The press reception hosted by Dior at The V&A was an unpretentious but elegant affair. As we sashayed through the revolving doors we were offered Moet in cut glass flutes and tiny morsels of delicious canapes. I always think that the V&A is at its most spectacular at night as its sheer magnificence is lit up. As the big fashion gala had opened two days before the crowd was composed of Dior PRs (wearing the most enviably chic dresses), journalists who had not managed to get tickets for Tuesday's event and a group of impeccably dressed French women.
As we entered the exhibiton, the dim lighting added a sense of mystery and theatre to the collection. Although there was a vast array of stunning pieces to examine, it was well organised and simple in terms of its layout (although everyone of my party felt in need of a return visit- probably because the champagne had addled our concentration to varying extents).
The Dior garments spanning from New Look to Galliano's couture collection were in amazing condition. What was instructive was the manner in which British couture pieces were lined up next to their Parisian couterparts as a story of two inter-woven cities was revealed. The exchange between Paris and London is a relationship which has been often overlooked and one which this collection does well to tease apart. (See article 'The forgotten founders of British fashion' in blog archive).
The collection is truly elegaic and sends shivers down the spine as the sheer beauty of the construction and attention to detail is made apparent. In visual terms the films of women dressing, distorting the proportions of their bodies with corsets and hip volumisers and snippets of early fashion shows left a lasting impact.
This is an exhibition that will stay with me until I start to lose my marbles. It was not only seductive, but informative, striking the perfect note between providing substance without information overload. It has a real emotive quality which is difficult to articulate, so I do urge anyone who has the moment to step back into the era of true glamour and style which is now lamentably found only in the halls of museums.
Sunday, 23 September 2007
On the fringes of fashion
Bemused tourists sat transfixed as the procession of fashion week-goers, crossed the flagstones of Covent Garden. The Fashion Fringe initiative, sponsered by a range of industry big names including IMG, The Sunday Times Style and net-a-porter, aims to provide a platfrom for new talent. With a prize worth £100.000 in PR, materials and so on, it is London's most coveted trophy for new designers. After a champagne reception we took our seats and were treated to the sight of the fashion A-list. Tom Ford (wearing what looked like heels for men- if Tom Ford says it ok, who am I to argue?), Supermodels Naomi, Claudia and Erin O’Connor, Natalie Massanet of net-a-porter.net and Colin McDowell of Style as well as a host of fashion editors and commentators.
The presence of so many unnaturally beautiful people in the same room coupled with the excitement of the competition made for a charged atmosphere. Andrea Mc Wha was first up, showing a feminine collection which had real commercial potential. Her collection clashed soft wisps of chiffon with hard black patent cropped jackets. There was a focus on eveningwear finishing with a full length purple silk empire line dress with a nude chiffon neckline. In terms of technique Andrea’s collection was not as sophisticated as some of the other competitors and in conceptual terms the collection was arguably one-dimensional. However there were dresses that many woman would love to have in her wardrobe- simple, clean and pretty.
Dejan Agatonovic’s collection was more complex and had much darker undertones. Burgundy and deep purple tones were joined with charcoal greys to create a sombre mood. Jersey high neck tunics and leggings were adorned with chiffon chains which ran the length of the leg and were draped like necklaces arrange in coils on the body. These chains gave an almost aquiline effect to the outfits. A full length burgundy chiffon dress showed red carpet potential- romantic in an ethereal sense. With bunched jackets playing with volume and obvious sophistication in terms of technique this was a promising collection from the Serbian designer.
Graeme Armour’s offering was much more relaxed with chiffon shorts, purple suede all in one short outfit and an interesting combination of textures and fabric techniques. The overall vibe was relaxed glamour with long flowing blonde tresses adding a hippie touch. The shoes from this collection were fantastic- platforms in fuchsia and purple suede with huge tassels. In parts this collection lacked coherence and the finishing was not as impressive as some of the other competitors.
The final entry was from couple Maki Aminaka Löfvander and Marcus Wilmont (Aminaka Wilmont). This was a an impressive collection in terms of finishing, technique and styling. With a limited colour palette of black white and grey, bold shapes were created around the body as hoods and collars were contorted to create huge shapes. Oversize bags were hung from the side and stack shoes added height to the figures. Leather was layered into an almost feather like shape around the neck in tight fitting jackets and as part of a long flowing dress. This raised neckline gave an Oriental feeling to the collection which was amplified through the bold simple shapes reminiscent of Japanese design.
As we returned to the reception and drunk another glass of champagne and ate some extremely cheesy canapés (which stopped anyone from getting too close to each other), Tom Ford and Colin McDowell took to the stage. The tension mounted and each contestant looked expectant. Aminaka Wilmont were announced as the winner and their relatives sobbed with joy. More tears were shed by one particular loser, and it became evident how much of his heart and soul he had poured into the collection. It is easy to forget in the whirl that is fashion week that the designers place themselves under enormous work pressures. So congratulations and commiserations were the order of the day for this years fashion fringe as two new designers enter the arena...watch this space!
The presence of so many unnaturally beautiful people in the same room coupled with the excitement of the competition made for a charged atmosphere. Andrea Mc Wha was first up, showing a feminine collection which had real commercial potential. Her collection clashed soft wisps of chiffon with hard black patent cropped jackets. There was a focus on eveningwear finishing with a full length purple silk empire line dress with a nude chiffon neckline. In terms of technique Andrea’s collection was not as sophisticated as some of the other competitors and in conceptual terms the collection was arguably one-dimensional. However there were dresses that many woman would love to have in her wardrobe- simple, clean and pretty.
Dejan Agatonovic’s collection was more complex and had much darker undertones. Burgundy and deep purple tones were joined with charcoal greys to create a sombre mood. Jersey high neck tunics and leggings were adorned with chiffon chains which ran the length of the leg and were draped like necklaces arrange in coils on the body. These chains gave an almost aquiline effect to the outfits. A full length burgundy chiffon dress showed red carpet potential- romantic in an ethereal sense. With bunched jackets playing with volume and obvious sophistication in terms of technique this was a promising collection from the Serbian designer.
