142 posts tagged LFW
Cosmetics a La Carte
To most it is impossible to imagine walking out of your front door with a bare face, especially with the likes of TOWIE stars making us believe a fake tan is part of daily routine. It was getting to a point where I was almost unrecognisable due to how awful my makeup routine had become. It was time for a re-haul and off to the professionals I dragged myself.
Cosmetics A La Carte are renowned for their bespoke range and luxurious attitude. Their comfy boutique in West London (very apt location) is a coven of exquisite makeup treats. My mother was never one for makeup herself so I had many questions to ask my personal makeup artist First on the agenda… how do I get rid of these sleep deprived dark eyes???
4 mins later and I am transformed from ‘hangover hell’ to ‘always fresh in the flesh’. A La Carte’s secret light concealer really does hold a secret. Since the age of 14 I have constantly searched for an under-eye concealer that not only conceals but gives the illusion that I am not wearing any foundation at all. Hello finish line because I’ve found it here!! Right, next port of call - eyeliner. Whats the best solution? Liquid, pencil, brush? And what colour is hot for the season? Take note ladies, black is not the new black! Try a midnight blue for a less harsh approach to your flicks.
Its not all makeup makeup makeup though. In order to get the best out of your tools you must have a decent canvas. A La Carte teaches you how to look after your skin with makeup removers, primers, toners and moisturisers. If any of you have been taking tips from Kim Kardashian you will know a good primer is key. This Rose Dew primer not only smells like a dream but makes your face feel like its been baptised in the river of eternal youth and your makeup is not going anywhere with this base!
Now you think, well I do anyway, if it is good then it is whacked on with a hefty pricetag. You get what you pay for right? And as I normally shop for makeup at my local market I usually pay for drug infested war paint. WRONG! A La Carte might have the vibe of a rich housewife’s dream but the husbands are also looking pretty happy with affordable prices. Yippee!
Primped, primed and completely pampered I head off to the lions den that is London Fashion Week with my survival kit courtesy of A La Carte and a face that makes me ready for any photo hungry bloggers. MEGA THANKS MAKEUP QUEENS!!
With Ashish you wonder in anticipation what he is going to come up for each season, however deep down you know it will include sportswear, have an element of glam and definitely incorporate sequins. Lucky for me, these are 3 things I cannot live without.
This is season saw Ashish pay homage to the workers of Britain, the builders/ mechanics/ decoraters/ cooks!! High Vis vests and patchwork overalls were given a glam makeover and rolled on sequins. Lets stick two fingers up to the recession and have a kiki! Things are about to get interesting again.
Androgynous models with wild back combed hair were emblazoned with comical tag lines. My favourite being ‘I’m having a shit day, thanks!’ This will definitely be top of my wish list for AW13. Ashish carried through his trends and ideals from SS13 with a subtle move on in themes. The 90’s denim, patchwork, sequins and grey tracksuit items made the cut from the previous season. This is good news for all of us who are worn down by fast fashion and are looking for something real, just update your wardrobe with a sequin high vis and patchwork apron and you are good to go.
Images sourced from Style.com
As I walk into the beautiful Portico rooms high in the corridors at Somerset House I am met with a blank wall graffitied in ‘Breakfast club’ quotes and 80’s lyrics. This looks set to be about everything I love.
Next thing you know 4 men come in with ladders ad bring the wall down to reveal some American style lockers. I am so confused at this point I sheepishly ask one of the PR’s whether I had missed the show. Reassuringly she explains their are 4 settings and I am now about to witness the second. Is this a new take on the salon show? More like a static theatre production? I don’t know but I was excited to think I was on the cusp of a new wave of fashion show production. Out come the models in what seemed to be a modern take on a cross between John Waters, ‘Cry Baby’ and ‘Grease’ with new girl of the moment, Chanie Munn as Rizzo.
Out come the models in what seemed to be a modern take on a cross between John Waters, ‘Cry Baby’ and ‘Grease’ with new girl of the moment, Chanie Munn as Rizzo.
90’s hyper colour were blocked graphically into 50s shapes whilst cartoonesque conversationals and simplified Basquait graffiti made up the prints. In terms of fabric there was an array of leathers, structured cottons and bright tweeds to give tailored shapes and iconic items like the the bomber.
This has to be my favourite collection of theirs to date, however I bring this shrouded with biased thoughts as all these films mentioned are in my top 10 all time favourite list.
