London Runway Issue 39

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ISSUE 39 15TH JUNE 2019


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CONTRIBUTORS Chief Editor: Rhiannon D'Averc - Editorial Assistant: Candice Wu - Staff Photographers: Ian Clark and Fil Mazzarino Music Editor: Neil Dowd - Arts Editor: Marie Fourmeaux - Staff Writers - Joanna Cunningham, Emmie Cosgrove, Ashutosh Kukreja Staff Illustrator - Joe Bailey Lead Graphic Designer: Alex Panek Staff Graphic Designers: Nikol Konstantinidou, Rachel Perez, Louisa Kazig Advertising enquiries - Submissions - Contributors: Sophie Cochevelou, Suzanne Stewart Clayton at Souz and Co, Ailsa Turner, John Hague, Adam Symonds, Joyce Evans, Emilia Walls, Monica Montalvo, Lucy Hicken, Dani Kerr, Renata Kovalcuk, Kacey Koleen, Angelica Kali, Ruth Abigalle Ricardo, Cara Balen Special thanks to Paul Winstone

Interested in working with us? We currently have internships available in the following positions: Staff Writers Send your CV and covering letter to

Š 2019, London Runway Ltd and contributors Printed by Micropress and distributed in-house by London Runway Ltd London distributors: The Model Workshops London at 40 Cumberland Road, N22 7SG All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in London Runway are those of the respective contributors and are not necessarily shared by the magazine or its staff.


EDITOR'S LETTER Being a student at university is something that I genuinely believe can be beneficial to any young adult before they embark into the world of work. While it’s true that not everyone is academically-minded, there’s a lot to be said for the experience of living by yourself, figuring things out without so much guidance for the first time, but still with that safety net in case you get it wrong. This issue is dedicated to students, and in particular those who are studying to join the world of fashion. For some of them, their work was showcased just a few days ago at Graduate Fashion Week. This was their first chance to present to the world an idea of what their identity as a designer may be and what kind of potential they have to offer. It’s hard to get a grasp on that at a young age. I remember putting my final Photography BA exhibition together at the University of Hertfordshire, back in 2012. I had no real concept of what kind of work I was going to do after graduating, and my final project was actually not something I was proud of even by the time I went to collect the prints and take them down.

That is to say, I’m hardly in a position to judge too harshly on those who make mistakes in their final projects. However, this is a fashion magazine, so judge I will! Some of the collections that walked the runways were just cobbled together from trends that have been put out by the larger fashion names over the past season or two. A word to the wise: if it’s on trend when you start to design your final collection, chances are that it will be old hat by the time it gets put on show. Some of the collections were also the kind of obvious, heavy-handed statements or over-the-top “art” that is typical of students. They are the type of students who believe they are the first to have attempted such a daring move, not to realise that it has been done by someone in every graduating class since the dawn of fashion courses. That’s fine; it’s better to get it out of your system in school so that you don’t attempt it once you’re out here in the real world. A very small few bring true originality or character to the catwalks. These are the ones we observe with the most interest, and who we have featured most

prominently in this issue. Flick through the pages and you will find a full written review of the event, plus full galleries of each of the students we picked out as our favourites. We’re not leaving anyone out, and the rest – the runners-up, if you like – will be showcased with one or two of the looks from their collections. In the rest of the issue, we’ve also got two gorgeous and glamorous editorials, thoughts on Rihanna’s legacy as well as the history of the high heel (and why it’s not just for women), and a look at how shows like Stranger Things have pushed a resurgence of 80s fashion. We’re also digging deep into ecoconscious and ethical jewellery, and we’ve been off to watch one of our former cover stars (Issue 31) perform live. We even had time to squeeze in a trip to IMATS, the onestop event for professional makeup artists. There’s more, too – so I won’t take up any more of your time. Dive in and, as always, enjoy!








GFW Collective and Liverpool John Moores


FENTYFLUENCED: Rihanna's Influence Through Fashion


Playtime (editorial)


The History of High Heels




Graduate Fashion Week Review: The Next Generation


New Faces

42 51

The Strange Case of 'Stranger Things' Nostalgia


Sheffield Hallam University, University of Central Lancashire, and Northumbria University

Green Diamonds


UCA Rochester and UCA Epsom


Live Review: Bryony @ The Social


Style (Conscious) Guide: Student Chic


International Awards


Lavish (cover editorial)


Fashion Trends - Overstepping 121 Boundaries

Northampton University, De 123 Montfort University, and University of Brighton Manchester School of Art and Edinburgh College of Arts


Ravensbourne, Norwich University, 165 and Arts University Bournemouth

Your Style Horoscope




The Big Question



Photography by Fil Mazzarino

Cambridge: Ka Ya Lee Lanxin Zhang In each of our Graduate Fashion Week galleries this issue, we're giving you the full collections of our featured students alongside highlights from the others who presented their work. Check out our GFW review article for the reasons behind our picks! In order of appearance: Featured students: Greater Brighton Metropolitan College: Becky Hanlon, Nadia Hattabi Cambridge School of Visual and Performing Arts: Lisa Gerstenfeld University of Huddersfield: Celine Constantinides, Chelsea Flinn Leeds Arts University: Mabel Tallulah Dunbar Plymouth College of Art: Catherine Jeffries Solent University: Lydia Rose

Brighton: Kirsty Taylor

Falmouth University: Chloe Chivers Chloe Sheppard Jake Easby-Keating Glasgow School of Art: Asia Przytarska Eve Goulay Florence Hugh-Finney Sam Wood Huddersfield: Emma Smith Leeds: Alice Kitching Emanuele Piarulli Laura Shannon Harding Plymouth: Jade Rogers Jen Moorby Millie Kelly Solent: Demi Hardy Evaristo Pereira




















LIVERPOOL JOHN MOORES In order of appearance:


Heather Smith (featured student) Annabel McIver-Barnes Bethany Bradshaw Briar McQue Chloe Burns Enola Wade Jess Evans Jess Semple Toni Rowley

Photography by Fil Mazzarino


Laura Collins Lizzy Barnes Nav Nangla Nellie Haywood Niall Harrison Stacey Downey Tammy Harrall Tash Gittins













FENTYFLUENCED: RIHANNA’S INFLUENCE THROUGH FASHION One of the biggest fashion icons makes one of the biggest fashion brands of the century. Explore the fashion story of the phenomenal Rihanna with Ashutosh Kukreja

To describe Rihanna as merely a famous music artist would not just be perhaps the understatement of the century but a grossly inadequate definition of the absolute icon that is Robyn Rihanna Fenty. The Barbadian singer–songwriter – actor – philanthropist – activist – fashion icon – beauty mogul – businesswoman is indeed no less than a global powerhouse. Judging by her job title (titles?), she has etched her name in the mind of almost every breathing soul on this planet (and a thousand others, if we’re considering Valerian!). Then again, her seemingly endless hyphenated title affirms the fact that Rihanna truly is a modern megastar, always pushing boundaries and

making her mark in whatever she does. She has managed to make herself a household name in the 21st century, which, by the way, is no mean feat in an era of countless reality TV stars, famous-for-beingfamous celebrities and influencers, and I think it’s safe to say that Rihanna. Is. Here. To. Last. From her journey as a young teen artist auditioning for Jay-Z in 2005 to a fashion force starting her own brand with LVMH in 2019, Rihanna has become one of the most influential figures in pop culture, the entertainment industries, the fashion universe, and the rest of the world! So what is it, really, that has driven a young, hopeful girl from the Caribbean to become the modern day mogul the world knows as Rihanna? Well, there’s no denying the fact that Rihanna is talented in more ways than one, and that she has worked for every bit of the success she has earned today, starting from scratch. But here’s the thing: Rihanna has never been the typical picture perfect, poised and polished image of a female in the entertainment industry, and she’s never tried to pass herself as one. Even since her early years as a teen star, Rihanna has never been one to fall into any stereotype of how a young, female celebrity like herself should behave: what she should be wearing (or shouldn’t) and how she should craft her public image. She has been the ultimate free-spirit in this manner of speaking, never having bent under pressure to come off as something she’s not, and that is the sheer essence of Rihanna that has gotten her to where she is – that essence of raw, unapologetic authenticity – and the world is here comes to inclusivity – be it the 50 for it. shades-wide foundation palette of her makeup brand, Fenty Beauty, She has never claimed to be the catering to every skin colour, or the perfect role model, but a role model wide range of sizes showcased for should never be a perfect one (or a her lingerie brand, Savage X Fenty, perfect image to be precise). which is an issue that’s extremely Rihanna does what she wants, important to people in this day and speaks what she feels and wears age. what she likes, unfazed by skeptics or haters from the very beginning, She is a ‘badass rebel’ in every powered by her ability to simply not aspect of modern society – give a fuck – and that is what’s independent, empowering, living by inspiring. her own rules and not conforming to society – and this very attitude is As a woman of colour, not only has reflective in her fashion choices as Rihanna advocated for diversity in an icon – experimenting, taking the industry, she has very much risks and possessing the confidence acted as a driving force when it to rock the most extra outfits.


