London Fashion Week A/W 2013: Jasper Conran

I'll admit I was highly ecstatic upon opening the orange envelope containing an orange perspex invitation to the A/W 2013 Jasper Conran show. This is a creative industry here; invitations are generally the first impression of a collection, and fluorescent orange plastic was particularly exciting in this case. Fashion shows are quite theatrical, as well; there's a stage (the runway, the presentation space), lights, music. So walking into the tents at Somerset House to see an orange runway and the room illuminated by its reflection was again some indication of the overall mood.



The aesthetic was quite mod; exaggerated cloche hats, flouncy trapeze dresses, pleated mini skirts and tailored shirts were accompanied by matching tights and patent flats for the illusion of infinite legs. (Hardly an illusion, actually.) The garments were sophisticated without feeling stuffy, youthful without feeling juvenile. Silhouettes were kept quite tame, but the brilliant use of color and accessories made the collection - to sound obvious - pop.



Much of Conran's work is built on the idea of "classics reimagined," and his A/W 2013 was no different in that regard. Certainly destined to be a commercial success - entirely wearable - Jasper Conran epitomizes a different side of London fashion. Not necessarily eccentric or shocking, but based on the concept of tradition mixed with the contemporary.

Many thanks to Jenny Holland and the team at Jasper Conran for giving me the opportunity to attend this show!

Images and review by Catherine Everett

P.S. Yes, that is Hilary Alexander seated in the front row, visible in 80% of these photos.

London Fashion Week A/W 2013: KTZ

On Friday around 1pm, I headed to the tents at Somerset House to catch the KTZ runway show, tarot-inspired invitation in hand. Let me clarify: I sprinted there in fear of being late - and ended up entering the space, next to the photo pit, right as the lights were dimming and music began. Trippy and atmospheric beats played as models stomped the runway clad in leather, suede, fur, organza, and essentially every other fabric under the moon.



There was a clear street style influence to the collection: think 1990's cyber witch meets over-the-top 80's London. Wide-brimmed snap-back hats met blazers and voluminous printed skirts - the patterns and colors of which were inspired by tarot cards. Having some friends who dabble in tarot reading, I even recognized a few phrases that adorned shearling coats and matching knee-height boots. Unsurprisingly, the "Hermetic Order of the Golden Dawn" is another reference to magic and occultism, which originated in Great Britain, no less.



To prevent the collection from feeling straight out of a Halloween costume catalog (witches, page 6), the occult influences were merged with couture-esque shapes and construction. It was mysterious, but not cheesy, and delightfully over the top. This is true London fashion.

Photos and review by Catherine Everett

PS Thank you to Kusi and the team at KTZ for inviting me to the show! Much appreciated.

London Fashion Week F/W 2012: Giles

The idea behind Giles Deacon's autumn collection was a narrative of sorts, depicting a scene in which a lavish estate is in flames. "It's burning down, and what are you going to take?" asked Deacon, offering insight into the concept behind his latest.

I like being forced to think; this collection did provoke thought. There's many elements to the formula: elegance, primness, disorder and disarray. But it isn't entirely obvious, even with burnt imagery present throughout.



xox Catherine

Photos via Style.com

London Fashion Week S/S 2012: Mary Katrantzou

If there's any show I wish I could have attended during LFW - meaning, if I had an invitation and didn't have art history class the same time - it's Mary Katrantzou's. I find it quite easy to be entranced by Katrantzou's bold, artistic designs. Though only on the scene for a few seasons (A/W 2009), she's become a powerful new voice. There's quite a difference between her work and simple garments created by other designers. This collection is indeed less architectural, and hence more wearable than prior seasons', but there's a depth to these pieces that not all designers can conjure.

Inspired by the contrast of man and nature, she adopts her influences in a literal sense - floral prints appear in a setting, a field. Motifs from nature are digitalized, blown up to the point of being unrecognizable.



I keep mentioning art vs. fashion and whether they are entirely exclusive. I don't believe they are; it's quite evident through many designers that fashion is a wearable extension of simple "art." When I question my purpose as an artist, I can't help but think studying fashion would be an appropriate path. I suppose my training as a designer at this point is absolutely minimal - but isn't that what university is for? To guide one? To teach? Yes? Yes.

xox Catherine

Images via style.com

EDIT: For an interview with Mary Katrantzou on her most recent collection, check out the latest issue of Lula.

London Fashion Week S/S 2012: Joanne Stoker

In the Exhibition at Somerset House, I came across these artistic, colorful, architectural creations by Joanne Stoker - a 2009 graduate of Cordwainers College. A collection full of heels, naturally, I was enthralled. Though a few elements seem slightly derivative, it's hard not to be mesmerized by these wonderfully eccentric shoes.

xox Catherine

LFW Street Style: Day 3

Well, here's the last batch of street style photos from LFW! Yes, there is a shot of Anna Dello Russo (editor at Vogue Nippon) in the mix. She was probably the most famous person I saw throughout the weekend - besides Hilary Alexander.

I still have a few more sets of photos to post, but I hope you've enjoyed my street style coverage! Any thoughts, criticisms, questions? Post them in the comments, please.

xox Catherine

London Fashion Week S/S 2012: Cristina Sabaiduc

Located in the basement of a seemingly office-like space, show goers were ushered into the middle of a room surrounded with a white catwalk. Applied to the walls with magnetic strips were pieces of cloth, though I didn't quite know what to make of the setup. No one had any idea where to look, definitely giving a mysterious atmosphere - but crammed into a space with so many women wearing tall heels, I don't think anyone knew where to look.

The show began as models appeared, wearing basic, revealing bodysuits. Each model circled the room, pausing to be clothed from the garments adorning the walls, with assistance from a few dressers.







The two dimensional wall decorations transformed into dresses, tops, pants, skirts, before our very eyes; although most of the audience had trouble seeing this process. This was a bold first attempt at a show during London Fashion Week, but some aspects fell slightly short. After this, I'd be disappointed to see the designer try a more traditional show, but perhaps seating could be arranged to allow for better views of the work.

Sabaiduc was inspired by the contrast of the natural environment and industrial waste, evident through patterns and textures present within the collection. The concept behind the clothing is arguably stronger than the design aesthetic - which again, is something that we're eager to see improved upon.

xox Catherine

All photos by Catherine Everett