Tag: Helen Lovett

What do you get when you take oversized sweaters, add a suggestion of lace and sprinkle a little space dust? Little Shilpa’s A/W 2016 collection; Satellite 20.16.

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Shilpa Chavan’s selection of sweaters, skirts, jumpers and joggers offered an aesthetic that sat somewhere between luxe sportswear and an unapologetic eighties revival. Pastel and neon zigzags, stripes and lightning bolts featured heavily, and outfits were styled with fingerless lace gloves, hand-crafted headwear and white hi-tops. A combination that will surely result in an East-London trend come next autumn.

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Yellows, greens, blues, pinks and greys flowed across matching heavy jersey sweats, tracks and calf-length A-line skirts. Some pieces combined a variety of textures in panels and patches including sections in lace, mesh, as well as fluffy and fine knits. Meanwhile, glittering gold and silver baseball-jacket-style cuffs, collars and hems added to the vintage appeal.

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Two types of skirt added a more feminine twist; the first being a floor-length tiered lace number, while the second offered a contemporary update for the staple pleated skirt. Thick jersey appeared to be doubled to the waistband and then cut into panels, resulting in free-flowing sections that featured a contrasting colour on the inside of each loop.

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Models performed slow and calculated movements to fully showcase their outfits against a backdrop of projected space-related films and illustrations. The focal point of this demonstration was a model wearing a panelled jersey sweater and matching skirt that featured lace applique and ‘wings’. She would stop and slowly draw up her arms, opening them out and closing them again into an almost flamenco-like pose; this allowed the delicate fabric to fully flow and resulted in awe-inspiring silhouettes.

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Each item was assigned one of five ‘satellites'; The Rocket Jockey, Eightease, Locomotion, E-in-Motion and Earth Etc. Within these, there were a variety of inspiration sources; many related to emotions and personality traits than more physical influences; ranging from fun-loving to melancholy.

Laidback and not taking itself too seriously, this is the perfect collection for those wanting to make a fuss-free fashion statement that’ll be setting trends.

Words: Helen Lovett | Fashion Week Press | @mustardyellowshoes
Images: Milly Grange-Bennett | Fashion Week Photographer | @millygrangebennett | markandmilly.co.uk

Georgia Hardinge’s AW16 collection offered up what could be regarded as one of the more interesting sources of inspiration for next season so far…and most curious way of interpreting her findings. Titled ‘Hidden’, it combined an exploration into ‘the great unknown’ with her renowned specialism of sculptural shapes that’s already attracted attention from the likes of Beyonce, Lady Gaga and Iggy Azelia.

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Following last year’s meteor showers, Hardinge decided to look up to the sky for ideas and landed upon the theme of shooting stars. Seeking a way to represent the mysteries of the universe via her creations, she looked into lenticular techniques; ways of changing or moving images using different angles. This research resulted in an array of drop-waisted skirts and dresses that exposed dazzling metallic foils hidden within soft pleats as models twirled and walked. These stunning illusions were sometimes straight lines of colour, and sometimes structured to form star-like shapes.

However, in other pieces, this flash of metallic colour was a little bolder. Stars continued to be featured, however this time on tees and the back of chic bomber jackets. Foil was also hidden within a single statement side pleat on an elegant shift, A-line skirt and flared sides of wide-leg trousers, offering a more statement look. Small rectangles and triangles decorated scarves, long-sleeved tees and the occasional hem of a skirt.

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However, the 'out-of-this-world' references didn’t end there; images of galaxies influenced the entire collection’s colour palette, with the likes of cobalt blue, magenta and hot pink cutting-through a sea of midnight black. The theme also continued in the collection’s presentation, with three huge stars that made use of lenticular techniques to provide an interactive backdrop to designs.