Graeme Armour’s offering was much more relaxed with chiffon shorts, purple suede all in one short outfit and an interesting combination of textures and fabric techniques. The overall vibe was relaxed glamour with long flowing blonde tresses adding a hippie touch. The shoes from this collection were fantastic- platforms in fuchsia and purple suede with huge tassels. In parts this collection lacked coherence and the finishing was not as impressive as some of the other competitors.
The final entry was from couple Maki Aminaka Löfvander and Marcus Wilmont (Aminaka Wilmont). This was a an impressive collection in terms of finishing, technique and styling. With a limited colour palette of black white and grey, bold shapes were created around the body as hoods and collars were contorted to create huge shapes. Oversize bags were hung from the side and stack shoes added height to the figures. Leather was layered into an almost feather like shape around the neck in tight fitting jackets and as part of a long flowing dress. This raised neckline gave an Oriental feeling to the collection which was amplified through the bold simple shapes reminiscent of Japanese design.
As we returned to the reception and drunk another glass of champagne and ate some extremely cheesy canapés (which stopped anyone from getting too close to each other), Tom Ford and Colin McDowell took to the stage. The tension mounted and each contestant looked expectant. Aminaka Wilmont were announced as the winner and their relatives sobbed with joy. More tears were shed by one particular loser, and it became evident how much of his heart and soul he had poured into the collection. It is easy to forget in the whirl that is fashion week that the designers place themselves under enormous work pressures. So congratulations and commiserations were the order of the day for this years fashion fringe as two new designers enter the arena...watch this space!
Clare Tough and the urban scrum
Tuesday 18th September 2007
A somewhat impatient crowd was waiting at Clare Tough as the lag from earlier shows hit the BFC tent. Many, myself included, were gagging for the first drink of the evening to kick of the night of revelry ahead.
Finally the show opened and an electric collection was paraded. The whole look was pure 80s- think Debby Harry in New York in the video for ‘Rip her to Shreds’..Are you with me? We are talking graffiti, yellow taxi cabs, punk and glam rap. Tough’s innovative approach to knitwear has been her trademark throughout her career, but in this collection more than ever it has become a feature rather than an overarching signature theme.
Camouflage colours across the initial oversize hooded jackets and jumpers teamed with mini khaki shorts, pointed to the uniform of urban warfare and this mood was carried throughout. The next few looks were made up of black and white graphic knits moulded into jumpers and woven into body hugging dresses. This motif was repeated on rucksacks and peaked caps making a nod to the logo mania of the yuppie era.
The second half of the collection became much more literal in the sense that urban warfare was appliquéd onto the clothes themselves. Hats were emblazoned with skyscrapers and a rucksack became Manhattan. Sidewalks, skyscrapers, hellish traffic and urban detritus were knitted and stitched almost on to the body itself in the form of tight, tight mini dresses. The final showstopper was an all in one unitard appliquéd with a similar tableau of city strife- perfect for Karen O wannabes.
This show was not the most eloquent, but it was great fun and fantastically visual. Personally I felt the collection worked best when it operated in abstract terms- a bit like Laura Lees Label- sometimes spelling out the message so obviously, turns the whole project into a gimmick. However it was a shame that more press and the associated C-listers couldn’t have ensured Tough’s place in the morning newspapers.
A somewhat impatient crowd was waiting at Clare Tough as the lag from earlier shows hit the BFC tent. Many, myself included, were gagging for the first drink of the evening to kick of the night of revelry ahead.
Finally the show opened and an electric collection was paraded. The whole look was pure 80s- think Debby Harry in New York in the video for ‘Rip her to Shreds’..Are you with me? We are talking graffiti, yellow taxi cabs, punk and glam rap. Tough’s innovative approach to knitwear has been her trademark throughout her career, but in this collection more than ever it has become a feature rather than an overarching signature theme.
Camouflage colours across the initial oversize hooded jackets and jumpers teamed with mini khaki shorts, pointed to the uniform of urban warfare and this mood was carried throughout. The next few looks were made up of black and white graphic knits moulded into jumpers and woven into body hugging dresses. This motif was repeated on rucksacks and peaked caps making a nod to the logo mania of the yuppie era.
The second half of the collection became much more literal in the sense that urban warfare was appliquéd onto the clothes themselves. Hats were emblazoned with skyscrapers and a rucksack became Manhattan. Sidewalks, skyscrapers, hellish traffic and urban detritus were knitted and stitched almost on to the body itself in the form of tight, tight mini dresses. The final showstopper was an all in one unitard appliquéd with a similar tableau of city strife- perfect for Karen O wannabes.
This show was not the most eloquent, but it was great fun and fantastically visual. Personally I felt the collection worked best when it operated in abstract terms- a bit like Laura Lees Label- sometimes spelling out the message so obviously, turns the whole project into a gimmick. However it was a shame that more press and the associated C-listers couldn’t have ensured Tough’s place in the morning newspapers.
An anthropolgicical study of the fashionista
Johnathan Saunders, Monday 18th 2007 Barbican Main Gallery
So here I am standing exactly in the last place I would want to be; outside the most anticipated show at LFW without a ticket. This is most definitely an Ugly Betty moment. Ever the optimist I try to convince myself that this in actual fact a rare opportunity. From inside it would obviously be much more difficult to celeb spot and gauge what the fashion pack is wearing. As the only person hanging around outside (wearing flat- the shame) I would indeed see a wealth of anthropological sights. Of course inside there was champagne, warm air (since when was it winter?) Anna Wintour (oh yes, I saw her breeze into the venue- I like to think she gave me the sneer I deserved) and ..the Johnathan Saunders collection. So on balance, if we are honest, I was not getting such a good deal.
…So back to making to making the best of all in life.
The Barbican entrance very soon became the location of an almightily tussle between London’s bus drivers, cabbies and the chauffeur driven Maseratis and Mercedes. As journalists, buyers and photographers attempting to scramble across town in rush hour from the late running Basso and Brooke show, tempers were frayed and nerves were on edge. Stylish women running- nay sprinting in platforms is quite a sight to behold. In fact you could even label it an extreme sport. More elegant entrances were made by those whose drivers had found canny routes across the capital. Erin O’Conor emerged from her car immaculately dressed and spell bindingly elegant. Anna Wintour arrived in a flattering cream trench, escorted by gentlemen either side of her slim frame. Jess Cartner-Morely, Fiona Bruce and the Vogue and Elle teams all joined the show in style.
