Page 1

RRP £9.99







CONTRIBUTORS Editor: Rhiannon D'Averc - Editorial Assistant: Candice Wu - Lead Photographer: Rhiannon D'Averc Photographer: Ian Clark - Features Editor: Rachel Parker - Arts Editor: Eleanor Dyson - News Editor: Charlie Whitehand- Graphic Design: Peter Bevan - Contributors: Samuel Rangasamy, Marcus Dyson, Nadine Roberts, Kathreena Gokool, Kirsten R Scott, Olivia-Ann A Edwards, Joanna Cunningham, Pauline Wong, Federica Marcotti, Ananya Jai, Pauline Kate Special thanks to Gill Stark, Sejal Shah, Louise Allison

Advertising enquiries - Submissions - © 2018, London Runway Ltd and contributors Printed by Pixart Printing and distributed in-house by London Runway Ltd 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.



IN THIS ISSUE Letter from the Editor

What’s your favourite month of the year? We have two – February and September. You can probably guess why. September is traditionally a huge month for fashion magazines, and we wanted to take this opportunity to look back and reflect. What a long way we’ve come from this time last year – and all with the support of a magnificent team of contributors both permanent and freelance, as well as plenty of brands who are now our friends. We’d like to thank you all for sharing this journey with us. We’re also taking new steps along the way – with the last issue seeing the launch of our Patreon, there are now more ways than ever for you to enjoy our content. We’ve got online exclusives available there, including behind the scenes content from last issue’s editorials (and this one!). You can catch exclusive shots of our models getting ready and having their makeup done, and the story of what went on while we were shooting. Plus, you can remember it all with a downloadable desktop wallpaper, or even a special printed postcard from the editorial.

But back to this issue, and what lies ahead. We’ve got full previews of London Fashion Week for you so you can get the lowdown before it happens, as we’re launching this issue right around the time the events start. We've been keeping an eye on New York while we work, and with the most exciting fashions seeming to come from the graduate collections, we're hoping that London can show the world how it's done and really bring something new to the runway. With so many creative designers counted amongst our friends, we know the potential is out there - and we're waiting with baited breath to see how it all plays out.

Don’t forget to follow us on Instagram or Twitter @londonrunwaymag, subscribe to updates on our website, or pledge on Patreon to get notified of when our next issue goes live. You’re going to want to see it – we’re bringing you huge coverage of London Fashion Week shows, from the off-schedule to the on, so it’s going to be a good 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.  Enjoy!

More on that later in the issue - I'll leave it to our Features Editor to fill you in on what to expect! We also have some stunning photos for you to admire, including an editorial featuring clothes designed by our very own Arts Editor. There’s jewellery, alternative fashion, three great interviews, and an overview of a model coaching workshop we attended in the build-up to LFW. You'll hear from designers, authors, models, and a few new contributors who are lending their voices to our pages for the first time.




CONTENTS Photography Maison Dixhuit - 7 Editorial: Efflorescence- 12 London Edge Show 1 - 25 International Jewellery London (cover story) - 39 IJL Showcase: Cooksongold - 47 London Edge Show 2 - 52


Editorial: Moodstone - 66 London Edge Influencers - 87 Features Fashion News - 4 LFW: A Preview - 10 Interview: Gill Stark - 22 Interview: Louise Allison - 36 The Model Workshops London: Runway Ready 101 - 46 Full Face of Makeup on a Budget - 49 Poetry From Peckham- 64 Interview: Sejal Shah - 81 Dresses in the Attic - 85 Flashback Through Fashion - 89


The Big Question - 93



HARVEY NICHOLS REBRANDS IN SUPPORT OF WOMEN Women are taking over! The iconic department store Harvey Nichols just launched its month-long ‘Let’s hear it for the Girls’ campaign. On September 3rd, Harvey Nichols rebranded itself as Holly Nichols to celebrate female empowerment. The flagship store has changed their famous illuminated sign along with the branding on their shopping bags, in-store signage and social media channels. They have even gone as far as changing their website URL to The name Holly was chosen to represent all women and because it also has a visual similarity to Harvey. Deb Bee, the marketing and creative director said "We are incredibly excited to unveil our Holly Nichols campaign – a month of events celebrating women, those who have inspired us in the past, and those that continue to do so today."

The retailer has slowly been refurbishing its beauty, jewellery and men’s departments and said that they’ve “ramped up our range of our beauty services to suit women’s often demanding lifestyles". There are plans to continue revamping the Knightsbridge flagship in order to modernise their image, attracting a new generation of customers. The importance of gender equality and feminism has been championed by Harvey Nichols for many years. Anne Harvey took over the business when her husband died in 1850 and went into a partnership with James Nichols, forming Harvey Nichols & Co. Women were and still are key to the business today, comprising seven out of nine of the company’s current board members. On the 13th of September the department store will celebrate more of its history at an event for the modern women of London.

via Harvey Nichols

The store plans to host a series of events throughout September that highlight great women. These will include trunk shows, new launches, brand parties and inspirational talks from influential women. In addition, the windows also featured the new name and the pavement outside the flagship has been embossed with quotes from female leaders such as Hillary Clinton, Coco Chanel and Emmeline Pankhurst.

The campaign will also feature the launch of the store’s newly refurbished first floor, which gives shoppers a fourth level that is dedicated to women’s ready-to-wear, shoes and accessories. Bee stated that the "newly refurbished First Floor is shopping heaven with collections from the world’s best-loved designers, selected for their quality of design and make. We’ve created a shopping experience for our female customers like no other."



FASHION NEWS via Anya Hindmarch

ANYA HINDMARCH LAUNCHES THE CHUBBY CLOUD EXPERIENCE British luxury accessories designer Anya Hindmarch is set to host an immersive installation for LFW. Hindmarch announced last year that she would no longer be presenting her collections during LFW. She wanted to abandon the traditional biannual presentations in favour of a more consumer facing approach. Her goal was to allow the consumer “to really engage with the brand’s creativity on and offline”. In February, the designer placed chubby heart balloons in many of London’s famous landmarks. The balloons started floating on Valentine’s Day, and were moved and placed in 29 different locations around London for a week after. This LFW, Hindmarch plans to continue the “chubby” theme by installing an experiential chubby cloud exhibition. The world’s largest beanbag, inspired by the cloud motif in her A/W18 collection, will be placed in the Banqueting House in Whitehall. Visitors will be able to climb on and sink into the giant squishy cloud whilst observing the iconic Rubens ceiling. When talking about the concept, Hindmarch explained that the event was an opportunity to amplify the brand and engage directly with consumers. She said in a statement, “we thrive on creativity and new challenges. Our chubby hearts over London campaign last season was a lovely way to engage the public beyond the runway. The chubby cloud continues this theme and is our first proper experiential event for the public during

London Fashion Week, which coincides with the global launch of our Autumn/Winter 2018 chubby collection. We can’t wait to immerse people in this world, and hope that they will leave with big smiles on their faces.” The event will take place over three days from September 14th16th. It will feature a series of talks from guest speakers such as Anya Hinmarch herself and Claudia Winkleman. There will also be a number of activities for customers to take part in including bedtime stories from Poppy Delevigne, morning meditations by Happy Not Perfect and choral lullabies with London Gay Men’s Chorus. Yana Peel will also lead a discussion about body image in art, alongside Marc Quinn and Victoria Sin. An onsite café will allow guests to enjoy chubby-cloud inspired cakes and a pop-up shop will be selling the new collection, alongside limited edition products created exclusively for the occasion. The event will be ticketed, with prices ranging £7.50£15 and all profits will go to the Historic Royal Palaces. Get ready to enter cloud nine!




The proposal comes as part of the brand’s new approach to sustainability, after it was discovered they destroyed £28.6 million worth of unsaleable goods last year. This was due to goods being of poor quality and the risk of them entering the grey market, which would devalue the brand. Burberry CEO, Marco Gobbetti said in a statement, “modern luxury means being socially and environmentally responsible. This belief is core to us at Burberry and key to our long-term success. We are committed to applying the same creativity to all parts of Burberry as we do to our products.” The changes will take effect immediately, with plans to have no real fur in Riccardo Tisci’s debut collection for LFW. Burberry have banned the use of rabbit, fox, mink, Asiatic raccoon fur and angora. They will continue to use shearling and leather in collections, but any remaining fur products are slowly being phased out of the line. Tisci took to Instagram, announcing the decision as a “new era” for Burberry, using the hashtag #modernluxury. A statement said “at Burberry, we are passionate about driving positive change. Our responsibility goals cover the entire footprint of our operations and extend to the communities around us”.

The fur decision follows on from a number of other brands that have abandoned the use of fur in recent collections. The positive response from consumers only suggests that this was a wise move. Their commitment to ending these practices builds on goals set last year which form part of a five-year responsibility agenda, supported by a new strategy which is helping tackle the causes of waste. Burberry stated, “We already reuse, repair, donate or recycle unsaleable products and we will continue to expand these efforts.” In May 2018 Burberry became a core partner of the Make Fashion Circular Initiative convened by the Ellen McArthur Foundation. The brand emphasised that in the past year they “have created a unique partnership with sustainable luxury company Elvis & Kresse to transform 120 tonnes of leather offcuts into new products over the next five years. We have also supported the Burberry Foundation in establishing the Burberry Material Futures Research Group with the Royal College of Art to invent new sustainable materials”. They have maintained that they have a corporate social responsibility to “continue to invest in communities, from supporting young people in disadvantaged areas… to developing a more inclusive and sustainable cashmere industry in Afghanistan. These efforts have been recognised by Burberry’s inclusion in the Dow Jones Sustainability Index for the third consecutive year.”

via Pixabay

Burberry plans to ban real fur from future collections and stop the destruction of unsaleable products.



