INTERVIEWS WITH GAYEON LEE + J.WON . DRUG ABUSE IN MUSIC . CYCLICAL FASHION . MODEL CASTINGS
MARY KATRANTZOU . JASPER CONRAN . MARK FAST . MIMPIKITA . MATTY BOVAN . AMY THOMSON
ISSUE 34 23RD FEBRUARY 2019
RRP £9.99
LONDON RUNWAY
CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Staff Photographers: Ian Clark and Fil Mazzarino - shoots@londonrunway.co.uk Features Editor: Rachel Parker - features@londonrunway.co.uk News Editor: Madeleine Coffey - news@londonrunway.co.uk Music Editor: Neil Dowd - musiceditor@londonrunway.co.uk Staff Writer - Joanna Cunningham Graphic Design: Alex Panek, Melina Hadjiargyrou - design@londonrunway.co.uk Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Contributors: Fatima Salajee, Montu, Joyce Evans, Olushola Christine Adeyanju, Joanna Kowalska, Christine's Atelier, Lemari East, Cleo Bartley, Jacob Goldsmith, Kainath Sarwar Special thanks to the Dyelog PR team, Gayeon Lee, Jiwon Ree, Gary James McQueen, Amy Thomson, Fashion Scout
Interested in working with us? We currently have internships available in the following positions: Junior Graphic Designer Arts Editor Staff Writers Send your CV and covering letter to info@londonrunway.co.uk or apply via FashionJobs.com
Š 2019, 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.
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EDITOR'S LETTER Change, change, change. Every season, it feels like London Fashion Week is heading closer to a big change. This season was a clash of activism vs romanticism. We flocked in our droves to see floaty dresses, piano ballads, and delicate embroidery, but we also saw on-runway protests, heavy metal soundtracks, and deliberately diverse catwalks. As we entered the final day of shows, news broke from Paris that fashion icon Karl Lagerfeld had passed away. Perhaps the universe is gathering pace, now, for the next big change. That hurricane we've been waiting for that will pick us all up out of our seats and show us something we've never seen before - just as McQueen, Dior, and indeed Lagerfeld did in their time. Despite the itchy feeling of muchneeded change, much of LFW could be called a resounding success. We saw some extremely interesting shows and presentations which we
will be sharing with you, along with our thoughts, over this and the next few issues. We've also been chatting to a few of the designers to get their take on what it all means behind the scenes. Personally, I enjoyed a few shows more than others. The Johnstons of Elgin presentation was an oasis of calm and dignity in what was otherwise an incredibly hectic weekend, and i-am-chen impressed with supremely wearable and yet noticeable knitwear. The On|Off show continued a long run of good collections with a consistent stream of high-hitting looks from several worthy designers, bringing the week to a close in the best possible fashion (pun intended). Then there were those that missed the mark entirely. Pierre Garroudi's off-schedule show turned out to be a parade of half-naked, terrifiedlooking women in clothes that had been ripped up and turned upsidedown - not quite a progression from last season as much as a regression, and one I will be erasing from my
memory as swiftly as possible. Elsewhere, long waits for uninspiring collections failed to make braving the cold February weather feel worth it - particularly so at Ashley Williams, whose collection felt more like an amateur art school project than, ironically, the various graduate collections. It's not all about LFW this issue, as we have some other topics on our minds too. We're looking at how the cultural pervasiveness of drugs within the music industry is harming stars, as well as how Alexa Chung has gone from a model to a fashion icon. We've also got a West End theatre review, thoughts on the cyclical nature of fashion, guides on what to wear this month, and more. Plus an exclusive look at a collection launched online from a designer we loved last season! Come back to Issue 35 for more LFW shows and interviews! For now... Enjoy -
RHIANNON D'AVERC
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CONTENTS
20 VISUALS Mimpikita
11 WORDS
7
Fashion News
4
Mary Katrantzou
11
The Style Cycle
17
My Fair Lady (Editorial)
20
J.won Interview
27
New Faces
33
A Legacy of Skulls: Gary James McQueen
32
Slovak Fashion Council
41 The Evolution of Alexa Chung
49
Slovak Fashion Council Backstage 47 Drugs in Modern Music: The Fine Line Between Use and Abuse 64
Style (Conscious) Guide: OffSchedule
51
Amy Thomson
53
Neighbourhood Voices: O2 North Greenwich 74
Jasper Conran
57
Gayeon Lee Interview
78
The Duchess (Editorial)
66
Your Style Horoscope
85
Mark Fast
89
Runway Ready 101 / Casting Report
102
Matty Bovan
96 The Big Question
118
Ryan Lo
104
Pam Hogg
109
Livia Tang
116
LONDON RUNWAY
KATY PERRY COLLECTIONS AND GUCCI FACE ACCUSATIONS OF RACIST PRODUCTS
FASHION
For Gucci, the item removed from its new collection was a black balaclava-style jumper that features a pull-up neck with a cutout mouth surrounded by oversized red lips. The £688 jumper caused an online outcry, prompting swift removal of the product and an extensive apology from both the designer and CEO of Gucci who went on to take "full accountability" for the "unintentional effects". While their apologies were accepted by many, others have accused both brands of insincerity and unforgivable ignorance - some going as far to suggest that these incidents were "on purpose just to spark the controversy" (Fashion designer, Suril Patel).
NEWS BY MADELEINE COFFEY
Katy Perry Collections and Gucci have both been forced to remove items from their recent collections after being accused of using blackface in designs. Blackface is a centuries-old act that saw white performers paint their faces black to mock enslaved Africans. Since then, the issue, and subsequent debate, of blackface has evolved, and the fashion industry has failed to keep out of such controversy. For pop-star Katy Perry, the condemned designs - blue eyes and red lips on black leather loafers that were "envisioned as a nod to modern art and surrealism", states Katy, caused outrage among some customers and were "immediately removed" from the line. Perry is no stranger to raciallyfuelled controversy, often accused of cultural appropriation (deemed by many to be a less visible, though similarly offensive, version of blackface). The pop-star stated in 2017: "I've made several mistakes…I won't ever understand, but I can try and educate myself and that’s what I'm trying to do along the way."
via Gucci (above) via Katy Perry (left)
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FASHION
LONDON RUNWAY
"72 DEAD AND STILL NO ARRESTS. HOW COME?": GRENFELL ACTIVISTS TURN HEADS AT LFW
BY MADELEINE COFFEY
NEWS Image by Jeff Moore via Justice4Grenfell
Almost two years on from the horrific tower-block fire that stole 72 lives and left survivors homeless, Justice4Grenfell (J4G) took to the runway at London Fashion Week demanding justice for the victims of the Grenfell Tower tragedy. Activists, bereaved families, and members of the West London community were joined by highprofile supporters of the cause, including musician Emeli Sande, and models Adwoa Aboah and Clara Paget. The group lined the LFW catwalk, hand-in-hand, wearing T-shirts emblazoned with a poignant message: "72 dead and still no arrests. How come?"
Designed by Grenfell Speaks and SplitSquare Design, the T-shirts served as a tragic reminder that nobody has been held accountable for the devastation caused by the fire, and survivors have been left without sufficient compensation or hope for closure. In addition to honouring victims and defending survivors, the protest aimed to highlight the lack of action that has been done to prevent such disasters from happening again. Poor infrastructure and lack of fire safety facilities in in the building ensured rapid spread of the fire, yet according to J4G, there are still “hundreds of buildings with flammable cladding”
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and “developers and local authorities are consistently ignoring the London Fire Brigade’s advice that sprinklers are crucial in their buildings”. In the aftermath of the fire, a public inquiry to explain why the 24-storey tower was wrapped in combustible cladding was promised. However, in December 2018, it was revealed that the next phase of the inquiry may not take place until 2020.
“I hope the public sees the faces, the stories, and knows that it’s still very much part of the survivors’ everyday lives. People lost their lives, loved ones and homes,” said Adwoa Aboah.
