Tag: 180 The Strand

The Berthold catwalk show at 180 The Strand is a collection made up of predominantly black menswear and womenswear. That’s why when the primary colours yellow, red and blue start to make an appearance, the impact is all the more striking. They crop up subtly in the details before they dominate the pieces from head-to-toe, as if they have completely engulfed the previous darkness and left in its place rays of sunshine.

The symbolism originates from a darker subject matter altogether. Research for the collection involved gathering photographs of child soldiers in Sierra Leone, Uganda, Liberia and Nigeria.

In one of the photographs, a group of young boys wear shorts with oversized pockets and belts that dwarf their frames. Yet still, they pose confidently, as though they are men – faking it until they make it, but betrayed by their ill-fitting clothes and youthful faces.

For Spring/Summer 2018, Berthold recreates these contrasts and documents the life-defining transition from boy to man. Enlarged sleeves are left loose to hang, extending past the models’ fingertips. Funnel necks are paired with cropped tunics and wrap front trousers are billowy rather than fitted.

Technical fabric and cloth, cottons and summer wools ensure you’ll stay cool in the heat rather than absorb it in all of those dark layers. Blankets (picnic, anyone?) are draped over cross-body bags. The bags – whether they’re oversized with several pockets or small and sit across the waist – make it easy to dip your toe into colour if you’re not willing to take the plunge just yet.

The colours allude to the optimism and brightness of youth. For the female models, sharp, geometric eye makeup created by Maria Comparetto is worn in the same primary colour palette.

The abstract graphic print reimagines shapes from traditional costumes. Influence is derived from the theatricality and majesty of the Dinka tribe in South Sudan, the Bashada people of Ethopia and the Ndebele and the Khoisan people of Southern Africa.

Now, we too, can join a tribe of our own – the Berthold tribe.

Austrian-born Raimund Berthold is the man behind the brand, which was established in 2009. He is now based in London and received his master’s from Central Saint Martins in 2005.

Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Berthold

“We Shall Not Wilt” is the bold and powerful statement BODYBOUND makes for its presentation at 180 The Strand and the message is received – loud and clear.

Taking inspiration from the protest marches, anti-war slogans and flower power movements of the Seventies, BODYBOUND recasts the humble flower as a symbol of rebellion.

The timing couldn’t be more apt, as we are marking the 50th anniversary of 1967’s Summer of Love, which is when the hippy phenomenon bloomed. With London Fashion Week Men’s entering its fifth year, there is clearly more than one cause for celebration.

The speakers blast a cover of Nirvana’s “Smells Like Teen Spirit” as the models stage a catwalk show before allowing us to examine the mixture of dainty and raw details up close.

This includes embroidered barbed wire peace signs, flower patches and military pockets and boots, with the addition of platforms.

Since BODYBOUND draws on trends from the Seventies, it’s a given that the brand delivers denim – here it’s worn overdyed – wide-legged grunge trousers and round sunglasses. They have all been adapted for the modern man, which means they’re not overly nostalgic, but they’re still unmistakable tributes to the era. As well as the navy blue colour palette, blacks, greys and whites mainly feature.

The collection strikes a good balance between the politically-charged undertones of the barbed wire patterns and the fragile vulnerability exposed by the sheer see-through fabrics.

Not once do we question the masculinity of the collection, however. It is masculine to its core, but where it blossoms is with a nod to florals and with unexpected elements, such as the scarves tied around the models’ necks.

‘NO FIGHT, NO FUTURE’ and ‘WE SHALL NOT WILT’ are mantras reiterated and embroidered on the pieces. Models clutch a small bouquet of flowers each – defiantly, but hopefully. As we know, flowers are not all sweetness and light. Some come packed with thorns. In this rocky political climate, perhaps one of our best outlets for expression is through fashion. After all, BODYBOUND shall not wilt anytime soon.

Textile designer Kim Wilkins and photographer Pliny Champion launched BODYBOUND in 2012. They were selected by Yohji Yamamoto as finalists of the Hyères Fashion Award. Wilkins attended Central Saint Martins and the Royal College of Art. He has been a consultant menswear and knitwear designer for brands including Katie Eary, Matthew Williamson and Alexander McQueen.

Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Amie Charlot | Fashion Week Photographer | @amiecharlot

The Phoebe English Man presentation is held in a makeshift plastic-wrapped pottery studio at 180 The Strand. Models retrieve balls of clay from a set of wooden shelves, where previous creations are on display.

They gather around tables moulding miniature items – baskets, bowls and even cars – and look effortlessly cool while doing it. Their arms are marked with long black lines, their fingers tinged with the taupe clay. When they’re not sculpting, the models are posing in front of the shelves to show off the true art form – the clothes.

