Feb 26
It’s been a tumultuous few weeks for British fashion after the tragic death of the East End boy come world renowned couturier Lee Alexander McQueen.
The loss of a true fashion maverick— a designer whose brilliantly eccentric creations and non-conformist attitude to the industry—inspired much of the talent that was showcased at Somerset House over the 6 days of London Fashion Week.
It was on Tuesday, less than a fortnight after his death, whilst waiting for the Amanda Wakeley show to begin that I was able sit and reflect on the impact of his death. As I surveyed a tribute wall, erected in his honour, the emotion in the room was palpable. I watched as people scribbled heart-rending messages, some expressing the great loss they felt, others thanking him for inspiring their own work. It was a truly poignant moment that made me realise what a huge void ‘Le Enfant Terrible’ (meaning unruly child) as he was often referred to, had left.
Come Thursday, after the catwalks had been dismantled and the last of the wandering show pamphlets had been swept away into a dusty heap, it was time for those who knew the man behind the brand, to say their final goodbyes. It was the most moving fashion procession ever held under McQueen, as his friends and family paid tribute to his legacy by wearing his creations. One attendee in particular, Daphne Guinness, made a breath-taking homage to his 2002 A/W collection. Consumed by both overwhelming grief and a wonderfully avant- garde black cape, in this instance fashion really did speak volumes.
Leaving behind his eponymous company to the Gucci Group, McQueen fans across the globe— still in a profound state of sadness— will be anxious about the future of the McQueen empire, leaving us to wonder; with the prodigy no longer at the helm, will the identity of the brand still translate? I suppose we can only hope that Alexander McQueen’s inimitable spirit and creative vision will live on through those he inspired, but until then, we wait with nervous anticipation for March 9 when McQueen’s final and most significant collection will be shown in Paris.
Feb 24
Meandering through the ever extending Spirit section at Pure this month we were impressed to see all the new brands and companies taking the plunge and investing in stands there. The show really has grown in the last few seasons but as we looked closer we could see an overriding trend from new attendees. It appears as though when it comes to product or branding it really is a toss up between the two.
Impressive stands with insightful branding exuded an established feel to several labels, yet on closer inspection quality of garments lacked. On the flip side, new exciting brands with innovative designs, quality of fabrics, finishes and great back stories really had left branding to last, leaving them looking cheap and thrown together. We really wanted to just reach out to them and say “what are you doing?? Let me help you. Why are you spoiling your lovely product by photographing it on your friend in your back garden?? Have you heard of dpi? What the hell is that font??”
Sadly, the same exasperated feeling consumed us as we entered sub-show Label. The room boasted brands from across the sector and while it could well have been the answer to the lack of young branded shows in the UK, little thought had been given to the dressing of the room with stands looking mish mashed together. Maybe buyers can see past branding and experience and focus on product, either way there’s room for Label to fine tune and grow.
Across town new menswear show Stitch appeared to have a better handle on the overall feel of their show. Well thought out branding from both the show and exhibitors, it was a calmer and more aesthetic experience.
Even with tight budgets it seems to be an experimental time for both shows and exhibitors. Can we all really afford to neglect areas of our package or is it simply the case that designers aren’t marketers and vice-versa.
Does product win through at the end of the day? How important is a logo really? Do people buy into the full package or can you get away with one or the other?
Maybe we all need to take a long hard look at our offerings and start ticking all the boxes.
Feb 24
This SS’10 the RUGGER Collection has been meticulously reinvented to address the style conscious younger consumer. GANT RUGGER goes back to basics with a selection of iconic pieces and timeless American sportswear classics that are signature to the brand, whilst largely being influenced on original archive and vintage GANT pieces that represent the very foundations of the GANT brand.
This season the RUGGER line’s inspiration is drawn from the quintessential NYC male, resulting in a variety of classic high quality garments created with meticulous attention to detail. Key pieces include a waxed cotton parka and sun bleached chinos to create an effortlessly cool original preppy style fashioned by the 60’s Ivy League students. To complement the SS’10 RUGGER wardrobe, GANT have introduced a 40’s US Navy ‘Equip Bag’, comprising of a weekend bag, wash bag and travel wallet that acts as the perfect companion for any weekend getaway.
For every occasion this season, get the cool and effortless style of the NYC man with GANT RUGGER.
Feb 23
At FAD, I arrived an hour early and strolled around the same room quite happily until the show started. This was mainly due to the incredible sketchbook/portfolios of the participating designers, all of a beautiful standard. With the brief of creating two garments from 1, a personal memory and 2, a collective memory, seeing each designers interpretation was something these books helped to portray much better. The best part of recorded work is viewing the journey an individual has taken to reach the final outcome, and the samples, sketches and photograhs all riled the young design loving creature in my brain. One that instantly stood out for me was Rebecca Solity of DeMontfort University for her astoundingly professional prep work. Holographs of her researched photographs would not have looked out of place on a necklace or over-adorning a garment. Then the stamps from old photographs were taken and turned into a whole new print design for her final pieces. The journey and different variations she created were executed to perfection in sketch form, the garments looking quite beautiful too.
The winner of the night was Lithuanian, Rasa Abramaviciute and quite deservedly too. Her pieces featured geometric patterns covering a whole dress, curiously looking alike carpet. Definitely one of those garments made to be inspected upon closer viewing, leaving an air of mystery behind the clothing. Another print almost appearing like a scarf knit pattern enveloped a plain white dress, but not in the usual way. Here’ a bridge like construction covered both shoulders, still leaving a pristine white collar peaking out. These two dresses sound quite opposite and all too different to be cohesive, yet upon seeing them, the colourways create the perfect meshing of ideas. Through the garments, a link between them showed that the same materials and patterns aren’t needed when well constructed clothing has a message. Winning a placement at Vivienne Westwood seems very fitting for this promising young designer and I’m sure the experience will only better her blossoming talent.
