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ISSUE 20 JULY 2018

RRP £9.99


CONTRIBUTORS Editor: Rhiannon D'Averc - Editorial Assistant: Candice Wu - Lead Photographer: Rhiannon D'Averc Photographer: Ian Clark - Features Editor: Rachel Parker - Music Editor: Caz McKinnon - Arts Editor: Eleanor Dyson - Graphic Design: Peter Bevan - Contributors: Joshua Hansler, Scott Chalmers, Brooke Sidaway, Adam Pavlovin, Haajira Muzzamil, Fil Mazzarino, Casey Milano, Charlie Whitehand, Canesha Thompson, Darcie Richardson, Bryony Richardson, Christina Lomas, Mary at MP Millinery, Asvika at Adam and Alice, Pietro Recchia Special thanks to Kat and Thomas at Elvhem, Lisa Goll at the Bloomsbury Institute, Valeria Aleksandrova at Hundred Showroom

Advertising enquiries - Submissions - Š 2018, London Runway and contributors Printed by Pixart Printing



IN THIS ISSUE Letter from the Editor

As Pride filled our capital with rainbow displays everywhere you looked, there was a real sense of joy and love down every commercial street. Particularly on the parade route, there was a sense of brand participation in a way that has seriously grown year on year. But in all this glorious empowerment and support, one thing has to be made clear: this isn't just a happy gimmick that will help to sell a few t-shirts. It's about standing up in support of the LGTBQ+ community, not just for one weekend - but for as long as they need it. One day, maybe, we'll think of Pride as a quaint celebration, no longer necessary as we accept people of all genders, sexualities, and identities for exactly who they are with no qualms. Until that day comes, it's important to support your friends and family who may not identify within the cis or hetero spectrum all year round. But since it's Pride, you might as well throw a few extra rainbows into your

wardrobe as well! We've got some fantastic looks coming for you in this issue, from a seriously diverse range of sources. We're featuring gender fluid and dragfriendly styles by Joshua Hansler in our first editorial, contrasting against both modern and traditional garb from Pakistan Fashion Week London. Then we're talking about how pop-ups can be essential for small brands, as well as showing you the work of two designers we met at pop-ups ourselves: Adam and Alice and MP Millinery, who came together in our second editorial for a wonderland-inspired journey. They might call this a quiet period, right before we head into September and London Fashion Week, but we've still managed to pop our heads in to a fair few events. If you think there's nothing going on, you must be looking in the wrong places.

That's why we've discovered a few sneaky ways to emulate your favourite styles by shopping on the high street though supporting your favourite designers with one or two key purchases never goes amiss! If you want to be featured in our pages, visit to read our guidelines for writers, photographers, and artists. You can also read some of our articles there and get a direct link to every issue the moment it's released. Subscribe to updates and you'll never miss one! And as always, drop us a line via if you have a show you think we should see or a feature you think we should run. 


If you're enjoying our catwalk coverage, you might be lamenting the fact that you can't possibly buy it all - not with the cost of living in our fair city.




CONTENTS Photography Pakistan Fashion Week - 7 Neon Liberation - 15 Pakistan Fashion Week London Continued - 29 Pride - 53 Wonderland (cover story) - 64

P15 Features Fashion News - 4 Pop-Up Stores: Bougie On A Budget - 13 A Taste Of Paradise - 24  Book Review - 'The Fashion Show', By Gill Stark- 25 Insights Into A Successful Fashion Show -  27 What Not To Do In The Modelling Industry - 51 Interview: Elvhem - 78 Catwalk Copycat - 82 The Big Question - 87



FASHION NEWS via Balmain

BEYONCÉ X OLIVER ROUSTEING COLLECTION LAUNCHED AT HARRODS By Casey Milano. After making history at Coachella, Beyoncé and Balmain are collaborating on a charitable capsule collection, known as ‘Beychella’. Though not as well-known this side of the Atlantic, Coachella made headlines this year as Beyoncé headed the event. Even if you didn’t keep up to date with the music festival, ‘Beychella’ may just catch your attention. If you love Bey, you will love this exclusive. Beyoncé has collaborated with Balmain on a collection inspired by her Coachella wardrobe. The singer – who captivated audiences when she headlined the Californian festival earlier this year – wore a selection of outfits designed by Balmain's creative director, Olivier Rousteing, and the duo have decided to create a collection for fans around the world whilst raising money for the United Negro College Fund. The capsule collections of T-shirts, sweatshirts and hoodies all feature Beyoncé's initials written in Greek letters to reflect the theme of sorority life within historic black colleges and universities. The idea of the sure-to-be iconic collaboration started at a rehearsal with Beyoncé and her dancers. Rousteing 

said, “When she (Beyoncé) saw all the dancers loving the outfit - and she was loving her own outfit - she realised that what we were creating on stage for her, for all the dancers, was something really impactful.” Indeed Beyoncé wanted to make a collection where her fans could not only buy a piece of history but be a part of it as well. On Friday, July 13, Balmain launched a three-piece Balmain x Beyoncé collection in its Paris flagship store with the items going on sale on and the following day. They can also be found at several other online retailers including Neta-Porter, MyTheresa, Barneys New York, and – for London shoppers - Harrods. As it’s still a designer collection however, it doesn’t come cheap. T-shirts will start at £220, while the sweatshirts will range from £415 to £1,350. But perhaps as its for a cause that will help the next generation, this collection should not be seen as benefiting either the fashion or music industry, but rather, the world.

Find Beyoncé and Balmain’s collection exclusively at



FASHION NEWS BURBERRY X VIVIENNE WESTWOOD: BRITISH HERITAGE BRAND TO GET A PUNK MAKEOVER By Charlie Whitehand What a patriotic pairing! Burberry has joined forces with British fashion icon Vivienne Westwood to create a limited edition capsule collection. The collection will launch this December - just in time for Christmas - and will consist of re-imagined British heritage pieces from the Westwood archive. Not forgetting that it will also be supporting the rainforest, through the charity Cool Earth.

announcement is just proof that exciting things are in the pipeline for the brand. Tisci worked wonders for Givenchy, romanticising the goth look and raising casual wear to high fashion status. If his entrance is anything like Alessandro Michele’s for Gucci, then we should consider this a massive positive for Burberry and it may even give the brand a more Haute Couture edge.

