Catwalk review: FAD Competition

With names on the front row like The Telegraph, WGSN.com, Elle UK and Look magazine, and with Grazia girls dotted about the place, the pressure was on for the fourteen design students chosen to send their work down the catwalk. The brief was simple: two outfits each, based on retro-futurism and space tourism. The garments had to enhance and respect the wearer and, of course, look like the cat's pyjamas (not literally). After a sensational show full of immense structure, a library of fabrics and all manner of shapes, colours and styles, one winner and two runners up were chosen and announced.

In third place was Birmingham City University's Camilla Kennedy, with her incredible pyramid-structured silver coat and simple red jersey jumpsuit, cinched in at the waist with a wide, black padded PVC belt.

Felicity Bagget's menswear came in at second place, being both highly wearable and imminently intersting to behold. A white coat with a high collar and masculine structure stood neatly next to some beautiful grey tailoring, fulfilling all of the brief's criteria.

The eventual winner, Anna Belen Merono (Nottingham Trent University) was announced by Dolly Jones of Vogue.com and Paul Costelloe - who gave a touching and funny speech about what it means to be a designer. Her uber-futuristic designs wowed the judges with their simple lines and lovely prints. First up was a clean black and white number, knee-length and with long sleeves. It skimmed the outline of the body, carefully concealing what was underneath and barely hinting at a hidden sexuality. The second was a floaty acid-coloured dress partly covered by a black armour-esque shoulder piece. Her collection both drew attention to and protected the wearer and wouldn't have been out of place on any number of high-profile catwalk shows. The perfect blend of science and art. If the award speech was right and these designers are "people of the future", then it's a future that Fashion Scout is very excited about indeed. Emma Hopkinson

Images: David Coleman
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Catwalk review: Emma Bell

As much an experience as a catwalk show, guests were greeted in the foyer of Vauxhall Fashion Scout with cartoon-esque cupcakes that were as delectable as they were kitsch. The audience were then ushered to their seats. The lights went down and the dulcet tones of a violin filled the room, slowly becoming recognisable as the childhood classic How Much is That Doggy in the Window. A giant dog then appeared on stage with a glitter encrusted cane and high-heel shoes - the canine impersonator took off his head to reveal performance artist Scottee who joined the fiddler singing an ever more aggressive rendition of the ditty.

This opening did not dwarf the show which featured Big Brother twins Samanda and club promoter/DJ, Jodie Harsh. The models donned baby-doll faces with ensembles ranging from garments made of Perspex cut-out hearts and gingerbread men, chunky knit dresses adorned with banana motifs, South East Asian-inspired print leggings and the occasional hamburger and palm tree - and a dog tooth print for good measure. Metallic quilting aided voluminous silhouettes exaggerating hips to massive proportions, there were also cones which provided protection for arms, shoulders, boobs, bums and crotches. Contrasting the matte prints Bell used shiny metallic PVC which came in the guise of drop crotch jumpsuits. The palette was colourful as ever with pastel neons, bright yellow and blue. All of which was topped off by dog head pieces a nod to Emma Bell's experience of animal cruelty in her recent travels to East Asia. Kelly Davis

Images: David Coleman
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Catwalk review: Avsh Alom Gur

Launched in 2003, one of the wider-known designers showcasing their collections at Vauxhall Fashion Scout this week is Avsh Alom Gur. With his post as Creative Director at Ossie Clarke, Gur took his own eponymous collection to newer heights this afternoon with a romantic presentation of 15 eveningwear looks, which will be sure to keep his fan base amused.

Clearly, Gur has been focusing on the current economical climate, his concerns scrawled across evening dresses and jumpsuits using heavy gold embroidery. The first look out onto the catwalk provided a moreish taster for Gur’s AW09 offering; a salmon coloured silk ball gown sashaying down the runway to the strains of Nancy Sinatra. As the press release warned, what Gur would be presenting would be “an enthusiastic presentation of excess”.