Her evolution as an artist is backed by her fashion evolution; she shows her personality through her bold clothing choices, and yet, there’s an undeniable element of effortlessness, or better put, an element of fun to them! And, that’s what fashion has always been for Rihanna, a platform to have fun, a stage to go crazy and a canvas to express her personality – and THAT has remained a constant throughout her career, even though her personal style has changed. Back in 2005 when Rihanna had just introduced herself to the world with her debut single ‘Pon de Replay’, no one could’ve imagined the momentum this young, fresh-facedteen star would possess. Rihanna had only begun playing the fashion game in the public eye, and her style reflected this new-on-the-block ‘teen star’ everyone was talking about. Her go-to look would be a funky crop top paired with baggy jeans (much like the hit single that made her so famous!). Her style was a playfulcasual aesthetic: she played around with clothes, layered knitwear and wore light and bright colours – true to the island girl who had just made it big in Hollywood (and would make much bigger!) and was just having fun in the spotlight, evident by the expressions on her face! She dressed to the trends of the time – the exposed belly, the AshleyTisdalesque-leggings-under-skirt, but she glammed up for the red carpet and her performances, wearing sophisticated outfits and designer dresses, embracing the ‘glam fashion’ aesthetic.

Past her early days in Hollywood, Rihanna had adopted an edgier, more personalised aesthetic, much in tune with the direction of her growth as an artist. She was rocking a shorter, darker do, as she added dark, cool elements to her outfits. Now a frequent invitee at the annual Met, A.K.A. the fashion party of the year, Rihanna chose to go with subtle elements reflective of her effortless, dark, chic and cool sense of style (subtle, that is, compared to her recent appearances at the same event), opting to go with a Georges Chakra light-embellished white gown with black gloves in 2007, and a puffy-sleeved black Dolce & Gabbana tuxedo in 2009. This new girl had fully embraced the Good Girl Gone Bad and Rated R era, and gone were the girly dresses as she now dared to bare in risqué ensembles and stage outfits like her white striped jumpsuit at the 2009 AMAs. A growing music sensation and a star known just as much for her talent as she was for stirring conversations among her viewers, Rihanna released the music video for S&M in 2010. It caused an immediate strong reaction from the public, and was banned in 11 countries. Just months after, she landed her first Vogue cover in April 2011. Her true fashionista spirit screamed through her outfits in coming years, as she adopted a more fashionaware, avant-garde style on the red carpet, determined to make a statement wherever she’d go. She experimented with interesting hair and beauty looks and was now a


designers’ muse, as she donned the eccentric (yet chic) looks from big industry names like Elie Saab, Marchesa and Viktor and Rolf. Rihanna evolved from the previous quirky outfits to sleek and chic ensembles, yet just as bold and risky as before (if not more). During this period, she was the one to choose for Armani (Grammys 2012), Jean Paul Gaultier (AMAs 2013) and other designers, like Stella McCartney and Altuzarra. She went for more demure colours and strong beauty looks while still leaving room to play around and keep them wanting more. Her exquisite fashion sense was finally recognized in 2014, when she was awarded the Fashion Icon of the Year by the CFDA, and the only thing that got people talked more about was the fashion choice of the icon for the same event. Rihanna broke the internet with her completely sheer Adam Selman custom-made gown embellished with over 200,000 Swarovski crystals, and her daring fashion forward behavior only made it clearer why she deserved that award. Looking back, her only regret about that night was not wearing an equally bedazzled thong. A true fashion icon indeed! Rihanna’s more recent years have been marked by a surge of varied, experimental outfits (super dope nonetheless). She has pulled off hugely insane outfits on the red carpet, like when she left onlookers awestruck with her yellow outfit from Gou Pei with a massive train at the Met 2015, or when she channeled the spirit of the papacy itself in her Margiela outfit for Met 2018.

But as a confident and established fashion icon, Rihanna’s style shouts "go hard or go home", but that is not to say you can’t look just as amazing when you’re home, or in your homewear, to be precise. With paparazzi pictures of Rihanna out on the town reaching millions, it was proved that Rihanna’s fashion sense wasn’t just limited to parties and the red carpet, but it was also present on the street. Rihanna’s cool, effortless street style looks now played a whole different dynamic serving as OOTD inspirations for millions, and she has taken this opportunity to deliver athleisure looks, underwear as outerwear and loungewear as evening wear. FENTY – A new chapter in fashion history written by none other than

Robyn Rihanna Fenty herself. Considering Rihanna’s relationship with fashion since the beginning of her career, it seems only fitting that she officially makes a career in the world of fashion as well – which is exactly what she did, in a big way. Rihanna has broken down barriers once again, as the first woman and person of colour to start a brand from scratch under the global luxury fashion conglomerate LVMH, joining the ranks of Dior and Givenchy. As the ultimate fashion rebel, Rihanna has once again proved her place in the fashion dynamic, and she is here to stay. She has transformed into a true business mogul and dresses like a badass fashion business woman as well in her dresses from her line, which features welltailored outfits, simple


yet chic and subtle yet sexy; in other words, they capture the essence of Rihanna. Though Rihanna has carved her name in the heart of luxury fashion, it would be stupid to assume she will stop there. If one has learned anything about Rihanna, it is to expect the unexpected and be prepared for the unimaginable. And just like that, the fashion industry has suddenly become a more inclusive, diverse space that represents more people than ever before, with a strong black woman now heading a luxury brand, and signaling a brighter fashion tomorrow. You can read more of Ashutosh’s work in upcoming issues of London Runway.


PLAYTIME Wardrobe and Accessories Designer: Sophie Cochevelou @sophiecochevelou Fashion Nail Artist: Suzanne Stewart Clayton of Souz and Co @souzandco Hair and Makeup: Ailsa Turner @ailsaturnermakeup Photographer: John Hague @morrimozzphotography Photography Assistant: Adam Symonds @ads_syms Model: Joyce Evans @joyce_weiss_evans All clothing and accessories throughout: Sophie Cochevelou

Fashion Production: @joycefashionproductions



THE HISTORY OF HIGH HEELS Emmie Cosgrove explores the political history of high heels

Watching Cinderella for the first time made heels seem so magical. She gets the life she always dreamed of due to a pair of glass slipper heels. As a child, I believed that when I got my first pair of high heels this too would happen to me, and I strutted around in my plastic princess heels feeling unstoppable. Growing up, the magic of high heels faded very quickly. They always looked so good on the shop floor, but after walking in them for about five minutes you really do regret your choice of footwear, but sometimes we have to suffer to look stylish. And, heels can be so fun to wear as well. Although many people roll their eyes at high heels and view them as ridiculous and impractical, there is a fascinating political

history behind high heels, which starts with them being a very practical item of male clothing. The origin of high heels can be traced all the way back to 10th Century Iran. Persian soldiers would wear heels whilst riding horseback, as they helped keep their feet secure in the stirrups while they stood up in the saddle to fire their arrows and throw their spears. Iran and Europe had a strong relationship when it came to trade, and by the 16th Century, high heels had made their way to Europe. They became a much-adored style of footwear for men all over Europe. Again, there was initially a practical purpose as the high heel worked as an outer layer to prevent dirt getting on their actual shoes. Although high heels were, at this stage, a male item of fashion, Italian courtesans began to wear heels to create a sexy androgynous look.

