Monthly Archives for September 2010

It Looks Rosie

I’ve had a lot of compliments about my blog recently and one thing people keep saying is that they love the pictures of my outfits, so I thought I would make this a regular post. Hope you like it!

I went to the first of the many balls of the year in St Andrews, this one was called the Golden Middle to celebrate the half way point of our degree (for those of you who don’t know, crazy Scottish degrees are mostly 4 years long). I decided to wear this lace dress that I bought for my cousin’s wedding, I’ve saved it for a few months but I love it so much I felt it needed an outing!

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Lace dress- Mango
Belt- vintage
Necklace- Topshop then customised
Rings- Owl ring: Asos; Love ring: Accessorize; Pearl ring: Azendi (anniversary present from my boyfriend)
Nails- Barry M mushroom
Leopard clutch- Topshop
Shooooes- Topshop (not a great pic, but they’re darker in real life)

Interview with Jennifer Hibbert

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I never tire of telling you about Britain’s great crop of design talent, and Nigerian born Jennifer Hibbert is among the inspiring up and coming fashion designers. In Spring 2010 Jennifer launched her eponymous shop in Caterham, Surrey.  The fashion world is taking great interest in her elegant hand-crafted designs, in particular her iconic bespoke handbags. It’s not long before the designer will be a household name as word spreads about her stylish label.

Here, I interview the designer about her life and work in a bid to learn more about the brains behind the brand.

RS: I really enjoyed reading the story on your website about how you got into designing, I think it’s a really inspiring story. Did you ever think that you’d end up following in your mother’s (dressmaking) footsteps?

JH: Noooo! It’s funny because while she was doing that I appreciated what she was doing but it was never anything I thought I would end up doing myself, you know? So I just thought “I’m going to do something new, I’m going to be a lawyer.” In the end I find out that there are just things that you can’t avoid, they’re just there and that’s where you’re going.

RS: Like fate almost?

JH: Yes, definitely.

RS: Did you ever help her when you were younger? Handing her buttons or things like that?

JH: Yes I did! But I did it because it was an obligation, not because of any other reason! I wasn’t doing it because I wanted to learn what she was doing! For me it was just her thing and it’s funny because now as my kids are growing up and I do my designing and everything, they like it but they just look at me and think, that’s just what she’s doing!

RS: It’s just another job?

JH: Yeah it is, exactly.

RS: Family is certainly important to you, you seem to juggle a lot! A young family, your law degree and now your own business; how do you manage it all?

JH: Aahh… I don’t know what to say really! I think somebody up there is looking out for me. I was at the law school and my husband was still in Nigeria because that’s where we met, he stayed there and I came back with the kids. They were young kids: 6 and 4, when we came back. I had two of them and I had to go to law school- sometimes I’d be in a class and they’d call me, come and pick up your kids! Even sometimes I cried because it was just so hard.

RS: It must have been.

JH: Well at the end of the day I passed, I did well in law school. I have to say with this designing and everything, the kids do complain sometimes. I do try- I dedicate one day fully to them at least once a week, to spend time with my kids and do the things that they want to do. Then I can use the rest of my time for designing, and all sort of things because you’ve got to fit in family life, you know?

RS: Of course and it must keep you grounded as well, it’s the kind of industry where you can get swept up in it all…

JH: Yeah- I just like it that on a Saturday I can take my kids out and we go shopping, they love going to buy things in New Look, they look around and that’s nice- they enjoy it and we have lunch or things like that. They love it! I try to do that, even though I have other things to do, sometimes they just have to wait. You have to look out for your family.

RS: It’s great that you’ve got that sense of perspective. So what inspires your work? Do you seek out ideas or do they come to you?

