Author: Ebony Lauren Nash

No bullshit fashion and beauty blogger. I don't have pastel hair or a super fancy DSLR, but I sure can write. You can catch me at


Ushered into an elevator, I get plummeted into the quirky world of Edeline Lee - awash with graphic-print walls leading to stylish nooks and fashionable crannies for exploring. And exploring I do - with a complementary quintessential granola yoghurt in hand, that is. The collection encompasses everything that is starkly characteristic of AW14: monochrome set against flashes of statement cobalt blue. Even to the extent of some models sporting blue-hued brows.


One of my favourite aspects of the collection is that it's actually wearable. Amidst the abstraction and wonder that is Fashion Week, it's often hard to find something that you could contemplate on your own back. Clean-cut power jackets with colour-block detail shoulders, over-sized pussy bow blouses - even a divine layered evening dress in the season's 'IT' colour. Heaven. I wouldn't mind a pair of the uniquely customised sneakers, either.

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To view previous lookbooks, check out the designer's website.

For keeping on your toes with all things LFW, wander this way.

Words: Ebony Lauren Nash | Fashion Week Press | @Ebzo

Images: Amie Caswell | Fashion Week Photographer


Honing together the efforts of the upcoming design elite is always going to create an explosion of a show, and CSM AW14 proved no different. The MA showcase combined the talent of eleven finalists who competed for the L'oreal Professionnel Creative Award with Central Saint Martins MA Fashion Course. With alumni of the institution including the likes of Stella McCartney, Jonathan Saunders and Alexander McQueen, it's little surprise that the collections were forward-thinking and raw. Of the students, the two who snapped up the L'oreal prize were Michael Power and Ondrej Adamek; a decision that was ultimately decided on by none other than CSM alumni Christopher Kane. The decision cannot have been an easy one, to say the least - just feast your eyes on the collections we were graced with:

Teruhiro Hasegawa


Outlining the collection with a steady theme of bodycon nylon, especially mildly bizarre head socks, the Japanese designer conveyed a penchant for striking monochrome with red accenting throughout. With a swathing of floating fabrics, the pieces held a strict oxymoron between ethereal and futurism.

Drew Henry


Chloé Award winner, Drew Henry, is no stranger to success. A luxurious take on the utility trend, Henry juxtaposes satiny box-shaped jackets with fur accents. And by accents, we mean: heels, dresses, gloves, panels - the lot.

Graham Fan


Using a selection of tightly woven panels, this monochrome-meets-metallics collection definitely brought the term 'fierce' to mind - using thick neckpieces and silver accents which in turn, brought about visions of armour and even chain-mail.

Jessica Mort


As the proud recipient of the Stella McCartney scholarship, Jessica Mort's fringe-heavy collection was bound to be an eye-catcher. Using an amalgamation of rich reds, blues and greens with consistent white 'shredder' fringing, the pieces hit postmodern proportions - whilst retaining the traditional collar.

Anita Hirlekar


With accolades including the receipt of the Isabella Blow Foundation MA Fashion Fund, and winning J.Crew's Cashmere Project, Hirlekar had a bar to surpass with this collection - and she succeeded. The heavily embroidered collection revealed endless hours of crafting, with a colour palette as rich as the detailing.

Nayuko Yamamoto


Asymmetrical geometric shapes tied together the basis of Yamamoto's collection: white block cut-outs strewn upon oversized floral foil gowns. Layering played its part, matching or colour-blocking trousers set against the predominantly silver foil-look bodies.

Fiona Blakeman


Another recipient of the Isabella Blow Foundation MA Fashion Fund, Blakeman's work this season focused primarily around a beige colour scheme with mesh cut-outs, to such an extent that it conjured images of uh, giraffes. The often revealing cut-outs brought a risqué feel to what otherwise could've been a quiet collection.

Rory Parnell-Mooney


A clean-cut, angular take on monk-esque robes was presented by L'oreal Professionnel Scholarship winner Parnell-Mooney. With a focus on AW14 'IT' colour, blue - the pieces incorporated layering and floating panels throughout.

Serena Gili


Holder of both a Sarabande MA Scholarship and winner of J.Crew's Cashmere Project, Gili's collection did not disappoint. With a truly intricate collection, featuring a heavy array of different details, beaded net sweaters and reflective lampshade skirts - there was plenty to feast the eyes upon.

Ondrej Adamek


One of the joint winners of the competition, this collection by Adamek was a storm. Using bold geometric but almost even floral shapes - to such an extent they practically obscured models' vision - the pieces were bold in the AW14 hues of cobalt blue and pink. Vertical stripes adorned slim-fit dresses and promise dripped from every inch of fabric.

Michael Power


The other proud winner of the L'oreal Professionnel Creative Award, Power's collection lived up to his namesake - bold, almost tribal detailing over floating monochrome dresses. Teamed with quirky block shoes and robust jewellery, we're going to see a lot more from this designer in the future.

To catch up with the work of Central Saint Martins, visit their website.

For keeping up to date with LFW goings on, check the site.