Inspiration leaped from the noticeably over-embellished ‘CREDIT CRUNCH’ embroidery, to Gur’s famed prints, which added a Bulgarian gypsy reference, reinforced by the traditional floral embroidery placed at the hemline of a tulle and organza skirt. With the main inspiration cited as "The King and I", the silhouette Gur was defining was hard to decipher although it is clear that Gur’s muse is certainly not mourning the economic climate without flair. Dal Chodha

Images: David Coleman
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Catwalk review: Blow Presents... Pop Up show featuring Gemma Slack, Kominako and Craig Lawrence

Ten minutes before the show Fashion Scout noted an air of total chaos and abject terror prompted by the last minute changes that bubble beneath the surface of any good fashion show. By the time the young, beautiful and crazy of hair had filtered in and taken their seats the excitement was palpable. Three young designers, one show, and totally unchartered expectations.

It was to eerie, eighties saxophone and quiet wailing that Gemma Slack's first models strode onto the catwalk, exuding the sort of street-wise sass and attitude that comes only with wearing interminably fashionable clothes and a rough-shorn black wig. A heady mix of untreated leather, extreme neoprene padding and brass detailing, Slack's collection meshed dominatrix leather dresses and drainpipe trousers with medieval-looking epaulettes and a sultry smoke-print created by the designer. When hemlines were up, they were very, very up and when hemlines were down, they were way down. And when padded black gilets covered high-necked, skintight dresses, the overall effect was a desirable one indeed.

Komakino's offering was largely stomped out in their trademark black. Boxy, drop-shoulder sweat shirts sat atop slim-line trousers with a tarnished shine and tri-band belts with with ruck-sack fastenings. Lithe young male models looked as though they had been brought in from London's bustling streets and lent a gritty realism to the proceedings. Draped in see-through mesh and hoods, soft leather jackets, ripped black denim and an occasional well-crafted coat, they strutted their stuff. Concept was key - with ideas about disillusion and loss informing the show - and fabrics and texturing gave the collection what it needed to be an aesthetic winner as well.

And what was there from Craig Lawrence? What there wasn't might be easier, and the answer would be: a dull moment. A throng of knitted ribbon, crafted expertly into men's and women's trousers, dresses, vests and jumpers walked out before a video of a model jumping in stop-motion. The range of pinks and marshmallow whites knew no gender boundaries and the looped and shining ribbons danced prettily on each and every look. The girls got short and body-con in metallic salmon swirls, built-up shoulders and shape-hiding pink pom-poms. The boys got everything from scoop-back white vests in knitted ribbon to a pink and white jumper with an underarm train. Perhaps not one for the tube, but a fantastic fashion show nonetheless. Emma Hopkinson

Images: David Coleman

Catwalk review: Co-operative Designs

"Spadgermatazz" is definitely not a word likely to pop up in the Oxford Dictionary any time soon. But if anyone was going to provide a definition, it was Co-operative Designs and their imaginatively titled collection, and in our minds it went something like this:

Spadgermatazz:

1. An eclectic celebration of head-to-toe knitwear, combining graphic and textural elements on a base palette of black and white with slashes of colour.

2. A playful mix of traditional cables and fine knits, combined with more unusual elements of embroidery, felt and leather, worked to simulate knitted stitches.

3. The creation of an illusion: dresses that look like skirts and jumpers; cardigans with built in skirts; and scarves worn as dresses.

Spadgermatazz , it’s certainly got razzmatazz.

Louise Hemmings

Main image: Katie Coxedge

Runway shots: Alisa Afkhami

Catwalk review: William Tempest

All eyes were on Vauxhall Fashion Scout on Monday night as Fashion Scout Merit Award Winner William Tempest's collection debuted in front of the assembled international press and throng of celebrities. Among the famous faces on the front row were Emma Watson, Jasmine Guinness, Hilary Alexander, Colin McDowell and Frances Corner, the Dean of LCF, from which Tempest is an alumni. The atmosphere was electric.

For Autumn/Winter 2009 Tempest took inspiration from the courts of Tudor England, taking historical costume details such as exaggerated collars, shoulders and hips, and making them utterly modern with razor-sharp tailoring and the use of hyper-real digital photographic prints of photos taken at Hampton Court Palace presented on georgette silks, Duchess satins and silk moires.

