Monthly Archives for September 2010

It may be raining outside but LFW is in full spring

There’s just something about London Fashion Week that sets it apart from the other fashion weeks- it’s creative, quirky and not afraid to try something different and brave. LFW shows off our up-and-coming design talent that breath fresh life into the industry and there’s already been plenty on offer.

One of my favourite new young designers is Hannah Marshall, and her S/S 11 RTW collection maintained elements of her key slick style, whilst experimenting with different lengths and fabrics. According to the designer the Hannah Marshall woman is “Strong, confident, an independent thinker and empowered.” and the collection certainly highlighted these traits.

Daring sheer fabric was used in abundance, but high necklines, soft tailoring and girly details made for a perfect fusion of sexy and prim.The designer said the idea of “control” inspired her and the collection seemed to centre on this sense of empowerment- showing some skin but holding something else back. It was just the right side of slutty, as there was something ladylike about each ensemble. Her signature muted colour palette heightened the demureness of each look, as well as the frill details and cute collars that were a motif of this collection. Gothic glamour at its very best.

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At Louise Gray‘s show “Get Some Stuff” texture and colour were abundant. Her colour choices were more restrained than her usually eye-poppingly bright collections but this added a grown-up touch. Shapes were simple but each design was embellished with bold textures such as rag like attachments, Indian mirror tiles and badges, as well as her expert hand embroidery. Layering and the tangible nature of each garment gave a feeling of movement, and the juxtaposition of different faded tribal patterns created a wardrobe experience for all the senses.

Some of the embellishments were less traditional, such as bottle tops, polystyrene balls and party streamers. The cut however was smart and less “out there”: the silhouette was boyish, with fabrics skimming the body in parachute shapes and a sports luxe feel.

It may not be for the faint hearted, but if you take away the crazy lilac hairpieces and fashion show styling and look at each item of clothing separately the collection is easily wearable. Layered all together the look might be full on but teamed with jeans or opaque tights the garments could easily fit in any young, modern and fashion forward woman’s wardrobe.

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

Value of Fashion Report

Burberry Prorsum S/S 11 (Milan). Burberry represents the heritage of the British fashion industry, fused with modern design innovation

Some may say that fashion is a shallow and superficial industry with no real worth; but maybe the cynical among you should think again in the light of a new report.

The British Fashion Council have announced new research by Oxford Economics assessing the direct value of the UK fashion industry to the British economy to be £21 billion.

Furthermore, the industry makes a wider contribution as it encourages spending in related industries such as tourism. This contribution is reportedly £16 billion, making the total contribution £37 billion.

For details of GVAs and GDPs and things like that (that I’m not going to pretend to understand) see the full report. In brief they analysed the industry’s profits and wages across a range of fashion products, as well as the contribution of fashion marketing and media.

Cutting edge design is a key part of the industry’s success, which the report emphasises. Events such as London Fashion Week not only promote and encourage creative advancement but also attract tourism, millions of visitors travel to the UK every year for the sake of Great British fashion.

Demand created by top end design influencing the mainstream high street retailers has a diffusion effect. There is also the increased expansion of brands into lifestyle products such as perfume or homeware.

The fashion industry involves so many interrelating groups of people: from designers  to retailers to  journalists. Fashion is the biggest employer of all the creative industries, 816,000 in total.The industry is the 15th largest in the UK, about the same size as the food and beverage industry.

Minister for the Creative Industries, Ed Vaizey said: “British Fashion has the talent, creativity and skills to rival anywhere in the world. Our new and established designers and fashion labels are internationally renowned for their unique vision at the cutting edge of this hugely important global industry.”

Stats from BFC press release

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Only in St Andrews…

I was sitting in my living room this evening when two yahs passed the window – I kid not- looking as if they were dressed to go hunting. The full shebang- tweed jacket, red hunting jacket, tweet plus fours, deer stalker hats, complete with matching pipes.

And they weren’t being ironic.

As if they hadn’t offended my eyes enough they stopped to stare right into the window (probably getting their snob on) but before I’d had a chance to open the window and say “Tallyho! The fox went that way!” a chav passed saying “y’awright mate?” and they quickly scarpered.
Chav- 1; Yahs- 0

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Eco couture

Tennessee-based eco fashion label Prophetik, designed by poet and designer Jeff Garner is teaching the fashion world a lesson in sustainable fashion.

The label debuted last season with a collection inspired by the American Civil war “Southern Shores”. Slick silhouettes, frock coats, capes and waistcoats in hues of blood red and military grey and navy channelled the historical vibe. With gowns fit for a Southern Belle the collection oozed drama telling tales of epic romance.

The brand is built upon sustainability: the materials included ethically sourced silk, recycled fleece and environmentally friendly hemp. Garner used his garden as a source of home-made dyes from plants such as marigold. He is keen to continue developing and expanding this sustainable practice and promoting innovation in the area, for example developing more natural dyes and discovering new colours.