LONDON RUNWAY
KARL LAGERFELD, FASHION ICON, DIES Rumours of Lagerfeld's ill-health circulated following his absence from a number of events, including Chanel's spring/summer 2019 show in January. French media reports that the fashion icon died on 19 February 2019 after being admitted to hospital the night before. Creatives, celebrities, and friends have all flocked to pay tribute to Lagerfeld. The impact of his loss on the industry is immeasurable. "He leaves behind an extraordinary legacy as one of the greatest designers of our time," a statement from the House of Karl Lagerfeld said.
FASHION NEWS BY MADELEINE COFFEY
"Today the world lost a giant among men," commented editor-in-chief of Vogue, Anna Wintour. Karl Lagerfeld was a German creative director, fashion designer, artist, and photographer who lived in Paris. One of the industry's leading creatives and a household name, Lagerfeld was paramount to the success of both Chanel and Fendi and worked up until his death. “Thanks to his creative genius, generosity and exceptional intuition, Karl Lagerfeld was ahead of his time, which widely contributed to the house of Chanel’s success throughout the world," said Chanel chief executive officer Alain Wertheimer. As a designer, Lagerfeld never bowed to trends or expectations and was widely known for his scathing wit, often remarking on fashion fads. He once said: "Sweatpants are a sign of defeat. You lost control of your life so you bought some sweatpants." He worked tirelessly and remained a reliable and authentic designer his entire career, producing over a dozen collections a year until passing - "I do it like I breathe."
Via Chanel
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MIMPIKITA Photography by Ian Clark
Feminine and soft shapes and silhouettes ruled the roost at Mimpikita. Three female founders, each from different backgrounds, put their unique influences together into one collection, where each garment reflects the diverse approach. Prints and patterns complemented each other where they might have clashed, and softer tones did not need to compete for attention even when placed with darker shades. With intention to appeal to every woman imaginable, it's clear that Mimpikita have actually thought this one through - rather than allowing some token diversity as a talking point.
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MARY KATRANTZOU Colours erupted at the Mary Katrantzou A/W19 show, with models swathed in ruffles that burst out of coats and dresses. The rainbow continued through pastel hair extensions and coloured or patterned tights (one of the season's big trends). Natalia Vodianova opened a collection which had more ruffles, sequins, embroidery, and feathers than a drag show. Based on the idea of the creation myth, Katrantzou took us through the elements and out into space with nebula prints and patterns reminiscent of our Big Bang.
Photography by Fil Mazzarino
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THE STYLE CYCLE Joanna Cunningham examines how we return to trends as the decades go by, and searches her own wardrobe to see whether it’s worth storing your old clothes for safekeeping. Very recently, my Grandma was having a shoe clear-out. I noticed because she had some old pairs of boots lying around, and I asked her why they were there. As we’re the same shoe size, she said I should give them a try, as I was clearly admiring them. I really took to an old, brown pair of leather ankle boots, and she said I could have them! She then took me upstairs and opened every box of shoes she could find so I could give them all a try. I was in awe, and my first thought was, “now I know where I get my shoe obsession from”. After she told me that she used to wear these boots when she was my age, over 50 years ago, I was blown away. This was when my second thought came to mind— “I wonder what I could pair these with from my own wardrobe”. And then, a third thought popped into my head— “it’s a good thing she didn’t throw these away, as they’re definitely going to come in handy now”. But why would anyone throw away such a gorgeous pair of boots? I suppose it comes down to this: fashion appears to be constantly changing. Each year, we see new and interesting styles walking the catwalk. Take a look at the past five years of London Fashion Week catwalk style, for example. In 2014, we saw lots of straight-cut outfits, and black and white, and 2015 was the year of padded shoulders and
rounder, less fitted looks. When it came to 2016, these loose-fitted garments continued, with long coats taking centre stage. Jaunty angles and asymmetry seem to have taken the catwalk by storm in 2017, and by 2018, we saw women wearing both dresses and pantsuits. But, when we really think about it, this perhaps shows how fashion has progressed in terms of wearing what makes people feel comfortable, rather than sticking to wearing stereotypically “fashionable” clothes. Women, and people in general, are now encouraged to dress however they choose, without feeling judged, and I love this about today’s society. Yes, we still have a long way to go before everyone can feel comfortable in their own skin, but we’re getting ever closer. With London Fashion Week just gone, I thought it’d be interesting to take a look at how in reality fashion hasn’t always been so everchanging as it seems. When we take a look at what the average people of today usually wear, we see imitations and revivals of past decades everywhere. In the early 2000s, we saw the revival of the 80s, and then the 60s, as well as a nod to Sex and the City, and military wear and African vibes. Then, just before the 2010s, we revisited this 80s revival, which also cut into the early 2010s. I know I remember wearing a lot of neon, alongside leg-warmers and headbands, at this time of my life—it was a pretty terrible look, in all honesty. During this time, the 90s also hopped onto the pedestal, with tribal wear also making an entrance.
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2013 to 2016 saw lots of monochromatic vibes, alongside more hippie or “indie” looks, with lots of colourful prints. Printed leggings, in particular, were a big thing, and I remember wearing space-themed leggings, and zigzagged ones too, quite a lot back then! These days, we definitely see the 70s making more of an appearance, as flares are a lot more “in” now. That said, I really do believe that fashion has become more individual in modern times. Maybe it’s because I’m now an adult, so I wear whatever I want without caring what people think. This means I can really explore the possibilities of my wardrobe without fear. Or maybe it’s because, with the new acceptance of loving yourself as an individual, it’s become a lot more normal to just wear whatever makes you happy? Who knows! This got me thinking—we’re always encouraged to throw away our old clothes and make room for new ones. But should we really do this? With today’s dying world, and our new interest in saving the environment, why waste a pair of boots if they’re still in good condition just because we don’t wear them anymore? Who’s to say we won’t in the future? Considering the fashion industry has one of the biggest impacts on our environment, maybe we should take a step back. There’s nothing to say we can’t just scoop together outfits from clothes we’ve had over years gone by—as long as they’re in good condition, who’s to know? The catwalk is completely different
LONDON RUNWAY to the average person’s wardrobe— it’s much more exaggerated, making us think we need to keep up with the trends. But I think it’d be more representative to look at what “real” people wear day-to-day, to see how fashion is cyclical, not constantly changing, as the media would have it. I’m going to be looking at myself as a great example of this, to see if things have really changed all that much.
sunglasses are also from Pull & Bear, which go back all the way to the 1950s! I wear these in every outfit here, as I think they’re super classy, and make any outfit look really put together. Also, I won’t lie, but it was super sunny when these photos were taken, so that may have been the overarching reason for the sunnies.
Yes, there are always new and alternate styles taking the scene but, fundamentally, I think we all like to take inspiration from years gone by. I know I, an average woman of 21, certainly do. When I peer into my wardrobe, it’s absolutely littered with nods to the past. Let’s take a peek into my own wardrobe, to see what inspiration I’ve stolen from the decades gone-by…
OUTFIT 3: 90S CHICK
OUTFIT 2: DOUBLE-DENIM
OUTFIT 1: 70S REVIVAL Lo-and-behold, my Grandma’s old boots are super versatile, matching a lot of the other clothes I wear. Here they are, in full force, in my 70s revival outfit. I’m just wearing one of my most recent purchases, from Pull & Bear in Oxford Circus—the flared trouser—alongside a really old crop top from New Look, which goes with almost anything. My
I absolutely adore 90s fashion (as you’ll definitely notice here). I was born in the 90s, but was just a small child back then, so never really got to experience the full force of those vibes. This may be why I am instinctively drawn towards the 90s above any other decade, and I think I always will be. Here, I’m wearing just a basic pair of Topshop Mom jeans, with a New Look denim jacket, and a mustard body from Pretty Little Thing. This pairing of two denim pieces is so stereotypically 90s, and I have to say, I’m digging it. I’m also wearing these bright white ankle boots from Public Desire, which I think add that hint of the 70s, minus the platforms of that decade. This just shows how it’s perfectly okay to mix up the fashion of decades past, to create new looks of your own!
