amysspikes: Writing

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16.4.13

Komana

I am really excited to be art directing a fashion promo for ethical designer, Livia Henne's label Komana.

An exceptionally unique and strong identity permeates through each piece of this collection making it instantly recognisable as Komana. Livia achieve this with bold, painterly monochrome designs that celebrate primitivism and the many artists who have revelled in its qualities. This aesthetic is contrasted with notions of surrealism and peculiar Victorian illustration, which is altogether an eclectic and inspiring mix.

The range includes key wardrobe elements such as leggings and t-shirts as well as homeware items such as cushions, which are transformed by Livia's hand printed iconic designs into statement designer pieces.

At the heart of these expressive and unbridled designs is Livia's passion for humanity demonstrated by her commitment to organic and fairtrade materials and processes.

I already have my eye on several pieces including the mask cushion, the patchwork leather bucket bag and the disco cape!

Check out their site:
http://www.komana-design.com/
https://www.facebook.com/komana.design

22.3.12

Bespoke Blokes

Patrick Grant of Norton & Sons and E. Tautz

http://www.sweetandsound.co.uk/2012/03/blokes-go-bespoke/

Walking along the golden mile of tailoring you might feel daunted, intimidated even by the string of polished and gilded shop fronts housing fiercely stylish suits, poised like suits amour.

Attitudes to Savile Row have changed over its 200-year history; it was trendy in the 1960’s when The Beatles shopped there and it has been considered out of touch. A young apprentice named Alexander McQueen rebelliously inserted notes of paper that read “I’m a rich b*****d” into the lining of aristocrat’s suit jacket. However, one thing that has remained constant is the Row’s heritage as the Mecca of exquisite quality and craftsmanship.

Savile Row is embedded in the fabric of men’s fashion and yet the two have a difficult relationship. Savile Row tailors, who spend as much time training to achieve the perfect cut as a doctor, make fashion tailoring appear amateur. Fashion by definition is fast paced, ever changing and this world of fad and novelty seemingly has no place on the regal Row whose emphasis is on eternal style. For the modern menswear designer it must be like being a contemporary painter, whose work is unforgivably critiqued against the rigid institution of art history painting.

When it comes to classic men’s tailoring it is the refinement and the detail that denote style; impeccably high standards that cannot possibly be mimicked on a fast or mass scale or disguised by accessory. Designers such as Tom Ford have mastered and redefined the men’s dinner suit, for example. However, it costs more than the average Savile Row ensemble and won’t have been made to measure.

Though despite appearances Savile Row is accessible and fairly democratic. The tailors cater for everyone, from royalty to the Gallagher brothers, to a prospective bridegroom looking for that special suit and they are all given the bespoke treatment. Furthermore, the classic Savile Row styling is born out of practicality; an English country gent and has a history in military tailoring.

With the developing interest and demand in men’s fashion in recent years the two cultures have had to harmonise. Savile Row tailors show at Fashion week offering unique twists on canvasses of precision tailoring. Indeed, this past London Fashion Week saw E.Tautz debut with cheeky cheques and quirky bell shaped hats to a packed audience of dapper dressed gents hungry for bespoke. And M&S have recently announced an ‘Inspired by Savile Row’ range, designed on the famous street by Savile Row designers, thus crossing the thresholds.

The creation of a ‘Savile Row Bespoke Association’ promises to protect Savile row standards and interests, yet men’s fashion particularly in Britain, is picking up speed and pushing boundaries. It is hard to see how this relationship will develop but contrast is a good buffer and there is exciting potential around this collision of ideals. It will be fascinating to see it how it progresses.

5.3.12

Anatomica

http://www.sweetandsound.co.uk/2012/03/anatomica/

Paris is the home of the flanuer, and surely all flaneurs need good shoes! So for the gentleman accompanying his lady to this Paris Fashion Week, why not take a stroll along the fashionable Rue de Ravoli to Anatomica.

Anatomica is set down a quiet street with a burning red exterior and inside shoppers find themselves transported to a charming bygone world of luxury and the bespoke. Roles of fabric are propped against untreated wooden shelves and desks display piles of neatly folded clothes and lines of shoes. Streams of measuring tape, objects of intrigue, black and white photographs and bottles of wine are dotted about this curiosity shop that is draped with naked light bulbs. Anatomica has a completely unpretentious feel, like a rustic workshop or studio turned exhibition space.

