AGENT2 FEATURED THE FANTASTIC DEBUT COLLECTION AND INTERVIEW FROM RAUN LAROSE LAST SEASON AND WE BRING YOU HIS LATEST COLLECTION FOR S/S 2012

This Brooklyn based, young and upcoming designer is destined to be a big name and has been on the AGENT2 ‘One to Watch’ radar for quite some time now. His latest collection sees an exciting progression since we last saw him and Raun states:

“For this collection I was inspired by my childhood.  I retraced the steps of my youth in search of things that were the most memorable.  Backpacks, comic books, and thoughtful pairing in sport attire.  As a menswear designer I strive to expand the concept of contemporary mens fashion through innovation. To challenge myself and explore new techniques, giving fruition to one of my key looks.”

To add to the buzz around Larose, Vogue Italia recently named as ‘fashion’s future’ in their menswear category.

Words Graham Gartside Bernier

Hollyoaks tends to deal with issues like that in quite a sensitive way. What is it like to be part of a programme like that?

Laurie: It’s really fantastic. You get a sense that you’re helping out because the show does deal with a lot of issues. Sometimes the storylines have to be a bit out there and it’s nice because they set up help lines and support for people going through that kind of thing.

Tosin: Hollyoaks does have a big influence on other kids, they look up to the characters. To be something kids can look up to is really nice.

Lucy: They approach it and they word it in a very sensitive way which is obviously very important. Things like my character being a lesbian and I had that relationship with Esther that was a summer romance. The way they wrote it was really nicely done, it wasn’t too over the top and it really showed a genuine romance that was at its first stage where you’re getting butterflies and you’re really excited when you see each other. It was really nice and really exciting to do that because I have never played a role like this before.

Is that romance going to continue?

Lucy: Oh, no, Esther wants it to but Tilly’s a realist, she thinks things through almost, I think, too sensibly but she always was like it’s not going to happen I need to get my head down and focus and it was what it was. I think Tilly could be a bit of a player. You can tell from her take on relationships that she’s had quite a few and they’ve never been mega serious, they just are what they are. That’s what I like about her.

Is this the sort of thing that you’ve always aspired to do?

Laurie: Acting in general. Just getting out there and working.There are actors out there who aren’t in this position who can’t say that they’re working on a show but it’s a fantastic opportunity.

Steven: We’re very lucky. It’s a great platform I think.

Tosin: I never wanted to be an actor I wanted to be a businessman. Don’t let this fool you I wanted to work in investment banking. I was going to go to university this year but I thought I’m getting work let me see how this goes then I got this and I thought I’m going to stick at it.

Was it intimidating to come into such a popular programme?

Steven: Everyone’s so lovely but it’s a big undertaking in a way. It’s a bit surreal. You walk in and you see Hollyoaks College and then you find yourself walking through the McQueens living room.

Laurie: It’s weird but everyone here is so unbelievably nice. It’s cool, you don’t feel any pressure really.

Tosin: The first day everyone asked which character I was playing, and had a chat. They all made us feel really welcome.

Lucy: It’s really nice because although everyone is really friendly and really welcoming at least we’re all in the same boat and it’s nerve wracking and you’re a bit anxious but it’s really nice we’re working together all the time. We’ve had lots of time to gel and our chemistry is getting really good. All the guys are living together and Scarlett and I are as well so it’s going to improve even more. I feel really lucky that we’ve come in as a group.

Have there been any big arguments?

Tosin: Yeah I had an argument with Dylan about moving the milk, no I’m joking.

Laurie: We had a slight argument because he’s a Manchester United fan.

Tosin: It’s only a bit of football banter.

Laurie: I’m an Arsenal fan so there’s a bit of rivalry and the other guy we’re moving in with is a Liverpool fan.

Steven: I’m any fan just keep me quiet. I just switch to whoever’s the loudest and scariest at the time.

What sort of projects have you worked on before?

Scarlett: Tosin and I did a show called The Switch which was great fun. I used to describe it as a Skins meets Hollyoaks for a younger generation. It was great we filmed all around London as well which was great because we both lived there.

Lucy: I was in Waterloo Road previously to this so I’m trying to get out of my Manchester accent, trying to neutralise it a bit. I’m the black sheep out of them all. I’m the northerner.

Do you have any say in what your characters wear?

Dylan: Yeah a bit, if you’re comfortable in it then yeah but if you’re not and they think its right for the character then they change it until it fits.

Scarlett: I think Maddie and myself are one and the same I have both these items in my wardrobe and they’re mine too. Our stylist is really great because he said if you don’t like it there’s no point buying it because if you’re not comfortable then you don’t feel comfortable on set. He was great he took us to all the great shops like American Apparel, Topshop, Office and Kurt Geiger, it was great.

Lucy: My characters really quirky and really funky and really edgy so he came up with things, we’d start off in Topshop because it has so  many different styles all under the same roof so it’s easy to start off there and kind of stamp a trend on what your character’s going to be and then go further afield and go to different stores. He’d pick up things and say try that on that were really clashy prints that I personally would never be brave enough to wear but actually you see how it really works.

Check out the new crew from this week on Channel 4 at 6.30pm.  AGENT2 brings you part 1 of this interview here.

www.e4.com/hollyoaks

Interview Elizabeth Horsfall  Video and stills Lucy Sharratt

AGENT2 IS NOT TOO EMBARRASSED TO LET OUR READERS KNOW THAT SOMETIMES WE GET A LITTLE TWINGE OF JEALOUSY WHEN WE SEE WHAT OTHER PUBLICATIONS ARE DOING.  WHEN THESE IMAGES FROM THE LATEST ISSUE OF VARÓN CAME ACROSS OUR DESK, IT WAS MOST DEFINITELY ONE OF THOSE TIMES WE WERE LEFT GREEN WITH ENVY. 

For the 4th issue of Varón – on stands worldwide September 8th – Nicola Formichetti styles himself and his menswear team at Mugler in the Mugler autumn/winter 2011 collection. Shot by Kacper Kasprzyk, the story features menswear designer Romain Kremer, communications director Alban Adam, and Formichetti’s assistant Matthieu Bredon-Huger.

The feature marks the first magazine portrayal of the Mugler team since Nicola Formichetti was appointed creative director at the house last year. It is accompanied by an in-depth interview with Formichetti and his team by Anders Christian Madsen.  Likewise, the cover of the issue features Nicola Formichetti by Kacper Kasprzyk.

AGENT2 brings you a small extract of that interview:

Nicola Formichetti in response to copycat accusations in regards to his work with Lady Gaga:

“In short, no, we don’t have other people’s looks on the wall and we don’t try to copy anyone. That would be a stupid thing to do, no? Do people really think Gaga would go and look at a music video and say, ‘That’s a cool video, let’s redo that’? People only think that because that’s the only reference they have.”

Nicola Formichetti on public criticism:

“I get really sad when people judge me and think I’m snobby because of stuff they read on the internet, like stuff about old people or fat people that’s taken completely out of context. It gets blown out of proportion. It’s sad but I have to keep moving, and keep believing in what I’m doing.”

Nicola Formichetti on Thierry Mugler:

“For me he’s like God, you know? So I don’t really wanna… I don’t really want to know what he thinks. Of course I’d like for him to love it, but I don’t really want to… For me he’s someone so high, but I’m not here to please him. If he doesn’t like it, it would make me sad but he’s not why I decided to take the job. The reason I changed the name to Mugler instead of Thierry Mugler was to make it less personal and more of a brand as opposed to a French couturier. I want it to become a global brand.”

Nicola Formichetti on Romain Kremer:

“He’s like an extension of my hand. Our tastes are so similar. I’m not very good at making things so he does it for me.”

Nicola Formichetti on Alban Adam:

“He’s my brain. Everything I think about the brand, he articulates into reality. And he’s not a boring PR person, which is nice.”

Nicola Formichetti on Matthieu Bredon-Huger:

“He’s my little brother. The stylish little French brother I never had.”

www.varonmag.com

Photographer Kacper Kasprzyk
Fashion Editor Nicola Formichetti
Interview Anders Christian Madsen
All clothes Mugler autumn/winter 2011

WORDS SPREAD LIKE WILDFIRE AMONGST THE FASHION CONSCIOUS TWITTER CROWD AND IT WAS THERE THAT RUMOURS OF A VERSACE/H & M COLLABORATION FIRST SURFACED. AND, AS THE WHISPERS OF RYAN GIGG’S INFIDELITY WERE EVENTUALLY CONFIRMED, SO TO WERE THESE RUMOURS AS H & M TODAY CONFIRMED THE IMPENDING PAIRING.

“I am thrilled to be collaborating with H&M and to have the opportunity of reaching their wide audience. The collection will be quintessential Versace, perfect for H&M and Versace fans everywhere,” says Donatella Versace.

The Versace for H&M collection will take inspiration from the Italian fashion house’s heritage and include the brand’s signatures of prints, colour, leather and other exclusive materials at H&M prices – well a little marked up from usual H&M prices.

The womenswear collection will be dominated by dresses that fit right in with the spirit of the season, featuring studded leather and colourful prints, with accessories including high heels and costume jewellery while the men’s collection will focus on sharp tailoring, including the perfect tuxedo, as well as belts and jewellery.

For the first time in a designer collaboration at H&M the collection will consist of some homeware pieces, including cushions and a bedspread.

“Versace is one of the most important brands of recent times, and their collection for H&M will be glamorous and flamboyant – everything Versace stands for. Donatella Versace is sharing with us iconic designs from the archives. This is such a celebratory collaboration and is perfect for the party season,” says Margareta van den Bosch, creative advisor at H&M.

We suspect that Donatella has been going through the Versace archives for a few weeks now, with Lady Gaga being wearing several vintage Versace pieces as she tours Europe.

The first Versace for H&M collection will be the Autumn 2011 collection set to drop on November 17, 2011, while a pre-spring collection will drop in countries with H&M online sales on January 19th, 2012.

We can’t wait to see what Donatella has in store for us – we love the black sandals on the model above – and if previous collaborations with the likes of Lanvin, Karl Lagerfeld and Jimmy Choo are anything to go by, there will be lines around the block for this one.

www.hm.com

Words Graham Gartside -Bernier

JEANS AND DENIM HAVE SUCH STYLE THAT THEY WILL NEVER GO OUT OF FASHION. THIS IS A CERTAINTY. WHETHER IT’S THE SUCCESSFUL SKINNY JEAN, OR THE SLOUCHY BOYFRIEND JEAN, IT IS MERELY THE SHAPE THAT COMES AND GOES.

A good tip is to keep hold of your favourite pairs, fold them at the back of your wardrobe, and wait for their turn to come again. And it is a fashion fact that they will.  While seasons come and go, all that is likely to differ when it comes to denim, is the tapering, or tailoring. Outfits and ensembles are dependent on classic jeans to give edge, shape, texture and an instant fashion update.

This season sees jeans get feminine and Fawcett. It is a look not long forgotten; the flared look was around only several season ago.  Bring on the 70s Boho-inspired denim flare, sported by Charlie’s Angel’s beauty, Farah Fawcett. High-waisted light and dark denim have been swaying down catwalks and are the choice item for shops and boutiques.