Earlier this year, following the departure of Christopher Bailey, Burberry assigned Riccardo Tisci, the former creative director of Givenchy, to their team. This succession was sure to bring fresh ideas and a creative edge to Burberry designs. After all, Tisci has been known to stand out for his controversial and imaginative ideas, connections to various celebs, and large social media following. In fact, he used this to his advantage and announced the news via Instagram. His statement said, “Vivienne was one of the first designers who made me dream to become a designer... I am SO honoured to announce a new Burbs collaboration with the original British PUNK.”

There have been no further hints as to what the capsule collection will entail, but with Westwood’s artistic and unrivalled design style we can only expect to be amazed. There is no doubt that these pieces will be one of a kind, rebellious representations of British style. Think paint splattered trench coats, heavily studded leather accessories, elaborate tartan prints and lots of rips and slashes. This pairing is sure to bring a more contemporary edge to a classic brand, increasing its cultural significance and relevance in today’s market. Watch this space.

via Burberry

Tisci is yet to produce his debut collection for Burberry, which is set to hit runways in September, during LFW. This



FASHION NEWS FEMALE CONSUMERS SHUN VICTORIA’S SECRET AMAZONS By Canesha Thompson Popular brand Victoria’s Secret has seen a recent decline in consumers: store-perspective sales have declined by 5% within the first quarter of 2018. Now, industry experts are predicting the brand will soon have to close its doors, as women simply don’t want the image they are selling. According to Mary Hanbury of Business Insider UK, the high street lingerie brand has been accused of failing to appeal to customers with its racy ad campaigns, which also threaten to negatively impact its brand.

Aerie are now selling as much as 40% of the comparable lingerie sales in stores which stock both brands – while Victoria’s Secret are hovering around the 1% mark as of the latest figures. Following suit is the release of Rihanna's recent lingerie line, Savage X FENTY, which is more sexy yet appeals to real women with real curves who dare to feel sexy. The brand has 36 sizes and 90 styles to choose from. Furthermore, other companies are also standing out, displaying the same positive messages of affirmation that upholds the essence of a real women. They also happen to be leading online retailers in the lingerie sector, such as Adoreme, Lively and Thirdlove.

They have seen a drop in value of 65% in the past 3 years, and are accused of completely ignoring movements like #MeToo. The brand has been accused of targeting primarily male consumers, as opposed to women. Female shoppers of the brand have voiced their outrage of the elevation of male consumer influence over the brand’s marketing campaign strategy. The image of thin, scantily clad supermodels no longer makes the cut for the everyday women shopping for lingerie.

Meanwhile, Victoria’s Secret is still portraying the glamorous, Amazonian woman that powered them to fame in the 90s. If they can’t move with the times, then the reign of Victoria might just be over.

via Aerie

However, women are opting for brands that appeal more to real women. They are seeking out more realistic and image conscious lingerie brands such as American Eagles Aerie. Aerie has skyrocketed: they had a sales increase of +38% in the first quarter this year. The brand’s recent campaign features women with different disabilities, seemingly feeling and looking confident in their lingerie. Tellingly,

These various lingerie companies are changing the message behind lingerie from one of oversexualized fantasy to empowerment, confidence and comfort. This once stagnant market is growing due to the feminist movements taking place in our current political landscape. Women are now boldly choosing for themselves what is acceptable, even when it comes down to the lingerie they wear and why.



PAKISTAN FASHION WEEK Continuing our coverage from last issue, we bring you some of the magnificent fashions that were on display at Pakistan Fashion Week London. Bright, colourful, and intricate, each piece is a feast of embroidery, sumptuous fabric, and elaborate jewellery. In order, the designers you will see are: Moazzam Abbassi Mohsin Naveed Sheeba Kapadia

Photography by Fil Mazzarino












POP-UP STORES: BOUGIE ON A BUDGET Candice talks about the benefits of pop-ups and why one should consider this as an option when starting a new retail business. Like the upgraded versions of garage sales, which are still cool in every possible way, pop-up stores have popped up all across the nation over recent years, establishing themselves as the go-to, almost hipster-like form of retail. Allowing budding businesses to nurture a personal relationship with their consumers, test out their products on the market, and all while dishing out only half as much on rent as traditional retailers, pop-up stores are a prime example of being “bougie on a budget.” Pop-ups, also known as temporary retail and flash retailing, are characterized by their short leasing periods lasting from as little as 3 days to 6 months and, typically, reduced retail space. Taking up otherwise vacant storefronts, they create new and unique experiences for the brands and the consumers to kind of get a feel for each other and create an offline relationship. Not only limited to retail, they can essentially be used for any type of business, including foodservice and more. With its most notable roots in Los Angeles, the trend quickly gained traction with businesses and bigger brands in the early 2000s. According to EE‘s Britain’s Pop-Up Retail Economy 2015 report, the industry is worth around £2.3 billion and has brought in £2 billion during the holiday season, and it's only rising every year. 