Rather than pomposity, the Phoebe English Man capsule collection channels functionality, which is a mainstay from previous collections. The garments are shown in easy to wear, understated shades of oatmeal, khaki and periwinkle.

There are no delusions of grandeur here – just quality designs, which include shirtdresses, cotton joggers and loose collarless cotton trench coats.

Slouchy rucksacks, in regular and oversized options, can be fashioned into either backpacks or shoulder bags. The nautical theme is embraced with muted black horizontal and vertical stripes and topped off with cotton rope fastenings. Patchwork in varying blue hues makes the pieces pop and external seams give them the edge.

Chunky socks are paired with just as chunky boots and trainers in outfits styled with perfect colour coordination. Although the models might be working in their ensembles, we think all work and no play makes the Phoebe English man a dull boy. No, these clothes are too good for a day of hard labour – put them on and show them off.

Phoebe English began as a womenswear label and quickly became known for its focus on construction as opposed to decoration. Its first foray into menswear was seen with its Spring/Summer 2016 capsule collection and, much to our benefit, the brand hasn’t looked back since.

Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Amie Charlot | Fashion Week Photographer | @amiecharlot

Many of us dream of the perfect body. At Fashion Week, our traditionally accepted form of beauty is apparent, with beautifully perfect models and celebrities floating around like ethereal creatures.

This season however, Teatum Jones had a very different idea. They took the "perfect" body and they destroyed it, deconstructing and remoulding it in unconventional ways. Despite this, the result was something just as beautiful.

The concept materialised after the design duo delved into the work of artist, Hans Bellmer. Creating a series of mutated doll forms, Bellmer rejected the cult of the ideal body that was prominent in Germany at the time.

Teatum Jones adopted this approach for AW17 by creating awkward, asymmetrical silhouettes and playing with volume, tension and restriction. The wearer can choose to tighten, loosen, tie or lengthen the garment to work on their individual body shape.

Along with this, a powerful statement was made through the diverse use of models, some with amputated arms or legs. This strengthened the statement that beauty comes in all forms - imperfection can be just as beautiful as perfection.

Signature pieces such as oversized coats and column formal dresses were torn away, revealing cutaways or reconstructed using sheer inserts. Large eyelets were used to re-fasten split seams and this tied-up look continued in the strapped waists and long tapes. Bell sleeves hid the hands, oversized collars exaggerated the neckline and hemlines sat anything but straight.

The theme continued in the imperfect prints that were hand painted onto silk satins and British heritage wools by artist, Tom Leamon. This collaboration uses tonal coloured paints and energetic markings to explore the concept of wearable art.

These pieces were teamed with an array of textiles such as grid mesh, organza and fine mohair encased inside a protective PVC coating.

These stunning designs were clearly made with a sense of purpose. They had a whole lot to say, woven into their very fabrics. From the construction, the deconstruction and the silhouette, to the models that walked proud, Teatum Jones' AW17 collection was dressed to impress.

Words: Sunna Naseer | Fashion Week Press | @sunna_naseer
Images: Amie Charlot | Fashion Week Photographer | @amiecharlot

Everyone loves a bit of a fashion party, so 180 The Strand was the place to be seen on Saturday night as Casely-Hayford celebrated creative director Joe’s thirty years in the industry with their AW17 show. Promising highlights from the last three decades of the JCH collection, we couldn’t wait to see how our favourite trends would be reimagined on the catwalk.

Casely-Hayford #3

More is most definitely more for the father-son design duo, with each outfit intricately made up of multiple layers and textures. Roll-neck jumpers peeked out from underneath blazers, topped off by long wool coats; shiny parkas sat top fleecy pullovers and loose linen trousers. Colours were cool and calm, mostly tonal variations of dark grey and navy, contrasting with the colour pop trainers crafted by Helen Kirkum for the collection.

Casely-Hayford #2

After dipping their toe in the water last season, the boys introduced a complete ready-to-wear women’s collection this year, taking apart the elements of feminine fashion and reconstructing them into new silhouettes. Jackets become underwear, tops became scarves and knitwear melded into each other to become brand new items of clothing, all set against a backdrop of sleek tailoring.

Casely-Hayford #4 Casely-Hayford #5

The Casely-Hayford man and woman are ready for whatever comes at them in the (let’s face it, quite uncertain) year ahead, taking the what they’ve learned and bringing it together into beautifully constructed outfits.

Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Tegan Rush | Fashion Week Photography|@tegan.photography