DAY FIVE LFW: Flying Lizards and Barking Dogs London Fashion Week

Despite Tuesday beginning with transport problems thwarting our every attempt to get to a fashion show at all, we would not be deterred! Having discovered that both Mary Katrantzou and Cooperative Designs had started and finished as scheduled (just our luck!) we sped over to Covent Garden to catch Josh Goot at the Flower Cellars. Five stars for a gorgeous venue, all echoes and atmosphere, and top marks for the clothes, all serene minimalism. Josh seemed to have taken cues from Two Face, or more likely Ying and Yang with his two-tone collection – one side dark, one light. It was essentially monochromatic but instead of white we had barely pink and almost mint. Skinny tailoring featured contour lines almost carved out of the fabric and hair was slicked back to create a smooth, linear effect. It wouldn’t be a/w09 if Josh didn’t include a print and he didn’t disappoint with his offering, a nebular cluster of colours.

From pared down chic to tongue in cheek at Avsh Alom Gur, who wasn’t about to beat around the bush. He knows there’s economic hardship and he’s rolling with it and against it. A soundtrack littered with money themed tunes with favourites such as the Flying Lizards ‘Money (That’s What I Want)’ accompanied a beautiful gown emblazoned with the words ‘credit crunch’. These may be hard times but Av's collection steers towards haute couture. Inspired by a Parisian ball, luxury abounds with voluminous gowns, stunning dancing girl prints and a structured skirt could almost have been ripped from renaissance chair. The collection had been without it’s credit crunch theme until last Friday when it became a sudden addition – though we like to see his gorgeous clothes, it isn’t fashion week without Avsh Alom’s unique brand of humour.

Also a last minute addition to the catwalk was Blow’s Same Generation show, a replacement for the much-missed Spijkers en Spijkers who had to pull out at the last minute. Only an outfit like Blow PR with their unstinting commitment to upcoming talent, could turn this around in just a few days. We rallied our spirits and were greatly entertained by three fresh talents in a show that felt truly what London should be about: guerilla showcases and creative innovation entertaining the crowds. Gemma Slack was first up with a series of gothic garments inspired by religious crusades and medieval armour. There is a menacing overtone to her collection: mouth ‘bits’ brought back memories of Hannibal Lector and his chilling mask and a neoprene padded jacket looked like segments of vertebrae, albeit fashioned in a beautiful way. Glossy black was intermixed with a smouldering smoke print, echoing the billowing incense burning in a church thurible. Komakino also stuck to black with their menswear offering. Part bondage, part urban, there are mesh hoodies featured alongside leather biker jackets with S+M straps. What sets Komakino apart is the utilitarian detailing such as a rucksack with a hood attached and bags attached to garments. Craig Lawrence headed away from this gothic sensibility and showed a zany collection that was all about colour and movement. Inspired by sweets and cocktails, the opening dress seemed to have springs attached to the hem as it bounced down the catwalk. As ever, the crazier the collection, the more input from the audience; boy did they go wild.

Emma Bell seemed to have taken this into consideration with her brilliantly bonkers collection at the Fashion Scout. London club celeb Scottee entered centre stage to warble, or rather croak, ‘How Much is That Doggie in The Window’ in a dog costume and sparkling gold heels, accompanied by a dapper violinist. Fashion theatrics, impossible not to love ‘em. This was fun, experimental fashion with a Perspex gingerbread man waistcoat opening the show. The collection stemmed from Emma's experience seeing cruelty to dogs in East Asian cultures, so a canine theme dominated proceedings; wolf printed yellow jeans and an orange sequin dress with two kissing pups are just two examples (not to mention the slideshow of pets that preceded any catwalk action). Not all of what we saw was dedicated to man’s best friend, as cute as they are. Yellow quilted PVC trousers were like a high fashion option for trawler fishermen and a peeled banana print livened up a sparkly silver number. A neon knit houndstooth (note the hound in houndstooth!) dress paved the way for the three stars of the show: two fame hungry West Highland terriers that almost upstaged a certain Jodie Harsh.

Aside from feeling a little disappointed that we couldn’t take the live dogs home, we took comfort in the fact we would remember Emma’s barking show for a long time to come. What a way to end the day.