Pop-up collectives such as Lone Design Club are also highly cost effective ways for creating brand awareness and allowing multiple brands to showcase and sell their product. Pop-up malls, like the Boxpark in Shoreditch and Croydon, are also great hosts. As the first pop-up mall in the world, the Boxparks create a community of brands from all genres in one location where consumers and visitors can essentially spend a good amount of their day exploring the plethora of brands and restaurants offered. Located in a trendy location with high foot traffic, brands are given a good base to explore the market and develop brand awareness in an already notable establishment. With a regularly rotating assortment of brands and businesses, they give a taster for consumers, and it's also great for testing out new collections and products. The shorter leasing periods of pop-ups give business owners flexibility and room to explore and experiment their products in different areas and locations to find the right fit for their brand. With the ever-increasing rent prices, it’s becoming more and more difficult for businesses to start their own physical stores. Most commercial leasing contracts require a minimum of 1-3 years from tenants, which could trap a new business if their products don’t sell well to the consumer demographic in the area or if they’re just not doing well, in general. Pop-ups allow businesses to test their products in the area and kind of dip their toe into the consumer market pool before committing to a permanent location. Another beneficial way to utilize pop-ups is to use them as advertisement for one’s online store or already opened store. Successful online retailers are also utilizing pop-up brands to test the waters before making the jump for a physical location, and they could create foot traffic to their store by opening a pop-up in a more populated area and promoting their products to the target consumers who wouldn’t have came over otherwise. ZARA recently opened a digitally-focused pop-up location in Westfield Stratford Mall in London when expanding and refurbishing their flagship store, which was also located in the mall. Lasting until May of this year, it allowed customers to make online purchases, as well as online pick-ups. It might seem redundant to open a pop-up store where their


permanent location is already located, but by doing this, they were able to keep consumers interested in the brand and keep the foot traffic to the store’s location in the mall during the refurbishment. When the original store reopened, it was as if they were never closed. Glossier, a makeup brand started in 2015 by Emily Weiss in New York, developed a cult following for their products through effective advertisement and product placements on Instagram before opening pop-ups across the globe, eventually opening their Los Angeles location and New York showroom. Having been online-exclusive until only recently, they opened up multiple pop-ups in locations including London and San Francisco to the excitement of their followers throughout the years to see where their products would sell the best. With influencers and celebrities such as Beyoncé and The Anna Edit, a Brightonnative Youtuber, promoting the brand, it is rapidly growing as they expand and branch out, and popping their stores into several locations for a few weeks is one of their goto strategies for testing the success of their products with offline sales. Pop-ups are also a great way for online brands, such as Glossier, to develop and provide an authentic relationship and experience for their consumers. With products on display and samples aplenty, it's almost like you’re visiting the traveling circus or amusement park, with the fun rides and amazing acts but excluding the scary clowns and sometimes sketchy carnival food. People are able to test out the products and ask about the ethos of the brand and company. Interacting and connecting with your consumers is one of the most effective ways to develop a following for your brand, and pop-ups really allow businesses to do just that without all of the commitment of a permanent space. The engagement between the sales associates and buyers create a sense of trust and relativity between them. This more personal approach is what helps brands develop a loyal consumer base and keeps them coming back for more. Because of the temporary nature, the costs for hiring out staff is also lower as they are only needed for the duration of the pop-up. After figuring out their consumer demographic and establishing that relationship, they can then look to opening a more permanent location with an idea of how their sales might fare in the area. 

Opening a store is always a risk, be it from an already successful or emerging brand or business, but it is almost a vital aspect and next step for most businesses and brands with over 90% of sales still being made offline. With ever-changing factors such as the economic state of a country, the demographic of an area, and other evolving businesses in the area, there’s never a certainty for success that can be blindly trusted in. Acting as the businesses’ training wheels or swim floaties, pop-up stores essentially remove the blindfolds and gives a clearer insight into the area and people. If you’ve been planning to open a store but are intimidated by the high rental prices, long contracts, and market uncertainty, consider opening a pop-up location first to get your gears moving towards a permanent shop. Everybody loves samples, which is essentially what you’ll be providing your customers with at a pop-up. So, if you’re a brand or business owner, get popping and start scouting for pop-up locations, and if you’re a consumer, pop on


over to these stores to get your sample. Pop-ups are popping into our hearts, and there are no signs of them leaving, yet! Okay... I’ll stop with the puns now, but you get the idea.

You can see more of Candice's work on Instagram by following @Candice_x9. Images via: Appear Here Glossier/Instagram Haper’s Bazaar Lone Design Club


Photographer: Scott Chalmers MUA: Brooke Sidaway Model: Adam Pavlovcin Stylist: Haajira Muzzamil Designer: Joshua Anthony Hansler This rebellious collection aims to liberate individuals who feel oppressed by society. Blurring the lines of gender stereotypes, ‘female’ silhouettes such as crop jackets and high-waist flares are upscaled to create broad masculine silhouettes teamed with gay iconography of widely influential figures such as LGBT activists and performers.

A TASTE OF PARADISE Ellie Dyson reports on the Mauritius Open-Air Festival held on Sunday 15th July. Mark Twain once wrote, "you gather the idea that Mauritius was made first, and then heaven; and that heaven was copied after Mauritius”. Having attended the ninth Mauritius Open Air Festival (MOAF) event, we would have to agree! The UK’s largest exhibition of Mauritian culture and food was held in Trent Park, and the event was packed with delicious smelling food-stalls encapsulating the main stage, where the very best of Mauritian musical talent performed. Mauritius, an island positioned in the Indian Ocean off the southeast coast of Africa, is known for its diversity, due to its placement within the ‘Vasca da Gama’ trading route. Sega music is one such example of the fusion of cultures. Featuring influences from Indian culture and Calypso music, it is an expression of the soul, and there will always be someone dancing wherever it is played. Even the Island’s enviable weather made an appearance. There wasn’t a cloud in the sky to stop the fierce intensity of the sun, which only added to the lively atmosphere. But of course, it wouldn’t be Britain without needing the umbrellas!

The diverse culture must be mentioned again when describing the national dishes, which derive from India, Africa and China. Clouds of barbeque smoke wafted over the lines of customers, who were eagerly anticipating delights such as jerk chicken, Dal Puri, noodles and deep-fried goodies. Plus, you couldn’t get any fresher than coconut water straight from the source. 2012 Masterchef winner Shelina Permalloo was in attendance, representing her business ‘Lakaz Maman’. Translating as ‘Mum’s House’, her Mauritian street food and traditional sweets were in high demand.