JH: Actually some of them just come to me, some of the things I see people wear and how people feel when they wear certain things. It gives me the inspiration to think. I used to buy a lot of clothes myself before, the sort of person who likes wearing nice clothes. Most of my handbags which I buy which are designer handbags I find that most of them are very heavy when you put things in- even one or two things- they are unbearable to carry. So that’s one of the things that motivates me. I think when I do bags I try to tan the leather very well, make it dried properly so that it’s not too heavy to work with. So that’s one of the things I had in mind, attention to detail. It’s very important for people to really feel good when they’re wearing your designs.

I’ve just made a television ad for the brand and the model we used asked to wear one of my sample dresses to a wedding in Paris, she called me and said she felt like she was a princess; everybody else wore something “nice” but everyone came up to her and said “you look beautiful.” That’s what motivates me, I want to be able to make clothes that when people wear them they feel really special. Comfort is also very important, when you’re wearing clothes you want to wear something that is very comfortable and at the same time stylish.

RS: So how would you sum up the Jennifer Hibbert brand?

JH: I would sum it up as very elegant design, as you’ve seen in our look book, and most of my styles as well are from the olden days, like in the 40s and 50s. I look at the way women wear clothes with leather, when I design I try to bring a little bit of beauty from the past into the clothes. Like the flowy dresses that women wore in those days, I see a lot of beauty in it and when I design I like to get in touch with those sort of looks and bring in modern day style fused with this elegance as well as comfort.

In those days they wore those girdles that weren’t comfortable, but now with modern technology you can create these beautiful styles without being uncomfortable.

RS: Where would you like to take the brand?

JH: I have a lot of dreams for this brand you know, I’m looking for the brand to be known all over the world, and then second of all I’d like it to be stocked in good shops, places like Harrods and on the Champs Elysee in Paris; so that women who like beautiful things can access it easily and enjoy the brand.

RS: A lot of people just talk about clothes the designers make, but I’m interested too in how designers dress themselves. How would you describe your own style?

JH: Umm… well I would say I’m a good dresser, I love dressing up a lot. When I started this brand, I loved the street where I lived. People who around the area came to the shop weren’t expecting anything less than what they saw me wearing.  The shop is me. I love dressing up, it comes across in my designs, even the mannequins in the shop, how they’re put together- it comes across. We like the windows to look really elegant.

RS: I see- it’s like the brand and yourself are one and the same, which I think is how it should be.

JH: Definitely!

RS: So who are your favourite designers yourself?

JH: I like people like Michael Kors, Gucci and Marc Jacobs as well. I like a little bit of Jimmy Choo, but sometimes it’s a bit too shiny for my liking. Though I do like shininess it’s sometimes just a bit too much.

RS: Did you see any of LFW?

JH: I saw the pictures on the internet, I couldn’t go as it just happens that this period I have so much done- inventories, and as the shop is fairly new I have to take stock of all the items I have in the store room and shop. So we’ve been counting and re-counting. Next time I will try to go! I went last time to London and Paris Fashion Weeks, which were lovely.

RS: Of the shows you did see pictures of, what was your favourite?

JH: I mostly look at the bags and shoes. I like Bouba- I love the use of the jewels in the bags, they incorporate a lot of them which I like. Also London designer Austique, I think it is good but they are simple- for me it’s too simple. For me it’s great but in my mind I would spice it up a little, it’s a bit ordinary and bland.

RS: I guess that’s your own style then! Do you pay attention to trends in the media or do you do your own thing?

JH: Well obviously you have to, you can’t ignore what everyone else is doing. You have to do what people like and look at where they’re taking things, there’s no point marching to your own tune and just wandering off, though it is good to be unique. Yes you look at what they’re doing but then you go back inside yourself and find your own uniqueness.

RS: I love your bespoke designs. Do you find fashion is something innately personal? Should trends happen or should fashion be more about expressing an individual?