Words: Ebony Lauren Nash | Fashion Week Press | @Ebzo

Images: Rosemary Pitts |Fashion Week Photographer|@rosemarypitts_


"THIS IS A DEDICATION TO PUSSY RIOT" emblazons a model's placard; there's definitely no 'pussy' footing around the inspiration behind Pam Hogg's AW14 collection. With punch-packing power colours adorning the majority of models, conveying an integral sense of freedom and, just as importantly, fun - something that, of late, has been somewhat dampened in the gay scene. Hogg's collection truly celebrates LGBT+ culture in all its flamboyant glory; a sense of true, balls-deep pride that drips from every fluorescent garment.

On a more pared back note, in quite the literal sense, a spattering of models sport translucent flesh-hued bodysuits - empowered gold detailing covering the less PG-13 parts, creating a sense of regality and drumming home the fact that "THIS COLLECTION IS NOT FOR SALE", if you catch the allusion...

Away from the starkness of the predominant style rainbow, a selection of Hogg's pieces circulate primarily around a more ethereal theme. A floaty, virginal white Bo-Peep-eseque ensemble comes adorned with a single red rose, alongside a model dressed in head-to-toe white - silk and translucency - this time decorated with an array of crisp white roses. How apt for Valentine's Day...


Explore Pam Hogg's latest collections on the designer's website.

Keep on the ball with Pam Hogg real-time with her Twitter account.

Catch up with the recent fashionable events on the London Fashion Week website.


Words: Ebony Lauren Nash | Fashion Week Press | @Ebzo

Images: Corrine Noel | Fashion Week Photographer | @corrinenininoel


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It seldom gets more fresh and arguably, more fierce, than the Fashion Scout 'Ones To Watch' show. The internationally recognised platform celebrates the up-and-coming Donnatella Versaces and Karl Lagerfelds of tomorrow, which unsurprisingly manifests itself into a whirlwind of eclecticism - four vastly differing designers hitting the peripherals in quick succession. It's 'blink-and-you'll-miss-it' and rest assured, you wouldn't want to do that.

Sarah Ryan

If ruralism was ever made sexy, it would be at the hands of Sarah Ryan. Melding together traditionally humdrum methods of weaving with the occasional flash of lambswool, Ryan definitely plays homage to her Irish roots with her debut collection. However, the pieces are far from trapped in tradition: skin subtly peeked through the modernity of mesh - while the predominantly monochrome colour palette teamed with woven chest-pieces conjured images of power: armour.

Hiroko Nakajima

Contemplating the torrential floods outside, Hiroko Nakajima's wool-oriented work struck a particular chord for me. Colour-blocking had its day again; potently coloured fabric clung to frames with the odd questionable addition of pointed woollen hats. However, with her penchant for luxurious cashmere, I think we all could have done with said hats in the metropolitan monsoon that was Day 1. And one of those gloriously form-fitting dresses while you're at it...

George Styler

Condensing the complexities of Serbian designer George Styler into one mere sentence is proving quite the feat. His collection  was, in the fewest of words: loud. Boldly thrashing a myriad of 'World Ethno' influences into one finely tuned package, Styler's work became true art - designs that you just had to leave your seat for, just to crane for a better look. Eastern European florals clashed delightfully against hologram dresses and sequin-bejewelled leggings that packed more wattage than a 70s disco ball on LSD.

Carrie-Ann Stein

With more gritty working class influence than a record by 'The Smiths', Carrie-Ann Stein's work focuses predominantly on tongue-in-cheek allusions to industrial mundanity: seeing a Birmingham Council sign dressed up to print definitely wasn't something I'd expected on the catwalk. The Pop Art-esque inferences, teamed with abstract design made for an interesting statement - bold and brash like the streets often are - yet still refined enough to hold its own on the catwalk. Next time, don't add the hyper-erect ponytails: teamed with the dress shapes, they struck a queer resemblance to Capri Sun pouches.


Words: Ebony Nash | Fashion Week Press

It may have been held in the sick, twisted early hours of the morning (yes, 9am definitely fits into that category), but Agi and Sam refused to let us sail through their A/W14 fashion show with bleary eyes and foggy morning-after brains. We were roused up into an excitable frenzy by a group of live drummers - setting us up for the perfect synergy of Western and African culture - and the sea of desperately expectant iPhones and iPads flew into the air as the first beat hit. The collection was interweaved with subtle political commentary: a monochrome, tailored background formed the general body of the collection, with accents such as traditional skirts, corporation logos and chalk lines allowing the fabric to speak words. Our job was to hear them over our hangover headaches.

Whilst, upon unravelling the message behind the Watu Nguvu show, a great amount of understanding and appreciation could be derived - some aspects of the collection were just a little too literal for me: namely pointing fingers at that which can only be described as a buoyancy jacket. Those clasps should never, ever be seen on a catwalk, surely? Maybe I just hadn't had enough coffee, maybe I'm not open-minded enough, but some things will just never be fashionable. Boating gear aside, the bulk of the line was beautifully made, all class with its hints of mixed culture - though perhaps a little less blatant next season, Agi and Sam?

Words: Ebony Lauren Nash | Fashion Week Press | @Ebzo