The festival catered for all ages, with the fun-fair being a main attraction for the younger generation. For everyone else, it was the rum that was making heads spin! The day ended with songs being performed by one of the country’s leading artists, Alain Ramanisum, whilst the sun set over the stage. 


BOOK REVIEW –THE FASHION SHOW BY GILL STARK. Ellie Dyson reviews Gill Stark’s new book. A new must-have book has arrived in the form of Gill Stark’s inspiring guide from Bloomsbury Visual Arts Publishing, entitled ‘The Fashion Show’. Stark’s recipe for success offers just over 200 pages of valuable industry insights, abundantly illustrated with glossy images. Perfect for upcoming fashion designers, this new addition is an absolute must if you want to gain more insight into the industry. Available to purchase on 26th July 2018, it covers the history, theory and practice of the fashion show in an easy-to-understand language. Stark, the Assistant Dean and Head of the School of Creative and Liberal Arts at Regents University, London, is an expert in the fashion show field, having also produced fashion shows and worked as a designer herself. A Summary The contents page promises six chapters that delve deep into industry secrets, starting with an overview of the evolution of the fashion show, moving steadily through the decades until we get to some contemporary context. This then leads in to an extensive guide of every detail needed to create a catwalk. Something I really appreciated was that the guide didn’t stop there, but instead goes one step further to provide guidance on what to do after a show, which demonstrates the consideration Stark genuinely feels for her readers. The Structure The style of writing that Stark has chosen is informal. It is well written, but is doesn’t assume you know the specialist jargon so much that it loses the easy-to-read factor. It keeps things clear without overwhelming the reader with information. It was pleasant to read a book that didn’t involve flicking forward through the pages to find something relevant – instead, every sentence was needed, and every paragraph was an interesting read. ‘The Fashion Show’ is not just perfect for budding designers, but for people who want to get involved in many aspects of fashion. Shows, as states the book, ‘are such a powerful marketing tool’ (p.83), so it makes sense that one must know about the show to truly understand the industry. There is an extensive range of job roles within fashion – PR, designers, photographers, set sound and lighting, social media, and journalists – and anyone wanting to pursue a career down these routes would benefit from reading this book.


Throughout the book there are informative captions next to each photo, so that by the end of the book, not only do you have a comprehensive knowledge of how to pull off a fashion show, but also a background grasp of the entire history of the catwalk. The potential for education is boosted even more using plenty of diagrams and charts to demonstrate key points. Written from the point of view of someone with a lot of experience in the industry, the book doesn’t try to force any opinion on the reader, but it is wholly a helpful book from an insider’s point of view. To further engage the readers, Stark has created activity pages at the end of each chapter, encouraging the reader to add to their knowledge by suggesting particular topics to be researched into more deeply. The book recognises that fashion can’t be condensed into one document. Links to online imagery, interviews and other sources crop up like gems throughout the paragraphs. Interviews with industry experts, entitled ‘Industry Insights’, appear periodically, which segments the chapters and keeps it fresh.  The Content After first laying out the evolution of the catwalk, the second chapter brings it closer to home by focusing on current issues within fashion. In keeping with the ‘trend’ (whilst ‘saving the earth’ is still fashionable) of sustainable fashion, Stark has her eye on the impact that the future of fashion will have on the environment, but not in the usual way of using vegan leather. The author makes the point that it would be better to have more digital shows and focus on getting local models, press and photographers involved, because of the carbon footprint caused by instead flying all the international guests around the world to the events over the course of the annual fashion calendar. A digital revolution would be for the better.  Stark provides invaluable knowledge on all the behind the scenes, show-in-the-making aspects which need to happen, explaining them in easy-to-remember ways like the seven P’s (which we won’t elaborate on - no spoilers!) and times when designers carried out these tasks in spectacular ways. These examples are boosts of encouragement towards new designers, showing them what they should be aiming for. 

The words ’emotional experience’ often appear, but for good reason. A fashion show, almost like watching a film trailer, shows the most exciting and emotional parts of a collection, and makes the audience think “yes! I want to be a part of this. I want to be able to say I bought into this.” Everything written is only a suggestion of course. It frequently mentions instances where graduate designers or brands with little money organised something out of the ordinary so they could showcase their work. The book is cleverly structured in a way which creates an anticipation for the latter chapters, which detail the actual day of the show, including in-depth schedules and important factors to consider. It ends on a brief outro about where shows will go in the future. The main theme is that the use of technology in the form of online streaming and the use of fashion film will develop, ‘but typically for the fashion industry, there is excitement for the new’ (pg. 204). Conclusion ‘The Fashion Show’ is a necessary read for upcoming designers, and for those who want to join the fashion field in roles such as marketers, managers and PRs. The book went above and beyond what it proposed it would do, and the exclusive interviews of industry experts and generous illustration topped off what was an already great read. The book was informative and genuinely interesting, with juicy titbits about previous fashion shows, and it would especially be a valuable addition to any fashion-based university library.

You can see more of Ellie’s work on Instagram by following @elliejdyson. Cover scan via Ellie Dyson, images via Pexels


INSIGHTS INTO A SUCCESSFUL FASHION SHOW Ellie Dyson reports on Bloomsbury Institute’s event ahead of Gill Stark’s book release. He went on to talk about one of his previous shows. There were rumours leading up to the show about how there was going to be a huge star present, and how the show wouldn’t start without their arrival. Eventually the lights dimmed, and a hush fell on the audience as a slight figure with a hat and one glove was ushered in to the venue. What the audience didn’t know was that this was a Michael Jackson look-a-like, but the rumours alone had driven traffic to the show.

Bloomsbury Institute invited guests to attend a talk with Gill Stark, along with two other industry experts. The panel, comprised of Stark, fashion journalist Julia Robson, and fashion show producer John Walford, provided their expert advice on creating a successful fashion show, pairing it with experiences from their careers. Stark, author and Assistant Dean of Regents University London, is due to release her first book entitled ‘The Fashion Show’, on the 26th July, and is aimed at new designers and anyone wanting to enter the fashion industry. Below are key points from the discussion.

