UN_FOLD Magazine Vol 1

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#WE ARE FASHION WE_ARE_FASHION brings you UN_FOLD Magazine – an experiment for the fashion voices of tomorrow.

Welcome to the first issue of UN_FOLD Magazine; a diversely creative and innovative publication conceived, designed, written and photographed by our very own Fashion Design and Communication Students here at the School of Art & Design, Liverpool John Moores University.

In this, our debut issue, we will explore an interesting compilation of the most relevant and contemporary topics, from diversity, culture, and sustainability, to the future of fashion and its environment.

We are dedicated to exploring the creative world from every aspect possible; an adventure that we hope you will follow us on, unfolding the most inspirational and wonderful aspects of our world Jennifer Hawley Editor

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# ALWAYS THINKING ABOUT FASHION Liverpool John Moores’ Fashion BA Hons programme is proud to present UN_FOLD Magazine.

We hope you find inspiration in this issue from the next generation of creative fashion designers and communicators. Fashion at Liverpool John Moores University is an established area, introduced to the Art School as early as 1936, and we are proud of our design heritage. Innovation is at the heart of our course, and the city of Liverpool is a key resource for our students to grow and prosper as creative and forward thinking individuals. Following on from the European City of Culture in 2008, the city has flourished to become a key destination for fashion and the visual arts. The Art School has direct links with arts organisations such as TATE Liverpool, Biennial, and FACT. Students are able to undertake local placements in the North West, as well as working in London, Europe, and beyond. Placements over the past year have included: Liverpool One, His and Hers magazine, The Essential Journal, IDOL magazine, CENT magazine, Paul Smith, Peter Pilotto, Mary Katrantzou, Iris Van Herpen – Holland, and Adidas – Germany.

Our fashion course is known for its vibrancy and celebration of diversity in student work. For graduates to compete in the fashion sector, they must have belief in their own style, as well as having a broad understanding of how the industry works. The two pathways – Fashion Design and Fashion Communication – complement each other and students are able to work on several collaborative projects during their study. In Fashion Design, students work from concept to final garment construction, so that they understand the process of design as well as the practical application. Research is essential to innovation and we embed fashion studies to further our student’s individual interests. Holistically, this knowledge is empowering and allows our graduates to work across a wide range of the fashion industry from High Street to Couture. In Fashion Communication, our students work across the syllabus which includes branding, PR, marketing, photography and styling. With knowledge from location sourcing to final layout and editorial, they are able to offer specialist companies a whole package of transferable skills to work on a broad range of projects.

We have a dedicated studio environment in our purpose built and RIBA award winning John Lennon Art School, where students are able to develop and explore new technologies as well as rediscovering traditional re-emerging crafts in print, textiles and embellishment. Our aim is to produce confident motivated graduates who can work as professionals and compete in a world-class arena Lesley Peacock Programme Leader Fashion BA Hons Fashion Innovation and Realisation MA

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Garment Design: Karina Molby Model: Emma Etchells Styling & Photography: Jennie Blake

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Introduction_

PRINT IS DEAD Over the last few years, or if you’re old enough to remember, probably more like the last couple of decades, you will have heard many reports about the ‘death of print’. The printed magazine as we all know it has changed. Gone are the days of cult magazines such as The Face, Arena and Sleazenation, now a new breed of magazines has been born. Take a stroll down to your nearest newsstand and you will find an abundance of independent, original, well thought-out and beautifully designed printed publications for all kinds of niche markets.

Considering we are living in the digital age, this recent explosion of new titles seems unlikely. Perhaps the reports of the ‘death of print’ are an exaggeration of the truth.

Let me draw your attention to the 2013 Media Consumer Survey ‘Love in a cold climate’, commissioned by Deloitte. Here seventy-five per cent of respondents said that print was their preferred format and that Digital Tablets did not feature as a favoured consumption device for magazine content, despite their penetration growing to a third of households in that year. Indeed, with the continued rise of tablet devices, this figure could well be out of date already by the time we go to press.

The idea of the permanence of print, particularly for the generation who have grown up in this digital age, is something exciting. To see a person engrossed in a publication is a very positive experience compared to seeing someone drawn into the bright screen of an iPad. The pleasure of having a physical publication that you can ‘own’ – in this case with UN_FOLD, where our students have researched, written, photographed, designed, styled and edited the content as bonafide contributers – is powerful. Nothing can change that. It’s permanent. That’s why I am hopeful that print will live on.