But it was the arrival of the three fashion buses laden with clamouring fashionistas that really provided the treat to the senses. As their doors slid open over a hundred people sporting hats, wigs and capes attempted to negotiate the pavement. The fashion swarm resembled a circus troupe- colourful-yes, elegant? -perhaps not.
So was it all worth it?..Don’t ask me, I wouldn’t bloody well know, would I?
So here I am standing exactly in the last place I would want to be; outside the most anticipated show at LFW without a ticket. This is most definitely an Ugly Betty moment. Ever the optimist I try to convince myself that this in actual fact a rare opportunity. From inside it would obviously be much more difficult to celeb spot and gauge what the fashion pack is wearing. As the only person hanging around outside (wearing flat- the shame) I would indeed see a wealth of anthropological sights. Of course inside there was champagne, warm air (since when was it winter?) Anna Wintour (oh yes, I saw her breeze into the venue- I like to think she gave me the sneer I deserved) and ..the Johnathan Saunders collection. So on balance, if we are honest, I was not getting such a good deal.
…So back to making to making the best of all in life.
The Barbican entrance very soon became the location of an almightily tussle between London’s bus drivers, cabbies and the chauffeur driven Maseratis and Mercedes. As journalists, buyers and photographers attempting to scramble across town in rush hour from the late running Basso and Brooke show, tempers were frayed and nerves were on edge. Stylish women running- nay sprinting in platforms is quite a sight to behold. In fact you could even label it an extreme sport. More elegant entrances were made by those whose drivers had found canny routes across the capital. Erin O’Conor emerged from her car immaculately dressed and spell bindingly elegant. Anna Wintour arrived in a flattering cream trench, escorted by gentlemen either side of her slim frame. Jess Cartner-Morely, Fiona Bruce and the Vogue and Elle teams all joined the show in style.
But it was the arrival of the three fashion buses laden with clamouring fashionistas that really provided the treat to the senses. As their doors slid open over a hundred people sporting hats, wigs and capes attempted to negotiate the pavement. The fashion swarm resembled a circus troupe- colourful-yes, elegant? -perhaps not.
So was it all worth it?..Don’t ask me, I wouldn’t bloody well know, would I?
Is Julien Macdonald stuck in a timewarp?
Julien Macdonald, The Hilton Ballroom Park Lane, Sunday 16th 2007
Macdonald’s offering kicked off with an hour long reception to fill up the time between the scheduled start and the eventual start of the show. The venue was his usual choice at the Park Lane Hilton in the chandelier laden ballroom. As ever the audience comprised of a particularly incongruous set of fashion tribes. There was the high fashion pack sporting Louboutins and seemingly ubiquitous black Chanel 2.55 handbags. Joining them were a resplendent group of drag queens including Jodie Harsh sporting magnificent wigs. Then as ever at the McDonald show the Euro-crowd was present, never removing their sunglasses and still clinging to the wet-look hairstyle. Just to confuse things there also appeared to be a strong contingent from McDonald’s high street outing, Star at Debenhams, who all seemed to be wearing pieces…from Debenhams.
The pre-show free drinks flowed and TV crews added to the sense of frisson. House music blaring from the speakers created a feeling of being in a time warp- circa 1993. This was amplified by gaggles of women of a certain age wearing outfits which probably looked good on them when the aforementioned rhythmic beats still sounded good. As for the men, they were perhaps more flamboyant than the women with another show cementing the trend for men in womenswear. With Hermes scarves, heavy jewellery and silk puffball sleeve blouses, these whippet thin gents could be seen as demi-drag. Hilariously I constantly kept catching men making ‘blue steel’ faces to no one in particular as Ben Stiller’s parody rang true.
The sense of excitement and fun was heightened by the largest number of celebrity sightings so far this fashion week. Shirley Bassey and Joan Collins made a formidable duo and the crows whooped with joy as ‘Diamonds are forever’ blasted at the beginning of the show. Tara Reid was spotted at the bar glowing in a way that would make David Dickinson look like an English rose, and the singer Catherine Jenkins was seen wearing a flattering lbd and signing autographs. Girls Aloud members Cheryl Tweedy and Nicola Roberts were immaculately polished and tiny even in their 4 inch heels, both sporting the now almost universal blunt fringe.
So on to the clothes as the mini bottles of prosecco and passion fruit martinis began to soften the mood. This collection epitomised Macdonald’s failings as well his strengths. Perhaps inevitably that feeling of being stuck in a time warp was echoed on the catwalk itself. The mini-mini body- con dresses with Alaia-esque sensuality echoed not only their precursors in the early 90s but the revival spearheaded by Christopher Kane this time last year. Kane’s offering was fresh and innovative melding the Alaia and Versace influences with a truly contemporary aesthetic. The show had its imitators last season and the body con mini dress floundered in the High street due to the fact that the majority of women do not have the body of Cindy Crawford. Shows that moved on for A/W 08 moved away from the trashy chic that the super sexy mini dress exuded.
The art of dressing has returned, and Macdonald has missed the boat. Indeed the homage turned into pastiche as monochromatic dresses with matching cardigans were patent Lagerfeld rip-offs.
On the other hand, the collection was extremely sexy. The long legs, the swinging ponytails and patent peaked caps gave the impression of a seriously feisty femme. Indeed there were many wearable items were dotted in amongst the crotch high dresses. The shirtdresses and short suits were charming and the tunic with accompanying trousers made a nod to the lucrative Muslim market in the Arab states. As ever the sparkly evening numbers do what they say on the tin and provide great red carpet and stage wear.
However, this inability to move and the lazy approach to creativity appeared to be totally inconsequential to the heaving crowds who were far more interested in the theatre of the celeb fest. Perhaps I am already feeling a touch jaded, but the hype and frenzied networking only made the whole thing more hollow as the collection fell short of the mark.
