Tag: SS16

Canadian born Steven Tai is feeling slightly beyond his years so it seems, or rather his new AW16 collection would suggest so.

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My first presentation of the day and it didn't disappoint. Greeted by Lulu's 1960's hit song 'Shout' I enter the presentation space which is very much like walking into your Grandma's living room, a room that looks like it hasn't been decorated in fifty years. Mismatch rugs covering the floor and a floral wallpaper which looks like something you'd find after removing three layers of wallpaper from a house you've just purchased. Knitting equipment was placed all around the room and the models were positioned on wooden rocking chairs sewing into embroidery rings.

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The collection itself brought the stereotype of the old lady back into modern day. Tai does this by his nostalgic and reminiscent colour palette of pastels along with a hint olive, navy and beige. Fabrics consisted of corduroy, silk and floral prints. Patchwork is used throughout this collection which shows a mix of fabrics and textures. A personal favourite of mine was the silk quilted jacket with a peony sewn into the pocket.

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The 'granny-chic' collection was showcased at the Elms Lesters Painting Rooms located on the back of Soho away from the madness of Brewer Street. Tai, known previously for his witty take on the awkward girl has yet again brilliantly executed his imaginative 'Freaky Friday' concept with both his collection and the presentation itself.

Words: Harmony Youngs | Fashion Week Press | @harmonyyoungs

Images : Milly Grange-Bennett | Fashion Week Photographer

Having perfected her craft interning under Hussein Chalayan, had her London College of Fashion graduate collection feature on both the Vogue and Tatler websites, and her designs already championed by the likes of the Noisette’s Shingai Shoniwa, Siripirun Saritasurarak is a designer-to-watch.

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Statement three-dimensional patterns have been key to her aesthetic to date; the brightly coloured, seemingly blossoming structures have adorned cuffs and necklines, been woven into fabric or used as coordinating accessories. These ultra feminine detailings have featured on flowing dresses, paneled tops, coats and trousers, and offset with crisp tailoring and clean lines.

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Currently in the process of launching her very own namesake fashion label, the Bangkok-born designer showcased her latest creations in Fashion Scout’s Emerging Designer Exhibition at Freemasons Hall during London Fashion Week. We met up with her there to discuss inspirations, ambitions and what to expect from the Siripirun brand in the near future...

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For anyone yet to discover the Siripirun label, how would you describe its ethos in three words?

Bold, textured and fresh.

What were the main sources of inspiration for your SS16 collection?

Efflorescence (meaning the state or period of flowering) and “Phuang malai”, which is a Thai form of floral decoration, which is often kept for good luck.

Which celebrities or public figures would you most like to see wearing the Siripirun label?

Elle Fanning since she has a great sense of style that accords with the Siripirun brand.

Innovative textile manipulation is key to your design aesthetic in both your London College of Fashion degree collection and new label, will this continue and become a trademark identifier for the Siripirun brand?

Definitely! I love working with intricate textures and bold colours. These themes are integral to the Siripirun brand.

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What are your ambitions for the brand moving forward?

To continue building brand recognition with the aim of releasing pieces for sale in 2016.

What piece of advice have you most appreciated during your journey to becoming a fashion designer?

“Doubt kills more dreams than failure ever will” Karim Seddiki

And finally, we like to stay in the loop here at Who's Jack and we were wondering which fashion insiders we should be following on Instagram?

Aimee Song @songofstyle
She is a well-known blogger. Her style is very inspiring.

 

We’d like to thank Siripirun for her time and look forward to seeing more of her stunning creations in the near future. Find out more about her designs and view past collections on the brand’s website here.

 

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

This season, the Vinti Andrews girl is laid back and cool in relaxed tailoring, retro prints and sequinned bombers in muted pink tones. In the tucked away Soho setting that is The Vinyl Factory, patchwork denim is transformed into something effortlessly sexy when paired with a sheer pussy bow V neck blouse with tiny embroidered daisies scattered across the surface, and the same principle applies for an unassuming leopard print bomber jacket layered over delicate broderie anglais. It's these unlikely combinations that let the collection occupy a space between the street and the catwalk.

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Elsewhere in the collection, loosely fitted two pieces in a retro print lend a '60s vibe that is replicated in small, subtle areas such as a shirt cuff or belt loop. A trouser and coat co-ord in pale peach with black piping is a more grown up offering than the miniskirts and yet retains its edge when layered over a striped bralet. Even classic staples such as the denim short are reworked to give them an unexpected quality through the use of satin edging.