Paul Owen Creative Director & Editor in Chief WE_ARE_FASHION & UN_FOLD Magazine

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Here at UN_FOLD, we are passionate about print and we love paper! We have crafted this magazine to be much more than just a collection of words and images – we have painstakingly sampled paper stocks and weights, and deliberated over typefaces and print finishes. After all, we think UN_FOLD should be something special rather than ordinary. We have no interest in creating throw-away media. We want to make this magazine feel treasured, ending its days on your bookshelf or lying on your coffee table for months on end. So its time to put down your tablet and read on...

03 | Welcome 05 | Fashion at LJMU 08 | Print Is Dead

08 | Skin Deep 20 | How do we measure value 22 | Northern Soul 24 | Body Modification

34 | Fashion is the new religion 40 | Capital of Culture Retail 48 | To affiliate or segregate 54 | Skin head you have style

The views expressed in UN_FOLD Magazine are those of the respective contributors and are not necessarily shared by Liverpool John Moores University or its staff. Whilst every effort has been made to ensure the accuracy of the information in the magazine, Liverpool John Moores University cannot be held responsible for any errors or omissions. All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publishers. First Published in the UK, by Liverpool John Moores University.

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60 | Election time 62 | Fashion vs Function 68 | His / Hers 74 | Chasing the elusive dream 78 | The blogger 84 | Alistair Blair – interview 86 | Talking trends

Cover model: Joshue

WE_ARE_FASHION brings you UN_FOLD Magazine – an experiment for the fashion voices of tomorrow.

102 | Fur Fair 112 | Material Revolution

UN_FOLD Magazine allows our students to collaborate and contribute to something real, something tangible. It empowers them to gain ownership. They are our next generation of Art Directors, Designers, Copy Writers, Trend Forecasters, Stylists, Editors, Photographers, Communicators, Bloggers, Hash Taggers, Risk Takers, Curators, Researchers and much, much more.

EDITORIAL Editor | Jen Hawley Guest Editor | Mark Birchall PHOTOGRAPHY Director of Photography | Viktorija Grigorjevaite Lead Photography Assistants | Sinead Russell Simone Navardauskaite Rebecca Loveridge DESIGN Creative Director | Paul Owen Lead Designers | Anna Higson Miriam Dill STYLING Lead Stylist | Sian Vaughan

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SKIN DEEP #BALANCEDIVERSITY

On March 1st 1966, Donyale Luna was the first black model to grace British Vogue, or any Vogue for that matter.

On the famous cover she poses with her hand partially covering her face, perhaps to conceal ethnicity. Despite being the figurehead of a milestone in black participation in the fashion world, Luna’s success was very brief. She held an exclusive contract with Richard Avedon, but did not receive a warm reaction from Seventh Avenue, and jobs became increasingly rare for her.

The 1970s heralded the dawning of a new era.

Following the main body of the civil rights movement in the 60s, a team of black models; Billie Blair, Alva Chinn, Bethann Hardison, and Pat Cleveland included, rose to the front line of fashion. This was a defining moment for the industry and, at last, provided black models their long overdue respect. It was also the seed from which the black supermodel would eventually sprout.

Jourdan Dunn, a British fashion model has recently landed the cover of British Vogue, becoming the first black model to do so since 2002. She has been a huge success this past

season working for Burberry and Balmain, but even Dunn has faced discrimination from clients who ‘didn’t want any more black girls’.

Inequality is still part of the fashion industry whether designers want to admit it or not.

There are, however, organisations fighting for equality. Bethann Hardison, Iman, and Naomi Campbell have joined together to create the Diversity Coalition. Their quest for change reached critical mass last September, when the Diversity Coalition published an open letter that called for the fashion councils in London, Paris, and Milan to do more to promote diversity on the runways and in campaigns.

– supermodel – Naomi Campbell and Iman are not just seen as top supermodels, they are, equally, inspirational public figures. Campbell has gone on to inspire women to become involved with the fashion world by producing television programmes, like The Face. Iman demonstrated her support for women of colour by creating a makeup line targeted at darker skin colours. She also publically supports various charities for women and children.