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This is another of my 90s outfits, wearing clothes I’ve had for years! These Reeboks entered my wardrobe about three years ago and add that girly touch to any casual outfit. My denim skirt from Boohoo, and “Say What?” T-shirt from ASOS, which I got when I was still at school, also add that cute Clueless vibe which I’m all about. And finally, the jacket —this was actually such a steal, as I managed to nab it for £5 in a charity shop! It’s just a BHS bomber, which is super thin, but great for the spring and summer seasons. Although this is clearly a very 90sinspired look, it still also gives me the sort of Grease Pink Ladies vibes too—very 50s.
LONDON RUNWAY
Physical, is a super flattering pop of colour to any outfit. It’s certainly a strange combination, but I’m all about mixing-and-matching different colours and styles.
OUTFIT 4: KINKY OUTFIT 5: LET’S BOOTS GET PHYSICAL Right, let’s talk about these boots—I purchased these in New York about a year and a half ago, and they are probably the most 70s item of clothing I own. This outfit is pretty plain, as I wanted the boots to speak for themselves, but I would probably wear this on a night out, perhaps with a mesh t-shirt dress over the top, for a colder night. This really shows how you can tone down a more out-there item. My favourite thing to do with fashion is to make one item the stand-out piece, like these boots, pairing it with more toned-down items. This way, you don’t have to be overly garish with your look—you can make it a little subtler and “with the times”, whilst still getting great use out of the more interesting wardrobe pieces.
Last, but not least, I’ve partnered two of the most out-there decades of them all—the 70s and 80s. These shoes are also ones I’ve had for years, and I wear them pretty often on nights out, as they’re actually ridiculously comfortable. I think that’s why people adored platform shoes 50 or so years ago, as they add a pop of colour and height, but they’re also a lot comfier than they look. Also, here we go again with the flared culottes, which are such a staple in my wardrobe—I have five pairs, all of different colours and styles! I find these black ones perfect for both nights out, and the office, as they’re super smart when paired with the right look. Finally, this 80s style body, which very much reminds me of Let’s Get
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So, that’s a little peek into my wardrobe. Frankly, these outfits may not be for everyone, as I quite often like to mix weird items together to make outfits I feel comfortable and cool wearing. But, whether they’re actually “cool” is very questionable. I think that’s the beauty of today. My wardrobe shows you the possibilities of mixing decades of fashion together to create new and interesting outfits for a number of occasions. Even if you have one particular item of clothing you think may not be super “fashionable” nowadays, there’s no point wasting it—you can just add it to a more “in” outfit to get the most use out of it! I really do believe that, although it’s super fun and rewarding to spend money on new clothing and shoes, it’s entirely possible to revisit the decades of the past with what we already own. Be thrifty, and think of our environment—your future self may thank you.
You can keep up to date with Joanna’s latest written work on her blog, itstartedwithrebecca.wordpress.com, or follow @itstartedwithrebecca on Instagram, and @iswrebecca on Twitter.
my fair lady Photography: Montu - @montuph Creative Director: Olushola Christine Adeyanju Fashion Production: Montu&Joyce - @mj_fashionproductions Hair and Makeup: Â Joanna Kowalska - @todesengl Wardrobe: Hats by Christine's Atelier Model: Joyce Evans - @joyce_weiss_evans Venue: The Hill Garden and Pergola, London
Joyce wears: Jane Hat - Price on Request, Christine's Atelier
Joyce wears: Dawn Hat - Price on Request, Christine's Atelier
Joyce wears: Miss Maisel Hat - Price on Request, Christine's Atelier
Joyce wears: Tammy Hat - Price on Request, Christine's Atelier
Above: Joyce wears: Deana Hat - Price on Request, Christine's Atelier
Right: Joyce wears: Hadassah Hat - Price on Request, Christine's Atelier
Above: Joyce wears: Lynette Hat - Price on Request, Christine's Atelier Below: Joyce wears: Leonie Hat - Price on Request, Christine's Atelier
Joyce wears: Jamie Hat - Price on Request, Christine's Atelier
J.WON INTERVIEW
Rhiannon D’Averc grabbed some time in the LFW Designer Showrooms to chat with Jiwon Ree, the designer behind label J.won, before she returned to her home of South Korea. Talk me through the current collection. It’s about the circus, as you can see. Lots of animal print, trying to integrate a print into my collection. J.won is always focused on colours, and colours are my signature, as well as stripes. Stripes carry through every season for us in different ways. I also used metallics. For images of the circus, I tried to put it in a shiny effect. I also did quite a lot of t-shirts with an animal print. That’s pretty much about it! What made you settle for the circus theme? That’s a theme I always wanted to do in my collection, but I couldn’t find the right moment. Now it’s kind of a trend with Gucci and all the flashy stuff. I thought maybe this is the time for me to do the circus theme! More fitting my inspiration into a trend, but sometimes that works. What is it about knitwear that you’re drawn to in particular? I studied knitwear. It’s been 15, 16 years since I graduated. I like soft textures. I really like a soft touch and feel, so that’s why I like knitwear.
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You’ve worked in South Korea, the US, and London as well, isn’t that right? I graduated from school in San Francisco. When I graduated, I went to McQueen as a guest designer. He chose one intern for the graduate fashion show, so I won the Alexander McQueen scholarship prize. That’s how I came to London for the first time. After I graduated, I went back to New York, to work with Ports 1961. I worked as a knitwear designer for a few years. I went back to Seoul, then came back to London. I started to work for Jas MB. I launched my brand – it was a knitwear label, accessories normally. After I worked for Jas, I started to work for Roland Mouret. Then I launched my own label five years ago. Did you find it difficult to adapt to so many different brands and styles? I think I’m quite flexible in terms of design. I tried to fit in their brands. I’m quite creative, I think. When I was working for Roland Mouret, I was all about the silhouette and the shape. But I always wanted to launch my label with all my signatures in it. What are the differences you noticed between the cities you’ve designed in? London is definitely my favourite city. As a designer, there are so many sources and so many inspirations out there. Even in the street, I get so much inspiration. Sitting in a café, looking at what people are wearing outside, it really makes me do something in my collection. But now, looking back, I was really happy in San Francisco. The weather was perfect, good food, nice people. For me, New York is not really my city, I think. It’s a big city, but I like a city with a bit of quirkiness in it. That’s why I love London the most. What are your future plans at the moment? Future plans… that’s a hard question! [laughs] Definitely I want to focus on my brand. I want to build it. I want to sell in major cities, major department stores – that’s my goal. But I get pretty good feedback from the customer. Actually, I do have a lot of traffic coming back to my website after they already bought previously. I think that’s quite a good sign. Also, I’m building up my audience in South Korea. I’m based in South
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Korea at the moment. I’m selling in many department stores and sales are growing, and I think that’s quite a good sign. Do you find the customers in Seoul and London buy the same pieces, or do they have different tastes? It’s always a little bit different. The weather is different, the colours that they like are different. But there’s always the common stuff they like. Shop the latest J.won collection at j-won.com. J.won lookbook images via Dyelog PR
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A LEGACY OF SKULLS: GARY JAMES MCQUEEN Rhiannon D'Averc spoke to Gary James McQueen about his silk scarf range, future plans, and the legacy of working with his late uncle, Alexander McQueen. Gary James McQueen does not resemble his late uncle so much that you might notice him on the street. However, once you are given the name, it's easy to spot him from across a crowded room. The similarities become much clearer with a closer look. Far from living in the shadow of a more famous family member, Gary has embraced that legacy. He worked with Lee Alexander McQueen at his eponymous label while the iconic designer was still alive, creating digital artworks to be printed onto fabric for the clothing. That is still where his skills lie, and he has become celebrated in his own right for his ability to create interesting prints from lenticular images and still scenes. He has nothing but respect for his uncle, saying that he wants "to carry on his legacy". "I left the brand after his death," he tells me. "I felt it got a bit diluted." It's clear to see why he feels that way. The bold silk scarves and allover body prints he is creating now feel more like a true successor to the brand than the direction it has taken in recent years. They call up references to the iconic skull prints with the use of bones to create floral patterns, and the S/S '10 Plato's Atlantis collection in the manipulation of pattern across the fabric.