People are forever asking why the models never smile. John says it’s because the model must act as a canvas, and any emotion of the model would detract from the clothes. This is the same with the makeup and hair. It is never designed to flatter the model - in fact, it could be very unflattering, but that doesn’t matter in the slightest if it makes the clothes look good.

What are fashion shows used for? London in the 1980s was a revolutionary period, featuring designers such as Vivienne Westwood, McQueen, and John Galliano. Fashion week grew bigger than ever in the 1980s because there was so much money, hope, and they made an impact on the audience. The practices which were revolutionary in this period created the template for what we know today. These days, however, due to high numbers of fashion events all year, we are oversaturated with choice, and consequently loyalty for one particular fashion show is diluted. The catwalk is a great tool, both promotionally and as a platform to address global issues. Westwood, for example, used it from early on to raise her concerns on climate change, as she knew the major press would be there to report on that as well. The fashion show is a powerful way to promote a brand, even more so with the rise of technology. In the 80s, the emotion created by the music, set and lighting is lost on the general population once it has been confined to a small article in a newspaper. Now, however, the show has the potential to be livestreamed to millions of people, allowing the digital audience to experience the emotional connection of the catwalk too. This connection then creates an attachment between brand and customer, a vital component to selling. These days, some shows and designs are even being created purely to look good on social media platforms and as single pictures online, as that is where they will be viewed. Tips for a successful show John Walford, one of the founders of Graduate Fashion Week, made the point that to get into Fashion Week these days, it’s more about who you can get onto your front row than how talented your collection is.


How will fashion shows evolve in the future - Perspectives from the three panellists Julia Robson’s view: Alexander McQueen’s SS10 show, tragically his last, ‘crashed the internet’ (Robson) when the site couldn’t handle the sheer number of people watching, and the stream went down. Live streaming will continue to grow to new areas as it allows members of the public to witness what they otherwise couldn’t, making fashion more accessible.   Fashion shows are still very important, but like everything else, they will change. The experience will become more about fashion influencers present on social media platforms. Augmented reality (AR) might become a part of it, for example sitting in the audience could become multi-sensory, similar to 4D films in the cinema. Gill Stark’s view: Agreeing with Robson, Stark extended on the argument that augmented reality might become prominent, as resources like fuel become scarce, preventing guests from flying from country to country during Fashion Week. She believes there could also be a huge vegan and sustainable fashion boost in the future, in which designers are already leading the way. John Walford’s view: The previous panellists commented on how technology can engage consumers with fashion in a greater way, but it could also take a U-turn. Fashion could become more unobtainable, with only a small group of people being allowed to the shows, or to buy the product. This exclusivity would drive up prices and interest, and is similar to the original salon shows before the catwalk became what it is today.   Creating a show for the first time A designer needs to know they’ll have enough money to do a second show before even planning a first, or they won’t be taken seriously. The industry might notice the first show, take an interest in the second, and then attend the third. They need to see potential for progression. And how much for a show? You’re looking at a tidy minimum estimate of £12,000, which covers everything from venue, models, PR, production and goody-bags. Plenty of designers look for unconventional approaches to saving money, showcasing their collections in carparks, and juggling a whole slew of job roles themselves. Robson closed the discussion by mentioning the importance of collaboration. It joins the customer base of two brands, and drives more interest and traffic to the shows. Collaboration can happen with a range of brands, allowing designers access to footwear, accessories and even refreshments. Catering, even just drinks, can cost a fortune for a crowd, and cutting the cost of this keeps overheads to a minimum. The event finished with Stark thanking Bloomsbury Institute for publishing her book, and the attendees were given early access to the book, with the invitation to have it signed. ‘The Fashion Show' is due to be released on the 26th July 2018.

You can see more of Ellie’s work on Instagram by following @elliejdyson Images via Pexels, Unsplash, and Gill Stark


PAKISTAN FASHION WEEK LONDON CONTINUED Yes, we have even more spectacular and fabulous looks from Pakistan Fashion Week for you to feast on! Dripping with glitter and lace, these looks are really something special. A quick note: it's interesting to see so much diversity coming down the catwalk. The range of ethnic backgrounds amongst the models really belies the fact that the event is focused on Pakistani fashion, or that it is held in London. Refreshingly, the event

manages to bring in models from so many backgrounds that it almost becomes an international event - and it's an exciting way for viewers to visualise how these Pakistani trends might look on their own bodies. You don't just have to be from Pakistan if you want to wear the work of these designers.

Those designers are, in order of appearance: Aisha Imran Bushra Wahid Jal / Chirwan Lewis Maheen Khan Uzma Babar

Photography by Ian Clark



























Photographs by Ian Clark, except those marked with an * - by Fil Mazzarino


















WHAT NOT TO DO IN THE MODELLING INDUSTRY Rhiannon D’Averc shares tips for success for aspiring models If you are looking to make a start in the modelling industry, then there are some unspoken rules which you are really going to want to avoid breaking. The problem with unspoken rules is just that how are you supposed to know what to do if no one ever tells you? Here’s a list of some of the things that you just don’t want to do in the modelling industry if you want to succeed. While not a comprehensive list, these are the things that could prevent you from having a career in modelling before you have even started.

in your area will have heard about you. It screams “unprofessional”, and also “I don’t really want to be a model.” A simple message excusing yourself a few hours before the scheduled start of a shoot is a must, and even then you should consider to yourself whether you really could manage to get there after all.


Casting calls can easily attract 100 or more messages from models all vying for what may only be one position. The first thing many casting directors or photographers do to narrow people down is to test whether they have actually read the details of the casting call - and it would surprise you to know how many don’t bother.