Garner said “I believe that all fashion will go the sustainable direction and within a few years, if someone is walking down the street in a chemically dyed, polyester polo, they would get chastised for not wearing a sustainable garment.”

But what of the the fast-paced and superficial nature fashion is so often accused of having? “I don’t think society will ever slow down on consumerism but I do believe that it will eventually insist on purchasing fashion made of all sustainable elements.”

The label’s S/S 11 show “Midnight Garden” takes place tomorrow and was inspired by the ideal of love. The show documents the journey of a fearless explorer who meets his mysterious Muse in a moonlit garden in the Deep South. Promising an ethereal spectacle and trademark theatrics, the designer is also confident in the growth of sustainable fashion and hopeful that the brand will continue to grow. I’ve no doubt that with such clarity of vision and passionate conviction Prophetik can’t fail to achieve this goal.

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Pictures from Sustain Your Style

Green is the New Black

Next week I’m going to a Lady Gaga fancy dress party. Meat dress? Maybe not… I was thinking of wearing one of the avante garde designs that I made for a Tribe Green Week feature. The dresses interpret haute couture styles in a new medium: made entirely of binbags and newspaper, held together with sellotape. Maybe I should send them to Haus of Gaga, see if the star herself would approve.

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See the shoot in the Tribe- www.thetribeonline.com
Director and stylist: Rosie Steer.
Director and photographer: Livi Parish
Model: Jennifer Kay.

Only In St Andrews…

…the first of a series of posts about my beloved Bubble*. Observations about our

St Andrews

strange and wonderful world and the people in it, in particular the unexpected fashion scene.

Three separate groups of people have just passed my window, all wearing variations on the same outfit:

Burberry-style trench, jeggings, black flats.

Barbour jacket, T-shirt, tights, Uggs.

Double breasted trench, jeggings, sandals.

Oh and “Beardy Ponytail Man” but he passes at the same time every day wearing the same tweedy jacket and blue jumper.

This is the St Andrews daywear uniform, alternated with Hunters and baggy jumpers. Alone these items are of course fine, but worn together and you’ve got the classic St Andrews Yah look. A stereotype perhaps, but you only have to look around to see the truth in it. Fitting with A/W’s heritage and outdoorsy  trends they may be, but this is a conscious decision to define themselves with a certain look. The uniform allows them to easily spot likeminded Yahs and maintain safety in numbers.

St Andrews does host some of the best balls and parties around (though often just a rave in a tent with posh clothes). I will document more of these outfits as St Andrews style kudos is most noticeable at such events.

Pics to follow soon.

*for non-St Andreans, this is how we residents refer to our 0therworldly little town

Charlotte’s Web

Charlotte Olympia "Esmerelda" heels

The classic court shoe is an invaluable addition to any woman’s wardrobe: other styles of heel will come and go, be it skyscraper fetish heels one season or ladylike kitten heels the next. Black court shoes are versatile and timelessly elegant. Charlotte Olympia’s take on the classic court gives the old faithful a modern twist, a great investment for A/W 2010.

Launched in 2006 and famed for bold platforms and vibrant colour, Charlotte Olympia shoes are reminiscent of a bygone era; slip on a pair to harness your inner femme fatale in an instant. A real standout piece is the “Esmerelda” court: made from fabric of the season velvet, the sensuous texture gives the shoe a fresh and decadent touch. If an all over velvet ensemble is too much for you then these shoes are a great way to nod to the trend. Team with a lace dress for a glamorous gothic look, even down to the detail of the web logo on the underside of the shoes. Just don’t wear them in the rain unless you have £810 spare.

The signature patent platform sole is accompanied by a 5 and a half inch chunky heel made of purple Perspex, ticking two trends in one: colour-pop and the sculptural heel. When you hear “Perspex” you would be forgiven for thinking of stripper shoes but these beauties are far from trashy, the sophisticated and elegant velvet balances the directional heel. The contrasting colour and texture makes them a unique, fun, statement piece that will really get you noticed.

Happily Ever After

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The truly magical experience that is the Enchanted Palace combines art, history, performance, dreams and fashion. Installations tell of the secret lives of seven princesses who all lived at Kensington Palace and interprets the hidden stories and powerful women behind them.

The spectacular installations include contributions from designers Vivienne Westwood, Stephen Jones, Boudicca, Echo Morgan, William Tempest and Aminaka Wilmont that really bring the stories alive. Contemporary fashion and the historical setting are juxtaposed to make a unique statement. The designers were challenged to make these installations, inspired by the enthralling stories of the Palace’s former residents.

Westwood is known for her use of witty historical referencing, taking inspiration from royalty and British heritage. Her contribution to the British fashion industry makes her an ideal designer to reinterpret the story and create a suitably majestic but fun dress for the rebellious princess.