An intoxicating joie de vivre mix of the 1950’s movie ‘An American in Paris’ and Andy Warhol’s superstar actress Candy Darling amalgamate to inspire haute couturier Ziad Ghanem this season.
Colour is unashamedly bold and bright and brimming in Pop-Art positivity while silhouettes embrace the female form, accentuating voluminous and sensual curves. In keeping with Ghanem’s haute couture aesthetic fabrics are rich and opulent and are adorned with his signature printing and finishing techniques.
Ghanem’s designs are entirely unique and are adapted to the wearer’s form and character. To reflect this personal touch Ghanem and his team have selected models on the basis of their unique personalities and style – size, age, gender – as in the real world – are irrelevant.
Fun, random and hilarious! Bursting down the runway to a hip-hop track models danced and grooved their way across the floor in Norweigan Irvoll’s YOLO collection. Inspired by the modern technical age the designs had tags with the captions LOL and OMG attached sporadically. A whirlwind of colour was used as well as eye motifs and other graffiti style prints.
Jersey and cotton sweaters worked with the theme of the collection producing playful casualwear that had a distinct sporty edge. The relaxed atmosphere brought smiles to the viewing audience faces as did the live rap finale where all the models bopped down in unison with the designers leading the parade.
Baku in Knightsbridge set the scene for Nico Didonna’s AW13 show where there was a Hollywood glamour to the womenswear. Tailored waists nipped in, dresses expertly draped in raspberry and dazzling blue, subtle painterly prints, glitzy touches, and exposed backs hung with fine jewellery. One gown was cut in vertical monochromatic panels and cleverly constructed to accentuate the female form.
Fur lined coats added drama to the more casual menswear offering. The wrap-around jackets and sweaters, biker-jackets and leather sleeves had a quiet cool about them, which with the loose fitting trousers tucked into boots, contrasted with the women who were heavily styled with strong brows and eyes, fixed up-dos and Karen K shoes. However the darker palette of greys, browns and black worked well to compliment the women’s bright colours.
*Images courtesy of http://aizakbuyondo.com
Jumping back in time it was a pleasure to witness past looks from design powerhouses including Mary Quant, Ossie Clark, Givenchy, Chanel and Dior.
The Retrospective team use designs from the days of yore that pertain the predicted rends of the coming season. This ingenious concept is the brainchild of Bourne & Hollingsworth and was open to the public as well as industry representatives. It was superb to see a combination of looks and pieces that reflected both the past and future. Both a visual and mental pleasure that was achieved with panache.
The SS13 Fashion Fringe winner, the boy who came from NE China has certainly done good in WC2 London. As the final show of the season with added prestigious accolade receiving pressure on top the designers collection that continued from SS13 by admiring the bold and extravagant designs of Gothic periods from days gone by.
Highly architectural pieces which based their centre of structure at the waist. Wang used brilliant red leather, rough herringbone wool, snakeskin details and accompanying metal bodices and abstract neckpieces. Reinforced jackets extended out from the body and impressed as much as the linear dresses with cut backs and complicated draping.
Hair and make-up added Asian edge with mysterious lines painted across the models faces, some where then masked with peaked visors while their hair was pulled and taped to create a spout that cascaded and pinned to the back of the visors, a look that I can only describe as Kung-Fu chic.
A collection that came out with attack Wang impressed the abundant western and significant Chinese press in attendance. Even in my haste to get to a comfy bed with London Fashion Week now technically over I managed to overhear numerous “excellent” ‘s from domestic editors and “Yōuxiù”’s from their Chinese counterparts which can be approximately translated as superb. At TWENTY6 we are effortlessly inclined to agree.
*Images will follow
The ethereal beauty of Ilincic herself paired with her background in architecture certainly translates to produce elegant structured pieces of a consistently high standard. Having firmly established herself as “the Queen of colour” over the past few seasons Ilincic has taken her feminine demi-couture methods and applied surprising use of colour and fabric to brilliant effect.
Pale pink consumed a large proportion of the collection in PVC and a magical radiant taffeta where the shine illuminated from the fabric itself without coating. Other colours used were a juxtaposing combination of intense green, black and burnt brown seen on a selection furs and coated or embellished fabrics.
The magnificent Savoy ballroom provided a stylistically charmed background that harmonised with the Aldo collaboration lace-up heeled boots that were suggestive of fairy-tale princesses in the pink numbers and their fabulous evil stepmothers in the dark and acid green.