As spring looks go, it’s a very pretty one, and befits the floral, chiffon and neutral blouses that are also in fashions. In fact, denim this spring, in flare-form, perfectly complements the spring season’s fashion for loud and bright colours, particularly block colours. Pick and choose satin and silk blouses that drape and soak the skin in bold and brash hues like brick reds, salmon pinks and aquamarine blues. Gold, corals and regal purples are also big hits on the catwalk.

Tuck these blouses in, to high-waisted flares, to tone down any over impact, and break the two items up with a tan leather belt, another classic colour which tends to go with everything.  A belly-length gold chain and some tan heels will complete a very fashionable Fendi look.

For a more high street version of this glossy ensemble, look no further than the fashion pages of the New Look website. There, you’ll find all the treasures of the season, including flared jeans, which are flattering on all shapes and sizes of female. From skinny to bootcut flares, have a browse for a pair to wear this season.

FASHION DESIGNER LOUISE AMSTRUP PRESENTED A REBELLIOUS AND ‘POLITICALLY INCORRECT’ COLLECTION, DRAWING ON AMERICAN YOUTH REVOLUTION THROUGH THE LAST CENTURY, AT MERCER STUDIOS IN COVENT GARDEN, LONDON.

Amstrup’s collection ‘Born bad’ gets her inspiration from the great female rebels of the world, such as the character of Mallory Knox in Natural Born Killers and the iconic actress and real-life radical Juliette Lewis, the power muse for the collection.

Patent leather is the main fabric and is used as a religious symbol to highlight the rebellious and unconformist connotations of the collection. The colour palette is mainly black and grey mixed with brighter shades such as lime green, which creates a serious but, at the same time, playful effect.

The key pieces were a patent leather dress with wool, a dirty plum merino dress made of silk and patent leather, a Kopenhagen fur shaved mink coat and oversized and elongated blazers.

The result is a striking collection which draws on the power of the female silhouette for a strong, confident and revolutionary woman who wants to express her rebelliousness and denunciate the conformist ways of the political system.

Louise Amstrup worked for Alexander McQueen before launching her own label in 2008. She won the On/Off Visionary Award in 2010.

Words Verónica Carpio Martín

A NEVER ENDING QUEUE FROM THE ENTRANCE TO MERCER STREET STUDIOS-ON/OFF’S SHOW SPACE FOR AUTUMN/WINTER 2011-ONTO SHELTER STREET SAW THAT CHARLIE LE MINDU’S SHOW WAS BUZZ WORTHY FROM BEFORE IT BEGAN. OVERSUBSCRIBED LIKE A GAZILLION SHOWS THIS SEASON, MANY OF THOSE IN WAITING SADLY NEVER MADE IT INDOORS.

The lucky ones who did however, played witness to a frightful collection of Mister Le Mindu’s quite fantastic creations. The first look that strode onto the catwalk saw a naked model doused in fake blood, the word ‘violence’ atop her head. Huge Mohicans and gas masks with pony tails followed, alongside red and black graffiti covered capes, trousers and waistcoats. Transparent plastic and lace were both key fabrics, while white and cream were seen throughout the collection. Pearls played the part of adornment, trimming and hat fastening while footwear came in the form of white leather lace ups for the guys and shaggy fur boots for the girls. The final look of the fourteen was a creation made from lace and hair, with a blood dyed train falling from a lace eagle sitting on the model’s blonde wig.

Cleverly using virginal fabrics alongside bare breasts, forms of vandalism and crucifix‘s-made of tape and seen across the genital area-Le Mindu’s Autumn/Winter collection was a whole load of confliction, set to a soundtrack of squealing pigs. The ‘music’ together with an over spilling room simply added to the drama of the clothes, creating a feeling of claustrophobia and panic; quite the spectacle for all present.

Words Zoe Whitfield

FRENCH BORN BRYCE AIME HAS CREATED A HUGE BUZZ AROUND HIS WORK SINCE HIS DEBUT SHOW AT LONDON FASHION WEEK FOR S/S 2009 AND HIS WINTER 2011 COLLECTION WAS NO DIFFERENT, WITH AN EAGER QUEUE STRETCHING DOWN THE STREET OUTSIDE THE ON/OFF VENUE IN COVENT GARDEN BY THE TIME I ARRIVED.  ENTITLED ‘MILITARIUM’, THE CENTRAL ST MARTIN GRADUATE TOOK HIS INSPIRATION FOR THE COLLECTION FROM ‘THE MILITARISTIC FEATURES OF AN ARMY BARRACKS’. IN AN EXCITABLE, RAVE LIKE ATMOSPHERE COMPLETE WITH LED BACKDROP AND SWEEPING LASERS THE MODELS MARCHED ONTO STAGE LIKE MEMBERS OF A FUTURISTIC ARMY.

The military influence was obvious in the angular lines, rigid structures and geometric panelling, topped with highly stylised headgear in the form of Perspex helmets. Built up shoulders gave an exaggerated silhouette and the shades were an authoritarian mix of black, grey and white. Hair and make-up matched; coal black smudges over unnaturally pale skin, dark lips, dramatic eyes (including black contact lenses) and white blonde hair cut into asymmetric shapes.

The heavily structured tailoring of the collection was taken to the extreme with a 3D geometrically shaped flexiglass suit covering the whole of the model like some futuristic piece of armoury. These protruding shapes were mimicked in the accessories collection – a first for Aime – including panelled clutches and slim backpacks designed in collaboration with Bracher Emden. It’s not difficult to imagine Lady GaGa in these pieces (she’s apparently already a fan) – Aime’s work has already appeared in a Rhianna video.

It wasn’t all avant-garde extremism, however. Amongst the more conceptual pieces were some more ready to wear items, including structured & panelled black dresses with short, flared skirts. Retaining the military feel, capelets covered the shoulders mimicking epaulettes on an army uniform. Futuristic digital prints covered pale leggings and blouses and black chiffon skirts draped to the floor, contrasting with the structured tailoring and softening what could have been an overly harsh or androgynous look.

Words Tamsin Worrad

LONDON COLLEGE OF FASHION PRESENTED AN EXTRAORDINARY CATWALK SHOW TO SHOWCASE THE IMPRESSIVE COLLECTIONS FROM 22 MA FASHION DESIGN AND TECHNOLOGY STUDENTS. THE FASHION AFFAIR TOOK PLACE IN THE STUNNING RAPHAEL GALLERY AT THE V&A MUSEUM. BFC CHAIRMAN HAROLD TILLMAN, CEO OF WHISTLES, JANE SEPHERDSON, CELEBRITIES SUCH AS JO WOODS, LULU GUINNESS, GRAYSON PERRY AND BUYERS, DIRECTORS AND PRESS WERE THERE TO DISCOVER THE NEW STARS OF THE FASHION WORLD.

Italian designer Matteo Molinari deservedly won and emotionally received The Collection of the Year Award for his beautiful menswear collection, where modern tailoring is fused with traditional craft and crochet. Jo Power, Mio Jin and Queenie Huang were also shortlisted for the prestigious award.

Shortlisted designer Jo Power opened the catwalk with a womenswear collection of clean lines and strong silhouettes which hid impressively the complex pattern cutting.

Her collection examines the parallels between space, time, perspective and spatial form. Jo has already worked with renowned emerging designers such as Peter Hornstein and Ostwald Helgeson and is looking to create her own label.

Collection of the Year winner Matteo Molinari showcased a collection inspired by his fascination for the small dots, lines and circles printed onto white paper that his family uses to create crochet lace. His sophisticated black and white designs mix Italian manufacture, Japanese fabrics and hand stitching and crochet creating a luxurious and desirable feel but also hugely emotional and personal.

Matteo’s collection will be available to order shortly and his line of sunglasses and glasses is already in the market.

Jia Ju’s immaculately tailored collection plays with androgyny, featuring women in tuxedos, tails and waistcoats in navy, grey and cream colours. Jia combines curves and straight lines, creating pieces that appear to be one when they are actually two and vice versa.

Jia would like work in London after graduation and sell her collection.

Fang Fang’s collection ‘The Paradox Circle’ is an examination about life being a circle, where birth signifies the beginning and death the end. In the process, Fang discovers the paradox and contradictions in life as there is no beginning without end and, therefore, the dualities of life (bad/good, truth/lie, life/death…) can’t exist without each other. Her high end menswear line showcases simple silhouettes, precision pattern cutting, fine manufacture and outstanding detailing.

After graduation, she would like to gain further work experience and set up her own business.

Thatwasin Boat Khajeenikorn’s collection ‘The Unsatisfied’ explores the never-ending human search for perfection through plastic surgery, deconstructing the basis of pattern shapes and creating a new silhouette in the form of ‘structure draping’.

Thatwasin inserts womenswear details such as embroideries and embellishments into his menswear collection to create different dimensions and perceptions.

Thatwasin worked as backstage stylist at Elle Fashion Week and Bangkok International Fashion Week from 2007 to 2009.

Susana Bettencourt’s womenswear collection was born by the need to outbrave grief to reach well-being and is inspired by the mourning traditions of African tribes where wounds are created in the skin to represent emotional injury and to help the person heal physically and psychologically. Susana has partnered with Factory Parrilus to create body shaping knitwear pieces made of lycra, viscose and wool. Her aim is to create garments that can be worn by different body shapes.

Susana would like to work for a strong label to further develop her skills.

Yan Liang’s menswear collection ‘Mixture’ analyzes the relation between malformations and deformed trees creating garments made from wood and raw materials that reminiscence Pinocchio. Yan’s designs are humorous and playful but also chic and elegant.

Yan wants to express his thoughts and lifestyle through fashion design.

Paul Beckett’s menswear collection “SPORNO” explores masculinity through the fetishisation of sportswear creating a ‘footballer chic’ look where sports-meets-fashion-meets-sophistication-meets-comfort. His running shorts and 90’s inspired shellsuits are made of luxurious nappa leather and stone washed silk. Paul uses hi-tech performance fabrics that repel water and U. V. rays and resist tearing.

Nicola Formichetti, the man responsible for Lady Gaga’s fashion invasion and the rebirth of Vogue Hommes Japan, and photographer Steven Klien shot his collection, giving Paul worldwide coverage.

Dinu Bodiciu presented a very innovative, creative and futuristic womenswear collection inspired by the thin boundary between illusion and reality. Dinu explores the effects of the mirror on our bodies, the way it turns 3-dimensional shapes into 2-dimensional, and plays with our perception, giving her collection a certain flatness of quality. Organic fabrics and pastel colours are combined with bright red in a collection that emphasizes the power-shoulders trend.

Dinu has already launched in Romania her own brand of hand-bags, 3RROR, and would like to collaborate with other fashion brands as well as continue working and promoting her own label.

Asger Larsen’s menswear collection ‘Uncle Sam’ is inspired by the fashion culture in North America in the 1860s during its civil war. Sharp and structured silhouettes in grey and dark colours reflect his ideas of gothic America. His designs are made of soft cashmere wool, Japanese denim and Nappa leather and the shoes and boots used to accessorize his collection are the result of a collaboration with British footwear brand Underground.

Asger has already showcased his work at London, Berlin and New York fashion weeks and been featured in publications such as Vogue Italy, 125 Magazine and Dazed Digital.

Shortlisted Queenie Huang’s menswear collection is about personal boundaries and combines silk jacquard with flat fabrics using the Tanaka technique. Queenie mixes modern art and traditional tailoring to express the feeling of protection and vulnerability. Her collection is inspired by Geometric shapes and Chinese philosophy creating a sophisticated look that plays with proportions and conventional garment shapes.