The events of 2014 had huge implications on the future of black models. Designers such as Olivier Rousteing and Rick Owens have taken steps towards equality on the runway and in advertising. Rousteing’s latest campaign employed a variety of black and Asian models: Rihanna, Jourdan Dunn, Naomi Campbell, and Binx Walton to name a few. Racial diversity, youth, and fragrant modernity are not features normally associated with respected French fashion houses, but Rousteing declares that his job is ‘not just to design clothes but to also give a new vision to fashion’.

Rick Owen surprised fashion viewers in Paris by getting rid of the typical straight-haired, skinny-framed catwalk models in favour of a group of hip hop dancers performing a tribal runway dance. The majority of the dancers were African women with natural curves and curly hair. Christina Binkley at the Wall Street Journal reported that the models and designer could not stop crying after the incredible show.

Even though there have been vast changes and improvements since Donyale Luna was involved in the fashion industry, it has been a slow process. Prada have recently hired their first black model for a campaign in nineteen

years and Raf Simons cast six black runway models for the first time since he arrived at Dior.

– diversity – It is important that people continue to push the boundaries of the industry. Racial discrimination is unacceptable in a postmillennial fashion world. Models and advocates of diversity must continue to speak out about these problems and stand up for what is right.

Raising awareness forces people to question the systemic cause, rather than just accepting the issue. This impacts how people think, hopefully evoking change in how they see racial diversity, and encouraging them to see it as something that can change – Jade Hill

Garment Design: Hannah Ellis Models: Joshue, Alex, Jordan & Ged Styling & Photography: Simone Navardauskaite & Jennie Blake Hair: Nicola Cunningham Make up: Grace Woods & Jocelyn Miller

HOW DO WE MEASURE VALUE IN FASHION DESIGN

FROM 2011-2013, JOBS IN PRODUCT, GRAPHIC AND FASHION DESIGN HAVE BY

INCREASED

SOURCE/ BRITISH FASHION COUNCIL 20 |

17.7%

BUILDING ON RECORD GROWTH IN PREVIOUS YEARS TO 177,000 JOBS

THE DIRECT VALUE OF THE FASHION INDUSTRY TO THE UK ECONOMY IS

£26 BILLION THE UK FASHION INDUSTRY SUPPORTS AN ESTIMATED

7 9 7 , 0 0 0 J O B S I N FA S H I O N A N D D E S I G N MAKING THE UK THE 3RD LARGEST FA S H I O N E M P LO Y E R I N T H E E U THERE ARE 4 3 5 , 0 0 0 E S T I M AT E D JOBS IN THE F A S H I O N R E T A I L INDUSTRY IN THE UK

THE ONLINE F A S H I O N M A R K E T R E A C H E D N E A R LY £ 4 . 1 B I L L I O N IN 2009. UP 26% ON 2008

ORDERS OF OV ER £ 100 MIL L ION ARE E S T I M AT E D TO BE PLACED D U R I N G EACH L FW S E A S O N

7 5 , 0 0 0 I M A G E S WIT H T HE H A S H T A G #L FW WERE UPLOADED TO I N S TA G R A M D U R I N G L FW A/W 14

THE UK C U R R E N T LY LEADS THE WORLD IN D E S I G N E D U CAT I O N WITH 847 D E S I G N C O U R S E S

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NORTHERN SOuL

Garment Design: Hayley Turner Model: Mike Styling & Photography: Sinead Russell

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FUTURISTIC WORLDS Garment Design: Rachael Plows Models: Emmanuel, Rob & James Styling & Photography: Jen Hawley

language In recent years, tattooing has begun to draw in a substantially larger following than ever before. In today’s contemporary consumer society we are seeing a break in social stereotypes as people with a diverse array of backgrounds are choosing to permanently mark their bodies with tattoos. It is an important part of selfpresentation and these physical markings indicate to others who we are.

ement

In any given situation, our unconscious thought will try to learn about another person. We will take into account a number of things based on what we can see – nonverbal communication; body language, appearance, dress, etc.

Tattoos become a part of this list and help to shape our perception of the people around us.

– Becky Richardson

body modification

appearan

expression Photography: Sane Seven Model: Lewis Bryant Hair: Callam Warrington Make up: Grace Woods

nce

There is a constant struggle for identity in attempting to keep up with modern trends but losing sight of the original meanings behind them.