JH: I think about expressing an individual. Lots of people do think alike though. Don’t get me wrong, most people in the world are open to the trial of different thing, but as people are individuals, if I design for certain people, someone else could design for them and create something totally different. Everyone can’t design the same things, it just wouldn’t work. When I was opening the shop in the area I was, most people said that women in the area liked frumpy clothes and said I should design like that to impress them. Butt that’s not me- if I did that I wouldn’t think it was good! What sort of person would do that? I like flamboyance and quirkiness. I want to look at it and it’s all there. I said to myself I should do what I like and somehow there will be people like me that like these things. That’s why I focus on a certain type of design, things I like to do and then hope that other people will appreciate my art.

RS: Clearly that’s been successful! You were talking before about moments in fashion history, what’s your favourite fashion decade?

JH: Well I would say fifties is great, if you look back to things that happened then, you see them coming back again- the midi skirts, platforms, all sorts of things. But having said that, it’s all modernized properly, the way I would like them. I still prefer now because now you can see the edge in fashion. Things are done with so much passion it’s amazing what they can come up with. You look back at the olden days- they’re nice in their own way but today people spend so much time and passion in the things that they do that it’s difficult to express it. People really spend time and make things really nice.

RS: You’re right it’s almost like art, isn’t it.

JH: Yes! I totally agree, fashion in the fifties was great but I’m glad I’m living now.

RS: There’s so much more freedom as well.

JH: Definitely.

RS: If you had to choose between buying a new bag or new shoes, what would you choose?

JH: Well first of all I would go for my own brand!

RS: Fair enough!

JH: But then if I had to exclude mine and think of someone else… I think I would go for a Gucci bag, I like them. If not Gucci then Louis Vuitton.

RS: I do love your structured clutch bags.

JH: I don’t know if you saw the fabrics, it’s a woven leather- we cut it in pieces and weave it in this way. When I chose that style and took it to the maker they said “no we can’t do that, noone has done that before- it won’t work” but I said “Well just try, this is what I want and we can see.” So they did and it was fantastic! We were all happy with the finished piece.

RS: Seems like you were really determined! So when you first think of an idea and start putting designs on paper, how long does it take from then to a finished product?

JH: Well now a shorter period compared to at the start. Before it would take about 2 years! Well because I wasn’t sure what I wanted to do I did casual and I didn’t commit to certain ideas, they were just on paper. Then I decided to go for it.

Now it takes with the production line, for a garment at least 3 weeks. We have to make the pattern right then make the dress itself. That’s for it done properly, the way we would do it.

RS: I’m sure it’s getting faster all the time!

JH: Yeah it’s getting faster, obviously when you have done patterns before you can modify basic patterns into new styles. It gets easier and better! It’s a lot of experience, you learn so much when you do it.

RS: Does your Nigerian heritage influence your work?

JH: You know it didn’t! The only part that was inspired was the woven clutch bag. I did that bag because I remember when we were small kids, making cane baskets. I loved it and when I looked back I remembered that. To treat the leather in that way was from my childhood, we used palm fronds to make a hand held fan. That was what inspired the bags!

I just remember that when we were small, that’s just how we played- we weren’t born with toys in those days, we played with material things like trees and leaves. Normally we got a palm frond, shaped it like a fan and wove it. Then you used it to fan yourself!

I hope that Jennifer’s unique designs will keep getting noticed. Her heritage and influences are intriguing and the designer herself is an inspiring figure.

Pics courtesy of Jennifer Hibbert

Little Black Dress: Art of Being

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After ten years out of the fashion limelight, the launch of Elizabeth Emanuel’s label Art of Being was a storming success. The show called “Little Black Dress” was inspired by Audrey Hepburn in Breakfast at Tiffany’s as well as the black dress Emanuel made for Princess Diana that both transformed the royal’s public image and catapulted the designer to fame.

Emanuel spoke of the show’s title, saying “I’ve chosen the little black dress as a theme because it is such an iconic fashion item. The little black dress embodies glamour, allure, sophistication and can still also be funky, sexy and slinky.”

There was a front row packed with celebrity fans but all eyes were firmly on the fabulous creations floating along the catwalk.