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Perforated mini dresses and shirts are playful without being overly revealing, and that playfulness extends through the collection in the styling as well as the clothes themselves. Glittering eye make up, denim skirts and that eye catching sequinned bomber inject a youthfulness that resonate throughout and one thing's for sure, we'd really like to be the teenager who wears these clothes with such a cool, calm and collected approach._MG_1211

Words: Alice Hudson | Fashion Week Press | @aliceehudson

Images: Dominika Wojciechowska | Fashion Week Photographer | @dominikawojciechowska

Belgrade Fashion Week, established in 1996, was the first fashion week to take place in Eastern Europe and today’s show by Fashion Scout brings the best of the best of the Balkans to London’s Freemasons’ Hall.

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The first look of the day was a bold one as the first model emerged with a face full of gold glitter. Ana Ljubinkovic is a master of contradiction as her designs pair traditional folkloric landscapes embroidered and intricately beaded across modern silhouettes. The collection spans across different time frames as cage like leather skirts recall fetish wear and exaggerated rounded shoulders create a futuristic aesthetic, and yet the amalgamation of all these different elements works effectively to create a dreamy and surreal collection.

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Vlada Savic’s feminine silhouettes are the only similarity with the previous Serbian designer, as he favours a pared back surface with minimalist cutting. Wide leg cullotes are layered under long tunics and extreme flared kimono sleeves in thick white neoprene are brought back to centre with a black obi belt. The classic, A line silhouette appears throughout with the occasional bold striped print, and black and white form the basis of the collection, built upon with sparingly used primary colours. It’s a stripped down, simple femininity that’s ultra wearable.

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Budislava’s designs also subscribe to the ‘less is more’ approach. Simple forms in a strict palette of white, black and grey let the clean cut of the rectangular pieces do the talking as they are layered for a graphic effect. Large black plastic visors cover the models’ eyes and foreheads, letting all focus remain on the garments in an eerie attempt to remove individual identities. The interchangeable models lend the idea that these clothes are meant for everyone and can be worn by anyone; clothing for the masses, maybe?

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George Styler’s ethnic inspired creations were traditional with a twist. As Alaska Thunderfuck’s camp/drag anthem ‘Your Makeup Is Terrible’ rang out over the catwalk, folkloric motifs such as roses met exotic birds on patterned knitwear, bordered by intricately beaded bibs and collars. High leg bodysuits and dresses were at once overtly sexy and yet the thick knitted finish kept it away from vampy eveningwear. Adornment and swirling patterns give the collection a busy finish, balanced only by the bare skin on show whilst floral headpieces, crowns and what can only be described as hair sculptures matched the bold aesthetic, all brought together with a colour palette featuring neon pink and orange.

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As the eerie first lines of Grace Jones' Corporate Cannibal play, we're not sure what to expect from Ivana Pilja's SS16 collection. A model appears, face covered by a white mask, a stark white wig contrasting with the theatrical black dress. A full skirt and wide, built up sleeves are Victorian gothic in subtle sparkles before optic prints dance across cuboid skirts and bird-like winged shoulders create drama. Faces are covered in matching printed fabric (as if the masks just weren't creepy enough) and layers of white strips fall from shoulders like sharp feathers. The sculptural ensembles overtake the human form, transforming it into an unrecognisable alien in a collection that is Gareth Pugh meets American Horror Story.

Words: Alice Hudson | Fashion Week Press | @aliceehudson

Peter Jensen's collections have frequently been based off obscure muses, from unknown cartoon characters to historical figures, but this season's inspiration is a little closer to home, namely stylist Shirley Kurata. Kurata, who you might know from her work styling the likes of Lena Dunham, has been styling Jensen's own collections since 2010. For his SS16 'Shirley' collection, Jensen has looked to the way Kurata uses colour and mixes elements from the 60s with contemporary items, as well as recreating her image through prints and accessories. When Kurata joins the models for a photo opportunity, it's difficult to spot the original.

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The combination of Kurata’s thick round glasses with visor clad riding helmets is striking in multiple colour ways and lends a surreal edge to the presentation. The overriding feeling is playful with bright block colours and cutesy prints topped with peter pan collars and glossy red lips. 60s influences are apparent in shift dresses with huge circular pockets, A line skirts and geometric prints that range from a zig-zag knit to bold stripes, scribbled polka dots and everything in between. Sequined socks peek out from relatively sensible black heels, a glamorous addition to a collection that inhabits Kurata’s ‘mod secretary’ category of dress.

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A fluffy cream skirt and jacket co-ord features thick black piping, with an accompanying shift dress layered over a monochrome, boldly striped shirt. It’s not all about tailoring though as a sheer frilled blouse and organza dress sit alongside a bright green knit with a bold cactus print – a homage to Kurata’s native LA. It’s an updated take on the 60s mod with injections of glamour, girlishness and an undeniable amount of Shirley. Both designer and muse should be proud.

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Words: Alice Hudson | Fashion Week Press | @aliceehudson

Images: Celine Castillon | Fashion Week Photographer | @cceline