Tag: angel chen

WJ Photographer Kaye Ford has been delving around behind the scenes to get in on the backstage action.

Angel Chen's punky line was complemented by every aspect of hair and makeup. Another dim memory of the 90s leaping back into fashion, temporary body art, was being applied everywhere from necks to eyebrows.

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Hair was woven into tufty braids, sticking out rebelliously.

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Eyes were rimmed in pink, reflecting a trend that has taken over Soho this week, spotted on street stylers and models alike. Even those who would be covered by Angel’s unusual pink headpieces were made up, expressing attitude from every pore, even if unseen.


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Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Kaye Ford | Fashion Week Photography | @fordtography

Having seen Angel Chen at Fashion Scout’s Ones to Watch last season, I was excited to be sat front row for her very own catwalk show in Freemason’s Hall.

I remembered her AW15 collection as being floaty and romantic, so the loud drumming music and aggressive models, strutting out together onto the stage to pose in a gang of neon pink, surprised me, pleasantly overwhelming my senses.

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Androgyny was the name of the game, with Chen once again using a mix of male and female models to march her designs down the runway. Loose, ragged cuts draped over bodies, contrasting with structured metallic blazers and suits.


Perhaps the most interesting part of the collection were the unusual headdresses worn by some of the models; pink, woven and covering all of the models faces, sometimes with a tube extending out from the front of their face, allowing them to see.


There was a distinctly punky vibe to proceedings; the models were fierce in attitude, sporting Angel Chen tattoos on arms and necks, and even under eyes and on faces. Fishnets covered shoes, or shoes were totally absent, replaced by socks. The music reflected this feeling, one memorable lyric being ‘ejaculate it’, and the final walk saw all of the looks appearing back on the runway to The Dead Weather’s famously sulty I Can’t Hear You.

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The transformation that Chen has gone through in the past six months is incredible, and certainly promised of amazing things to come. I, for one, will be watching with bated breath in February to see where she goes next.

Words: Katharine Bennett | Prom Dress: lilybridal| @misskatebennett

Images: Mel Williams | Fashion Week Photograher

As we took our seats on the catwalk at Freemasons' Hall, Fashion Scout’s home for London Fashion Week, the excitement in the room was palpable. And rightly so; this prestigious competition, which has in the past showcased designers such as Eudon Choi and Phoebe English, presents the top four designers out of the best emerging design talent this year.

Whilst enjoying a SNOG freebie fro-yo on the frow, the collaborative showcase kicked off with with J Moon, a recent LCF graduate and favourite of Vogue Italia. The collection was a veritable feast of textures, 3D shapes and complementary colour palettes, juxtaposing sheer and woollen fabrics in random geometrical patterns to create solid silhouettes and unusual hemlines. This unique aesthetic that ran throughout the garments was exuded further through the bags carried by the models - they became not only an extension of the shapes and colours of each look but also an extension of the models’ own limbs.

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Minju Kim
’s line was fun and shouty, much like the soundtrack the models walked to, combining an array of prints, textures and colours.  Pretty pastels contrasted with colour pop crowns and sultry cut-outs, creating a feeling of Disney princesses gone wild; perhaps a continuation from her re-imagining of Minnie Mouse for Disney last year. More subdued looks followed, entering once more into geometrical manipulation and playing with curves and peplums, before giving way to a dramatic bralet and skirt combo, paired with a woollen balaclava, heating up the show once more.

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Stark, then, was the contrast when the pace slowed for Angel Chen’s romantic yet rebellious collection. Lurid prints blended with gingham and tweed in earthy tones and a juxtaposition of heavy and floating fabrics to create a dreamy woodland aesthetic, manifesting further through the twig and branch effects carried by the models. From a piece made entirely of tumbling frills and lace to a military jacket paired with a glittering rifle, Chen once again took us on the magical journey that we have come to expect from her previous collections, Les Noces and The Rite of Spring.

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The show finished with Kim Stevenson under her brand name, Autonomous. An Australian designer whose work on ethical, hand-crafted textiles are the bedrock of her inspiration; Kim presented a collection which is very cohesive with her previous lines. The pieces blend Navajo inspired-colours and textures with on-trend structures, notably her tall, fringed hats, once again entering into the conversation between the rural and the industrial.

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As the lights went up, buzzing filled the room as guests started animatedly talking about the collections and picking out their favourite pieces, before hurrying to the exhibition to see the lines in the flesh. To absorb such a wealth of new talent in such quick succession was a sensory overload of patterns, textures and colours, but one which inspired and delighted, and promised of even greater things to come.


Words by Katharine Bennett | Fashion Week Press | @misskatebennett
Images by Kris Mitchell | Fashion Week Photographer