The dresses were classic with a modern twist, showing that Emanuel clearly has her finger on the fashion pulse. The choice to make all the dresses in different shades of black allowed the gorgeous sihouettes, cuts and textures to shine. The bias cut added a beautiful sense of movement  and the silk moss crepe draped beautifully.

In the ready-to-wear part of the range there was a delicate black loop motif in the dresses and accessories. The special edition range included the silk moss crepe as well as Chantilly lace and duchess satin cascading in layers. Ruffles, sparkle, bows, embroidery and strong shoulders made of layers of fabric added sumptuous texture to the elegant designs.

Emanuel is a fan of textures, creating them with fabric and embroidery ” in the same way as an artist uses paint.” She says this is a technique learnt when designing costumes for the Royal Ballet. “In a sense a woman’s body becomes the canvas for my art – hence the name of my label, Art of Being.” You can certainly see elements of theatricality in the dramatic designs. Art of Being dresses can be your costume, slip on one of the dresses to channel your inner Audrey Hepburn with the designs’ subtle sexiness.

The collection was at once classic and graceful but fun and sexy; a fusion of nostalgic influences and modern edginess.

Biker Chic at Burberry Prorsum

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Heritage has always been an important part of the Burberry brand; the S/S 11 collection “Heritage Biker” was inspired by Thomas Burberry’s designs for the first motorbike riders in the early 1900s.

Very different from his pioneering garments, I wonder what Thomas Burberry would have to say about the collection’s leather leggings, skyscraper heels and teeny cropped biker jackets. Taking the concept from the brand’s heritage, Bailey gave it a sexy, skintight and streamlined makeover.

The classic Burberry trench coat was shrunken into a zip-up mini trench with biker detail quilted sleeves, in some versions banded with black leather and cinched with a lime green or bright light blue double buckle belt. Leather biker jackets were shrunken further still and decorated with an abundance of studs. These super-studded jackets were paired with skintight silver leather trousers or studded jeans.

The now trademark silk dresses the designer has introduced to the brand were braver than ever. Sexy but subtle, the scoop backs added a seductive edge to the otherwise ultra-feminine designs in peach, mint and muted python print. The apron-style dress’ juxtaposition of pink petal silk ruffles and bands of leather holding the dress in place added a certain frisson.

The catwalk was awash with minimalist sand and black, accentuated with bright blue and green belts and tangerine bags. There were flashes of lime green and clashing yellow silk and a striking purple silk tulip-hemmed dress.

Pictures courtesy of LFW: Daily Diary (print@londonfashionweek.co.uk) (catwalking.com)

An Explosion of Patterns at Giles

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Giles Deacon showed at LFW after two seasons in Paris and the offbeat designer certainly impressed with his flurry of prints. Eccentric brights were seen here too, and the shapes were feminine with cinched waists and push-up bras. Giles celebrated the female form, chosing curvier models such as Kelly Brook to don his designs.

The kooky patterns were the definite highlight, polka dots, cartoon-like, simplified florals and kitsch Fair Isle knits given a makeover with cute cartoon animals and an ever-watchful eyeball motif. Lemon yellows and fushias popped against black and white. Chunky patterned knits were paired with floaty chiffon and knee or mid length ladylike skirt suits or baggy trousers. Airy blouses were paired with knitted skirts and big button details added to the fun.

Texture such as fringing, ruffles, feathers and pleats added a further dimension. Massive tutu skirts padded with net filled the catwalk in paler colours with bow prints: girly to the extreme. The sheer material that’s been seen everywhere was used at Giles too, this time with underwear visible above and below gliding maxi dresses.

Sporty but feminine; crazy but ladylike. Giles’ outlandish juxtapositions shouldn’t work on paper but they certainly do in the flesh. Without the high fashion styling (please don’t copy Giles’ exaggerated eyebrows) and minus exaggerated layering the collection is incredibly wearable and chic.