All images via Pixabay and Wikimedia Commons


They spent their time pleasing and interacting with men, and one of the benefits of being a courtesan was being allowed things that were strictly for men (ranging from books to fashion items). The heels they wore were called chopines and were definitely impractical – some were up to 10 inches tall, with those wearing them requiring support from their servants or admirers. Other than courtesans, fashion heels were, at this time, for men only. European aristocrats were particularly fond of high heels. They helped men appear taller, which made them look more domineering, and the richer you were the higher the heel. High heels had become a symbol of wealth, status and masculinity throughout Europe. One of the most famous historical figures associated with the high heel is King Louis XIV of France. He is a prime example of what heels meant

for men of high status (and small stature) during the 17th Century. Countless portraits of him show off his beautiful, lavish heels. He had heels made from materials such as velvet and satin and painted in shades of royal blue and deep red. His love for heels became obsessive as he banned anyone not wearing red heels in his court. He inspired men around him to dress to his standards and men invested infancy high heels to prove their status and wealth. Louis XIV played a big part in fashion history and inspired one of today’s most renowned shoe designers, Christian Louboutin. By the late 17th Century women had also started to wear fashion heels, but in the 18th Century, around the time of the French Revolution, the public’s views on

heels changed drastically. Men and women alike swapped their heeled shoes for flats, not wanting any type of association with royalty, even down to the clothes they wore. Extravagant fashion became a thing of the past for men. Dressing in a far more tailored way became the trend – something that is still highly popular in men’s fashion today. However, the 19th Century saw the return of the heel but strictly for women only. In her interview with the She Files, Elizabeth Semmelhack, senior curator of the Bata Shoe Museum, notes that “heels were becoming suspect for men as Enlightenment concepts of male ‘rationality’ posited that... ‘irrational’ things such as high heels were better left to women”. High heels became increasingly seen as hyper-


feminine and also started to become linked to female erotica. The pornographic photographers of the 19th Century found that heels made women look sexier, better defining their legs and bums, and thereby leading to more daring, risqué photos. Due to technological advances around the 1950s, heels could be made thinner and higher, and the stiletto was born. This type of heel became a staple wardrobe piece for many women in the 50s and took over the celebrity world. Audrey Hepburn and Marilyn Monroe, two of the most renowned fashion icons from the 50s, helped define the high heel trend for women, and this is known as the golden age of high heels, not just for women in Europe but all over the world. The popularity of the high heel among women in the 50s carried the

trend into today’s world. In the 1970s women grew tired of dressing to please men and, with second wave feminism, the high heel suffered as women increasingly turned against these impractical shoes. However, in the 80s celebrities like Madonna began wearing high heels as a fashion statement, rather than just to look good for men. This brought heels back into fashion, and the range of high heeled shoes widened. As well as the high-femme look of 50s stiletto heels, platform and chunky heeled boots appeared with celebrities like Freddie Mercury from Queen giving these a cool, rock and roll, edgy feel. From practical footwear to impractical fashion items, worn first by men and then by women, going in and out of fashion but never quite disappearing, high heels remain with us today. For now, the connections between feminity, irrationality and

fashion established in the 18th century still remain strongly connected to high heels. However, the fashion industry is seeing the rise of gender fluidity and the way people dress is changing. With more people experimenting with dressing outside of gender norms, in the future the high heel could again become a shoe for both men and women. With the variety of heel styles available to us today, whether you want to go for a classic feminine look inspired by the likes of Audrey Hepburn or Marilyn Monroe, or would rather go for a more androgynous look to give you a few extra inches of height, high heels are available to fit your personal taste. They may hurt our feet, but they sure do look good. And boy, do these shoes know how to survive the test of times!

You can read more of Emmie’s work on Twitter by following


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comment Across the pond!


Live mus ic!


ETHAN Name: Ethan Bennett Age: 21 Location: Tamworth Agency: I am with TMA management originally but Tamara Martins has helped me the most these past few weeks.

What would surprise people to know about you? Even though I am quite well built and muscular, it surprises people that I am very athletic. I am quite proficient at spinning, swimming, rowing, snowboarding and boxing.

Where are you from originally? I was born and raised in Birmingham until I moved to a small town called Tamworth in my early teenage years.

What are your modelling ambitions? In the next few years I would love to be in the fitness modelling industry, being able to motivate others, earn enough to live comfortably and travel around the world.

How long have you been modelling for? Off and on for the past two years, but with the experience I have now I would love to make it full time. Do you have an unusual talent or a party trick? I am a bit of a computer nerd, so I am quite talented when it comes to fighting and football games.


Photography by Fil Mazzarino


HOLLY Name: Holly Tidwell Age: 21 Location: London Agency: Tamara.modelbooker

Do you have an unusual talent or party trick? I know every word to lots of early 2000's songs

How long have you been modelling for? Three months

What would surprise people to know about you? I am the oldest of 6 kids

Where are you from originally? Nashville, Tennessee

What are your modelling ambitions? To model for some of my favorite brands.

Photography by Fil Mazzarino



KATIE Name:Â Katie Sokol Age: 25 Location: Crawley Agency: TMA How long have you been modelling for? I have done some modelling before when I was a little girl, about 9 years old Where are you from originally? Originally I'm from Poland, been in the UK for 15 years now.

Photography by Fil Mazzarino


What would surprise people to know about you? People always act surprised when I'm talking in English and telling them that I'm from Poland and they can't really tell because of my British accent. What are your modelling ambitions? I would love to become a professional model and be on big billboards all over UK and in magazines, also taking part in fashion shows.


THE NEXT GENERATION Rhiannon D’Averc reviews Graduate Fashion Week, picking out the next generation of student designers who appear to have the most potential in the their final collections. With illustrations by Joe Bailey The Old Truman Brewery is the scene of much student triumph over the course of the months following final exams. Art and photography students showcase their exhibitions here after graduating, and of course it is the home of Graduate Fashion Week. This is a chance for the best fashion universities to showcase their best students – though some courses choose to put on their shows at different times and in different venues. This is an opportunity also for buyers and agents, who are looking out for the next potential talent to come to the forefront. Alexander McQueen, after all, was discovered big time at his MA show, which has since gone down in history. So, who were the best of the bunch this year? Show by show, we break down the designers you might just want to keep an eye on in the next few years.

GFW COLLECTIVE The Graduate Fashion Week Collective show allows a group of universities to hand-pick a few of their best talents and showcase them all together. Opening the event, it allows us a glimpse of what is going on at universities across the country – and can often predict some of the common themes that we will see throughout the event. Standing out amongst this collective group were a few students who shone, who we will highlight here. You can also view their full collections throughout the pages of this issue. Lisa Gerstenfeld at Cambridge School of Visual and Performing Arts provided the first eye-catching looks of the day. She created coral reefs of applique emerging fullgrown from the centre of a chest, surrounded by swaying fronds of seaweed in zebra monochrome. The collection was truly camp in the richest sense – some of those who got it a bit wrong at the most recent Met Gala could take a tip or two from this student. At Greater Brighton Metropolitan College, Becky Hanlon stood out with pleated tailoring. One does not need to break all of the rules and do something outlandish in order to make an impact. This tailoring was not unexpected, but it was carried out in an accomplished manner, and that made all the difference. Her classmate, Nadia Hattabi, also brought up an interesting concept. A bit of the old ultra-violence was referenced in models that walked the runway with bats held across their shoulders, and there was certainly something a bit menacing in the neon streetwear collection. It was something in the way the


models carried themselves in the clothes – a feeling, perhaps, of being fed up with the status quo. Interesting script details running on the neon finishings added to the impact. For the University of Huddersfield, both Chelsea Flinn and Celine Constantinides stood out. Flinn used marbling techniques on shiny puffa jackets, and tailored them into something a lot more interesting. This was one case of fantastic matching with models to garments: something really just worked. Constantinides produced a very interesting collection indeed. Using black, white, and red exclusively, the collection was all about structure and the presence of circular cut-outs or eyelets. It was a strong collection with real character, of the kind that makes you remember a designer. Leeds Arts University presented Mabel Tallulah Dunbar, whose patchwork denim at first was nothing new. However, something about the way the androgynous styling paired with the rough scarecrow look worked well. There’s potential here, which perhaps has not yet fully been explored – which is quite exciting.

LONDON RUNWAY Catherine Jeffries from Plymouth College of Art created a brand with repeated use of the word ‘BLOKE’ emblazoned over menswear clothing. Against the utilitarian silhouettes was a flash of something less so: irridescent detailing, and thin neon lines that put one in mind of the beam of a finely-tuned laser. Finally, Lydia Rose at Solent University produced what could only be described as a brightlycoloured Inuit. Ribbon weaving created knitwear that looked very interesting, providing neon lines and pops for the eye to follow. This is a collection that could do with a little finessing, but as the designer naturally develops that skill, she could be about to produce some very exciting shows.