Tim Rhys-Evans gets inspired by Elizabethan dresses to create contemporary striking silhouettes that reflect a new take on female power dressing. Tim has used the ruff as starting point to highlight the focus on the upper body and eliminate the neck and shoulders from view. All the pieces from his collection are black and have been made using tactile and luxurious fabrics such as French Chantilly lace, silk chiffons, black fox fur and patent leather.

Tim BA’s collection was featured in Elle magazine and he would like to work for a luxury brand in Paris.

Yao Xiao focuses on the idea ‘Otaku’, a modern Japanese slang which means nerd, to create a fun and creative womenswear collection full of flowing dresses and draped jersey pieces in black, white, beige and pink colours. Yao has used plain fabrics made of natural materials to express softness and comfort but also to highlight the contrast between fabrics, crochet and knit textures.

Yao would like to work for a high end womenswear brand before starting her own business.

Shortlisted Mio Jin’s menswear collection is a reflection of her skills as a fine artist combining high tech and traditional tailoring fabrics. A palette of gold, purple and grey colours bring each outfit together through a clever construction of panels and colour. Mio has used silk screen printing to print her own drawings onto the t-shirts creating an elaborated show where the models stood for a while, took off their jackets and showed their underwear like in a saloon show.

Ongun Ulker’s menswear collection is inspired by the parallels between architecture, drawing and fashion. Suede and fur has been used in his designs to add texture and also linear panelling, both flat and 3D patterns, to create bold graphic effects. His collection is mainly made of wool, silk, cotton blend semi-transparent and structured organza but he has also used new techno fabrics (in his trench coats), fur and leather.

Fashion designers Nicholas Komor, Jennifer Morris, Marios Antoniou, Chang Wook ‘Jay’ Kang, Eunmi Hwang and Nam Young Kim also presented their MA collections.

Louise Simmonds closed the catwalk with a collection influenced by Imperial Russia and Faberge, a famous artist in that time. Most of her collection has been cut using a 45 degree angle, creating a classical triangular shape which became the basis for her silhouette. Striking long coats in opulent colours and luxurious fabrics were the main highlight in a collection which aspires to provoke desire and emotion.

Louise had the support of a team of high skilled masters from Copenhagen and Swarovski crystals to produce an elaborate collection, where some of her hand made pieces have taken weeks to create.

Louise’s collection will be available for sale and she is currently seeking to work for a luxury house.

Over 4,500 people worldwide logged onto the LFC website to watch the show streamed live and winner Matteo Molinari’s page was the most popular profile on Showtime, the new LFC talent portal.

Words Veronica Carpio Martin  Images Dan Harley

LEATHER SEEMS TO BE AN ONGOING TREND IN 2011-2012 AUTUMN/ WINTER COLLECTIONS AND LAKO BUKIA WAS NO DIFFERENT. STARRY EYED MAKE UP AND SMOULDERING LIPS GAVE AN EDGE OF SEXY SOPHISTICATION TO SEE US THROUGH THE WINTER MONTHS.

Every one of her collections has been highly anticipated and it is strikingly obvious why. Her beautiful use of chiffon drooping in between bullet cases strapped around the models bustier and used as military style belts, made the fierce models look like lady-killers on a mission.

And Bukia has not shied away from using a number of different tan leathers. Blacks, browns and maroons were seamlessly matched with fine soft hue shirts in pink and natural tones. Straps of leather cover the models dignity in a way that is elegant. Wear a chic shirt underneath and you have the makings of an unusual and urbane outfit.

She is a designer who is a lover of clean lines and perfect symmetry. Her tight maroon leather shorts and tailored shirts showcased powerful femininity that has been at the forefront of London Fashion Week.

Pretty angelic dresses with fish scale necklines were the epitome of the collection. With the slick plum lips and complicated plated hair, the overall look and styling of the show was eye catching. Every new look that came down the catwalk took my breath away. I wanted every piece on offer.

Lako Bukia AW11 full show from VAUXHALL FASHION SCOUT on Vimeo.

Words Jennifer Butler

TO ME LONDON FASHION WEEK IS ALL ABOUT SHOWING OFF AND BRINGING NEW IDEAS TO THE TABLE, EVEN IF THEY ARE NOT INSTANTLY WEARABLE. ZIAD GHANEM WAS A DESIGNER THAT I HAD TO SEE, AND WITH BOY GEORGE IN THE AUDIENCE YOU KNEW IT WAS GOING TO BE A STIMULATING SHOW.

Why the Freemasons Hall was used instead of the BFC Catwalk Show Space I cannot be sure. More space would of allowed this eccentric designer to show off even more of his pierced, tattooed and plus sized models.

Everyone in the audience was in good spirits even though it started an hour late, making it roughly 9pm by the time it began. It was intimate and friendly as people were getting ready for the last night of after show parties.

The show started with a winged gothic angel, with a black mouth like the joker from batman. Her large emerald green feathered fans swooped as she sashayed down the catwalk at 7ft tall on a wheeled contraption. The crowd applauded at not only quite an entrance, but the beauty of the black couture gown on display.

White make up with red stained tears and black smiles fitted with the Personal Jesus soundtrack and married couple who wouldn’t look out of place in a Tim Burton film. Full bosomed women and cross dressing men set foot on the catwalk.

A beautiful floor length black and brown dress with a white eagle printed on the front was the most wearable piece of the show. But this show wasn’t always about being practical.

Pretty veiled dresses in light greys, whites and lilacs with veils slipped over the models faces would be perfect for the more elaborate wedding. Every inch was luxury and excess. Embroidered bodices and Asian printed capes, large feathered headwear and lace gowns filled the small venue. Every piece was assembled and fitted perfectly on a number of shapely models. It was enough to make the mouth water in excitement for the collection.

Ziad Ghanem AW11 edit from VAUXHALL FASHION SCOUT on Vimeo.

Words Jennifer Butler  Images Christopher Day

STARTING A GREEN FOOTWEAR BUSINESS IN FRANCE DURING ONE OF THE WORST RECESSIONS IN HISTORY MIGHT SEEM LIKE A BAD IDEA. STUDENTS FREDERIC MUGNIER AND NICOLAS ROHR HOWEVER TURNED THEIR BUSINESS PLAN INTO A SUCCESS STORY THANKS TO THE QUALITY OF THEIR PRODUCTS AND THEIR ECO ENGAGEMENT.

For all you green fingered individuals out there, it is now time to get green footed. Faguo has brought out a new pair of pumps that are eco friendly and perfect for that preppy tennis look.

The new, limited edition shoe, called Chevron, is part of the FIR collection encapsulating the vintage style of a warm day in Monte Carlo.

They are easily recognisable by the cute coconut button sewn on each shoe, which symbolises the brands commitment to the environment and adds a bit of hippy chic to the shoe.

Eco shoes are a huge trend at the moment with ethical fashion more impressed on people’s minds. The brand concept is simple: for each pair of sneakers sold, Faguo plants a tree. The goal is to balance the CO² the company emits.

Faguo is a French brand created by two students, Frédéric Mugnier and Nicolas Rohr, nearly two years ago, when the two friends went to China for six months to study. The word “Faguo” means “France” in Chinese, more precisely, “Country of Laws and Manners”. Regarding laws, the brand has only one: protecting the environment.

Since the beginning, the founders have been pioneering new ways of judging their carbon footprint and of protecting the environment. They decided to calculate the company carbon rate created by the production of shoes.

The storage and shipment of the shoes is taken care by ESAT, a work integration centre in the Parisian suburb. This centre gives disabled people the opportunity of a paid activity, as well as an access to a social and professional life.

The original collection of Faguo is the OAK line, made from cotton and rubber in 9 colours. This collection enabled Faguo to be recognised as a Young Talent during the trade show Who’s Next 2010. In May 2010 the two founders won the MoovJee Prize, a French award rewarding the best companies started by students.

Words Jennifer Butler

OZWALD BOATENG, THE SAVILE ROW HIGH PROFILE TAILOR, WAS BORN IN LONDON IN 1968 TO GHANAIAN PARENTS. HE WAS INSPIRED BY THE IMMACULATE SUITS HIS FATHER WORE AND RECEIVED HIS FIRST SUIT AT THE AGE OF FIVE – A DOUBLE-BREASTED IN PURPLE MOHAIR – AND HAS NOT LOOKED BACK SINCE. HE STARTED MAKING WAVES IN MENSWEAR IN THE EARLY NINETIES, GOING ON TO STAGE HIS FIRST CATWALK PRESENTATION IN PARIS IN 1994.

He is famous for bringing a new showmanship back to tailoring by using a vivid palette of colour and made it more acceptable for it to be worn in combination with a sharply cut suit. The Savile Row was, before the likes of Boateng, an institution of very traditional tailoring in very classic grey whites. But Boateng took the bright hues identified with his African heritage and introduced the bold colours that have come to be his signature.

Having praised the fact that there is now a dedicated menswear a London Fashion Week, Boateng officially brought the week to an end with a show at the Odeon in Leicester Square featuring 100 models on the catwalk who then walked en masse to Savile Row. The epic scale of this show was to celebrate the 25th anniversary of the Ozwald Boateng label which featured his latest collections for both the S/S 11 and A/W 11 seasons.

Monochrome short suits with socks pulled up, followed by twenty or more ensembles which were also based on this palette, in wool with silk blends, mohair mixes, lightweight cashmere, mercerized wool and cotton, the first few looks had the audience transfixed.

Most prominent were set-in and high-notch lapels and within his extensive shirting range is the distinctive chisel tip collar. Not only did Boateng exhibit black tie looks, he also sent an explosion of colours – apple greens, emerald, turquoise, periwinkle, yellows – onto his catwalk.

Bold linings in twill and tweed texture were sported and unique detailing such as quilting panelling, were also offered. An expansion of product lines saw pieces such as luggage, footwear, knitwear, jersey shirts, socks, gloves, scarves and belts which added that extra something to the looks.

Ozwald Boateng has also made many successful forays into the world of film. The 2009 documentary for BBC Four ‘Why Style Matters’ unpicks and re-stitches his own personal relationship with style. But, most significantly is Boateng’s recent launch of his autobiographical film entitled A Man’s Story, charting his rise (albeit with the occasional fall) over the past 12 years.

Boateng locates places in his life-long journey through fashion where he added a new thought or influence to his look. He talks about style with family, friends, colleagues and journalists and travels to Milan to meet one of his heroes, the master of modern menswear, Giorgio Armani.

The film also touches upon how growing up in a changing Britain had a huge impact on the man who broke the race barrier of British tailoring. Little did the exquisitely stylish 23 year old, who opened a store on Portobello Road know that he would go on to become such a part of the fabric of British society; in 2006 he was awarded an OBE for services to the clothing industry.

‘A Man’s Story’ will be released in the UK in 2011

Words Almaz Ohene  Images Stephan Gregoire

THE SACRED CHILDHOODS FOUNDATION HOSTED AN ETHICAL FASHION SHOW, ON THE 3^RD OF NOVEMBER, TO RAISE FUNDS FOR VULNERABLE AND UNPRIVILEGED CHILDREN IN INDONESIA, SOUTH EAST ASIA.

The event took place at Vanilla restaurant, a swanky and glamorous venue in central London.

Ethical fashion is just 1% of the fashion industry so this show aims to promote ethical fashion designers presenting sustainable, fairly-traded outfits.