Anatomica sells a comprehensive range of hand picked international goods. German, Japanese and American labels are sold alongside the shop's own quintessentially French range which includes classic shirts and trousers such as corduroys and chinos.

Anatomica is best known for its classic and refined collection of men’s shoes championing the American brand Alden. The owner, Pierre Fournier, whom Nick Wooster cites as the “Chicest man in Paris”, has collaborated with Alden to create modified lasts that are uniquely available in the Paris and Tokyo Shops. These exquisite shoes are matched in quality by practicality; the epitome of the word 'chic', effortlessly stylish.

Via bfrmk.exblog.jp

http://www.anatomica.fr/

14, rue du Bourg-Tibourg Paris IV

29.2.12

Joseph Turvey A/W12

Via Joseph Turvey

http://www.sweetandsound.co.uk/2012/02/an-interview-with-joseph-turvey/

An interview with the spectacularly talented Joseph Turvey:

What was the inspiration behind this collection?
My starting point was the amazing documentary Grey Gardens. Years ago my mom introduced me to the documentary and the two Edies have stayed with me ever since. Their amazing attitude towards life astounded me and I wanted to try and capture that in the collection. Little Edie has a distinctive style and is an endless source of inspiration. This prompted me to look at all the unconventional style icons that I admired. Hattie Jacques, Margaret Rutherford, David Attenborough are just some of those icons. Their ability to wear amazing clothes in their own individual way no matter age, size or shape was a true inspiration to me.

What materials and techniques did you use and why?
I love to use unconventional fabrics. This season I used lace, waxed cottons and silk twill. I think using these unusual fabrics and combining them with traditional tailoring pattern cutting enables me to put my onto twist onto menswear.

Illustration and digital printing feature heavily in your work, what do you hope to convey with these techniques?
I love print and I love to draw so I thought for this season I would mix the two. I like the idea of man and machine working together.

What comes first your illustrations or your menswear designs and how do the illustrations influence the designs?
I have always wanted to be a designer and I think an important part of that is being able to draw. Being able to translate the garment in your mind onto paper is vital to the design process.

Your collection was the brightest at the LCF showcase, how important is colour to you?
I love Colour. I think there are too many designers scared to use colour. Everything looks good when its black...theres no challenge in it for me then.

Your designs imbue traditional menswear tailoring, why is this important to you and how do you like use it?
I like to take existing methods and put my own twist to it. I have traditional mens jackets that are constructed with hand sewn laces and my knit wear lends from traditional knitting techniques but using fishing wire instead of yarns. I think its important to move forward with menswear and maintain its heritage.

You started out as a womenswear designer, how has this impacted on your menswear designs?
My womenswear was extremely masculine and my mens is rather feminine... So it would appear the two don't impact each other.

What is your ethos when it comes to menswear?
Have fun with it. Womenswear has no rules and menswear has far too many. Its about time some were broken.

Who are your fashion icons?
Edith Bouvier Beale, David Attenborough, Hattie Jacques, Margaret Rutherford.

What does the future hold for Mr Turvey?
I would love to be able to continue to show my collections and have some good stockists. However, only time can tell.

25.2.12

Asger Juel Larsen vs T. Lipop A/W12

Via VFS

I spoke to T.Lipop's stylist about the 'Scott of the Antarctic' inspiration behind this season's look:
The Fashion Scout: BACKSTAGE: T.Lipop Vs Asger Juel Larsen

24.2.12

Ones To Watch - Men A/W12

I reviewed this show for Sweet and Sound:

http://www.sweetandsound.co.uk/2012/02/ones-to-watch-at-vauxhall-fashion-scout/

No show captures the celebratory furore of Man Day quite like the ‘Ones To Watch’. Tonight Vauxhall Fashion Scout hosted a wonderfully eclectic mix of four exciting new menswear designers picked by a team of industry experts including Katy England, Jessica Shackleton, Susie Lau and Marios Schwab.