Macdonald’s offering kicked off with an hour long reception to fill up the time between the scheduled start and the eventual start of the show. The venue was his usual choice at the Park Lane Hilton in the chandelier laden ballroom. As ever the audience comprised of a particularly incongruous set of fashion tribes. There was the high fashion pack sporting Louboutins and seemingly ubiquitous black Chanel 2.55 handbags. Joining them were a resplendent group of drag queens including Jodie Harsh sporting magnificent wigs. Then as ever at the McDonald show the Euro-crowd was present, never removing their sunglasses and still clinging to the wet-look hairstyle. Just to confuse things there also appeared to be a strong contingent from McDonald’s high street outing, Star at Debenhams, who all seemed to be wearing pieces…from Debenhams.
The pre-show free drinks flowed and TV crews added to the sense of frisson. House music blaring from the speakers created a feeling of being in a time warp- circa 1993. This was amplified by gaggles of women of a certain age wearing outfits which probably looked good on them when the aforementioned rhythmic beats still sounded good. As for the men, they were perhaps more flamboyant than the women with another show cementing the trend for men in womenswear. With Hermes scarves, heavy jewellery and silk puffball sleeve blouses, these whippet thin gents could be seen as demi-drag. Hilariously I constantly kept catching men making ‘blue steel’ faces to no one in particular as Ben Stiller’s parody rang true.
The sense of excitement and fun was heightened by the largest number of celebrity sightings so far this fashion week. Shirley Bassey and Joan Collins made a formidable duo and the crows whooped with joy as ‘Diamonds are forever’ blasted at the beginning of the show. Tara Reid was spotted at the bar glowing in a way that would make David Dickinson look like an English rose, and the singer Catherine Jenkins was seen wearing a flattering lbd and signing autographs. Girls Aloud members Cheryl Tweedy and Nicola Roberts were immaculately polished and tiny even in their 4 inch heels, both sporting the now almost universal blunt fringe.
So on to the clothes as the mini bottles of prosecco and passion fruit martinis began to soften the mood. This collection epitomised Macdonald’s failings as well his strengths. Perhaps inevitably that feeling of being stuck in a time warp was echoed on the catwalk itself. The mini-mini body- con dresses with Alaia-esque sensuality echoed not only their precursors in the early 90s but the revival spearheaded by Christopher Kane this time last year. Kane’s offering was fresh and innovative melding the Alaia and Versace influences with a truly contemporary aesthetic. The show had its imitators last season and the body con mini dress floundered in the High street due to the fact that the majority of women do not have the body of Cindy Crawford. Shows that moved on for A/W 08 moved away from the trashy chic that the super sexy mini dress exuded.
The art of dressing has returned, and Macdonald has missed the boat. Indeed the homage turned into pastiche as monochromatic dresses with matching cardigans were patent Lagerfeld rip-offs.
On the other hand, the collection was extremely sexy. The long legs, the swinging ponytails and patent peaked caps gave the impression of a seriously feisty femme. Indeed there were many wearable items were dotted in amongst the crotch high dresses. The shirtdresses and short suits were charming and the tunic with accompanying trousers made a nod to the lucrative Muslim market in the Arab states. As ever the sparkly evening numbers do what they say on the tin and provide great red carpet and stage wear.
However, this inability to move and the lazy approach to creativity appeared to be totally inconsequential to the heaving crowds who were far more interested in the theatre of the celeb fest. Perhaps I am already feeling a touch jaded, but the hype and frenzied networking only made the whole thing more hollow as the collection fell short of the mark.
LFW Saturday 15th Septemeber 2007
Gavin Douglas, Harrods
At 10 o’clock on Saturday morning, the excessive champagne quaffing last night seems worse than ill-advised. I have a horrendous hangover and keep feeling that Im going to fall over. However there are clothes to be seen and people to meet so onwards with trusty nurofen.
Gavin Douglas, a former fashion fringe winner was showing in a warehouse type space around the corner form Harrods. Harrod’s fashion talent initiative sponsored the show, making Douglas on in a long line of commercial partnerships forged by the store which included the early collections of Galliano, Roland Mouret and Philip Tracey.
Initially the most striking thing about the audience was the prevalence of young children. As fashion week has fallen over the weekend, throughout the day more and more children began to appear. I was sitting opposite a cherubic boy of about five who behave perfectly throughout. The family feeling was actually a really good antidote to the normal mania replacing some normality to this surreal week.
As far as the collection was concerned, it was really rather good. Now I’m not going to go too far, but there is no doubt that Douglas has talent. This collection was full- on-in-your-face glamour and honestly seemed out of place in London. Douglas’ aesthetic would be much better suited to the Milanese fashion week.
Blonde, red and brunette bombshells strutted down the catwalk with side swept Hollywood curls echoing nostalgic references to 50s glamour. The collection started off with a more subtle approach to Bling with cream gold and oyster silks pleated into skirts and mini dresses. A perfectly cut trench followed, establishing that Douglas has the skill to produce a classic. The collection moved up a gear and we were on our way to high octane fashion. Douglas’ muse was most obviously Marilyn Monroe (whose image was printed on several items in the collection- perhaps a little obvious), but there was J-Lo and in there too. Oversized gold jewellery abd belts and buckles festooned dresses. Indeed belts were a central feature to the collection as they were used as strap across the back or even interwoven to create the dress itself.
Another silhouette explored was the standard image of the 50s- a waspish waist extending to a full skirt. A visually impressive skyscraper print adorned on and tiny waist clinchers were made of patent and denim. Doulas also experimented with texture, showcasing ruffles, frou frous and feathers, contrasting them with the denim and patents. Occasionally this was taken to far and the ensuing garment looked more like a GCSE art collage. However the final jewel encrusted mini dresses brough him right back to form as the huge gems glistened in the lights. I’d wager Doulas is one to keep an eye out for.
Julie Verhoeven for Mulberry Pop-Up store opening
After convincing myself that a taxi far was too much of an indulgence, I decided to brave the tube to make my way to the new Mulberry ‘pop up’ store on Westbourne Grove (the nature of the pop-up store will be revealed imminently). In retrospect this was schoolgirl error. As ever I underestimated the journey time by, oh about 45 minutes, and rendered myself stressed and ‘glowing’ (subscribing to the notion that only horses sweat…).