Besides, some of the catwalk models have a disability, and often face discrimination by the mainstream fashion industry. These models work for the agency, Models of Diversity, which points out that there are many ideals of beauty, not just the skinny-tall concept portrayed by the media and fashion industries.

Natalie Perry, founder and director of The Sacred Childhoods Foundation, gave an emotive speech explaining what her foundation does, her next projects and how the funds they receive are spent. The foundation’s aim isn’t just to generate funds but to make people aware of how precarious life is in Indonesia for children and to promote a sense of responsibility.

After, several UK and international ethical fashion designers showcased their latest collections:

• Astrid Barney: her main pieces were a pink mini dress made of recycled ring pulls, from discarded soda cans, joint together with traditional crochet techniques, and a limited edition bag, called “Ballet”, made from 714 ring pulls. All her designs have been handmade in Brazil, where Astrid is from. www.da-lata.com
  

  Astrid Barney

• Natasha Rufus Isaac: part of her designs has been produced by women caught up in sex trafficking. The main fabrics Natasha uses are crepe de chine silk, cotton and satin silks.  www.beulahlondon.com

• Bhavna: this Indian designer specializes in luxurious evening dresses, scarves and kaftans. Her outfits are made by a skilled workforce earning a fair wage in India and America. A one-shoulder black and white short dress was the highlight of her collection.  www.bhavna.com

• Charlie Chambers: all his garments are made from reclaimed wedding dresses, vintage clothes and organic textiles, and decorated with free embroidery appliqué and natural dye batik. A striking patchwork mini dress and a floral bustled gown with hand knitted pullover dazzled the audience. www.charlie-chambers.co.uk

• Rosie Martin: DIY couture sells books that teach people how to create their own clothes, encouraging them to embrace slow fashion. Her colourful capes are the result of a collaboration with Carolina Gomez-Aubert. www.diy-couture.com

• Rosie Watt: this British designer works in Palestine/Israel with local women to create her fashion collections. Her beautiful nightwear range, “Bezalel”, was modelled by this year’s Mister UK, Roger Snipes, and 62 year-old model, Lynne Bennett from Models of Diversity.

• Fee Uhssi Design: her dresses inspired by the African tradition added a touch of colour to the catwalk. The fabrics used are sourced through fair trading, eco-friendly ethically working producers and suppliers. All of her garments are manufactured in the UK by Heba Women Project. www.feeuhssi.com
  

  Lilia Yip

• Lilia Yip: she uses fabrics such as silk Jersey and bamboo silk, a sustainable resource, and utilizes digital printing to minimize waste. Her print dress is the result of a collaboration with the artist Mona Choo. www.liliayip.com

• Tina Lobondi: her dresses are hand-printed, created with locally sourced fabrics in Mauritania, West Africa, and produced by local women. Her collection, “Rani”, is the result of a collaboration with Carolina Gomez-Aubert, creator of the label Lunamano, which is expanding to El Salvador (Carolina’s homeland), where she is establishing a production workshop to provide fair trade employment to her employees. www.tinalobondi.com , www.lunamano.com

• Serefina: totally against fast fashion, Serefina tailors each piece to the client for durability and longetivity. Her pieces are adaptable, which means they are usually reversible or sleeves can be added or removed. Her elegant dresses and corsets are made with materials considered ‘waste’. www.serefina.co.uk

• Sapmi Couture: designer Camilla Tell has created a feminine and stylish collection inspired by Hollywood’s glamour. Her dresses are influenced by the Samis culture. The brand’s signature dress is the Kolt, which is the Sami traditional custom. Her outfits are always decorated with ribbons, creating a historical feeling, which is distinctive for Sapmi Couture. All of her suppliers and manufacturers support ethical business practices. www.sapmicouture.com

All the outfits shown were for sale on the night via silent auction, with all proceeds going to the Sacred Childhoods Foundation.

The event was sponsored by Models of Diversity, SuckUK, KaBloom, Vanilla restaurant, Avanta and Norman hangers.

www.sacredchildhoods.org

Words Veronica Carpio Martin

The festival kicked off on Thursday 14^th with the Victoria Quarter 20^th Birthday Shopping Affair, where brands such as Harvey Nichols, Reiss, Paul Smith, Vivienne Westwood, Mulberry, Ted Baker, Karen Millen, Agent Provocateur, amongst others, offered exclusive treats and discounts, champagne and canapés to celebrate the latest fashion. All the shops were open until late and the atmosphere was buzzing with live bands, dancers and aerial acrobats. A smaller version of London’s Fashion Night Out but equally successful and entertaining.

On Friday 15^th, I went to see the Marks in Time Exhibition at Leeds University which celebrated the 125 year anniversary of the loved and acclaimed retailer Marks & Spencer. The exhibition takes you into a historic journey from the company’s beginning as a market stall to today’s success as one of the most iconic retailers in UK and worldwide.

The influence that M&S has had in British culture through the years can been seen in rare documents, photographs and the display of iconic products such as the melting middle chocolate pudding (the advert’s seductive voice made the sales increase by 3000%) and the bras. Peculiar quotes trough the walls such as, “Nearly half of the UK female population wears M&S knickers” and comments from customers and staff members give an interesting insight of this successful brand.

Next, I attended the SHE DRESS-O-S at the Style House on Briggate presented by JoJo from Galaxy Radio. Style Director Lizanne Harris and Deputy Fashion Editor Pamela Harris from SHE magazine gave exclusive tips on how to wear this season latest trends.

M & S Exhibition

The catwalk showed the following newest looks:

• Romantic look: a gold sequel dress from New Look and an statement coat with flower details for an instantly glamorous look.

SHE Collection

For a harder version of the romantic trend, a nude embellished top from Monsoon gives an edge to the romantic look.

• Colour-bold trend: mix up colours to create a fun and confident look.
• Military look: leather trousers and military jacket from House of Fraser for a rock-chick military girl.
• 70’s look: camel trousers and sweater from Nicole Farhi for a hippy but glamorous look.
• Minimalism: keep it simple with clean-cut clothes that fit well such as navy trousers from River Island and jacket from Karen Millen.
• Winter coats: fake fur textures, leather and aviator jackets, skin sheep details, capes, military coats and the colours camel and grey are huge on the catwalk and high street this season.

After, I headed to the Leeds in Vancouver fashion exchange at the Style House, a networking event, hosted by Marketing Leeds chief Executive Deborah Green, where up-and-coming Leeds designers James Steward and Lisa Jayne Dann presented several pieces from their Spring/Summer 2011 collections that will be showcased during Vancouver Fashion Week. In a bid to support creative local talent, Leeds Marketing has teamed up with Vancouver to showcase for the first time British designers during its Fashion Week from the 3^rd to 7^th of November.

James Steward’s designs have already been worn by high-profile celebrities such as Kylie Minogue and Victoria Beckham.

Lisa Jayne Dann’s designs are stocked in several independent boutiques in England and her label is very popular amongst celebrities and fashionistas.

Also, local milliner, Beth Hirst, displayed a specially commissioned couture hat to promote Leeds as one of the most fashionable cities in UK.

Leeds in Vancouver will be a great opportunity to show to the world what Leeds designers can offer and also an excellent platform to network with the international media and buyers.

Prosecco and canapés were provided courtesy of Harvey Nichols.

The evening started with Leeds Rocks at Saviles Hall where fire eaters and living statues welcomed all the guests. The drink of choice was the complimentary “Leeds on the rocks”, a bittersweet cocktail made with amaretto, cherry brandy, angostura bitters and lemon. The event was a celebration of Leeds’ culture showcasing the latest talent from fashion, music and arts and although it wasn’t as rocking and spectacular as expected, it was a good attempt to expose and promote the city and its artists.

Leeds Rocks also supported Future Arts, a social organization who helps young people from disadvantaged backgrounds to develop their artistic skills.

On Saturday 16^th, I visited GAP demonstration at Style House where Kate Lawler from Kerrang Radio presented GAP’s Autumn/Winter collection for men, women and children.

In womenswear, the key look was jeggings (a stylish and comfy combination of jeans and leggings), warm knitwear and shoulder pad jackets for a smart evening look.

The menswear follows the GAP’s signature American look with fitted jeans and cashmere sweaters and cardigans. His pieces are trendy but don’t follow a straight-from-the-catwalk style.

In kidswear, GAP gets inspired by Stella McCartney with warm jackets, a zebra print sweater and a red knitted sweater-dress. A very cute and stylish look for the little ones.

Leading luxury British spa and skincare brand Elemis was there also to give advice on the latest beauty products and treatments. I had a neck massage that left me very relaxed but energised too.

GAP store offered 25% discount throughout the day and a complimentary photo session courtesy of Venture.

During my stay, I had the opportunity to try some of Leeds most renowned restaurants such as Casa Mia Millenium, Cosmopolitan restaurant, Harvey Nichols Espresso Bar and Bird restaurant in Alea.

Leeds loves shopping is organised by Marketing Leeds, City Centre management, Leeds City Council with support from Leeds Retail Association and Yorkshire Forward.

Words Veronica Carpio Martin  Images Dan Harley

AS FAR AS SUCCESSFUL COMEBACK STORIES GO, PEARL LOWE’S MUST BE SOMEWHERE NEAR THE TOP OF THE LIST. FEW CELEBRITIES HAVE MANAGED TO BOUNCE BACK FROM CONTROVERSY WITH THE SAME STEELY RESILIENCE AS PEARL, AND FEWER STILL HAVE MANAGED TO TURN THINGS AROUND SO SPECTACULARLY TO ESTABLISH THEMSELVES FIRMLY AS A STYLE ICON AND BUSINESSWOMAN. YET THIS STORY IS ONE WITH A HAPPY ENDING. IN FACT, IT’S NOT EVEN AN ENDING- IT’S MERELY THE BEGINNING OF MANY EXCITING THINGS IN STORE FOR PEARL.

Anyone who shops on the high street will be sure to have seen the Peacocks’ window displays, which currently boast a selection of particularly eye-catching, ethereal dresses. What may not be so obvious, or at least not until closer inspection of the label, is that these creations have been designed by Pearl herself. While fashion designer may be a surprising career move for Pearl, who rose to fame as the frontwoman of indie bands Powder and Lodger during the Britpop explosion of the 90s, it’s not as unexpected as you may think. And unlike many celebrity-high street collaborations, this line has real credibility. But if anyone should know a thing or two about the importance of proving yourself, it’s Pearl.

Pearl's latest collection for Peacocks

She has managed to weather storm after storm, including lurid newspaper revelations and unpleasant speculation about her private life, but it’s easy to see how upping sticks from London and moving to Somerset with her husband, Supergrass drummer Danny Goffey,  has made her much happier. “When Danny and I lived in London, we nearly split up,” she admits. “Our relationship would not have survived, had we stayed there. When we left we started rebuilding our life together. Leaving London was the turning point for me. I started to create, which is something I could never do there. There were too many distractions.”

For those familiar with Pearl’s history- and if you’ve ever read a tabloid, chances are you will be- it’s not difficult to work out what kind of ‘distractions’ she is talking about. Most came from the use of narcotics, and their use was rife amongst Pearl’s Primrose Hill social circle back in the 90s. Pearl is remarkably open about her experiences with drugs, and it’s easy to see that the woman whose drug habit once earned her the nickname ‘Dyson’- owing to her ability to hoover up copious amounts of drugs- is well and truly back on track.

