TALA RAASSI, THE WOMAN BEHIND THE MISS UNIVERSE BIKINIS, STARTED OFF HER FASHION CAREER DRESSING UP HER BARBIES IN IRAN.

When she was little, Tala Raassi used to make clothes for her Barbies. But there was always one problem.

“I always felt like they needed more fabric,” recalls Tala of growing up in Iran, where strict Islamic laws mean ‘indecent clothing’ is illegal. Barbies are banned as they’re said to depict women in a bad light, so Tala used to collect them when she travelled abroad.

“I dressed like any teenager would, except we had to completely cover up in public,” she says.

“However, I kept getting in trouble at school for the type of shoes I wore or the backpacks I carried.”

But even under one of the world’s most brutal regimes, Tala and her other friends still oozed sophistication. Sunglasses and scarves from trendy boutiques in the capital Tehran were must-have accessories.

“Girls in Iran are very creative with the little fashion freedom they have,” Tala says.

“I always felt that the streets of Tehran looked like a fashion show.

“Iranian women actually wear so much make-up because their face is one of the only things shown in public.

“They can also be very creative with their chadors (the traditional long black robe covering the body from head to toe), especially the younger women.”

However, the more fashion-conscious Tala became, the more she earned the wrath of her parents.

She went on thinking she would become a lawyer – “There were only certain occupations suitable for a woman” – but one night in 1998 altered her path.

Arriving at a friend’s birthday party wearing the compulsory uniform, a scarf covering her hair, a black coat, and trousers underneath her skirt, once inside she threw her outfit aside, revealing a black t-shirt and miniskirt.

It wasn’t long into the celebrations that the religious police came knocking on the door, informing Tala and her 30 friends that they had broken the law for not being dressed properly. (They had also committed the crimes of listening to music not approved by the government and having a party with members of the opposite sex). It would later turn out that a friend, who had not been invited to join in the festivities, had reported them.

A police chase around the neighbourhood ensued, before the group was handcuffed and taken to the local prison.

After five days of sleeping on the floor in a squalid jail they were taken to the courtroom and sentenced to be lashed.

The women received 40 strikes, while the men were forced to endure 50 each. Tala’s family waited outside the room of the prison during her punishment, which lasted ten minutes.

“I do still think of what happened to us,” is all she will say when broached on the subject today.

“I think about the woman that go through similar things all the time.”

“I am who I am today because of what happened and I am putting it to good use.”

Despite throwing herself into her studies following her persecution, Tala was still struggling emotionally months later. After graduation, she decided a change of scenery would be good, so she went to Dubai to stay with friends.

Although Islamic dress code is not compulsory there, Tala saw sophisticated women who wanted to wear the traditional abaya, “expressing themselves beautifully”.

“They looked so much more powerful than the women who were forced by law to wear something they didn’t want to,” she recalls.

“Next to them, you would also see other women from the same region in other beautiful dresses and clothes.

“I realized then that I wanted to design clothing that would make women feel free, empowered, and beautiful.”

But upon her move to the US, her birth country, to pursue her new ambition, she ironically found the ‘flip flops, shorts and t-shirt style’ she constantly saw uninspiring.

“To me, women in the States don’t express their fashion sense and freedom as much as they could,” she says.

But getting her clothes stocked in boutiques across the US (Los Angeles, Miami and San Diego) as well as Dubai wasn’t easy. She had to master pattern making and learn how to run a business. However the biggest hurdle was learning English.

She began traveling to find inspiration and it was a Sao Paolo Fashion Week trip that inspired her to design swimsuits for women of different shapes, to make “all kinds of women feel sexy”

Her Dar Be Dar collection, consisting of triangle and strapless bikinis along with one-piece costumes, launched a year ago.

The title means ‘Door to door in Persian’ and is slang for someone who is all over the place to reflect her globetrotting lifestyle.

When her representative approached the Miss Universe officials about sponsorship earlier this year, they had already read her story in the local press and thought it would fit well with the contest’s aim to “empower young women”.

It was a race against time, but in two months she made 400 bikinis. More then 90 girls in the Miss Universe pageant sported her designs on stage at Las Vegas’ Mandalay Bay Centre.

“I respect the women entering these pageants,” Tala says.

“They work hard for it. I think very highly of people that follow their dreams and do not take their freedom for granted.”

She is now working hard on her next project, her Lipstick Revolution t-shirt collection, inspired by Iran’s revolutionary movement. It will be released in spring/summer 2011, with all the profits donated to her charity. She hasn’t ruled out trying to have her swimsuits stocked in Iran.

“Fashion is not everything, there is so much to this world,” she says.

“But I believe fashion is something simple that helps people express their individuality and makes them feel good about themselves.

“When I got persecuted for wearing a mini-skirt, I started thinking of it as freedom. I realised fashion served a purpose for me – it made me feel free.”

To find out more see www.darbedar.net

Words Amy Fallon

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THIS WINTER, HIGH-END JEWELER TATEOSSIAN WILL COLLABORATE WITH THE TERRENCE HIGGINS TRUST AND CENTRAL SAINT MARTINS FOR TWO VERY DIFFERENT EXCLUSIVE AND LIMITED EDITION LINES.

They’re usually relegated to the junk drawer, never to be worn again once the designated awareness day of the (insert charity name here) is over.

But now luxury jewellery house Tateossian, are collaborating with HIV charity Terrence Higgins Trust (THT) to produce an exclusive limited edition bracelet to mark World AIDS Day that they hope will be worn beyond December 1.

The Italian leather and sterling silver unisex bracelet with a THT red enamel link is the brainchild of Tateossian CEO and jewellery designer Robert Tateossian, a THT supporter for many years, and the brand’s head of public relations Adrienne Cline.

“THT is an organization close to all our hearts at Tateossian. I like the idea of items that people will actually use and wear and take away and keep forever,” she said.

If the line is successful, Tateossian is hoping to collaborate with THT every season.

The bracelets will be sold exclusively in their four London stores and online in the lead-up to World AIDS Day, with 30 per cent of the proceeds going to THT.

“I’d definitely like to see more brands doing things like this,” Adrienne said.

It’s a busy time for Tateossian. They are also working also with Central Saint Martins (CSM) on a new ladies and men’s capsule collection designed by the college’s recent graduates.

Six students have been selected for this. Three will design the ladies range and three the men’s range.

Mentoring them is jewellery designer and CSM alumni Hannah Martin. They will be judged by Robert Tateossian, David Furnish, Vogue jewellery editor Carol Woolton, GQ editor Dylan
Jones, The Sunday Times columnist AA Gill, Christie’s Advisory Board Chairman Pedro Girao and Tateossian’s Creative Director, Ariel Thompson.

The chosen designers will be announced on September 9, with the overall winner named on November 24. The successful pieces will be available exclusively in Tateossian stores from December.

“It’s a really interesting and really diverse way of finding new talent that aren’t already working in the industry,” said Adrienne.

“We could have done it with a few other colleges, but CSM was definitely top of my wish list.”

She said that she expected some really inspiring pieces, with some “really interesting plays on the fact that it’s our 20th anniversary.”

“There will be some very masculine pieces, some very innovative pieces, comprising of metals and stone,” she said.

“You can see some statement ladies pieces coming through. We’ve very excited.”

As with clothes, Adrienne said that more people wanted to own something different and post-recession customers were also buying “less rubbish”.

Topshop and Freedom were “for what they are too expensive”.

“It’s so high fashion and it’s so over the top that it’s not reciprocal,” Adrienne said.

“I think when you do something that’s got a bit of an edge, people know there just aren’t millions of, it’s kind of much more exciting and people are much more inclined to spend more.

“The aim with these students is to get them to design something absolutely fantastic and unique and different but to also think about who is going to be their customer – who’s going to wear that, how is it going to sit on someone’s neck, is it going to irritate them.”

“Is it something they can wear at the time or something they can wear now and again that’s for an evening dress, that is really special and really different?”

Tateossian has also recently launched this season’s ladies rare stone collection.

When the brand was established in 1990 it was only for men. But due to demand from clients all over the world, a ladies’ collection was launched eight years ago. However, the men’s collection is still so vast that they do 150 new additions each season to their cufflink range.

Their products now sell in Russia, China and South America, among other places, with famous fans including everyone from models Sophie Dahl and Eva Herzigova (both recently snapped wearing a white Scoubi Dou leather bracelet by the label), to former pop star Sinitta and The Emir of Kuwait.

tateossian.com

Words Amy Fallon

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INSPIRED BY THEIR LATE GRANDMOTHER LILY BLANCHE’S ASSORTMENT OF EXOTIC JEWELS BROUGHT BACK FROM HER DAYS LIVING IN RAJ-ERA INDIA, SCOTTISH SISTERS GILLIAN CRAWFORD AND LYNDSEY BOWDITCH, HAVE LAUNCHED A NEW JEWELLERY COLLECTION NAMED AFTER HER.

For many people, working with a family member would be the making of a nightmare but for Edinburgh-based sisters Gillian Crawford and Lyndsey Bowditch, it is proving a winning partnership.

“We used to fight as kids, but have a very symbiotic relationship now”, explains Gillian. In their relatively short career as jewellery designers — Gillian used to work in media, but launched her first jewellery and gifts collection Tartan Twist with Lyndsey in 2008 — they have already been shortlisted for Jewellery Designer of the Year 2010 at The Scottish Fashion Awards.

The pair are hoping their new range, Lily Blanche Edinburgh, launched at this month’s International Jewellery Show in London, will continue their string of success. Described by Gillian as “glamorous and romantic, with the aesthetic of Audrey Hepburn”, the most distinctive pieces—including the Eternal Pearls — have a strong vintage feel, tieing in to the Hepburn hair seen on girls at Prada’s autumn/winter 2010 show and the nostalgic mood of this season’s make-up.

“The collection is based around our grandmother Lily Blanche, born at the turn of the 20^th century,” explain Gillian. “She was a kind of everywoman: she travelled, had children, lived through the war and was bombed out of her house, and could still knock up a wedding dress from bits and pieces and look stunning.”

Gillian says that as children, she and Lyndsey enjoyed visiting Lily, who was tucked away in a croft in the Outer Hebrides, and sifting through all of her treasures. “She lived in India when she was younger and before that her husband was stationed in China so she had a lot of exotic pieces. We’ve taken vintage designs inspired by her jewel box and given them a modern twist. We have tried to bring something light-hearted and fun.” Embodying this playfulness is the Peapod Necklace.

Made with a mix of sterling silver, British-sourced freshwater pearls, and Italian Murano glass, pieces in the collection will retail from £40 to £200 and Gillian hopes they will give the likes of Dower & Hall a run for their money. “What makes this collection stand out is the element of surprise; so many of the things open up, like the Memory Keeper Sphere.”

lilyblanche.com

Words Hannah Davies

SWEDEN HAS PRODUCED SOME GREAT THINGS; IKEA, ABBA, MEATBALLS AND DALA HORSES. WHAT IT HASN’T BEEN SO RENOWNED FOR, HOWEVER, IS IT’S FASHION DESIGNERS. BUT WITH JOSEFIN STRID, THAT’S ABOUT TO CHANGE.

Strid caused something of a stir when she decided include skirts in one of her collections- for men, that is. And there’s more to come. “The real skirts won’t be revealed until in February. The collection that I showed during (the most recent) Stockholm Fashion Week is a feminine, flowery collection of menswear. The reactions vary a lot, but I think it’s exciting. I have this one at my PR agency now and I can barely wait until the spring when I’ll see it in magazines. I want people to react, to feel something. Not only wanting to just wear the black t-shirt with their favourite jeans.”

A designer of both mens- and womenswear, Strid says it’s not always a conscious decision to design for men or for women. “It depends on my source of inspiration. When I was inspired by flowers, I didn’t even think about womenswear, it would have been too obvious, that’s already done so many times. Sometimes I find it easier with menswear, since I don’t relate to how it is to wear it myself. I find myself a bit more innovative with menswear sometimes.  But I am very interested in the border between masculine and feminine and I like to explore that, working with menswear and womenswear in the same collection and style everything for everyone, without it being unisex.”

Strid has always favoured taking an unconventional approach to fashion. In the past she often opted for creating smaller-scale ‘projects’ in fashion,  rather than putting together entire collections . “I used to do that (the projects) more, but I do still do them. I always do a collection for each season now, you have to do that, and you have to be on time to be a part of the whole press thing with magazines and stylists. But I still do projects and freelance things when I feel like it. I want to be able to decide myself what to do and I want to enjoy my work. I like to collaborate if it tempts me.” Recently, such collaborations have included styling for MODS Magazine, a music film, a dress for Swerea, and tentative plans for a small capsule collection, which will be for sale in December.

Strid also produces custom designs outside of her collections. “It’s good for the economy to do freelance projects. But I only do them if I’ll enjoy it. It’s another challenge to work for someone, to give them what they want and not only what I want. I think it’s a good way to understand other people, to be able to collaborate and not be selfish. When I work for myself I often have a much longer process before I see the end result, much more experimentation, toiling and so on. I always want to know so much and explore the subject I work with, to learn something new. I could do that when freelancing, but I don’t think anyone would like to pay me to read several books, stroll in the nature and whatever else I start my process with,” she smiles.

The start of the process is inevitably drawing inspiration for designs. For her 2008 collection, this included Tim Burton’s films, and inspiration is something which always shows through in Strid’s imaginative collections. “Films are often inspiring, the AW11 collection is inspired by The Piano Teacher. Films and travelling are the most inspiring things for me, and sometimes music.” It’s clear that travel is key to Strid’s collections. “I travel a lot and what I see at my trips often make me want to create something. Nature is fascinating, and I like the break you get when you’re surrounded by nature. Last summer I strolled around a lot in the parks of London and in Kew Gardens. I simply watched the flowers and then I based a whole collection on that. This summer I was in the US, visiting national parks like Yellowstone, Zion and Grand Canyon. It was nice to hike, wear comfortable clothes and just be with my family there. The whole experience influenced me and maybe I’ll do something with all the photos I took.”

Shoulders are always a focal point in Strid’s collections. So why the fascination with an area which, excepting AW 09 and the 80s, so often gets overlooked? “I used to work with big shoulders, like the 80’s siloutte, but I’ve toned it down now. I think it’s based on my foundation as a tailor. I think it’s very important how the sleeve is attached to the garment, how much bearing it has and how it works with the body. You can do both subtle and extreme things with shoulders that make a big difference.”

Strid grew up in a small town called Ulricehamn, spending her summers swimming in the lakes and winters snowboarding. As a child she spent her time playing sports and musical instruments, but this soon gave way to needlework when she bought her first sewing machine aged 15, and “since that day I’ve been kind of addicted.”  This coincided with the development of her own personal style. “When I was 14, I got more money so I could buy my own clothes every month. I started to buy second-hand and styled myself in a very extraordinary way every day.” Though she was studying music at secondary school, all of her spare time was consumed by sewing. This hobby was to provide the foundation for her career as her designer.

“I wasn’t like the other kids at the age of 15-19,” she admits. “I was very serious- I had my first fashion show when I was 15 and after that I had one each season, as the real designers did. I really studied all of the designers and their collections at style.com. I stitched in the afternoons and sometimes during the nights as well.”

Her dedication to fashion soon paid off. As soon as she had enough clothes to form a collection, she put on a fashion show at school, roping in friends to model her designs and contacting the local press to cover the event.  Strid then started to sell her clothes directly to the luxury boutique in her town. By the time she was 19, she had gone on to study sewing and patternmaking at university in Borås and was also selling her pieces in a store there, as well as in the store in her hometown.

Despite the remarkable achievement of having her own business before she had even left university, Strid decided to put her own label on hold at the end of 2006 in order to concentrate on building her portfolio. In spite of her promise as a fashion designer, Strid found herself rejected from both the Swedish School of Textiles and Central Saint Martins in London. In 2007, Strid moved out of her parents’ home and to Borås to spend a year learning men’s tailoring. Strid sees it as a turning point: “It was something different, and it felt like home. I liked to do the hand stitching, to be accurate, to let things take their time. I did lots of creative projects that year- an outfit for the superwoman who’ll save the world, two outfits in steel and leather for a steel company, and of course men’s suits.”

The following year, Strid reapplied for the SSOT and Central Saint Martins. “I did the application for Swedish School of Textiles again, working from 8.30am until 2am every day for three months, to make totally sure I had a good portfolio. I wasn’t accepted at St Martins, but I did the test for SSOT and was accepted. I was happy with that and forgot about London for a while.”

