Tag: Katharine Bennett

The line for the Pam Hogg show outside Freemasons' Hall is always a heady mix of suspense and excitement, heightening into a frenzy as her loyal fans of the glitterati arrive, each one looking more spectacular than the previous. It’s Friday night, the end of the first day of LFW, and we are ready to let our hair down.

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You can’t help but feel that you’ve accidentally stumbled into the midst of a legendary party as you take your seat the ornate vestibule. Members of Duran Duran chat to All Saints while Pandemonia sits across from Jaime Winstone, and everyone seems to know each other. Finally the lights dim, but that doesn’t calm the crowd – as soon as the show starts, people are dancing, singing and whooping their appreciation for the clothes and the woman we are all here for.

What follows is a riot of seventies-inspired brilliance. Catsuits lead the way, skintight and covered in abstract coloured shapes that creep onto models’ faces, ranging in colour from head-to-toe silver to reveal-all nude.

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Suddenly Anita Pallenberg, Italian pin-up and muse of the Rolling Stones, appears on the catwalk, brandishing a cane and sporting a draped gold lurex top and trouser combo that shines almost as brightly as she does, followed by sultry dresses that ooze over the models’ bodies.

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Longtime Pam Hogg fave Alice Dellal brings up the rear, donning the first of a series of structured dresses in metallic shades with huge underskirts, covered in more of the motifs that run through the collection.

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Boots are thigh-high beauties that even Kim K might be afraid of, hair is either big and in rollers or short and choppy in colour pop shades. Make-up, too, doesn’t shy away from the limelight – huge sweeps of bright colour, from pink to blue, cover eyes and well beyond.

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As the final walk commences, there’s certainly no smattered applause here – for the first time in all my years at fashion week, I see people discarding their adored phones to stand up and welcome the legendary Pam Hogg onto the stage amidst her merry band of superstar models. Pam has once again managed to put the P into party with her loud and totally proud collection – the clothes and the models were just as rock and roll as the guests and everyone had a blast. We already can’t wait until next time.

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Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Eloise Peachey | Fashion Week Press | @eloisepeachey

It’s every girl’s dream to open her wardrobe doors and find a rail of beautiful clothes that she can throw on in any combination and look effortlessly chic. So when we heard that new start-up P.i.C had created an eight-piece capsule wardrobe that promised exactly that, we just had to go and see it for ourselves.

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Amidst Icelandic vodka and Pronto pots in De Beauvoir Town, P.i.C founders Rhoda and Sarah debuted their capsule collection. Each piece was elegant and timeless, made in soft, textured fabrics in a palette of ivory, grey, black and blue, and each was fully interchangeable – the De Beau cami could be paired with everything from the structured trousers to the miniskirt.

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The whole collection exuded quality, from the designs to the fabrics, which is no surprise; each item has been consciously designed and made just around the corner in a North London factory. The girls pride themselves on only using materials that are locally-sourced, sustainable or organic, rebelling against the mass-production industry to engage with the slow fashion movement.

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Seeing the clothes not only in person but also on real-life people really cemented the versatility and functionality of the P.i.C wardrobe – not only do these pieces look good on paper, but they also perform in day to day life. Eight items doesn’t seem like much, but the way in which they have been curated provides enough outfits to suit any occasion. The best part is, all the styles are available to order now either individually or as the complete set, so you can pick and choose to fill gaps in your wardrobe – we might well be buying the whole lot!

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Hear more about Rhoda and Sarah and their unique vision over on their Inidiegogo campaign page, where you can also see each piece and get involved yourself.

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Words: Katharine Bennett | @misskatebennett

Images: Eloise Peachey | eloisepeachey.com

 

The sun came out for LCM SS17 day 2, bringing with it plenty of hot young things ready to get papped by WJ London's street style squad.

Bleached white shades were the colour of the day, appearing in everything from crisp white shirting to wrinkled just-pulled-off-the-clothes-dryer casuals. Magnus Ronning even sported white paint-splattered denim, adding an air of DIY nonchalance to proceedings.

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Paul Sculfor and his band of catwalk-going brothers gave us serious #squadgoals in their highly-tailored suits and separates, with Sculfor himself strutting in structured Belstaff designs as he left the Tiger of Sweden show.