“I hate drugs, I think they mess up people’s lives. I just wish they were never invented. The world would be a much more beautiful place without them,” she says. The one consolation has been her friends. Whilst her autobiography tells of acquaintances who were quick to drop her once she turned her back on drugs, her ‘real’ friends have been her rock. “They were, and are, incredibly supportive. It was so easy to walk away from the friends that were still using. I felt as though I had been let out of jail.”

Though there have been a couple of minor relapses along the way, you can’t help but admire Pearl’s determination to come through the other side. The tabloids may have splashed on the story that Pearl was spending up to £250 a night on drugs at the height of her habit, but Pearl cleared her debts ,headed to rehab and has been helping others in the same position ever since, as an ambassador for homeless charity Crisis and as an anti-drugs spokesperson. “When I first got clean, I thought it was my duty to help people through my struggles. Part of me is proud to have done that, but there is a part of me that wishes it wouldn’t be mentioned all the time.” Why? “It isn’t who I am anymore.” So what does she wish that people knew about her, instead? “That I’m a great tennis player!”

If there is one thing that Pearl has had to endure that other drug addicts have not, it is constant public humiliation. Few have been subject to the kind of media scrutiny that she has faced. The birthday party she threw for her son Alfie at Soho House in 2002 resulted in a backlash after Jude Law and Sadie Frost’s daughter was rushed to hospital for allegedly swallowing an Ecstasy tablet found on the floor, and intrusion into her private life reached a peak in 2005 when a tabloid ran a story suggesting that she and Danny had been indulging in wife-swapping. Then came the media furore following the discovery that the father of her daughter Daisy was not her first husband, as she had thought, but Gavin Rossdale, the frontman of the band Bush and husband of Gwen Stefani. A lesser woman may have broken down at such continuous media crucifixions. But not Pearl. Her main concern is for her children and the effects the press reports will have on them: “It’s so annoying that they can read everything now, but Danny and I are open with them, so they know. Alfie, our 13 year old, thinks we’re boring old farts, so I guess it gives us a bit of an edge.”

Daisy Lowe

What has been keeping Pearl in the headlines more recently is the success of her clothing range for budget high-street retailer Peacocks. Her current collection consists of gorgeous, vintage-inspired tea dresses modelled by daughter Daisy, which have become an instant high-street hit. She admits that she’d never heard of Peacocks before she was asked to design for the store. “They called my agent and asked if I was interested. I hadn’t actually heard of them before, but I went to Cardiff and met them, and we all got on really well. It was only supposed to be a one-off collection, but it sold so well, they asked me to design for three more years.” Does she worry about whether people will take her seriously as a designer? “No not at all, it’s what comes naturally to me. I think people can see through the fakes. I love designing clothes and interiors.”

It’s not the first time Pearl has turned designer. Back in 2001 she began her own interiors range, featuring lace cushions and curtains, which was followed by a collection of handmade dresses for exclusive London store Liberty’s. She is also working on a new book on fashion, which will be worlds apart from her autobiography. “It’s a book about vintage fashion. I want it to be a vintage bible so it’ll include lots of different things, but I’ve neglected it a bit recently as I’ve been so busy with designing four collections (for Peacocks).”

A film version of her biography All That Glitters is also in the pipeline, “but it’s being held up by lawyers, I just want it to hurry up and get made.” She also reveals she’s not ruling out a return to music. “Danny is writing a solo album and I’ve sung on a few tracks, so I am being pulled back there.” But, she maintains, fashion is where her heart lies, and she lists Chanel, Anna Sui, Vivienne Westwood, Alexander McQueen and John Galliano as her favourite designers.

This passion seems to run in the family. While Pearl admits to having had a strong interest in fashion from the age of four, Daisy is also a highly successful model who is rarely out of the headlines, albeit for all the right reasons. Is Pearl concerned that Daisy will go down the same route she did? “I don’t think Daisy will go where I went as she saw what happened to me. She learnt from my mistakes.” Then there are Daisy’s contemporaries, such as Peaches Geldof, who became embroiled in a drugs scandal earlier in the year. Does she worry about the drugs culture which seems to be so prevalent amongst young people today? “I can’t comment on Peaches as I don’t know her that well, but when I have met her she seems pretty strong, so I am sure she will be alright.”

This seems like an apt time to ask what the most important lessons are that she’s learned over the years. The response is poignant and sincere. “To love yourself. Not in an egotistical way, just in a loving way. I always had such a low opinion of myself, so I never got anywhere. You have to really like who you are to succeed in life.”

Words Kay Weston

APPEARING ON GOK WAN’S ‘MISS NAKED BEAUTY’ IN 2008, ANGEL SINCLAIR WAS STRUCK BY THE VARIETY OF BEAUTIFUL WOMEN PARTICIPATING – AND HOW FEW TALLIED WITH THE NARROW IMAGE-RANGE PROJECTED BY THE FASHION INDUSTRY. SHE FOUNDED MODELS OF DIVERSITY TO CAMPAIGN FOR MODELS TO BETTER REFLECT SOCIETY, IN ALL IT’S SHAPES AND SIZES.

What is Models of Diversity (MoD) about?

MoD advocates for models of all colours and ethnicities, as well as plus-sized, disabled, short and mature models. That’s the majority of the fashion-buying public; it’s discriminatory for the industry to ignore their needs.

Agents have the right to choose whatever models they want, but we demand an end to prejudicial practices and outmoded stereotypes. Curvier models are under enormous pressure to lose weight, while models of colour are only trotted out for urban looks, so will try to lighten their complexions with chemicals. It’s wrong.

Where does MoD’s work begin?

We work hard to access young, upcoming, designers whose ideas about models coming in a narrow range of sizes, shapes, ages, colours and abilities are not yet set in stone – we’re priming the pump.

How important is it that glossies reflect your ethos, to signal that it’s ok to use more diverse models and cater for broader body-types?

Having successful, healthy models of diversity in the public eye is crucial. It gets consumers and designers/stylists/booking-agents used to seeing the models, and inspires the general public to feel better about themselves.

What is your biggest obstacle?

Lack of creative thinking. Nuts magazine bluntly told us they only use token Asian and black models, and never plus size models, because that’s what their readers want. It’s a deeply flawed, circular, argument; if they offered a range of cover girls we’re sure most readers would respond positively.

Are you ever skeptical of designers/shows “making statements”, or is any publicity good publicity?

We’re skeptical of token gestures. Jean-Paul Gaultier’s putting Velvet D’Amour or Beth Ditto in his shows was wonderful but he didn’t follow it up with a plus-size line for customers to buy. Designers often respond: “I had one black model in my show,” as if that fixes the problem – it just underscores it!

Your agency, Sinclair Model Management, is attached to the campaign, why should a ‘standard’ agency model turn to you if they’re not a ‘model of diversity’?

We’ve nothing against standard models of course, but we’re specifically designed to meet the needs of those marginalised by the industry and agencies. We have to be the voice for the voiceless.

Headway has been made in the Size Zero debate regarding female models, but is anorexia among males still taboo?

It’s a big problem. They’re just as victimized by the Size Zero trend but their needs aren’t well addressed.

One of our models is bulimic and tried to telling his story to the press. He went from weighing 20 stone to eight but was told his photos weren’t ‘extreme’ enough. It seems, unless they’re anomalous, male anorexics aren’t taken seriously.

What would rank as your ‘top fashion moments’ that made you feel diversity was being accepted that little bit more?

1. Appearing on Gok’s show – his personal support gave me the determination to change things.

2. Protesting the Size Zero trend outside London Fashion Week led to a meeting with the British Fashion Council.

3. Kelly Knox landing the cover of Diva Magazine and a major ad-campaign for V05.

4. When our disabled model Carla Gomes was featured in a Channel 4 show. She now stars in a massive London billboard campaign.

5. July’s ‘Evening of Diversity’ fundraiser that subsidised our disabled modeling workshops.

www.modelsofdiversity.org

Words Alex Jackson

LONDON, AS ONE OF THE WORLD’S MOST FASHIONABLE CAPITALS, OFFERS A UNIQUE EXPERIENCE FOR SHOPAHOLICS, FASHIONISTAS AND ANYONE LOOKING FOR THE LASTEST FASHION ACCESSORY OR BARGAIN.

The famous American quote, “the city that never sleeps”, perfectly defines the busy, Oxford Street, well-known for high-street fashion with lots of trendy stores such as: Topshop, a tourist spot on its own, and the largest branch of the country renown for its straight-from-the-catwalk high-street versions, Primark, Zara, the Spanish retailer boasts high-quality and exclusive designs at high-street prices, River Island, offers a chic British style and interesting collections from graduate fashion designers and also, Mango, GAP, Jane Norman, Dorothy Perkins, Office, New Look.

The area also hosts luxury department stores such as: John Lewis, House of Fraser and Debenhams and Selfridges, the uber chic store has recently opened The Shoe Galleries, with 4,000 shoes on display and 55,000 in stock, this shoe-paradise is the biggest in the world.

For a more exclusive feel, the iconic Carnaby Street offers a unique shopping experience with a large number of mid-range fashion boutiques such as Miss Sixty, Replay, Diesel, Fornarina, to name a few and also the quintessentially British department store, Liberty, very well-known for its trademark prints, high end designer clothes and exclusive cosmetics that are very hard to find anywhere else.

The elegant Regent Street, also boasts numerous flagship stores such as Banana Republic, Ted baker, The Apple Store, Levis, Guess, Ferrari, Karen Millen, the world- famous toy shop, Hamleys, very popular amongst tourists, and traditional British labels such as Burberry and Jaeger.

For pure luxury, swanky Bond Street is home to the world’s most famous retailers. The northern part is called New Bond Street, the most expensive avenue in Europe, where you can find high-end designer stores such as Armani, Dolce&Gabbana, Fendi, Louis Vitton, Prada, Versace, Miu, Miu… The southern part, Old Bond Street, boasts prestigious jewellery shops such as Tiffani & Co, Leviev, Watches of Switzerland, Cartier, De Beers and also sophisticated designer boutiques such as Chanel, Ives Saint Laurent, Gucci, Alexander McQueen, DKNY. Bond Street also hosts Sotheby’s auction house, antique and art stores.

After shopping, I checked into the Radisson Edwardian Bloomsbury Street Hotel, conveniently located near popular London landmarks such as British Museum, Soho, Covent Garden, Oxford Street and Piccadilly Circus.

Following a 25 million pound makeover, this hotel has become a symbol of luxury, comfort and style. From the moment I step in, I am aware of the attention to detail and cutting-edge design. The reception boasts a wall covered by pages from Virginia Wolf’s most famous book, Mrs Dalloway and a striking art installation by Ian and Richard Able.

The bar area has a touch of exclusivity while retaining an intimate atmosphere which makes you feel welcomed and relaxed. The deep gold, crushed velvet sofas, designer curve backed chairs and bronze sculptures create a sophisticated and intimate ambiance.

The restaurant offers a very stylish décor with black leather chairs, black lacquer tables, tall scarlet vases set in alcoves and white orchids. The food menu showcases contemporary European food using the finest ingredients at a reasonable price (starting from £19.50 for two courses).

The refurbishment has added a brand new 7^th floor and the hotel boasts some of the largest bedrooms and bathrooms in London. As I enter my deluxe room, the first thing that catches my eye is the extraordinary view over the British Museum’s famous dome. The king size bed, luxurious bed linen, fine leather headboards, bespoke furniture and Baccharat chandeliers create a luxurious and cozy atmosphere.