LIVERPOOL JOHN MOORES UNIVERSITY We were treated to not just fashion but also film from this Liverpool-based course, which focuses on communication as well as design. Heather Smith was the designer who stood out the most for us, providing an excellent demonstration of how to make a point with your collection without ruining the designs. Instead of ham-fistedly bashing us over the head with slogans that were overworked, Smith opted to produce classic tailoring which demonstrated an excellent set of skills. The slogans, related to “100 years of women in the boy’s club”, were etched on nylon socks and peeked out from the back of belts and handbags. Now that’s the way to wear your cause on your sleeve.

SHEFFIELD HALLAM UNIVERSITY Sheffield really produced some interesting collections, all held together with strong show branding. This was certainly a course that pushed their students to perform, as well as giving them a tight and polished production to work with.

Jiaru Zhang’s collection consisted of drawn-on plastic jewellery, hanging over clashing-colour plaid skirt suits and dresses. While there were other collections from this University that had a lot of potential, it was sheer consistency that stood out here: this accomplished collection could walk down an LFW catwalk next season. Another accomplished designer was Shun Yip, whose utilitarian designs absolutely could not be faulted. Not a loose thread or a dodgy hem was in sight. The dark colour palette was brightened by flashes of strong orange, elevating it from the mundane to the special. It was absolutely wearable, and you can expect to see garments of a similar ilk at the upcoming London Fashion Week Mens – certainly on the guests if not on the catwalk.

only moved in an ethereal way reminiscent of waves – but they even produced a sound akin to rushing water. For once, this was a case of something “obvious” transformed into art.

NORTHUMBRIA UNIVERSITY Emily Jagger’s collection pipped a couple of other close contenders to my pick. Her use of applique flowers brought a breath of spring into the venue, with a beautiful use of drape and flow to make the clothes work on the models as they moved. A bustier understructuring brought both romance and strength.

UNIVERSITY OF EAST LONDON The delicacy of Taylor Wilson’s pieces was what stood out the most. Sheer fabrics splashed with ruffles and embroidery represented a certain sense of personal style, a little different to some of the more trend-chasing collections on show.


UNIVERSITY OF CENTRAL LANCASHIRE At UCLAN, Allison Elizabeth Orr’s collection made me roll my eyes on paper. As described in the catwalk brochure, it was made from recycled plastics – in particular, sandwich bags fused together using an innovative process and straws. Here we go, I thought: yet another ‘sustainability matters’ collection which fails to say anything new. Except it did. In person and in motion, this collection came absolutely to life. The clothes not


Jennifer Copeland’s collection wasn’t very ‘new’. It didn’t blow our minds by presenting something we’d never seen before. On the other hand, it was very pretty – and very, very couture. It just goes to show that you don’t need to reinvent the wheel while you’re a student. You can stand out by doing well something that is familiar – in this case, the puffy, romantic layers of tulle in various streaks of sunset colours, toned down to pastel.




Michael Treta’s bright floral collection looked like just that – a collection. One of the biggest successes that a student designer can produce is something coherent, that looks like it belongs together. Many students end up producing one or two looks that don’t seem to match, but Treta hit the nail on the head – whilst also managing to create something that looked real, wearable, and fashionable. Edinburgh put out a great showing on this front, and they certainly look to be coaching students in the right ways to go about building a recognisable brand.

We had a hard time picking just one student to feature at Northampton, with a couple of students showing strong potential. Rebecca Mrazik was the pick that came out on top, with an unusual combination of black over-garments on orange-yellow prints. The clothing featured extremely detailed cut-out patterns, showing an attention to the small stuff which really worked.

This was one of the better courses in terms of overall quality – several of the designers could easily have been the top pick from other selections.

Farouk Wingfield put together a cowboy-referencing collection that managed to avoid being too obvious, clichéd, or uncool. Actually, it looked infinitely wearable – the kind of get-up you’d expect to see strolling around outside 180 Strand any given September. Denim, tan, mud-brown, flat-brimmed hats, chap-shaped tailoring, shirts, and jackets came together. Perfectly styled with shiny black shoes.

Cristiana Alagna was the only student to really impress at Ravensbourne, in a sea of derivative and uninspired looks. Her menswear tailoring and draping at least looked wearable, though it remains to be seen whether this collection would have made the cut alongside the work from other universities.

UCA EPSOM The closing show from universities at GFW saw Cat O’Brien presenting a gothic, kitschy collection that was very much at home in our present revival of all things 90s. Black PVC, fishnets, feathers, satin, lace – it had it all. These looks suit very much the woman who feels that lingerie isn’t just for the bedroom.

NORWICH UNIVERSITY No shade, but there wasn’t a lot of competition for Abby Nicholls at Norwich. Her simple tailoring won the day by being gimmick-free; sadly, the other students failed to stand out, making obvious overreaching sweeps or no impact at all, with little ground in-between.

Hannah Gait stood out for us at Bournemouth. Her collection featured a particular dress that puts one in mind of a lacy ultramarine pirate, and the prominence of ruffles with tailoring has something so delightfully Clueless about it that we can’t resist. The colour was well-used and in a field of strong contenders, Gait made the cut.

Dorothy Williams seemed to take inspiration from Viktor & Rolf with this collection based around frames. Reinforcing the point that fashion is art, the clothing explored variations of the form from headpieces to full-body frames and through to a rumpled canvas. Signatures and gradients increased the painterly feel.





DE MONTFORT UNIVERSITY Edyta Kalisz stood out to use here, with interesting designs and a coherent collection. One thing above all else made it more praise-worthy than the rest: the use of a current trend (the bucket hat) updated with a fresh take (transparent PVC). Let this be a reminder to all students: if it’s on trend when you start designing your collection, it will be old hat by the time you show. Update and invigorate.


Bath Spa University, Birmingham City University and Nottingham Trent University images and thoughts will be available online at


In order of appearance: Jiaru Zhang (featured student) Shun Yip (featured student) Abby Stanyer Darcy Grant Geo Legate Kasimberg x Kasimberg Natalia DiFelice Rachel Combes Sarah Thompson Sarah Wallace

Photography by Fil Mazzarino








In order of appearance: Allison Elizabeth Orr (featured student) April Unsworth Beatriz Fernandes Charley Parr Chenai Jack Christian Partington Daniel Parker Hannah Morley Jacob Connolly Jiadong Liu Joseph Teare Lingshan Fan Melanie Eccleson Rosie Bowes Roxanne Hoare Tabassum Dasu Xu Xiaoyan Zhixue Xie


THE STRANGE CASE OF ‘STRANGER THINGS’ NOSTALGIA This week Cara Balen looks at the 80s trends and tropes in the Netflix series Stranger Things and explores why they are so popular amongst the show’s younger viewers. With the release date of the Season 3 of Stranger Things drawing near (July 4th on Netflix), it is almost time to jump back into the fantastical world of Dustin, Mike and all the other characters we have come to know and love. If you haven’t watched this extraterrestrial TV show, it delves into the fictional town of Hawkins, Indiana, exploring the lives of different members of the community. But, this isn’t just some normal town. Like all classic science fiction stories, the viewer is plunged into a thrilling saga which investigates the deep, dark paranormal workings

that lurk just below the surface. Don’t worry, there won’t be any spoilers in this article, but if you are a fan of creepy monsters, mysteries, and the supernatural – this is the show for you! Tinged with 1980s nostalgia, the series takes the viewer on a journey back in time. A perfect mix of Spielberg and Stephen King, the show’s creators, The Duffer Brothers, allow us to forget the present and step into a story full of sentimentalities of the past. The characters rock vintage windbreakers, baggy jumpers with roll necks, ‘mom’ jeans, and leather jackets which give an eclectic mix of the 80s throwback items that are still popular today. You just need to look at Steve and Billy’s lion mane hairdos to know that this is not 2019


anymore: we are in the totally radical 80s dude! From my jarring use of slang, you have probably guessed that I am not an 80s baby. Like many others watching Stranger Things, I can only dream of this 80s world of arcades, Star Wars memorabilia, rock and roll, and 70s Chevys. The Duffer Brothers wanted to use 80s America as their backdrop because they took their inspiration from the some of the darker sides of the Cold War, telling Rolling Stone they were influenced by “bizarre experiments” such as Project MKUltra, the chilling mind-control program organised by the CIA up to the mid-70s. This also allowed them to fill this new world they created with their 80s childhood memories, adding a real sense of genuine

