Tag: Fashion Show

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

The Ben Sherman catwalk show at Two Temple Place is an intimate affair and one that allows the models to strut their stuff for the collection deemed the ‘Peacock Revolution’.

The name is taken from the 1960s term ‘Peacocks’, used to refer to men who adopt a distinct and colourful dress sense.

On arrival, the seats are gifted with goody bags filled with Ben Sherman cleansing soap, moisturising soap and body lotion with piercing citrus, bergamot, floral and musk notes – along with a British flag pin. Models sport similar ones on their jackets.

Peacock feathers are showcased in glass cabinets in the lavish wood interior. Guests are split across three rooms for the models to navigate.

The Spring/Summer 2018 collection is a flurry of patterns inspired by the Bohemian and psychedelic movements of the Sixties. The models bring sass and swagger to printed shorts, deconstructed summer blazers and soft linen separates.

Where it can be, the models’ hair is worn long and shaggy, topped with a bucket hat, while their eyes are shielded with sunnies or oversized geek chic glasses.

Indigo and denim are the designated shades for outerwear, paired with brick and tan, while jerseys and shirting come in burnt sienna and pineapple – ideal hues for the summer months.

Suede jackets, a hooded parka, lightweight wool drawstring trousers and a warped gingham shirt are the standout pieces of the collection – seen in dark denim, claret reds and soft pinks.

Daring patterns, such as florals, can often be overpowering, but Ben Sherman tones them down with classic stripes and checks. The peacock pattern is a particular highlight as an ode to the collection’s overarching theme. Peacocks wear peacocks with aplomb.

Inspiration is also drawn from the music and festival posters of the Sixties. The Ben Sherman aesthetic is not lost, as it injects originality into the traditional shapes. A two-toned black and orange jumper bursts with flowers to spell out the word ‘MOD’ – the mods being a British youth culture known for making the Ben Sherman shirt part of their uniform.

The legacy of Ben Sherman, which was first launched in 1963, lives on five decades later. There is no better brand suited to design a collection dedicated to the decade of its inception. ‘Peacock Revolution’ reintroduces what was popular in the Swinging Sixties to a new audience of men ready to adapt the styles and make them all their own.

Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Ben Sherman

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TOPMAN Design’s catwalk show on Friday was a throwback to the Nineties, so where better for Lennon Gallagher, the son of Oasis lead singer Liam Gallagher, to make his catwalk debut?

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The 17-year-old strode down the runway at the Old Selfridges Hotel representing a decade that he was just about born into in 1999. Liam gave his stamp of approval on Twitter, describing himself as “very proud.” Lennon, whose mother is Patsy Kensit, was every inch his father’s son with strong brows and liquid blue eyes.

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The collection, showcased at the Old Selfridges Hotel, used fictional pub name The Fuzzy Duck as its inspiration to celebrate pub and club culture and placed the focus on the British traveller. The invitation featured a less than fuzzy, rather psychotic-looking cartoon duck with a jaunty hat, a raised eyebrow, and smoke trailing out of its mouth. The same name and duck appeared on psychedelic jumpers that were very fuzzy indeed, with sleeves trailing past the models’ fingertips.

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TOPMAN Design proved that double denim – usually a fashion don’t – is a massive do that’s back and better than ever, especially when the look is topped with a bucket hat. The clothes injected us with a massive dose of nostalgia by incorporating rave graphics, acid brights, and flared trousers.

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Models with greasy skin and even greasier looking hair gave the impression that they had been working hard and playing hard. They first appeared buttoned up in unconventional corporate attire – oversized, slouchy pinstripe and checkered suit separates in black and grey tones. The colours of the rainbow were unleashed soon afterwards, particularly with blindingly fluorescent quilted nylon tracksuits. Nothing amps up a trench coat quite like PVC and the oily black ones in the show really cinched the deal for me with their lustrous finish.

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The collection also tied into the athleisure aesthetic, a trend that doesn’t appear to be dying down anytime soon. Crisp white or black trainers with pops of neon piping were a mainstay throughout the show. Could these be the trainers to knock Adidas Originals from their top spot? With the upcoming release of T2: Trainspotting, TOPMAN Design couldn’t be anymore en vogue with its timing for sportswear.

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Husam El Odeh designed the jewellery, which included rubber dipped trinkets, such as a nail, key, crucifix and hipflask to dangle off mohair jumpers and on earrings, nose rings, and safety pin brooches for the ultimate in punk accessorising.

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The show closed with Shut Up and Dance’s early Nineties tune “Raving I’m Raving” and it was as if we were “in da club” with TOPMAN Design. It’s no wonder we didn’t dance our way out of there, glow sticks and all. If eat, sleep, rave, repeat is the cycle you live by, make sure you look good while you're doing it.