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As well as effectively showcasing her awe-inspiring interpretations of the universe, Hardinge also managed to create a range of A/W wardrobe must-haves. The striking maxi and mini pleated skirts were paired with layered round-necked knits, while roll-necks were also presented in a variety of colours. In preparation for party-season, two ultra-feminine outfits featured an off-the-shoulder look a la Bardot; a black mini-dress and the bodice of a pink chiffon, floor-sweeping maxi that featured subtle zigzag detailing.

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Offering unique statement looks with a fascinating back-story… and that also seem surprisingly easy-to-wear, Hardinge’s AW16 collection is ideal for the customer who can boast a little star-quality themselves.

Words: Helen Lovett | Fashion Week Press | @mustardyellowshoes
Images: Mel Williams | Fashion Week Photographer

The moment the J. JS LEE woman walks into the room, heels high and not a hair out of place, her elegance, poise and composure cut-through any pretence; she’s here to do business. The A/W collection is clean, sleek and will provide the perfect contemporary work wardrobe for the 2016 business woman.

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Though the Central Saint Martin’s trained designer cited Victorian architecture and furnishings as her initial inspiration, references to late eights power dressing seemed to hold most influence. Silhouettes were strong, tailoring precise and the two-piece suit returned to reign over business wear once again.

Slim trousers were paired with round neck, cuffed blouses and peplum blazers, and layered under pencil skirts and dresses. Wide leg trousers also made an appearance, some featuring belted waistbands, and there was also the unexpected inclusion of what can only be described as the most stylish of gators, styled with skirts.

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However, despite its utilitarian undertones, the collection was not without its contrasts, or a splash of colour. Scarlett red and mustard yellow cut through the sea of monochrome, while crepe and silk were juxtaposed with French wool and hounds tooth. Some blouses and trousers were so fitted that they were even gathered in at the elbow and knee, while other outfits featured full skirts.

As with anything worth spending a little more on, the key was in the detail… and this was in part where the influence of Victorian furnishings came back into play. Hand stitched appliqued tasselling flowed diagonally across a fitted bodice and skirt, while the likes of hand frayed hems and unfinished funnel necklines featured on dresses, coats and skirts.

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Another notable feature was the continuation of collars into oversized scarves that flowed down in matching material. While this flare in detail may seem out of line with the collection’s overall aesthetic, it added a welcome touch of character. Afterall, a little personality can go a long way in owning any room.

Words: Helen Lovett | Fashion Week Press | @mustardyellowshoes
Images: Courtesy of J. JS LEE

The word ‘zombies’ was mentioned more than once by the surrounding crowds at Freemasons’ Hall. But with just a glance at the press release, James Kelly’s main source of inspiration was crystal clear…and not related to the eating of human flesh. It was an easy mistake to make; models’ faces and chests were distorted, or artistically contoured if you like, with metallic, reds, whites and black make-up, and their movements were subtle and detached, though sometimes a little seductive. However, it was Francis Bacon’s abstract self-portraits that had inspired this slightly unhinged and melancholy aesthetic.


The entire James Kelly AW16 collection was indeed ‘Baconised’ – that is mutated from the traditional to something entirely unique. Kelly challenged the norms of tailoring by manipulating seams, elongating sizing and questioning what would normally belong where; resulting in obscure and powerful silhouettes. One outfit consisted of an oversized coat that not only had panels and frills in a variety of materials including black leather, but also had sections of black and camel wool coats attached to the sides and trailing off the back.

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Another seemed to be half of a tailored suit jacket and half a wool coat, with a gap exposing thigh between the bottom of the jacket and the beginning of the coat as it flowed over. One of the most eye-catching designs was a black wool coat that featured strips of gathered fabric in greys, reds and black snaking their way over the right panel. Meanwhile, the left panel and lower back were fused with a draped burgundy nylon sports jacket. What was seemingly one of the more conservative pieces, an almost classic camel coat, had huge proportions and several different sized pockets, while a dress and skirt appeared to be made of jacket sections and a wrapped around coat.

