Tag: jayne pierson

In a labyrinth style catwalk of white corridors and large mirrors in the Conde Nast College of Fashion and Design, award winning designer Jayne Pierson launched her first stand-alone show: ‘…and God Created Woman’.

The show lived up to its title as Pierson showcased spiritual creations that placed the female form at their centre.

 

The collection featured designs emphasising the female shape, including sculpted breast plates and high-riding corsets.

Creating almost its own zeitgeist, the show featured designs that seemed to call back to times long past whilst simultaneously providing us futuristic looks.  Natural materials such as leather, handprinted with indecipherable symbols, featured prominently - matched against contemporary luxe sportswear and opulent accessories.

 

 

Certain looks and fabrics subtly reappeared on the runway in different guises, having almost morphed in nature. For example, one model’s pink fringed shoes would reappear in the colour of a pink fringed fluffy jacket with similar fringe ties.

 

This echo-chamber like nature of the walk is commendable and clearly Pierson's new collaboration with Fashion Artefact designer Qi Zhang and returning collaboration with Neale Howells has been successful. For a show inspired by the hybrids that emerge from confused historical references, all the pieces and outfits seemed well placed, their contrasting hybridity complimenting each other.

 

Piersons's daughter also took to the runway, sporting her mother's luxe designs.

A slightly surprising appearance on the runway was that of a child model, a young girl wearing the same leather and sportswear as her older counterparts. Her addition perfectly encapsulated this show’s preoccupation with new and old, brutal and youthful, the historical and the contemporary.

Pierson set out to conceptualise the story of the contemporary woman and the dichotomy of spirituality and survival. She does this but she also shows us extravagance and utility. For every structured architectural silhouette there were delicate lace sleeves, frills and jewels upon vulnerable skin.

The colour scheme also reflected this juxtaposition. Plain colours of sand and tan were adorned with concentrated pops of reds, turquoise and pinks. One area where colour did come to the fray was with eyeshadow, bright block colours shone - emphasised by a harsh brow and plain lip.

‘…and God Created Woman’ shows Pierson’s creation of woman as goddess. The detail to finish was spectacular and the contrast of shapes, colour and design left the room eager for more from this interesting, high-concept "art driven" Welsh designer.

 

Pierson and her daughter enjoy a celebratory hug at the end of the show

Words: Eleanor Colville, Fashion Week Press, @EleanorColville

Images: Tegan Rush, Fashion Week Photographer,

On Friday evening, the On|Off space at the Vinyl Factory was illuminated against the darkening sky. On walking in, it was clear that everyone was ready to party; Charlotte Hathaway was mid-way through a set, drinks were flowing and the room was buzzing as LFW goers wandered through the wildly dressed mannequins which were showcasing the #Tomorrow’s Talent designers.

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The On|Off Presents… platform has been sharing its designers to watch for some six years now, presenting us with names that have gone on to become LFW buzzwords in recent years. Named Punk Diversity, this season’s show was a celebration of all things punk, dosing us up with unconventional behaviour and a hell of a lot of attitude.

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With a deafening guitar riff from Glaswegian punk band Baby Strange, we were off; Kevin Geddes’ models stomped into the room from behind the jagged mirror backdrop. Covered in the KG initial stamp, the range consisted of slouchy, sportswear-inspired pieces, with hidden openings and textures that added a sensuous feel to the casual aesthetic. Bright orange lifted the khaki and black base, along with pointy patent white boots. Speaking of the collection, Geddes perfectly embodies the modern punk; he explains that it was inspired by working class struggles and concern over the political climate, but also that he wanted to make some clothes that people liked.

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A change in song signalled the arrival of Robert Wun’s shaped silhouettes. Each outfit worked as a perfectly constructed whole; an monochrome ombre trousers suit preceded a textured neon yellow jacket/skirt/boot combo, followed by a silvery velvet coat and dress. And the shoes were nothing short of a exceptional; every look was accompanied by a matching version of a curved heel boot which has gone straight the top of our want list.

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Finally, it was Jayne Pierson’s turn. In stark contrast to the tailored suits that came before, the first model was naked except for a single layer of black netting and a highly structured, off the shoulder jacket, adorned in graffiti-esque prints. As a former intern for Vivienne Westwood, it was of course no surprise that her designs were the most risqué, showing plenty of skin wrapped in tartan, fishnet and leather. The final person to take to the stage was a mini-model; a young girl dressed from head to foot in a leather tasselled suit, completing the punk attitude perfectly by challenging our traditional ideas of fashion and modelling.

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The show finished with a final call of each outfit before the models broke out of the confines of the runway and enjoyed a drink whilst the designers flew out from backstage, greeting their friends and fans. Dazed Digital began a live streamed photoshoot of the collections, screening them onto the walls of the room. As a whole, this show broke all of the LFW conventions we’ve come to expect, not only through the clothes, but also with the presentation itself. From serving beer instead of prosecco to having the models step through the crowds instead of returning down the catwalk, it was wonderfully unusual and entirely entertaining.

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Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Joshua Atkins | Fashion Week Photographer | @joshuaatkins

Dragging myself away from the fashion frenzy in Somerset House, I headed to the equally busy Oxford Circus area to preview Jayne Pierson’s “Veil” collection.  Despite waiting a rather long while in the cold, this SS14 display was well worth the wait, with a unique approach than most LFW shows.