First to hit the catwalk was Tobefrank. The stream of wistful looking models wore traditionally inspired menswear design and carried bouquets of red roses. The designer behind Tobefrank is Frank Philips; a hapless romantic inspired by literature (Dickens, to be precise), her English heritage and idyllic life in the country. Frank is on a mission to re-establish old world masculinity and the true English gent.

The collection included trousers with braces, blazers and peacoats, built around buttoned up shirts in strong military colours of crimson, navy and khaki. The tailoring was fairly loose fitting and easy to wear with masculine shapes that buck the slim fit silhouette synonymous with contemporary luxury men’s tailoring that Frank rejects. Details such as double flap pockets on a brown blazer with wide, oversized stitching around the collar, wide lapelles and high necked buttoned up shirts suggests a hybrid of cross class dressing. However a strip of crimson on the reverse side of rolled up trousers provides refined detail. Altogether this evokes nostalgia and fuses practicality with high fashion.

Next up was Julian Zigali. Julian’s models looked like eager schoolboys dressed to embark on a science trip adventure. Shrunken puffa jackets coupled with beaded necklaces, anoraks and backpacks gave a sense of the nerdy. Anorak hoods worn cape like and backpacks built into jackets as though worn underneath evoked playground humour, indeed the collection is entitled ‘To infinity and beyond’. Playful, floral prints in unique Swiss fabrics clashed together on a shirt or uniformly across a shirt and trousers. The colour scheme was a varied range of earthy shades, red, white, navies and pastels. The garments possessed detailing associated with practical outdoor wear such as elastic drawstring waistbands on trousers and boots styled with warm hats and gloves constructed from striking laser cut fabric to reveal flesh. Details such as these added substance to Julian’s fun designs. Julian has created a dreamy world that is Peter Pan like in its nostalgia for boyhood.

Bodybound hit show goers with a collection that injects lust into rigid menswear design. The first model onto the catwalk dazzled in a sun bright Aran trench, lacquered in gold with a striking black lining. This statement piece was effortlessly contrasted with tailored trousers and brogues, which stylishly matched the models vintage sleeked back hair. This ensemble set the tone throughout as tailored pieces that hark to traditional menswear in check or pin stripe fabrics and classic plain white t-shirts were used as backdrops for punky studs and rich gold embroidered beading. Shirts were contrasted with gold biker jackets and models wore plastic visors. Transparent plastic was a prominent feature of the Bodybound show. It strode onto the runway wrapped around a muscular, square jawed model who wore nothing but boxers and braces beneath a plastic trench, coupled with boots and stud adorned socks. The collection sees a paradox of ideas and challenges traditional notions of menswear, so it is little surprise to learn that Kim Choong-Wilkins worked for fellow Saville Row anarchist, Alexander McQueen.

The show ended on a bright and optimistic note with Joseph Turvey.

Joseph is a talented illustrator in his own right having illustrated for numerous publications and his illustrations feature heavily, digitally printed across his designs. Indeed, they form the identity of his brand. The illustrations themselves are intriguing images of male models with cool, nonchalant expressions that are subtly sad and tenderly beautiful making it quite easy to get lost in the face of one of his portraits.

Joseph has coupled tailored shorts with jackets and t-shirts in fabrics such as broderie Angliaise and soft chiffons and uses a fiercely bright colour scheme including fuchsia, orange and lemon checks contrasted with black and white. A break away piece is the bright striped t-shirt that reveals striking bands of flesh. A true artist, Joe’s work is formed from experimentation with traditional techniques and menswear tailoring, unexpected fabrics, print and surface design creating garments that are truly unique and thus pushes menswear into exciting new realms.

22.2.12

E. Tautz A/W12

Via VFS

I've never been in a room with so many finely dressed gents. Exquisite Saville row tailoring underpins preppy schoolboy rebellion at E. Tautz:
The Fashion Scout: COLLECTION| E.Tautz AW12

MATH A/W12

Second image via VFS

The Fashion Scout: BACKSTAGE| The Body Shop make-up look for MATH AW12

An Interview With Melissa Diamantidi A/W12

Via VFS

An interview with VFS Paris showroom designer, Melissa Diamantidi:

What are your inspirations behind the collection?