The level of skill in the construction of the corsetted dresses and tailored jackets, and the sculptural detailing belies the designer's years. Tempest strikes the perfect balance between wearability and creativity. Watch out fashion: a storm is coming. Hannah Kane

Images: David Coleman
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To view video of the show courtesy of Toni&Guy TV click here.

Review: Harriet's Muse

And now for something completely different. Harriet's Muse shunned a traditional catwalk show in favour of a concept presentation. The audience sat rapt as designers Craig Spellar and Cheryl Partington allowed us into the personal and intimate world of backstage styling as they dressed four models individually on the runway. The first look comprised a signature corset dress, grey with black stripes and chevrons given a flash of colour with red tights. For the second look the feline model sauntered down the catwalk in a tight black leather pencil skirt, topped with a puff-sleeved leather jacket- soft, feminine lines contrasting well with the biker-chick style. For the third, the model was helped into a billowing, ruffled corset dress - short at the front, long at the back in smoke grey silk - given another contemporary twist as indulgent and rich fabrics were discarded, and previously unwanted fabric is recycled into fashion. The piece de resistance was a black wool and silk brocade Victorian inspired dress, it seems gothic undertones continue to reign supreme as a trend for for AW09-10.

"Reactionary's" message is of incorporating recycled fabrics and patterns due to the present uneasy economy shift. The atmosphere is somewhat more stern and serious than the cheeky light hearted nature of previous shows - a sign of the times. These Cinderella’s got fed up waiting for their ball gowns and made them instead. "Reactionary" proved Harriet’s Muse are aware of the ecological boundaries set for all of us, but celebrates the use of recycling and rejuvenation with a little bit of kinky fun. Katie Coxedge

Images: Alisa Afkhami

Catwalk review: Victim

Mei Hui Lei’s Autumn/Winter 09 collection did not disappoint, models were let loose, strutting amongst the perching spectators, so close in fact you could literally smell the old, vintage trimmings, ruffles and lace that the models were adorned in. The collection encapsulated a sense of romance and Victorian glamour. Models were drenched in beads, pearls, sequins and sparkling diamonds; long sleeve gloves with intricate ruffles and stitching. Legs were wrapped up in ripped and shredded tights, tied with strings and their height accentuated by killer platforms and thigh high boots adding a touch of sex appeal to the look. The intense layering of the vintage fabrics gave the garments life and movement. Colour was kept to a predominantly monochrome palette with elements of pink, burgundy and red. It was the detailing of this collection that made it a hit.

As for the make-up, models sported pale looks spiced up with red Geisha style lips that matched their glossy red nails and huge, backcombed hair appearing fairly spooky but elegant.
The finale of the show saw the diminuitive Mei Hui Lei stomp past the long-legged models standing draped in her designs, dressed in luminous pink and gold ruffles where she was applauded immensely by the satisfied crowd. Emma Shiggins

Images: Eddie Blagbrough

Review: Olanic

It was shoulder-to-shoulder waiting in the Vauxhall Fashion Scout foyer for the Olanic presentation. Once the lights dimmed and the pop music was turned up, the inspiration for the show was immediately clear. The theme of the collection entitled 'Mirror Mirror' was clearly portrayed in a mixed media video and the clothes presentation. The video featured a montage of images reflected in mirrors interwoven between clips of models demonstrating the symmetry of the collection.

With the video playing in the background, one by one models appeared on stage wearing mini-dresses featuring tulip-shaped skirts, cape-like draped tops and cinched waists. The black colour palette was mostly matte, but did offer a pop of reflective shine in the form of precisely placed sequins and shattered mirror pieces - reminscent of the work of sculptor Andrew Logan. Accessory wise, a beautiful clutch made of the same smashed mirror pieces caught our eye. For the most part it was a very wearable collection that would befit anyone young-at-heart for a glamorous night on the town. Lisa Tumbarello

Main Image: Simon Armstrong
Additional Images: Eddie Blagbrough
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Catwalk review: Louise Amstrup

Currently reeling from opening Copenhagen Fashion Week this season, Danish born Louise Amstrup was nothing if not enthusiastic backstage, exclaiming "it's mad but I'm so excited!" The inspiration for her AW09 collection was suitably Tina Turner in Mad Max 3, "the idea of a strong woman in a post apocalyptic world." Naturally the focus was on shoulders and hips, and was anything but mad.