Words: Selene Pearson
Photos: Kate Gillett

DAY FOUR LFW: We Like MondaysLondon Fashion Week

Sometimes Monday mornings can feel like a drag, but not this particular Monday. It was the opening of Hats: an Anthology by Stephen Jones at the V&A and so instead of a Monday morning scowl we made our way to the museum with a quickened step, after all who better than Mr. Jones to compile such a comprehensive collection of headgear.

The exhibition features a variety of Stephen's own designs amongst offerings from other milliners, designers and ancient examples such as an Anubis headdress from 600BC. This is no stuffy museum exhibit; it's been curated with a real artistic eye. The space itself is dimly lit, with a country garden feel - the hub of the anthology, a reenactment of millinery life and a studio in motion. A conformator (a hat measuring machine) sits pride of place and desks and floor are strewn with trimmings. Other thematic touches include a case dedicated to Cecil Beaton, floral, candy-coloured and inspired by the scene in My Fair Lady when Eliza goes to the races. Another showcases Queen Victoria’s bonnet and Prince Albert’s top hat sit side-by-side, apt when you think of the museum in which the exhibit sits.

Instead of a dry chronology of hats, spanning decades, you go from case to case according to titles such as ‘feathers’, ‘history’, ‘geometry’ and, our personal favourite, ‘London’. This means that there are hidden surprises everywhere: a top hat stenciled with bats, a ‘Wash and Go’ hat emulating shampoo bubbles frozen in time, and a jester’s cap from the 17th century, perfectly preserved.

After three intense days of catwalk shows it was nice to take a leisurely stroll in a quiet museum. Harriet’s Muse (aka Cheryl Partington and Craig Spellar) must have picked up on our aura as they presented an a/w09 show with a difference. Four chairs, four models, four hat stands and two designers dressing them, live on the catwalk. And you thought Project Catwalk was fashion reality. Before our very eyes we saw outfits take shape, models being laced into corseted dresses by Craig, whilst Cheryl artfully ripped the gauzy fabric on the hemline. This wasn’t just a narcissistic move on the designer’s part, sick of the models hogging the limelight, but rather an effort to create something out of nothing, namely surplus fabric stores in their studio and recycled trimmings. Slow paced and thoughtful, it was as if the backstage mayhem had been slowed down and put on show.

After two events without a traditional catwalk show, why break the trend. Over to the BFC we went, this time to inspect the exhibition. On the ground floor, just a hop skip and a jump away from the official catwalk are the estethica stands where, as we’ve come to expect, People Tree was holding court. Continuing with their designer collaborations, Bora Aksu has leant his unique fairytale vision to the ethical brand once again with some hand embroidered silk pieces and Eley Kishimoto have been added to the mix with a series of their instantly recognisable abstract prints.

Upstairs, in the NewGen section of the exhibition, we caught up with Krystof Strozyna who’s show we missed by a split second on Sunday. Mint green form-sculpting dresses left us even more gutted we missed the clothes on the catwalk. The upside to visiting a stand is to see nifty details up close, such as the delicate string feature that made Krystof’s clothes distinctive. His NewGen neighbour Hannah Marshall was also experimenting with surprising details such as hardened stingray skin collars and braces on her LBDs. Next season we want to see her catwalk debut!

And finally, we couldn’t go a whole day without entertaining the idea of a procession of models doing what they do best and so it was off to William Tempest at the Fashion Scout. With a headcount to rival John Rocha (and with Hermione from Harry Potter sitting front row) there was a manic atmosphere, all were hotly anticipating this designer. The clothes are sexy science fiction, with a sculpted silhouette of jutting peplums and capped shoulders that looks set to be huge in a/w09. Prints looked to the future with electric lightning adorning one dress but also to the past with an homage to Tudor times: Henry VIII and daughter Elizabeth I peered out from printed panels. Perhaps they were admiring the blinging diamond print, splashed over a silk dress and William’s own shirt.

Wasn’t it Bob Geldof who sung ‘I Don’t Like Monday’s’? He would have liked this one.