Pictures courtesy of LFW: Daily Diary (print@londonfashionweek.co.uk) (catwalking.com)

Get Ready to Rave: Christopher Kane S/S 11

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Eye-popping neon brights opened Christopher Kane’s S/S 11 show. Kane gave neon a makeover contrasting the zany hues with laser-cut leather lace. Perforated leather had the trompe l’oeil effect looking like shiny vinyl, dainty lace. What a breath of fresh air this flash of colour was, so different from the expected Spring pastels.

Lime green, eyewatering bright orange and flourescent pinks were combined with clashing prim reworked argyle style knits (a fun reference to the designer’s Scottish heritage) swung nonchalantly around the shoulders. Jackets were treated the same way, thrown cape-like over the shoulder creating a powerful silhouette.

With colour taking centre stage, the shapes were simple and block like; sporty A-line skirts fell just below the knee with symmetrical pleats and plain V-necks. The demure shapes were given new life with the colour choice, his sister Tammy summed it up as “Princess Margaret on acid”.

Colour blocking was also used, clashing pinks and oranges made the eyes water. The designer’s geometric shapes were also incorporated, diamonds formed halter necks and repeated parallel line piping on skirts fell into pleats.

Edge-to edge ladylike jackets were boxy with round necks, maybe not the full suit for work but if you wore the jacket with jeans and a white tee it’s a great look for a night out. Again high necklines and peter pan collars were spotted here, set to spawn a thousand copies.

Futuristic dresses had fluorescent geometric piping details, such as chevron style markings emphasising the waist or tiny dots all over a jumper. Kane took inspiration from the Orient: Yakuza, the Japanese gangsters provided the designer’s print motifs, but took the form of preppy twin-sets.There were airy mid-length dresses in similar but slightly paler colours with spotted semi-sheer tulle and dragon print symmetric embellishments, embroidery and sparkles.

If the success of his previous bodycon neon collections is anything to go by, this return to garish brights is set to be huge. The demure look given a futuristic twist seems to be a motif of S/S 11 and so far Kane has been the most successful, subverting the feminine ideal with futuristic aplomb.

Pictures courtesy of LFW: Daily Diary (print@londonfashionweek.co.uk) (catwalking.com)

Flower power: Erdem S/S 11

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Light, feminine, floral and lacy were the order of the day at Erdem.

There were the designer’s elegant floral prints and billowing skirts, and his trademark digital florals made  an appearance, accompanied by monochrome stripes or repeating triangle patterns. The new double denim has been replaced by double floral- sounds horrific but if you pick one common complimenting colour that runs through both pieces it looks really chic.

The sihouette was fluid and airy, fabric skimmed not clinged the wearer. The designer’s famous florals were either punchy and digital or light and fresh; delicate cut-out lace formed barely there mini dresses.The show opened with a bevy of these dresses from stark white to ivory.

Cute peter pan collars, buttons and nipped in waists added to the girlish aesthetic. Again there was lots of sheer material that I’ve seen this LFW but Erdem has certainly done it the most tastefully, feather-light lace was strategically placed and skimmed the female form gracefully.

Scarlet contrasted beautifully with crisp white backdrops, from bursts of red popping petals to a full red lace dress. Necklines were higher here too, one things for sure- get working on your legs over winter if you want to rock next seasons dainty dresses.

Erdem doesn’t rely on shock tactics or “out there” clothes to get him noticed, but instead makes beautifully feminine garments with intricate details: an Erdem dress is elegant without being try hard and definitely won’t end up wearing you. They’re not sickeningly girly or twee; the right balance of modern and romantic.

Pictures courtesy of LFW: Daily Diary (print@londonfashionweek.co.uk) (catwalking.com)

Matthew Williamson’s safari

Khaki is fast becoming colour of the season, and it looks set to stay next spring after Matthew Williamson’s LFW S/S 11 safari style. There was a soft yet structured aesthetic, with cups and boning adding a feel of corsetry on tops of dresses and playsuits- underwear as outerwear but this time more grown-up. This femininity was contrasted with an earthy colour motif: effortlessly chic and allowing the shapes to do all the talking. Khaki and ochre were the background and muted colours were given an added punch with highlights of orange, ice blue, canary yellow and lime green.