All rooms have the latest audio/visual technology with sleek flat screen TVs and complimentary high-speed wireless.

The hotel also features one of the largest conference spaces in central London, the Folio Room, with capacity for 300 people, unique Op-Art silver walls, in-built Blu-Ray equipment and intuitive touch-screen technology.

If you are searching for a hotel with a central location, superb service, excellent food, great comfort and the latest design, look no further.

Radisson Edwardian Hotels are giving The Pay, Save and Stay offer for Christmas, which provides 20% discount from all room nights between 19th December and 9th January inclusive, plus 25% off dining throughout all hotel restaurants.

Radisson Edwardian Bloomsbury Street Hotel,

9-13 Bloomsbury Street, London, WC1B 3QD

020 7636 5601

www.radissonedwardian.com/bloomsburystreet

Words Veronica Carpio Martin

FRENCH COMPANY KAHENA IS PUTTING SPATS BACK ON THE FASHION MAP. ITS DESIGNS, MIXING TRADITIONAL CRAFTSMANSHIP WITH DARING FABRICS, ARE LOCALLY PRODUCED IN FRANCE. FOUNDER AND DESIGNER NATALIE DE ANGELIS ATTENDED THE TRADE SHOW PURE LONDON THIS SUMMER TO INTRODUCE HER PRODUCTS TO THE UK MARKET.

Usually associated with 19th century dandies, soldiers and Michael Jackson music videos, spats are making a fashion comeback thanks to the small and artisan French company Kahena.

Founder Natalie de Angelis, a French stylist from Brittany, decided to start a spats-making company after seeing a John Galliano show in the 1990s where models wore flirty dresses and fake fur spats.

“I had never though of wearing spats with skirts, I’d always worn them over trousers. All of a sudden, thousand of creative possibilities opened up.”

Finding the idea was easy. Learning how to make the spats was more difficult. “We found images of spats in old publications but had no ideas what the technical process involved was. Discovering it, mostly by trial and error, took many years.” De Angelis eventually figured it out and launched Kahena seven years ago.

The company is still small, and has only just started to expand outside the French borders. Each item is handmade in Saint-Nazaire, a seaside city in Brittany, by people directly employed by Kahena.

“It was very important for me to only produce in France. It saves time and I am happy to preserve French skills and jobs,” explains De Angelis.

The company name, inspired by a 7^th century legendary Berber warrior queen, represents this militant ethics. De Angelis chose it because of its association with female power, feminism and because spats are a traditional part of military uniforms.

The design and the name might be anchored in history, but the Kahena creations are decisively modern. Gone are the monochromatic models, the white spats with black buttons. Instead, De Angelis favours materials such as the historical French fabrics Toile de Jouy and Jacquard des Flandres, Glen plaid and Tartan. For the more daring models, she uses oil clothes printed with bright grass or navy polka dots. Tulle ribbons and side studs have replaced the original buttoning.

De Angelis didn’t stop there. She also modified and modernised the shape of the spats. They still mould the calf but can be a lot longer, or shorter than the original models. Depending on the desired effect, they can be thigh-high boots or just protect the ankle from spatter.

For autumn/winter 2010, Kahena has created a tribute to Michael Jackson and is introducing a line of black-waxed linen and Japanese suede spats. They are available at their online shop.

www.kahena.net

Words Lucie Goulet

The evening started with floor shows and live photoshoots of models wearing corsets designed by burlesque corsetiere Velda Lauder and Voller corsets.

Arabian belly dancer Nyx Lenoir opened the catwalk with an exotic and sensual dance, followed by a fire-eating spectacle that shocked the audience.

After the performance, Ukrainian designer Nataliya Dilenko, presented her new 9-piece collection. Diaphanous long-knee dresses in navy blue, pink and red, high-waisted trousers exquisitely tailored and smart black jackets with a vaporous detail at the back were on display.

“I wanted to create something unbelievable, with a lot of movement, something invisible, like a cloud” said Nataliya of her collection aimed at women who want to achieve a very romantic, dreamy and feminine look.

Nataliya fell in love with fashion whilst modelling and studying engineering. “I love dressing up and creating unusual designs so that’s why I decided to become a fashion designer”.

After completing her degree at Central Saint Martins, Nataliya worked alongside Alexander McQueen and Hussein Chalayan in 2006-7 for Paris Fashion Week. She presented her first collection at Budapest, Bahrain and Dubai Fashion Weeks in 2008.

The night continued with a performance from violinist Eloise Prouse, followed by Christoforos Kotentos ‘ 24-piece collection “Lumiere Kaleidoscopique”. The Greek designer dazzled the public with a sexy reinvention of the little black dress, a silver dress with puffed sleeves, a one-shoulder white dress and a vaporous long red dress.

“All the shapes and colours a kaleidoscope creates and the reflection of the light coming from mosaic glasses that I have seen in Morocco, Tunisia and Turkey were the inspiration for my collection,” said Christoforos.

Models in huge platforms showed long and short square shoulder dresses with a futuristic feeling and exquisitely designed to emphasize shape and structure: a collection made for women who want to feel provocative, powerful and sexy. Geometrical prints were seen in some of the dresses while in others shiny light blue, grey, red, black or silver were the predominant colours.

Christoforos shot to fame in 1997, when he designed a dress made of 6 500 Swarovski crystals. Celebrities have been wearing his dresses and he has become a household name in Greece, appearing in Greek Next Top Model as one of the judges.

His collection will also be showcased at Athens Fashion Week.

The last performance of the night was by R&B popstar Haynzy.

Tina Lobondi closed the catwalk with a 10-piece collection inspired by Grace Kelly and the elegance of the 1950s. The collection, which celebrated old glamour, sophistication and femininity, centered around colourful dresses with an extremely low v-shaped neckline.

“My main priority is to create good quality and original designs that women want to wear, designs that make women feel and look good,” commented Tina.

After studying Fashion Design Realisation in Paris and doing internships for several designers, Tina moved to London and created her own label. “It’s very difficult to be original so I try not to look at other people’s collections in order not to be influenced by other designers”.

She showcased her collection for the first time at the Princess Diana Award at Movida last year. Her next projects are a TV show and the charity fashion show “Sacred Childhoods” at Vanilla restaurant.

The evening continued with an after-party where the catwalk became the dance floor and cocktails and champagnes started flowing.

Richard Austin Rees PR & Fashion Management in partnership and association with the Button Club organised the evening, held at the Belgravia mansion “Il Bottaccio”, a very opulent and elegant venue frequently used to host events, press launches and photo shoots.

Words Verónica Carpio Martín

PIERRE GARROUDI IS THE GO-TO LABEL FOR INTRICATE, ORIGAMI DRESSES WITH A WOW FACTOR. HIS LOVE OF STRONG BLOCK COLOURS IS BANG ON TREND FOR SPRING/SUMMER 2011.

Iranian-French designer Pierre Garroudi operates from a gallery space nestled under a railway archway in London Bridge. There he designs his clothes, hosts events and showcases other artists’ work in addition to many of his own canvases. This inclusive and open approach to fashion is essential to Garroudi’s work.

“It’s not that fashion is completely different to art, or interior designer, they’re all related to each other in terms of pushing boundaries. They all have an effect on each other,” Garroudi begins.

Garroudi has been almost perpetually on the move since leaving Iran over 30 years ago, living, and studying in various cities including, Paris, Shanghai, Miami, New York. He won a place at the Fashion Institute of Technology, New York but didn’t get along with their methods.

“My grades were bad. I got an ’F’ in sewing, an ‘F’ in drawing and I never graduated,” Garroudi continues.

At this early stage in his career, he was already honing his ethos which is all about disrupting the codes by which clothes make their appeal, by rethinking the glamorous signals sent out by their external appearance and by redefining their relationship with the body.

“The first collections that I did in London were based on recycled materials. The clothes were either vintage or a mixture of both old and new donated pieces, re-designed and then transformed into something totally different. But I thought that if I was going to keep recycling fabrics, I wasn’t going to become the next Chanel or anything. So I took the black silks and utilised draping techniques.”

In 2005, he made the transition to using block colours. He’s used hues of orange, red, pink, white, with this latest spring/summer 2011 collection being turquoise.

“My favourite colour is actually black. I used it in 2008 but we found that black isn’t very photogenic. When it comes to photography and videography, black doesn’t allow the intricate details of the clothing to be shown in enough detail.

“After this collection, I’m going to experiment with two hues: darker ones for the autumn/winter collections and paler ones for spring/summer.”

Although, laughing, he assures me that this progression isn’t set in stone: “I might change my mind tomorrow.”

All of Garroudi’s more recent collections feature intricate and pioneering fabric-folding work, creating a fabulous origami effect.

“Nobody does this in the industry. It’s quite unique. Origami is done with paper, but I’m doing it with fabric; it’ completely new territory. All of this folding means that my pieces are 3D, you know some clothes, like the print that you’re wearing are completely 2D.”

Taking me across to his sewing machines he indicates how a smooth piece of silk can be manipulated to create elaborate patterns and textures. He briefly takes me through the sewing, reversing and ironing steps that he’s using to create the next collection, in taupe grey this time.

“It takes between four to six weeks for one person to finish each piece in the collection. This time I have 28 pieces,” he sees the look of wonder on my face and assures me that he has many interns to help him.

“Each piece is made from the finest silk. Unfortunately there are only 27 colours available in  London so I source all of my fabric, the chiffon, the satin, the organza, from New York where there are over 120 colours to choose from,” said Garroudi

He is currently in talks with Haute Couture houses in Paris about his line so I asked him whether he had a name for his avant-garde techniques. With more laughter he replied, “No, but I will, of course, put a celebrity’s name on it.”

www.pierregarroudi.com

Words Almaz Ohene

WHY WOULD AN ESTABLISHED AUSSIE LABEL TRY TO LAUNCH IN LONDON IN THE MIDDLE OF THE WORSE RECESSION IN 20 YEARS? AMY FALLON DISCOVERS HOW LEONA TURNED HER LABEL INTO ONE OF THE MOST STYLISH AND SUCCESSFUL BOUTIQUES IN WESTFIELD.

Launching a foreign label in London, one of the globe’s four traditional fashion capitals and home to scores of already popular high street and high-end names is hard enough. Starting during a recession is tougher – even for the Oscar de la Renta of Australian fashion, as Leona Edmiston has been described.

“We just had to hit the ground running,” says Edmiston, whose first UK boutique opened in the Shepherd’s Bush Westfield complex in late October 2008.

“It wasn’t the easiest time to open a store but that kind of experience forces you to be at your absolute best.”

At the time of the launch, Britain was experiencing its worst recession since 1991. Retailers were facing their worst trading conditions in two decades.

Nearly two years on, the designer says she “won’t rule out opening another boutique or two in London” after the success of the first boutique. There are also plans to make Asia and New York ports of call for Leona lovers.

The label is known for its “feminine without too much fuss” approach and includes heels, handbags, hosiery, sunglasses, scarves, umbrellas and a girl’s range. Its Westfield store recently sold out of its PINS. The famous sheer stockings are already a staple wardrobe item for many women Down Under.

Meanwhile, the Blanche dress from the autumn/winter 2010 collection – think of a long v-neck maxi with rouging and the biggest batwing sleeves you’ve ever seen  – flew off the racks within a week of arriving but should be landing in store again soon.