Words: Selene Pearson
Photos: Kate Gillett

DAY THREE LFW: Prints Charming London Fashion Week

Holy moly, getting up for a 9.30am start on a Sunday feels unnatural, but luckily Betty Jackson made it worth it. Most of the onlookers looking forward to their Sunday roast may have had a rethink as Betty's collection is all about the midriff. Cropped tops are worn with snug pencil skirts and more voluminous ensembles are cinched to reveal a tiny waist, hidden under layers. It was grown-up girly; flower prints are painterly and not saccharine and a subtle snakeskin print replaced the more in-your-face offerings we saw at Eley Kishimoto (more of that later). Despite the intimidating thought of abs on show, the clothes all looked effortless; lots of tying and draping and even some artful fraying. For the third day in a row we saw summery hues for an a/w collection: icy blue and faded mustard replaced traditional autumnal tones. The smart girl touch was a handbag worn as a rucksack - Betty, mass-produce them quick, all this LFW travel with a heavy bag is leaving us lopsided!

Falguni and Shane Peacock were the first husband and wife duo of the day - showing for the second season as part of the On/Off schedule, after already establishing themselves in India. We didn't know quite what to expect but were immediately transported to Mumbai when the Slumdog Millionaire score filled the On/Off space at the Science Museum. In the place of traditional Indian sari colours, we saw deep jewel tones and pixellated prints. The Peacock’s forte is surface design, building up sleek dresses into an artist’s canvas. One number seemed to be constructed from shards of coloured glass, though this seems unlikely considering the health and safety issues, and feathers formed the shape of another. One print, the amber coloured swirls on a floor- skimming gown, was like haute couture molten lava.

And speaking of prints, and indeed husband and wife duos, Eley Kishimoto brought some serious sunshine to the BFC tents. Punters walked in to sounds of airport announcements rather than the usual dance anthem or ambient coffee shop tune. And the travel theme didn't stop there (we should have guessed from the boarding pass ticket) as the smooth voice of old blue eyes himself, Frank Sinatra, rang out with 'Come Fly With Me' and a series of 60s inspired ensembles appeared. The collection, entitled Jet Set Masala, gave a slight nod to The Avengers and Twiggy with monochrome checks and bold, block coloured ensembles paired with matching jaunty riding hats and tiny 'EK' emblems. You could imagine these ladies in the heyday of glamorous travel, serving you champers in first class. Please Eley Kishimoto, give British Airways staff a makeover. Goodness knows they need it. In the blink of an eye swinging 60s paisleys met exotic tiger prints in pink and turquoise and the sounds of Bollywood filled the space (hang on a minute...deja vu). The refined airhostesses had touched down in spicy India; a neat tea dress traded a round neck for an asymmetric sari collar and they were ready to explore.

For a hat trick of shows featuring glorious prints, we had the pleasure of seeing Louise Amstrup at the Fashion Scout. A graphic print of acid yellow smoke adorned her sleek collection of womenswear. Form fitting dresses were canvases for draped folds of liquid-like fabric and boy, the girl sure knows how to make a behind look good with her skinny tailored trousers. The prints didn’t quite steal the show; instead a dove grey sleeveless coat with Star Trek sleeves had that pleasure. Pens scribbled harder, shutters closed quicker and eyes grew wide; all signs of a showstopper.

From a relative newcomer to British fashion heavyweight, it was back to the BFC for Jaeger. As expected, it was a rather celeb-packed affair; names from Alexa Chung to Nicholas Hoult lined the front row. Flashbulbs blinded us, oversized handbags wielded by overzealous editors walloped us but we remained calm amongst the storm. The collection was the opposite of the atmosphere: refined and subdued. Yet more monochrome was handed to us, a stark contrast to the rainbow stylings of Eley Kishimoto, though there were a few geometric prints painted onto simple sheath dresses. Neat jackets and womanly skirt suits featured subtle tactile details like furry cuffs for comfort and sheepskin shrugs to snuggle in. The only bedazzling details were bejeweled necklines, adding some sparkle amongst the subtle tones.