Strid resurrected her business in 2008, after a fashion fair in Gothenburg introduced her to a PR agency and helped her to develop a sales channel. This coincided with the start of her fashion design course at SSOT. Strid juggled studying with running her own brand, putting together an entire collection for her own label whilst studying. Fortunately, it was a success. Stylists based in Stockholm were frequently calling in her pieces for shoots, and Strid’s brand began to grow. Yet just as her career began to take off, she decided to take a break once again; this time to focus on her BA after realising that the pressures of running her own label alongside full-time study were too great. But before long people began to wonder where Strid and her designs were, and as a result came her ‘big boom’; orders started rolling in once again, as did scholarship offers. Finally, Strid got a studio and began to work on projects for UGG and Swerea.

It’s been intense, as the designer herself admits. “This summer I worked full time for around 100 hours per week. I had an intern and a tailor working with me and we finished both the SS and AW ’11 collections, did the photoshoots and shot a film.”

“Sometimes I make a pair of tights in one hour, and sometimes I make couture-like pieces that take 100-150 hours each,” she continues. “Sometimes things just need time. And I like to have ongoing projects. I have one huge dress in the AW11 collection that took me about 130 hours to make, and you can really see it. Then I have one cocktail dress that’s braided, and one crocheted dress from two earlier collections that took the same time, but you wouldn’t guess it.”

But all the hard work has certainly paid off, especially given the reception to Strid’s showing of her collection at Stockholm Fashion Week. “It was great and a good opportunity to be seen. And I had a great day with all my male models, they were so very nice and the atmosphere was very relaxed. But next time I want to have a big ‘boom’ show, a whole concept for everyone and I don’t want a single person walking away without thinking and feeling something. It’s important to inspire people and make them reflect over what they see.”

Strid admits that Sweden’s fashion industry has a long way to go before it can compare to the likes of London or Paris. “Maybe in the future, but not right now. Lots of brands leave Stockholm Fashion Week to show in London and Copenhagen. That’s a pity, since it could be so good (if they stayed). But I think it would be hard for Stockholm to ever become that big. Sweden is a small country and the brands there are quite commercial. If everyone would dare to overstate ten times more than they do now, they could come a bit closer.”

josefinstrid.livejournal.com

josefinstrid.com

Words Kay Weston Images Henrik Bengtsson/Imaginara

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YOU MAY NOT HAVE HEARD OF BRYCE AIME, BUT YOU SOON WILL. THE DESIGNER BEHIND RIHANNA’S SPIKY-SHOULDERED ‘HARD’ GET-UP CHATS TO AGENT2’S AMY FALLON ABOUT THE LADY HERSELF, AND WHY GREEN TEA AND FASHION ARE ‘THE SAME’…

Bryce Aime tells me to throw out the Starbucks hot chocolate I’ve been drinking on the tube before we walk into Le Pain Quotidien at Notting Hill Gate.“I’ll get you another one,” he insists.

It’s not just grey today in London, it’s bucketing down. I’m also ten minutes late. Aime only lives around the corner so there are no dramas. But I get the impression that even if he lived on the other side of town, he wouldn’t have made a big fuss. As far as rising designers and accessibility go, he’s pretty laid back, doing his own calls and emails. In fact it was Aime who insisted on having a face-to-face interview. Then again the 2005 Central Saint Martins (CSM) graduate is known to serve customers himself at his shop on Walton Street in Chelsea.

“I’m sure there are some designers who do this, who push the passion to that point of actually coming down to the shop from time to time,” he says, shrugging his shoulders as his green tea arrives.“It’s important for you to see this in your own eyes because when you design, when you create a product, you are hoping it will sell.

“You have to understand that process, so when you design something you have to almost imagine the clothes hanging on the shop floor and how to they look, how are they perceived.

“Then at some point you start to realise that you should be doing this instead of that and this is how you get better in especially in terms of sales.”

Ah yes, sales. When the store first opened in November last year, things were “to be perfectly frank, a bit difficult at the beginning” Aime admits.

“It wasn’t a great time and it was hard as a newcomer,” he says.“But we had this opportunity, this great space, so we kind of jumped into it. After February things started to really pick up and we had some great sales over the summer.”

Of course Aime, 31, who hails from the 17th district of Paris, is in good company. But having your boutique in the same vicinity as Jean Paul Gaultier, Jasper Conran and Joseph also means competition.

“It’s an interesting mix but I must say also say as it’s an upper-class area, it’s (the fashion) very neat. It’s very clean, it’s very elegant,” says Aime of the West London set. “They are classic in the way they dress up. They’re never going to be very eccentric, very individual. It’s only about YSL and Chanel.

“But for other designers such as me – and there’s more than me, there’s a hundred of us – it’s a little bit difficult for us to reach our people basically.”

By “our people” he is referring to east London, where the locals are a “little bit more trendy but have less money”. Aime has just moved his office there. To Old Street, to be more precise.

Despite being so hands-on in some areas he describes his working quarters as resembling an “architect’s office”.

“I have very few rolls of fabric. We are not a factory!” insists the designer, who says he eventually wants to be stocked in the world’s leading department stores, but will first spend a few seasons perfecting his product and cementing its identity in the market.

Aime’s clothes are made in the Loiret in north-central France, where Balenciaga is also produced (an inspiration of Aime’s, along with fellow Francophone Thierry Mugler).

He is currently working on his LFW collection, Asiarama. The inspirations were his Japanese assistant Takashi, the Beijing opera – “it’s amazing” – and the Japanese theatre play Kabuki.

“I really like this region, China, Japan, Thailand,” says Aime, whose trader wife Xiaohui has been based in Beijing but is back in Britain permanently soon. “I think you either hate it or love it.I wanted to do something like this two or three seasons ago but I wasn’t ready as I needed to understand a few things culturally.

“For me it’s important to understand the people. They kind of inspired me to do something, so I had to make a trip there.”

His A/W 10 collection, Egyptology, also appeared to have been based around a particular culture. Models sported structured body con dresses from the range, with big sweatbands around their head transforming them into “mummies”.

Aime has however actually never been to Egypt, will “probably never go there”, and says he wouldn’t base an entire collection around one civilization.

“Generally speaking, it’s not about culture all the time. It just happened like that,” he reveals.“When you start being too rich, especially culturally speaking, you have to be careful because we’re in England, we’re in Europe. We have our own interpretations of things and clichés.

“And frankly I don’t think we’re prepared to associate clothes of everyday wear with something that’s quite strong, culturally speaking.

“You can have one or two pieces here or there, but to do a full collection like that… I cannot risk myself too much.”

His next offering – currently “20 per cent there” – will be “a complete different thing”, he promises.“The title is done, the colour is done, the silhouette we need to define better because it’s just sketched here and there,” is all Aime will say.

As usual it has been created with only has one female in mind: his “fictional woman”.

“It’s more the way she talks, she way she walks, the way she behaves, what she says,” describes Aime, who will only show in Paris again next season.

“I can’t imagine really it depends on your mood. But she’s quite strong generally speaking. She’s not girly. There’s a thin line between masculinity and femininity. I think that she’s like that.”

I must look a bit bewildered, because he elaborates, “We don’t want 100 per cent woman. She doesn’t wear the clothes to be somebody else. The clothes are wearing her. It’s a personality… We don’t transform her every season we just carry on.”

Speaking of the clothes wearing his “fictional woman”, what does he think of stars such as Rihanna wearing his own creations? In her video clip for 2009 single Hard, the singer donned a low cut, lethal-looking “couture-military” creation with spiked sleeves, as she brandished an apparent machine gun.

“I think it’s important. Everyone in the industry will tell you this and the one who says otherwise is a liar. We need, anybody needs, a little bit of an endorsement and nowhere more than fashion because fashion is relying on an image,” Aime says.

“Unfortunately – I hate to say this – the first thing you see is the image. And if you like the image you’re pretty convinced. Anything goes from there. If that person is well perceived or it’s a big A-lister wearing your stuff it’s a tremendous bonus. But it’s a big spectrum and the celebrity thing is only one part…”

For someone now dressing the rich and famous, Aime says it’s actually “really an accident” that he ended up in fashion. He never drew when he was young and was “absolutely rubbish at school”, only caring about philosophy, literature and history.

“I never dressed my dolls. I never wore makeup or played with my Mum’s stuff,” he recalls.“I used to build cities made of cardboard, toilet paper. I used to like to use my hands.”

It was the desire to learn English that brought him to Britain in the summer of 1998 when he was 19. The decision didn’t go down too well with his parents, both doctors. “But I think I had to go away,” Aime says. “I needed some reality checks. I wasn’t a bad kid but I was in my own world.”

After waiting tables and even hitting the decks in some “really shit places that don’t even exist today”, he concluded- while working a double shift in a restaurant- that he had no direction and needed a return to study.

Law and science were not for him. So he applied to do evening classes in fine arts at CSM. Aime was unaware then of the esteemed reputation that the college had.

He decided to stick with fashion, beginning portfolio classes to prepare himself for interviews. “I stuck with fashion and overnight I went from very little…” Aime trails off.

Despite the rag trade being a hard business, he says that it is at least forgiving. And never dull. “The reward is this: you’re allowed to make some mistakes. Every season your try your luck and you try and be consistent also to your work and your beliefs. You’ve got to be prepared to take criticism because as I said it’s all about images and it’s very subjective,” he explains.

“Not everybody likes green tea. Fashion is the same. I quite like that and I like the competition, for most. “There is a competition but it’s not really an in-your-face competition. It’s more about the tension, the adrenaline, the stress inside and out of your studio, the deadline.

“And then it comes again – but in a different manner, in different people, in a different season. It’s a cycle. You can’t get bored.”

And bored is the very last thing you could be when Bryce Aime is around.

bryce-danice-aime.com

Words Amy Fallon Images Andres Reynaga Hair and make-up Justin Williams

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THERE WAS ONLY ONE PLACE TO SEE AND BE SEEN ON 20TH AUGUST THIS YEAR- THE FACE. MODELS, MAKE-UP ARTISTS, STYLISTS, FASHIONISTAS, DESIGNERS, PHOTOGRAPHERS, PUNKS, GOTHS, YOU NAME IT- ALL DESCENDED ON THE LEGENDARY CLUB NIGHT, INCLUDING AGENT2’s VERONICA CARPIO…

AGENT2's Veronica Carpio

Despite a brief hiatus, The Face club night returned with a bang, promising to ‘turn London back to its best with a night celebrating eccentricity, art, eclectic music, fashion and excess’. And it certainly delivered. The Green Carnation in Soho saw a night dedicated to freedom, beauty, art, eccentricity and extravaganza with renowned DJs Steve Strange and Princess Julia hitting the decks in a celebration of 80’s fashion and music. The aim? According to party boy, model and host Alejandro Gocast, “This night is all about expressing yourself, being free, releasing the artist in you, being whoever you want to be”.

The Green Carnation is a fitting backdrop for such hedonism. A stylish bar inspired by Oscar Wilde, with elegant décor, dim lighting and green and gold walls full of quotes from the writer- “I can resist anything except temptation”- the atmosphere is a cocktail of Bohemian passion and Victorian luxury with a laid-back ambiance.

Vaudeville’s darkest muse Mr Pustra was the star of the show, presenting his fabulous new show King Midas. Covered in gold, with bruised make-up, very long lashes and extreme red lips, he moved elegantly around the stage dripping wax onto his semi-naked body, transporting the viewers to a world of decadence and melancholy. There is no attempt at storytelling, simply a creation of beauty, an experiment, a fantasy, both visually stunning and hugely entertaining.

Mr. Pustra performs on stage

Mr Pustra started in 2006 creating shows inspired by the 1930s, Charlie Chaplin, cabaret and burlesque, making Vaudeville’s art fashionable again. “I want to create something that is visually beautiful. I don’t do shocking things as people don’t get shocked anymore”. He looks for unexpected ways to entertain the spectator: “I am on a continuous journey of learning, always trying different things, always challenging myself”. He gets his inspiration from films, music, paintings and then creates a unique performance. “I don’t follow anyone. I just do my own thing. The most important thing is to be passionate about what you do. You have to believe in yourself and then people will believe in you”.

And this is certainly something that partygoers have taken on board- with guests encouraged to ‘Bring along a face like no other’, we can’t wait for the next one…

thegreencarnation.co.uk

Words Veronica Carpio  Images Dan Harley

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LUCY ROYLE, A MANCHESTER-BASED, LEEDS-EDUCATED BRITISH DESIGNER SHOWED HER GRADUATE COLLECTION DURING GRADUATE FASHION WEEK LAST JUNE. INSPIRED BY THE MEDICAL TEXTBOOK GRAY’S ANATOMY, ANATOMICAL DRAWINGS AND SKELETAL AND MUSCULAR STRUCTURES, HER FIRST SHOW WAS REPRESENTATIVE OF HER BACKGROUND. LYDIA MILLIGAN MET WITH THE DESIGNER TO DISCUSS SPINE AND STYLE.

Your final collection, inspired by the medical world, was beautiful. Where did the idea spanned from?

My dad is a doctor and my mum is a nurse so growing up, I was surrounded by a lot of medical books.  For my final collection, I though it would be really nice to do something that was part of my identity.

Your designs mirror the look of the body very well, especially the spine while looking very contemporary and individual.

Yes, the spine did feature quite primarily.  It just kind of happened.  You just mess about with ideas; one day I had a sample and just literally pinned it to the mannequin.  Then, of course, once you start putting bits together you end up with an idea.  People do comment on how much the draw cords mirror the spinal cord itself.

I noticed a written print design, where did this come from?

These are my dad’s revision notes when he was a student.  Like the textbook, they have always been around the house.  My dad’s handwriting is immaculate, beautiful.  These notes were on anorexia and bulimia and I thought I would use them to add another dimension to my concept.

All your collections appear quite different, yet with a similar darkness to them.  What inspired them?

The idea was to get a variety.   In one collection, I focused on Ancient Greece and Sophia Kokosalaki.  Greek mythology was a fascination of mine for years so I really wanted to look into it.  My Rick Owens-inspired collection was a university-imposed challenge to associate with the designer and to design to their style.  As he is a dark designer, this collection probably ended up the darkest.  These are designers I really like anyway and I always look at their work.

You design primarily for sportswear; do you intend to continue that way?

Yes definitely, I did my work placement with Reebok which was great inspiration.  I never had an interest in it, then while working at Reebok I realised how versatile it was.  I think sportswear is the way we dress now and what consumers look for.  We were talking at uni about how none of us really wear jeans anymore and you wonder if even jeans will fade; we all wear jeggings now!

Why did you go in to fashion?

To be honest, I sort of fell into it.  I didn’t know what I wanted to do at university and by default, as I was doing an English Literature A level I applied to do English; as I filled in the application I just knew it wasn’t for me.  I got rejected from every University I applied to.  I took a year out to do an Art foundation course; it gave me time to think about where I wanted to study.  I ended up following the fashion route.  I drifted in to it, but fate told me that it was right.

You’re going on to do an MA at London College of Fashion, how did you end up there?

Our external examiner came to visit us back in January to have an informal chat.  He came up to me and tapped me on the shoulder.  He said, “If you want a place in a MA, you have one!”  When this offer came along I thought, ‘I can’t turn it down.’

Where do you see yourself in five years?

After the MA I definitely would like to be working for a high-end luxury designer because I have never had experience in that field before.  Ultimately, I want my own business. I think working for a more exclusive designer, you would have more engagement with how the company works as a whole and how they work overseas.  In five years, I would like to be based in London and working for a designer.

lucyroyle.co.uk

Words Lydia Milligan

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THE BLISTERING SUMMER ISN’T THE ONLY THING BRINGING A HEAT WAVE TO LONDON. SUSTAINABLE AFRICAN WOMENSWEAR BRAND AKABI SHOWCASED ITS GOOD-NATURED, PRETTY PRINTED COLLECTION IN JULY, JUST MONTHS AFTER LAUNCHING THE LABEL. INSPIRED BY THE STRENGTHS AND ATTITUDES OF THE CONTEMPORARY FEMALE ‘URBANITE’, THE ‘LOVE FROM AFRICA’ COLLECTION IS A FUSION OF THE BRIGHT COLOURS AND THE ENERGY OF THE AFRICAN CONTINENT. GET IT WHILE YOU CAN AS THIS ETHICAL BRAND ONLY PRODUCES ONE COLLECTION A YEAR.

Akabi means love in Greek. J’Quita, Akabi founder and designer , picked the name because “The foundation of what we do here at Akabi is love.”J’Quita’s passion for social responsibility, international development, sustainability, as well as her love for Africa led her to set up Akabi. She brings ethical intelligence and knowledge to the style of females worldwide and so she birthed the tagline ‘female style intelligence’. Her triple aim is to “promote Africa / empower women / love Earth.”The line has a casual side and incorporates feminine shapes and prints to make the garments fresh for an evening out in the peak of the British summertime. Sculpted skin-tight trousers compliment edgy harem pants. Akabi’s eco friendly collection promotes Africa as a continent with a great future. It raises awareness of the possibilities of trading with Africa and supports existing sustainable businesses presently in Kenya and Ghana by incorporating their work in the Akabi collections.