bone pattern. "But you don't see that it's skulls until you get close up, which I think is really nice." There's a clashing of the modern and the traditional in Life, a celebratory image picked out in blacks, greys, whites, and reds. Then there is Rebirth, accompanied by a mask which covers the whole face. This one is all about calling forth spirits from another dimension, bringing them back to a physical body. "I had the triangles made and then attached them all individually together with jump rings," Gary says, pointing out salient areas on the mask. Indeed, it's clear that he has a strong hand in every single thing that is created for his range, from the prints and the materials right through to the promotional imagery. Three large poster images surround us, each one representing one of the prints. He tells me, with clear pride, that he art directed everything himself. He chose the model, who appears in all three shots, and the campaign photography was completed in two days across different locations. So, what of his famous name? "It's a double-edged sword," he tells me with a grimace. "Stores don't want to step on the McQueen brand."
His collection of three main designs is called Life, Death, and Rebirth. Each of these elements is represented in a scarf print, all of them unique and eye-catching. "People think it's bad luck to wear death," he smiles as he shows me Death, the aforementioned floral
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There are evidently difficulties with stocking the scarves made by two brands which both appear to have the same name. But despite this, Gary is obviously not open to entertaining the idea of dropping the moniker. For him, it's a source of pride - and perhaps an avenue for him to bring that legacy and style back to the McQueen name. When I ask him whether he considers himself a designer or an artist, he pauses - but his answer is resolute. "I make wearable art," he says, glancing around the room at his creations with a nod. Prepare to see more from this name in the very near future. There are sure to be kimonos coming out soon with the print, something that has me very excited, and there's also a super-secret project with Faberge that no one is allowed to talk about just yet. One thing is clear: this man is not going anywhere until he has made his mark. Shop the collection and more at garyjamesmcqueen.com. Below: Carved Ivory (Death) square silk scarf and Gary James McQueen at the Saatchi Gallery during Scoop AW19, in front of images depicting Modernist Fantasy Birds (Life)
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NEW FACE Name: Lemari East Age: 20 Location: Islington, near Kings Cross Agency: Unsigned How long have you been modelling for? One year. Where are you from originally? The UK.
Photography by Rhiannon D'Averc
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Do you have an unusual talent or party trick? I can move one eye and keep the other still. What would surprise people to know about you? I did a catwalk for Equal Order at LFW, and when I was 12 I was at the Pride Of Britain Awards. What are your modelling ambitions? To represent the brands that want me to wear their clothes.
LONDON RUNWAY
NEW FACE Name: Cleo Bartley Age: 24 Location: I live in South London right now. Agency: I’m currently with Frame Perfect. How long have you been modelling for? So I started when I was 11 until I was 13. I took a break and restarted seriously when I turned 20. Where are you from originally? Ethnicity wise my background is Jamaican, Kenyan and Cuban.
Photography by Fil Mazzarino
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Do you have an unusual talent or party trick? I’m double jointed in my thumbs What would surprise people to know about you? I did ballet for 11 years. What are your modelling ambitions? In five years I’d want to have done a few catwalks for some bigger names and have been featured in some magazines.
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NEW FACE Name: I’m Jacob Age: 26 Location: I’m now based in West Kensington. Agency: I’m totally freelance at the moment. I’m looking for an agent though. How long have you been modelling for? A week, literally a week. Where are you from originally? I’m originally from Tooting. I grew up in Brighton.
Photography by Fil Mazzarino
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Do you have an unusual talent or party trick? I can do the worm What would surprise people to know about you? I was a semi pro MMA fighter. I don’t know how I managed to keep everything intact but here I am [laughs] What are your modelling ambitions? My face above Times Square.
LONDON RUNWAY
NEW FACE Name: Kainath Sarwar Age: 19 Location: Woking, Surrey Agency: TMA How long have you been modelling for? Only four or five months. I was doing it when I was younger but I recently got back into it when I was asked at a train station.
Photography by Rhiannon D'Averc
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Do you have an unusual talent or party trick? I sing. What would surprise people to know about you? My ethnicity – I am Pakistani but people don’t usually guess. What are your modelling ambitions? To make my own clothing brand, so see if I can hook up with a company that could help me do that.
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SLOVAK FASHION COUNCIL Together with Fashion Scout, the Slovak Fashion Council presented 'Mind the Map', a collective of five Slovakian designers. They were: Lukáš Krnáč Pavol Dendis Petra Kubíková Silvia Zrebna Vivien Babicova The catwalk show was followed by a showcase inside Freemason's Hall, where guests could examine the clothing up close.
Diana Kleinert, Chairwoman of Slovak Fashion Council, said: "It is of great importance for emerging designers from abroad to present their collections in such cities as London, where the fashion industry strives the most and where the top industry professionals, inc. media, buyers, influencers, and opinion leaders are based."
Photography by Ian Clark
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SLOVAK FASHION COUNCIL BACKSTAGE
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THE EVOLUTION OF ALEXA CHUNG THE ‘IT’ GIRL OF FASHION - FROM MODEL TO DESIGNER With the approach of Alexa Chung’s second runway show, Fatima Salajee looks at the evolution of Alexa Chung from model to designer, and how ALEXACHUNG is taking London Fashion Week by storm. For the past decade Alexa Chung has graced both our magazines and our TV screens. But with the success of her second runway show and becoming a household name in the fashion world as the designer, how did the ‘IT’ girl make that transition from model to designer? Born on the 5 November 1983 in Hampshire to an English mother and Chinese father, Alexa was the youngest of three children. At five foot eight Alexa was quickly scouted and began modeling at the age of 16. Even she Alexa was accepted to Kings College London to read English and Chelsea College of Art and Design for their foundation course, she opted to become a model, signing with Storm. Over the past decade and a half, she has collaborated with many designers such as Madewell, Lancôme and Mulberry (the Alexa bag is one of the brand’s bestsellers). Alexa then moved on from modeling and graced us with her presence on the TV screen appearing as a television host on Big Brother’s Big Mouth and It’s On with Alexa Chung as well as having a column in The Independent and being a contributing writer to British Vogue. So, with an alreadybooming career, what propelled Alexa to start her own line?
via Instagram In 2016, after seven years of living in New York City, Alexa Chung moved back to London. It was at that time that her then boyfriend Alexander Skarsgård persuaded to start her own fashion line rather than have another collaboration. Thus, the namesake label ALEXACHUNG was born. The vision for the brand was “Parisian chic with a New York edge, combined with a very British sense of humor”. ALEXACHUNG’s dresses, trousers and tops elicit confidence for the wearer. They are purposeful
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clothes with Alexa’s imprint of cool. For Alexa it was incredibly important for her to base her business in London. She has stated, “I wanted it to be a British brand. There are elements of Britishness I’ve always loved: being open to eccentric people and having an inbuilt humour kit.” This is reflected in her brand with its tomboyish but romantic and slightly ethereal,whimsical clothing. Since the launch of ALEXACHUNG in 2016, the brand has taken off. It currently has 140 stockists in 22
“Parisian chic with a New York edge, combined with a very British sense of humor”
via Instagram countries and has exceeded its financial projections. Currently the brand has a staff of 25, including Edwin Bodson, the managing director, who came from the brand Haider Ackerman. According to Bodson, Alexa’s first sales were 40% above target and he has said, “She asked me to make a very honest, clean supply chain and to have a quality level she can be proud of.” 70% of ALEXACHUNG products are made in Portugal, with all the leather and denim made in Italy. Bodson has also stated that if any products are made in China they are audited heavily, making the brand incredibly conscious of their impact in the world. In September 2018, Alexa Chung moved on from having her own label to her first runway show. The show was called ‘Arrivals and Departures’, and even had its own fake logo for a travel company, AC World Travel Inc. The message of the show was about transition, in the eyes of Alexa Chung this would be saying goodbye to New York and hello to London. It took until 2017 for Alexa to make London her permanent home with less transatlantic travelling.