Amstrup defined her femme warrior vision this evening with strict leather sleeves jutting out from chiffon tops and geometric panelling adding a stern silhouette to leggings and jackets. Severe pleat details were contrasted with draped chiffon ruffles in a colour palette of mainly grey, black and taupe - with the occasional burst of acid yellow and orange. Further contrast came in the way of the printed panels inserted into dresses and skirts. The prints, created by layering plastic bags over a scanner, were inspired by the photorealist paintings of Gerhard Richter. Plastic bags never looks so luxe. Dal Chodha

Images: Eddie Blagbrough
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Catwalk review: Hemyca

As the lights dimmed and fashion babble quieted down the first model took to the runway, hair slicked back, metallic paint around her eyes and strutting in time to the Arctic Monkeys' "505". Already in possesion of a fierce reputation for exquisite tailoring and near-architectural structuring, perhaps the brilliant garments shouldn't have been a surprise. Even so a heady mix of leather, lace and body-skimming, thigh circling attire caused those watching to break into rapturous applause.

Lace panels slid down the backs of heavy and huge-shouldered tops, PVC snuggled up to the collars of coats and voluminous harem pants accentuated tiny waists beyond belief. And it didn't stop there. There were full-length, red satin skirts and structured, layered, tiered backs of dresses. There were beautiful pelise-like coats and PVC gloves. Blouses were knotted at the front, sleeves were bell-shaped and shoulders were either exposed in bandeau-styles or protected in triangular shapes that could have stepped straight out of the 80s. After the incredible reception the show recieved, designers Myra Nigris and Helen Clinch were over moon, telling The Fashion Scout "we really love this collection and just wanted it to be fun". Hemyca is a amalgam of the seemingly disparate, managing to combine power and femininity in every single garment and pulling it all off with perfect aplomb. Emma Hopkinson

Main Image: Eddie Blagbrough
Catwalk Images: David Coleman
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To view video of the show courtesy of Toni&Guy TV click here.

Catwalk review: Nico-D

Nico-D opened day three of London Fashion Week at Vauxhall Fashion Scout showcasing both his men's and women's collections. The menswear favoured classicly chic Italian tailoring, yet subtle quirks confirmed a British influence. The palette was neutral with strong lines, sharp tailoring, chunky knits and sheepskin coats hinting at a hidden softer, more tactile side. As the show progressed the glamour factor increased exponentially with shiny trousers and sequin-covered jackets lighting up the runway.

The womenswear was an entirely different affair with a host of mini-dresses and drop-crotched jumpsuits in fluid fabrics and an altogether more vibrant colour scheme consisting of fuchsia pink, plum, electric blue set against more black sequins. A delicate balance was struck between showing off the female form with streamline silhouettes and playful voluminous sleeves, and collars on cinched-in jackets. The wearability of the collection was demonstrated by versatility of adjustable necklines and hemlines. Kelly Davis

Main Image: David Coleman
Catwalk Images: Eddie Blagbrough
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To view video of the show courtesy of Toni&Guy TV click here.

Catwalk review: ioannisdimitrousis

Knights in shining armour came to the rescue at ioannisdimitrousousis. Intricate chains and needle details channeled warriors, emphasising the pain coming from within rather than any outside influences. The intense feeling of war was softened with mood-lifting sparkles, signifying the inner struggle, outwardly fought with the illusion of glamour, rather than any intense aggression. Elaborate chains delicately woven into top-knots combined with slashes of red crochet and softened the collection. The collection may have been jaunty and angular, but the mood was sombre, the gentle shimmer lifting the mood. The battle may have been lost, but ioannisdimitrousousis won the war. Louise Hemmings

Images: David Coleman
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To view video of the show courtesy of Toni&Guy TV click here.