The organic cotton pieces are sprinkled with batik print work from Ghana. J’Quita also uses war parachutes, creating jackets and outerwear with a military feel. The production is innovative whilst keeping traditional crafts alive and bringing it to new markets.

Akabi supports women from disadvantaged backgrounds, encouraging them to develop skills, such as sewing, to empower them so that they can set up their own businesses. J’Quita is passionate about pushing the eco friendly aspect of the brand, “Our intention is to be a sustainable, desirable and ethically made in Africa fashion and lifestyle brand. It’s our social responsibility to take action where possible and to reduce the environmental impact as much as we can and in all we do.”Environmentally friendly or water-based inks for printing are used on the cotton jersey styles to help reduce the impact on the environment. Many items are made in Bamboo as well as Hemp/Organic cotton twills. The organic cotton is ‘Made in Africa’ and 100% Organic Cotton & Social Standards Certified.

Akabi will donate 10% of sales to the Seed of Hope charity. The organisation works with orphaned, destitute and disadvantaged teenage girls in Kenya, and helping them to have brighter future.

Words Jennifer Butler

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Passion for film?  Check!  Passion for music?  Check!  Passion for fashion and photography?  Check, check!  Then Kopparberg Klash in association with our friends over at VICE has got your name written all over it.

The Swedish cider Kopparberg has teamed up with VICE to bring you the newest wave of talent in all of the afore mentioned areas.  Selcted by an uber-cool team with their fingers on the pulse, finalists will have their work showcased at one of four events at different locations across East London, with the winners of these being celebrated at one final Kopparberg Klash.

September 1st sees the big finale and the end result of the weeks of hard work with one final, almighty celebration of the talents that have been discovered.  The band will play, the short film will screen, the photographers and stylists will have their work on display and AGENT2 will be there with a cold Koppaberg firmly in hand (well, it would be rude not to).

The finale takes place at the Queen of Hoxton, September 1st.  Get yourselves down there and check it out for yourselves.

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OVER THE SPRING BANK HOLIDAY THE 29^TH ANNUAL AFRO HAIR AND BEAUTY SHOW WAS HELD AT THE CONTEMPORARY BUSINESS DESIGN CENTRE, ISLINGTON, LONDON. THE BLACK HAIR AND BEAUTY INDUSTRY IS WORTH MILLIONS OF POUNDS YEAR, YET GO INTO ANY MAINSTREAM BEAUTY OUTLET AND YOU’LL BE HARD PUSHED TO FIND SPECIFIC RANGES FOR NON-WHITES. AS A RESULT OF THIS UNDER-REPRESENTATION, EACH YEAR HUNDREDS ‘ETHNICALLY FOCUSED’ COMPANIES BECOME EXHIBITORS AND SET UP STALL PROMOTING PRODUCTS THAT, BY AND LARGE, ARE AIMED AT THE EVER GROWING AFRO-CARIBBEAN/BLACK/MIXED CONSUMER POPULATION.

This year the show’s buzzword was diversity. Gone are the days when the choice of hair style for women of colour was limited to wearing your chemically straightened hair either long or short. Today ‘Relaxer’ packs are still sold by the truck-load but we’re more likely than ever before to spot a woman of colour sporting her ‘natural’ hair. Subsequently, this year a greater emphasis was placed on natural hair options, which shone with ingenuity, and exhibitors were dedicated to spilling natures secret’s to incredibly healthy hair. A programme of seminars provided the opportunity to learn via the conventional methods; and Stop Watch Stylist competitions, challenged hairdressers to create inventive hair designs within a strict fifteen minute time slot to prove just how easy it is to tame a dense mass of afro hair, and win the approval of the celebrity judges in attendance.

Dyhema from the Southeast London salon, LocsTafari, specialises in ‘Locs’ and natural hair grooming, inspired by the legacy of her African heritage and upbringing. Whether it’s an Afro, Micro Thin Locs or organically grown Jumbo Locs her approach is the same; natural oils, blessed hands and hearts of love.

To create ‘Locs’ Dyhema explains that “several techniques can be used, so many, [laughs] just so many. You can use your fingers to twist sections of hair into ‘Locs’.  You can get a flannel or woolly jumper and rub round in circles around your head – you’lll start to notice little ‘Loc’ balls forming. The most common technique is simply by doing it organically. Just leaving your hair and it’ll eventually mat together and form ‘loc’s on their own. Or there’s ‘Interlocking’ which involves using a needle to hook sections of hair together.”

She found herself within the professional ‘Loctitian’ circle when she “started just doing favours for friends. Then I realised that my hair diary was more hectic than my work diary. It’s something that I enjoy doing, so I decided to make a career out of it. It’s amazing how little is known about a natural hair style so it gives me a chance to help people express themselves.”

When asked whether she would advise going to the ‘Loctitian’ often, or just let the ‘Locs’ do their own thing, she continued: “It depends totally on the individual. Some people in the corporate world would go to the salon more often because they want to keep the ‘sharp’, ‘fresh’ look. They might need to go to the salon more often than someone is an artist. What I do say though, is that in life, too much of one thing is not bad thing. You can kind of over-do ‘Locs’ as constantly re- twisting the ‘Locs’ can make them weak, so I would advise grooming them not more than once every two weeks.”

Despite the attendance of exhibitors championing natural hair, the promotion of human and synthetic false hair is still the main draw for the thousands of visitors to the Afro Hair and Beauty Show.

Exhibitor ‘Neferlady’ boasts of supplying “100% Virgin Natural Brazilian and Malaysian Hair from 10 – 24 inches”, ‘Lace Wig Elegance’ peddles “Brazilian, Indian, Peruvian, and Malaysian hair that is 100% virgin, guaranteed tangle free that moves naturally”, ‘Bullfinch International Ltd’ are manufacturers of “luxurious, flowing 100% Virgin Remy Indian Human Hair”. It is exactly this massive demand for straight false-hair alternatives that inspired award-winning comedian and filmmaker, Chris Rock, to investigate this pandemic in his hilarious Fall 2009 documentary, Good Hair, Chris visits beauty salons and hairstyling battles, much like those of the Afro Hair and Beauty Show; but also visits scientific laboratories and Indian temples to explore the way hairstyles impact the activities, pocketbooks, sexual relationships, and self-esteem of the black community. The film was heavily promoted at the event.

The show also provided an opportunity to observe the beautiful models and fabulous designs from some of the finest UK designers of Afro-Caribbean/Black/Mixed heritage and be bowled over by street dance routines choreographed and performed by the stars of the latest dance movie StreetDance. ‘Tamarind Books’, the leading independent publisher of multicultural picture books held a creative writing workshop on writing multicultural stories for children and teens and discussed the importance of representing of black children in literature.

The Bank Holiday Weekend was brought to a close with the amazing ‘Sensationnel Icon’ competition. The most creative hair designers from around the country, each created a collection of elaborate masterpieces showcasing their visions in colour, shape and astounding workmanship. The winner was Angela Plummer of Sour2Sweet in North London who knitted and plaited the hair extensions into millinery inspired creations to music by Grace Jones.

Words and images Almaz Ohene

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Few things are more British than fashion’s Grande Dame Vivienne Westwood and few things are more American than Lee Jeans.  What do you get when these two flag bearers of national style team up?  A new fantastic collection of jeans with traditional Lee construction and the usual Westwood style and eccentricity.

The 9-piece capsule collection for men and women features everything from tiny shorts and ultra-skinny jeans to roomy boyfriend styles.

AGENT2 has ours already and we are guarunteed to make heads turn at the rodeo the next time we step out in these.

hervia.com

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Beauty bloggers and journalists were invited to get under the skin of the Dermalogica brand earlier this week at Dermalogica Kensington. Taking us on the 25 year journey of the cult skincare range was founder Jane Wurwand, whose presentation proved to be super motivational.

Focused not just on the professional skincare industry, the talk touched on entrepreneurship (‘identify the pain and you’ve found the opportunity’), the power of marketing via word of mouth and a good dose of feel good, girl power -98% of skin therapists are women, after all. Jane quoted from former US Secretary of State Madeleine Albright (which I enjoyed so much I just had to include it) by stating that ‘there’s a special place in hell reserved for women who don’t help other women’. It was all unifying, sisterly stuff, which left you with the feeling that, as a financially independent and ambitious woman, anything is possible.

Jane is also the brains behind The International Dermal Institute and it became clear that the Institutes cutting edge research on the Dermalogica line is what gives Dermalogica its point of difference, and goes a long way into accounting for its massive global reach. The foundation of Dermalogica as a ‘skin wellness’ range, as opposed to a beauty brand consisting of luxury skin products, all over-priced packaging and cryptic content, remains refreshing and relevant.

Education over, it was hair bands on (very fetching) and we were all digging into Dermalogica’s ‘hero’ products under the guidance of a skin therapist (the Daily Resurfacer was a resounding winner in my group). A Face Mapping skin analysis was available at the end of the evening, which assesses and detects your problem areas and recommends a treatment prescription, a free service that’s available for anyone feeling complexion curious.

I left the evening something of a Dermalogica disciple, ready, in true Dermalogica style, to spread the word.

dermalogica.com

Words Emma Harding

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HELEN TURTON HAS JUST LAUNCHED THE DOLL HOUSE, AN INDEPENDENT JEWELLERY COMPANY. EVERY PIECE IS INDIVIDUALLY DESIGNED, SOURCED AND HANDMADE USING DOLLHOUSE MINIATURES, CREATING A UNIQUE, KITSCH LOOK. ALMAZ OHENE MET HER TO CHAT ABOUT HER INSPIRATION, HER BUSINESS PLANS AND WHY SHE DIDN’T GIVE ALMAZ A PIECE FOR HER BIRTHDAY; SEE, ALMAZ AND HELEN GO WAY BACK…

We meet at a Sheffield bar. Helen orders pink fruit beer for both of us while I admire her outfit. She’s wearing… well, she places her hands in front of her on top of the bar, so that I can see her jewellery. On three of her fingers, she’s sporting dinner plate rings. Eggs, chips and beans on one hand, and a Full-English Breakfast on the other. About her neck is a rocking horse necklace. Clipped in her hair is a large, pink gingham bow, which, on closer inspection, forms the cloth of a tiny champagne picnic. This woman loves fashion – that much is obvious from her high-waisted tailored hot pants paired with floral print tights. Naturally, I ask her is why she chose to go into jewellery and not clothes.

“I started out modifying my own clothes, getting fridge magnets and gluing them onto shoes and generally trying to modify my own wardrobe.

“I like things to be unique. I’ve always had a passion for jewellery. The Doll House stemmed from having gone down to a little shop which sold miniatures for dollhouses when I was at college. I saw a little telephone and though that it would look amazing if I turned it into a ring. The whole thing just blossomed from there.”

I ask her where she sources all of the fantastic dolls house miniatures.

“I go into dollhouse emporiums, look around and decide which bits will look amazing if I turn them into jewellery. Sometimes, I come up with an idea and hunt down a piece, often through scouring free-ads pages or going to car-boot sales. I also find new and vintage material on eBay.”

As well as the themed collection ‘In The Kitschen’ and ‘The Music Box’, Helen creates individual pieces such as the Grandfather Clock Brooch, the Telephone Fascinator, the Rocking Horse Necklace and Teacup Earrings.

It was time for the inevitable question about her inspiration.

“There was no designer or person who I saw and then said, ‘Oh, right so I need to look like that.’ The people that inspire me are different. They include designers like Vivienne Westwood and like TigerMilk, who are some of my own friends. They spur me on and let me know that it’s cool to keep things different from everything else out there.”

She’s collaborated with photographer Holly Booth on a couple of promotional shoots  which have a very distinctive style.

“We wanted to make the model look like a living doll. I had some crazy make up done by Lucy Engelfield, an amazing make-up artist. Holly and I worked on getting the right angles and the right lighting to make her look just like a Porcelain doll.”

Helen talks animatedly about the second ‘location’ shoot. She mentions a few different people who were part of that project; I wonder what it was like to work with a team.

“For the second shoot, I worked with Lotte Manson and Kirsty Mann, the TigerMilk girls, brainstorming ideas for backdrops. We had an idea for an Alice in Wonderland theme that eventually developed into something involving mirror and chandeliers in the woods.

“Having a crew made it more fun. Holly did some really good work, working out the best camera angles and the best lighting; angling the mirrors so the end product looked really beautiful.”

Helen’s jewellery is currently on sale at Syd and Mallory’s in Sheffield. I wonder how she sees her business developing from there?

“I got involved with Syd and Mallory’s quite recently. That was my first progression to taking the whole thing seriously, rather than just wearing my own jewellery. When I have more time I’m going to expand it, buy the materials in bulk and try to get more pieces finished. I really like little boutique shops but I’d like to branch out to other cities too.”

When pushed on the issue of her particular ethos she replies:

“I really like having clothes and jewellery that look different to what other people are wearing. My main idea is getting something kitsch and unique to everybody that wants to wear the jewellery. No piece of jewellery is exactly the same as any other piece; so when you buy a piece it’ll be completely different from anything that anybody else has.”

dollhousejewellery.co.uk

Words Almaz Ohene

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LAST WEEKEND SAW THE SAHARA DESERT DUSTY VICTORIA PARK IN EAST LONDON HOST THIS YEAR’S FIELD DAY. PEOPLE WERE OUT IN THEIR DENIM AND SUN HATS BRAVING BEING BURNT IN THE OPEN MEADOW. A HORIZON OF CHECKED SHIRTS MET YOU AS YOU WALKED IN AND OUT OF TENTS FOR SOME SHADE AND SOMEONE TO DRINK YOUR BEER WITHOUT GETTING A MOUTHFUL OF DUST AND STRAW. JENNY BUTLER OF AGENT2 MAGAZINE LOOKS AT A RUNDOWN OF THE BEST BANDS ON OFFER AND ALL THE DAY HAD TO OFFER.

When I got through the rather lengthy ticket queue just to get into another queue to get in the cider was really about to hit on. A plethora of fairground shenanigans were all around and I couldn’t help but be a little tempted by the coconut shys. From the corner of my eye I could see a number of crazy trendies having a go at a sack race. Of course this was no match for the skinny jean wearing boys, who were use to feeling restricted in their every day movements.

The first band that caught my eye was Amiina at the Village Mentality Tent. I could hear the familiar sound of violins, plus it was the first tent as you entered the festival. A chilled way to start the day, the use of a saw to create a haunting whistle was pleasing so early on in a hot day.

The early part of the day is generally spent spiralling in and out of tents trying to squeeze in as many acts as possible. As I went winding in to the Adventures in the Beetroot field tent to see Atlas Sounds, one of the bands I was desperate to see I could hear sound problems from the outset. Riddled with sound issues, the muffled vocals and crumpled instruments made this brilliant band sound terrible in comparison to their great album.

The main stage held host to a number of quality acts. Lightspeed Champion got the crowd dancing in the 4 o’clock heat. His raw energy and simple set up was perfect. By far the best band of the day was The Hypnotic Brass Ensemble. It was Jay-Z with trumpets, synchronised moves and rippled six packs. If you haven’t heard of them this Chicago based 9 -piece is something special. Mix in the occasional rap and you have a mixture of soulful hip hop.

As night time fell the stage was lit for Phoenix. Having seen this band back in the Camden Roundhouse six months ago I didn’t rate them and went to see them, as most people, because they were headlining. Although they have improved and some of their songs are catchy, they are nothing more than a band of the moment. They were a light bite after some of the days more complicated and more musically capable bands, but they were nothing special. But, for a brief moment as least, they got my feet dancing like a cat on a hot tin roof.

Words Jennifer Butler  Images Professor Nerdester

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WHERE DO YOU GO FOR FASHION-FORWARD, ETHICAL CLOTHING? SUSTAINABLE WOMENSWEAR LABEL FROM SOMEWHERE, ON PORTOBELLO ROAD, OFFERS THE BEST GREEN FASHION GARMENTS IN LONDON. LAST MONTH, FOUNDER ORSOLA DE CASTRO, WHO IS ALSO THE BRAIN BEHIND ESTETHICA, OPENED UP HER SHOP TO SOME OF THE MOST CREATIVE AND ECO-FRIENDLY DESIGNERS OF THE MOMENT.

The show celebrated designers who minimise their impact on the environment by using organic, fair trade and recycled materials.

Sonya Kashmiri’s beautifully designed and thoughtfully handcrafted vegetable leather bags sat in the window along with pairs of Nina Dolcetti’s daring, architectural and design led shoes made from up-cycled leather.

You could also find MTLabel’s hand-cut and hand-stitched leather clutches and KAYU’s range of bamboo sunglasses. As part of the label’s ongoing campaign against preventable blindness, every pair sold funds one sight-restoring surgery in a developing country.

Finnish designer Minna Hepburn, recently chosen by the British Fashion Council for the Estethica mentoring programme, explained that the Minna collection includes accessories complementing each outfits, such as a bespoke bird necklace and a removable collar.