MAISON DIXHUIT 'Dixhuit' translates to 18, so it was very fitting that this label showcased their new collection at exactly 18:18 on... well, alright, the 1st of September - but in 2018, so they get three check marks there. We're also very impressed by any fashion show that manages to actually start on time. The collection demonstrated utilitarian style, and a penchant for named belts. Checks, military-style pockets, and puffy volume also made their appearances. Though this is only the brand's third show, they have already been turning heads with a very influential crowd. Expect even more from them when February rolls around. Photography by Ian Clark







LFW: A PREVIEW Looking forward to LFW? So are we! Rachel Parker discusses what’s to come during the UK’s biggest celebration of style. London Fashion Week is always an exciting time for UK fashion lovers, and this September the anticipation is building. The citywide celebration of all things style and design will take place from September 14th – 18th, with catwalk shows, presentations and events scheduled throughout the week. With all eyes on our city ahead of the action, London Runway shares a glimpse of what we know is coming our way this Fashion Week.

RICARDO TISCI WILL MAKE HIS BURBERRY DEBUT Ever since Christopher Bailey took his final bow on a rainbow-lit runway in celebration of Pride this February, there has been speculation about what comes next for the iconic British brand. New Chief Creative Officer Ricardo Tisci has already created a stir in the run-up to Fashion Week, unveiling the House’s new logo and monogram. Tisci has also announced Burberry’s new product cycle, which will see the brand make smaller and more frequent drops throughout the year.

Naomi Campbell was recently spotted wearing a sleek black Burberry cape, giving fashion fans a taste of the kind of style we might expect from the new Creative Officer. But the brand’s new interlocked monogram screams of logomania, taking the lead from the success of Gucci and Fendi who have been sending branded streetwear down the runway for the past few seasons. All the clues point towards a collection that will be focused on updating classic tailoring with a streetwear twist—but we’ll have to sit tight until we actually see what makes it onto the catwalk. And breathe…


This first LFW will feature a limited-edition capsule collection, which will be followed by another capsule designed in collaboration with Vivienne Westwood and released this December. Burberry hope that this new release strategy and see-now-buy-now model will help them to keep the fashion world’s attention.

In celebration of her brand’s 10th Anniversary, Victoria Beckham will be showing her SS19 collection at LFW for the first time. For the past ten years the former Spice Girl has been presenting her collections in New York, but the brand will be coming home to London for one huge show and celebration this September.

So, what can we expect from the LFW show? Tisci’s first Cruise Collection earlier this year saw a resurgence of classic Burberry outerwear pieces including the iconic trench, quilted jacket and kilt.

So far, we know that the showcase will take place at Mayfair’s Galerie Thaddaeus Ropac, which is close to the Victoria Beckham flagship at 36 Dover Street. After the catwalk has closed, guests will be invited to ‘‘shop the show’’ at the nearby store. The celebration will finish with a party at an undisclosed location, which Beckham has organised in conjunction with British Vogue. There has been much speculation about the guest list (and whether or not Brooklyn will be photographing) and we can’t wait to find out what birthday surprises the Beckhams have in store.

THE FUN WILL BE FUR-FREE According to a survey conducted by the British Fashion Council of all designers on the official LFW catwalk and presentation schedule, no real animal fur will be used at this September’s Fashion Week. The announcement came after a campaign by the activist group PETA and singer Paloma Faith called on the BFC to enforce a no-fur policy at LFW. However, it seems that designers have chosen to make the change voluntarily, in what the BFC termed ‘‘a cultural change based on ideals and choices made by designer businesses, international brands as well as consumer sentiment but also encouraged by the stance of multi-brand stores who are moving away from selling fur.’’ Images via Instagram


Images via Wikimedia Commons London Fashion Week has drawn attention from animal rights activists for years. This February, one protester invaded the catwalk at the Mary Katrantzou show, while demonstrations organised by the group SURGE were held outside Burberry and Christopher Kane. It seems that these voices have been heard, and this LFW will be a furfree event.

THERE WILL BE ROBOTS ON THE RUNWAY The worlds of design and technology are inextricably linked, and this LFW the Los Angeles-based designer Honee will be celebrating advances in AI with a robot runway. The Ohmni robot developed by Silicon Valley’s OhmniLabs will take to the catwalk wearing Honee designs during the House of iKons showcase, which aims to present the work of emerging and innovative designers.

ALEXA CHUNG WILL PRESENT HER FIRST CATWALK SHOW Alexa Chung is no stranger to the Fashion Week front row, but this season will see her present her first on-schedule show to exhibit the SS19 collection of her eponymous label. Chung launched her clothing line last May, and September 15th will mark her first appearance as part of the official LFW lineup. The Alexa Chung brand channels the It-Girl turned designer’s own personal sense of style, with a heavy focus on denim, knitwear, preppy styling and vintage-inspired pieces. If her SS19 Resort collection is anything to go by, we can expect sport and dancewear with a heavy ‘90s influence, and plenty of wearable charm.

With the action just one more sleep away, we can’t wait to find out what’s next for the fashion world. There’s sure to be many more surprises and much more to discuss – and you can be sure to read about it all in our next issue!

You can read all of Rachel’s work at

Honee described how ‘‘my show this September is named 'ÁI', in reference to Artificial Intelligence and also the play on the Vietnamese word ÁI for love and the Chinese phonetic AI for love as well. We're in the world of AI and loving it.’’ Whether or not we will love the clothes as much as the very modern models, we will have to wait to find out!

Image via House of Ikons



EFFLORESCENCE Photography - - Samuel Rangasamy Assistant - Marcus Dyson Models - Nadine Roberts, Kathreena Gokool, Kirsten R Scott, Olivia-Ann A Edwards Hair and Make-up - Ellie Dyson Designer - Ellie Dyson We couldn't resist showing you the talented work of one of our own. London Runway Arts Editor Ellie Dyson presents her graduate collection, Efflorescence. In her own words: "Looking at the origins of power dressing, the looks have only been powerful because they mimicked men’s attire. Workwear was created when only men were allowed to work. I feel women deserve the respect to have their own style of authoritative dressing celebrating both their femininity and strength. Women’s professional attire needs a new format to fit the modern generation's fast-track lifestyle. It needs to realise that women do not need to copy male style to garner respect. The garments featured were hand-crafted, using traditional tailoring techniques."


Kathreena wears: Sustain Dress £205; Sustain Shirt - £40, both Ellie Dyson

Olivia-Ann wears: Blossom Dupion silk shirt ÂŁ69; Blossom dupion silk trousers with lace legs - ÂŁ230, all Ellie Dyson

Olivia-Ann wears: Blossom Dupion silk shirt - £69; Blossom Jacket - £375; Blossom dupion silk trousers with lace legs - £230, all Ellie Dyson

Olivia-Ann wears: Blossom Dupion silk shirt - £69; Blossom Jacket - £375; Blossom dupion silk trousers with lace legs - £230, all Ellie Dyson Kathreena wears: Sustain Dress £205; Sustain Shirt - £40, both Ellie Dyson

Nadine wears: Thrive Asymmetric jacket – £210; Thrive Skirt - £69, both Ellie Dyson

Nadine wears: Thrive Asymmetric jacket – £210; Thrive Skirt - £69, both Ellie Dyson Kathreena wears: Sustain Dress - £205;  Sustain Shirt - £40, both Ellie Dyson Kirsten wears: Prosper Corduroy Jacket - £335; Prosper Trousers - £205, both Ellie Dyson Olivia-Ann wears: Blossom Dupion silk shirt - £69; Blossom Jacket - £375; Blossom dupion silk trousers with lace legs - £230, all Ellie Dyson

Nadine wears: Thrive Asymmetric jacket – £210; Thrive Skirt - £69, both Ellie Dyson

Kathreena wears: Sustain Dress £205; Sustain Shirt - £40, both Ellie Dyson

Kirsten wears: Prosper Corduroy Jacket - £335; Prosper Trousers £205, both Ellie Dyson


With designers making the final touches on their collections ready for the catwalk next week, Ellie Dyson sits down with designer-turned-writer Gill Stark to talk all things ‘Fashion Week’, and discuss the success of her book, ‘The Fashion Show’, two months after its release. So, you’ve released your book, ‘The Fashion Show’. What’s the response been like? The book came out at the end of July and reviews have been very good. It’s my first book and it’s been interesting how many people from around the world have picked up the book, bought a copy and contacted me to ask questions, to suggest that we meet, and I've had some requests to be involved in different things. I've been contacted by a number of academics around the world who either teach fashion show production, or they're interested in starting to incorporate fashion show production within their degrees. I've been invited to speak at a number of different places; other universities and conferences and in relation to exhibitions.