LONDON RUNWAY nostalgia to lives led by the band of kids which become wrapped up in the show’s mystery. The internet seems to have coined the word ‘anemoia’ for feeling nostalgia about a time one hasn’t lived through, and this certainly seems to be the case here. We’ve all felt it, listening to a song or watching a movie, wishing you could go back to a time or place you’ve never even experienced. Maybe The Duffer Brothers are just so fantastic at imparting their emotions to us, and that is definitely true!

the fact that many of us were shown movies from 80s which made up our parents’ favourites. The movies that The Duffer Brothers drew inspiration from, like Jurassic Park or Ghostbusters, also probably inspired many of us, and formed some happy memories. So, we are not completely crazy for feeling that warm tingly sensation

we call nostalgia when watching Stranger Things, for it showcases many of the fashion trends we have grown to know and love through our parents. But, whatever the reason, the fact remains that the Stranger Things characters pull off some pretty fierce looks, and we cannot wait to return and pick up fashion tips and tricks from the most stylish kids in Hawkins!

But, perhaps it is something more. There must be a reason why, even in contemporary pop culture, we keep on going back to the 80s. So, what is it? I’m not going to pretend I can answer such a complex question. But, watching Stranger Things has definitely given me an idea. For many Gen Zs and late Millennials, we may be feeling this strange sense of sentimentality because we are, by being placed in the middle of Hawkins, reliving our past in some sense. Looking at Barb and Nancy in their ‘mom’ jeans may actually remind us of the very person who is symbolised by such clothing – our mums! The 80s may not be our time of growing up, but it certainly was for many of our parents, who donned baggy denim jackets, denim trousers (denim anything really); teased and gelled their hair; and had a sizable collection of woolly jumpers in seemingly every pattern imaginable! Trends popular in someone’s formative teen years often stay with them for life, so whether it is Barb’s oversized glasses (which I definitely recognise from some old photos of my mum), or the classic sherpa jackets as the ‘trendy’ dad’s go-to, it is definitely the case that many of us have experienced these 80s fashion moments in our own childhood. These memories also go hand in hand with our parents listening to their favourite music from when they were growing up. Think of the classic rock and roll loving dad, and

You can find out more about Cara’s work by following @BalenCara on Twitter. All images via Netflix



UCA ROCHESTER Photography by Fil Mazzarino


In order of appearance: Jordan Spink Farouk Wingfield (featured student) Gabriella Christian Greta Poskaite Isabella Di Nardo Jessica Mendes-Ferreira Lauren Jones Lizzie Fidler Mercansey Koomson Nikolina Karaoli Pippy Downs Rachael Metcalfe Sally Mankee Smriti Aryal Sophie Bringloe Suphansa Sosaennoi Tasmin Coasby Amelia Saleh Aminat Omatunde-Young Andreia Afonso Carvalho Csilla Pelyvas Deborah Odubanjo Edward Jones Elizabeth Whibley Emily Clawson




















Photography by Fil Mazzarino

UCA EPSOM In order of appearance: Cat O'Brien (featured student) Alice Clarke Arianna Gallina Ashmita Bisseur Charlotte Bell Eden Russell Hannah Glover Hernandez Martinez

Hosanna Au-Yeung Isa Hummelin Larissa Hazejager Sophie Robinson Suet Ying Lee Zafeiria Gozadinou

Photography by Fil Mazzarino











In order of appearance: Emily Jagger (featured student) Dean-Henry Younger Emma Rigby Heather Neild Issy Root Jacob Arkell Jasmine Bennett Jodie Evans Karis Symons Katie Unsworth Lauren Hernandez Lauryn Logan Mary Parkinson Olivia Miller Sophie Maughan Steph Starkey







STYLE (CONSCIOUS) GUIDE KALEIDOO on ASOS Marketplace Vintage 90s Beige Brown Check Mini Skirt £19 H&M Conscious Cotton shirt £12.99



ALISONSMAN on ASOS Marketplace Classic Cap Toe Leather Oxfords £65

LUXTRA at Lone Design Club FRIDA Vegetable Leather Cross-Body Bag £295.00

H&M Conscious Single-breasted jacket £24.99


GREEN DIAMONDS Were you familiar with white, yellow, pink, blue or even black diamonds? Did you know the three traditional colours of gold? Now, they’re all turning green. The ever-growing concern for sustainability and transparency has not only won over our plates and wardrobes, it has also conquered our jewellery safes and boxes, initiating the transformation of the whole industry. Marie Fourmeaux went mining for the details… The jewellery business has reached a decisive era. It has been facing a new challenge for a few years now: preserving its magic necessarily implies dealing with and tackling the impact of its activities on both the environmental and human levels. Its current rallying cry could be taken from two of the four “Cs” properties of diamonds: colour: green, clarity: flawless and this, from mining to your ring finger.

Ethical jewellery is born, wielding responsible sourcing and traceability as its founding principles. Emerging and independent designers now structure their core business around the sole use of responsibly sourced materials while historical “maisons” have also been paving the way by designing dedicated ethical jewellery ranges. Chopard is famous for its Green Carpet collection, created back in 2013, which has been enriched every year since then. It consists of a selection of high-jewellery pieces, made exclusively from ethically sourced gemstones and gold. Since July 2018, the jeweller has committed to work with fair trade gold only. On another level, Swarovski and De Beers have opted to build their sustainable collections around

All images via Pixabay


lab-grown diamonds and gemstones. Responsibility and sustainability have unquestionably become an integral component of the identity of jewellery brands and of their corporate values, but have also been turned into a marketing strategy and a business opportunity. If ethical jewellery is a reality, it is still, however, very much a work in progress. Actions have multiplied and are still multiplying in an effort to secure responsible sourcing and transparent chains of custody. The Responsible Jewellery Council (RJC), a not for profit organisation and leading authority in this area, has set international standards and business practices aiming at establishing responsible sourcing and transparency “from mine to retail”. Created in 2005 on the initiative of some giants of the industry like Rio Tinto and historical

LONDON RUNWAY jewellers like Cartier and Tiffany & Co amongst others, its corpus of rules must be abided by all its members, having been awarded the RJC certificate after an independent audit, and said members being professionals intervening on all levels of the supply chain. “The COP (Code of Practices) provides a common standard for ethical, social, human rights and environmental practices (…). COP certification provides a strong system for assuring stakeholders, shareholders, customers and business partners that a company conducts its business responsibly. (…)”. Originally applying to the trading of precious metals and diamonds, it has been extended since 2019 to include rubies, sapphires and emeralds in its spectrum. If it does not yet encompass all gemstones within its scope (though this new expansion is currently under consideration), the RJC generated a system initiating a virtuous circle where, for example, jewellers have the opportunity to select only duly certified business partners to acquire diamonds or precious materials. Also, for individuals keen on buying sustainable jewellery, the RJC made a list of jewellers, which have been granted its label publicly accessible on its website. As far as responsible sourcing is concerned, many initiatives

have been implemented by key players. These ensure that mining activities, whether they concern diamonds, gemstones or precious materials, are carried out in a way that minimises or mitigates their adverse impact on the environment. They also secure safe working conditions, social and labour rights for miners, as well as a decent wage, and collaborating with and partaking in the development of local communities and banning child labour. For example, Gemfields, an emerald, ruby and amethyst supplier, commits to collecting the seeds of the plants unearthed by mining activities in a seedbank.