"I was initially inspired by the Scottish architect and designer Charles Rennie Mackintosh, which brought on the exploration of angles and asymmetry. During this time I also became intrigued by the study of ice formation and crystal growth which when viewed through a microscopic level exaggerate structural qualities - a powerful dissociation with such fagility. As a result constructive concepts develop into reflective movements."

What materials and techniques do you favour?

"Throughout the collection I have explored refined tailoring, unique draping as well as digital printing. I also attempt to challenge the conventional methods of finishing and continually explore ways in which to translate my concepts to the finished products as effectively as possible."

What do you hope to achieve from Paris? What are your expectations?

"I hope to increase brand awareness and expose the brand to esteemed individuals within the fashion industry, whilst exploring an array of opportunities within the fashion world. This will allow the brand to achieve recognition and hopefully realise its potential."

How do you think Paris will differ from London?

"As a British, London based designer but also as an individual I believe it is important not to be confined to what one is used to. It is important to always explore new opportunities. Showcasing my work in Paris during fashion week is n incredible opportunity and will provide a new perspective for me. I believe this is vital if I want to gain the necessary knowledge and experience as well as to continue to grow and develop on a creative and personal level."

"I hope that being in Paris will inspire me further and allow me to gain another perspective on the fashion industry."

Ruth Green A/W12 Exhibition Review

Via VFS

Ruth Green’s exhibition stand is a rich display of woolly loveliness that instantly draws you into its warmth. You find yourself automatically stroking the wool, letting your fingers guide you and revel in tactile delight.

The collection offers a differing range of eye-catching knits. There are jumpers, long skirts and jumper dresses overwhelmed by larger than life geometric hand knitted intarsia designs in a colour scheme that includes blues mixed with bold blocks of black, grey, caramel and red. Ruth explains, “The designs are inspired by traditional patchwork quilts and I did some travelling in the middle-east where I found further inspiration in Islamic tiles.”

These soft pieces are brilliantly contrasted with over-sized, black chunky jumpers. The collection also includes felt jackets made from delicate lamb’s wool that Ruth has heat rolled to create a super soft material that is incredibly workable too. Ruth is a maestro of her chosen material, exploiting all of its potential with diverse and inspiring results.

The garments are slouchy and easy to wear as Ruth favours simple shapes and clean lines. However, closer inspection reveals whimsical details such as thumbholes or a dress that is excessively long, disclosing Ruth’s quirky side. There is certainly something of the English eccentric in her work and Ruth is a passionate advocate of British design and industry. Indeed, all of Ruth’s wool is British and attentively hand spun and knitted using traditional methods in Derbyshire. They look cozy and inviting but striking and unforgettable. Wearing a jumper will never be the same again!

Ruth has already built up an impressive CV having studied BA Womenswear Knitwear at Ravensbourne before going on to study MA Fashion Knitwear at the RCA. Since graduating she has won numerous awards including a BFC competition to design a capsule collection for Warehouse with a showcase at LFW. She currently designs for Skunkfunk and British wool manufacturers, Rowan alongside her own collection. Phew! Ruth now plans to sleep, dust down her knitting machines and look to SS13 which will be inspired by Italian spinners and their use of lightweight viscose.

An Interview With Eleanor Bolton A/W12

An interview with VFS showroom designer Eleanor Bolton:

What were your inspirations behind this collection?

“Lots of things! I am interested in the concept of ‘preciousness’. People’s impression of jewellery is something that is made of expensive materials: precious metals and jewels. I use non precious materials that are not valued in any way but it is through the way I work with them that I transform this and subvert these preconceptions.”

“There are lots of obvious visual references like yachting or indeed anything marine.”

What techniques and materials do you favour and why?

“I use cotton braid which I hand stitch and coil around hollow tubes so the pieces are surprisingly light. It’s very tactile. I added gold and silver plated elements to give contrast in the materials.”

What are your hopes and expectations of Paris?

“This is the first time I have exhibited in London and it will be the first time that I exhibit in Paris. I want to further introduce people to my work, to meet new interesting people and press and to gain a bigger international crowd.”

“After Paris I will be showing in two galleries. One is a design gallery in Sardinia.”

An Interview with Heohwan Simulation A/W12

An interview with VFS showroom designer, Heohwan Simulation:

What were your inspirations behind this collection?

“I looked at images of the street. I saw a photo of a woman in London in the rain wearing a Yohji Yamamoto coat.”