"FASHION REFLECTS THE WORLD AT A PARTICULAR MOMENT" So how did your journey with Bloomsbury start, and how did you get in contact with each other? I was put in touch with Bloomsbury by a friend who was writing for them. We discussed whether I might do some kind of publication, and what that might be. With my background as a lingerie/nightwear/corsetry designer, we talked about whether I would write a book about lingerie, or about corsetry, and I researched that and decided that that was not a good idea at the time. But one of my other areas of expertise is the fashion show, having produced shows and also taught fashion show production, and having contacts within that area of the industry. In the meantime, I got Bloomsbury involved in meetings with the academic team that I was then managing and various colleagues started to write books with Bloomsbury. Eventually we decided that I would write a book about the fashion show. The publication is different from anything else that's out in the market place, so I think it has filled a gap for a comprehensive guide to the history, the theory and the practice of the fashion show and show production.

You have a really diverse history in your education and your career, with experience in fashion design, having your own brand, business, marketing, as well as education. Has there been any moment that's stood out? Yes, I do have a very broad educational background myself. First I went to art college and I studied fashion and textiles, and art history. Since I was about thirteen, I had wanted to run a fashion business, and when I started to study at art college, I also discovered that I loved and had an aptitude for art history. After that I did a business and management course at Cranfield School of Management, and I also did an MA in Design Management, so my background spans art and design, art history, and business and management, so it's very broad. For my position now as Head of the School of Creative and Liberal Arts at Regent's University London, within which we teach a very broad range of subjects, having a broad educational background myself is valuable. In terms of moments, I think there have been very many moments which have been very special, and I feel very blessed that I have been very lucky to have worked in industry running my own business, designing freelance for brands, working with textile companies … I did quite a lot of work with textile companies on prototyping different fabrics, and the promotion of those fabrics, and shows to promote those fabrics, so that was business to business, rather than business to consumer. When I started to teach, that was as a visiting lecturer at the London College of Fashion. I wanted to teach but also continue to design, which was what I'd always wanted to do, even as a student. And I loved that, but gradually, I discovered that I really enjoyed education and became sucked into that, and then started to take on management roles, but I always wondered whether I'd be able to write, so it's been interesting to turn from designing, to writing, and to find that I can write has been wonderful.

So what drives your passion for the fashion industry, design, and now writing? I think a lot of people who do a fashion design degree, do so because they have a love of the cloth and the fashion product. I think a lot of people then end up in the industry and realise that the industry is not what you expected. I think for those of us who find fashion interesting, not just in terms of design but within a broader context, it continues to be a fascinating industry, and fashion is not just about design or commerce. Fashion reflects the world at a particular moment; it reflects culture, it reflects society, but it also reflects and I think we're very often not aware of this – the broader world; it reflects politics, the economy… It reflects what's happening in the world. You've created fashion shows for both industry and for universities. Can you tell me about one of your favourite shows that you've been a part of? I have been involved in very many different kinds of shows. There have been so many different things that I couldn't pick out one, but I do think that the power of the show to excite people and to capture attention is something that I've talked about a lot in the book, and I think that it's something that is probably not recognised enough generally. It is very well recognised by the industry, and that's why the industry uses it as such a powerful promotional tool, and such a powerful tool for brands to enforce their messages within the minds of the consumer. I think it's also a point at which the consumer is completely emotionally engaged in the brand, and as technology has moved forward, and now that we have live streaming, consumers can feel like they're there at a show; at that moment when a new collection is released, and a really exciting show is happening. Because that is so powerful, I think there are other ways in which it can be harnessed. For 


instance, I think it could be harnessed much better for charities, and I think some of the most exciting shows that I was involved in, years ago, were for charities. The opportunity for charities to harness that and to really engage people in their work is underestimated. I think that the shows where designers have highlighted really important social issues; those are exciting moments, and I think they're very important moments. An example is Missoni with the pussy hats. I think that the fashion show could be harnessed far more to speak to consumers and other audiences about really important issues within fashion, within society, within culture. I remember in your book I think you wrote about Vivienne Westwood bringing attention to things. Yes absolutely, sadly, there wasn't space in the book to pursue this further, but I think designers like Gaultier have been very clever at using times when the world's press were there, and were keen for stories, and were ready to publish stories, to promote issues around gender, identity, remember Gaultier’s men in skirts. Gaultier was also influential in social change around LGBTQ and transgender, that's been really important; for instance by putting Andrej Pejic onto the catwalk in the bridal gown at the end of his shows. I think that as the world looks more and more to companies to be socially responsible and to address important issues, it would be great to see the show being part of that communication, promoting that dialogue. I noticed that BFC have announced that London Fashion Week for this year is going to be completely fur-free. Yes, absolutely. That’s an excellent example of how the fashion show can be

used to highlight important issues. Paint has been thrown at models on the catwalk in the past to protest against the wearing of fur. Now the catwalk is, again, the site of commentary about the use of fur in fashion. With modern technology, there is no need to use fur, there are many great alternatives. Fashion Week is coming up. Will you be attending this year? I certainly will, yes. It promises to be an interesting fashion week, with some good dialogues already well under way. Anti-fur is one example. I really enjoy the way that such dialogues are explored around the catwalks of the world’s fashion weeks. Fashion weeks are the times when the fashion communities gather to keep up to date and to communicate about fashion and where it is going. While many other activities also happen at fashion week, I love the way that catwalk is central to fashion at the point at which it moves forward. Have you got any advice for designers who are going to be having their very first show this year? John [Walford] talked about how phenomenally expensive it is for young designers to do shows. The young designers that I've talked to have talked about how very important they are, but also how impossibly expensive they are. I think that if young designers are lucky enough and successful enough to win competitions, so that they can get some initial sponsorship and promotion, that's a great opportunity. The reality is, it's almost out of people's budgets to do a show and to be involved in fashion weeks in that way because it is phenomenally expensive, and when you look at designers like Stella McCartney, there was a lot of talk about the fact that she had massive advantages. I think one of the biggest advantages was just having money behind her. Everything is about being noticed and when you look back at designers like McQueen, they had no money, but at that point it was possible with very little money to stage shows, and I don't think it's possible any more, and I think that's one of the biggest sadnesses

in fashion. Much of the industry has become dominated by the huge conglomerates. It was in the 1980's that the real commercialisation of fashion started to happen, and when marketing really started to take off, and it was at that point also that shows started to become phenomenally expensive. What designers like McQueen very cleverly did was they produced shows that were as dramatic, as noteworthy, as attention-grabbing as they could, and they were able to do it at a time when it was possible to hold stage a show for very little and still to get the attention of some of the world's most influential press. It’s much more difficult to do that now.   It's not just about getting attention through one show; once you do a show, you've got to be seen to show season after season after season. If you drop for a season you are highly unlikely ever to come back, so it's not just about having the capital to begin with, it's also about 

having the capital on an ongoing basis. It's very sad that it is so expensive, because it shouldn't be about money, it should be about talent and craft. You've got your book released, and you’re getting good attention. What's your next step, could there be another book on the way? Yes. I've already started working on a proposal for the next book, and I don't want to give too much away but it's about London fashion. It’s a much more theoretical piece of work. The Fashion Show is a very comprehensive publication in terms of its breadth, looking at the history and the theory and the practice of the show, so we knew when I started to work on The Fashion Show that we wouldn't be able to achieve much depth in any particular area. The second fashion book is more theoretical and will enable greater depth; it's a really exciting new venture. I have some great interviews lined up and I have some original material which has never been published before, so that's very interesting.

'The Fashion Show' by Gill Stark was published by Bloomsbury Publishing, and is available on Amazon at £26.64 in paperback format. Images from top of feature: via Pexels; Jean Paul Gaultier by Georges Biard via Wikimedia; via Flickr; Antifur protest by Eva Rinaldi via Wikimedia; Andrej Pejic by Sasha Kargaltsev via Wikimedia; Alexander McQueen show via Flickr; Dina JSR show via Pixabay



We headed to the seasonal London Edge trade show to sample what's happening in the world of edgy, gothic, vintage, retro, and alternative fashions. From rave gear through to corsets and black velvet, there's a little something for everyone in these collections. The first show encompassed designs from, in order of appearance:Â Stylist Edit: Flying Unicorns - including Get Crooked, Dazzle and Jolt, Pamela Mann, Gipsy Hosiery, Phaze, Zoe Vine, Burnt Soul, YRU Footwear, Chok, Mad Pax, PS Wholesale, New Rock, Angry Itch, Maze by Bijoux Indescrets, Brazen Canary Collectif Doctor Faust Voodoo Vixen New Rock Sheen Gatsby Lady London Hell Bunny Sinister Photography by Rhiannon D'Averc























Rhiannon D’Averc sat down with Louise Allison, the creative mind behind Louise Rose Couture, to talk about style, retro fashion, and brides. Tell me about your background – when did you start designing? I started off designing dresses from the age of about 15 – I’m 32 now, so quite a while! I went straight out of school into college and studied fashion, then studied at uni. I worked for various designers and production studios and then set up alone in 2015. It’s been great since! How did you decide to go in your current direction? I’ve always loved vintage eras, but I also love modern fashion, so I combined a bit of the two. A lot of my silhouettes are influenced by vintage styles, but they’re designed more for the modern woman as well. Where does the name ‘Louise Rose Couture’ come from? Obviously, my name’s Louise, and I didn’t want to use my name – mainly because my maiden name didn’t quite fit the right way. So, I was always thinking of something else that would work with the style, and 'Rose' just seemed to fit. It just enhances the branding really.