The autumn/winter collection also includes playful knee-length v-neck dresses with tie-waists in block colours and maxi dresses with bold patterns that are a tad Erderm

“All of our customers love the fact that they can wear a Leona frock and not spot anyone else in it!” points out Edmiston.

“We do keep a limit on how many dresses we do in one style to ensure that exclusivity remains.”

Famous fans of her designs include Aussie expats, supermodel Elle Macpherson and writer Kathy Lette who “loves the label and is always so generous with praise”.

But it’s not just the homesick from Down Under in the UK who have been sporting the line.

“(ITV Presenter) Kate Garraway wore one of our frocks to a red carpet event when she was about 6 months pregnant and looked absolutely radiant,” says Edmiston, who in the 80s dressed the likes of Tom Cruise, Helena Christensen and Michael Hutchence under her Morrissey Edmiston range.

“London is such a transient city and there’s people of every nationality walking into the store all the time.

“However we certainly have a growing number of core customers who are Brits, as well as Aussies of course.”

The designer hails from Sydney, the world’s seventh most fashionable city –four places behind London.

Edmiston says it’s not hard to be stylish in the British capital because of the “eclecticism”.

“In many ways I actually think it’s easy to be stylish in London because you can really get into fashion here without anyone thinking you’re too pretentious or trying too hard,” she says.

“You can be daring and no one bats an eye. You might get a look in the street, but it’s one of acknowledgment or admiration even… it may be grudgingly given, but it’s there!”

And while there may have been a lot of fuss in the press about Marc Jacobs doing a plus-size range, Edmiston has been long offering her creations in size 8 up to 20.

“One of the slimmest customers I ever had refuses to wear a dress without any  sort of slimming device underneath,” she says.

“Many people would think she’s crazy, but that’s just how she feels about herself.

“From what I’ve found, plus size women vary in the way they feel about their bodies as well, just like the way that that very petite customer did.”

www.leonacollection.com

Words Amy Fallon

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

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

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,” explains 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LAST WEEK SAW THE START OF THE FINAL YEAR SHOWS FROM THE CREATIVE POWERHOUSE THAT IS THE ROYAL COLLEGE OF ART. THE SCHOOL OF FASHION’S 33 POSTGRADUATE STUDENTS PRESENTED THEIR CREATIONS ON THE CATWALK AT THE HOTLY ANTICIPATED SHOW FASHION, BURSTING AT THE SEAMS WITH INDUSTRY FIGURES AND BUYERS JOSTLING FOR A PRIME VIEW FROM WHICH THEIR STYLE HUNGRY EYES COULD DEVOUR EACH COLLECTION, EAGER TO DEIGN A HANDFUL OF DESIGNERS WITH THE ‘NEXT BIG THING’ MONIKER.

There was plenty of talent to choose from. Exquisite embellishment, masterful fabric manipulation and unique concepts characterised this years offerings, which seemed to have been approached from a more commercial savvy angle than in previous years. Far from stifling creativity, this newfound focus on wearability actually heightened the appeal, as reflected by faces in the front row, tensed in concentration as each outfit was assessed, not just on a scale of fashion editorial success or profit margins, but in how-will-that-work in-my-wardrobe mode.

The womenswear collections took direction from a plethora of subjects as diverse as Baroque furniture, music by Bela Bartok, surreal photography, punk and bohemia. Highlights included Poppy Cartwright’s modernist, ice white patent leather mini dresses and sleek suits, laced and adorned with laser cut appliqué detail, Yuli Yuferev’s exquisite fish bone corseting and the elegantly executed, spliced drapery of Caroline Pambakian, already garnering attention as a recipient of the River Island design forum bursary. The ultra clean lines of Victoria Stone’s leathers felt totally relevant, as did the streetwise body con dresses of Cecilie Bahnsen’s collection, teamed irreverently with Fez hats and Yoko sunglasses; millinery also got a nod on the runway in the form of Zara Gorman’s jet black, futuristic head gear. A respite from the monochromatic palette came in the form of Morten Underbjerg Olesen’s flamboyant fur, glitz and ruffling, which came in every colour of the rainbow.

Hip hop, skinheads, Spanish Matadors and J.G. Ballard’s novel Crash composed just some of the inspirations that combined to achieve the enthralling range of menswear on offer. Astrid Anderson’s luxe sportswear was pure rapper’s delight – hot pink velveteen puffa jackets replete with fur trimmed hoods, bejewelled track pants and enough bling to make P.Diddy’s pulse race. The fusion of bold hues and extreme embellishment in Trine Jensen’s collection was brave, with jumpers bedecked with masses of metal hoops and the occasional bum bag or Glengarry hat thrown into the mix, while Alan Humphrey Bennett’s oversized PVC rucksacks, hold alls and voluminous raincoats in acid brights proved attention grabbing. On a more subdued note, Robert Huth presented a great line in understated, deconstructed neutrals while Le Lin Tiffany Tang added a touch of sparkle to traditional tailoring by weaving metal yarn into razor sharp suits.

The MA accessories students presented their wares at the gallery-style static show. Specialising in footwear was Sophia Grace Webster (who already has the title of designer for Browns and Georgina Goodman under her belt) showcasing her vibrant digitally printed satins and Perspex heels inspired by African butterfly wings. Kathleen Connors otherworldly shoe and boot formations, fashioned from PVC and silicone were intriguing, as were Damion Le Cappelain’s starkly industrial, square-toed men’s shoes. Arm candy was supplied by Christianna Ibikunle whose overtly masculine, black leather satchels added a stamp of macho to man bags and sat in stark contrast to Chloe Shinnie’s artisan basket styles, woven into organic shapes. Utterly inspirational, Show Fashion provides the springboard, and sponsorship, to ensure their designers are set for stellar careers to rival those of esteemed ex-alumni such as Christopher Bailey, Erdem, Ossie Clark, Philip Treacy and Holly Fulton; something tells us they’re more than ready.

Words Emma Harding  Images RCA

BLACK IS THE COLOUR OF CHOICE HERE AT AGENT2, SO WHEN WE CAUGHT WIND OF THE NEW EXHIBITION BLACK: MASTERS OF BLACK IN FASHION AND COSTUME WE JUST HAD TO TAKE A LOOK.  WHAT BETTER LOCATION COULD THERE BE FOR SUCH AN EXHIBITION THAN THE FASHION INDUSTRY’S UNOFFICIAL HOME OF EVERYTHING DARK AND MINIMAL, ANTWERP.

As fashion capitals go, much of the city’s influential status is owed to the Antwerp Six—graduates from the Royal Academy of Fine Arts in the early ’80s—whose members include Dries Van Noten, Walter Van Beirendonck, Ann Demeulemeester, Dirk Bikkembergs and briefly, Martin Margiela whose work is also receiving homage at a new London retrospective this summer.

The city, famed for dyeing fabric black throughout the 16th and 17th centuries has become intrinsically linked with the colour. Antwerp’s Mode Museum now plays host to the exhibition exploring the significance of fashion’s favorite colour throughout history and the different messages it has conveyed.

The exhibition also explores the textures and the potential of the colour black in diverse materials, including fur, leather and lace; drawing masterpiece examples from contemporary designers who, like the city of Antwerp, have a special connection to black.

Mode Museum’s Black exhibition features garments from the likes of Ann Demeulemeester, Olivier Theyskens and Dirk Van Saene, as well as the international couture houses of Givenchy (Riccardo Tisci), Chanel and rapidly rising star Gareth Pugh.

The exhibition runs until August 8.

Words Graham Gartside-Bernier

THE KJAER WEIS RANGE OFFERS A COSMETICS KIT WITH SUPER GREEN CREDENTIALS.

‘‘Think of it as the difference between eating an apple fresh from the tree or opting for a processed cookie,’’ enthuses make-up artist Kirsten Kjaer Weis, neatly illustrating the benefits of her new, organic Kjaer Weis cosmetics line over traditional brands. The beauty industry has long recognised the importance of organic and sustainable products, with everything from skin care to bath oils and fragrance receiving the eco treatment. Cosmetics manufacturers, however, have been slow to face up to the demands of a chic, sustainable lifestyle, leaving principled make-up junkies at a loss to find their fix. The impossibly sleek Kjaer Weis range, created from 95% organics and stocked exclusively by champions of innovation, Space NK, looks set to supply it.

Kirsten cites the exacting skincare demands of her clients during 18 years of industry experience, as the initial motivation for starting her range. ‘’I really started questioning products after the constant flow of women that I would find sitting in front of me with rashes and allergies – if that’s the short-term effects, imagine the long term? It really got me thinking.’’ The outcome, 6 years in the making, has been a CCPB certified, truly organic line for eyes, lips and cheeks, whose formulas consist of pigments and preservatives extracted from wildflowers and minerals to create natural shades and scents, while harmful parabens and emulsifiers have been replaced with earths own beeswax.

The results may be ground breaking, but the delicate nature of organic ingredients can pose challenges. ‘‘Due to the natural components, ingredients can differ from harvest to harvest,’’ states Kirsten, ‘‘this means that every item is like a hand made piece and has to be monitored for consistency.’’ This meticulous desire to reap the best from nature is reflected in Kirsten’s holistic approach to life and her philosophy that beauty is primarily achieved from within, through a balance of a healthy diet and exercise in order to produce ‘clean cells’, the foundations of a glowing complexion.

A lifelong passion for all things art and design informed the collaboration with acclaimed designer Marc Atlan, the man responsible for many Comme des Garçons and Helmut Lang creations, to produce the impossibly slick enameled silver compacts which offer a refillable and, therefore, sustainable system. The colour palette for the collection is neutral and universally flattering, designed to work on a wide variety of skin tones. ‘‘I have drawn on all my professional experience to find the perfect shades,’’ states Kirsten, ‘’I feel the strongest about my sense of what does and doesn’t work with colour.’’ Starting with her initial ‘tight knit kit’ there are plans for additions to the range. Next up is mascara and Kirsten is currently tackling the dilemmas of creating an organic foundation stick. ‘‘Ultimately what I wanted to achieve was an alternative that fused beautiful colour, texture and design with organic formulas. I think it’s the way forward.’’ Watch this space.

Stocked exclusively at SPACE NK and selected stores in Denmark.

www.kjaerweis.com

Words Emma Harding

LONDON-BASED MENSWEAR AND WOMENSWEAR LABEL LU FLUX’S SPRING/SUMMER 10 COLLECTION, THE ECO LIFE OF RILEY, IS NOW AVAILABLE ONLINE AT THE SUPERSWEET SHOP.

The idiosyncratic website Supersweet.org, has handpicked Lu Flux to join the ranks of artistic gold on their unconventional corner of cyberspace. The Eco Life of Riley stands alongside collections by concept designers Noble Youth and Third Drawer Down. The Supersweet Shop features the extraordinary, the strange and the ambiguous, the fabulous, the ugly and the downright weird.

So what’s all the fuss about?

The Eco Life of Riley consists of mesmerising patchwork florals and cutesy, playful quirks created from salvaged, vintage and organic materials. The handcrafted pieces reek of old-school British eccentricity and exude undertones of unperturbed child-like nostalgia.