Review: Theatre de la Mode

A Hungarian stuffed horse has made a stable for itself amongst a pile of upturned school chairs and some stage lights in the foyer at Vauxhall Fashion Scout. Part of Theatre de la Mode’s installation ‘Elixir of the Hungarian Horse, the collection mixes the old and the new, with a few intense prints inspired by Hungarian huntsmen thrown in for good measure. “We like to move away from the catwalk,” explained designer Chris Kelly. The clothes will be hung around the installation, allowing the audience to really interact with the clothing. “We want to make an environment, a feeling of the label, instead of just being a quick image”. Louise Hemmings
Image: Simon Armstrong

And later at the presentation read what Nina Tukaj had to say....

For the third season, Theatre de la Mode has intrigued us with their non-traditional approach to catwalk presentations by creating an artistic installation from rust and wood, and a conceptual video revealing their interest in ultramodern fashion. It rises above time and focuses on bringing timeless pieces to our present culture. Their “Elixir of a Hungarian Horseman” was illustrated through a classic theatrical display of old wooden chairs, deteriorated pipes, and added humor through using a crocodile prop imprinted with butterflies with braided golden hair.

A model in an Indian inspired ensemble added to the theatricality of the exhibit, the collection itself suspended on hangers and stands so as to blend into the installation. It’s a fusion of the Wild Wild West meets Indian culture meets post WW2. Garments continue the label's ongoing use of modern materials, executed in heavily draped sweatshirt jersey hoodies and trousers. Theatre de la Mode's shows are developed without compromise, fusing inspirations from the past and present.

Image: Katie Coxedge

Catwalk review: Horace

Dark, edgy and androgynous; Horace's A/W '09 collection blurred the gender line and featured men in tunic length dresses and women in combat boots and baggy pants. The collection entitled "Black Monks", displayed oversized chunky knits draped and cocooned around the pale, disheveled and fierce-looking models who were fueled by the base-pumping metal-rock music. Shredded skin-tight leather and denim brought a deconstructed feel to the collection but was well contrasted by superbly cut jackets and capes. Although the clothes and styling were edgy, it was easy to see a relaxed street vibe underneath it all. A feel of early '90s grunge permeated the show but was a given an updated look with pops of vibrant green and hot pink plaid, a nod to the British punk scene. All in all it was upbeat for a rather dark collection and could easily start a grunge-era movement for the 21st century. It's official - the 90s are back. Lisa Tumbarello

Images: David Coleman

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Catwalk review: Romeo Pires

Challenging the expected, turning preconceptions on their head- Romeo Pires defied the paradox of fashion "normality" by creating a theatrical reversed collection for their first ever show at Vauxhall Fashion Scout. And it certainly got people talking!

Staying true to their use of light fabrics and vivid bold colors and prints, the dramatic collection consisted of see-through and oversized garments dressed backwards on the models. The use of delicate fabrics dominated the show, these were draped and constructed into loose dresses that flowed fluidly down the body. Boundaries were pushed further when dresses were deconstructed to include additional sleeves not intended for the arms. Light colored blazers were turned around and layered atop the dresses. Metal masks appeared on the back of the models' heads, their poker straight hair was pulled in front of the face and tied into a knotted ponytail, and big clog shoes featured heels that were positioned on the front, all adding to the reverse-effect.

There is much ado about Romeo Pires, with great expectations for the future of this rising fashion brand.

However one concern stands, which became apparent during this collection: the use of heavy, uncomfortable shoes. So the question remains: Is it right for models to wear such extreme footwear? You decide. Nina Tukaj

Images: David Coleman
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To view video of the show courtesy of Toni&Guy TV click here.

Catwalk review: Bryce d'Anice Aime

A hint of glimmer here, a hint of glamour there; Bryce d'Anice Aime's collection encapsulated easy luxe. Silhouettes were defined, but still feminine. See through blouses that would otherwise have been prim oozed an understated sex appeal whilst squares of iridescent chiffon added a dreamlike quality to the collection. Devoid of all-out glamour, the allure was in the detail. Waistcoats that could easily belong in the office were given a lease of life with surprisingly placed zips; a shiny panel turned a pencil skirt into something much more memorable. Overall, a dream come true. Louise Hemmings

Main image: Katie Coxedge
Catwalk shots: David Coleman

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Catwalk review: Ones To Watch

Surely you could feel the buzz that came from the Vauxhall Fashion Scout venue this evening as the first day of London Fashion Week came to a close with the eagerly anticipated Ones To Watch show – the clue was in the title.