"A STYLE THAT SUITED AND FLATTERED ALL WOMEN, ANY AGE, ANY SHAPE, ANY SIZE" I see that you sell dresses, but you also have bespoke services. I do occasion wear and bridalwear, so I have my silhouettes and designs and they’re all customisable. As they’re made to order, they can choose the neckline, the sleeves, the skirts, and then it’s made into a one-of-a-kind dress. I rarely make the same dress twice as they have a lot of variations, which I think is quite a good selling point as well. How do you choose those silhouettes and what options you’ll have available? My starting point for silhouettes was to find a style that suited and flattered all women, any age, any shape, any size. I definitely wanted to include everyone in my brand. With my love for the 50s era, they worked quite well together – with all the nipped-in waists, it tends to flatter a lot of people, so that was my starting point.


Do you have any particular influences or inspirations? The obvious iconic one for that sort of style is Christian Dior, the ‘new look’ that he produced. That’s a really key one from back then. Then other influences from more currently as well. Tell me about starting with a degree in fashion design. It feels like a long time ago now! (laughs) But that was a time to learn, to experiment with everything, with all different styles and try out some less wearable pieces but just really get creative, which was fun. Whereas now it’s all slightly more commercial, so I need to create things that will sell but try and keep it inspiring at the same time. Do you feel like your degree really set you up well? I think it did, but I only really started learning when I got out there working for other companies. I found that you kind of learn the basics of everything at uni, but it’s not until you get out there that you suddenly realise there’s a lot to learn. You’re covering so much in that space of time, your skills develop constantly afterwards, particularly with sewing.

because if you make one mistake then a whole factory of a thousand garments is going to be wrong. There’s a lot of pressure in that role as well. It made me learn for when I started my own business what to avoid and what not to do, so it was really helpful! You’ve had the experience for both sides. Yeah, I worked for both a designer and mass production, and from that I decided which way I wanted to go. I thought about the production, but actually I wanted it to be more personal and individual, and I wanted to put more into each piece. That’s important to you, so that all women can wear your work, like you mentioned before. I’ve had customers ranging from 12 years old to 85! I had this old lady, she had all her

dresses made and every year she comes back, so it’s really sweet. My key audience are women in the 30s and 40s, but it does expand to a much broader range as well. I just feel like sometimes, fashion doesn’t cater for everyone, so it’s important to me to break that. Plus-sized ladies as well. Your dresses walked at Top Model – what’s that like? I’ve been doing Top Model for four years now – next year will be the fifth year. I got introduced to Geoff, the organiser of Top Model, through a friend who’s also a designer, and I’ve just been doing it every year since. It’s a really great opportunity to see everything come alive on the catwalk, and also it’s for Children With Cancer as well and raises a lot of money. It’s good to get involved. How does it feel to see your clothes on the runway? It’s a real buzz seeing them come down the catwalk. It’s one thing seeing them in the studio, and it starts to come to life in a photoshoot, but when you see them walking down the catwalk it’s just got that extra excitement to it. Do you have any more shows planned? At the moment it’s just that one I do, but maybe in the future…

Working as a freelancer – is there any big lesson that you learned on the job? Yeah, it’s hard work. I worked for a designer and had one experience there, and it was long hours, getting home really late, really early starts. So I think you have to be really prepared for that, and that you could be asked to do absolutely anything! Then I went on to work for a fashion production studio which was more mass-produced garments, and that came with a whole different set of challenges,

But in the past, you did London Fashion Week and also Ottawa Fashion Week? Yes, I did. So, when I first graduated I was looking for opportunities and I found this company that was organising a fashion show for charity. They took me on to organise the show, coordinate all the other designers and the models. I


organised it all, and designed my own collection! It was a big project, a full-time project for nearly a year. From that show I got contacted by Ottawa Fashion Week, and they asked me to take it over there, and I thought, why not? I had a really great time over there as well. How would you describe your personal style? My personal style is quite a mix between vintage and modern. I’m not one of these diehard vintage fans that only dress in a certain era. I like to mix it up, so I do like to have elements of vintage but still keeping it current as well. Did you go through different styles when you were growing up, or was it always vintage? Oh yeah, I definitely went through all kinds of phases. I went through a bit of a gothic phase when I was a teenager, very grungy stage, then suddenly everything was rainbowcoloured – so I went from one extreme to the other! Then I finally settled into this kind of style, for quite a long time now. I’m interested to know – you have a shop on Etsy as well? Most of my stuff is made to order, so most people come to me for fittings. But for people further afield, I do offer things in standard sizes as well, which is what I sell on Etsy. They’re just made and shipped out. That way I’ve managed to reach people in America, Australia, and all different places in Europe, so that’s a good way to expand. Do you find it’s a different experience versus your own website and your bespoke dresses? It is – it’s completely different, because my bespoke stuff, I really get to know my clients. By the time you hand over a wedding dress, you feel kind of sad to not see them again, and then it’s really nice when you get the pictures back. It’s a bit less personal online. They in.

order and you ship it out – but it is nice to have that balance, the easier orders coming How do you handle work-life balance, because you’re having to do everything in the business? It is really difficult. I think I’m getting a bit better, finally! (laughs) Before, it was quite full-on all the time, and it’s hard to stop at weekends or in the evenings. A lot of my appointments are on Saturdays anyway, but I try to now, unless it’s a really busy period, to have at least a break on Sundays. But it is difficult because you’re constantly checking messages, emails, and doing social media updates as well as all the other work you need to do. It’s a bit of a juggling act. Do you have any tips for someone who would want to start their own business? I’d say you need to be prepared in the beginning to just really put in a lot of work, and be patient. It’s easy to get down-hearted when you first start and think ‘Oh, where’s all my orders?’, when you’re just sat there waiting for them. They don’t come straight away, and when they do come it’s slow, and it does take a few years before it picks up really. You just have to really persevere and believe that it will come together in the end. I saw that you’re a supporter of Equality Weddings. Eva, who set up Equality Weddings, has set it up recently. I met her at a wedding fair and I just really liked her ethos within the industry. There’s sometimes a bit of a stigma with different couples with LGBTQ+ people, so it’s just to make it clear that everyone is welcome. It should go without saying, you shouldn’t feel like you even have to say it, but some couples are still unsure about how they’ll be treated. So, when I saw Eva was setting that up, I got on board. Find more of Louise's work at louiserosecouture .com Images from top of article: Rhiannon D'Averc; Photos by Paloma; Natasha Buckney; Hana Laurie; Natasha Buckney; Photos by Paloma; Bernie Palumbo; Natasha Buckney; Hana Laurie; Lesley Burdett; Natasha Buckney; Hana Laurie


INTERNATIONAL JEWELLERY LONDON Accessories can often be overlooked, but at your peril - they can make or break a whole outfit. Tying in just in time for our jewellery editorial (later on in this issue), this jewellery trade show featured a lot of sparkle and dazzle. Paola De Luca was the IJL trend forecaster, predicting six major jewellery themes: Industrial Core, Constellation Collective, I'm Perfection, Neo Classic, Dark Romantic, and Op-Coding. Photos by Ian Clark















Rachel Parker discovers how a London-based project is helping emerging models make it in the world of fashion.

In a studio in North London, a small group of models gather nervously in a circle as catwalk coach Maxine Griffiths welcomes them to her Runway Ready 101 session. In the next few hours, they will be put through their paces in a workshop on how to strut a catwalk, receive advice from professional photographers and agents on how to stand out in an oversaturated industry, and take part in a test shoot – and all of this for free. Maxine Griffiths began modelling 30 years ago and quickly realised that there was no advice available for models starting out in the industry. She came up with the idea of developing her own course and wrote down everything she would want to gain from a workshop. Her personal experience of the modelling industry lies at the heart of her work. ‘‘I would say my workshops are for aspiring models who want realism,’’ explains Maxine. The Model Workshops aim to inform emerging models about professional standards and requirements as well as equipping them with knowledge of the industry, so that they can embark on a modelling career with realistic expectations. Maxine decided to host a free session in the run-up to London Fashion Week with the intention of increasing accessibility. With aspiring models often having to work for free to build up their portfolios, fashion can be an exclusive industry. In recognition of the lack of time and money faced by emerging talents, the Model Workshops London offered spaces for a free Saturday workshop. For those who do take part in the courses, the results can be lifechanging. Maxine says she regularly recognises models at events who attended workshops and are now being booked for major runways. To help this group of models make it to the runway, the session starts with a lesson on walking. Each model takes a lap of the studio with Maxine studying their stride. She then works with each model in turn, explaining how every detail from the shoes you wear to how you place your foot on the ground can affect your movement. The improvement is instantly noticeable: within a fifteen-minute session the models are walking with more confidence and their eyes firmly fixed ahead. ‘‘The reason I wanted to come to this workshop was to improve on how I walk, because I want to be a runway model.’’ explains Bethana, a 13-year-old who recently emerged into the world of modelling via a charity fashion show. ‘‘The most useful thing I learned in the workshop was probably not to move your hands too much, so the photo won’t blur your arms, and to make sure you walk with your toe first.’’ South American model Timothy agrees. Although he has previously done some modelling and photoshoot work, he decided to come to a workshop because he feels he still has much to learn.