They will grow in order to be replanted after mining. Schools and medical facilities are also being built to ensure the welfare of locals. On the other hand, the Diamond Producers Association (DPA), which gathers 75%of the diamond producers in the world, specifies that “potential members have to demonstrate that they meet stringent sustainability standards (...)”as a prerequisite to be affiliated to the association. As for gold, two labels have been created– Fairmined and Fairtrade– which both commit to preserve small scale and artisanal gold mining. They have been granted the RJC responsible seal of approval respectively in 2014 and 2017. However, sourcing materials in an ethical way is just one part of the process. Another aspect to ensure fully responsible jewellery lies in transparency and traceability– namely knowing the origin of the material and the ability to track its chain of custody by following and documenting its changes of ownership, all along its journey to the final customer. Given the number of intermediaries involved, the odyssey of diamonds, precious metals and gemstones can be made as intricate as the corridors of a mine. Numerous processes have been put into place implicating not only the protagonists of the



industry but also governmental bodies, but they remain somehow fragmented either by their scopes, which are very specific (some apply to precious materials exclusively, others to diamonds, others to coloured gemstones), the authority in charge or date of implementation. Mining firms Muzo and Gemfields took to provide certificates, establishing, in particular, the origin of the gemstones they produce. Another example is the Kimberly Process, which has been enforced by states and governments since 2003. It applies solely to rough diamonds and aims at eradicating “conflict diamonds” from the market (currently “rough diamonds used by rebel movements or their allies to finance armed conflicts aimed at undermining legitimate governments.”The extension of the definition of “conflict diamonds” is currently under consideration so as to encompass “all forms of systemic violence, including those carried out by state and private security forces”). The Chain of Custody Certification implemented by the RJC since 2012 deals exclusively with “gold and platinum group metals”. More recently, the development of new technologies has allowed some gemmological laboratories and jewellers to set up a blockchain system, which is also used by luxury houses to assure the traceability and, therefore, the authenticity of their products. The blockchain consists of “a system for storing data in which groups of valid transactions, called blocks, form a chronological chain, with each block securely linked to the previous one”, according to an

article by Laurent E. Cartier, Saleem H. Ali and Michael S. Krzemnicki in The Journal of Gemmology. De Beers has launched its very own blockchain system for diamonds, Tracr, in 2017. The quest for sustainable and ethical jewellery has led to new business opportunities. The most emblematic of all is undoubtedly laboratory grown gems and diamonds. Could they be the answer to ensure an industry free from causing any adverse environmental impact and ascertain the origin and traceability of gemstones? While it took millions of years to grow a natural diamond or gemstone, an artificial one takes only a few weeks in the making, or rather, in the baking, when you consider the very high temperatures to which they are submitted to be created. Synthetic diamonds and gemstones show the exact same properties as actual, mother-earth grown ones. In addition to seducing clients concerned with ethics and sustainability, they provide another convincing argument: their attractive price. For instance, De Beers which has its own range of lab-grown diamonds, Lightbox, sells them at $800 per carat... a real bargain! If synthetic diamonds shouldn’t raise any controversy over the social and human context in which they are produced, it seems they may not be the environment’s best friends. Indeed, very recently, several laboratories growing diamonds have been called to order by the US Federal Trade Commission (FTC) for using the terms “ecofriendly” or equivalent as a


selling argument which, according to said commission, was misleading, given the environmental impact of this technique, using very hightemperatures. Also, no later than May 2nd, 2019, Trucost, a subsidiary of S&P global, issued a report following a consultation commissioned by the Diamond Producers Associations (DPA), stating that, even if, historical mining companies should increase their use of green energy, naturally sourced diamonds had a less adverse environmental impact than their lab-grown counterparts. Blimey! A bit difficult to swallow when you’re a consumer who, on ethical grounds, kissed the magic and prestige of actual diamonds goodbye... I don’t know about you, but I would turn green with disappointment. If it appears there is still work to be carried out to unify and extend the scope of the processes relating to traceability in order to meet with clients’ ever-growing demands for transparency, the industry has undoubtedly begun a transition from which there is no turning back. The future will tell what its real impact will be, especially on how jewellery, as we know it, will be perceived. Particularly, it will be interesting to witness how labgrown gems might impact the prices of natural ones even if some houses are playing on both sides of the fence, offering both natural and synthetic diamonds and gemstones to their clientele. Reference the 2019 RJC Code of Practices here:


HOW DO YOU SOLVE A MURDER… … WHEN YOU’RE THE PRIME SUSPECT? If you’re a fan of BBC’s Luther, Jo Nesbo’s Harry Hole, or sharply witty gay men, you’ll love Serial Investigations. Jump into the action from the very beginning with Bloodless, the first book in a series you won’t dare to put down.

Available on Amazon in eBook and paperback now!



LIVE REVIEW: BRYONY @ THE SOCIAL In a world where many smaller venues are tragically being forced to shut down due to the unsustainability of running a venue, it came as an almost revitalising breath of fresh air to see The Social so effortlessly living up to its namesake for Bryony. The narrow, underground venue is situated directly underneath the main bar room and isminimalistically lit by fairy lights along the walls, with tasteful artificial candles taking residence on the tables heightening the room’s soothing ambience. The venue was filled with a wide range of loquacious people, excitedly chatting amongst their respective groups. The friendly and anticipatory atmosphere awaited the performances from the eclectic range of exciting up and coming acts that the night had to offer.

The band were consistently tight for the entirety of his set, with the backing vocalists heightening the mellifluous vocals during the softer points of his tracks, whilst packing a choral-esque power during the rockier parts of the set. His penultimate track, ‘Mother’, encapsulated all of the strengths from this artist’s sound. Beginning with a stripped-back, melancholic instrumentation, the track showcased the artist at his most dynamically adventurous when the roaring, distorted guitars, steady yet bashful drums and high-registered, emotionally captivating vocals erupted in a way that demanded the attention of its audience.

The room was brought to tranquility with the soft, three point harmonies that opened the diverse set of Italian singer-songwriter Heren Wolf. Dressed entirely in black, the singer-songwriter wore a long, flowing cardigan with a buttoned up shirt and jeans, providing a similar aesthetic to Ezra Miller’s character Patrick from Perks of Being a Wallflower. Incorporating elements of soul, rock and electro pop, the slow-paced, legato instrumentation and reverberated, atmospheric guitar and keyboard tones created melancholic undertones reminiscent to that used in Hozier’s music. However, his swift transitions between chest voice and falsetto and his impassioned stage presence and hand movements held closer resemblance to Sam Smith.

Photography by Fil Mazzarino


The guitarist and lead vocalist did well to keep the set as equally visually engaging as possible, despite the staging limitations that the 7-piece musicians faced. Heren Wolf’s set exhibited great potential and room for development, with the development and emphasis of hooks being a main area for potential growth for an already highly captivating artist.



Right from the opening of the dynamically explosive, rock influenced powerhouse ‘Stronger’, it was clear that Bryony was a deserved and natural fit for the headline slot. The track begins with a simplistic yet ear-catching synth riff, which progresses into thechorus supported by a thunderous, driving bass line and drums played with the hardhitting velocity of rock music. The incorporation of clave rhythms kept the track grounded in its pop roots. The electrifying energy induced from this track was only further intensified from the invigorating stage presence from each of the three performers onstage. Bryony is certainly an artist who knows how to keep her audience engaged and no moment of her set more perfectly accentuated this than the performance of her second single ‘Bad Move’. Bryony sings the final phrase of the chorus ‘just know, you’ve made a bad move’ and is met with the unanimous chant of the song’s namesake from the entire audience, just as the track drops into its instrumental refrain. This crowd interaction was another charming component to the artist’s set: the infectious smiles shared between the three band members, as they exchanged glances at each other further emphasising the importance of this moment.

Another highlight from the set was ‘How It Ends’, a new track which arguably showcases Bryony at her most commercially leaning. Opening with a highly reverberated guitar, playing an arpeggiated chord sequence, the track does well to pay homage to the modern pop artist Dua Lipa and her Brit nominated track IDGAF. Nonetheless, the track still has a way of defining itself from its inspirations and the other tracks in the setlist. The chorus showcases Bryony at her most vocally experimental, with halfsung, half-spoken chants at the beginning of each vocal phrase, projected with a layer of unapologetic assertiveness that has become a staple of Bryony’s delivery. Additionally, this track further highlights Bryony’s ability to push past the realms of her comfort zone and into new and exciting sounds. Throughout her performance, Bryony’s onstage demeanour radiated the female-empowering ethos that defines her as an artist. It was during ‘2AM’, the closing track of her set, that her expressive hand gestures took to the forefront, following each of the instrumental stabs that take place during the chorus. This stage presence further conveys the emotion behind the track’s empowering lyrical content, which


discusses the process of deciding to remove a toxic person from your life. Judging by the copious cheers and screams from the front of the audience, the authentic sentiments expressed in ‘2AM’ are something that so many can both relate to and enjoy, and this is one of many reasons why people will keep coming back to see Bryony.