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Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Zac Mahrouche | Fashion Week Photographer | @zacmahrouche

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Freemasons’ Hall was bursting with talent at the Fashion Scout showcase Ones to Watch. An illustrious panel, including Fashion Scout’s founder and director Martyn Roberts, Ones to Watch’s stylist Rebekah Roy, fashion writer Tony Glencille, and the British Fashion Council’s Kendall Robbins, selected four up-and-coming designers whose names you need to know now. Take note, because they’ll soon be popping up everywhere.

Ana Ljubinković 

Models walked down the runway looking like futuristic flight attendants in pastel uniforms. Although the designs came in cookie-cutter shapes, the craftsmanship was anything but. Ljubinković is not only a womenswear designer, but she is also an artist, which would explain her impeccable attention to detail. She is based in Serbia and showed her first collection at Belgrade Fashion Week. She stormed London with a cute kitsch army, all of them armed with perfectly preened bubblegum peplum skirts, zigzag sleeves, and peekaboo cutouts.

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Anissa Aida 

Sticking to a clean palette of crisp blues and whites, Aida drew upon her Tunisian background and Eastern fashions for her inspiration. Functional sandals and breezy fabrics were designed to beat the heat and look stylish while doing so. Roomy bags and backpacks complemented the minimalistic styles, as did woven conical hats. I thought structure and comfort were mutually exclusive in a garment. Aida managed to combine the two to create a completely cohesive, modern whole in the form of her collection.

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Ester Kubisz 

Kubisz has taken a well-known and well-loved pattern, the pinstripe, and turned it on its head. She was driven by the corporate world we live in and the way we lust after wealth. Male and female models took to the runway to demonstrate the unisexual nature of the collection. Frayed and fringed clothing items deconstructed the normal image we hold of a professional in professional attire. There was something American Psycho about the looks, in the way that they appeared slightly unraveled, slightly unhinged, like any one of us could become at any given moment. Wear Kubisz’s designs to work (or anywhere really) and it’s a given that you’ll stand out from the masses of other corporate drones. Stick it to the man.

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Billie Jacobina

From the oversized septum ring, to the light up trainers, to the models’ icy white locks, Jacobina’s collection was loud and proud. The designer works with textiles in unconventional ways and the result was unmissable. It was hard to know where to look as these sea creatures emerged from the deep, deep depths from where they’d been hiding. Swaddled in hot pink fur and layers of jewel-encrusted protection, they were specimens I wanted to examine, and emulate (perhaps in moderation).

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Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Eloise Peachey | Fashion Week Press | @eloisepeachey

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Jazzy lanterns made out of metallic party garlands dazzled and twirled as they danced to an eclectic mix tape. Our invisible DJ spun out 80s synth, as well as tracks like ‘Walk Like an Egyptian’ by The Bangles and, in a throwback to Aladdin, ‘Arabian Nights.’ No, it wasn’t prom. Nor was it a children’s birthday party, despite the frilly socks, feathered tricorn hats, and harlequin print. It was something even more magical – the Ryan LO fashion show.

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A goody bag of delights in its own right, the show at Brewer Street Car Park frothed over in sweet, sugary layers. The models were caked in every colour of the rainbow, frosted with flowers, and dusted with sparkles.

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Finding it impossible to serve up just one sweet treat, LO delivered a collection that incorporated the cultures of Turkey, Egypt, and India. As for his own background, he attended the London College of Fashion, but grew up in Hong Kong.

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For Spring/Summer 2017, LO tapped into a vision of his childhood watching anime and Cantonese music videos that involved ‘magic carpets, snake charmers, and bejewelled turbans.’ Playful feminine shapes embodied this nostalgia. Stephen Jones helped him to realise his whimsy by creating the hats for the show.

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A flurry of ruffles and lurex paraded down the catwalk with a defiant ‘more is more’ attitude. Oversized sleeves and bows and billowy harem trousers reminded me of playing dress up when I was younger. The clothes were clearly too big and baggy for me, but I loved them all the same. If all of these elements seem like one big mishmash, that’s because LO is one big mixed metaphor. His collection is clearly a reflection of all of the things that he likes. Since he’s the designer, who are we to argue with that?

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The clothing confectionary might have been a little bit sickly sweet, or saccharine, for some people. Those little pink saccharin packets Sweet’N Low need only remove the ‘w’ from the end of their name to market what LO’s selling with his collection this season. If there were a way to package the exuberant and jovial nature of the show, I’d want a jolt of that in my morning tea. It would make for a much brighter start to the day and I'm sure it would taste anything but sickly.

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Words: Laura Rutkowski | Evening gown from instyledress | @Laura_Rutkowski

Images: Amie Charlot | Fashion Week Photographer | @amiecharlot