William Tempest also uses historical inspiration fused with modern technique in his structured, origami-like precision cut creations. His Dress for Dreaming of Freedom, made from 1000 tiny origami birds is a breathtaking and poignant interpretation of the tale of Queen Victoria’s unhappy childhood at the Palace.

Another British great, Stephen Jones OBE designed the Hats for the Divine Geometer. His contribution was inspired by the bust of Isaac Newton, and aimed to show the concept of hats as ideas, belonging in the air. Its fusion of science, fashion and history is tongue-in-cheek, the highlight being a sparkly apple headpiece suspended above the bust of Newton.

The Enchanted Palace is a truly unique experience that merges different arts flawlessly. The installations are fun, quirky and a bit mad but stunningly beautiful. You can’t fail to be touched by the stories of the Palace and the beauties within.

David Bailey

The ladylike Fifties Sixties trend got me thinking of the Sixties era and how fashion was depicted, and how this impacts on fashion today.

David Bailey was key to the documentation of ‘Swinging Sixties’ London, when fashion was young and experimental and the cult of celebrity was on the rise. His work brings together fashion, music, film, celebrity and art and shows the industries are interlinked and can portray the essence of an era in one image.

Jean Shrimpton depicted in the photograph had a symbiotic relationship with Bailey; she was his lover and muse who made him famous with iconic images and in turn he made her into the world’s first supermodel. The composition of the photograph with the model at the centre and no other distractions to the eye, combined with Shrimpton looking directly at the camera makes sure that she is the main focus of the photograph. It is as if she is looking directly at the viewer, drawing them into the picture with her. Her unwavering gaze and purposeful, confident pose shows her ability to entice the viewer and enable Bailey to achieve his purpose of portraying a strong, liberated woman indicative of the time in which women were gaining a new sense of liberation. Bailey’s use of lighting draws attention to her face and her sense of presence makes sure the clothes don’t wear the model. She was often referred to as the “face of the Sixties” and after working with Bailey she became iconic in her own right, being the most photographed model of the era.

There is very little flesh on show but there is a more subtle sensuality suggested by the animalistic textures Bailey captures. Shrimpton seduces the viewer with her gaze, pouting flirtatiously at the camera. She does not need to take off her clothes to show her sexual power, and the clothes worn obscure her figure, but her eyes are what hold the viewer’s attention. The attraction is more to the character of the photo and its allure is in the simplicity and ability to transcend its temporal setting. As well as being an appropriate image of the Sixties this is a timeless symbol of female empowerment.

Art of Being

Diana Princess of Wales wearing Elizabeth Emanuel at her wedding in 1981

Designer to the stars Elizabeth Emanuel is set to take the fashion world by storm next monday as she relaunches her label Art of Being at London Fashion Week.

Emanuel is best known for her work with Diana, Princess of Wales, the designer was first noticed after she made Diana a dramatic black tafetta gown for her first pubic appearance with Prince Charles. The dress changed the way she was perceived by the public and began a media obsession.

Emanuel’s most famous creation is Diana’s iconic meringue-skirted, puff-sleeved wedding dress, with luxurious 25 foot train. Watched by millions of viewers the layers of ivory silk tafetta, antique lace, sequins and pearls made a name for Emanuel overnight. Some say it’s one of the most famous wedding dresses in the world, dubbed the “wedding of the century” at the time. Diana looked as though she’d stepped out of a fairy tale: it cemented her place as a style icon and spawned a thousand copies.

It also made Emanuel and her then husband and design partner David the most sough after designers of  the 80s and early 90s. They dressed celebrities including Elizabeth Taylor, Bianca Jagger, Helena Bonham-Carter, Jerry Hall, Joan Collins, Twiggy, Lulu and Helen Mirren. Working on many diverse projects such as designing the Virgin airline uniforms Emanuel’s other passion was creating theatre and ballet costumes, working for Andrew Lloyd Webber and the Ballet Rambert as well as London Contemporary Dance Theatre.

Emanuel’s work blends fantasy, glamour and drama and she became an icon in her own right. Now 29 years after she created Diana’s dress and was catapulted into the public eye; after a string of bad luck, money problems and thus a 10 year drought of designs, Emanuel is finally showing her ready-to-wear collection at London Fashion week. She has started working with previous clients such as Liz Hurley again and a recent investment from now business partner Mike Cooper means she can tackle the world of high fashion again, this time under the label the Art of Being.

With  just six weeks to create the collection, the couturier quips “I would be very stressed if I wasn’t so excited and happy.” The show will consist of a capsule collection of Little Black Dresses. The designer is putting her artful stamp on this chic classic. “I treat the body like a canvas” she states, “My approach is to paint the body with layers of fabric.”

Will it be a rehash of the Eighties creations synonymous with her name? The designer is keen to show that she can do “more than just wedding dresses” and that the dresses will be “quite glitzy”. I for one can’t wait to see what she’s come up with.

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