Alexa chose the theme of ‘Arrivals and Departures’ as she has always been fascinated with airport travelling; this is because there are people from all over the world in one hallway, all with different fashion tastes expressing themselves. "It’s where people are the most vulnerable, because you're flying either long haul or short haul but feeling really gross, so how does one's personal style leak out of them when they're in an environment that's deeply unglamorous?... When you do spot someone that's looking really dapper in an airport you're like 'wow, total image commitment.” For the artistic process, Alexa looked for inspiration from the 1960s and 1970s, times which inspire her own personal fashion style. Alexa said her influences were George Harrison in a departure lounge and Bianca Jagger and Pattie Boyd on the steps of a private jet; a time where travelling by plane was a unique experience. The clothes represented the glamour of vintage air travel. Think vintage styles silky pastel dresses with bunnies or postcards or vinyl rain macs, mustard suits and bucket hats with jelly sandals. The
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via Instagram collection also featured eveningwear including a black slip dress with rhinestones and a sequins dress with a thigh high split, making the clothing sexier but still with the ALEXCHUNG vibe. The show itself had very few celebrities attending, a point that was made by Alexa herself as she wanted the public to recognise the brand itself. The show was a hugesuccess, with queues outside the Victoria House Venue of major fashion editors. With Alexa Chung’s second show happening this LFW, the world of fashion awaitedto see what she would bring to the stage. I personally can’t wait to see what Alexa Chung does next, she is a breath of fresh air in the fashion industry and her ability to infuse New York chic and Parisian staples into London fashion is what makes her unique.
You can read more of Fatima’s work on LondonRunway.co.uk.
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STYLE (CONSCIOUS) GUIDE The dream outfit to get snapped in post-LFW
AEIBE at Lone Design Club Anna silk dress Gold flower £480 We Earth London Tassel Hoop Earrings £27
Gucci Marmont Medium velvet shoulder bag £1420 Victoria Beckham Leather sandals £530
OFF–SCHEDULE
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TRUE WEST
VAUDEVILLE THEATRE Rhiannon D'Averc reviews the latest showing of Sam Shepard's Pulitzer Prize-winning play. Last time Kit Harington took to the boards in London, the queues were so long that camping equipment was advisable. While the day tickets for True West were rather more accessible this time around, that was no reflection on the quality of the performance on offer. Game of Thrones fans might have been hanging on every word from the curly-haired actor, but his character here is very far removed from Jon Snow indeed. Harrington plays Austin, a screenwriter who has successfully pitched a new film to a producer while looking after his mother's house in the desert. Everything starts to unravel, however, with the arrival of his wild, bad brother, Lee. Two people could not be more dissimilar. Where
Austin is a neatly-coiffed, smart, Ivy League-educated writer, Lee is a violent, angry, dirty thief. The start is somewhat slow to pick up: introduced to these warring siblings, we feel a gradual but steady rise in tension. When Lee pulls off the sabotage of the century to get his own story made into a film instead, Austin quickly goes off the rails - though by the interval we're left simply waiting for the inevitable fistfight.
household objects with a golf club, buttering a full loaf's worth of toast (don't ask), or struggling with a seemingly never ending typewriter ribbon, the actors don't stop until the end. Everything culminates in that hectic fight scene we'd all been waiting for - including an impressive deconstruction of the whole set which must be hell for the stagehands to put back together. And there's also hell to pay when Mom gets home...
Which is why their return for the second half is such a pleasant surprise. Instead, we see a role reversal. Sensible and responsible Austin is now free to go on a drinking binge, while the barely literate Lee has to figure out how a typewriter works and come up with a screenplay.
While Harington is the name putting people in seats, and while he does shine on stage, he is outdone by his partner. The best performance of the night comes from Johnny Flynn, who is note-perfect as the psychotic but sympathetic Lee. His facial expressions are a treat, telling us the inner motivations and thoughts of his character whilst simultaneously hiding them from the others stage.
What follows is dark comedy at a fine level. Whether destroying
Costume is played well. Characters are delineated clearly by their wardrobes, establishing simple stereotypes for the audience to understand from the get-go. As the story progresses, so do the outfits, painting a tale of desperation and envy. The hair and makeup department also do a meticulous job, with Harington's hair descending from greased neatness to the wilder look that he is more known for as each progressive act moves on. All in all, a very fine production. While there has been some criticism from others of the set, which bends off at odd angles and later opens to the desert air, it seems a petty gripe to have. But then when a performance is as good as this, only petty criticisms are left.
True West at the Vaudeville Theatre, starring Kit Harington and Johnny Flynn, until 23rd February 2019.
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AMY THOMSON
IN COLLABORATION WITH SASSY FREAK Photography by Georgie Fen Amy Thomson presented her collection digitally this season, launching with an exclusive fashion film and lookbook. The Loved and Lost collection draws on the shapes and colours of last season's looks, as well as retaining the accessories collaboration with Sassy Freak, but presents an evolved view. Exploring themes of childhood love, the pieces explore the memories of that first childhood crush through to the first big falling out with a best
friend. Feminine and romantic colours coated faux fur, silk, and foiled leathers, with embroidered illustrations creating motifs with slogans about young love. The glammed-up Sassy Freak jewellery is unignorable, with oversized toys and charms adorning earrings and even glasses. This is a fun, playful collection with a lot of heart - perfect for those who wish Valentine's Day came every month.
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Photography by Ian Clark
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JASPER CONRAN Strong shapes ruled the day for the A/W19 Jasper Conran collection. Simple and smooth silhouettes were blocked out in colour palettes of bold and bright against darker shades. Swirls, stripes, and abstract curves or lines created visual illusions across the models' bodies.
Overall, it made for a relaxed and sophisticated collection quintessentially Jasper Conran. Staying firm in the face of the trends for ragged, punk cut-ups and effervescent textures, it demonstrates a maturity and grace not swayed by current events.