This is one of the most important things that you have to bear in mind when you begin modelling, and you should continue to observe it throughout your career. Early on, you’ll likely get lots of bookings on a TFP basis. For those who don’t know the lingo, that means Time For Print, or in other words, you’re working for the images and not for pay. For some models - even those who manage to negotiate travel expenses and refreshments - this seems to translate to “casual work”. Some will not turn up on the day, without even leaving a message to say that they have a sick aunt or can’t start their car or whatever other excuse they could easily have come up with. How big of a problem is this? Well, bookers will often ask for more models than needed because of the likelihood that at least one won’t show up.


But what happens to the people that let photographers down, without bothering to so much as send a message? First of all, they are never going to work with them again, even if they are the perfect fit for an upcoming shoot. Second of all, no one else at that shoot is going to work with them again. Thirdly, in the future, the team might on any appropriate occasion mention the models’ names and talk about how they let them down to warn other people off them. Finally, if there is any way to leave public negative feedback for them, such as on a casting site, this might also be done. Can you imagine what kind of an impact this might have if you do it with the wrong photographer? “TFP” does NOT mean amateur, and a lot of big name photographers will do test shoots before shooting the real campaign, whether for a magazine editorial or an advertising run. Word spreads fast in fashion, and if you are known to be unreliable, no one will touch you. Outside of big cities such as London this is even more true: a smaller pool of creatives means a higher likelihood that, before long, everyone


Here are some personal anecdotes of ways models have wasted my time after fully arranging a shoot: announcing the day before that they cannot travel to my location and did not realise how far away it was; asking for payment even though the casting was advertised as TFP; refusing to have glitter put on their hair or their nail varnish taken off despite having seen moodboards beforehand; turning up late, at the wrong place, and expecting someone to come and get them; deciding to quit modelling without telling anyone; deciding to get a few extra hours of sleep instead of showing up on time, since last night was a late one; and the list goes on… If you’re applying for a job, read it once and then read it again. Unless you know when it is, where it is, and what pay is involved the first time, those should be your first questions. A lot of modelling sites have a “message history” function, so it’s not like anyone will forget that you’re the one who wasted time and forced them to recast a shoot at the last minute.

3. DON’T BE A PRIMA DONNA Even if you’re Kate Moss - and you are certainly not Kate Moss - you are still there on set to do a job. Particularly if you are being paid for it, now is the time to be humble. You do not make demands – like sending back a coffee to be made again with less sugar by some poor assistant, or insisting that you won’t wear a certain piece of clothing because it’s not your style. If you are difficult, no one will want to work with you again! You also have to do the job that you signed up for. If you don’t want to do something, don’t accept the job. If the casting says nude or implied nude, you better be sure that you’re comfortable with that. If the job requires you to stand outside in the cold in December wearing a tiny designer dress, then it’s time to be strong and embrace the cold. Your shoot team should look after you to a certain extent, but being a model does not mean that the world revolves around you all of a sudden. “Model behaviour” might be covered widely in the press, but that doesn’t make it normal or accepted. When you’re on set, you’re a professional, so you need to act that way. This applies for the rest of the team too. The people who are friendly, easy-going, and hard-working are the ones that are fun to work with, and when that paid shoot comes around, their names might be on top of the list.

4. DON’T COMPROMISE YOUR LIMITS That being said, there is one thing that you have to be careful of, and that’s being pushed into things that you don’t want to do. By now most of you will be aware of the controversy surrounding Terry Richardson, who is alleged to have coerced models into appearing nude or engaging in acts of a sexual nature during photoshoots. How could something like this happen on so many different occasions? The sad fact of the matter is that a lot of models can feel as though they have to do whatever is asked of them, even if they are not at all comfortable with it. This is not the case, and it’s also worth considering very deeply whether a career in

the industry would be worthwhile if it was the case. If you do not want to do nude shoots or implied nude, make that clear. If a photographer asks you to do it anyway once you reach the set, tell them no. If you are not sure, the best policy is to take a chaperone with you to the shoot. This can be your manager, your agent, an older family member, a partner, or even just a friend. A reasonable photographer should be fine with this.

5. DON’T LET FEAR PREVENT SUCCESS When you’re taking part in a photoshoot, you only have one chance to get it right. If you later decide you could have done better, it’s too late! That is why it is important to go all out on the day. If you’re shooting on location, there may be other people around who are not part of the team - in this case, it’s important not to feel shy or let that hold you back. Similarly, you may be in situations where you are cold, or hot, or have to get dirty. So what? If it gets the perfect shot, then it’s worth it to feel uncomfortable temporarily (so long as you do not have to go past your limits, as above). A model who has a can-do attitude and is willing to try just about anything to get the shot will certainly be appreciated and respected by a whole shoot team. Not only that, but the next time a “difficult” shoot comes along - which may come attached to a big pay cheque - your name will be remembered. These simple rules will prevent you from making big mistakes as you begin your modelling career - and are not to be forgotten in the future either, no matter how far you go.

For more modelling advice, coaching, and photoshoot opportunities, find Rhiannon at Images via Rhiannon D’Averc - model: Jack Robinson


Sunshine? Check. Lots of happy, proud people? Check. Rainbows? Very much check. This year's Pride celebrations in London were, as always, a vibrant celebration of love, identity, and self. Not only that, but it's a very interesting place to spot street style. Whether going all out in carnival costume, bringing out the best rainbow stripes on offer, or simply dressing for the sun, everyone has their own sense of style. Colourful is definitely the word, and it's a beautiful mish-mash of theatre, couture, urban, and simple styles.  Enjoy these photos of participants from the parade and those watching on - it's a true microcosm across so many different types of fashion. Photography by Pietro Recchia, a  London-based photographer specialising in fashion, portraits, and luxury events at 























WONDERLAND Photography - Rhiannon D'Averc Assistance: Rachel Parker MUA: Christina Lomas Wardrobe: Adam and Alice with custom-made hats by MP Millinery  and jewellery by Pauline Wong Models: Darcie and Bryony Richardson