Martyn Roberts, co-founder of Vauxhall Fashion Scout commented before the show, "the Ones To Watch show is a great opportunity for exciting young creative businesses to take their first big steps in front of an international audience" and what an audience it was, including editors from British and Japanese Vogue and fashion week veteran Hilary Alexander.

As our fluency of ethical fashion progresses, along comes Edinburgh College of Art graduate, Lu Flux to help readdress the issue. Hailing from the Isle of Wight, Lu opened the show with a young collection of both mens and womenswear looks using British fabrics. The collection had a distinctly English feel as herringbone plaid was artfully clashed and used to line pockets. Key colours were ivy and faun and the knitted leggings for men are sure to keep the boys warm come next season.

Next up was Central Saint Martins graduate, Kumiko Watari with her migh-T by Kumiko Watari collection. Based on the idea of “the excitement and fear of pushing towards the unknown,” what we do know is that we all need a pair of trompe l'oeil leggings in our wardrobes. Reminiscent of Royal Copenhagen china, Watari showed a wearable collection of desirable jersey pieces with animal and hot air balloon motifs.

Breaking up the more store friendly collections was Studio_805. The brainchild of Leeds born Andrew Bannister, the nine looks presented were essentially sportswear in graphic red and white chequered prints. Walked down the catwalk to an anarchic rock music theme, one the most appealing looks was Bannister’s own; a pair of pleated trousers in a McDonalds print.

Closing the show was Royal College of Art graduate, Alice Palmer who presented a collection of feminine knits in gauges of all scales in an austere colour palette of white, black and taupe. Shoulders and hips were formed into acute points and body conscious fine knits skimmed the hips and thighs. The styling had a medieval leaning, with models wearing knitted bonnets akin to chain mail and the attention to detail on the trousers were worthy of note.

The Ones to Watch show next season will definitely be one to be seen. Dal Chodha

Images: Eddie Blagbrough


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To view video of the show courtesy of Toni&Guy TV click here.

Catwalk review: Kling by Kling

Kling by Kling presented a spectacular gathering of weird and wonderful garments in the foyer at Vauxhall Fashion Scout. Ghostly models holding, then releasing black balloons effortlessly glided through a sea of photographers. With strong influences of graphic design the collection used garments as the basic canvas for the designer’s signature graphics. There was a mixture of elements from the circus with the top hats, balloons and clown-like make-up to a very fashionable bed-time look with leggings, stripy shirts and ties all executed in a dark, morose palette.

As for the accessories, the headwear came in all shapes and sizes from top hats to Aladdin-style plaited turbans. Shoes were reminiscent of their last collection ‘Virus’ with baubles attached to the heels - adding a peculiar edge to the look. Some of the models wore sunglasses, but of course in true Kling by Kling style they were also worn around the neck. The monochrome palette infused with small, splashes of bright, almost neon purples and reds matching the sapphire blue lips of the female models. A truly wondrous and successful display of this emerging talent. Emma Shiggins

Images: Eddie Blagbrough

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Catwalk review: Alexandra Groover

Alexandra Groover’s colour palette may have been exclusively black, but the absence of colour worked in the collection’s favour. Surprisingly the mood was playful, with Groover avoiding the gloom that could so easily have overwhelmed such a collection. Her Californian roots were apparent; an evening gown with a segmented hood was inspired by shellfish whilst a dress made of long strips of jersey perfectly imitated the movements of a jellyfish. Felted wool and knitted jersey worked alongside crepe-back satin, allowing the absence of colour to work on multiple levels.

Her palette may have been dark, but Groover’s future is anything but. Louise Hemmings


Images: David Coleman

To view video of the show courtesy of Toni&Guy TV click here.