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Models, too, brought the squad style, with Diego Barrueco and Joey London repping casual vibes in leather jackets, polo shirts and matching rounded sunglasses.
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Fedoras were the hat to be seen in, popping up all over The Strand. Despite the muggy weather, shirts were layered under loose overshirts, often rounded off with Western-style neckerchiefs.

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No fashion week would be complete without some boundary-pushing street style, and Ombra certainly gave us what we craved. Taking 90s icon Michiko Koshino's SS17 show from the catwalk to the streets, he added a dark and dramatic atmosphere – a welcome contrast to the humidity of mid-June London.

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Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Eloise Peachey | Fashion Week Photographer | eloisepeachey.com

The concrete depths of 180 The Strand were the location for Berthold’s LCM SS17 presentation; its industrial vibe the perfect backdrop for the art installation-esque scene that greeted us as we rounded a corner and found ourselves face to face with a line of unmoving models.

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A few moments later and the models began marching, one by one, through the lightly-swaying draped fabric fixtures. Known for his exploration of volume and movement, designer Raimund Berthold once again has given us a collection of billowing silhouettes, but this time with sleeker, more disciplined lines. As ever, his thought process was inspired by a single item; this season it was the French army cavalry coat and its use of its huge proportions to create sharp structures.

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Outerwear was pulled into shape by tailored necklines and asymmetric closures, creating pleats and figure-fitting form. Loose, wide-legged trousers were kept in check by long separates, generating a completely straight line down the body. Here and there, flowing trails and contrasting blocks of fabric had been added to the garments, breaking this more rigid form to create movement and texture.

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Colours were mostly subdued, favouring black, grey and cream. A flash of red broke through the collection, nodding to Anish Kapoor’s 2010 installation at the Guggenheim, Ascension (Red), which was another aspect of Berthold’s inspirational moodboards that has made its way into the clothes.

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Accessories were kept to a minimum – simple, flat sandals were the single shoe choice, suiting both formal and casual looks alike. Bags were dotted here and there, each one formed of a trio of rectangular clutches, dangling from the models’ hands to generate three dimensional angles.

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Once again, Bethold has created a line of functional elegance, bringing together his intricate ideas to generate a new and appealing silhouette for the SS17 man. His sleek and precise garments form a collection where every piece has a part to play, leaving nothing superfluous or unnecessary.

Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Zac Mahrouche | Fashion Week Photographer | @zacmahrouche

 

Ever the fan of propping the catwalk with geometric structures, this season two curved monochrome domes curved towards each other, forming an arch over the catwalk in the BFC showspace, for Holly Fulton’s AW16 show. The trance-like music began and the first of the models appeared through it, inviting us into Fulton's vision for next Autumn.

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We’ve all been there; finding ourselves totally underdressed on a freezing cold day and wondering why on earth we didn’t wrap up more. Only Holly Fulton could take this experience and turn it into something beautiful. Taking inspiration from a snowy trip to the Scottish Highlands where she only wore an anorak, silk skirt and a pair of tights, the collection evoked a distinct feeling of winter undress; scarves and thick coats were paired and leotards and bare legs.

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And that wasn’t the only souvenir from her trip; traditional Scottish paisley formed the base print of her collection, appliquéd on ruffled skirts, embroidered on downy parkas, turned into shimmering jacquard and made super-size on billowing dresses.

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With Fulton’s well-known use of colour, it was surprising to see almost uniquely monochrome designs coming down the catwalk, but these suddenly gave way to fresh olives, dusky pinks and chocolate browns. Influenced by David Inshaw’s use of colour in his painting The Badminton Game, the combinations gave off a particularly seventies vibe. Velvet, off-the-shoulder jumpsuits, wide-legged trousers and bell-bottomed sleeves added to this effect, complemented by the hanging lampshade earrings sported by many of the models.

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Juxtaposed with this retro, folky feel was the dramatic eye make-up; broken silver leaf along the brow line created a high-tech, shattered glass feeling that was reflected in the covetable box bags that have returned from last season.

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It was a show of contrasts: high necklines with even higher hemlines, abstract modernity with surreal retro, monochrome with bold colour combinations, cold with warm. With all these juxtapositions under her belt (cinching in the waist of her patterned, flowing dress, of course), the Holly Fulton girl can handle anything, exuding effortless glamour whilst remaining ready to adapt to the nuances of the everyday world.

Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Phoebe Fox | Fashion Week Photographer | @_phox_