Photography by Fil Mazzarino
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DRUGS IN MODERN MUSIC THE FINE LINE BETWEEN USE AND ABUSE
Neil Dowd explores the subculture within the music industry that glorifies and encourages drug use and how this has quickly turned to abuse for many musicians. ‘Sex, drugs and rock’n’roll’. The colloquial phrase popularised in 1977 by Ian Drury refers to the debaucherous lifestyle stereotypically linked to rock musicians in the 1960s and 70s. However, the link between substance use and various musical genres and scenes has been an ongoing discussion (and issue in the eyes of some) dating back as early as the 1930s, with many jazz and swing musicians of the time being open with their use of cannabis, even touching upon the matter in their lyrical content. These references can still be found in modern popular music, with The Weeknd’s ‘I Can’t Feel My Face’, ‘Chandelier’ by Sia and ‘Rockstar’ by Post Malone being just three examples of many highly charting songs that refer to substance use in their lyrical content. In the eyes of some, the problem is that referring to these substances in the media can spark a curiosity to try them, with the demises of Amy Winehouse, Mac Miller and Lil Peep being a few of far too many instances where the line between use and abuse has been so easily crossed. The loss of a life way too young has been the ultimate repercussion. One example of an early reference to recreational drug use in recorded music was ‘Reefer Man’, a song performed by Cab Calloway in 1933 comedy film International House. Even then, the casual references to substance use attracted the attention of many journalists at the time. A particularly noteworthy article written on this matter was ‘Exposing the Marijuana Drug Evil in Swing Bands’, a piece published in the music magazine Radio Stars,
written by Jack Hanley. In this article, Hanley recalls a conversation he had undertaken with a band leader, discussing how a younger musician in the band “used the weed so consistently that he was quite undependable”. He then went on the comment upon how the individual's drug use affected his mental health, stating that “the fits of deep depression reefers so often produce would seize him until he had to be restrained from suicide”. The 1960s and 70s were a time when references to drug use in music could be found in abundance. A big factor that contributed to this was the rising mainstream popularity of psychedelic music; a wide range of genres influenced by psychedelia. Psychedelia is the term used to describe the subculture of people who often use psychedelic drugs such as LSD, mushrooms and mescaline. Typically, the aim of psychedelic music was to recreate or reflect upon the experience of using drugs in order to convey this experience to the listener. However, many users also used psychedelic art forms as a means to enhance their own experiences whilst using drugs. Some distinctive musical elements of this genre was the use of distorted electric guitar and sitar in the instrumentation, the incorporation of electronic effects and the use of recording techniques which were viewed as experimental at this time. Harshly panning the music from one side of the stereo mix to the other is just one example of this. The rising popularity of psychedelic music coincided with the increased commonality of recreational drugs due to their mass production, which led to them being much easier to obtain. In his article for The Globe and Mail entitled ‘Russell Smith: Exposés on EDM festivals shift long overdue blame’, Smith cited previous genres that were heavily associated with
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drugs, referring to disco and its relation to cocaine as well as punk music's relationship with heroin. The term Electronic Dance Music (often shortened to EDM) is used to cover a range of percussive electronic music genres and is typically made to complement a nightclub, rave or festival setting. It is often produced for DJ’s to perform in a live setting, creating segues from one track to another. EDM first rose to popularity in the late 80s and early 90s, following the increased popularity in raving and club culture.
Images via Pixabay
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In the UK, Garage was the most popular of the EDM genres and saw the height of its success during the 1990s. The musical features that were most typically associated with this sub-genre are a 4/4 percussive rhythm, the use of syncopation on the hi-hats, cymbals and snares, and the use of sampled, and often pitch-shifted vocals from wellknown songs. Whilst Garage was at its most successful in the 90s, there was a brief revival of the genre’s popularity in the early 2010s. A few electronic duos found mainstream success while incorporating elements of Garage into their music, Disclosure being a very highly renowned example of this. Much like psychedelic rock, EDM has also been closely associated with the use of recreational drugs, particularly MDMA. Similarly to the psychedelia subculture, this is because the drug is said to heighten the sensory effects that the music and rapid lighting of the club environment have on the user, with users enjoying it for its inhibition reducing effects. There have been many instances where world-renowned musicians
have openly discussed their own experiences and opinions on the matter of drug use outside of their lyrical content. A very recent example of this can be seen through Matty Healy, the frontman of The 1975. When discussing his experiences with drugs, Healy explained how his constant search for fulfillment and stimulation led to addictions to sex and other substances.
to be with your friends’. Many individuals in the hardcore punk scene are directly opposed to this idea, identifying as part of the ‘straight edge’ subculture. This term refers to an individual who refrains from using alcohol or any other recreational drug with artists such as James Hetfield, Patty Walters and Tyler The Creator being just a few musicians who identify with this subculture.
Furthermore, in an interview with Matt Wilkinson, he commented that “when I was younger, I always used to dream about being sedated”, continuing to say that drugs were the only thing to temporarily give him that feeling. Healy also touches upon the idea of the romanticisation of substance abuse in this interview, explaining his use of sarcastic or ironic lyrics which show this message to be untrue. Healy maintains that his decision to speak about drugs in his music is a matter of artistic honesty as opposed to a romanticisation of drugs.
The relationship between drugs and music has arguably never been more prominent. With the rules regarding censorship on the radio becoming a lot less strict than they may have been twenty years ago, it is now much more common to hear references to drugs on a daily basis. This therefore only heightens the importance of the conversation about drug use in order to break down any stigma surrounding it and to provide those who are looking to experiment safe means to do so.
In contrast to this, there are also artists who are open advocates for drug use; with Miley Cyrus supporting the use of ‘happy drugs’ remarking that ‘they make you want
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What's your opinion? Chime in at @londonrunwaymag
Photography - Robert Bedson Wardrobe: All clothing items by Sharon Bowen-Dryden Model: Chloe Jasmine Whichello MUA: Gemma Rimmington Assistant: Rhiannon Bedson Location: Â Castle Goring, Sussex
The Duchess
NEIGHBOURHOOD VOICES: O2 NORTH GREENWICH Candice brings you to the O2 in North Greenwich to hear some more London voices. Constantly buzzing with people, the O2 Arena in North Greenwich always has some amazing concert, show, or event happening. Some mentionable artists that have graced this place include Bon Jovi and the Spice Girls! Along with the music, it is also filled with amazing restaurants, a cinema, and a bowling and game center. Even if you’re there just to admire the grandness of the whole arena, you can do that too. Because it is such a hub, there are so many different types of people and styles that can be seen when venturing in.
RAE HOBAN (STUDENT, DELAWARE (USA), LONDON)
What and who are your fashion inspirations? I find myself not really inspired by anyone as boring as it sounds. I like to evaluate my fashion sense entirely by what looks good on me and feels nice for the weather. I don't really have loyalty to any one brand or designer. What goes into your decision process when dressing and presenting yourself? Does the neighbourhood or where you are from affect what you decide on? I think it might? Being from America, my usual day to day consists of jeans, boots, and either a t-shirt or a plaid buttonup. I love dressing up, and that is where my fashion becomes decidedly European. Do you come to O2 often? Why? Not really. It was my first time there. I didn't avoid it for any reason in the past. It's just the path my life takes.
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CAM CHAPPELL (UAL FINE ARTS STUDENT, CAMBERWELL)
What and who are your fashion inspirations? I don’t really have any fashion inspirations per se, but I'm always wearing something that’s comfortable, practical (pockets are a must!) and colourful. What goes into your decision process when dressing and presenting yourself? Does the neighborhood or where you are from affect what you decide on? My neighbourhood is full of my fellow art students, so I think that does affect how I dress because, in a community where my peers wear a lot of really crazy and experimental things, it gives me the confidence to be more experimental in my own fashion. Do you come to O2 often? Why? Not so often! It's not been on my radar until recently.
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What and who are your fashion inspirations? I've always tried to be as fashionable as my mom. She has taught me that class and elegance can be applied to a variety of styles, and although I don't always go that route, it's always in the back of my mind. What goes into your decision process when dressing and presenting yourself? Does the neighborhood or where you are from affect what you decide on? As someone who grew up in sunny Venezuela, I've had to change the way I dress over the years not only because of the climate but also the social scene. I've become more confident, experimental and unapologetic.
ANDREA CAPDEVIELLE (STUDENT, VENEZUELA)
Do you come to O2 often? Why? I don't, but maybe I should! The few times I have been here I've really enjoyed myself. I guess I don't visit a lot because, in my mind, it's a concert venue and not a place to hang out.
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CERYS CHAMBERS (PHYSIOTHERAPY STUDENT, PRESTON, LANCASHIRE) What and who are your fashion inspirations? Anything that I think is both cute and comfortable - I’ve got a bit of a soft spot for pastel colours and stripy shirts. Plus, I’m rarely seen not wearing my floral DM’s and a denim jacket. What goes into your decision process when dressing and presenting yourself? Does the neighbourhood or where you are from affect what you decide on? In a sense! I’m from the north of England where it’s significantly colder than London - I’m constantly wearing fewer layers than my friends, especially in the Winter months, and they nearly always comment on how cold I must be when I’m not. I just don’t feel the cold as much! Do you come to O2 often? Why? I come to the O2 more often than most people because I actually work here! I work as a bartender backstage, and I absolutely love my job.