The Serbian-born designer certainly cast her spell and with the recent British Fashion Awards Red Carpet Award under her belt I am positive we will be seeing Roksanda Ilincic remaining a firm favourite of not just those of us here in London but world over as well.
The East London railway arches that played host to Conchita Perez’s AW13 catwalk show had a distinctly haunting, cave-like feel. Fluorescent columns of light and a bed of dry leaves paved the way for the models, this mix of natural and artificial that was to be seen throughout the show.
Dramatic styling of tough ankle boots, madly back-combed hair and heavy make-up that focused on grunge eyes and an imprint that runs down the side of the models faces resembling teeth or a tyre mark. The dark mood was momentarily lifted by nude tones and whitewashed jeans, and a light tactile textile, evocative of the scattered leaves, causing a swishy movement for skirts.
The look was urban with black and greens featuring heavily, as well as leather in the form of waistbands, cigarette pants and structured cropped jackets. Accentuated shoulders and high-necklines had an eccentric Victorian feel, although pieces like the sculptural blue jacket with these enhanced features had a strong sci-fi resonance.
China’s official statement on fashion was made just before the Ji Cheng show with a lavish drinks reception where mini Asian gastronomic bites were available to sample and not forgetting a glass of fizz. After speeches by the head of the Shanghai Fashion Week organisational committee and a delightful introduction from Ji Cheng herself it was into the show space and on with the show.
Popular with Chinese designers Cheng blended her heritage with western tastes. A lot of black was used in situ with Manchurian buttons, Qipao style dresses minus the high necklines in addition to cultural influences. Scale detailing on the garments mirrored the projected goldfish on the back wall which represents longevity in traditional Chinese philosophy. Crushed velvet and silk were shaped elegantly into a wearable collection with a final statement gown complete with scalloped train.
Now in the year of the snake I am sure we will see more designers liked Ji Cheng weaving up fashion’s ladder of influence and acclaim.
Pringle of Scotland
Pringle of Scotland is the iconic brand founded in 1815 at the birthplace of the scottish knitwear industry. from the beginning technical innovation has led to the creation of knitwear as outerwear, the signature argyle pattern and the classic twinset.
The pringle of scotland autumn/ winter 2013 collection offers a clean and structured silhouette, softened through the use of luxurious knits and a colour palette that builds from white, chalk, praline and caramel tones through to vivid cornflower and sea blue. there is a 1960’s influence, evident in the constructed shapes and rounded seaming on coats and tailoring.
Traditional knit techniques are used to innovative effect; a crochet fur stitch hand knit sweater in cashmere is worn with an intricate multi stitch dress that incorporates bubble stitch, flat pleating and lacing, whilst a tubular knit dress and cardigan are realised in technical yarns that play with tension to create a textural hand feel. this experimentation is progressed through the weaving of feathers through a hand knitted sweater, and their application in strips to a knitted coat, creating a voluminous, fluctuating silhouette.
Throughout the collection knitwear pieces are treated as wovens and vice versa, creating a sense of ambiguity; knits are patterned through a transfer printing technique, usually the preserve of wovens, whilst a broken argyle pixel pattern appears on knit jacquard trousers. a reversible knit sweater with argyle jacquard is reminiscent of a woven brocade, whilst a knitted gilet coat and sweater combine technical yarn with the finest merino, presenting an ottoman effect.
The brand’s iconic argyle is presented in varying forms, from a more literal interpretation on a knitted dress with devore effect diamonds, to the subtle formation of pixelated prints, to the use of sharp angles that mimic the points of a diamond seen on the v neckline of a tuxedo jacket and in the rib hem detail of a cashmere knit.
The twinset concept is developed through the matching of elements throughout looks; from the yarn on a knitted sweater that is mirrored in the knitted pocket panels of the trouser, to skirt and trouser suits that pair double weave fabrics, to the trimming of a knitted dress and cardigan with matching tubular knit piping.
All the shoes were by Manolo Blahnik.
Curated by fashion designer and editor of Austrianfashion.net Claudia Rosa Lukas, Another Austria presented a diverse taste of Austrian fashion in the form of photography, animation and illustration, as well as a presentation showcasing the work of five Austrian fashion pioneers, all held in the Austrian Cultural Forum in Knightsbridge.