‘‘I want to improve myself most of all and get a better platform in this industry. The session was very interesting, a few things I’ve picked up already and I’ve learned so it was worthwhile coming to. It was great!’’ Maxine gathers everyone around for a Q&A session, announcing that this is an opportunity for the models to ask the questions they might usually be unable to. She explains that when you go into a casting often nobody tells you what to do or offers any feedback, leaving models feeling confused. The session starts from the basics, with a diagram of a runway and an explanation of who sits in the front row and where the photographers will be. The key to modelling success is to make everybody else’s job simpler: helping the photographers get great shots and keeping the clothes visible. With advice from a professional photographer and a discussion of the role of modelling agencies from Frame Perfect Management, the group explore everything from creating a comp card and updating a portfolio to staying safe while on a shoot. Maxine explains that her coaching and mentoring encompasses all aspects of a model’s journey, including physical and mental health. She advises the models to progress at their own pace and not to compare themselves to others, as each will have a unique path in the industry. ‘‘I came here primarily because I wanted to get a greater insight into what it would be like to go forward into the modelling industry,’’ says Dante, another attendee. ‘‘I wanted to get a bit more confidence and to go into different workshops, so I feel like this has really pushed me to do more afterwards. I found the session really inviting, I didn’t feel out of place at all, and it was really good to get a better knowledge of what it would be like to go into modelling more.’’ Long-term, Maxine hopes to expand the workshops into a whole academy for creatives, covering everything from make-up artistry to sound and lighting. She describes her vision as a place for all London’s creative energy to be gathered. She would also like to start organising her own shows. For now, however, she is focused on educating models about the right way to progress in their career.  ‘‘It’s about remembering who you are representing,’’ she tells me. And whether that’s a brand or an agency, it’s also fundamental for the models to remember that they primarily represent themselves.

Find out more about The Model Workshops on Instagram: @themodelworkshops Photo by Aleksej Dombrovskij - Maxine wears OLGA Anderson




We're always on the lookout for something new and exciting, and at International Jewellery London, we spotted something that certainly fits that bill. Cooksongold produces jewellery pieces from powdered gold - as you can see here in the  photo of the bottles of powder. The product is then 3D printed, a process that you can see happening in the image that is flooded with green light as the machine works. Cooks 5 is the final result of the process. You can also see some examples of the things that can be produced through this process on the next page, in minute detail. This is potentially the future of jewellerymaking, as it allows the production of some amazingly intricate pieces. We're pretty excited to see what they come up with using this process! Find out more about them at Photography: Ian Clark


FULL FACE OF MAKE-UP ON A BUDGET For all the makeup lovers out there who want to look and feel good without breaking the bank, Joanna Cunningham searches the high-street beauty shops to find quality makeup products, on a budget. As a student, I am constantly looking for cheap makeup products which are just as good as those expensive ones raved about by beauty bloggers and YouTubers! I have to admit I am partial to the Urban Decay or Anastasia Beverly Hills eyeshadow palette, and I always thought that after using these expensive brands on my eyes for so long I could never go back. However, after receiving the Revolution “Life on the Dance Floor After Party” eyeshadow palette as a gift for my 21st birthday, I was pleasantly surprised. It just goes to show how easy it is to find top quality products, without breaking the bank and, with the right deals, you can get this full face for under £50.

BASE Maybelline Superstay Foundation - £9.99 This foundation has been reviewed and discussed by many online influencers since it hit the shelves, and I can see why. For someone like me, who doesn’t like to have too much of a full coverage foundation, this can be applied thinly for a natural finish, but is also buildable for anyone who prefers a fuller look. It would definitely work for that transition between day and night, as a little top up after a long day would do perfectly. It also lasts very well throughout the day, and I will certainly be continuing to use this. Collection Lasting Perfection Concealer - £4.19 This concealer is so cheap, and always remains on my face until the end of the day. It is great for both the under-eyes, as it barely creases, and any blemishes, due to its thickness. It’s a great option for that all-in-one concealer. Rimmel Stay Matte Pressed Powder - £3.99 This has been my go-to powder since I started wearing makeup! It’s probably one of the cheapest powders on the market and sets my under-eyes beautifully. I am personally someone who would not spend more than £5 on a powder, so this is the perfect compromise between money and quality! Not only that, but it lasts for ages - you won’t be running out of this product any time soon. Sleek Solstice Highlighting Palette - £9.99 This is my absolute favourite high-street makeup product. There are 3 different palettes, each with cream and powder shades which work for multiple skin tones. I absolutely adore it, as you don’t have to apply much, but the colour pay-off is blinding! It is also longlasting, both on the face and in the pan—my number one for sure. Revolution Sculpt and Contour Kit - £3.50 With a blush, contour, and highlight all in one place, this is super cheap for a three-in-one product. The colour pay-off is brilliant, so you only need a small amount to produce a defined look. Of course, with this product, you could even go without purchasing the Sleek Highlighting palette, however due to the minor expense of getting both, it’s no trouble and is so worth it.



BROWS L’Oréal Brow Artist Pomade - £9.99 This is a product I discovered some time last year, as I was bored of using a brow pencil and wanted to try out something different. On a whim, I purchased the first pomade I saw, and I haven’t looked back. The product comes in three shades, the lightest being a perfect colour match for me! It is long-lasting, and very natural looking.

EYES Revolution Life on the Dance Floor After Party Eyeshadow Palette £10 This particular product has blown me away. It comes in four different colour sets, including smoky eye (see pictured), multicoloured, pink, and nude, and includes a whopping 24 shades per palette - that’s under 42p per colour! Considering the size of each colour pan, and the wearability of each colour, I would say that’s a deal and a half. The packaging is also brilliant; it feels and looks expensive, and the large mirror means it’s great for on-the-go. Some of the colours are one-swipe-wonders, including the black, which is easy to apply and so pigmented. I would even go as far as to say that this is my favourite black eyeshadow of all time! Other less pigmented colours are buildable, so you can experiment with many different looks. Maybelline Hyper Precise Liquid Eyeliner - £5.99 This is also a new one for me; I stuck by the Maybelline Master Precise liquid eyeliner as my go-to for years, but recently picked up the new Maybelline Hyper Precise and will not look back! Although it is a little more expensive, this new product is easier and smoother to apply, very black, long-lasting, and the lovely pointed applicator makes it perfect for that cat-eye flick.



Maybelline Colossal Volum’ Express Mascara - £6.99 This product was probably the first mascara I ever purchased when I first started wearing makeup. Wearing this was my way of rebelling against the school rules and, after reusing it recently, I remember why I loved it. It is easy to apply, with a thick applicator for full eyelash coverage. It’s also buildable, so you can get those natural lashes for every-day wear, or thicker lashes for a fuller makeup look.

LIPS Bourjois Rouge Edition Velvet Lipstick - £8.49 Finally, the finishing touch to any makeup look – lipstick. This one is long-lasting and feels so soft and velvety on the lips. There is also a lovely array of 36 shades – perfect for everyone! All these products range between £3 and £10, so are perfect for anyone on a budget. Many of these products, including the eyeshadow, powder, highlighter, contour and brow pomade will rarely need repurchasing due to the amount of product you receive for the money. The other products will run out quicker, for sure, but a topup every three to six months will do the trick. Certainly not too much money leaving your bank account!

You can keep up to date with Joanna’s work on her blog,, or follow @itstartedwithrebecca on Instagram and @iswrebecca on Twitter.


If you were hoping for more unicorns before the issue was finished, then you're in luck! Enjoy these shots from the second show at London Edge, with a few new designers in the mix. Designers in order of appearance: Burleska Hell Bunny Doctor Faust Unique Vintage Innocent Clothing Hearts & Roses London Jawbreaker Collectif Stylist Edit: Burning Man - including Get Crooked, Dazzle and Jolt, Pamela Mann, Gipsy Hosiery, Phaze, 1985 London, Zoe Vine, Burnt Soul, YRU Footwear, Chok, Mad Pax, PS Wholesale, New Rock, Angry Itch, Maze by Bijoux Indescrets, Jacqueline
























POETRY FROM PECKHAM Josh Clark discusses the sound and style of King Krule and Cosmo Pyke. It's hard to consistently refer to these two musicians using any specific tag. Singer-songwriter feels appropriate until either one of them starts rapping. What they share more closely than anything as artists, however, is a refusal to be boxed in, and a creative process that pulls in so many different directions. The results, though varied, demonstrate a profound awareness of their sound, and an inimitable sense of style. Although the terms singer-songwriter calls to mind all sorts of people from X-factor finalists to successful mainstream artists like Ed Sheeran and Adele, King Krule and Cosmo Pyke, though they might be described as such, are artists who consistently diversify their craft. Whether we look to King Krule's open admission of a love for visual art, and his disorienting and fascinating self-directed music videos, or to Cosmo comparing his music to his graffiti in an interview with Harriet Gibsone for the Guardian (he also likes painting), music evidently does not consume their artistic endeavours. Cosmo Pyke has managed to create a lot of buzz in the alternative music scene, a remarkably impressive feat when you consider his discography of only one EP. As the title suggests, the 2017 debut, Just Cosmo, introduced the world to a then-19-year-old from Peckham with an unmistakable look and a warmly nostalgic, yet refreshing sound. To take the project in its entirety, Just Cosmo weaves an intimately personal narrative that enjoys domestic and banal scenes as much as emotional frankness. 'Social Sites' is a song which captures this mood nicely: "I'm sitting alone, sipping a latte/ With heartache every single time I wake up."