This was LFW at its most farcical. The tiny store was decorated with Julie Verhoeven’s exquisite illustrations which were emblazoned across a kaftans, handbag, and..maybe a scarf..? I say maybe because the struggle to actually enter the store/box room was matched only by the tussle required to see any of the actual products.
The drinks and goody bags were long gone but the whole room remained uncomfortably rammed as the party spilled out on the street. As far a sartorial trends were concerned there was a prevalence of Chloe S/S07 shoes and platforms in general. The leather ankle boot trend has also been picked up by the fashion-pack. Leather jackets and high waisted jeans teamed with the aforementioned footwear has been seen everywhere- I’d go so far to say as it has become a new uniform .
Journalists and hangers-on were dancing somewhat manically to the music provided by a DJ crammed into one corner and revellers were sipping mini-Moets through what looked to be Swarovski crystal funnels. This fabulous funnel unfortunately had the potential to undermine the style of the user as I viewed a very well dressed gent misjudging the distance between his mouth and the funnel…Oh gleeful schadenfreude..
To add further to comedy the walls were padded in sumptuous cream fabric. Utter claustrophobic madness and a lesson well learnt.
At 10 o’clock on Saturday morning, the excessive champagne quaffing last night seems worse than ill-advised. I have a horrendous hangover and keep feeling that Im going to fall over. However there are clothes to be seen and people to meet so onwards with trusty nurofen.
Gavin Douglas, a former fashion fringe winner was showing in a warehouse type space around the corner form Harrods. Harrod’s fashion talent initiative sponsored the show, making Douglas on in a long line of commercial partnerships forged by the store which included the early collections of Galliano, Roland Mouret and Philip Tracey.
Initially the most striking thing about the audience was the prevalence of young children. As fashion week has fallen over the weekend, throughout the day more and more children began to appear. I was sitting opposite a cherubic boy of about five who behave perfectly throughout. The family feeling was actually a really good antidote to the normal mania replacing some normality to this surreal week.
As far as the collection was concerned, it was really rather good. Now I’m not going to go too far, but there is no doubt that Douglas has talent. This collection was full- on-in-your-face glamour and honestly seemed out of place in London. Douglas’ aesthetic would be much better suited to the Milanese fashion week.
Blonde, red and brunette bombshells strutted down the catwalk with side swept Hollywood curls echoing nostalgic references to 50s glamour. The collection started off with a more subtle approach to Bling with cream gold and oyster silks pleated into skirts and mini dresses. A perfectly cut trench followed, establishing that Douglas has the skill to produce a classic. The collection moved up a gear and we were on our way to high octane fashion. Douglas’ muse was most obviously Marilyn Monroe (whose image was printed on several items in the collection- perhaps a little obvious), but there was J-Lo and in there too. Oversized gold jewellery abd belts and buckles festooned dresses. Indeed belts were a central feature to the collection as they were used as strap across the back or even interwoven to create the dress itself.
Another silhouette explored was the standard image of the 50s- a waspish waist extending to a full skirt. A visually impressive skyscraper print adorned on and tiny waist clinchers were made of patent and denim. Doulas also experimented with texture, showcasing ruffles, frou frous and feathers, contrasting them with the denim and patents. Occasionally this was taken to far and the ensuing garment looked more like a GCSE art collage. However the final jewel encrusted mini dresses brough him right back to form as the huge gems glistened in the lights. I’d wager Doulas is one to keep an eye out for.
Julie Verhoeven for Mulberry Pop-Up store opening
After convincing myself that a taxi far was too much of an indulgence, I decided to brave the tube to make my way to the new Mulberry ‘pop up’ store on Westbourne Grove (the nature of the pop-up store will be revealed imminently). In retrospect this was schoolgirl error. As ever I underestimated the journey time by, oh about 45 minutes, and rendered myself stressed and ‘glowing’ (subscribing to the notion that only horses sweat…).
This was LFW at its most farcical. The tiny store was decorated with Julie Verhoeven’s exquisite illustrations which were emblazoned across a kaftans, handbag, and..maybe a scarf..? I say maybe because the struggle to actually enter the store/box room was matched only by the tussle required to see any of the actual products.
The drinks and goody bags were long gone but the whole room remained uncomfortably rammed as the party spilled out on the street. As far a sartorial trends were concerned there was a prevalence of Chloe S/S07 shoes and platforms in general. The leather ankle boot trend has also been picked up by the fashion-pack. Leather jackets and high waisted jeans teamed with the aforementioned footwear has been seen everywhere- I’d go so far to say as it has become a new uniform .
Journalists and hangers-on were dancing somewhat manically to the music provided by a DJ crammed into one corner and revellers were sipping mini-Moets through what looked to be Swarovski crystal funnels. This fabulous funnel unfortunately had the potential to undermine the style of the user as I viewed a very well dressed gent misjudging the distance between his mouth and the funnel…Oh gleeful schadenfreude..
To add further to comedy the walls were padded in sumptuous cream fabric. Utter claustrophobic madness and a lesson well learnt.
Topshop Unique, Friday 14th September 2007
As every fashion journalist in the country gears up to the bi-annual glam-stress-fest that is London Fashion Week, Topshop kicked off the proceedings a day early with the Unique Collection. The design led outlet for the High St Leviathan presented an eclectic range with varied results. The colour palette was dominated by nude and greige shades, interspersed with fantastic shocks of colour in peacock and coral.
In terms of silhouettes there was plenty to please each sector of Topshop’s market. Drop crotch boiler suits and hooded oversized poncho dresses will be on the young North East Londoners wish-list. Cream pin tucked silk flowing dresses perfectly hit the bohemian notes for the yummy mummy residents of NW8. Well cut classics included cropped slacks and relaxed jackets which were well directed at the fashion moderates.
For evening wear there was a show stopping peacock-chiffon-one-shouldered-all-in-one-trouser piece which was far more wearable than it sounds and some short silk numbers with breathtaking slits to the hip- more for the teens than Liz Hurley.