Bryony wears: Hat - MP Millinery, price on request; Fully lined blue silk dress - £280, Adam and Alice

Bryony wears: Hat - MP Millinery, price on request; Fully lined blue silk dress - £280, Adam and Alice Darcie wears: Hat - MP Millinery, price on request; Solid green silk dress - £200, Adam and Alice Both wear: Jewellery - models' own

Darcie wears: Hat - MP Millinery, price on request; White cotton shirt - £45, Adam and Alice; Silk satin green trousers - £175, Adam and Alice; Scarf (worn as belt) - £70, Adam and Alice

Darcie wears: Hat - MP Millinery, price on request; White cotton shirt - £45, Adam and Alice; Brooch (worn on hat) - Pauline Wong, price on request

Darcie wears Hat - MP Millinery, price on request; Solid green silk dress - £200, Adam and Alice

Darcie wears: Hat - MP Millinery, price on request; Solid green silk dress - ÂŁ200, Adam and Alice

Bryony wears: Hat - MP Millinery, price on request; Necklace - Pauline Wong, price on request; Mazarine silk crepe shirt - £120, Adam and Alice; Cotton elastane antique gold printed skirt - £80, Adam and Alice Darcie wears: Hat - MP Millinery, price on request; Solid green silk dress - £200, Adam and Alice; Solid green silk dress - £200, Adam and Alice Both wear: Shoes - models' own; Jewellery - models' own

Bryony wears: Hat - MP Millinery, price on request; Necklace - Pauline Wong, price on request; Mazarine silk crepe shirt - ÂŁ120, Adam and Alice;Â Jewellery - models' own

Darcie wears: Hat - MP Millinery, price on request; Solid green silk dress - £200, Adam and Alice; Jewellery - models' own

Darcie wears: Hat - MP Millinery, price on request; White cotton shirt - £45, Adam and Alice; Silk satin green trousers - £175, Adam and Alice; Jewellery - models' own

Bryony wears: Hat - MP Millinery, price on request; Necklace - Pauline Wong, price on request; Mazarine silk crepe shirt - ÂŁ120, Adam and Alice; Jewellery - models' own

Darcie wears: Hat - MP Millinery, price on request; Brooch (worn on hat) - Pauline Wong, price on request; White cotton shirt - ÂŁ45, Adam and Alice; Silk satin green trousers - ÂŁ175, Adam and Alice; Jewellery - models' own

Darcie wears: Scarf - £70, Adam and Alice; White cotton shirt - £45, Adam and Alice; Silk satin green trousers - £175, Adam and Alice; Jewellery - models' own

Bryony wears: Hat - MP Millinery, price on request; Fully lined blue silk dress - ÂŁ280, Adam and Alice Darcie wears: Hat - MP Millinery, price on request; Solid green silk dress - ÂŁ200, Adam and Alice Both wear: Jewellery - models' own


Rachel Parker caught up with Kat Howley and Thomas Newbury, the design duo behind brand ELVHEM, to discuss inspiration, collaboration and starting out in the world of fashion. Why did you decide to become designers and how did you get started on your journey? Kat: It was kind of the only thing that made sense for me, the only thing that worked. It was the only thing that massively interested me and I just kind of went for it. I decided quite young that I wanted to be a designer and just pursued that really. I studied womenswear at Ravensbourne and also studied arts at GCSE and A Level. It wasn't until doing BA that I really realised how much I wanted to work in fashion and what I specifically wanted to do, because obviously it's a big industry.

"IT WAS THE ONLY THING THAT MASSIVELY INTERESTED ME AND I JUST KIND OF WENT FOR IT." Thomas: I kind of always wanted to do it, like when I was in first school there were these fashion illustrations I used to do, and my teacher would say 'I can't wait to come to your fashion shows'. But then I had a bit of a split off and went to study law. I did my A Levels in law and then realised I actually really don't want to do this, so I switched back and did two more years at college doing fashion and textiles and then went to uni. What influences your designs? Kat: All kinds of things really. There's quite a few artists that I quite like, and a lot of it comes from meeting people and silly conversations that we have with our friends and things. There's lots of high reference but a lot of low culture reference points as well, maybe a silly conversation about Ariana Grande or something. Last season we looked a lot at Egon Schiele, who is a main reference point for us. 


Thomas: It's very much our experiences in the world and things that we are finding interesting. Definitely an amalgamation of different things.   Kat: I think we know the woman or person that we design for quite well, and we go for what they would want to wear if they had a date or something. And yeah, it kind of reflects how we live our lives as well. We'll say, 'Yeah we would like a coat like that, let's have loads of pockets in', or something like that.  How did you go about setting up your brand and what's the ethos behind it? Thomas: I think before we were even working together we kind of had a mutual understanding of what we both like so it very naturally progressed. Kat: Yeah, it happened really naturally. It was a bit of a joke among our friendship group at uni- they would call us Tom-Kat and be like 'When you're running Tom-Kat'. We were so much on the same wavelength that we'd ask each other for advice and things, and then when we left uni we were kind of like oh, we could potentially actually do this. We were just very much on the same page and it just made sense. What was behind the name ELVHEM? Thomas: We hunted for a name for such a long time. Trying to find a name for two people is the most difficult thing! So it doesn't have an actual meaning, but it's unique. We played around with lots of different names and different logos and things.  Kat: We were just kind of quite relaxed about it. We thought it looked nice on the page. Thomas: That was when it clicked and when we knew it was going to be the name. It sounded nice and looked good.