“As with all the designers on show, it is about traceability and using every shred of the vintage fabrics. I think it is important to have a UK and handmade element to my clothing line. My dresses are made of vintage lace and this gives it a personal feel. You can really tell the difference between the high street lace and what I use. It has intrigue, subtlety and roots. Some of my materials even come from curtains,” said Hepburn.

The show raised the profile of these green designers in London and Great Britain. The different buying habits in continental Europe means that green labels often do better in France and Germany, where clients buy investment items they can wear to death. Thanks to the pop up show, many designers who don’t have bricks-and-mortar shops in the UK were able to push their garments to the British audience.

Words Jennifer Butler

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MILLIONS OF WOMEN MAY GIVE ALL THE LUXURY LIPSTICKS IN THE WORLD TO LOOK LIKE HER TODAY, SO IT’S PERHAPS PARADOXICAL THAT THE ELEGANT LOOK THAT GRACE KELLY PULLED OFF WAS ALL APPARENTLY DOWN TO A VERY EFFORTLESS APPROACH.

The late actress and princess applied a similar simple attitude to her wardrobe as the set of values that she lived her life by.

Her style is currently the subject of a Victoria & Albert museum exhibition that was nearly two years in the making. It will probably turn out to be the most popular one ever held in the museum’s Fashion Gallery temporary exhibition space.

Grace, who married Prince Rainier III in 1956, was “loyal to her old clothes the way she was loyal to her old friends”, one magazine article in the 1950s reported her as saying.

“I just buy my clothes when they take my eye,” she said.

“And I wear them for years.” Her treasured brown leather Hermes “Kelly” handbag, which collected numerous marks over the years, is probably the most famous example of this.

V&A curator of fashion Jenny Lister says that the Style Icon exhibition, which features mostly items on loan from the Princely Palace in Monaco, is surprisingly attracting, among others, many 20-somethings and younger people born after Grace tragically plunged off a cliff in Monaco in 1982.

“You often see fashion students sketching the dresses, so they are still clearly interested in using Grace Kelly’s wardrobe as a reference and maybe as inspiration for their designs,” she says.

Although her life story was “extraordinary, encompassing the glamour of Hollywood and European royalty,” Grace Kelly became “almost a kind of short-hand or code for that classic, restrained way of dressing that never quite goes out of fashion, in contrast to more outlandish, or overtly sexual styles”, Lister says.

“She loved things that were beautifully made,” Lister says.

“Perhaps things are not made to last as well these days.

“But I think from Grace Kelly we can all learn to appreciate our clothes more, look after them and enjoy them too.”

Of course post-war austerity may have had a lot to do with her demure, sensual style.

But even when she was sporting a diaphanous silk chiffon dress that billowed out into a beautifully flared full length skirt, perfect for dancing with Frank Sinatra, or an elaborate gold headpiece like the one she donned for a 1969 Dier des Testes bash – it was so fancy that Grace had to ride there on the floor of a van – the princess’ personality still outshone any diamond. She wore the clothes, and not the other way around.

“I think it’s important to see the person first and the clothes afterwards,” Grace in fact once remarked.

“I have to choose simple clothes because when I wear anything dramatic I seem to get lost.”

During the 1950s Grace’s face was plastered on hundreds of magazines.

LIFE featured her on an April 1955 cover in the Edith Head pale blue silk satin coat that she’d worn to accept her Best Actress Oscar that year.

Another magazine circa the same carried the headline: “Grace Kelly tells how to travel light”. Can you imagine today’s style icons, the likes of Victoria Beckham, doing the same?

Interestingly, Grace Kelly was the first to admit that she’d never be seen front row at the fashion shows.

In fact, she was the first one to admit that she never attended fashion parades, proving – may we all breathe a collective sigh of relief -  that one can care about more than fashion and still become a style icon.

“Grace had determination and worked hard for her success, and had to make difficult decisions about her career and family,” says Lister.

Although the exhibition, which lasts until September 26, has been a crowd puller for the V&A, the press coverage it’s received hasn’t been all positive. One broadsheet reviewer in fact branded it ”damp squib”. Visitors may also agree that there is far too much packed into two small galleries. While the same critic was apparently disappointed by the worn-out handbags which appeared to have come from a “high-class Oxfam shop”, another broadsheet fashion writer seemed to celebrate Grace Kelly’s ‘thrifty approach’, pointing out that while the royal may have had the same handbag for years, today Victoria Beckham is believed to own more than 100 by the same label. I am inclined to agree with the latter approach.

What I took away most from the exhibition wasn’t really to do with the actual physical items that Grace Kelly carried, but how she carried herself.

vam.ac.ak

Words Amy Fallon

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SINCE THEIR FORMATION OVER THREE YEARS AGO, THE TRAVELLING BAND HAVE TAKEN INFLUENCES FROM ACROSS THE BOARD TO CREATE THEIR OWN BLEND OF PSYCHADELIA, FOLK, BLUES, COUNTRY AND POP. INDEED A DIFFICULT BAND TO PIGEONHOLE, BUT WHAT’S THE FASCINATION WITH LABELLING EVERYTHING WE HEAR? THEIR MUSIC CAN BE INTERPRETED IN ANY NUMBER OF WAYS; A QUALITY WHICH MAKES THIS BAND SO INTERESTING AND PROBABLY THE REASON WHY THEY’VE CREATED SUCH A LOYAL FAN BASE NATIONWIDE. A CERTAIN HONESTY IS PRESENT IN THEIR WORK.

2010 is proving to be an exciting year for TTB. Having completed a string of U.K dates including Glastonbury for the third year on the trot, the seasoned travellers are giving fans another teaser of what to expect from their forthcoming second album, which is due for release later this year.

“The Horizon, Me and You” is the next installment from the album, following on from the success of the beautifully crafted track, “Sundial” which received a great deal of radio play and acclamation earlier in the year. The track is to be put out as a very limited edition 7” (500 to be precise) as part of the Too Pure Singles Club series. This appears to be a bold move by the band as all their work has been previously released on their own Sideways Saloon label, but a move that stays in touch with their organic roots nonetheless.

You can expect to hear a definite move into pop territory from this latest offering by the Manchester six-piece. With this track, simplicity appears to be key. Humbling lead vocals from Adam Gorman accompanied by simple riffs, keys and the occasional harmony lead up to one of the catchiest choruses of the Summer. Three minutes of unadulterated Americana bliss. Without doubt a feel good hit, I challenge anyone to disagree!

Each member of the band plays a key part in the song writing process, a factor that is evident on listening through the band’s repertoire. Although they have a distinct sound, there is a definite individuality to each track. This makes it all the more exciting to hear what the new will album have to offer.

Fingers crossed they’ll live up to expectations.

Single available Aug 16^th on 7” (pre-order online now) or join the Singles Club at www.toopure.com

thetravellingband.com

Words Dan Howell  Images Joanna Dudderidge

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GLAM REVEALS TOP GLOBAL FASHION BLOGS

LEADING ONLINE WOMEN’S SITE GLAM MEDIA HAS PUT TOGETHER A LIST OF THE TOP FASHION BLOGS IN THE WORLD.

Bryan Grey-Yambao’s Bryan Boy blog topped Glam’s UK list

Seventeen UK fashion blogs make the list, along with nine from the United States, 14 French fashion blogs and one Spanish blog.

The criteria used to decide influence included unique users, who the blogger is, their audience and the quality of their blog.

Charlotte Smith, Glam Media recruitment and community manager and seasoned blogger, said she looked at “what they are writing about, what they are photographing or video blogging”.

“The look and style of the blog, right now the trend in fashion blogs is clean. We suggest clean designs, uncluttered sites, backed by blogger credibility and each blogger’s unique point of view.”

She said Glam compiled the list “because there are many companies out there who claim to understand online media and bloggers” and PRs often asked how to identify key fashion bloggers.

“For PRs if you work with us and invite our bloggers, in return you will get quality coverage without the drama.”

Topping the UK list is www.bryanboy.com, a blog by Filipino-born Bryan Grey-Yambao which has been described as a “phenom in the fashion blogosphere”. Bryanboy fans often send in photos of themselves in his signature pose – standing with hips thrust to one side and a handbag in an outstretched arm.

Second in the UK list is www.facehunter.blogspot.com, a blog by Yvan Rodic which showcases street style fashion across the globe. Fashion writer and stylist Marian Kihogo’s blog www.mariankihogo.com takes third spot, while www.mademoisellerobot.com, a fashion and lifestyle blog with a vintage twist takes the fourth spot.

Academic-turned-fashionista Kristin Knox, author of Alexander McQueen: Genius of a Generation, also makes the list with her blog www.theclotheswhisperer.co.uk.

Fashion Foie Gras, www.fashionfoiegras.com; Bip Ling, www.bipling.com; Shiny Style TV www.shinystyle.tv; Style Canteen www.stylecanteen.net; and Freak Deluxe freakdeluxe.co.uk make up the top 10 in the UK.

Also making it on the list are: www.snappylifestyle.blogspot.com; www.stylenoir.co.uk; stylecartel.com; www.wonderlandmagazine.com; www.thislittleladywenttolondon.com; www.thereal-runway.com and www.agent2magazine.com.

Topping the list in the United States is www.shefinds.com, followed by stylebakery.com; www.bagsnob.com; www.temptd.com; www.stilettojungleblog.com; talkingmakeup.com; www.purseblog.com and www.afrobella.com.

The top French fashion blog is lenuagedesfilles.com, followed by www.tendances-de-mode.com and www.leblogdelamechante.fr. Also making list is www.leblogdebetty.com/en, which singer Madonna’s daughter Lourdes links to, and beauty blogger mademoiselleaparis.com who was handpicked by Chanel for a Chanel No 5 campaign.

The top Spanish fashion blog was elfashionista.net.

Charlotte said: “I love the idea of blogging and what I do at Glam. Artists, writers and passionate experts can share their voice with the world. Brands can reach real people and get feedback from real people. I cannot wait for the next two years to see what transpires and what developments there are in the blog world.”

Read more here

Words Amy Hopkins courtesy of glam.co.uk

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Cocosa, the industry insiders favourite online fashion fix, hosted an event last week to rediscover the brand and to reveal their new look website.  Held at he beautiful House of St Barnabas in Soho, the stately interiors added to the luxury retail experience as guests sampled purchasing some goodies online. The location acts as a pop up members lounge and the Quintessentially Soho events raise money for various charitable foundations, which gave the event some added feel good factor.

The exclusive members only site offers fabulous flash sales at up to 80% off from a range of labels including Edum, Karl Lagerfeld, Peter Jensen and Valentino, which shoppers are alerted to via email. ‘‘The fastest selling sale was Alexander McQueen which sold out in 6 minutes!’ divulged Kelly Kowal, Cocosa’s charming Marketing Director. With a soon to be launched Cocosa menswear site, stylish males should keep their eyes on their inbox.

cocosa.com

Words Emma Harding

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THEY’VE CEMENTED THEIR HIGH-FASHION CREDENTIALS WITH COLLABORATIONS WITH SOME OF THE TODAY’S EDGIEST FASHION DESIGNERS INCLUDING AGENT2 FAVORITES: RICK OWENS, RAF SIMONS, CHRISTOPHER SHANNON AND GASPARD YURKIEVICH AND  NOW EASTPAK HAVE CROSSED INTO THE WORLD OF FURNITURE WITH ITS LATEST PROJECT.  THEY’VE JOINED FORCES WITH EDGY BELGIAN DESIGN COMPANY QUINZE & MILAN TO CREATE A RANGE OF  SOFAS INSPIRED BY THE UTILITARIAN QUALITIES OF EASTPAK’S OWN COLLECTIONS.

This is a collaboration like it should be done: take the best of both sides and combine. They’ve taken two classic designs by Quinze & Milan (the Club Sofa 01 and Primary Pouf 02) and added the typical EASTPAK element to it. Lots of little zipped pockets have been added to the seats and provide storage for your knik-knaks such as remote controls, laptops and your latest copy of AGENT2 Magazine.

The project is called BUILT TO RESI(S)T and it certainly lives up to its name giving design and functionality in equal measures.

Both pieces are produced in exclusively numbered limited series, and prices will start at £1941 and are available from www.madeindesign.co.uk

Words Graham Gartside-Bernier

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THE WORLD CUP MAY BE OVER, BUT AFRICA IS HAVING A LONG-LASTING IMPACT ON FASHION.

Tribal Romance, the spring/summer 2010 offering from label Zed Eye is a new take on the ethnic trend, a courtship between tribal prints and chiffons, satin, cotton and floral patterns.

“The combinations, although unusual and unexpected, manage to work together as they woo each other and indeed the audience into believing they should be together,” says the creator of the line, Nigerian-born designer Ngozi Pere-Okorotie, 27.

“I always play around with differences in fabrics, colours, textures and patterns.

“I have always wanted to integrate African prints to my collection but needed to do it without compromising on my style of design.

“This summer provided the perfect opportunity with the celebration surrounding World cup in South Africa.

“My favourite stand out piece is the three quarter sleeve floral print summer jacket. I love it so much and it has been the best buy with the Tribal Romance spring/summer 2010 and also a hit with celebrities like Kelis, Shengei (The Noisettes), journalist Caryn Franklin, celebrity hairdresser Tara Smith, also designer Henry Holland loves it too.”

The London College of Fashion graduate, whose biggest inspiration is Vivienne Westwood, is from the Igbo tribe in Nigeria but now based in Earls Court, London.

Although she actually studied to be an accountant, Ngozi’s mother ran a fashion academy and she was always surrounded by clothes. One life-changing moment that stands out to her is learning how to use a measuring tape when she was six-years-old.

“This aroused my interest enough for me to practice designing outfits for my dolls,” she recalls.

“The rest, as they say, is history.”

Despite being African, and feeling strongly that the industry has a “long way to go” when it comes to embracing black designers and models, Ngozi doesn’t want to be typecast as an African designer.

“I am a designer of African heritage,” she says.

“I am more than happy to cater to both Africans and non Africans alike.

She does still however hope to be part of next year’s South Africa Fashion Week.

“It appears that the fashion industry is booming in Nigeria,” she says.

“There is a huge market as the Africans are known for their exhibitionist behaviour even through clothing.

“This would make for interesting prospective designers as I am sure this will be reflected accordingly in their designs.”

The Zed Eye label will soon be stocked in boutiques and online boutiques, but in the meantime you can check out www.myasho.com or from my website www.zedeye.com

Words Amy Fallon

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Sapphires Model Management launched its new London Soho office with a bang last week. In the glamorous Billiard Room of the Sanderson Hotel, the industry’s finest mixed with Sapphires’ founders Neely Reyes, Ian Warren and more models than a catwalk could handle. Guests included illustrator Daisy de Villeneuve, Portia Shaw from BLOW PR, Matches merchandise manager Frances Card and stylist Rebekah Roy.

Cocktails and Sweetie Darlings cupcakes fuelled the chatter well into the night while DJ Jeffrey Louis-Reed kept everyone entertained.

“We’re very grateful to have the support of so many leading industry figures. Sapphires’ move to Soho is a big step for the company and we can’t wait to see where this new adventure takes us,” said managing partner Reyes.

The company has just relocated from Birmingham. The model agency focuses on models well being, rejecting the usual, undernourished, industry standards. Its models have worked with key fashion names including Selfridges, House of Fraser, the Drapers/WGSN Fashion Summit 2009 and Harvey Nichols.

Words Lucie Goulet

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NEW YORK-BASED FASHION PHOTOGRAPHER MICHAEL DAVID ADAMS, 35, ORIGINALLY FROM PENNSYLVANIA, SPILLS HIS SNAP HAPPY BEANS ON LIFE AS A PROFESSIONAL PHOTOGRAPHER, A QUICK CAREER CHANGE FROM AN ORCHESTRA CONDUCTOR AND HOW IT FEELS TO CALL THE BIG APPLE HOME. HIS WORK HAS BEEN FEATURED IN PUBLICATIONS INCLUDING VANITY FAIR ITALY, MARIE CLAIRE CHINA, VOGUE NIPPON AND QVEST.

Your work has a very strong feel. Do you plan for it or does it just happen?

I do plan certain things with shoots: the flow of the days shot list, how the makeup and hair and styling work together when working with creative ideas or messy props… But the emotion of the shoot, be it strong or vulnerable, is something that just happens. I can intend on shooting an editorial with a sense of strength (or any other emotion) but, after that initial intent, the rest falls in place….

How did you end up being a professional photographer? Is it something you’ve always envisaged yourself as?

I started seriously considering photography as a career in my 20s.  I used photography in my art, predominately black / white and darkroom work, some infrared (that was fun, I miss the darkroom!).