You can see more of Candice's work on Instagram by following @Candice_x9.
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GAYEON LEE INTERVIEW
LONDON RUNWAY Rhiannon D’Averc spoke to South Korean designer Gayeon Lee after her presentation, her second during the official LFW schedule.
Can you tell us about the new collection? This is my Autumn/Winter ’19, and it has been my second time showing on the London Fashion Week official schedule. I was very happy, and I’m very happy about how people reacted. The comments I heard were that the collection is more flattering, it’s more accessible, and it’s very calm and subtle. They expect London Fashion Week to be more avant garde and very different. That’s eventually what I want to do, because I’m a woman and I want to dress women beautifully. I know how it feels special when you have confidence in what you’re wearing, and I want to make them look beautiful. That’s what I want to do. So, I was very happy in general. This season I was inspired by this French artist called Pierre Boncompain. He paints these beautiful paintings with very subtle colours. He paints with layers of fabric on the table and the floor. The textiles that appear in his paintings really captured my eye, and the colours as well. So, as you can see, the collection has so many colours that work together as one. In terms of silhouette, I always admire a ‘50s, classic silhouette. With a little bit of twist, a gathering, pleating, button placement, changing the proportions. I always love playing with those elements. It’s very feminine and elegant. A lot of collections this season have had the same elements, whereas you stay true to your own style, which is fantastic.
things on me, I love using black but when I design, I love using colours. I’m not a designer who does black or white all the time. I love exploring colour and trying different ones every season. I think that’s something I really want to do as well. When it comes to presenting your collection, is there anything that goes through your mind in terms of casting the models or looking at the styling? When I cast the model, the thing I care about most is the fit, because I really care about the proportion of the garments. It’s very specific. Every woman has a different body, right? Obviously models have a very good proportion usually, but still, I have to see very carefully, because I understand a woman’s body – the length of the dress, the pocket’s position, the waistline. Everything is about the fit. When I cast a model, that’s the thing I care about most.
"EVERY WOMAN HAS A DIFFERENT BODY, RIGHT?"
Tell us about the accessories with this collection. People love the accessories. I think it’s more accessible than clothing. It catches people’s eyes, and it worked really well together with my collection. With the handbags, the metal handles are a series continuation of my previous season. I did a collaboration with a NewYork-based jewellery designer. We did a similar concept, this time I did leather handbags showing three different colours on one bag. I think it worked really well together with the colours of the collection. Same for the shoes, I try to do shoes for every season now because I want to complete the whole look. There’s three different colours in each shoe. It’s the same concept for the handbags. I did the ankle boots, I did half-colour shoes for my Spring/Summer and this is also a continuous line from there. Is that something you intend to continue with as well?
How do you feel the style and the fashion changes between Seoul and London?
Are there any themes you keep coming back to season after season?
I showed in Seoul twice before, but it’s been a few years. In Seoul, I don’t know if it’s the right way to put it, but it’s very trendy. You see this trend, and then it’s everywhere. It’s good because if you know the trend, then you can sell a lot. In terms also of media that comes to the shows, in Seoul, it’s all the big media – things like Vogue, Elle. Here, there are more independent magazines and people who are genuinely interested in finding new designers. Stylists, photographers – there are more people engaged in London. I think that’s the main difference.
It’s not a specific theme, but I think I love using colours. When I wear
What are your plans for the rest of the year?
I can’t do it different, because that’s who I am and what I believe. I have to keep trying with what I love, and I hope people love it.
I’m here in London now, but I’m going to Paris for Paris Fashion Week. I’ll be showing my collection in the Paris Showrooms. I’m hoping to meet more buyers there so my collection can be stocked in retailers. Then, after, I’ll start working on my resort collection, which will be in June. Non-stop! I have to really keep going to show something new every time.
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I think so, if I keep showing in London Fashion Week as a presentation or in show format, I want to do handbags and shoes. I think it’s really important.
"I HAVE TO KEEP TRYING WITH WHAT I LOVE, AND I HOPE PEOPLE LOVE IT" Shop the Gayeon Lee collection at gayeonlee.com. Collection images via Dyelog PR
LONDON RUNWAY
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YOUR STYLE HOROSCOPE With a cute handbag to carry all of your essentials, Candice brings you some cafe suggestions for you to get sh*t done or relax and recharge in.
Aries March 21 - April 20
“A blank canvas for positivity,” The Canvas: Cafe supports female empowerment, inclusivity, and much more while providing a safe space filled with delicious and sustainable vegan dishes. Passionate Aries will feel pumped and ready to tackle society’s woes walking in with this MATT & NAT red ‘Brave’ backpack.
Taurus April 21 - May 21 Practical Taurus will fit all their essentials into this convertible leather backpack/handbag from From Belo (Fun fact! Every bag purchased means 6 plates of donated food to an organization feeding the homeless). Head to the Black Swan Yard cafe for some quality coffee that will energize you for the day!
Gemini May 22- June 21
For this fun-loving sign, the Draught board game cafe is the perfect place for them to chill or get competitive with friends or family. The Fiona Belt by JW PEI is the perfect accessory to wear with its bright, playful mustard yellow color.
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Cancer June 22- July 22
This classy Myra bag by ZAMT with its unique circular shape will go perfectly with the aesthetics of the Monocle Café, where a Cancer can pick up a copy of their magazine and a delicious plate of Japanese inspired cuisine.
Leo July 23- August 21 Aesthetically pleasing, showy, and pink all over, Leos will love coming to Peggy Porschen for a sweet treat to chat with friends or take some Insta shots. With this bright Pesca Top Handle bag by Paper Thinks, they’ll match the cafe while still standing out in the crowd!
Virgo August 22- September 23
Everybody will be in “awe” of Virgo when they walk into the Ziferblat cafe with this forest green vegetable-tanned leather AWE bag by Paradise Row London. In this unconventional coworking creative cafe space, where you pay per minute to utilize the facilities, they’ll be super focused on getting their goals mapped out for the year.
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Libra September 24- October 23 With this lovely, roseate pastel pink drawstring bucket bag from Hozen, Libras can fill up with all the cronuts, baked goods, and avocado toast in the world at the Dominique Ansel Bakery. They’ll need to stock up on the goodies for when the workload gets too heavy.
Scorpio October 24- November 22 With its grunge aesthetic, the Waiting Room Coffee Bar in Deptford is the perfect spot for Scorpios to relax in and get work done. Made from repurposed tires, this edgy Coconut bag from Chic Made Consciously will pair with anything, adding that bit of fun with the unique shape.
Sagittarius November 23- December 22
For the travel-junkie Sagittarius, this innovative bike repair shop/cafe is the place to go to fix their bicycles or buy a new one for their next exciting adventure. Paired with this handcrafted, colourful Como Ruffle bag by AAKS, they will be beaming with excitement and bright energy when visiting Machine!
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Capricorn December 23- January 20
Always on the grind, Capricorns can head on over Sew Over it Clapham, a sewing cafe where one can rent a machine for six pounds an hour with unlimited tea and coffee throughout! With this Umi mustard tote/shoulder bag/backpack, they’ll be able to fit all their supplies and fabrics for any project they set their minds on!
Aquarius January 21 - February 19 Always one for the trends, Aquarius can shop while munching down on delicious grub at the AIDA cafe. This hand macrame cotton Kala Tote in natural by Ulla Johnson will accompany any item they decide to purchase at the cafe.
Pisces February 20 - March 20 At the fairytale-like Sketch Cafe, Pisceans will feel as if they’ve been sucked into one of their dreams when entering. With this eco-suede convertible belt bag from HFS Collective, it will perfectly fit their pencil and notebook for any sketching, writing, or songwriting they plan to do.