Feb 23
Swedish born, London based Fannie Schiavoni creates amazing jewellery.
Her trademark chain pieces drape beautifully, following the lines of the feminine form. She uses hard-wearing, structurally sound materials to create elegant work. Her designs are going from strength to strength, this collection has taken the successful parts of her previous work and developed them beautifully.
Her A/W ‘10 designs have evolved onwards from the simple chain work, including metal scales and dyed sheep wool, making her pieces not just accessories but items of clothing.
You may have seen her cage dress if you’re an avid reader of Style Bubble, but expect to see a lot more of Fannie Schiavoni’s work in the future as Q magazine has recently strewn Lady Gaga with her work and plastered her all over the magazine.
Fannie’s designs are currently available on Browns Focus and Kabiri, but, if you are planning to invest in a piece I recommend you wait until the new collection is available, as it’s stunning!
For more info, visit her website.
Words and images by Clare Potts
Feb 22
Friday saw the start of London Fashion Week, with the official first digital steps to a digital LFW. LFW launched its new Digital Space, the Paul Costelloe show was streamed live, followed by a short film of 50 years of creative Britain, entitled Love & Money.
LFW has changed dramatically in its 26 years, at one time it was only the privileged and the big names in fashion such as the likes of Anna Wintour, who were invited and it was touch-and-go as to whether you’d get into a show, or whether your seat would turn out to be occupied by Boy George. Now ” Through bloggers and front row Tweeters, access has grown and grown,” said Caroline Rush, chief executive of the British Fashion Council. Now with the introduction of digital streaming the shows will become accessible to any fashion lover.
Throughout the course of LFW Live shows will be streamed on the LFW website, while the Digital Space will showcase fashion films from designers throughout the week. Designers including LP.BG, Danielle Scutt and Craig Lawrence used the British Fashion Councils FC screen to showcase their autumn/winter 2010-11 collection.
To view the schedule for the upcoming digital shows click the link below
http://www.londonfashionweek.co.uk/digitalschedule
Feb 17
Ever been stood behind someone in a queue and had an overwhelming urge to grab hold of their trousers and yank them up? Well I have! And it seems I’m not alone. It appears that whilst a hefty chunk of the population are wearing their trousers so low they risk dragging them along like a defiant dog, the rest are becoming more and more irritated by what, could arguably, be classed as public indecency.
For years now women have come under increasing scrutiny for revealing too much. Too much cleavage, too much leg and dare I say too much bottom from those ultra tight, low cut skinnies. Well I feel it’s time to shine the spotlight on the men with which we co-exist, and the culprits in question who are revealing too much underpant.
I first witnessed this bottom baring trend back in the early ‘90s whilst indulging in sensational American teen melodrama’s, where a new breed of ‘Californian surfer dudes’ mooched aimlessly around shopping mall’s jeans perched on the skyline of their ‘hiney’, with a side tilting cap and statement skateboard in tow.
Yet as time passed, the fictional stereotype portrayed on screen seeped through to influence the style of the everyday man on the street. As it now stands, this look has spread to a wide cross section of society thus quashing the original stereotype set by droopy draw’d ‘dudes’. Yes, unfortunately for us straight-laced citizens, it seems that growing numbers of men are opting for low slung, drop crotch jeans and trousers; from school boys to young professionals to even – and I grit my teeth when saying it –some young women.
My sentiments on the matter, although tinged with cynicism, do carry a poignant significance; if this bottom baring trend is to take over, what will happen to the fate of the trusty belt?
Feb 12
There are not many designers in any generation with the ability to do what McQueen did, which is marry epic imagination with mind-blowing technical skill. He was a designer with an eye to what was next.
What will be forever synonymous with the name Alexander McQueen was his inability to compromise on anything. His collections repeatedly showed exquisite tailoring, paired with feminine romance and wearability with the cutting edge of high fashion. It was enviable assemblage that has emblazoned the name of Alexander McQueen into any self-respecting Fashionistas consciousness over the past 15 years.
Since his graduation show from St. Martins in 1995 he soared to the dizzying heights of haute couture world. What was the secret of his success? Well, as alexandermcqueen.com so perfectly described, it is the blend of these things: ‘Fragility and strength, tradition and modernity and fluidity and severity.’
Take, for example, McQueen’s Autumn/Winter 2006 runway show, entitled ‘The Widows of Culloden’. McQueen here was taking inspiration from his own heritage, referencing the infamous and bloody battle fought at Culloden in Scotland. Fiercely political and emotionally raw, it set the stage perfectly as the collection that really made McQueen’s name. It was a very British affair and one that had a message; that perhaps the medium of fashion that was once thought of as vapid could have something relevant and poignant to say about a nation’s history and people.
It is perhaps because of McQueen’s strong political statements in his shows that earned him the title of the perennial bad boy of British fashion. Indeed you only need to glance at his most recent collection to see this.
McQueen’s brand of fashion was playful, confrontational and unforgettable; it is one that took you by the scruff of the neck, made sure you looked it in the eye, and once you’d seen it, you would not want to stop looking.
R.I.P Alexander Lee McQueen 1969 – 2010