What techniques and materials do you favour and why?

“I like clean cut leather, wool, I have silk and cotton mixed jackets. I want extremely high quality in everything, even in detailing like the zips which have my name embossed on them.”

What are your hopes and expectations of Paris?

“I have already gained stockists from showing in London this week, including two stockists in Italy: Coco Ochwada and Caron Sl. So I hope to get more stockists and buyers in Paris.”

21.2.12

Jennifer Morris A/W12 Exhibition Review

The Chaos Theory is the inspiration behind Jennifer Morris’ collection. Structured garments with solid form are constructed using colours and fabrics that have movement and unpredictability, therefore descending into chaos.

Jennifer uses strong blocks of colour that burst and challenge one another with the odd pattern added for good measure. From yellow and burnt orange to deep blue and purple with surprising black and silver. The materials she uses are also varied and volatile including heavy felt to delicate silk and Lurex embossed velvet across a wholesome range of jackets, evening gowns, and even a jumpsuit. The collision of distinctive textures, colours and styles produces a collection of individual pieces.

A prominent detail that unites the collection is the soft 'tufting', a technique that Jennifer developed during her MA Fashion Design Technology, Womenswear at LCF. Threads pulled through the fabric and knotted produce a texture that is fur like and can been seen on shoulders and around hem and necklines achieving a dramatic silhouette. Jennifer has also created a selection of cascading 'tufted' necklaces, that “are supposed to be more accessible and easy to wear so you can make a statement without having to buy into a whole jacket”.

In a room where each designer's stand offers something completely different from the next and are battling out their identities, Jennifer’s garments at first appear modest, quietly at odds with themselves and the other pieces in the collection. Each piece is a solo experiment, an individual specimen.

“My collection is for a certain taste. It is elegant but not trendy. I am not thinking about a young, target audience. There is a lot of evening wear.” With long dresses and the Charleston-esque ‘tufting’, Jennifer’s garments certainly have glamour, though there is a staple shirt in there for daytime.

Magic and natural phenomenon inspire Jennifer's hybrid designs and thus buck trends and break rules, yet they are surprisingly sustainable. Each garment could become a classic statement piece in your wardrobe that will wow at dinner parties from season to season. Altogether a mind boggling, eye popping experimental mix of texture and colour that serves to intrigue and inspire.

Jennifer’s future plans include some immediate time off to recuperate and renew inspiration for next season’s collection. She also hopes to show in Paris with the aim of capturing the interest of the European market, where she feels her designs are best suited.

Ji Cheng A/W12

East meets west:
The Fashion Scout: COLLECTION| Ji Cheng AW12

Myrza de Muynck A/W12 Exhibition Review

Myrza de Muynck’s designs elegantly combine sports and casual wear with luxury and glamour, creating a collection that is cool yet undeniably feminine. The ethos behind her work is comfort before couture, an interesting approach to high-end fashion and one that Myrza achieves with breezy success.

She accomplishes this unique contrast of ideals with a base of smooth, soft fabrics usually associated with sports wear such as soft towelling and shimmering nylon (there is also some denim and even velvet in there too). Her garments are fairly loose fitting and layered together (she has even included lingerie pieces) with gathered and drawstring waistbands. There is a uniformity throughout her collection inspired by the humble tracksuit and a palette of girly pastel shades icluding mint, pale pink, sky blue and white.

Fine black scalloped patterns and floral designs around collars and down the front of jackets and tops gives the paleness some punch together with intricate 1920's-esque glass beading embroidered onto garments and earrings that dangle from the fabric and gives the collection glistening movement as it flows down the runway. The result is a collection that is girly and fun but delicate and refined. The hand painted patterns, hand-sewn jewels and crocheted knitwear cleverly transform consumerist sportswear into luxurious clothing. A cross over from girl to women, practical to fashionable, Myrza achieves the seemingly impossible with the amalgamation of a polarised mix of styles.

Myrza completed her MA in Womenswear at CSM, in 2011 and wasted no time in going on to create a mini spring/summer collection that she exhibited at the RA showroom in Paris. “I am looking forward to working on my next collection. I don’t want to change too much, instead I want to develop a signature style so that my designs will gain instant recognition.”