Photography by Fil Mazzarino

Agnes Lenoble - Uruguay; Alex Werth Hannes Muehlleiss Germany; Amanpreet Kaur - India; Bridget Petry Australia; Carolina Yoo - USA; Cecelia del Carmen Juarez Balta - Italy; Dexter Ching - Hong Kong; Doris Zhang Yuehan - Singapore; Elena Vilkova Russia; Gia Zixuan - China; Hong Hao Li - Japan; Ivy Lam - Hong Kong; Jeremy Jiang Yong Joon - Singapore; Kanon Hayata - Japan; Katherina Rapp Germany; Leung Hiu Yee - Hong Kong; Li Shuangdonghai - China; Liu Yi Ting Taiwan; Lizbeth Garcia Campos Mexico; Maty Ndiaye - France; MC Joyin Retsy Pagalan - Canada; Nuradilah Afiquah Binti Ab Hamid - Hong Kong; Paloma Garcia Santos - Spain; Punna Withanaarachchi - Sri Lanka; Roislin Lynch - Ireland; Rui Xue - China; Sakura Fujii - Japan; Santiago Ramirez Granados - Colombia; Sophie de Cartier - France; Stefan Vella - Netherlands; Tania Cellini - Italy; Tian Tianxingzi China; Tsung Lin Lu - Taiwan; Valerie Cervoni - USA; Wang Xiaoyan - China; Yoohyeon Kim - USA; Yutao Song Italy; Zhiyun Jiang Yu Xia Luo - China


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L A V IS H I LOVE FOUR SEASONS is a luxury British and Internationally-based brand, established in 2010 by designer Emilia A Wallis. Her style can be described as the elegance of the new generation, sophisticated sex appeal, with fresh cuts and with the newest technologies, creating unique clothing for contemporary and classy women that really want to stand out and speak out their true selves. I LOVE FOUR SEASONS Concept: Be amazing! Be unique and feel special! Let your wild, classy side be expressed by wearing I LOVE FOUR SEASONS designs. Feeling unique and fabulous

Photography and retouching: Paul Winstone Designer and Stylist: Emilia Walls of Emilia FourSeasons London Hair and Makeup Artist: Monica Montalvo with Lucy Hicken Models: Dani Kerr, Renata Kovalcuk, Kacey Coleen , Angelina Kali, Ruth Abigalle Ricardo

"I like to bend the rules when it comes to style, design and colour combinations. Colour is the most important part of my design process and styling – all just going round in circles, reinterpreting and referencing everything that has come before, like from the 60s , 70s and 90s... But the idea is of clashing accessories with colour, design and hairstyle so that it looks beautiful and feels original to me. It’s kind of like how a painter might approach an artwork… it sounds so pretentious but that is how I develop my love and relationship to my designs and style at I LOVE FOUR SEASONS."

Clothing throughout: I LOVE FOUR SEASONS


FASHION TRENDS OVERSTEPPING BOUNDARIES From a student’s perspective, Candice discusses ridiculous fashion trends and their roles as capitalistic drives for the industry. The line between the art forms has always been blurred and oftentimes disregarded altogether. When it comes to art and fashion, the line is even more misconstrued. From avant-garde fashion pieces that seem as if they should be framed and displayed in a museum to genius creations that set the precedence for worldwide trends, when does the crossover between the two art forms become overstepped? Do fashion trends just aid in the capitalistic ways of the industry? Fashion has always been regarded as an art form. This is undeniable. The freedom of expression, creativity, and passion dedicated to designing and bringing the pieces to life are testaments of that. However, the crucial separator between the two is that, in my opinion, fashion should be practical and wearable. This separates the idea of fashion and art itself. Without it, there wouldn’t be a clear indication of what is fashion and what is art.

average consumer will walk into a clothing department store and think, “I want to purchase something that I’ll never be able to actually wear.” Unless one has the luxury and means to do so, it is a meaningless investment. For those who purchase fashion items to be displayed and never worn, that item then becomes an art piece to be admired and appreciated.

Safiya also reviewed Parisian brand Y/Project’s 1.2-metre long denim jacket and Thigh-High Uggs– in collaboration with Ugg – priced at £450* and £960* respectively. Both were also difficult to wear and not aesthetically pleasing. Regardless of the dysfunctionality and ridiculous nature of these items, they all sold out, which is baffling but still not surprising.

Safiya Nygaard, a YouTube creator known for trying out and reviewing ridiculous clothing items, reviewed the Extendo Pants, a pair of 2.6metre long denim trousers, by New York brand, Bronze 56k. The jeans trailed behind her and walking was almost impossible unless she completely rolled them up, which made them the same as regular length jeans and defeated the purpose of the extra length. The only perk that Safiya was able to distinguish for these jeans was the “visual impact” it provided when rolled out and laid. Other than that, the £396* price point and resulting criticism of the jeans were overwhelming, to say the least, whereas the product itself was underwhelming.

Watch Safiya's videos:

Pieces that are more art-like with a shock factor to draw attention are growing in the fashion industry. From metre-long trousers to ridiculously oversized outerwear, this trend is impractical and unsustainable in many senses. Tons of fabric is wasted on the creation of one clothing item when it could have been utilised to produce five, and those purchasing the items are unlikely to keep or regularly wear them. We always want to keep a sustainable and ethical fashion industry in mind. These trends work more against this aim than with it.

via Youtube - Safiya Nygaard

We, as consumers, purchase clothing, sometimes for the hype or aesthetics, but also for the wearability and functionality. No

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Instagram: @hey_reilly


Said to have started from Balenciaga’s runway show in Paris according to Time Magazine, the insanely oversized jacket trend sparked thousands of memes and mocks– from high fashion to a comical mockery. Some memes are shown here with one comparing the trend to Joey Tribbiani layering all of Chandler’s clothes in a Friends episode. Influential celebrities, such as Kendall Jenner and Bella Hadid, have donned these jackets, which practically swallow them. This trend, in particular, isn’t new. With girlfriends stealing their boyfriend’s oversized jackets or sweaters or people purchasing larger sizes of clothing for that oversized look for decades, why has it become a trend only now? The industry remarkets this trend as innovative and different and slaps a thousand-pound price tag and “art” label on it, and people buy into it. Carmar’s Extreme Cutout Jeans selling for £133* were actually waitlisted at one point. Nicknamed “Thong Jeans”, they barely provide any coverage, if any at all– just pieces of fabric. Being on trend is fashionable, but do these fashion statements take away from the industry or downplay it? The emphasis on being your own person, doing whatever the hell you want, and not taking any shit for it is stronger nowadays than ever. This applies to any artist, designer, musician, and creative, in general. With the rebellious nature of the generation, the categories and definitions set in place to make it easier for society to understand and comprehend certain notions are being challenged more and more every day. One classifies music as music because instruments are used and sound is produced. John Cage’s 4’33 piece defies this preconception. There is even written sheet music for the piece, but he technically doesn’t “play” any music. According to us, it is “quiet and silent” throughout the entirety of the piece

sound of the wind or someone breathing act as the musical notes. In terms of fashion, people argue that as long as it is worn, selfexpressive, and trendy, it is fashion. Keeping with the John Cage example, one could argue that being completely nude can be considered fashion. The possibilities and interpretations are endless. These controversial statements or ideas open up a discussion within the industry and open the doors for more innovations and creations. On one hand, the creativity to invent these pieces is notable, but could this also be an indicator of a lack of originality? Creating a wearable, ontrend piece of clothing is doable– it has been done for centuries. For the designer or high-fashion lover, it can be seen as fashion innovation. However, as a student and an average buyer always on the hunt for the best value and purchase, where is the sense in an impractical investment? In the arts, there are ideally no closed doors. One’s vision will not be everyone’s cup of tea. There is a market for everyone, and those who purchased these items have every right to spend their money however which way. However, students like myself could never afford to spend our student loans or minimum wages on these extravagances. I’m always ecstatic and inspired when art forms cross and intertwine, but when does it go too far? Would you consider buying any of these items? *conversions from dollars to pounds sterling made using Google

You can see more of Candice's work on Instagram by following @Candice_x9.