However Topshop’s reputation for knocking out ‘catwalk inspired’ (no-one is fooled) High St fodder was further cemented with the melange of tie-dye fabrics and Wedgwood prints from sky to petrol blue. These silk panelled dresses and tops are patent Balenciaga rip-off, but I doubt Nicholas Ghesquiere is loosing to much sleep. It is a pity that an obviously creative team has failed to properly harness the Unique mission to create a design led rather than design ’inspired’ operation.
As for celebs, they were pretty low on the ground although most of the glossies were well represented with their fashion editors and direstors showing just how relevant the label is to the British industry. The Geldorf sisters were well dressed and Daisy Lowe towered over the diminutive Peaches. Daphne Guinness also put in a slightly wan appearance. The most hilarious moment of the whole do was the moment of fame for one of the venue’s cleaners whose presence on the catwalk at the beginning of the show created a murmur of titters- for a second I though that Topshop really had come up with an interesting concept…!
Aside from the clothes the food was excellent with delicious seared tuna coated in the thinnest batter and dark chocolate cubes of scrumptiousness. All of these morsels were washed down with quantities of Laurent Perrier- just the right way to start fashion week- more than a little half cut!
In terms of silhouettes there was plenty to please each sector of Topshop’s market. Drop crotch boiler suits and hooded oversized poncho dresses will be on the young North East Londoners wish-list. Cream pin tucked silk flowing dresses perfectly hit the bohemian notes for the yummy mummy residents of NW8. Well cut classics included cropped slacks and relaxed jackets which were well directed at the fashion moderates.
For evening wear there was a show stopping peacock-chiffon-one-shouldered-all-in-one-trouser piece which was far more wearable than it sounds and some short silk numbers with breathtaking slits to the hip- more for the teens than Liz Hurley.
However Topshop’s reputation for knocking out ‘catwalk inspired’ (no-one is fooled) High St fodder was further cemented with the melange of tie-dye fabrics and Wedgwood prints from sky to petrol blue. These silk panelled dresses and tops are patent Balenciaga rip-off, but I doubt Nicholas Ghesquiere is loosing to much sleep. It is a pity that an obviously creative team has failed to properly harness the Unique mission to create a design led rather than design ’inspired’ operation.
As for celebs, they were pretty low on the ground although most of the glossies were well represented with their fashion editors and direstors showing just how relevant the label is to the British industry. The Geldorf sisters were well dressed and Daisy Lowe towered over the diminutive Peaches. Daphne Guinness also put in a slightly wan appearance. The most hilarious moment of the whole do was the moment of fame for one of the venue’s cleaners whose presence on the catwalk at the beginning of the show created a murmur of titters- for a second I though that Topshop really had come up with an interesting concept…!
Aside from the clothes the food was excellent with delicious seared tuna coated in the thinnest batter and dark chocolate cubes of scrumptiousness. All of these morsels were washed down with quantities of Laurent Perrier- just the right way to start fashion week- more than a little half cut!
The forgotten founders of British fashion
Haute Couture is irrevocably tied to our notions of Parisian chic. It is the Champs Élysée, Avenue Montaigne and Rue Cambon that form the backdrop to this mysterious and perpetually astonishing industry. Understandably so, for is it not true the Paris based houses of Dior, Balenciaga and Givenchy defined the tenets of classic elegance? Is it not their principles of line and cut that are so obviously discernable in countless contemporary collections? Our abiding image of the couture industry is a tableau of French couturiers working with their army of petites mains and vendeuses, slaving to produce exorbitantly priced works of art. The very notion of couture conjures up a certain inimitable Frenchiness that us mere Anglo-Saxons reluctantly concede is beyond our range.
The forthcoming V&A exhibition entitled ‘The Golden Age of Couture: Paris and London 1947-57’ will therefore appear as sacrilege to this innately Parisian version of couture. The concept of putting the couture production of both cities on equal footing will be viewed by some as a partisan outing. Self-labelled purists will reference the stringent legal regulations, which protect French haute couture. These conventions, defined by the Chambre de Commerce d’industrie de Paris, set out strict guidelines to prevent the abuse of the title. Indeed only the names of those houses listed each year are legally sanctioned Haute Couturiers, with Giorgio Armani and the Hollywood favourite, Elie Saab on the ‘invited houses’ list. These restrictions demand that a haute couturier must have a House based in Paris and meet the demanding standards of La Chambre Syndicale. These include the employment of at least fifteen full time workers at the aforementioned Parisian atelier and the presentation of at least thirty-five runs of both day and eveningwear to the press every season. While this is a clear case of economic protectionism, it has served to distort the reality and depict other couture systems as mere pretenders to the true fashion centre.
These disputes do little to shake the determination of the exhibition organisers to see British couture given the attention it deserves. What has long been overlooked is the output of British couturiers during the Twentieth Century. Amy de la Haye, formerly Curator of 20th Century Dress at the V&A, has noted that in "recent years, it is the output of young, often radical, art-school trained, ready-to-wear designers and the looks of sub-cultures which have been prioritised. As a result, there has been a lack of detailed work upon haute couture, and with respect to London couture in particular."
In 1971, Cecil Beaton, most prolific of photographers, selected the collection of British couture, which will be on display from 22nd September. This collection forms a retrospective of an age of glamour in which London provided the milieu for the ‘top twelve’ couturiers, some working at Houses established in the early twenties, others opening new salons under their own names in the post-war period.
Claire Wilcox, curator of the exhibition, acknowledges that the challenge to Parisian dominance may rouse debate, however she is confident that British couture can stand up to the test, especially in terms of tailoring. "While the scale of production in London was much smaller than Paris, the clothes produced were of equal quality and more wearable." What is perhaps even more important than showing the quality of the British clothes, is revealing the relationship between these two fashion cities.
The interchange and dialogue between the London and Parisian fashion systems is a story obscured by accounts of rivalry. During the 50s, Dior’s London House did a roaring trade, Lanvin sent his cutters to Saville Row and British designers like Molyneux and Charles Creed operated out of Paris. British fabric designed by Miki Sekers was exported to Paris as Parisian silks were imported by British couturiers. Wilcox argues: "By putting French and British couture side by side, we get an understanding of the relationship between the two and realise there was a greater flow than ever before realised."