There seems to be two approaches to design this week: blind the crowd with colour to erase any thoughts of the economy or offer appropriate fare, toned down and unostentatious to remind them of it. Either way, we get a variety of catwalk shows to keep our fashion week interesting.

Words: Selene Pearson
Photos: Kate Gillett

DAY TWO LFW: From Hell, to Greenland and back.

Despite the overlap with New York fashion week (with its power brands and names) by day two of London’s creative effort it’s clear that we certainly haven’t been deserted. Our day commenced with John Rocha, in the BFC as per usual and literally brimming over with eager faces. When we call Mr Rocha reliable, it isn’t to say that he doesn’t surprise, just that he always delivers quality goods that please the punters. Of course a/w09 was no different.

The John Rocha rainbow has three star hues: black, bone and a peachy nude and each season a supporting act comes in to make a play for the starring role. Last season was deep blue and coral, this season a cheerful, fiery red that punctuates the otherwise sombre palette. The show notes declare that this season is about “austerity offset with a sense of utter happiness and a handsome recklessness” and so the procession of girls took turns in prim, black tailored coats and then hooped skirts in pale pink fit for a princess and encrusted with sparkling jewels. In fact there were a few regal touches; Anne Boleyn-like head dresses adorn scraped back hair and playing King to Anne Boleyn’s fleeting Queen was a menswear shearling coat, echoing Henry VIII and his ostentatious bearskins. Rather more likely to appeal to men of today (and hopefully the kind that wouldn’t lop their multiple wives heads off) was a crisp white classic shirt with plaid panels, in fact we’d like one for ourselves.

Channeling ideas of happiness and reckless abandon we headed over to Horace at the Vauxhall Fashion Scout. Adam Entwistle and Emma Hales, the duo behind Horace, are a rather smiley twosome but their clothes on the other hand seem to require attitude and a designer scowl. Working predominantly in black, textured layers of knit and leather drape and cocoon the body, male or female silhouette disappearing amongst tactile layers. The overall collection is quite androgynous – both guys and girls were in stomping boots, artfully unlaced and both rocked the harem pants and fluid layers. Putting aside the rock 'n' roll aspect (which is really unavoidable) this season seemed rather sinister, perhaps owing to the collection “embodying the spirit of 18th century monks”. Not sure about anyone else, but we think there’s something a bit Edgar Allen Poe about all this.

Apparently Ann-Sofie Back was in on the trend for eerie themes with her collection poetically titled “Ann-Sofie Back burns in hell”. Lovely. As we well know when Ann-Sofie Back chooses a theme she finds hidden aspects that not many would think of and boy does she run with it. This season she went wild for classic horror films and the musical themes of the Exorcist, Psycho and Ghostbusters, amongst others, echoed around the walls of the Topshop showspace as her a/w09 collection made its debut. Cross stitching on jeans and jackets mimicked Leatherface’s mask in the Texas Chainsaw massacre, zips on prom dresses make parallels with that classic teen horror stereotype. Dreamcatcher details are inspired by the Indian burial discovery in Poltergeist 2 and slash front dresses were worn by unlucky models that had obviously suffered an encounter with Freddie Krueger before taking to the catwalk. Putting the (brilliant) theme to one side, the garments had Back’s trademark asymmetric hemlines and punky details, turning what could have been a gimmick into wearable fashion. And in any case, who wouldn’t want a sweatshirt declaring ‘Boo!’ to all who you encounter.

Peter Jensen’s show took place in the same space, and a certain Mr Kanye West (or should that be KANYE WEST in honour of his love of caps) had come along to enjoy the show. Inspired by ‘Jytte’ who seems to be Aunty Jensen according to the diary entry style show notes, a Greenland resident, the show opened with yodel-like music and featured traditional kamik snow boots given the catwalk treatment (i.e. heels and a smattering of floral patterns). It looked a little bit like Heidi had grown up and got a job in fashion in the big bad city. So what of the menswear, what will we see Kanye wearing in his next video? A toss up between the floral gilet worn by a very nerdy chic male model or a metallic houndstooth jacket, ready to glint under Flashing Lights (excuse the pun).

From Hell, to Greenland, back to the 18th century and stopping over briefly in Tudor times. Forget New York, London deserves a visit if only for the mind-boggling concepts you’ll encounter day to day.