According to him, “Everything we do is music.” Instead of a guitar strumming or horn blowing, the

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NORTHAMPTON UNIVERSITY Photography by Fil Mazzarino

In order of appearance: Rebeka Mrazik (featured student) Amber Rawlins Grace Owusu Jessica Borrell Kirsten Wan Malelama Diangana Maryam Masood Mary King Melissa Bliss Olivia Hudson Poppy Dowsing Radka Blazickova Sevin Limaasollu

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DE MONTFORT UNIVERSITY Photography by Fil Mazzarino

In order of appearance: Edyta Kalisz (featured student) Achaia Gay Chantice Lea Sharp #dmu2019mashup Eleftheria Stylianou Emily Vernum Gemma Abbott Georgia Ainley Georgia Jackson Gianna Di Salvo Hollie Mobbs Jadesola Payne Jean-Clementina Zirpolo Katie Tyler Lauren Real Mariah Esa

Megan Farmer Phoebe Hope Lister Shari Lesmes Shihua Ou Siobhan Farrell Zainab Patel

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Photography by Fil Mazzarino

In order of appearance: Dorothy Williams (featured student) Amy Callister Andy Froud Vee Hayward Caro Chia Victoria Howell Elena Nguyen Woosung Hong Ellie Misner Yen Wong Honor Cameron Izzy Harrison Kelly Langridge Laura Thomas Minnie Liu Monet Dale Sasha Avgherinos Sian Robinson Trevor Tam




YOUR STYLE HOROSCOPE Candice brings a horoscope fashion guide on budget-friendly travelling shoes thtat suits each sign’s inner traveller. Congratulations to the class of 2019! For those who have completed or are still waiting for their graduation, travelling and Summer vacations are definitely on your minds. Here is a curated list of footwear ranging from £30 to £120. And, as a student myself, £120 may seem like a lot, but these shoes are durable and comfortable, sot the usage you’ll get out of them will be worth every penny.

Aries March 21 - April 20

New Balance’s 1201 walking sneakers are perfect for any treks that the passionate Aries plans on taking!

Taurus April 21 - May 21 Multi-purpose for day and night, The Day Glove by Everlane will suit any purpose for the practical Taurus.

Gemini May 22- June 21

A classic shoe played up with fun colours, the Classic Leathers by Reebok fit any Gemini perfectly.

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Cancer June 22- July 22

These white Heritage Canvas Tom Classics are comfortable and stylish for the calm Cancer.

Leo July 23- August 21

Stand-out shoes for a stand-out sign. The Veja V-Lock sneakers in gold white will support Leo’s adventures while still making them shine!

Virgo August 22- September 23

Teva’s sandals are known for their comfort and durability, and the smart Virgo knows to get a pair of the Midform Universal Leather sandals if they want their feet to survive all of their travel plans!

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Libra September 24- October 23 These Cariuma’s Catiba Low suede sneakers in grey or a rose pink will provide a bounce in any Libra’s step when adventuring seaside cities or forest woodlands.

Scorpio October 24- November 22 Dr Marten’s Gryphon Brando sandals are not only reliable and well-made, but they’re also cute and dependable when broken in. Perfect for the stoic yet compassionate Scorpio.

Sagittarius November 23- December 22

Sagittarii will find themselves never wanting to take these Teva Hurricane XLT2 ALP sandals off because they’ll forget they’re even on! Comfortable, durable, and dependable, these shoes will handle any trail taken by these adventurous signs.

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Capricorn December 23- January 20

A cult student classic, Birkenstocks' Mayari thong sandals are what Capricorns need to last the hours of museum trips and city tours planned.

Aquarius January 21 - February 19 Naot’s Sabrina sandal is both trendy and practical for the easy-going Aquarius with no set plans. Whether it be relaxing in a coffee shop or rock jumping by the oceanside, these sandals can handle it.

Pisces February 20 - March 20

Po-Zu’s Bermuda ankle boots in fun colours of indigo, blue, and orange has a durable “foot mattress” that will serve the creative Pisces well for any whimsical adventures they plan to venture on!

You can see more of Candice's work on Instagram by following @Candice_x9. All images via respective retailers

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MANCHESTER SCHOOL OF ART Photography by Fil Mazzarino

In order of appearance: Jennifer Copeland (featured student) Chun Yin Chan James Siddons Jimmy Howe Kazna Asker Laura Hughes Lauren Mee Leo John Caligan Lily Parker Nicole Saenchan Rafaella Konstantinou Sarah Robinson Seunghan Kim Shannon Stapley Tallulah Alberts


HIGHLIGHTS Photography by Fil Mazzarino

In order of appearance: Michael Treta (featured student) Abby Clelland Alejandra Herrera Alexandra Fan Alison Black Brian McLysaght Dominic Walsh Ellie Thomson Hollie L Cunningham Jennifer Zhu Maz Smith Megan Ann Gallacher Olivia Gabraitis Regina Bao Rosie Baird Sara Feres Shonagh Hamilton

IMATS IMATS, run by Makeup Artist Magazine, is a trade show dedicated to the makeup industry. This is not just the place for enthusiasts who enjoy doing makeup in their bedroom – it’s for those who work as makeup artists or with prosthetics and other special effects The show covers a range of demonstrations of art in progress, from complicated prosthetics and creature creation through to full-body paint and detailed makeup. Some artists demonstrate their skill on others, while some sit in front of a mirror and put it on themselves. When they are done, the finished models walk around the show for photo opportunities. This leads to plenty of surreal situations, in which you might see a troll conversing casually with a nymph or an alien warrior! Brands offer amazing deals on just about any item of makeup or accessories you can think of, from full brush sets to thousands of eyeshadow shades, taking in fake blood and moulding tools along the way. This is a makeup artist’s haven, and a lot of fun no matter who you are. The show was also attended by a number of professional speakers who gave talks and live demonstrations, including a panel of the prosthetics artists from Game of Thrones. Universities and schools were also on hand to demonstrate the usefulness of their courses. IMATS is held not just in London annually but also in Toronto, Atlanta, and LA. A student competition allows budding artists to put their skills to the test, with the winner of Battle of the Brushes sure to go on to make a splash.

Images by Rhiannon D' Averc




RAVENSBOURNE Photography by Fil Mazzarino

In order of appearance: Cristiana Alagna (featured student) Abi Holden Alice Phillips Brenda Fang Kuoh Clare Woodward Lauren Ibbs Natasha Salimian Nathaniel Mackie Oliwia Mamzer Sabrina Bonatesta Santa Cera Seven Heng Xiang

NORWICH UNIVERSITY Photography by Fil Mazzarino

In order of appearance: Abby Nicholls (featured student) Annie Rose Chloe Dunning Dominic Read Emilia Ridealgh Emma Banister Gloria Ogunyinka Jack Fenn Kristina Gailiute Laura Jellings Megan Grinham Molly Mackie Phoebe Constable Phoebe Ward Rachel Mansfield Rosie Moore Saffron Booker

Photography by Fil Mazzarino


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In order of appearance: Hannah Gait (featured student) Alice Vowles Birta Blin with Annie Lim Carolina Trinidade Charlie Neilson Charlotte Elliott Daisy Rawson Delphine Gwilliam-O'Connor Elanah Gilmour Georgia McEnoy Georgia Steel Gina Foice Janislav Solovyov Jodie Akinsanya

Maria Streang Milan Flicek Natalie Franco Natasha Hesmondhalgh Polina Oleynikova Savi Shetty

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Photography by Fil Mazzarino







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We asked, you answered

What’s your philosophy in life?


“Live every day like it’s your last and make the most of it”

“Never be scared of nothing. Failure isn’t an option”

– Adelaide Jones, model

– Dave McBrown, model

“RESPECT TO BE RESPECTED” – Leyre Gomez, model

“BE HAPPY AND GENERATE INCLUSION” – Samanta Bullock, wheelchair model and tennis player

“Kill ‘em with kindness” - Viktorija Mockute, writer

“Success is leaving the world better than you found it” – Teelo Vasiliou, Frame Perfect Booking Coordinator

“I fall, I stand back up and I start it all over again”

“Take every opportunity that presents itself!” – Tia Shenton, actress and model

– Anais, writer


“Everything happens for a reason” – Candice Wu, editorial assistant

“DRINK TEA, TRY NOT TO GET RUN OVER” – @ShallowLagoon, tattoo designer

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

LONDON RUNWAY Find London Runway: Front cover: I LOVE FOUR SEASONS by Paul Winstone Back cover: Backstage by Fil Mazzarino