Up until then, I had experimented with a friend’s camera, a Nikon 35mm. I really enjoyed working with it and working with friends to create images that expressed my thoughts and emotions, as well as capturing special moments in time. This quickly led to working with makeup artists, hair stylists, and models from local agencies. At that point, my fate was sealed!

When I came to New York City, I could sense that I was finally “home” and that this is where success as a photographer would manifest itself. From making shoots happen in small apartments to putting in hours conceptualising and organising shoots, the first few years here were a lot of work, but well worth it.

When you were younger, what did you want to be when you grew up?

I was always intrigued by the many facets of the arts, such as acting, singing and painting.  In college, I was studying towards becoming a conductor.

In my 20′s, after enrolling in a photography course, it dawned on me that photography was my true calling. I have always been a natural at it. The photos I took as a teenager all have a great sense of composition. I have a natural gift for concepts and execution. It’s funny how your true calling may not always be obvious to you, but it will hit you over the head when it needs to.

Who has been your favourite client to work for so far?

Always the one who understands photographers as creative people and respects their point of view and decisions. Otherwise, why would they hire me in the first place, as those aspects are crucial to who you are as a photographer, and they become evident in the final images that you see in print or on screen?

What equipment do you use?

I usually use a Hasselblad H2 with a PhaseOne P30+ and CaptureOne. If the lighting situations require it, I’ll whip out the 5DII. Lighting is usually Profoto or ambient with fill reflectors.

Is there a particular style of photography you prefer?

Not really, I love all different styles. Growing as a photographer, you experiment with different lighting, from soft/airy to punchy and vibrant. Soon enough, you find your “voice” and what makes you an individual. Props and various elements that you incorporate into each shot also help define your style.

Which fashion photographers do you admire?

Joyce Tenneson, I love her work!  As a budding photographer, it was really wonderful to talk with her. When I was taking my photography course, “Intro to B/W and Darkroom” my professor asked me if I had heard of Joel Peter Witkin due to some of the work I was producing. I did not but he brought in a book of his and I was immediately hooked. A few years later, I discovered Gottfried  Helnwien. Many of his photographs are similar to some private work I have done on my own.

What is your life plan so far?

To share my passion with the world around me and hopefully that world will expand year after year.

What is next in terms of photography for you?

The same as what’s happening now, except bigger and better!  Plans are to keep shooting and making more amazing work, both in advertising and editorials. I want to keep exploring new ideas, find new amazing locations and travel the world!

michaeldavidadams.com

Words Natalie Davies  Images Michael David Adams

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An Alice in Wonderland world of English eccentricity, vintage glamour and bohemian mysticism entranced guests at the launch of The Jacques Townhouse, a quirky collaboration between Jacques Cider and David Carter, of award-winning boutique hotel, 40 WINKS. 1950’s attired concierge and bevy of bellboys greeted arrivals at reception to grant a key and offer guidance on the delights hidden behind each door. The basement held host to Benefit Cosmetics new Lash Couture service, while the dressing up box next door offered a suitably retro styling service. Ladies were transformed into vintage pin-ups and flash! The girls fluttered their exotic lashes and ruffled their frocks for the photographers’ lens. Cutesy cup cakes were served courtesy of Vintage Patisserie and, teamed with the fruit cider fusions of Jacques, created a twist on the quintessential English Tea Party. Wandering mystics played with guest’s fate as tarot cards were read and the curious could enter the palm reader’s tent to discover their destiny.  The exquisite Sophie Ellis Bexter and hubby (aka Me & Mrs Jones) headlined the evening and played a set centred around classic Blow Up Club tunes. We left wishing we could stay forever but, alas, the charming townhouse closes its doors on the 6^th August so ensure you get your fill of fantasy before the story ends.

The Jacques Townhouse, 33 Fitzroy Square, W1T 6EU

Words and images Emma Harding

DESPITE 7.8% OF THE UK POPULATION BEING CURRENTLY UNEMPLOYED, WORKWEAR HAS BEEN COMING BACK AS A TREND FOR SEVERAL YEARS NOW.  FASHION ALWAYS COMES BACK AROUND BUT NO TREND HAS COME BACK AROUND SO SOON AS ‘90S GRUNGE. IS IT TOO SOON TO BE SPORTING A FASHION TREND OF THE ‘90S AND CALLING IT VINTAGE?

Grunge, described by fashion historians Valerie Mendes and Amy de la Haye as “Punk and Hippie style combined”, first emerged in the ‘80s but did not really come into its stride until the ‘90s. It was a short-lived trend poorly received by both critics and consumers. For some, Grunge never went away. For others, it died with Kurt Cobain.

Grunge stormed New York Fashion Week in 1992 when Marc Jacobs, then Perry Ellis’ women’s ready-to-wear designer, introduced a collection of clothes inspired by music, street fashion and youth culture. Models wore “flannel shirts, thermals re-imagined in cashmere, Doc Martens, layers and layers, all of it topped with a little crocheted skullcap.” Grunge fashion was born, and Jacobs was promptly fired from Perry Ellis.

Grunge fashion mixed Punk style and outdoorwear. James Truman, editor of  US men’s magazine Details, said to The New York Times in 1992: “To me the thing about grunge is it’s not anti-fashion, it’s un fashion. Punk was anti-fashion. It made a statement. Grunge is about not making a statement, which is why it’s crazy for it to become a fashion statement”. Grunge made a non-statement statement thanks to unkempt clothing and hair. Denim, layers, plaid, baggy clothes and chunky shoes were all essential. The trend, even in fashion-terms, was short-lived, and soon became little more then a fancy dress option. Grunge was killed by its own style codes, its distressed jeans and holed tee-shirts. Consumers saw little appeal in paying for garments supposed to look torn and disheveled. However, since the ‘90s, designers have regularly referenced it.

Marc Jacobs, the initial Grunge designer, showed slouchy trousers, work boots and plaid for his autumn/winter 2006 show. Alexander Wang dressed his models in stocking caps, denim and ripped tights for spring/summer 2008. And no one captured better the Grunge feel than J.W.Anderson with his autumn/winter 2010 collection complete with belt necklaces, boots, ripped jeans, plaid and punk vibes. The autumn/winter 2010 ready-to-wear shows were full of what fashion writers named “glamour grunge.”

Fashions change and style stays the same but Grunge has adapted to a fresher look for the autumn/winter 2010 collections. Rag & Bone, Peter Som, Alexander Wang and Rick Owens all sent tougher-looking models down the catwalks. Alexander Wang has made a name for himself with his Grunge style and Grunge-inspired collections courtesy of his muse Erin Wasson who wears his black leather platforms and loose-fitted tees like no one. At menswear and womenswear designer Rick Owens, slouchy sheer pieces, layering and chunky boots were the key ingredients to the fresh grunge look.

Hair is another important element of grunge style seen on the autumn/winter 2010 catwalks. Stylist Guido Palau fashioned morning-after hair for Rag & Bone and overloaded roots with hairspray at Wang for their most recent collections. Dries Van Noten presented a collection with grunge skinhead influences. Off the runway, British models such as Alice Dellal and Agyness Deyn are boldly going bald. The 2010 Chanel haute couture show featured several models with dirty blonde roots, in stark contrast to the collection’s perfectly preened feel.

Words Russell Arkinstall
Images Naomi Campbell (thomasdekluyver.blogspot.com)all other pictures courtesy of Style.com

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METAL ROOSTER AND LADY GAGA INSPIRE DIANE GEVORGIAN WOMENSWEAR AND FOOTWEAR COLLECTION. HER ONE-OF-A-KIND CLOTHES GATHERED RAVE REVIEW AFTER HER UNTOLD CATWALK. AMY FALLON MET THE YOUNG DESIGNER READY TO REVOLUTIONISE BRITISH FASHION.

The eight metal roosters discovered by up-and-coming designer Diane Gevorgian at a Sunday car boot sale were always going to be sacrificed for her spring summer 2010 collection.

A day after finding them, the 23-year-old University of East London 2010 graduate took them to a metal worker and had them “chopped to pieces”.

Holding the ‘remains’ of the ‘dead’ animals in her hands, the designer began taking inspiration from their different shapes for her latest womenswear and women’s footwear collection. The pieces were reshaped to fit different parts of the human body as detailing and decorations on the garments and footwear, which then inspired the designing and making of the entire collection, very aptly titled If Looks Could Kill.

The range, which features a show-stopping metal jacket with wings, has been described by the blog Fashion Foie Gras as a collection that would “certainly intimidate every individual around them”. Gevorgian has also been compared to a young Lee Alexander McQueen.

“It all made sense, killing the roosters and having heavy decorations on the garments which are so heavy and unique that in a way would intimidate people,” describes Gevorgian, who today is wearing silver flip flops with metal flower decorations.

“At the end of the day they are not just clothes they are works of art.

“All the pieces are unique, they all are very creative and different, however the leather jacket with the metal wings is so unique and original that stands out from everything. It just grabs so much attention.

“My clothes are certainly so innovative that they stand out in very many different ways, they could also be intimidating.”

The collection also includes a striking pair of knee-high boots with immaculate gold detailing.

“My six-year old niece once looked at my half leather half metal boots and said, ‘this is like Lady Gaga!’” says Gevorgian, who would love the singer to model her designs in her videos.

Besides inspiration from Gaga for her clothes, Gevorgian looks to her Armenian background.

“ You can always see the Middle Eastern historical and cultural styles in my designs, which is what makes them unique and different.

“For inspiration I always look at the Middle Eastern cultures and history.

“A lot of it I recognise from things that my grandparents kept from their great grandparents. Those images are always in my head, the old dresses accessories and curtains my grandmother kept in her wardrobe.”

Gevorgian’s aunt also owns a shop in Moscow and the pair are currently in Russia, working on Gevorgian’s second line. It will be targeted at the high street, particularly middle aged working women. It’s available in stores from October.

Her website – www.gevorgian.co.uk – is coming soon.

Words Amy Fallon

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IN MY HOMELAND CANADA, THERE IS TORONTO AND MONTREAL, IRELAND HAS CORK AND DUBLIN, AND SCOTLAND HAS GLASGOW TO ITS EDINBURGH. I HAVE SEEN AND ENJOYED BOTH, PERHAPS FOR DIFFERENT ASPECTS.  ONE’S AN INDUSTRIAL, SLEEVES-ROLLED-UP, NO NONSENSE CITY AND THE OTHER A MORE REFINED AND CULTURED CITY.

Glasgow’s charm is very different from its eastern sister. If Edinburgh is a Hollywood blockbuster, with obvious character and beauty, Glasgow is more of an indie flick, hoping you’ll discover its quirky charm in your own way.

But on closer inspection of Glasgow’s architecture and unusual creativity, this industrial city has nothing to envy from the classic Edinburgh. The Scottish metropolis isn’t done with reinventing itself. To keep its high status of excellence, Glasgow has chosen to live following this rhythm of avant-garde and Scottish modernism, which began in the 19^th Century.

Its red sandstone Victorian buildings provide contrast to the steel of its post-industrial era architecture, but it’s the Arts and Crafts movement constructions that won my heart.

The movement known as well through Europe as Art Nouveau, was instigated in Glasgow by ‘The Four’, which included Charles Rennie Mackinstosh, Herbert MacNair, Margaret and Frances MacDonald. Together, they created the vision which became world famous as the Glasgow Style – a blend of Celtic and Japanese art. In 1896, Mackintosh won the competition for the rebuilding of the Glasgow School of Art.

The movement contributed to Glasgow economic boon and international recognition by reinventing the fields of architecture, interior design and painting.

To have a taste of the Glasgow style, go for a nice cup of tea at the Willow Tearoom, the last room created by Mackinstosh for restaurateur Kate Cranston.

Glasgow was designated ‘Architectural and Design city of the UK’ in 1999. In fact, from interior design to fashion, nothing escapes the creative talents.

A major new centre for the arts and creativity opened last September called Trongate 103. It offers opportunities to view and buy a wide variety of art including printmaking, photography, digital media, film, video, kinetic sculpture, painting and ceramic all under one roof.

In the medieval quarter, the Merchant City, a beautiful Victorian building has brilliantly been transformed into the new home for 100 visual artists and cultural organizations and is available for visits.

The Kelvingrove Art Gallery has reopened its doors after a four year renovations and several million pounds spent in its refurbishment. It is the most popular art gallery in the UK after London. It has a superb collection from the Glasgow Boys, a wing devoted to Mackintosh and a magnificent variety of paintings from the Scottish Colorists and the French Impressionists. A must see.

Two years ago, Glasgow was named a UNESCO City of Music by a UN cultural body – to celebrate the city’s role a world player in music and its rich and varied music heritage. The city’s legendary music scene stretches across the whole spectrum from contemporary and classical to Celtic and country. Its venues are equally varied and include the famously loud and sweaty King Tut’s Wah Wah Hut, the Barrowlands, Glasgow Royal Concert Halls, as well as many pubs and clubs throughout the city.

Like the famously incomprehensible accent of Glaswegians, this unpretentiously stylish city with its Georgian and Victorian glorious architecture, world-renowned museums, café culture and quarters like Merchant City and the West End deserves decoding.

WHEN TO GO

Glasgow is a vibrant year round city but we recommend a visit during The West End Festival which celebrates the cultural diversity of Glasgow’s West End with hundreds of performers covering music, comedy and theatre and the Glasgow International Jazz Festival that strives to bring a broad range of top performers.

WHERE TO SHOP

Che Camille

Che Camille On the top floor, above the busiest street in Glasgow. Browse the most exciting and innovative indie boutique/showroom space in Glasgow. Che Camille’s fashion house a cool indie boutique with a larger women collection and more modest but complete boy collection. You can also get a bespoke outfit with the help of their in-house designers on hand to help out with creative ideas as well as taking advantage of their onsite customizing and alterations services. Che Camille also sells music, art and crafts from local artists. Check that gem out!

Floor 6, Argyle Centre, Buchanan Street

WHERE TO EAT

Brasserie Oran Mor

Enjoy a relaxing dining experience, where affordable contemporary cuisine is served with a distinctly Scottish flavour. Try the excellent and mouthwatering scallops!

Top of Byres Road

Osteria

Osteria Piero was voted best Italian restaurant in Scotland 2010. With over 90 years of tradition and experience, a warm and cosy atmosphere as well as a menu full of fresh rustic Italian cuisine.

111 West Regent Street

The Left Bank

Voted Urban Restaurant of the Year at the Scottish Restaurant Awards 2009, the Left Bank is synonymous with laid-back eclectic dining and enchanting intimate surroundings.

33-35 Gibson Street

WHERE TO STAY

Blythswood Square

Blythswood Square in Glasgow city centre is the latest addition to the Town House Collection of luxury boutique hotels in Scotland. Aiming to be Scotland’s greenest hotel, the Blythswood is located in one of Glasgow’s most famous historical landmark, previously the home of the Royal Scottish Automobile Club

11 Blythswood Square

Lorne Hotel Glasgow

The recently refurbished Lorne Hotel Glasgow is the ultimate experience in luxury hotel. Located in the vibrant West End and near by botanical gardens.

923 Sauchiehall Street

Words and images Vincent Bernier

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AGENT2 loved the first version and now we are trading them in for the latest Leather Wings 2.0.  The new sneaker from the adidas Originals by Originals Jeremy Scott Autumn/Winter 2010 Collection comes in a new marble version. The mid top trainer comes with a white and grey marble pattern all over the upper.

www.luisaviaroma.com

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TO COMMEMORATE ALEXANDER MCQUEEN’S LIFE AND BRILLIANCE, VISIONAIRE 58 SPIRIT: A TRIBUTE TO LEE ALEXANDER MCQUEEN FEATURES MCQUEEN’S GROUNDBREAKING WORKS ALONGSIDE CONTRIBUTING ARTISTS LIKE NICK KNIGHT, STEVEN KLEIN, MARIO SORRENTI, STEVEN MEISEL, AND MANY OTHERS.

There are only 1500 copies being printed and each cover is wrapped in gold brocade reminiscent of McQueen’s S/S 10 collection. But wait, there is an extra little surprise. The pages are made from seeded paper, which will sprout wildflowers once planted signifying the ongoing legacy of McQueen.

www.visionaireworld.com

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THE BIG SWISH, DUBBED THE ‘CLOTHES-SWAPPING EXTRAVAGANZA OF THE YEAR’ WAS HELD AT THE LONG ACRE IN COVENT GARDEN ON JULY 13. AMONG GUESTS WERE ACTRESS VICKY OGDEN, SWISHING COMMENTATOR.

ONCE ALL THE COAT HANGERS WERE CLEARED FROM THE FLOOR, AGENT2 CAUGHT UP WITH THE ORGANISER, FASHION STYLIST LUPE CASTRO, WHO ORGANISED THE EVENT WITH THE BIG WARDROBE.

First things first – what’s the rule on Primark?

We only put out top condition Primark dresses and jackets. I am considering putting a cap of one item per person on Primark dresses. Although they have got someone in charge of ethical policy now, their concept doesn’t really sit well with us!