Words: Selene Pearson
Photos: Kate Gillett

DAY FOUR LFW: We Like Mondays

Sometimes Monday mornings can feel like a drag, but not this particular Monday. It was the opening of Hats: an Anthology by Stephen Jones at the V&A and so instead of a Monday morning scowl we made our way to the museum with a quickened step, after all who better than Mr. Jones to compile such a comprehensive collection of headgear.

The exhibition features a variety of Stephen's own designs amongst offerings from other milliners, designers and ancient examples such as an Anubis headdress from 600BC. This is no stuffy museum exhibit; it's been curated with a real artistic eye. The space itself is dimly lit, with a country garden feel - the hub of the anthology, a reenactment of millinery life and a studio in motion. A conformator (a hat measuring machine) sits pride of place and desks and floor are strewn with trimmings. Other thematic touches include a case dedicated to Cecil Beaton, floral, candy-coloured and inspired by the scene in My Fair Lady when Eliza goes to the races. Another showcases Queen Victoria’s bonnet and Prince Albert’s top hat sit side-by-side, apt when you think of the museum in which the exhibit sits.

Instead of a dry chronology of hats, spanning decades, you go from case to case according to titles such as ‘feathers’, ‘history’, ‘geometry’ and, our personal favourite, ‘London’. This means that there are hidden surprises everywhere: a top hat stenciled with bats, a ‘Wash and Go’ hat emulating shampoo bubbles frozen in time, and a jester’s cap from the 17th century, perfectly preserved.

After three intense days of catwalk shows it was nice to take a leisurely stroll in a quiet museum. Harriet’s Muse (aka Cheryl Partington and Craig Spellar) must have picked up on our aura as they presented an a/w09 show with a difference. Four chairs, four models, four hat stands and two designers dressing them, live on the catwalk. And you thought Project Catwalk was fashion reality. Before our very eyes we saw outfits take shape, models being laced into corseted dresses by Craig, whilst Cheryl artfully ripped the gauzy fabric on the hemline. This wasn’t just a narcissistic move on the designer’s part, sick of the models hogging the limelight, but rather an effort to create something out of nothing, namely surplus fabric stores in their studio and recycled trimmings. Slow paced and thoughtful, it was as if the backstage mayhem had been slowed down and put on show.

After two events without a traditional catwalk show, why break the trend. Over to the BFC we went, this time to inspect the exhibition. On the ground floor, just a hop skip and a jump away from the official catwalk are the estethica stands where, as we’ve come to expect, People Tree was holding court. Continuing with their designer collaborations, Bora Aksu has leant his unique fairytale vision to the ethical brand once again with some hand embroidered silk pieces and Eley Kishimoto have been added to the mix with a series of their instantly recognisable abstract prints.

Upstairs, in the NewGen section of the exhibition, we caught up with Krystof Strozyna who’s show we missed by a split second on Sunday. Mint green form-sculpting dresses left us even more gutted we missed the clothes on the catwalk. The upside to visiting a stand is to see nifty details up close, such as the delicate string feature that made Krystof’s clothes distinctive. His NewGen neighbour Hannah Marshall was also experimenting with surprising details such as hardened stingray skin collars and braces on her LBDs. Next season we want to see her catwalk debut!

And finally, we couldn’t go a whole day without entertaining the idea of a procession of models doing what they do best and so it was off to William Tempest at the Fashion Scout. With a headcount to rival John Rocha (and with Hermione from Harry Potter sitting front row) there was a manic atmosphere, all were hotly anticipating this designer. The clothes are sexy science fiction, with a sculpted silhouette of jutting peplums and capped shoulders that looks set to be huge in a/w09. Prints looked to the future with electric lightning adorning one dress but also to the past with an homage to Tudor times: Henry VIII and daughter Elizabeth I peered out from printed panels. Perhaps they were admiring the blinging diamond print, splashed over a silk dress and William’s own shirt.

Wasn’t it Bob Geldof who sung ‘I Don’t Like Monday’s’? He would have liked this one.

Words: Selene Pearson
Photos: Kate Gillett