You can see more of Candice's work on Instagram by following @Candice_x9. All images via respective retailers
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MARK FAST Photography by Fil Mazzarino
Soft fabrics on ladylike, Parisian silhouettes came in all shades of pastel and gem at the Mark Fast show. Fringing of feathers and sheer gloves matching the tones of the garments were the big takeaways from this chic-inbrights collection. The Canadian designer wanted to bring back Old Hollywood with his looks. Puff ball skirts and capes flowed over bodycon garments, showcasing his ability to work with various knitwear techniques in an innovative way.
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MATTY BOVAN Photography by Ian Clark
Contrasting colours, textures, and fabrics - the Matty Bovan girl is not one who is afraid to turn heads. A certain Victoriana hung over the collection, but with ruffles and panels in different fabrics and patterns, this was far from a modest look. The sense of theatre brought all kinds of characters before our eyes, from the cane-shouldering oldfashioned gentleman (redone in a gown) to the brothel madam, via matchstick girls and half the cast of Oliver Twist. It was Dickens, but only if he'd time-travelled and immersed himself in 70s LSD. What fun.
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RUNWAY READY 101 / CASTING REPORT Rhiannon D’Averc visited the home of The Model Workshops London to watch Maxine Griffiths leading the pre-LFW Runway Ready 101 workshop, and to attend a casting call for Ibiza Fashion Festival. In an open space in a nondescript office building in Wood Green, a large group of models has gathered to receive instruction from a modelling coach. They are mostly tall, goodlooking, young, and slim, though there are a few exceptions – nods to the increasing diversity on LFW catwalks.
conceived notion of their attitude and style, are coached in developing flexibility and adaptability so that they can suit a wider range of shows. Once Maxine is happy, they’re sent to practice in another room while the next batch of students steps up. They range from first-time walkers – all of whom get a big round of applause on their first
In front of a group waiting nervously in heels (for the women at least), Maxine Griffiths shouts for the music to be turned up. Hearing the beat of the song pumping through her speakers, she gives the models a count, letting them know the rhythm. Then she strides forward, pausing at the end of the long room in front of the imaginary cameras, and back again. She’s showing them how to walk a runway. Over the next few hours, each of the models who attends the workshop is given personal oneon-one tuition. In small groups, they come to the front of the room, and demonstrate their walk. Maxine tells them what they’re doing wrong, and what they’re doing right. She corrects them in a quiet, personal voice, then shouts to the room at large to share general advice. One by one, the models turn and walk again and again until Maxine is satisfied with their improvements. Those who mastered a certain walk last season, or already have a pre-
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attempt - to experienced models, including a familiar face to our readers. Norman Busigu, winner of Fashion4Africa’s male model competition last year, is attending to sharpen up his walk. “I attended a casting for Fashion Week,” he tells us. “I got cast! But I’m away and I can’t make the show.” Others are more hopeful about attending catwalk castings for the
LONDON RUNWAY first time in their modelling careers. Some are just here to see if they have any potential and find out whether they might be able to make it at smaller shows throughout the year. A few have already booked shows, and want to make sure they work it on the day. They come from various walks of life and sources. A good few were sent through from their modelling agencies, who recognise the importance of training to ensure their models look good on the catwalks. They want to get them bookings for next season on the basis of this one. Others heard about the workshop on social media and were attracted by the fact that it was free to attend. The £5 booking fee, to ensure your place, is redeemable against future workshops to help school you in other areas of your modelling life.
Maxine is certainly an expert when it comes to what makes a catwalk work. That’s one of the reasons why she was also involved in the Ibiza Fashion Festival casting, taking place at the same venue. The faces at this event were rather more nervous, with group after group of women in bikinis and swimsuits (and even lingerie for those who came unprepared) walking in front of the casting panel. The biggest takeaway any model could look for from the casting was to be prepared. To read details of the casting call seriously, and to take them into account. Those who arrived without their comp cards, without their contact details written down, or wearing the wrong shoes were quickly singled out. While Maxine might be gentler in the workshops, the casting call is the reality of the industry. Not
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everyone will get through. Those who don't have the right experience or natural talent, those who have let their bodies go, or those who don’t prepare correctly are putting themselves at the bottom of the pile. But at least there’s a chance to learn what is expected from them at the free Runway Ready 101 workshop, a seasonal event designed to prepare models before each London Fashion Week begins. And there’s still another chance to get into the exclusive Ibiza Fashion Festival, with another casting call set to take place before the event.
Find details of upcoming casting calls and workshops on Instagram at @themodelworkshops. The next Ibiza Fashion Festival casting call is scheduled for Sunday 24th February between 12 noon and 3pm.
RYAN LO Photography by Fil Mazzarino
Old-fashioned prams became a fashion statement at Ryan Lo, who used them as the ultimate catwalk accessory. The overall collection had feminine vibes with soft tailoring and light colours, plus plenty of sewn-on pom-poms. Apparently inspired by a manga character (Lady Oscar from The Rose of Versailles, if you were wondering), it was Lo's take on a French rococo aristocrat. Collaboration with Stephen Jones produced impressive hats, towering to the sky and covering ears with muffs against the February chill.
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PAM HOGG Photography by Ian Clark
Ever one to court the risque, Pam Hogg brought another NSFW show to Fashion Scout this season. With models wearing the word 'Venus', kinky boots, and very little else, it's difficult to give any critique on the barely-there fashion. The models who were at least partially clothed wore military stylings, particularly hats, all calling to the leather culture. Plain black and red gave way to radiant gold, pink, yellow, and blue to mark a change from the norm. Throughout the 'Venus in Phurrr' collection, ruffles on mesh and full-body leather looks were key elements. Plenty would find it shocking, but not those who saw Pam's strikingly similar show last season.
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LIVIA TANG Images via Fashion Scout
We were invited to a charming tea ceremony for Livia Tang's closing presentation at Fashion Scout. Themes of sisters and brothers ran through the collection, shown all in one go with each model stepping up one at a time to pour tea and blow bubbles. Recycled fabrics were used to symbolise the long-lasting bond of family. Double-sided fabrics furthered the idea of twins, while traditional Japanese textiles and natural materials such as shells called back to childhood. Insider tip: this show had some of the most delicious snacks served anywhere during LFW. Mochi balls filled with red bean paste and seaweed crackers were gone almost before they hit the table.
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Q A THE BIG QUESTION
We asked, you answered
If you could only wear one colour for the rest of your life, what would it be?
&
“It would have to be black. Black is chic, classic and mysterious! Not to mention it makes putting an outfit together 10x easier” – Shamica Stanley, model
“I would be wearing rainbow colour, this will comprise of all the colours all at once” – Elizabeth Morley, fashion blogger
“BLACK OR WHITE”
“Risking to be very common I would choose black”
– Macie Ovens, model
– Fil Mazzarino, Staff Photographer
“THAT’S AN EASY ONE! BLACK”
“ORANGE”
– Sarah Regensburger, designer
– Alice Rhodes, fashion student
“Black”
– Louise Kelly, hairstylist
“Brown” - Kennet Robertson, model
“I’D WEAR BLACK” – David Totterdale, model
“Red or black”
– Hannah Hartland, dancer, model, and actress
“Navy, it suits with everything” – Gayeon Lee, designer
“Red” – Angie, model
“Pink. Magenta, fuschia, rose – there’s enough variety to keep me going for life! I’d rather stand out in a bold, bright outfit” – Rhiannon D’Averc, Chief Editor
Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question
LONDON RUNWAY Find London Runway: londonrunway.co.uk instagram.com/londonrunwaymag twitter.com/londonrunwaymag facebook.com/londonrunwaymag pinterest.com/londonrunwaymag/ info@londonrunway.co.uk Front cover: Mary Katrantzou by Fil Mazzarino Back cover: Mary Katrantzou by Fil Mazzarino