via Instagram Even when you think you have him figured, Cosmo's crooning invites us into a hazy world punctuated with what feel like spoken-word poems. This is received as a welcome juncture in any song as Cosmo raps effortlessly and reveals another layer to his introspective character. His rap at the end of 'Great Dane' is unapologetically angry: "Think about you with another man it sickens me/ And I’m sure that you haven’t/ Even if you have, then I’m sure that I’d have him/I said I’m sure that I’d smack him". Although his aesthetic is steeped in nostalgia, he is full of youthful energy; Cosmo seems equally capable of looking backwards and forwards with his music. Winding guitars switch rhythms frequently and show he is completely comfortable with shifting between the gears on his songs, and with doing the unexpected. As such, the sonically ambitious individual doesn't shy away from incorporating samples from "Just William" by Richmal Crompton read by Kenneth Williams. Visually, Cosmo also embraces an idiosyncratic style, modelling for Goodhood as he revealed on Instagram. In the shoot he recently did for them, he seems to perform a pliable masculinity which is all at once boyish, girlish, playful, and essentially Cosmo-ish. In the music video for 'Great Dane' his bold colour combinations cement an image of him and of his style in your mind. When you watch the music videos and put a face to a voice, you notice that the music and the clothes seem to come as a package; he doesn't put up any kind of facade, and in between recording the music he really does just go to the shops, and skate around in Peckham. Archy Marshall, known as King Krule among many other

via Instagram



monikers, incidentally also grew up at least partially in Peckham, and he might be more difficult to pin down conceptually as a musician. Whereas I could quite comfortably refer to Cosmo Pyke's music as indie, or alternative if I wanted to be vague, you can approach King Krule from endlessly different angles. The world of his music often doesn't seem real, and yet still contains remnants of a painful personal reality. He paints a picture of a drunken, gambling mother and a difficult life at home on 'Logos' from his most recent album The Ooz (2016), yet tears this realism from underneath you elsewhere on the album: "Can’t even look her in the eye/ Where tiny men have been absorbed/ For questioning the sky". His music videos reflect this too; bizarre and intriguing scenes in 'Czech One' transform the everyday into the surreal, and reveal a filmically and musically conscious artist. 

Still a young man of 24, Archy Marshall seems to have a deep and mature awareness of his art. Nevertheless, he writes music like he's running out of time. This is not to say that his songs feel rushed, rather they run alongside an urgent youthful energy. This becomes clear, for example, on 'Ceiling' from 6 Feet Beneath the Moon (2013): "I endure stroking my head on the cranes/ Well now they alone are all just one in the same/ Demean and try to walk about". King Krule is a musician but it seems like he'd like to call himself a poet - I would too.

What is fascinating to me about King Krule is how perfectly aware he is of every part of his craft. During an interview with Giles Peterson, he talks specifically about the banal events he narrates in 'Logos': "...whilst these events are happening, I’m constantly being drawn back into the landscape of my memory, and my experience, and my emotions." In an interview for High Times, he also professes how acutely aware he is of the personality he performs in his music: "I like the theatre of it...the theatre of being a songwriter and a singer, and creating a character.

unparalleled sense of art for art's sake - experimental at all costs.

via Wikimedia

Above all, it can be said with some certainty King Krule crafts a textured musical landscape. His rough chord sequences combine with a voice which changes throughout the shifting albums. He shouts, he slurs his words, and he performs his music with an

You can read more from Josh



MOODSTONE Photography - Rhiannon D'Averc Assistance and behind the scenes - Ian Clark Model - Federica Maricotti Hair and Make-up - Saima Malik Designer - Pauline Wong at Additional swimsuit by Kandumathi - check back on issue 22 for full details Location - Kitsch Studios Find behind the scenes shots at Each necklace is comprised of a pendant plus the chain or choker. Prices listed or for pendants, with an additional cost which varies depending on the chain or choker chosen. See Pauline's latest collection in full on the 14th September, as part of the International Property Tour 2018 London event, promising jewellery and Malaysian property all rolled into one show.


Federica wears: Pendant - price on request, Pauline Wong

Federica wears: Pendant - ÂŁ180, Pauline Wong

Federica wears: Pendant - ÂŁ180, Pauline Wong

Federica wears: Pendant - ÂŁ170, Pauline Wong

Federica wears: Pendant - ÂŁ170, Pauline Wong

Federica wears: Pendant - ÂŁ260, Pauline Wong

Federica wears: Pendant - ÂŁ260, Pauline Wong

Federica wears: Pendant - ÂŁ170, Pauline Wong

Federica wears: Pendant - ÂŁ170, Pauline Wong

Federica wears: Pendant - ÂŁ170, Pauline Wong

Federica wears: Pendant - ÂŁ170, Pauline Wong

Federica wears: Pendant - ÂŁ190, Pauline Wong

Federica wears: Pendant - ÂŁ190, Pauline Wong

Federica wears: Pendant - ÂŁ180, Pauline Wong


Rhiannon D’Averc sat down with a designer who is successfully fusing Western and Eastern design, to talk about culture, ethics, and her journey into the world of fashion. How long have you been a designer? Technically, in my business, 18 months – but actually, since I was nine! I’m 25 now, so a long time. What inspired you to get started at that age? I used to sit there, and my mum used to get Hello! Magazine, and I’d flick through the back where they had all the red carpet events. I’d watch catwalk shows, and I’d just copy the designs with sketches of what I saw. It’s just what I used to do. I’d never draw anything else, I just used to draw clothes. It kind of stuck from then. My mum always said that when I first started drawing she thought it was a phase, and soon realised that it wasn’t. It just carried on, so that’s how I got into it.

"MY ETHOS IS REALLY BUILT ON THE FACT THAT I ALWAYS STRUGGLED TO FIND CLOTHES" Tell me about the ethos behind the brand. My ethos is really built on the fact that I always struggled to find clothes. I’m not a standard size, and actually when you go to places like New Look or H&M or Next, their size 12 varies from shop to shop. I always struggled, so when I went to university I studied something called Fashion Atelier. It specialises in the high-end couture – so, everything is oneoff, everything is bespoke to a person’s particular measurements, and having never really seen the couture side of the world apart from the beautiful gowns, it really opened my eyes to the possibilities. Everything that we do is either bespoke or made to order, which allows for adjusting to measurements if the client wants, and that’s really the core of how I started it. The other side of it is obviously I’m Indian – born here, brought up here, but my parents were from India – so I always felt that there was nothing that really encompassed my identity. The way that I design is really the kind of things that I would have wanted to wear and know that weren’t there when I was growing up. The kind of fusion – obviously, in London, it’s such a melting pot, so that’s really important.


There’s a real East meets West, classic meets modern style to your designs. How do you balance it? It’s a work in progress at the moment. The last collection that I did, I tailored more towards the Asian market because it’s where I had my contacts, but actually, I found that I really wasn’t happy doing that. I’m working in a different way at the moment, and it’s about bring the best of both worlds. For me, the classic cuts and silhouettes and really sleek, modern lines that you get in Paris, London, wherever – that’s what I want to work towards from that element. When it comes to the East side, there’s a lot to do with colour, the fabrics, embroidery. It’s finding the balance between the two. A lot of the times when I’m reading Asian magazines I’ll see a lot where they’ll say they are fusion wedding dresses, when in actual fact, all they were were white wedding dresses with a bit of embroidery plonked on them. It was never really thought through, it was almost like an afterthought. It’s turning that on its head and saying, well actually, we want a fusion from the beginning, so what can we do with the silhouette as well instead of just plonking embroidery on it?

are perfect, and that’s one of the things that we do as well. What was the biggest learning takeaway that you had from those experiences? Just how much time you really do end up spending on these pieces. Because when I was at university, you’re really quite restricted in timing and that kind of thing, but when I was at Ralph & Russo we were working on a dress – it was actually my first day – they were working on a dress that was completely covered in flowers, but each petal was handcut, hand-shaped, and then hand-stitched. To see the time and the effort that goes into it, and the team that they had, really appreciating the craftsmanship that goes into it was the biggest takeaway that I had. It was crazy, it really was!