It would be misleading, however, to argue that tensions did not exist between the two fashion cities. Norman Hartnell, appointed dressmaker to the British Royal family and designer of Queen Elizabeth II’s coronation dress, suffered a major setback when attempting to open an atelier in Paris. The Paris dress world simply refused to allow him to cross the channel. Alison Settle, former Vogue editor (1929-1936) and doyenne of the post WWII fashion world, noted that Paris refused Hartnell access to their fabric suppliers and accessory makers and warned model girls not to take employment at his House. "Paris couture ganged up on him", says Settle in her biographical notes, "probably because his name did not sound French enough". Inevitably the Hartnell House failed.
Importantly there are many distinctions between the work of British and French couturiers, which are coloured by social, cultural, and commercial practises of both countries. The English social season meant that couture pieces were often designed exclusively for social events and were encoded with complex symbols of etiquette which were unique to the British garments. In terms of Parisian styling, Claire Wilcox admits there is a certain quality which British garments lack. The French garment is built from the inside in a process of layers, which creates a beauty in reverse.
Amy de la Haye also notes that the two fashion systems were very different. "Ultimately, it is a different product. Parisian couture is innovative and striking in terms of design and the publicity this generates is critical for the sales of lucrative licensed products. In London, where the couture houses are invariably designer-owned and relatively small scale, it is the sales of clothes which generates the income and thus, the clothes are eminently wearable". It is clear that London designs were created for the individual and are therefore more personal than Parisian models created to achieve maximum commercial success through orders from trade buyers, perfume and accessory sales.
So what makes the history of design houses, which enjoyed their heyday over fifty years ago, relevant today? Firstly, it can help redefine what British fashion has stood for in the past and how we have arrived at what it represents today. Contemporary British fashion congratulates itself on being a hub of creativity, producing the most innovative fashion graduates in the world. If you want eclectic eccentricism, we’ll give you Vivienne Westwood. If you are seeking avant-garde thinking, we have Gareth Pugh. If an established brand needs a new burst of creativity look to McQueen, Galliano or Christopher Bailey. The question is where did this identity come from?
What characterised the British couturiers of the late 40s and 50s was an innate flexibility, required for survival. While Parisian designers enjoyed state backing, a superfluity of high quality needle workers and cheap workroom space, British designers were continually struggling. By thinking on their feet and embracing new developments to broaden their market, inventiveness in design was fostered. When couturiers began expanding their designs into ready-to-wear labels, the advance to the age of the modern designer became inexorable. This was the nascent force of democratisation in the fashion world, creating well-cut, better quality clothing for the masses and adding the cachet of their name to the ready-to-wear business. The post war couturiers renowned for their tailoring, innovative design and individual quirkiness, provided the rudiments for designer ready-to-wear clothes and British High Street fashion to build upon. It was on these foundations that the new designers of the youth revolution of the swinging sixties were to flourish and eventually render British couture obsolete.
While there is a clear line to be drawn between the couturiers and the contemporary British fashion industry, many of the ideals which they represented have been eroded. The quality of finish and craftsmanship, which the London couturiers prided themselves on, is no longer a feature of the perceived British fashion identity. Of course that is in part due to the decline of British couture industry and the lack of state backing to provide the funds for exquisitely expensive fabrics and labour, which the French industry continues to enjoy.
Ian Garlant, creative director at Hardy Amies, which opened its doors on Saville Row in 1946 and is now one of Britain's only true couture houses, also emphasises the differences in cultural realities between the two countries. "There is a fundamental difference in perception of the role of clothing in the national psyche in Europe. Fashion in France is about public display. In Paris it is life on the boulevard for public consumption...- traditionally British clothing was more private and personal." British couture has a heritiage of creating discreet garments that work for the individual. Inevitably these are pieces deemed unworthy of the editorial attention that the spectacular and rarified occasionwear grasps. Indeed the ‘behind closed doors’ nature of the industry coupled with the private British sensibility creates an intensified contradiction in the relationship between couture and publicity. This means that ‘ordinary’clothing of exceptional quality and cut will never be seen by the public, whose consciousness British couture fails to permeate. This does not however, mean that beautifully crafted clothes are not produced in London as the resurgent House of Hardy Amies can testify to, it is more that it slips below our radar in a manner that the red carpet wear of Pariaisn couture does not.
The lack of prestige and publicity generated by British couture has also undermined the intake of a new generation of skilled workers in to the business. Ian Garlant discloses that the majority of his new staff emanate from Eastern Europe or Denmark, with very few British fashion students considering the career path of couture craftsmanship. The city which once produced finely skilled needle workers is no longer able to meet the labour demands. While it is true that couture workers will never join the ranks of the super rich whom they dress, it is a career which provides a job for life. One hope is that the exhibition will serve to remind London of its couture history and perhaps inspire more students and aspiring fashion designers to cherish its heritage and skills.
First printed in The Independent Saturday Magazine
The forthcoming V&A exhibition entitled ‘The Golden Age of Couture: Paris and London 1947-57’ will therefore appear as sacrilege to this innately Parisian version of couture. The concept of putting the couture production of both cities on equal footing will be viewed by some as a partisan outing. Self-labelled purists will reference the stringent legal regulations, which protect French haute couture. These conventions, defined by the Chambre de Commerce d’industrie de Paris, set out strict guidelines to prevent the abuse of the title. Indeed only the names of those houses listed each year are legally sanctioned Haute Couturiers, with Giorgio Armani and the Hollywood favourite, Elie Saab on the ‘invited houses’ list. These restrictions demand that a haute couturier must have a House based in Paris and meet the demanding standards of La Chambre Syndicale. These include the employment of at least fifteen full time workers at the aforementioned Parisian atelier and the presentation of at least thirty-five runs of both day and eveningwear to the press every season. While this is a clear case of economic protectionism, it has served to distort the reality and depict other couture systems as mere pretenders to the true fashion centre.
These disputes do little to shake the determination of the exhibition organisers to see British couture given the attention it deserves. What has long been overlooked is the output of British couturiers during the Twentieth Century. Amy de la Haye, formerly Curator of 20th Century Dress at the V&A, has noted that in "recent years, it is the output of young, often radical, art-school trained, ready-to-wear designers and the looks of sub-cultures which have been prioritised. As a result, there has been a lack of detailed work upon haute couture, and with respect to London couture in particular."