Did you have a lot of items that didn’t make the cut?

We actually did have quite a bit that we rejected because it was either too loved or torn. These are taken to cloths banks and used for rags or mops. Then there were a couple of shoes and I think that’s because of the sizing! But all in all we had soo much brought in. It was terribly good for swishing standards!

Any success stories?

A girl was so overjoyed because she was lusting over a pair of vintage Rayban glasses that someone had just nabbed but then she found them discarded in the makeshift changing area! She was literally jumping for joy. I was amazed by some beautiful long evening dresses in beautiful silk satin, one in particular with gorgeous jewelled detailing. It went, of course!

Where did the swishers come from?

We had some lovely ladies that came all the way from Holland! In fairness they were visiting friends but made sure the two coincided and brought some lovely things to swish from home! Also some girls came down from Manchester and Birmingham! We had some Italians and Swedes that also that popped in and were so inspired, they’re wanting to do one in.

What were most girls swishing for?

Either for work or that special birthday, graduation or wedding party maybe a one off piece that they didn’t want otherwise to invest in!

Swishing can get quite heated. Was everyone on their best behaviour?

Everyone was really terribly well behaved waiting around to get cloths checked out can be nerve wrecking to say the least! No fights and if anything was looked at and then left it was immediately picked up by an awaiting swisher.

And last but not least, when’s the next one?

September – and it will be designer only. Am determined to get everyone swishing, the whole of west London preferably! I have unofficially swished all my life with friends and family and I simply adore changing and tweaking cloths in order for them to fit perfectly!

I mean who the hell has a symmetrical shape and that is how cloths are made now. And when you swish you kinda feel allowed to change something, don’t you?

See www.bigwardrobe.com/thebigswish

Words and images Amy Fallon

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LETS GET ONE THING STRAIGHT: I HATE PRIMARK.

Oh and another, I’m completely selfish when it comes to my wardrobe.

I’ll give money to charities and do volunteer work, but give anyone the (high-end) shirt off my back? No way, mate.

So when I received an email about a clothes-swapping (aka swishing) event taking place, I immediately had only one suspicion: this is the Primark mob who don’t care trying to rip off us people who do.

Moi? Swish? You bloody wish!

I’d have to beat these people at their own game. Now what could I get rid of? Nothing really… apart from a couple of koala tea towels that Mum had posted me from back home, Australia. I’d intended on wearing them as tops the next time I went to Liverpool.

What about my ‘Step Outside Posh Boy’ shirt with Gordon Brown’s face emblazoned on it? Surely that would be out of season for about the next three years.

“I’ve got a cork hat and the best bit of Kiwi tourist tat ever – possum fur nipple warmers,” a friend offered.

”Take 15 pairs of socks with you!” another added.

But hang on, I was missing the point.

This wasn’t about getting rid of any old stuff for the sake of it.

Wasn’t it about being ethical and environmentally friendly? And charity?

As the world’s number one advocate for the eradication of Primark, I had a duty to take this recycling scheme seriously.

Besides, I was sure if I turned up with a yellow and green sweatband with AUSSIE AUSSIE AUSSIE, I’d be swished right out the door.

Nor did I really know who else would be attending. After all, these were troubled times. Even celebs were going bust. Kylie had been seen in an op shop earlier this year.

So having rethought my approach to swishing, I came up with about seven items, all from the high street. There was Urban Outfitters and American Apparel, among others.

And since I wanted to feel like I was making a serious effort, I included a black and white Breton style dress from French Connection. While life would go on without it, it wasn’t exactly easy to give it up. (Just to test out the style rules, I also hid an alice band with the Australian flag on it, in the bag).

I packed them all into a cloth bag.

When I arrived at the bar to hand them in, I lined up next to a female who was unpacking a massive suitcase, like she was Mariah Carey’s sister. Oooh this could be good, I thought.

When it came to my turn, they accepted most of my items apart from a pair of jeggings (yes, I know, what had I been thinking?) which had a stain.

By the time the countdown to the event actually approached, the bar where the swishing was happening resembled the Boxing Day sales.

“Swish with dignity and flair,” the female commentator boomed into a microphone.

“Hand bags on the side. No elbows. I’ve already lost an earring,” she warned.

“10, 9, 8, 7, 6, 5, 4, 3, 2,…

“SWISH!”

CLANG went the first coat hanger on the ground.

Having not devised any tactics, I had no idea what to do. But I figured that there wouldn’t be as many people around accessories, so I dived for them first.

But after a couple of minutes all I did was find myself walking around in circles panicking that time was running out.

Out of fear I grabbed a wide leopard print belt. It looked like Reiss (but could have been Next).

By now, things were getting heated. While it mightn’t have been the Primark summer sales, it wasn’t a typical day at Banana Republic, either.

I found myself getting a bit frustrated at one point when I was gently but quickly trying to sift through a wrack to get to a top that I’d spotted, and the woman next to me kept on more roughly sifting the other way.

Then it happened.

As I was heading back into the accessories area I saw, among the items that a girl was holding up, my pink and turquoise peacock dress with ruffled sleeves.

I’d purchased it at Spitafields. It was a no-name brand, but I loved it because of the colours and its black peacock pattern.

She was holding it up in the air, deciding whether she was going to take it home or not.

I stopped, pretending that I was browsing through a wrack to the side, but I had to watch her.

Please please please… I prayed.

And then she did it. She kept it.

I couldn’t believe it. I didn’t know this woman at all. But it didn’t matter. Someone wanted what I once had. It was the biggest style validation of all.

And it was also nice to know that unlike my Aussie alice band – which was now out there, somewhere unknown, in the universe – I knew who was the new, proud owner of my beloved peackcock dress.

I felt happy and sad at the same time.

In summary, I’d taken in seven items and all I’d gotten was three – the leopard print belt, a black V-neck dress with black and white ruffled sleeves that turned out to be too big around the neckline when I got home (I’d be arrested if I wore it) and a fake ostrich feather style jumper with no front (had to get my flattie to show me how to wear it – turns out you’ve got to wear a blouse underneath it, so you don’t show too much cleavage.)

The leopard print belt is probably the only thing I’ll wear, and will probably take the two others to Oxfam.

But swishing, I’d discovered, was a bit like the Melbourne Cup horse race. You were taking a massive gamble and didn’t know what you’d get back.

In this case, it hadn’t been an equal exchange, and normally I’m all about equality.

I’m normally the type of girl who gets frustrated if she returns home from a shopping trip completely empty.

But this time I didn’t care.

I had given a lot more and gotten a lot less back, and it felt good.

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SHIELD YOURSELF FROM THE RAYS WITH THE LATEST CUTTING EDGE SUN CARE. BE IT ECO-FRIENDLY INGREDIENTS OR A FUSS FREE FORM, WE BRING YOU A SELECTION OF SUN SCREENS WITH BENEFITS.

Sunscreen Swipes SPF30, £28, Supergoop!

For sun protection on the go, Supergoop! Offers the ultimate convenience in the form of its re-sealable wipe designs.  Solving the problem of sticky fingers and stains, Sunscreen Wipes fill the niche for city sun care, particularly the handbag friendly Travel Swipes size. Free from parabens, petrochemicals, fragrances and phthalates, this is a fuss free formula with green credentials.

UV Protect Targeted Sunscreen Stick For Face & Body SPF 50, £18.50, Kiehl’s

Cult skincare brand Kiehl’s have formulated organic UV filters – Mexoryl SX and XT – which maintain their protection properties from the sun and do not break down, even in the most intense heat. The stick design is practical and offers a less messy alternative to sometimes-greasy lotions, while there’s more than a hint of old school vacation to this retro packaging.

Sun Lotion SPF 30+, £39, Jurlique

Organic extracts of Lavender and Orange add a soothing quality to this light- weight formula, while the broad spectrum sun protection shields against both UVB and UVA (the harshest rays that penetrate deep into the layers of the skin).  This earth friendly lotion smells so delicious, you could find yourself developing an applying addiction!

Invisible Staying Powder, £38, INVISIBLE ZINC

The Aussies know a thing or two about sun protection, so it’s no surprise that the pioneering INVISBLE ZINC range is from down under. The naturally derived micro fine Zinc Oxide formula creates second skin defense against UV rays and environmental pollutants. We’re particularly taken with the innovative Invisible Staying Powder, which melts into skin to set foundation or can be simply used on its own.

Body Spray SPF 25, £17, Clinique

Tired of having to corner someone to slather sun cream on your back? This micro fine spray ensures optimum coverage in those tricky to reach areas. The Solarsmart technology ensures a photostable sun screen, whereby ultra harmful UVB protection is three times proportional to UVA protection, while also being allergy tested and 100% fragrance free. The bright yellow bottle is pure sunshine, too.

Bronzage Anti Age, £18, Lierac

The new sun care range from French skincare brand Lierac includes this specially formulated product designed to target the incredibly delicate areas of the face and décolleté. Enriched with Cactus fig extract to provide resistance   from the appearance of age spots and skin discolouration, it also combats the process of premature ageing.

Photo Reverse Body, £39, Institut Esthederm

For shade dwellers with a zero tolerance policy to a tan, the latest product from Institut Esthederm allows the freedom to emerge from under the sun umbrella.  The technology actually inhibits the melanogenisis process, which means your skin will undergo no change from UVA and UVB rays, while the reversal of pigmentation remedies previous damage.

Words Emma Harding

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AFTER STUDYING ARCHITECTURE AND PSYCHOLOGY AT LONDON UNIVERSITIES, SUDANESE-BORN DESIGNER OMER ASIM THANKFULLY DECIDED TO SWITCH TO FASHION. HIS ACADEMIC BACKGROUND AND EXPERIENCE WITH THE UNITED NATIONS DEVELOPMENT PROGRAM AND ITS PROPAGANDA FEED HIS INNOVATIVE FORAYS INTO THE FASHION WORLD. BEFORE LAUNCHING HIS OWN LABEL JUST OVER A YEAR AGO AND BEING A STAR EXHIBITOR AT LONDON FASHION WEEK’S ON|OFF, ASIM LEARNT THE TRADE AT VIVIENNE WESTWOOD AND AS PART OF THE COSTUME TEAM FOR THE HARRY POTTER SAGA.

After studying architecture as an undergrad, you were going to do a post-graduate degree in psychology before switching to fashion design. What made you change your career paths?

I realised the body is a good compromise for my interests; it is both physic and psyche. Fashion therefore makes sense. I wouldn’t say it was a transition from everything I’ve done, it’s more of a resolution.

You often use unconventional shapes and cuts to striking effect. Does your architectural background inspire you to create such sculptural, avant-garde designs?

I wouldn’t say so! In fact, I don’t think ‘Architecture’ when I’m making my collections at all. Birds, for instance (and I always refer to that example), build the most fascinating structures instinctually.

What moves you most in life, either to enthuse or upset you?

Pointless discussions and absolute cults get to me.

You have pledged to become more involved in sustainable, ethical, fair trade practices. In which ways do you feel that fashion really does matter?

As long as people wear clothes, fashion will matter. I reckon it would even matter in a nudist society, walking around naked is quite a decision!

You worked as an apprentice under Vivienne Westwood. How did it feel to help create the wedding dress in the 2008 Sex and The City film?

That dress was all Westwood’s! I was just an intern at the time. Seeing the impact of it was interesting!

Your ON|OFF collection was inspired by the 1994 Pulitzer Prize winning photograph ‘Vulture Stalking Baby’ by Kevin Carter. Do you feel that the photograph still represents today’s Sudan?

You can never represent everything with one photograph. Every thesis has an anti-thesis. However, two month after I presented that collection, the UNICEF spoke of famine in South Sudan triggered by tribal conflicts and low rainfall. I don’t have anything to say about the elections, or politics for that matter, there are enough cooks on that broth.

You have been accused of pulling publicity stunts by using carcasses as key parts of your pieces. Can you explain the conceptualisation behind the use of dead chickens in your designs?

It wasn’t a publicity stunt. When you first start out, your take on fashion is a bit romantic and you want to do something that is meaningful for you. I saw a photo of the feathered chicken in my friend’s portfolio; he is a photographer – Sipke Visser. I thought the ghastliness of the feathered chicken would make a great emblem for the collection, to inject a realistic perspective of death into something common and somewhat ‘ridiculous’, as well as evoke emotions similar to the ones aroused by Carter’s photograph. Aside from the resin feathered chicken, we also placed the chicken into an uncanny print of what appeared to be flowers.

You are on your way to becoming an international name, so what are your plans for taking the world by storm?

That is very kind of you but I know I have a looooong way to go. I hope I can build a steady body of work to stick around long enough and then, as you put it, ‘take the world by storm’. For my next collection, I will carry on with my narrative on humanity. The first collection was about life nearing death, the second was about life before it begins as we know it – life in the womb. In this collection life is delivered and it’s a girl – the earliest record of human ancestry, which was nick-named ‘Lucy’s Baby’. There will be references to pre-historic fabric and drapes.

Words Almaz Ohene

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Fashion and design junkies no longer need to feel bad as they face their constant dilemma of what to buy; “clothes or something for the home, clothes or something for the home”. High street giant H&M has taken the plunge into homeware with a range that launches this Autumn meaning you dedicated fashionistas can step out with style and now, stay in with style.

The affordable range, which is aimed at students, renters and fashionistas, includes cushions, bedding and towels that incorporate key trends such as pastels and florals, from as little as £2.99-£59.99.

And if that wasn’t enough, according to Retail Week, customers will shop the homeware range using a unique magnet system, adding magnets to a board to represent products. Boards are then taken to the till and products chosen paid for and collected.

The range, which was launched successfully in Europe last year, is expected to eventually be rolled out to all H&M Stores across the country.

The collection will be available in the Oxford Street flagship store and online.

hm.com

Words Graham Gartside-Bernier

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“THIS IS AS EAST LONDON AS IT GETS”

Alternative magazine Vice launched its sister website ViceStyle at the end of June. The first days of the mag life were kicked off with a party in East London hipster haven The Shoreditch Warehouse. Vice lived up to its queen of quirk label with candy floss and swings suspended from the Warehouse roof for those loaded with the free booze to flail about on.

The club housed two floors and multiple DJs, with Big Pink and Koudlam playing alongside Matthew Stone, Wild Palms, The Flats and The Lovely Jonjo.

The uniform appeared to be top-knots and red lipstick for the female attendees, with T4′s Jameila Jamale following suit for the latter. Amy Winehouse took a night off from sobriety to call in with an enormous bouncer dragging her around all night. Klaxons, Miquita and Pixie Geldof also showed up.

Despite the top floor turning into a slippery sauna and an enormous queue for those invited before it even struck 11, the night was a great success and an excellent welcome to the awaited ViceStyle site.

Words Natalie Davies Images Holly Lucas

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HE WAS A DEFINING DESIGNER OF THE ‘80s, IMAGINING ICONIC GARMENTS AND ACCESSORIES RANGING FROM THE TABI SHOES TO DECONSTRUCTED TAILORING. THIS SUMMER, LONDON FASHION-HUB SOMERSET HOUSE IS DEDICATING AN EXHIBITION TO THE WORK OF MARTIN MARGIELA. THE ANTWERP-EDUCATED DESIGNER GREW UNDER THE WING OF JEAN-PAUL GAULTIER BEFORE CREATING HIS FIRST LABEL IN 1988, MAISON MARTIN MARGIELA. BELOVED OF FASHION DESIGNERS AND CUSTOMERS ALIKE FOR THE OTHERNESS OF HIS DESIGNS, HE MADE HEADLINES LAST DECEMBER WHEN HIS LABEL, NOW OWNED BY DIESEL, CONFIRMED HE HAD LEFT THE COMPANY.

The exhibition, curated for the 20^th anniversary of the Margiela brand, has previously been shown in Antwerp and Munich. “It takes a chronological approach but it really unpicks the themes and concepts of what the Maison is all about”, says Somerset House curator Claire Catterall.

The Embankment gallery was cleansed with a monochromatic palette and clinical white walls, creating an asylum-like backdrop to the row of power-dressing tailored jackets displayed. Architectural-scale models of previous exhibitions show the visitor how the London curators adapted the artifacts to fit the unique spatial characteristics of the Gallery space.

An assortment of catwalk invitations made from plates, chocolate, wishbones, CD’s and cutout numbers and letters scattered in a display case greets the visitor. The minute you step into the silver-spotted and glitter-covered room, you feel that the clothes are as much about the visual language as they are about the garments themselves.

On the ground floor, the multilayered-exhibition parades Margiela’s spring/summer 2009 20^th Birthday Show on a large screen. The pounding music generates the sense of power that these iconic clothes portray. Walking up a spiral staircase to the Mezzanine Gallery, you start recognising shapes of clothes that you wear everyday. The Maison uses every fabric and medium available  to make its creations exciting and visually splendid. Some of the clothes, such as the disco-ball top from the spring/summer 2008 Artisanal Collection, are unwearable and fantastical. However, if you look closely, you can see how they have translated down into the high street. Margiela’s habit of covering garments with paints, for instance, has filtered down to mainstream chains such as Zara and River Island.