You’ve done some work with couture labels in the past, is that right? Yes, I interned with Ralph & Russo. I got experience from that and some of my friends work there as well, so that was really my first experience with couture outside of my degree. When I left university, I worked for a designer just off Sloane Square doing the same thing. She produced a lot of stuff abroad, but we had a lot of fittings, hand-sewing and handfinishing, that kind of thing, that we did in house. It’s going the extra mile and doing the little bits and pieces, making sure that things

Who would you say is the woman who would wear your clothes? I’m going through a change at the moment in terms of what I do. Like I said, I tailored the last collection towards an Asian market. This collection is more of the young generation, the woman who likes the finer things. They want to be completely different. One of my signature pieces is a bomber jacket, something that I’ve replicated in three different colour ways, and that’s one of the most popular pieces. So it’s someone that obviously has the money to spend on something a bit more expensive, but they know they’re getting quality with it as well. How would you say your cultural background has inspired you? It’s a massive driving force behind the label itself. It’s funny because when I was growing up, it never was something that I thought would be a factor in my designs. But when I went to university, I was in Kent, and I was one of a couple of Asians on the course. I was born and brought up in Wembley, so it’s a really heavily Indian area. Then I went to somewhere where there weren’t that many Asians, and you begin to really gravitate towards your culture a bit more and appreciate it, because it’s home and it’s comfort. That’s where I really found my identity, because I felt a bit lost there. It became something that I always wanted to have in one way or another encompassed in my designs. Do you think it’s important, not just necessarily for you but for any designer, to bring that heritage through? London is such a melting pot. Even in my street, I’ve probably got about 10 different


nationalities. I don’t think you can have such a mix of cultures in one space and not bring them together. I just think that when you’re surrounded by all these amazing things and cultures, you can’t just hide from them. That’s exactly why I’ve brought my culture into it.

simple. There’s one look that has a massive brocade skirt, but the blouse that is with it is just plain, and then it’s got beading on the back. There’s no embroidery on it, it’s just simple, plain, and classic, and really easy to mix and match in different ways.

Can you describe your personal style? Right now it’s comfort over anything, mainly because I spend a lot of time in the studio. I’m working in there for 13 hours minimum, so it really is comfort. But I think I bring that into my designs as well, because I think when you wear it I don’t want you to feel uncomfortable, because then you’re just conscious of it. Even in terms of my designs, I don’t design anything that I wouldn’t wear myself. I like certain things that are East meets West, I had one of mum’s old saris which is literally just six yards of fabric – she said “I’m not doing anything with it” and handed it over and I turned it into a jumpsuit, it’s got a halter neck and that kind of thing. I like to keep my clothing quite simple because I accessorise a lot. It’s an excuse for me to wear jewellery really, because I can make clothes so I don’t buy them! Tell me about the new collection that you’re working on now. I’m currently designing it. It’s a lot more contemporary – there’s jumpsuits, trousers, dresses, no Indian outfits as such. I’ll be bringing the Indian side into at the moment in just smaller elements. I decided to go against what I did last time, I’m going for quite a sexy, sleek look. A lot of sheer fabrics, just things that would look really classy and make a woman feel really empowerment. Do you have the release planned? I was hoping for October. I’m also working on doing a pop-up event. I would like to do a show but I’m working on a really exclusive event, so all that is in the pipelines. Just trying to get the collection there first! In your previous collection you have more traditional Indian shapes. What advice would you give for someone that’s maybe from a Western background about wearing the Indian items? Everything that I’ve made, I’ve made in a way that they can be mixed and matched. For instance, the crop tops – the Indian name for them is blouses, but I call them crop tops because that is exactly what they are – they are made in such a way that, actually, if you wanted to wear then with a pair of highwaisted trousers or a pencil skirt, you can do. It’s a case of just knowing how you want to style it. Some of the skirts are full-length, really full in terms of material, so they’re not easy to wear in a Western way. But the tops are done in a way that they’re just really


What does fashion mean to you? Fashion itself is ever-changing. I think fashion has a lot to do with trends, and what people are wearing and the designers are making at that particular time. I think that when it comes to the way that I work, I try to work more in terms of style – not what will be in for, say, a season, but things that will actually last. I’m charging the prices for these that you want them to live, and you want them to last through the seasons, and hopefully through the years as well. I think more than fashion, I’d rather take it more towards style, and making sure that someone’s personality shows through what they wear. What’s your process for making sure you have that longevity? In terms of the way that I work with clients, from start to finish, I start with a consultation, free of charge. They come in and we talk about what they’re looking for. I work with ideally a minimum of three months, but depending on what it is, sometimes I can fit it in, and it just depends on the work we’ll need. But they come in for a consultation and then I go away and design something. Once I’ve designed and they’ve selected the final fabric, we do sample fittings, and in that process if they’re having embroidery done I get embroidery samples done. I select fabrics for them to look at, all these different types of things. Then we go through the sample fittings and make sure that everything’s right before we go into the final production. In terms of our final production, we take the extra mile. Making

sure that the seams – even though they’re not going to be seen – that they’re finished properly so that nothing frays, things are interfaced where they need to be. Without working to that couture level, it’s really important that some of the details that they might not necessarily think about are taken care of. Where needed, we do a lot of hand-sewing. I used a suede fabric once and I recently made a pencil skirt for someone, and the seam wouldn’t stay. It kept popping back up. I had to go along and stitch the seam allowance down, just to make sure that it sat properly on her. It’s those finer details that make sure that the clothes are going to last, and they are going to sit properly, and the wearer’s going to be comfortable.  Do you have any dreams for the future? The ultimate dream is for an international business. I’d like to set up a studio maybe in America and then one in India as well. My embroidery, I get it done out in India, so it just makes sense with all the fabrics and everything to have a base there. Really, if I could – it’s something I’d have to work towards, but being able to showcase in Paris would be phenomenal. That’s the dream! Is there any celebrity that you would love to dress? There’s multiples! Anyone that comes to me at the moment, I’ll take it! I think there’s a few Bollywood actresses, like Ashwarya Rai, the likes of those who go to Cannes and that kind of thing. I’ve grown up watching Ashwarya Rai so actually she


would be amazing! But I think when we’re talking Hollywood as well, someone like Jennifer Lawrence I think. She seems like such a quirky, down to earth character, and I think it would be really cool. Find more of Sejal's work at, and keep up with Rhiannon's latest writings at

Images from top of article: Sejal by Rhiannon D'Averc Two images by photographer: CameronJames Wilson; Stylist: Best of Beauxs World; Model: Brenda Beaux Photographer: Alma Rosaz; Model: Dipali Patel Sejal by Rhiannon D'Averc Photographer: Jai Shah Photography; Hair and make-up: Shan Jenn Beauty; Model: Ravika Sabh Photographer: OMJ Photography; Hair: Mukhtar Rehman; Make-up: Dil Matharu; Earrings: Red Dot Jewels; Headbands: Louis Mariette; Shoes: Lucy Choi London; Stylist: Anisha Vasani Creates Photographer: OMJ Photography; Hair: Mukhtar Rehman; Make-up: Dil Matharu; Earrings: Merola London; Stylist: Anisha Vasani Creates Photographer: Alma Rosaz; Model: Dipali Patel


DRESSES IN THE ATTIC Ananya Jain writes about the joys of discovering hidden treasures and the special power of clothes to carry memories., with illustration by Pauline Kate. When you think of dresses in the attic, what comes to mind? I think of finding a once-loved dress, maybe in the colour white but now cream with age. I think of finding little treasures and trinkets like a copper necklace or maybe a brass ring that’s missing a few stones. Round eyeglasses that have long gone out of style, and maybe a pair of black heels that have seen better days along with a strand of pearls. To think, that if we could rummage out a few forgotten treasures in your grandmother’s attic, we’d dust them off and label them “vintage”. Something vintage with a story: something old, something new, something borrowed and something blue. One day my closet will become dresses in the attic. It’s just a door guarding some wooden hangers and a jewellery box. If I could start up my own little boutique on the corner of a street, three blocks away from a charming outdoor French café, I would name it Dresses in The Attic. It would be small and antique-like, with sun-bleached wood floors, lots of sunlight, and flower boxes in the windows. I’d string white Christmas lights on the ceiling; have fresh-cut flowers in hand-painted vases, and a bookshelf with all my favorite classics on display. Pertaining to clothes, I would have whimsical dresses in every color, but mostly white. They would typically be day-dresses, for picnics during the spring, long walks in the park on warm afternoons, or days spent puttering around the house for reading and relaxing barefoot. There would be pretty tops, silky skirts, shorts, and jeans. There’d be purses of every kind, sandals, heels, and jewellery. Simple things that are pretty.

Sometimes, a piece of clothing can take you places you can only live to imagine. It starts with fabric, buttons, beads, and in itself it becomes a memory with an intriguing story. All the hidden treasures found in our mother’s or grandmother’s closets allow us to travel in time, soaking up all the moments that have unraveled before us and relive the joy, happiness, sadness, heartbreak, and disappointment. They tell the story of a life full of little moments that might hold tears, anger, laughter or silliness, and those other moments that just can’t be defined but still take our breaths away. There will be memories to count, share, and remember associated with that single dress, so that by the time we’re slow-dancing into the after-life we will have made bad memories to forget and the best of memories to hang on to. Have you even gone through your parents’ old photo albums and closets? If you have permission, I suggest rummaging around to see what quirky and interesting things you can find, and maybe even use. I love going through my mom’s or grandmother’s closet and unearthing hidden treasures that I can use, like finding a patchwork quilt that’s full of mismatched pieces that wouldn’t really be whole without them all together. It’s the kind of quilt one would find tucked away in your grandmother’s closet and you couldn’t possibly appreciate it if you didn’t know the stories behind each piece of fabric. It’s also fun when people ask where you get the things from; “Oh this old thing? It’s vintage!” That’s the way it is with clothes, it’s the stories and memories weaved into its fabric that make up the dress. That’s what makes it alive and full of character.