Lena Kampf and Ida Steixner’s brand Meshit has a youthful spirit and is already favoured by high-street giant Topshop. Animal prints, PVC and faux fur all featured amongst the edgy, urban display.
Sophie Skach began designing at the tender age of 16 and has since refined her embroidery and embellishment techniques to produce alternative menswear. Tartan, mohair and fur all featured, adorned with sequins and colourful bird embroideries, the pieces were unique and individual, with a real sense of craftsmanship.
Anita Steinwidder of STEINWIDDER showed her love of upcycling, reusing old clothes and fabrics to produce her organic look and, sticking with the eco trend, created organic shapes from earthy tones. Deconstructing and reconstructing pieces, and weaving with shredded fabrics, caused designs to determine their own size, shape and even purpose based on what is available to hand. Her natural thriftiness and lack of complete control over her designs are what make Anita an inspirational designer.
BRADARIC OHMAE is the brainchild of design duo Tanja Bradaric and Taro Ohmae. In a clean palette of white, nude and black, the pair succeeded in producing a modern collection of tactile woven textiles and 1960s inspired shaping and silhouettes, prints and colour-blocking. The uniformity of the colours and shapes, and focus on two-piece looks, enhanced the interchangeable aspect of the collection, giving it a wearable appeal.
*Images to follow
Recent merit award winner Yifang Wan produced a collection for AW13 that was modern, almost futuristic, while still retaining elements of her traditional Asian background. The long, willowy silhouette is now a staple of Wan’s and it was the draping of the tonal layers that had roots in traditional Asian dress. Wide leg trousers and coats cut to the ankle had a sense of ease and would likely appeal to women old and young alike.
There were strong menswear influences throughout in the deconstruction of tailored overcoats and suit jackets. High-necks were a key detail and tall collars built into oversized coats gave an interesting roll-neck effect.
Simplicity was the watchword for Wan in construction and colour. The tonal looks flowed in black, grape, indigo and a deep violet, with metal shimmers catching the eye from the steel accessories, jagged like stars around wrists, necks, waists and pony-tails, the shapes were also mirrored in the clever construction with sharp point slicing through straight lines.
It is her ability to strip away the fussiness and produce uncomplicated feeling, innovative garments through her use of minimal but considered lines that make Yifang Wan an exciting designer with a modern edge.
Images courtesy of yf-wan.com
Ashley Isham’s pieces are delicately hand crafted with razor sharp tailoring that is masculine yet soft for the Autumn/ Winter 13/14 collection. The collection is inspired by a 1976 movie called “Logan’s Run” and by the wonderfully thought provoking images of Helmut Newton. Helmut Newton was a German- Australian photographer who was a prolific, widely imitated fashion photographer whose images are provocative and erotically charged.
Inspired by Logan’s Run, the Autumn/ Winter 13/14 offers a world of infinite possibilities that are dark and conceptual for the tailoring with geometric shape, yet serene, full of muted colour and mille-feuille light for evening wear. The collection has a sleek constructed quality that is glamorously futuristic for a woman who dares to be different with asymmetrical lines that have the deconstruct aspects of tailoring which is still precise. The pockets in skirts and dresses brings reality that reflects urban chic. In the past Ashley Isham’s silhouette is recognized by his draped jersey but Autumn/ Winter 13/14 is about structure and craftsmanship which is reflected by the hand quilted chevron pattern of Art Deco on collars, cuffs and capes.
The inspirational journey through Helmut Newton’s erotically charged black and white photos translate to glamorous unconventional tailoring for daywear with hand embroidered epaulets that is body loving yet still floats on the body. There is an inky squelch of sheen to the luxurious wool that is modern yet feminine while drawing particular attention to the fifties couture silhouettes.
The enchanting evening wear is long, lean evening columns that surrendered to the translucence of porcelain under light to guarantee vigour and movement. The elaborate embroideries are so delicate that the beading appears almost invisible. It’s an ode to delicateness, this time rendered in tone on tone or silvery embroideries on lace and tulle of varying transparencies and luminosity that loans a rich but solemn air.
Ashley Isham uses exquisite materials such as; lace, guipure, lycra jersey, opulent velvet jersey, silk organza, silk chiffon, silk satin and cotton sateen.
Recognized for his signature draping and razor cut tailoring, Ashley Isham’s distinctive blend of high-octane glamour and contemporary chic has won him an army of followers devoted to his vision and design philosophy.