceive – a far cry from the dark mellow colour tones I’ve come to encounter in other performances.
Sia took to the stage in a kooky Craig Lawrence outfit fashioned with what I’d assumed was red and white construction tape giving her the appearance of a Christmas candy cane. Whilst this may have constituted a fashion atrocity to some, tadalafil the outfit couldn’t have been more suited to the foolery played out that evening.
Sia was eager to bring out the silliness in everyone with moments between songs reserved to the audience – moments in which we were invited to heckle our performer. Random items were thrown towards the stage in these instances not out of spite but because this musician has a reputation of wearing whatever is hailed her way; like a mouse shower cap for example! (Which she put on with good grace and an infectious laugh). A brief exit from stage later on in the show had her re-emerge with some sort of bubble contraption strapped to her back that flooded the Roundhouse with literally hundreds of bubbles.
Gig goers were treated to a few new tracks from the upcoming album ‘We Are Born’ which has a presence of more upbeat pop melodies as compared to previous albums which contrasted such tunes with slower tracks. I can’t decide if I find this a bit upsetting because it’s these somewhat softer tunes that seem to bring out that commanding voice Sia possesses that I’m so fond of. That’s not to say that these new tracks are in any way bad; ‘Never Gonna Leave me’ was definitely a crowd pleaser. Then there was the poignant ‘Breathe Me’ that the band only had to play the first couple of cords to before the crowd howled back their appreciation. Whilst we weren’t given a taste of any of the tracks Sia had collaborated on with Zero 7 she did put on an impressive performance of ‘Soon We’ll Be Found’ where she simultaneously translated her lyrics into the language of sign. In fact the whole show was played out with a sign language interpreter just to the right of the stage.
What struck me overall about the evening was the prominence Sia placed on audience involvement and how such an energetic mass was shaped by simply acknowledging the crowd. It got to the point where it seemed everyone was craving the musicians attention with some folks clambering on top of a mates shoulders hoping to be called upon to ask a question whilst others decided a deafening shout was all that was needed to be noticed. Sia misunderstood most of these cries and would try to echo what she thought she’d heard which more times than not seemed to be a swear word of some kind.
These moments of miscommunication were hilarious and were a unique feature of the evening. I would have loved to have voiced something of my own however I was forced to make protecting my ear drums a priority as a result of the squeals emerging from the eager gentleman beside me. This musician definitely has an effective formula for igniting excitement; Transforming a room of rather rigid bodies into a space where those very bodies are bouncing off each other as they fight for a space to dance.
Charisma and vocal talent is something Sia undoubtedly possesses and uses to make sure she isn’t performing to a crowd of zombies. This energy remained even after the show had finished with gig goers more than happy to chat with absolute strangers as they exited the venue. I saw that we were all showing off our smiles; in fact I’m still trying to wipe that smile from my face.
Categories ,Craig Lawrence, ,Live Review, ,Roundhouse, ,Sia, ,Zero 7
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