Finding old yet beautiful pieces with a story that fit each season can be quite interesting. White cotton dresses, long knit cardigans, riding boots in the fall. Cable-knit sweaters and dress coats in the winter. Light cardigans and floral dresses in the spring. Peter Pan collars, the colour white, skinny jeans, dresses, shoulder purses, pretty perfume bottles, Essie nail polish, and a smile, for all four seasons. What story do they tell, what memories do they hold? The first time I saw a white eyelet lace sundress on a wooden hanger of a local boutique, I was quick to fall in love with the simple yet lovely idea of something so whimsical and pretty. In the way Audrey Hepburn is best known for her pearls and little black dress, I loved my floppy straw hats and light sundresses. I loved them best, out of any other piece of clothing I owned, because in their own little way I felt that they described and fit me differently, far more than when I was wearing jeans and a top.


Find more from Pauline Kate at

LONDONÂ EDGE INFLUENCERS We couldn't leave London Edge without a glance around the crowd. There's nowhere that you will find such a diverse style of clothing, and we picked out some of our favourites for this mini gallery. From influencers to brand representatives to members of the audience, these are the styles that caught our eyes. Photography by Rhiannon D'Averc





FLASHBACK THROUGH FASHION With London Fashion Week just around the corner, a lot of us begin to wonder how the successful designers of today gained their status. Ellie Dyson explores the rise of five top-tier designers ahead of their London Fashion Week 2018 catwalk shows.



JW Anderson is a British fashion label established by Jonathan William Anderson. Originally, Anderson was in pursuit of a career in acting, but whilst working at a theatre in Washington, D.C, he became more interested in the costumes. From there, he went on to study menswear design at the London College of Fashion, graduating in 2005. He then worked for Prada as visual merchandiser, having already worked as a window dresser for the brand during his time at LCF. Anderson set up his own brand in 2008, focusing on menswear, but by 2010 he moved onto designing for women, too. Shortly afterwards, he received a sponsorship from the British Fashion Council committee, which made it possible for the brand to present its first fashion show at London Fashion Week. Anderson secured a second sponsorship from the British Fashion Council, in addition to winning the Emerging Talent award in 2012. His success continued to rise after a collaboration with Topshop that same year, and it was taken up another notch when Vogue covered his 2012 Spring/Summer collection, featuring paisley pyjamas which resultingly sold out soon after their launch.

Jesús del Pozo was born in Madrid, Spain. He studied furniture and interior design, and after a period of travel, went on to open his own men’s clothing store in Madrid in 1974. Two years after this, he presented his first men’s collection in Paris, with women’s ready to wear collections following in 1980. His fashion house grew steadily from there, creating new, rewarding lines such as perfume and wedding dresses, but it gained little recognition outside of Spain. Sadly, Jesús del Pozo passed away in 2011. The Perfumes & Diseño SA group recognised the beauty in his craftmanship and purchased the brand to preserve its legacy. They relaunched it as Delpozo in 2012, appointing Josep Font as creative director. Font had initially trained as an architect, but he always had a high interest in fashion. He began his career by designing collections for his own namesake brand. His first move as creative director was to fight for a place in New York Fashion Week. This was a difficult task, because the name had barely spread outside of Spain. He wanted to make sure everyone knew Delpozo’s intentions were international.

LVMH procured a minor percentage in the brand, and as part of the agreement Anderson was named as the new creative director for brand ‘Loewe’.

Style – Honouring traditional couture techniques, Font uses creative ways to add volume and form to dresses and coats, using bold and bright colours in statement pieces.

Style – A cross-over between men’s and women’s design, an eccentric twist on the essentials.

Catwalk show - 16th Sept 2018, 14:00 

via JM4 Agency

via JW Anderson

Catwalk show – 15th Sept 2018, 16:00.





Victoria Beckham will be celebrating her tenth year by participating in an anniversary London Fashion Week show. Winner of the 2011 Designer Brand of the Year, Beckham usually showcases her collections at New York Fashion Week, but this year’s catwalk will be taking place near her Dover Street store.

Gareth Pugh is an English fashion designer. At age 14 he began working for a national youth theatre as a costume designer. He continued on to study a degree in fashion design at Central Saint Martins, which he completed in 2003. He also spent some time interning for Rick Owens.

Although the brand has benefitted from the fame of her time as a Spice Girl, which certainly gave her both the funding and the exposure to make a good start, the brand’s collections are aesthetically successful on their own merit, catering to the style needs of the modern woman.

His final year collection in CSM used balloons to emphasise the models’ joints, which has now become one of his trademarks. The collection attracted the attention of publication Dazed & Confused , and shortly after it placed one of his designs on the front cover.

Style – A high-fashion take on essentials of power-dressing, Beckham’s collections are the perfect mixture of strong meets feminine. Catwalk show – 16th Sept 2018, 09.30 and 10.30  

Only a couple of months after graduating from University, he was selected to take part in a reality show called ‘The Fashion House’, which he left before filming was completed, later describing the experience as ‘horrible’.

Style – A futuristic take on gothic, costume meets couture meets David Lynch. Catwalk show – 15th Sept 2018, 18:00

via Rebecca Cotton/Wikimedia

via Victoria Beckham/Instagram

Pugh continued to participate in fashion events, making his solo debut at London Fashion Week in 2006, and he opened his first boutique in Hong Kong in 2010.



CHRISTOPHER KANE Christopher Kane is a Scottish designer who is part of the Kering group, with other members including the likes of Gucci and McQueen. He has been an award-winning designer from a young age, winning the Lancôme Colour Award whilst still in college, attracting the attention of Donatella Versace. Kane also took home the Harrods Design Award for his MA Graduate collection, causing Versace to snap him up, hiring him to work on their Atelier couture collection. In 2006, the same year he graduated from CSM, he set up ‘Christopher Kane’ with his sister, Tammy, who ran the financial aspects. His first collection in 2006 received international positive critique, and he continued to release one successful collection after another, on top of a stream of awards. In 2007, reportedly 23 pieces were stolen from his collection days before being showcased on the catwalk. Somehow, Kane still managed to orchestrate another celebrated collection, going on to win New Designer of the Year two months later. Still a recent graduate, he not only worked as a consultant for Versace and had his own fashion line, but he also created collections for Swarovski. Style – An eclectic array of texture, colour and fabric, Kane keeps garments close to the form, with the birth of a stimulating concept every season.

via Christopher Kane

Catwalk show – 17th Sept 2018, 13:00


JOIN US ON PATREON! London Runway has just launched on Patreon. Our fans get to see behind-the-scenes content, read the full issue online, and bag lots of exciting extras and goodies. Pledging is also an easy way to subscribe to our biweekly print issues, delivered in full glossy colour right to your door. Our representation promise means that our gorgeous editorials don’t just feature beautiful fashion, but also models that you can identify with. When you pledge, you'll be able to: – Vote on the cover for each issue – Access discount codes from our brand partners – Access behind the scenes content – Download desktop wallpapers from our inhouse editorials – Read the full issue online for free – Receive a print postcard from each issue’s editorial – Access digital bonuses when available, such as presets, overlays, and graphics – Watch and read tutorials and how-to guides from our experts, on a range of subjects related to fashion – Access private Discord channels where you can ask our experts your questions directly

Head to to begin!

THE BIG QUESTION We asked, you answered

“In New York, I went to the Charles James exhibition in the Metropolitan Museum. I went to the opening event and I thought it was the most amazing thing I’d ever seen in my life, because it was based on mathematics. Super complex. I love complexity. He had a dress made of one layer” – Juan Palomino, designer

“I always remember seeing this dress by Vivienne Westwood with a massive full skirt that I just absolutely fell in love with” – Louise Allison, designer at Louise Rose Couture

“I fell in love with gymnastics fashion as a kid” – Laila Louise, former student

“A leather Christopher Kane dress from 2007. This collection had leather ruffs at the hem and sleeves, and even on leather gloves. I thought it was so amazing, so magical, that someone could use that material to produce that result. I’d seen a lot of clothes I liked, but that was the first huge WOW moment that changed my perspective” – Rhiannon D’Averc, Chief Editor

“A little sweatshirt with a heart on it, and there was lots of sparkles in it” Suski Sue, designer at Black Doll Boutique

“My sixth form prom dress! I still have it. I got it from Coast. It was a teal Grecian dress, one-shouldered, and really simple. There was no embroidery on it, so I wore it with these massive orange earrings that had some teal with them and nude shoes. I still every so often get it out and look at it, I need somewhere to wear it!” – Sejal Shah, designer

“WOLVERINE’S LEATHER JACKET” – JARED REHAL, RETAIL MANAGER “Shoes! Heels, oh my goodness. Because I was tall really young, I instantly could wear heels because my feet were just really massive, so I already at the age of 12 had 15 pairs of heels” - Alycia Marie Dean-Johns, designer at Holidolls

“I loved Steps when I was younger so I just wanted to look like Steps, so I think it was a pair of silver shiny trainers that I used to wear all the time, true '90s” – Francesca Palumbo, designer

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





LONDON RUNWAYÂ Find London Runway:

Front cover: International Jewellery London by Ian Clark Back cover: International Jewellery London by Ian Clark


London Runway Issue 24  

Featuring International Jewellery London, London Edge, and The Model Workshops. Gorgeous editorials featuring designers Pauline Wong and Ell...

London Runway Issue 24  

Featuring International Jewellery London, London Edge, and The Model Workshops. Gorgeous editorials featuring designers Pauline Wong and Ell...