Standing out from your typical catwalk, “Veil” was mainly showcased via characters in a short film. Pierson’s MA in film and fashion meant she was able to juxtapose both passions and demonstrate her talent in these two areas.

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Inspired by Pierson’s own nostalgic reflections and personal experiences, the presentation opened with four models clad in a combination of delicate, hand- embroidered, lace lingerie teamed with light leathers and soft tailoring. As the models started to strut away, a fairy-tale-esque narrative hit the screens, focusing on an engaged couple attending a soiree. Despite the sweet beginning, things soon turn bitter when the woman discovers her fiancée with another woman and flees the venue.

The film continued, eventually ending with a happy, but not so traditional, ending. “Veil’s” concept was for the collection’s pieces to carry forward the narrative and characters but also in a non-traditional way, which was clearly noted in this short story.

This non-traditional approach was also seen within the actual collection, mixing metallic ruffled necks and bomber jackets with sheer separates. Lashings of leather and lace were key throughout the collection, merging a mismatch of creations.

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The addition of a film, made this really stand out as a thoughtful and creative piece of art. Pierson has created a romantic, seductive collection of truly stunning clothes.

 

Kathryn Lewsey

Every once in a while something comes a long and gives you a little tingle. I was in the midst of sourcing clothes for an upcoming shoot when I stumbled across this gorgeous fashion film by designer Jayne Pierson for her Spring /Summer '13 campaign.

In the world of fashion we are already knee deep in Autumn/Winter '13 with Spring/Summer '14 on the horizon. This must seem like crazy business to most people when it is only just reaching July.

The film is set on a barren beach and opens with a little girl dancing across the sand in a beautiful white dress. As the story slowly moves along we see a grown up version of the girl enter and flashes of an unearthly women in the woods rocking Jayne's signature, structured looks. Electric blue crop tops are finished with lace and futuristic blue visors. Towards the close, we see a model standing on the sea shore, her figure multiplying until the beach is filled with her. This scene reminds me of Antony Gormley's art work 'Another Place' which consists of 100 cast iron statues permanently standing on Crosby Beach.

A truly beautiful campaign which captures the feel of Pierson's designs perfectly. Enjoy.

Words: Faye Heran | @epinettefiles
Film Credits:

Director: Jayne Pierson | Film & Post-Production: Shelley Jones | Production: Ross Pierson |Models: Ellen Gibbons, Elite Model Management, Alys Hale, Next Model Management |Styling: Danielle Rees | Hair: Dom Capel @ Sebastian Professional | Make-up: Rhiannon Salter

Over at the Bloody Gray exhibition, the PR company showcased several designers’ Autumn/Winter collections. Held in the Portico Rooms at Somerset House, the exhibition was small, but popular, with people being turned away at the door. Not me of course, other people.

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Jayne Pierson

Jayne Pierson’s exhibition featured two ballet dancers and four models, all wearing her latest collection. Her exhibition had a conceptual theme, with the dancers performing in her clothes. Her collection is almost theatrical, whilst having the sophistication of yesteryear. Jayne Pierson may have taken inspiration from the Victorian and Georgian periods, as her collection was reminiscent of the two. What was also interesting was the use of hair (not sure if it was real or fake) as a neck piece, like a cravat. She also used traditionally a men’s garment – the shirt and made it more feminine. Not by shrinking it as we are used to seeing, but rather, making it oversized but delicate, making the wearer still look elegant.

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Martina Spetlova

Martina Spetlova’s Autumn/Winter collection was much a continuation of her Spring/Summer collection. She creates using pleated and woven leather for outerwear, and ‘soft twisted Alpaca yarn’ for her dresses and tops. Martina Spetlova’s Autumn/Winter collection steps away from more demure colours seen in other collections and uses a pallet of mustard, acid yellow, moth green, and hot orange, as well as black and white.

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Jane Bowler continues her unique and experimental design process in her Autumn/Winter collection. Making inexpensive acrylics into luxury dresses, Jane Bowler's Autumn/Winter pieces are creative, with an acrylic dresses, one with daring transparent V shaped stripes. She also uses tassells in all her pieces. With a simple palette of mainly black and silver, Jane Bowler's Autumn/Winter collection is fashion forward and futuristic.

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Featuring a what looked like the net of a blouse pinned to a board, BarbaraAlan's installation left a lot of questions. Fortunately, he was around to answer questions.

MasterNath: Can you tell me what your Autumn/Winter collection is about? Where did you get your inspiration from?

BarbaraAlan: The collection is a modernist collection, everything we do is very advanced technology-wise, in the sense of that we use laser-cutting...to make all our garments. So the garment we are showing today has no stitching on it apart from the buttons, and we are showing the rest of the collection in Milan next week. We are very dark and black and minimal in what we do.

MN: So how do you think your use of technology is helping fashion move forward?

BA: Literally because it's the latest advances in technology and how garments are produced. I look back on sartorial past and traditional tailoring, and we do the pattern cutting ourselves, and then transform the patterns into something fresh and something that's completely new.

Words: @MasterNath. Pictures: @MasterNath and Charlotte Smart