The “Incognito” section of the exhibition pays homage to Margiela’s emphatic decision to withdraw from public view. Legend has it that no one knows what he looks like. In extracts of his collections played on old Orion TV sets, the models are made anonymous by having their faces covered by what Sarah Mower described as “stocking scarves and cascades of hair », as if to protect their identity. They are pushed along the catwalk like dummies in a shop window.

Displayed on the Mezzanine Gallery, the spring/summer 1996 “Trompe L’oeil” collection almost makes you feel like you were looking at pictures of clothes, rather than the garment itself. Each item of clothing is printed with the picture of a different garment in black and white, sepia or brown. According to the exhibition catalogue, a cardigan is printed “with photographic print of a safari jacket”, a v-neck dress “with sequined retro evening dress”. A camera in the corner of the room flickers through retro images and flowers and projects them on a dress sculpted from a duvet.

Elsewhere, a bustier dress is the focal point of the dark “XXXL” a side room. It is oversized and would not look out of place on Alice in Wonderland when she nibbles “the eat me” treat and shrinks to the floor.

Elsewhere again, a visual installation shows Maison clients trying on their Margiela clothes. The sofas around the centre of the room provide a comfortable place to spend an hour or two looking at the visual displays that circle the edges of the walls.

This exhibition really makes Margiela’s fashion come to life. This is by far one of the best fashion shows London has hosted so far. It is more than a bunch of clothes on hangers. All the garments are brought to life by all the little added details. You could spend hours going over each piece over and over again, you would still find things that you had missed the first time around. The whole experience is mystifying and gives you a real understanding of how this fashion house creates such wonderful clothing.

Maison Martin Margiela ‘20’ The Exhibition

At Somerset House
Strand
London
WC2R 1LA

Daily 10.00-18.00, until 20.00 Thursdays
Embankment Galleries, South Wing
£6, conc £5, under 12s free

Words Jennifer Butler

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LIVERPOOL JOHN MOORES STUDENTS LEONI NEWCOME, KATHARINE GOETZEE AND ELLY ARIF ENTERTAINED GRADUATE FASHION WEEK VISITORS WITH THEIR UNUSUAL GARMENTS FEATURING CLOWNS AND PETER PAN DETAILING. AMY FALLON MET WITH THE THREE GRADUATES TO DISCUSS THE INSPIRATION BEHIND THEIR END-OF-UNI COLLECTION.

Coulrophobia, the abnormal or exaggerated fear of clowns, could be on the rise, with one circus in Newent, Gloucestershire offering counseling for those who suffer from the illness.

But Liverpool John Moores student Leoni Newcome decided the best way to tackle her phobia was by emblazoning bright images of the objects of her fear on her Graduate Fashion Week pieces.

A bright mustard over-the-knee dress, complete with hood, featuring a full-length clown’s body, teamed with black nautical stripe leggings, is one standout item from her collection.

“My best friend Derrin has an agonizing fear of them, and had to be hypnotized to help overcome this,” explains Newcome, 21.

“This was very inspiring and fascinating for me.”

However, while her designs may cheer some of us up, it may not be the right treatment for coulorphobics.

“The feedback as been quite positive, people usually say it makes then laugh or smile – but it also scares the life out of them,” admits Leoni.

“I love any kind of reaction.”

Fellow graduate Katharine Goetzee also used fun and quirky ways of addressing androgyny in her collection.

Gender Play brings together pinstripe shirts, big bows and glasses.

“Ultimately, male fashion tends to be simple and unadventurous as it adheres to the logic that men’s dress, especially the suit, represents their economic and political power,” Goetzee, 21, says.

“Women’s fashion tends to be more glamorous and adventurous in comparison, as historically they have not directly held any social or political status.

“However, as the economic workforce has changed and women have developed social and political power, there has been a rise in androgynous dress for women.”

The male desire to remain like Peter Pan, perpetually mischievous and youthful, was the inspiration for Elly Arif’s collection.

“To die will be an awfully big adventure,” the 22-year-old quotes from JM Barrie’s story of eternal boyhood.

“It’s (my range) ultimately about immortality and escapism, the everyday man trapped in normality and routine escaping to ‘Never Land’, the childhood dream.”

“I think this idea of staying young has become quite dominant in society, predominantly the focus is on our changing appearance however, and trying to stay looking young and youthful.”

It’s something the upcoming designer worries about himself, particularly in the rag trade.

“I do worry about getting old sometimes,” Arif confesses.

“I think now that I have finished university and will no longer be in education the realisation of getting a job in the real world is quite scary.

“But at the same time I am quite excited for this next step in my life.”

AGENT2 was able to visit GFW thanks to Liverpool One.

Words Amy Fallon

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SOME PEOPLE CALL FASHION THEIR RELIGION. WHAT HAPPENS WHEN FASHION AND RELIGION MIX? RELIGIOUS REFERENCES IN FASHION COLLECTIONS HAVE BROUGHT ENDLESS CONTROVERSY, FROM JOHN GALLIANO USING JESUS CHRIST AS A DIRECT INSPIRATION FOR HIS SPRING/SUMMER 2001 COLLECTION TO RICCARDO TISCI’S HEAVILY RELIGIOUS AUTUMN/WINTER 2010 LINEUP. HAS THE LINE BETWEEN WHAT IS ACCEPTABLE AND WHAT ISN’T ALREADY BEEN CROSSED, OR ARE WE SEEING A NEW LEVEL OF BLASPHEMY IN FASHION?

Since his appointment as Givenchy creative director in 2005, religion has been the driving force behind some of Riccardo Tisci’s best work. However, Tisci never delivered religion more blatantly than in his autumn/winter 2010 collection. “Religion is a big part of my DNA and this collection was about my Catholicism and every other religion in a way,” Tisci said about the collection. He believes the clothes of devout men such as the frocks of priests, robes of monks and suits of rabbis, represent “the most chic way, the most pure way of dressing.”

One of my favourite pieces from the collection, that brought everything together, was the golden crown-of-thorns necklaces referencing the Christ’s final moments. Ann Demeulemeester showed similar designs with her black leather thorn necklace and bracelet.

Jewelry is an easy way for designers to infuse religious symbolism into a collection. Antichrist jewelry has become a 2010 staple with necklaces, earrings and rings all sporting the apparent blasphemous symbol. Forever 21’s inverted cross connector ring, which has been seen sported by celebrities such as Kristen Stewart and fashion blogger Rumi Neely at Fashiontoast, originally cost $5 and is now fetching prices of $70 for desperate eBayers.

Even though religious references have now reached the high-street, Tisci isn’t leaving his religious influences behind: his spring/summer 2011 menswear show had a 19^th century Victorian slant. “In a sense it’s my usual obsessions, religion and sexuality, but with a big Victorian moment, which I found pretty religious too,” Tisci said backstage post-show.

Many designers take their influences from Christian or Catholic roots. Domenico Dolce and Stefano Gabbana, for instance, have been using Catholic references for years.

Jean-Paul Gaultier has used Jewish life as a source of inspiration. The Orthodox Jewish community was far from pleased when Gaultier dressed models, including Naomi Campbell, as Hasidic Yeshiva students for his autumn/winter 1993 collection. However, many Jewish buyers, journalists and customers embraced the collection and its tribute to traditional Jewish aesthetics. “As a Jewish-American princess, I wasn’t offended at all. I just cut through all that Judaic stuff and looked at the clothes. Underneath that was a very commercial collection” explained Ellin Salzman, fashion director of high-end US department store Bergdorf Goodman to the New York Times.

Givenchy Spring/Summer 2011

A year later, Karl Lagerfeld embroidered phrases from the Koran in grey pearls on a black bustier worn by Claudia Schiffer for a Chanel 1994 collection. At the time, the Kaiser denied that the sentence “they are the ones who found guidance” had been lifted from the Koran, arguing he found it in an Indian poem. After complaints from Indonesian Muslim groups, Lagerfeld apologised to the Muslim community. All the controversial dresses along with all catwalk photos and even the photo negatives were destroyed.

The incestuous relationship between fashion and religion isn’t limited to the catwalks. The fashion in Lady Gaga’s latest video for Alejandro has caused quite a stir because of the blasphemous nature of its imagery. Steven Klein, a well-established fashion photographer who has worked with the like of  Calvin Klein, Alexander McQueen and Madonna, directed the video. Gaga is shown wearing a red latex nun outfit with inverted crosses. The cross is a symbol of the Christian faith as it represents Jesus Christ’s sacrifice and resurrection. In Christianity, the inverted cross is known as the ‘Cross of St. Peter’, in honor of Simon Peter who requested to be crucified upside down because he felt unworthy to be put to death in the same matter as Christ.

Many interpretations have been made of Gaga’s latest video, from suggestions it is highlighting gay repression in the Catholic community to some calling it a tribute to Madonna. Madonna recently bared all in a photoshoot for Interview magazine which used religion to create controversy.

Words Russell Arkinstall

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Just when AGENT2 thinks we have really rinsed out the phrase “I want”, along comes this showreel from our favorite accessory designers over at COTEetCIEL.

The showreel showcases their latest lust-worthy products included their newest additions for Apple’s ipad.

coteetciel.com

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LONDON COLLEGE OF FASHION PHOTOGRAPHY STUDENTS ARE EXPLORING THE POSSIBILITIES OF FASHION IMAGERY WITH THEIR 2010 CAPSULE #2 GRADUATE SHOW, CURRENTLY ON PUBLIC DISPLAY AT THE RICHARD YOUNG GALLERY.

Edward Barber, course director of London College of Fashion’s BA Hons Fashion Photography wrote in the preface to Capsule #2 that the exhibition “is a collaboration between London College of Fashion and the Richard Young Gallery that aims to promote the talents of these emerging photographers”.

The 51 graduates from the course are showing their work at the Gallery all summer. Shiva Hajiebrahimaraghi’s work ‘Shedding the Skin’, which won the award for the graduate who displays the most creative potential, was placed at the entrance of the exhibition.  Hajiebrahimaraghi’s final project was shot in Iran in Tehran, Taleghan and the village of Abyaneh, questioning whether “fashion is about conformity or about self-expression”, whether there is “any point in being
fashionable if fashion does not reflect core aesthetic and cultural values”. More poignantly, “what can fashion signify, and what can it not?” According to her biography, “The style of women’s dress was a crucial element in Shiva’s final project. The imposition of a dress code on women in Tehran has meant that many of the trends in fashion over the last 40 years cannot be used. Instead, many fashions seem to reflect styles worn by western women in the 1950s, such as the headscarf.”

Images ranged from black and white to colour to Matjaz Tancic’s 3D project, shot in 7 different locations in Slovenia and the UK. “Everything is going 3D now. Cinema, TV, laptops, photo cameras. Football championship is filmed in 3D, as is Burberry fashion shows” said Tancic, who is currently preparing for the biggest 3D fashion exhibition in the world.

“I was always looking for different interesting locations, techniques that have challenged myself and my creativity. I have already done a coupe of underwater shoots, a shoot in a working coalmine 500m below ground, painting with light and now 3D photography,” he added. “I started doing research, testing, research, testing until I got the 3D result I was happy with.”

Overall, the class of 2010 showcased a range of images that reinforces the relationship between fashion and photography, reminding us that the concept of the image is very much at the core of the artistic and commercial sides of fashion.

Capsule #2 will be on show at Richard Young Gallery until 13th August.

Words Phyllis Lui

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No matter what your favourite colour (and AGENT2′s is usually black), there’s almost certain to be a Slide Pixel Mirror in that particular shade.

Produced by Studio Tonino for Slide, the frame of this 80 x 80cm mirror is made of polyethylene, produced to replicate pixels so beloved of old arcade games.

If you just have to have one of these then you can find them at madeindesign.co.uk for the very reasonable tag of £297.00.

AFTER THE TRIUMPH OF THEIR FIRST SET OF FRAGRANCES, SERIES ONE, SIX SCENTS GOT THEIR NOSES STUCK IN TO CREATING NEW WAYS OF TANTALISING THE SENSES.

AGENT2 Magazine’s Jennifer Butler speaks to Kaya Sorhaindo about uncovering the lost art of engaging with perfumes, and how creativity with a conscience has inspired the support of designers.

Kaya has a very strong sense of what story she is telling with the perfumes he creates. His recent exhibition at the Markt Scope Art Show in New York was more than just a viewing for a latest line of fragrances. Visitors were encouraged to interact with the garments and fragrances, even with some people requesting to try on pieces right off the mannequin, politely being refused by curator and supporter of Six Scents Diane Pernet.

The experience is elevated by the designers that apply their talents to these works of art. The project involves bringing artists together from two completely different disciplines. Kaya explains what inspired this concept, “Scent has always been an area of fascination for me. I first thought about the project purely as a multi-sensory exhibition experience; however after discussing with my team we decided to build the experience into a product. Bringing designers and perfumers together is not new, however the type of designers that we commission are quite interesting. Although these designers are somewhat internationally recognised, they would never do a mass market fragrance for a number of reasons. Therefore we wanted to give them an opportunity to apply the ideas that define their collection to a totally different artistic discipline and in doing so they are not only providing a glimpse into of who they are as individuals, but also providing an opportunity for a larger audience to connect with their clothing on a more personal level.”

One of the artists commissioned for Series Two is Japanese artist Azuma Makoto. He has created a series of botanical sculptures for the collection along with a number of video pieces. Every designer was asked to imagine a place and an experience. With the packaging and films the whole experience is slowed down, you interact and contribute to the unfolding of the fragrance story.

Kaya defines the collection as a way to appreciate our surroundings, “The idea was to allow people to share in this experience or fantasy and to help preserve these experiences. Without nature there is no art, for many years artist have been inspired by nature and through the collection we tried to encourage people to appreciate and preserve the thing that inspires us most”.

Kaya has incorporated his love of nature and sustainability by supporting charities through her work. This time around she choose Pro- Natura. Kaya has an unlimited amount of positive things to say about this worthwhile charity. They are one of the most effective green charities basically because they are giving poor people alternative solutions to make money, as opposed to chopping down their forests or overfishing for example. It is amazing, because it is an organization working from the bottom up. It’s not only helping to create environmental solutions, but also symbiotically creating economic and social solutions as well.”

There is such a wide spectrum of people who buy these fragrances. Production was limited to 2,000 bottles per perfume, making them somewhat inclusive, but not producing too much as it would not seem as special. If you buy these fragrances you are genuinely looking for more out of a product, an experience.

Kaya has big plans for the future and high expectations of the fragrances. “The beauty of Six Scents is that it has a little bit for everyone, several touch points and things that you can connect with. This allows us to present the collection in a diverse range of shops from museums and fashion boutiques, to interior design shops, hotels and apothecaries. We are very much committed to the multi-sensory experience, so we will continue to explore new ways for people to appreciate, interpret and engage with fragrance.”

Words Jennifer Butler  Images Six Scents

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ETHICAL FASHION ENTREPRENEUR NICOLA WOODS GAVE UP A SUCCESSFUL CAREER IN INSURANCE TO FOLLOW HER DREAM OF BECOMING A DESIGNER. HER BEAUTIFUL SOUL BRAND, SHOWN AT LONDON FASHION WEEK’S ESTETHICA, HAS BEEN WORN BY LILY COLE AND GABBY YOUNG.

Nicola Woods has just moved her ethical womenswear label, Beautiful Soul, to a studio off Portobello Road. Her shelves are filled with copies of Vogues, « great for inspiration », and the backbone of her company: original Japanese kimonos.

Woods’ interest in kimonos came during the trip to Japan that kick-started her fashion career. For 11 years, she worked as an insurance broker. One morning, whilst sitting under a cherry blossom tree in Tokyo, she realised she needed to pursue her dream of becoming a fashion designer.

Woods enrolled at the London College of Fashion, class of 2008. A pattern-cutting student, she struggled with drawing, instead directly draping her clothes on dummies. During her last year of college, while researching Vivienne Westwood, she discovered that the Dame created most of her collections directly on small-scale dummies. Woods’ graduate collection, Smallprint, was entirely done on such dummies before being produced for the catwalk. It paid tribute to Japan with coats and dresses with highly detailed, exaggerated collars and silhouettes.

In the following seasons, Woods refined the concept. She now takes the kimonos apart to give them a new life. Working with kimonos can be limiting because of the width of each panel of fabric. Since each kimono is unique, each Beautiful Soul garment is a one-off piece. For lining, Woods uses vintage saris and peace silk. She also creates coats in British wool sourced from Izzy Lane.