Can you tell us a bit about your recent first collection? Kat: So our first collection was Resort 2019. We really took our time with it, we started it in November and just took some time finding our feet, working together properly for the first time and getting used to managing time as well. Our main reference point was Schiele as an art reference and a focus for that conceptual side. The collection had a lot of what we call our Blob dresses, so we had the silk Blob dress. The two organza pieces were quite heavily inspired by the Schiele, but then we also looked at a lot of 1920s references. Lots of working with embellishments and fringing, and just thinking 'This would look sexy with some beading on it' or something. Thomas: We worked quite a lot with bias silks. We literally would just have strings of beads and be holding them up to things and just playing and experimenting. It was being creative and then refining it to a point that was right for us. Kat: We definitely had a lot of fun while developing the collection, nothing was ever too serious which I think reflects our woman quite well. Quite natural and easygoing, I suppose. What's the collaborative process like when it comes to designing together? Thomas: We design together, so we'll design next to each other and look at what each other is doing. Then if we are developing a certain dress, say, we'll both be working on that same dress and be like 'Oh, I really like that, we can combine that with that'. Kat: We both do everything equally. Sometimes we will design separately at home and then come together and swap ideas. We have the same reference points, so we are kind of on the same wavelength but bringing different things together. Do you have any advice for other designers just starting out? Kat: I would say take your time, because I am really happy that we did. Originally, we wanted to have the collection ready for February, which was only about four months to do it, and for young designers that's quite tough. So I'm glad that we didn't rush that process, we just found the best way of working for us.




Thomas: I think another really good piece of advice is working with a company like Hundred Showroom. Getting involved with Hundred Showroom has been amazing, it has definitely enabled us to do things we wouldn't have been able to do without them. So that's definitely worth looking into. What does fashion mean to you? Kat: That's so hard! I feel like our lives are based so much out of fashion, it's not like a hobby, it's a way of life without sounding like an idiot! Thomas: A really great example of that is the Rick Owens show a few years ago where the models were strapped to each other. Everybody we knew saw that and it was like, how would you have missed it? And then a year later it became a meme or something and I saw people posting it and asking what is this, and it completely burst my bubble because we are so immersed into the world of fashion. It's something we discuss with our friends and everything kind of feeds into it.  Kat: I've definitely had a lot of people ask how fashion works as an industry, and it kind of doesn't register that it's not so easily understood. I think it's a lot of fun, and the designers that we really love seem to have a lot of fun with it and be really self-aware. It can be very social and political but in a very understated way. People won't know about trends apart from certain subcultures but then that kind of slowly seeps into the mainstream, and so many designers do that and it's so important. What's next for you and your brand? Kat: So we're doing Spring/Summer 2019 in time for September, which is quite soon! Thomas: Yeah, because we did Resort so late. This is usually the long season, you have February to September and that's the big time! But because we just did Resort we have a short period, so we'll be working quite hard on getting that collection done. Kat: Yeah, we want to do a bigger collection this time and just really go for it a lot more. And longer term, do you have any big ambitions? Kat: We'd love to find more sponsorship and just carry it on. Keep growing the brand quite slowly, at a really nice pace and make sure it's done properly. Because we've worked for quite a few designers, we've learned the good and the bad things and we really want to make sure that as a brand we are really positive. Thomas: We want it to be a nice place for us to be and for people to be a part of. For people to be looked after and have an enjoyable experience.

Find ELVHEM on Instagram at @elvhem_ and online at Photographs by Valerie Yuwen Hsieh, sketches via Elvhem




Need a wardrobe update on a budget? Rachel Parker reveals how you can get some of our favourite recent catwalk looks for less.

Loom Preppy Stripe Brick Short-Sleeve Shirt - £45, Urban Outfitters

Urban Renewal Vintage Surplus Bucket Hat - £20, Urban Outfitters

Khaki Stretch Skinny Chino Shorts - £22, Topman

Classic Leather ESS Trainers In Pink, Reebok, £70 (ASOS)

White And Black Stripe Tube Socks - £3.50, Topman




Stone Chiffon Hijab £11.99, Ben Harad

Ruched Waist Maxi Duster Jacket - £16, Boohoo

Tea jumpsuit with button front and tie detail - £30, ASOS DESIGN


Marcelle Two Part Sandals - £29, Topshop



Marie Cape - £100, Needle and Thread

Ribbed Polo Neck Jumper - £17.50, M&S Collection

Satin midi skirt with self buttons £35, ASOS DESIGN


Tan Exam Boots £90, Red or Dead



Flipsun Square sunglasses - £65, Ted Baker

Italian Cotton Bonded Mac - £100, Jigsaw

Printed linen bandana - £7.99, Zara

Black Watch Muscle Long Sleeve Shirt - £32, Topman

Pleated linen trousers - £49.99, Mango


Lace Up Creeper Shoes In Black Faux Suede - £28, ASOS



White Short Sleeve Lettuce T-Shirt - £10, Miss Selfridge

Dove Belted Tapered Trouser £79, Mint Velvet

White longline cape blazer - £45, Missguided


Madrid 1 Bar Mule White Eva - £22.95, Birkenstock


THE BIG QUESTION We asked, you answered

“Neobotanic, I would call it as my brand” - Olga Crimmins, designer at Neobotanic

“The Kites” – Beth Kite, model


“Lalla's Squad” - Lalla Bronshtein, designer at Lallaxrr

“Enzo and the Lorenzos. It’s been a running joke for a while” – Rhiannon D’Averc, Chief Editor

“C’est Moi” – Robert Bedson, photographer

My partner and I would have a band called Salmonella... As we're Sam and Ellie!  - Ellie Dyson, Arts Editor


“Punk Snot Dead” – Bam, Model “29 Seconds to Mars - we’re one better than 30 Seconds to Mars" @bilbo521

Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question


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LONDON RUNWAY Find London Runway:

Front cover: Darcie Richardson for Adam and Alice/ MP Millinery Back cover: Pakistan Fashion Week London - Ian Clark


Profile for London Runway

London Runway Issue 20  

Featuring Pakistan Fashion Week London and street style from Pride; how to get catwalk looks for less; two stunning editorials featuring Jos...

London Runway Issue 20  

Featuring Pakistan Fashion Week London and street style from Pride; how to get catwalk looks for less; two stunning editorials featuring Jos...