In 1971, Cecil Beaton, most prolific of photographers, selected the collection of British couture, which will be on display from 22nd September. This collection forms a retrospective of an age of glamour in which London provided the milieu for the ‘top twelve’ couturiers, some working at Houses established in the early twenties, others opening new salons under their own names in the post-war period.
Claire Wilcox, curator of the exhibition, acknowledges that the challenge to Parisian dominance may rouse debate, however she is confident that British couture can stand up to the test, especially in terms of tailoring. "While the scale of production in London was much smaller than Paris, the clothes produced were of equal quality and more wearable." What is perhaps even more important than showing the quality of the British clothes, is revealing the relationship between these two fashion cities.
The interchange and dialogue between the London and Parisian fashion systems is a story obscured by accounts of rivalry. During the 50s, Dior’s London House did a roaring trade, Lanvin sent his cutters to Saville Row and British designers like Molyneux and Charles Creed operated out of Paris. British fabric designed by Miki Sekers was exported to Paris as Parisian silks were imported by British couturiers. Wilcox argues: "By putting French and British couture side by side, we get an understanding of the relationship between the two and realise there was a greater flow than ever before realised."
It would be misleading, however, to argue that tensions did not exist between the two fashion cities. Norman Hartnell, appointed dressmaker to the British Royal family and designer of Queen Elizabeth II’s coronation dress, suffered a major setback when attempting to open an atelier in Paris. The Paris dress world simply refused to allow him to cross the channel. Alison Settle, former Vogue editor (1929-1936) and doyenne of the post WWII fashion world, noted that Paris refused Hartnell access to their fabric suppliers and accessory makers and warned model girls not to take employment at his House. "Paris couture ganged up on him", says Settle in her biographical notes, "probably because his name did not sound French enough". Inevitably the Hartnell House failed.
Importantly there are many distinctions between the work of British and French couturiers, which are coloured by social, cultural, and commercial practises of both countries. The English social season meant that couture pieces were often designed exclusively for social events and were encoded with complex symbols of etiquette which were unique to the British garments. In terms of Parisian styling, Claire Wilcox admits there is a certain quality which British garments lack. The French garment is built from the inside in a process of layers, which creates a beauty in reverse.
Amy de la Haye also notes that the two fashion systems were very different. "Ultimately, it is a different product. Parisian couture is innovative and striking in terms of design and the publicity this generates is critical for the sales of lucrative licensed products. In London, where the couture houses are invariably designer-owned and relatively small scale, it is the sales of clothes which generates the income and thus, the clothes are eminently wearable". It is clear that London designs were created for the individual and are therefore more personal than Parisian models created to achieve maximum commercial success through orders from trade buyers, perfume and accessory sales.
So what makes the history of design houses, which enjoyed their heyday over fifty years ago, relevant today? Firstly, it can help redefine what British fashion has stood for in the past and how we have arrived at what it represents today. Contemporary British fashion congratulates itself on being a hub of creativity, producing the most innovative fashion graduates in the world. If you want eclectic eccentricism, we’ll give you Vivienne Westwood. If you are seeking avant-garde thinking, we have Gareth Pugh. If an established brand needs a new burst of creativity look to McQueen, Galliano or Christopher Bailey. The question is where did this identity come from?
What characterised the British couturiers of the late 40s and 50s was an innate flexibility, required for survival. While Parisian designers enjoyed state backing, a superfluity of high quality needle workers and cheap workroom space, British designers were continually struggling. By thinking on their feet and embracing new developments to broaden their market, inventiveness in design was fostered. When couturiers began expanding their designs into ready-to-wear labels, the advance to the age of the modern designer became inexorable. This was the nascent force of democratisation in the fashion world, creating well-cut, better quality clothing for the masses and adding the cachet of their name to the ready-to-wear business. The post war couturiers renowned for their tailoring, innovative design and individual quirkiness, provided the rudiments for designer ready-to-wear clothes and British High Street fashion to build upon. It was on these foundations that the new designers of the youth revolution of the swinging sixties were to flourish and eventually render British couture obsolete.
While there is a clear line to be drawn between the couturiers and the contemporary British fashion industry, many of the ideals which they represented have been eroded. The quality of finish and craftsmanship, which the London couturiers prided themselves on, is no longer a feature of the perceived British fashion identity. Of course that is in part due to the decline of British couture industry and the lack of state backing to provide the funds for exquisitely expensive fabrics and labour, which the French industry continues to enjoy.
Ian Garlant, creative director at Hardy Amies, which opened its doors on Saville Row in 1946 and is now one of Britain's only true couture houses, also emphasises the differences in cultural realities between the two countries. "There is a fundamental difference in perception of the role of clothing in the national psyche in Europe. Fashion in France is about public display. In Paris it is life on the boulevard for public consumption...- traditionally British clothing was more private and personal." British couture has a heritiage of creating discreet garments that work for the individual. Inevitably these are pieces deemed unworthy of the editorial attention that the spectacular and rarified occasionwear grasps. Indeed the ‘behind closed doors’ nature of the industry coupled with the private British sensibility creates an intensified contradiction in the relationship between couture and publicity. This means that ‘ordinary’clothing of exceptional quality and cut will never be seen by the public, whose consciousness British couture fails to permeate. This does not however, mean that beautifully crafted clothes are not produced in London as the resurgent House of Hardy Amies can testify to, it is more that it slips below our radar in a manner that the red carpet wear of Pariaisn couture does not.
The lack of prestige and publicity generated by British couture has also undermined the intake of a new generation of skilled workers in to the business. Ian Garlant discloses that the majority of his new staff emanate from Eastern Europe or Denmark, with very few British fashion students considering the career path of couture craftsmanship. The city which once produced finely skilled needle workers is no longer able to meet the labour demands. While it is true that couture workers will never join the ranks of the super rich whom they dress, it is a career which provides a job for life. One hope is that the exhibition will serve to remind London of its couture history and perhaps inspire more students and aspiring fashion designers to cherish its heritage and skills.
First printed in The Independent Saturday Magazine
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