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Though Bacon’s colour palette was referenced for panels and edging, the majority of the collection was black, with German photographer August Sanders’ monochrome portraits cited as the influence. Made for and modelled by both men and women, pieces were styled with minimal accessories including striped socks and black leather headwear. While, the tribute to Bacon continued with Kelly opting to present to a back drop that recreated a ‘dingy’ hotel room; complete with red velvet curtains, hat stands, glass whisky decanters on wooden side tables and brown suitcases.

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This blur of unfinished hems and muted flamboyance is ideal for the non-conformist come next autumn.


Words: Helen Lovett | Fashion Week Press | @mustardyellowshoes
Images: Amie Charlot | Fashion Week Photographer | @amiecharlot

Checking-in at 'Motel Clio' was a somewhat raucous affair… which perhaps should have been expected from a designer already known for her tongue-in-cheek approach to collections. Rather than opting for the standard po-faced pout, models posed seductively, sipped on cocktails and even partied along to a soundtrack that included TLC’s Creep and Notorious B.I.G.’s Mo Money Mo Problems. However, had they all stood stock-still and barely blinked, their outfits still would have been shouting for attention.

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As crowds entered The Hub, just off Marshall Street, they were initially met by a 'lobby girl', dressed in a forest green uniform with gold buttons and a jaunty pastel pink pillbox hat that lit up. Stood next to a makeshift motel check-in desk, complete with key rack and marble-esque counter, and holding a tray filled with Lily Vanilli cupcakes topped with glitter covered cherries, she offered quite the introduction to Clio Peppiatt’s AW 2016 collection.

Inspired by films such as The Grand Budapest Hotel, The Shining and American Horror Story: Hotel, the backdrop was filled with kitsch features and quirky props. Models lay back over a pale blue sofa, hands on hips, slithers of thigh on show. Others leant against a faux fireplace, bordered by a gold floor lamp and ceramic leopard. One group danced and gossiped next to a ‘Motel Clio’ dressing table sat upon a pastel blue faux fur rug, while another nonchalantly sat on a white coffee table alongside a gold candelabra with pale pink candles.

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Despite the aesthetically-exciting environment, thankfully, the clothes did steal the show. Peppiatt’s bold illustrations adorned the likes of a Linton tweed two-piece, silk pyjama suit and black roll-neck jumper; varying between pink scorpions surrounded by flower stalks, to slogans such as ‘If Looks Could Kill’ and ‘Do Not Disturb’. Keys, matches and retro-inspired matchbooks were most commonplace, scattered across ruffle-hem skirts, cropped trousers and cami vests. While a giant, roaring polar bear design entirely made out of sequins covered a ‘v’ neck slip dress; an ideal party season number for extroverts.

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The extravagance didn’t stop at whimsical appliqués and a smattering of sequins though. Coats were a major focus, alongside a full length mohair-esque pastel pink number, cobalt blue faux fur made an appearance on an embroidered evening coat, as a trim for a black leather trench and in a knee-length patchwork design. A dark green quilted fabric was used on both a bomber and smoking jacket, while the overall collection show-stopper was a sheer black top with two well-positioned embellished hearts.


Outfits like these needed as equally as impactful accessories, and with a little help from Tatty Devine, milliner Francesco Ballestrazzi and Streetzie's, they were delivered. Oh-so-cute mini suitcases were covered in Peppiatt’s designs, chic berets and cute eye masks had the ‘Clio-edge’, while the shoes were nothing short of divine. Slip-on pastel and black peep toes featured toy-like rabbit and kitten faces, complete with plastic eyes, which were styled with net socks and tights, some featuring metal eyelets.


Motels can provide the perfect escape, a destination for reinvention; somewhere to explore sides of the personality that perhaps don’t normally see the harsh light of day...and Peppiatt aimed to explore these realities and new identities with this slightly seedy yet beautifully stylised presentation. Her new collection is ideal for those wishing to perhaps find their wilder side and express it through a fun-filled winter wardrobe.

Words: Helen Lovett | Fashion Week Press | @mustardyellowshoes
Images: Amie Charlot | Fashion Week Photographer | @amiecharlot