Tag: pam hogg

Pam Hogg’s SS18 show came sooner than we were expecting this year, swapping her usual Friday night slot for one of the first on the schedule. But fear not; her show was still full of her effervescent energy that we’ve come to anticipate from her legendary catwalks.

As we made our way to our seats in the Vestibule of Freemason’s Hall, the catwalk was full of our favourite Pam Hogg regulars, including Jaime Winstone and Nick Cave, meeting and greeting each other and creating the pre-show hubbub that only Pam can inspire. After several attempts to get everyone quietly sitting in their seats, the chatter died down, the lights dimmed and the show began. A wonderfully vintage version of ‘Teddy Bear’s Picnic’ lilted out of the speakers, crackling as though from a gramophone, setting the scene for the models that soon arrived.

Softer than her usual aesthetic, high-necked tulle and lace dresses in pastel and neutral shades opened the show, slowly gliding down the catwalk with a gentle sway as they moved. But she hasn’t suddenly gotten all conservative on us; the designer’s signature daring style soon revealed itself, with soft layered pompoms artfully placed over sheer bodysuits and masks covering faces, wiggling with every step.

The music shifted up a notch and suddenly things made a move towards the post-punk movement that has been a constant influence to Hogg’s design. Colours became bolder and more defined, lines hardened into graphic shapes and materials got a little bit sexier. Eyeshadows and lips, too, moved from subtle sweeps of shade to emblazoned stripes of pure colour.

Alongside primary colours and monochrome, the pastels from the start of the show reappeared, this time as eye-catching yet feminine pleather trench coats and barely-there plunging necklines.

The final duo to appear on the catwalk were a culmination of the exploration of two such different  design styles; ruffled tulle and and flattering silhouettes created bright pink and blue outfits, both completed by towering headdresses.

As Pam Hogg, or indeed, Dr Pam Hogg made her way down the catwalk on the arm of Alice Dellal, a name now synonymous with the brand, it was clear that the designer is evolving her oeuvre. The fun, colourful, graphic style that she’s recognised for is still there, but there are added elements of more nuanced femininity that round out the collection.

Pam Hogg might never be for the fashion wall-flower, but small and intriguing changes that she makes each season such as this keep  opening her world up to more and more people, and keep us coming back for more. ‘Friday I’m in love’ played her out, and, as ever, it’s Friday of fashion week that we’re in love with our gal Pam.

 

Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Tegan Rush | Fashion Week Photography|@tegan.photography
Zac Mahrouche | Fashion Week Photography | @zacmahrouche

One of London Fashion Week’s hottest tickets drew in the expected large crowd at the Fashion Scout showspace, held at Freemason’s Hall in Holborn. Pam Hoggs shows are often amongst the most highly anticipated of the season, and Autumn Winter 2017 did not fall short. The always theatrical, fun and high energy show brought an intergalactic punk-rock navy ship to London.

Putting a glitter-punk spin on military and sailor inspired clothing, Hoggs’ collection was as heavy in sequins as it was in PVC. With a retro sentiment alluding to the wonder years of glam rock, the collection took Barbarella Queen of the Galaxy and set it on a cruise ship to a soundtrack of Bowie and Blondie.

Hogg’s “Army of Lovers” stormed down the runway in leather trenchcoats and bodysuits. Menswear was featured in the form of complete leather looks, with open shirts and tight PVC. The collection featured a flower undertone with the use of daisy yellows, deep reds and greens, and a black dress with roses attached. All black and all white outfits were seen between standout sequined jumpsuits and belted dresses. Roller pins in model’s hair and bonnets were also seen, further exaggerating the vintage feel to the collection.


Words: Andre Bogues | Fashion Week Press | @andredevb
Images: Zac Mahrouche | Fashion Week Photographer | @zacmahrouche

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

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Despite being an hour late on Friday evening at Freemasons Hall, the electric atmosphere was tangible. Naturally I was being impatient, but after being warned that every minute past the expected start time was another minute worth waiting, thankfully the Pam Hogg AW15 show undoubtedly delivered.

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Known famously for keeping the glam rock movement alive, legendary Scottish designer Pam Hogg did not disappoint with her new collection. The models walked down the runway to the sound of the late David Bowie filling the packed hall, indeed Hogg’s collection consistently paid homage to Bowie.

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The collection included various pieces made from denim, velvet and a heavy amount of latex. Lilyella, daughter of All Saints singer Melanie Blatt walked down the runway to cheers from the crowd donned a denim lingerie set which was heavily accessorized with metal studs and spikes with a headpiece and leather gloves to match. This was for sure the most iconic outfit of the collection. Catsuits made from latex and sheer with star detailing over the breasts also stormed the runway, one that stood out for myself was a catsuit made from velvet in a bright orange colour with latex star detailing.

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With injections of bright colours and eccentric designs throughout the new collection, Hogg yet again undoubtedly has brought punk-rock to London Fashion Week in a typically exciting, rebellious fashion.

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Words: Harmony Youngs | Fashion Week Press | @harmonyyoungs

Photo: Phoebe Fox | Fashion Week Photographer | @_PHOX_

If there’s one thing we’ve learnt over the years, it’s that Pam Hogg gives a sensational new meaning to the phrase “fashionably late”. And, if there’s another thing to be learnt, it’s that we never actually care how long we have to wait

It’s a rarity these days that a show, or even a designer, is able to rouse such raw, excited emotions from a crowd. And that is what the attendees of a Pam Hogg spectacular are – a loud crowd – a mob of sorts - all whistling, whooping and dancing in adoration of their Queen P. Sitting pretty in appreciative silence isn’t what Hogg is about and, as usual, this show turned the sit-watch-and-go attitude on its head with an electric atmosphere bursting with anticipation.  Looking around at the eclectic crowd clapping along and shouting out to the Steve Strange musical tribute, my guest surmises:  “So what you’re saying is, this is fashion week’s very own Rocky Horror?” With a devastatingly loyal following, outlandish designs and a bloody good soundtrack, it’s pretty spot on.

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Opening proceedings with hysterical howls and references to Little Red Riding hood whispering through the speakers, Pam’s very open little red stepped out in a structured, silk hood and knicker combination that offered a malevolent and kitsch interpretation of the children’s tale. Everything about this is alternative, right down to the models – there is no fixed height and no defining gender as men and women alike take to the runway in an array of eccentricities. PVC crowns, crows, eye patches and mohawks added a dark edge to fairytale pastel metallic capes emblazoned with “Diamond Dogs and Demons” and sheer white bodysuits that added to the twisted fantasy.

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70’s tan suede, studded and laced, gave a nod to the rock and roll heritage of the brand, alongside patchwork snake print and flame detail. Oh, and those posies that Little Red should have left well alone? They too made an appearance on none other than Alice Dellal’s headpiece to close.

 

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Thoroughly original as always, Pam’s AW15 collection pushed the boundaries of the ready-to-wear category and took our imagination to dark and devilish places in the best possible way.

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Words by Mitchell Kirkham-Cooper | Fashion Week Writer | @catsandjackets
Images by Rosemary Pitts | Fashion Week Photographer | @rosemarypitts__