Fringing was repeated throughout the collection on jackets and dresses, either short or long and both delicate. Manly safari shirts were combined with sparkling fringed skirts.

Layers of soft jersey and silk fell in Grecian swathes in the guise of goddess-like floaty maxis or quirky minis. Staples bodycon and tapered trousers were given an update by texture and material: dresses were accompanied by textured florals or beautiful insect-like patterns on silk and trousers were feather light in high shine silk.

The highlights were the beautiful maxi dresses: yards of floating feather-light material in faded tribal prints floated like butterflies along the catwalk. There was also a healthy smattering of animal print and the odd dash of sparkle.

So what are you waiting for? Be ahead of the crowd and take a walk on the wild side.

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Pictures courtesy of LFW: Daily Diary (print@londonfashionweek.co.uk

From patchwork to florals: Michael van der Ham and Antonio Berardi

“I like to mismatch different references in each item of clothing.” says Dutch designer Michael van der Ham. His work is a juxtaposition of different colours, textures, lengths and patterns brought into perfect harmony. A haute couture patchwork quilt? Not quite. It looks like bits of different dresses deconstructed and sewn together: it shouldn’t work but it somehow does. The patterns and colours compliment each other and the fabrics drape beautifully to form a flowing silhouette, it’s feminine but different. In the designer’s own words it’s for “Someone who’s not afraid to wear something a little more bold.”

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In contrast Antonio Berardi S/S 11 stuck to block colours: monochrome, red, grey, pink and khaki took centre stage. This simplicity allowed a real emphasis on texture and shape. The short shift dresses and sumptuous maxis all got the texture treatment, with bursts of small chiffon flowers. A fresher look than floral print fabric, the flowers actually burst from the dresses.

Dresses came in bold shapes with high necklines, exaggerated sweetheart necklines and sharp shoulders. Maxis were given an update, slit to the thigh or slashed round the front for a “half maxi” style. Cup details on dresses added a seductive edge, and I’ve spied them elsewhere- I’m not naming any distinct trends until after Paris but I’d be willing to put my money on this one. I also loved the contrast of soft pink and khaki, and the soft flowing fabrics or seductive satin with masculine strong shoulders.

Pictures courtesy of LFW: Daily Diary (print@londonfashionweek.co.uk)

Do the robot: Paul Costelloe

“The freedom of spirit and expression in London allows you to be uncompromising in your creative designs and colour.” Paul Costelloe nicely sums up the fusion of art, music and fashion to be found in abundance at LFW.

The Paul Costelloe show certainly didn’t disappoint in its creative flair. A bevy of mini dresses in a palette of silver, cream, grey and white showcased graphic, futuristic prints. There were a few almost floral pale pink dresses in there (it is a spring collection after all) but mainly the colouring was minimal adding to the playful, futuristic nature of the designs. Costelloe played with different silhouettes, swinging, tulip, peplum and parachute skirts. The lenghts were either bum-scrapingly mini or flowing maxis.

Tailored jackets accompanied the womanswear perfectly, adding a masculine edge to otherwise feminine grecian drapes. Texture-wise the fabrics were silky and light, to match the dainty colouring, falling into girly pleats and folds.

The menswear was in similar hues and mainly monochrome black or white with the odd pop of red. The tailoring was slick and the key was in the details- retro skinny ties, small collars and mini bow ties. There were shorts combined with the tailored jackets too, but let’s wait and see if that one catches on.

In all, I preferred the edgy womanswear to the menswear which was much safer by comparison.

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Pictures courtesy of LFW: Daily Diary (print@londonfashionweek.co.uk)