Woods’ clothes will stand the test of time. For fastening, she favour ties made with kimono chutes, meaning that even if the customer puts on weight, she’ll still be able to wear her outfit in 20 years time. Multi functionality plays a key role and pieces can be worn in a multitude of ways.

For summer 2010, Woods was inspired by Puccini’s Madam Butterfly. The Miss Butterfly collection includes jackets which can be turned into skirts and light, short coats in vibrant colours. The winter 2010 collection, No. 3 is a tribute to Japanese fashion legend Yohji Yamamoto. Heavy coats and dresses will be available in a palette of red, black and white.

Thanks to her new studio, Woods has just launched a bespoke service, Beautiful Soul Bespoke. Customers can visit by appointment and be involved in every step of the garment making, including choosing the vintage kimono personally.

Beautiful Soul’s e-store, Ascension, Junky Styling and the Victoria & Albert museum currently stock the brand. Beautiful Soul has proved popular with V&A visitors, who like seeing historical kimonos in the Asia galleries before buying Woods’ garments in the gift shop. She is looking into new stockists, mostly high-end boutiques and department stores.

For her summer 11 collection, Woods plans to launch a menswear range made of navy blazers. Womenswear will include shades of purple, a recurrent colour in Beautiful Soul clothing, and some vibrant orange.

beautiful-soul.co.uk

Words Lucie Goulet

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We are very partial here at AGENT2 to things that seemingly have no other purpose than to look beautiful.

This is one of those things.  The intricately crafted ‘Merry Go Round’ clock from the guy’s over at Haoshi Design Studio is a great addition to your ‘why did I buy that – oh, ‘cos it’s beautiful’ collection.

haoshi.com.tw

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AGENT2 is doing a spot of decorating this summer and to finish off our newest look we are getting our hands on one of these beautiful, hand-made sofas from Bolton company, Abode Sofas.

These beautiful, wood framed sofas will stand the test of time and the price will stand the test on your pocket.

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AFTER BLOGGING NEARLY EVERYDAY FOR MONTHS ABOUT WHAT REALLY INSPIRED HER, EMERGING MENSWEAR DESIGNER COURTNEY MC DISCOVERED SHE HAD BEEN TRYING TO SAY THE SIMPLE ANSWER FOR YEARS.

“I ultimately wanted to be respected by the men in my life – my friends, my boyfriend, my family,” says the 24-year-old Royal College of Art MA Graduate.

“I never wanted to be one of those pretty girls who had to get their legs out for some attention.”

“I wanted to be admired and respected for my talent, my individuality and my strength, especially because I do like to be one of the boys.”

The result of translating her fascination with lads on the street into fashion terms? Mc’s latest range,’Yard Days Aren’t Over (long live buttoned shirts and whiskey)’, which the designer has dubbed her ‘chav collection’.

Of course it’s not only for ‘young tracksuit-wearing boys’. Mc (pronounced Mac), has also included bold and classy prints, which she hopes will seduce older men.

Her standout items are a printed silk and cashmere tailored hoody and a boned wool jacket. Other strong pieces are a polo shirt and track top, with two versions of a staffordshire bull terrier print, “a gesture to all the boys walking the streets, making a statement, with their staffs”.

“I can look at my collection and see my whole life story word-for-word in front of me,” describes Mc, who also tried to include feminine touches.

“Although others won’t be able to, they will be able to see a conflict between love and frustration in the pieces, which is a great juxtaposition.”

The designer admits that in real life she prefers to don carrot-leg trousers and t-shirts over dresses and skirts. Fashion influences are Japan’s Yohji Yamamoto and Adidas, but Mc also admires Jean-Paul Gaultier for his womenswear circa 1990. And if she had to pick one favourite wardrobe item it would be…?

“Nothing makes me feel more attractive than a plain jersey t-shirt… Silly isn’t it?!”, Mc laughs.

This doesn’t mean that she’s ruled out one day releasing a ladies collection. It’s just that there’s “a lot more space for creativity in menswear than women’s wear”.

“And that doesn’t mean sticking a man in a skirt and calling it a new trend,” Mc insists.

“Suits and jeans and shirts can be far more interesting than ten metres of chiffon and 20 kilos of crystals draped around a model.

“Menswear has the advantage of gorgeous tailoring, artistic simplicity, masculine sexuality, boyish rebellion and undeniable attitude.”

Having modeled from the age of eight for Pierre Cardin and Miss Selfridge, the designer, who originally planned to be a dentist (safer option), is used to the crazy world of fashion. After school came a Diploma in Fashion and Media from the Oxford Business School and a BA Hons (First Class) Fashion degree from UCA Epsom, then the Royal College of Art.

Last year was a big year for the new talent. Besides creating a travel suit which was produced and showcased at an exclusive Milan exhibition and featured in Time Magazine, Mc was lauded by Italian Vogue in their 2009 ‘top 140 emerging designers’. She has an online store, courtneymc.myshopify.com, but desperately wants to get her pieces onto shelves, too. We predict it’s only a matter of time.

courtneymc.com

Words Amy Fallon

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MORE AND MORE MEN ARE TURNING AWAY FROM OFF-THE-PEG SUITS AND RETURNING TO SAVILE ROW TO BE SUITED AND BOOTED. WHAT EXPLAINS THIS MOVE TOWARDS TRADITIONAL BRITISH BESPOKE TAILORING?

The construction of Savile Row, in London’s W1, began in the early 1730s, as the third Earl of Burlington commenced a building programme in the capital. He named the now infamous street after his wife, Lady Dorothy Savile. The street became associated with bespoke gentleman’s tailoring around 1803, as tailors began to move into the Row. The surrounding area, incorporating Conduit Street and Cork Street, became the heartland of British tailoring and the couturier industry.

The reputation of Savile Row soon became so renowned that royalty, politicians and distinguished gentleman from across the world – from French Emperor Napoleon III to Winston Churchill – descended on London to have everything from their morning suits to militarily uniforms made-to-measure. Thanks to those “celebrity endorsements” the small street became known as “the golden mine of tailoring”. Sadly, none of the street’s original tailors have survived. As Michael Bywater aptly describes in his Intelligent Life feature ‘Savile Rogues’, “tailors merge, vanish and amalgamate almost as frequently as the Row reinvents its own traditions”. However, Savile Row is still the embodiment of quality, which is still central to the ethos of this ever-evolving industry and street.

This is perhaps the main reason why people are turning back to Savile Row nowadays. Increasing numbers of gentlemen are drawn to this street as they want the best that world tailoring has to offer. Both young and old are returning to the client books of tailors such as Gieves and Hawkes and Hardy Amies as “they have a feeling they’ve found something nobody knows about”, in the words of the new tailor John Pearse “bespoke is going to come around again, big time.” This juxtaposition of innovation and optimism for the future, with the respect for the traditions and heritage of the street’s reputation is projected through the newly founded Savile Row Bespoke Association which was founded in 2004 to protect “the artistry and craftsmanship” and to promote the “Bespoke tailoring [as] the Haute Couture of men’s style”.

William Hunt's Lavish Interior

Evolution is at the heart of Savile Row’s mentality. After all, fashions change and the tailors have to change too, in order to remain in business. The ‘Nutters of Savile Row’ modernised the archaic approach to tailoring in the late 1960s. This process of modernisation hasn’t stopped since. Well into the 1990s, as the Row was coming under fierce criticism and competition from the Italian fashion houses that began to sell off-the-peg suits, apprentices were still being trained in the traditional methods. Fashion greats such as Alexander McQueen and Stella McCartney started their careers learning pattern cutting in the ateliers of Savile Row.

Of course, this tailoring doesn’t come cheap. In a consumer industry that is currently dominated by cheap, disposable fashion, the average price for a standard two-piece suit is £ 3,000. But you are not just paying for the name, but also the quality. You are paying for something that is far from disposable and will last decades if well cared for. If you can afford it, a Savile Row suit will certainly be a wise investment, which with time and retrospect you won’t regret.

Words Tommy D Bridge

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THE CATWALK HAS SEEN A VARIETY OF STYLES AND MATERIALS OVER TIME. ONE OF THE MOST BEAUTIFUL ONES, SUPPORTED BY SOME DESIGNERS AND ARTISTS IN THE FASHION WORLD, IS PAPER. UNFORTUNATELY, IT IS NOT THE MOST PRACTICAL OF MATERIALS FOR OFF-CATWALK WEAR. NEVERTHELESS, DESIGNERS ARE EMBRACING PAPER ACCESSORIES AND GARMENTS. INNOVATIVE AND STRIKING, PAPER-FASHION IS INSPIRED BY THE MODERN-DAY DESIRE FOR AN ECOLOGICAL AND ORGANIC LIFESTYLE. THE PAPER-CUT-PROJECT IS A KEY EXAMPLE OF WHAT CAN BE CRAFTED FROM THE HUMBLE MATERIAL. AGENT2’S LAURA MCNALLY CAUGHT UP WITH CO-FOUNDER AMY FLURRY TO UNDERSTAND HOW INTRICATE PAPER-FASHION IS MADE.

The Paper-Cut-Project is the brainchild of Nikki Salk, who holds a keen interest in interior design and fashion, and Amy Flurry, a writer and a stylist. According to the creative couple, their works of art “are fuelled by a love of passion and an appreciation of the grace and nuance of this humble material”. Acknowledged by Marie Claire and Glamour magazine, their impressive paper masks and wigs are beginning to gain worldwide recognition. The pieces can be seen on display in Jeffrey stores in Atlanta (their hometown) and New York.

What inspired the Paper-Cut-Project?

We introduced these delicate paper cuts as an antidote to mass production, a sort of allegiance to hands-on design at the intersection of art and fashion.
Nikki has long nurtured affection for paper through her own art and I am a veteran fashion editor and stylist. We initially dreamed up these three-dimensional sculptures as styling concepts for fashion shoots, window displays and runway productions.

What have the highlights of the project been so far?

One has been a sharing of ideas and inspirations that then evolve over time to become uniquely Paper-Cut Project. We have both worked independently for some time and still do.

How long does it usually take to create one piece?

It can take anywhere from one day to one week, depending on the creation.

What’s usually involved in the designing and production of your work?

The first thing that happens is the gathering of images. Some are purely for inspiration and others are for true details, so as to be able to capture authenticity in as many aspects of each piece as is possible. From there, sketches – sometimes – and then digging in and feeling each moment. Most of it happens as the building process plays out. Adding, cutting, adding, gluing. Eventually a finished piece emerges and a few moments of completion shock ensue!

How important do you consider the exploration of different materials in fashion and art?

Part of fashion is exploration, whether it be in fabric, color, design, or whatever. Any exploration in fashion is what makes it “fashion” and current and fresh and new and exciting. If no one had explored, wouldn’t we still be wearing boned corsets. Thank god for material exploration!

Would you consider following in the footsteps of Violise Lunn and Jum Nakao and begin working on paper garments?

Being that fashion is part of our existence, if an opportunity arose to create a full garment from paper, I am not sure that we could resist.

Who are your favourite “artists” in the fashion world right now?

Camille Miceli, Prabal Gurung, Olivier Theyskens, Solange Azagury-Partridge and Nicolas Ghesquiere

What can we expect to see from you in the future?

Generally new concepts take shape while we’re working on current pieces. Stay tuned!

Words Laura McNally

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SITUATED ON MANCHESTER’S PRESTIGIOUS KING STREET, ROSSO HAS RECEIVED A SOMEWHAT LUKEWARM RECEPTION TO THE CITY’S EVER GROWING PORTFOLIO OF ITALIAN RESTAURANTS. THIS IS NOT TO SAY THERE HASN’T BEEN A GREAT DEAL OF INTEREST SURROUNDING IT; WITH THE CO-OWNER BEING MANCHESTER UNITED STAR RIO FERDINAND AND THE COUNTLESS STORIES CIRCULATING OF CELEBRITY SIGHTINGS. WOULD THE POSSIBILITY OF DINING IN THE SAME ROOM AS BILLY ZANE (AS SEEN ON THEIR WEBSITE) BE ENOUGH TO RATE ROSSO AMONGST MANCHESTER’S MANY CREDIBLE EATERIES? HAD THEIR SEVEN MONTHS OF OPENING ALLOWED FOR ANY TEETHING PROBLEMS TO BE SMOOTHED OUT? AGENT2 WENT TO SEE FOR ITSELF.

On entry, my guest and I passed through a beautiful, grand marble archway and were warmly greeted by the maitre d’ (Italian of course). En-route to our table we bypassed an impressive looking bar arrangement, which offered a wide range of fashionable Bellinis and cocktails. Had we arrived a little earlier we would certainly have indulged, but we had a seven thirty booking to stick to and more importantly we had to answer the grumbling cries from our empty stomachs. First impressions; a lot of thought had obviously been put into the decor. Themes of black, white and red running throughout. It certainly had the glamour factor yet was subtle enough to maintain the charm and elegance that this grade II listed building positively oozes. Modern, classic furnishings that pay an element of respect to over a century of history seen within these walls. My only concern was the distance between our table for two and our neighbour’s. However, this concern was only momentary as there proved to be plenty of room once we were seated.

This evening we were in the mood for red wine. With no forethought to our choice of food we went straight in. Forget the rules – tonight, red wine would suit any dish we choose. An impressive wine list on offer we were spoilt for choice. A bottle of house wine will cost you a reasonable £15.95 but if you’re feeling frivolous you could opt for a vintage 2006 Solaia Antinori Cabernet Sauvignon at a mere £265. We were recommended the Valpolicella ‘Ripassa’ (£27.95). Rich, velvety and intense fruity flavours; it hit the spot to say the least.

My guest and I were pleasantly surprised by the ambience. A steady stream of customers flowed through the doors creating a definite buzz about the place. An interesting mix of clientele readied themselves for experiencing, “an authentic example of Italian regional culinary tastes”. Time to put their mission statement to the test.

So to the food.

As you might expect from an up market establishment such as this, the menu is by no means simple. An extensive array of pizzas, pastas, meat and fish dishes was to be trawled through. A passing waiter gave us a glimpse of a delicious looking pizza, which was destined for another table. Not even reaching the £10 mark for the top end Pizza Marinara, this is surely a bargain for a quality, generously topped pizza. However, we were to venture deeper into the menu. Starters ranging from the Bruscetta con Melanzane (£3.95) to the Gamberoni al’Aglio (king prawns – £8.50) again, very reasonably priced. I chose the Terrina alla Rosso (chicken liver parfait to you and I – £6.75) and my guest decided on the prawn cocktail. A short time passed allowing us to sip on the wine until our starters arrived.

We were both taken back a little as to how busy and perhaps overcrowded our plates looked. Nevertheless we continued and the food was undoubtedly delicious. My parfait was smooth and creamy, served with Tuscan toast, red onion marmalade and a salad garnish. I got the feeling the salad was there merely to brighten up the dish. However, the heavy dressing seemed a little unnecessary as it overwhelmed the powerful combination of sweet and savoury from the parfait and red onion. The prawn cocktail again seemed a little over-complicated. Served in half a melon with star fruit and strawberry garnish the presentation seemed a little dated, perhaps better received in the 70′s or in a beachside restaurant in the Caribbean. The flavours however, were well and truly present.

Mains start at £8.25 for a traditional Tagliatelle Bolognese through to the 8oz fillet steak at £21.95. A specials menu was also available which was almost as large as the main menu. Being a fan of Halibut I was drawn to the Halibut All’agguato (£17.95) from the specials. Sat on a bed of wilted spinach and drizzled with langoustine bisque, this was the highlight of the meal. Beautifully meaty and moist and served with a side of sautéed potatoes as recommended by our waiter. The modest flavour from the bisque brought the whole dish together. My guest chose the spaghetti with lobster, in a creamy tomato and basil sauce. Confusingly, a whole lobster was positioned on top of the spaghetti. Bemused, she concluded that she would have to work a little harder than expected to retrieve the lobster meat. On closer inspection she found the shell to be empty, a sigh of relief followed. Maybe this was the chef’s way of proving that there was actually lobster in the spaghetti. We believe you. Plenty of sweet, tender chunks in a surprisingly spicy sauce with perfectly al dente pasta. A great dish.

The service was excellent throughout our visit. Friendly, informative and very attentive. These were true professional waiters. We rounded off our meal with a cheeseboard to share (£5.75). A selection of Italian cheeses with crackers, chutney and grapes. Perfect to swill down with the remainder of our wine. Other sweet options are available such as a Blueberry Crème Brulee (£4.50) and the Italian classic Tiramisu (£4.50).

Rosso appears to have taken heed to the criticism since its opening in October last year. Although I am not totally convinced this is traditional Italian cooking in its truest form, I am convinced that Rosso serves up quality food at reasonable prices. You can expect a great dining experience in beautiful surroundings and it is fair to say that they will be giving competing restaurants a run for their money.

rossorestaurants.com

43 Spring Gardens, Manchester

Words Dan Howell

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