Bang on trend, Lu Flux’s creations are the epitome of trailer-trash. Reminiscent of hillbilly nonchalance and hippy cast-offs, the pieces will have you daisy-picking and meadow-hopping before you know it. Patchwork, also featured in Roberto Cavalli’s spring/summer 10 collection, adds a texture-rich dimension to Lu Flux’s clothes. The designer’s ability to knit and sew discarded vintage fabric into one-off contemporary pieces will have you truly captivated.

Every stitch oozes Lu Flux’s passion for pre-lived fabrics.

“I’ve always been excited by textiles, that’s why I got into fashion” says Lu Flux.

“It all started when I volunteered at Shelter. I used to sort through all the donated clothes. Now, when I’m looking in the charity shops I take the clothes that are bobbled, ripped or simply aren’t selling.”

Lu Flux’s collections are sustainable fashion at its best and the perfect antithesis to today’s culture of disposable fashion. The Edinburgh Art graduate showed at London Fashion Week’s Estethica exhibition. The Guardian featured the label in its Earth Day Fashion Pick.

“The aim is to make something new out of something old so as to consume less and reduce waste, ” says Lu Flux.

The Eco Life of Riley strikes idyllic harmony between fashion and eco-motives. Caught up in the recent surge towards green practices, eco-fashion has become a buzz word of late with designers clamouring to stamp their creative flair on the movement. Fairly new on the scene, Lu Flux carries a sincerity that gets to the very heart of compassionate fashion. Her collections provide a cruelty-free and eco-friendly fix to fashionistas with a conscience – these are the kind of clothes that will have the fashion pack envious and the eco posse respectful.

All Lu Flux’s collections are characterised by her love of fabrics, off-the-wall eccentricities and eco-tendencies but The Eco Life of Riley will send that extra flutter down your spine. The designs are more wearable and the textures more luxurious.

Words Camilla Duncan

COCO COCOON, CHANEL’S LATEST HANDBAG COLLECTION MODELLED BY VANESSA PARADIS, IS TO LUST-FOR.

From Karl Lagerfeld’s fertile imagination comes the second collection of Coco Cocoon bags. The line is available in sizes ranging from toiletry case to suitcase, in colours going from neutral grey or black caviar to attention-grabbing gold. Fabric-wise, Chanel went for the big classics: fur and leather, as well as the more modern nylon. All bags are lined in contrasting colours.

After a first, Audrey Hepburn–inspired campaign fronted by Lily Allen, Chanel has chosen Vanessa Paradis to be the face of Coco Cocoon. The French actress and singer is a Chanel-front-row-and-advertising-campaign regular.

The new ads, shot by the Kaiser himself, show a beanie-wearing Paradis hugging various Coco Cocoon bags, which appear as soft and comfy as pillows. She’s the perfect égérie for this easy-to-carry collection set to become a house classic.

coco-cocoon.chanel.com

Words and images Lucie Goulet  Campaign images Chanel

WITH A CURIOSITY FOR FENCING AND THE FEMININE FORM, LOUIS- CHRISTIAN PENDEGRASS HAS NOT EVEN BEEN OUT OF UNIVERSITY FOR A YEAR AND HE IS ALREADY MAKING WAVES IN THE FASHION WORLD. AGENT2 MAGAZINE’S JENNIFER BUTLER FINDS OUT HOW MENSWEAR HAS INSPIRED HIS SILHOUETTES AND HOW HIS JOURNALIST MOTHER CARVED HIS LOVE OF FASHION.

How did it feel to work at Mulberry and what did you learn from the experience?

I worked at Mulberry for a school internship program. It was such an eye opener as it was my first step into a professional working environment. I worked alongside the ready-to-wear technicians and the head designer for men’s and womenswear. I was taken out for research trips across London to markets and vintage stores; I also got the chance to sit in on the private view of the new collection, liaising with the buyers and press. It was terribly exciting for a 14 year old. The experience taught me how a large international company operates, how the team correspond and what each of the steps was to putting together a collection, not only of garments but accessories.

Your collection could almost be described as menswear for women. What inspired you to create the streamline shapes we see in your collection?

I am very inspired in my work by menswear silhouettes.  I’m tired of the typical 80’s ideal of womenswear, the idea that women had to look stuffy and boxy to gain respect; this is why I wanted to create a collection which used both strong lines while always accentuating the female form. I paid close attention to the streaming continuity of line which moves through a women’s body, from the circular balls of a shoulder to the square lines of the pelvis. The collection was initially inspired by fencing. Sport is such an elegant form of expression, which represented chivalry and honour, so I wanted to incorporate different aspects of this into my garments. I went to a few lessons and was inspired by the blade clashes and scores. This led me to research into artists who use cutting as a painting method. I came across Lucio Fontana who used a sword to slice open raw canvases at different angles, thus creating a piece of art which is completely organic in its creation. The slashes on the shoulder and down the centre back of my pieces represent deep blade scores; I decided to encrust them with crystals to give the impression of bleeding jewels from a wound.  The 3D aspects to my work were inspired by an artist called Giacomo Balla. Balla made steel formations in the 1900’s. The shapes he used were very precise and clean, but I wanted to keep the shapes in my pieces organic, so I developed my own from origami patterns, which evolved into what you see in my collection.

What inspired you to become a designer?

I don’t think there was any one thing which inspired me to become a designer; it’s just a natural interest, just like any other hobby. I was drawn to womenswear through film and theatre, it was far more interesting to me than any other normal little boy hobbies like sports, therefore my mother encouraged my interest with fashion books and trips to exhibitions, this developed into a strong passion as my knowledge and awareness grew and once I knew I could make a career out of it, I ran with it.

You are quite fresh out of university, how did the experience of going to university influence your clothing line?

University was a life changing experience. It’s not only a place to grow as a person and develop technical skills, it’s also an environment where one gets the opportunity to experiment with so many different methods and styles, allowing you to discover and then hone your personal tastes and signature look, within your work. My design ‘handwriting’ evolved throughout university, yet, just like any taught subject, once you’re in the driving seat on your own, with the absence of instruction, you learn far more.

What are the aspirations for your next collection? Is your dream to eventually showcase at London Fashion Week?

My next collection aspirations are to develop, once again, a small capsule collection, this time perhaps not displayed on a catwalk but in a showroom with look books full of clean, contemporary imagery. The next collection is far more focused on the female form than before. There is much attention paid to print and bold lines, accentuating a sexier and cleaner physique, its highly wearable concept fashion, which is always what a designer strives to provide. Creativity and fantasy yet can be worn in various environments with ease. I do have dreams of showing on schedule at London Fashion Week eventually, but for now I want to experience as much as I can within this industry, before I properly start my own business. Working for different designers I feel is so vital to another creative’s professional education. Seeing how others conduct their work and learning different methods is a challenging and exciting opportunity. Perhaps New York is my next station stop; I would love to see the change in work ethic is over there, it is probably a lot faster over there.

Hemyca produces quite futuristic designs. How has working with them sculpted your collection?

Working for the Hemyca designers truly was an eye opening experience. They have a finely tuned signature look, which is strong and sexy yet very feminine and so considerate. The head designers also borrow inspiration from menswear silhouettes and styles yet construct the designs into beautiful pieces a woman can be proud to be seen in. We worked very well together as I understand the vision Helen and Myra (chief co-designers) have, It was so exciting working on their catwalk collections as the patterns always incorporated folded, 3D almost origami like structures, this helped my imagination when designing my own collection, it gave me the chance to push my ideas further as I knew what could be created and produced on a piece of clothing.

How has your upbringing shaped the way you think about clothes?

My family is very artistic and creative. My mother is a journalist, she used to edit a magazine called Menswear, sister to today’s Drapers, in the 70’s/80’s and also was fashion editor and a stylist on a magazine called Love Affair, therefore spending her working week with designers, stylists, editors and the rest, she had a strong eye for style and well cut clothing. When I was a child she noticed my lack of interest in sports and other typical boy orientated hobbies and pushed my interest in costume and fashion, she bought me books on Versace, Dior and my first Vogue. I would make clothes for dolls and keep files of small patterns and sketches. My great aunts on my mother’s side were also in the rag trade, having spent most of their working life as chief designers and pattern cutters for Edward Molyneux, it was obvious to my parents at a young age that I would want to work in the creative arts and fashion.

You obviously have a strong understanding of the female form, why is this so important in your designs?

Having an understanding for the female form is terribly important, as, put simply, your creating something for a woman. A woman is a strong, sensitive, creative and beautiful creature and to design is not just making something to cover a naked body, it’s to make the most of every natural curve and feature of the female form. Whereas I used to find the idea of a model wearing one of my designs on the catwalk the most exciting idea, I now want to see someone real in my designs. When a woman chooses one of my pieces and wants to wear it out and about town, that’s when the real excitement comes for me.

What is your proudest moment so far in your career?

My proudest moments so far would be an amalgamation of all the interest my graduate collection has received. My garments have been all over London in countless photo shoots, magazines and campaigns, I still can’t believe that it generates so much attention after this many months, it’s a fabulous experience receiving admiration from others for something so close to your heart.

What celebrities wear your clothing and who would you like to see wear them in the future?

No celebrities have as yet worn any of my designs, never say never though. The kind of woman I want to dress is someone who represents true talent and aspiration. The concept of fame and celebrity has evolved into something rather repulsive these days, so I wouldn’t want to endorse anything other than hard work and dedication, as that is what it will take to truly make a career worth having for myself and any other future creative’s in this business.

Words Jennifer Butler

FASHION BLOGGING IS TAKING OVER AND ZANA BAYNE KNOWS IT.

The 21-year-old fashionista, originally from San Francisco, is currently making the most of the New York fashion scene while living in Brooklyn. With a pile of wild curls on her head and painfully cool ensembles customised within an inch of their lives, Zana epitomises Eastside couture.

Zana runs well-read fashion blog Garbage Dress . The blog was born in 2008. On it, she posts pictures of herself dressed head to toe in designer apparel and some of her own designs, also made under the name Garbage Dress.

Like many other up-and-coming bloggers, people want to know what is coming next from Zana, giving her a massive following in the online fashion world. She said, “I’ve always focused on sharing original content that directly reflects my life and point of view, which means I post about everything from a great party to what shoes I’m wearing to an egg sandwich in Paris. Its a direct lens into my life, probably the closest to “walking in someone’s shoes”.

Fashion blogging has been on the rise for the past few years, with well-known bloggers using their online ramblings to showcase their sartorial knowledge to literally anyone who logs on. Zana landed a job at Lurve magazine last year due to the fashion know-how she shows on her blog. “I view Garbage Dress as an online portfolio of sorts, Lurve found me through it. It has been and continues to be one of the most challenging, inspiring, and ultimately rewarding experiences.”

Zana commented on the importance of a blog to an aspiring stylist or journalist, “ I think that networking is the most important tool to master. A blog is good, but so is actual work experience and getting to know your field of choice.”

Zana’s success through her blog not only lies with her job at Lurve but with her accessories range Garbage Dress. The free publicity of her blog is helping her new project.The accessories vary from belts to harnesses and have found their way to A-lister’s wardrobes. Katy Perry was spotted wearing one of Zana’s harnesses at Coachella, Zana proudly published a photo of on her blog with the ecstatic “YES that really is Katy Perry wearing a Garbage Dress harness!”

With her blog still in full flow, a collaboration with Pleasure Principle for her leather accessories and her position at Lurve magazine constantly evolving, it seems Zana Bayne has a lot on her plate. And she is loving it!

Words Natalie Davies