Liverpool Tattoo The first documented professional tattooist in Britain was established in the port of Liverpool in the 1870s. In Britain tattooing was still largely associated with sailors.

1 in 5 adults in Britain have a tattoo.

Earliest Tattoo Iceman body from the area of the Italian-Austrian border was found in 1991. Ötzi had several carbon tattoos including groups of short, parallel, vertical lines to both sides of the lumbar spine. Ötzi was carbondated at around 5,200 years old.

Most Tattooed The world’s most tattooed person is Tom Leppard from the Isle of Skye, Scotland, who has 99.9 per cent of his body covered with a leopard-skin design.

Origin The word ‘tattoo’ is derived from the Tahitian word ‘tatau’, meaning to mark.

Model: Nikesh. Styling & Photography: Simone Navardauskaite

Garment Design: Rachael Plows Model: Emmanuel Styling & Photography: Simone Navardauskaite

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FASHION IS THE NEW RELIGION

At first, fashion and religion seem to be an oxymoron, a contradiction of one another. Religion requires followers to obey rules, including restrictions on dress, and fashion is a channel of self-expression with very few limitations on modesty.

In western culture, veiling is often seen as oppressive. There is an assumption that women who wear hijabs are controlled, forcefully, by men in powerful societal positions. Post 9/11, the general sense of fear around religious dress, especially those items related to Islam, reached new heights. Several European countries have even gone as far as to take action against the concealment of facial features for religious purpose; France made the Muslim Niqab illegal in 2010 for security reasons. However, plenty of secular countries, Muslim-majority or not, still provide freedom for religious expression, allowing full use of traditional religious dress.

The argument could be constructed that, in western countries, women are almost obliged to exhibit their sexuality in the same way that Muslims may be obliged to conceal it. Both are societal pressures and to discriminate between which is right and which is wrong is dangerous.

Dubai and Turkey are now major fashion hubs, and the middle-east is home to many huge names in the industry, including Elie Saab and Alber Elbaz.

What is becoming more and more apparent though, is the assimilation of fashion and religion that is occurring in contemporary Muslim communities. Islamic countries like

It is also important to note the influence Muslim fashion has had on western markets.

Whether they know it or not, most women will likely own one piece of Islam-inspired

Muslim women have created a demand for a niche market which designers have noticed and are specifically catering for. The Muslim fashion industry is estimated to be worth around US$96 billion, which makes it a significant portion of the fashion empire.

Fashion magazines, such as Âlâ in Turkey, are focused on the application of Islamic religious dress in modern fashion. Although sales are comparable to even the largest western magazines, Âlâ’s art director Esra Sezis stresses that it isn’t an Islamic Vogue, it merely provides advice on how conservative women can utilise what is available on the market while sticking to their religion.

– power –

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clothing in their wardrobe. Israeli biblical sandals were appropriated as gladiator sandals, becoming a major trend in the UK, and Keffiyah scarves gained western recognition when celebrities like Kanye West and Mary Kate Olsen styled them.

Muslim fashion is certainly becoming a more considerable part of the mainstream, and rising public-figures, like blogger Dina Tokio, are consistently finding new ways to weave together western fashion with traditional Muslim dress to create modest, stylish combinations. It will be interesting to see if this trend continues. How closely intertwined will the two worlds become? – Rebecca Haith

Models: Jennie & Katrina Styling & Photography: Sinead Russell

LIVERPOOL CAPITAL OF CULTURE RETAIL

T H E A R E A W H I C H C O N TA I N S S H O P P I N G M E C C A S OXFORD STREET AND REGENT STREET CAME T O P I N C A C I ’ S R E TA I L D I M E N S I O N S R E P O R T. I T F O U N D T H AT £ 4 . 7 B N W A S S P E N T O N N O N - F O O D ITEMS IN 2012. GLASGOW CAME SECOND WITH MANCHESTER COMING IN THIRD. THEY WERE F O L L O W E D B Y B I R M I N G H A M ( 4 TH) , L I V E R P O O L ( 5 TH) , WESTFIELD LONDON ( 6 TH) , LEEDS ( 7 TH) , N O T T I N G H A M ( 8 TH) , K N I G H T S B R I D G E I N L O N D O N ( 9 T H ) , A N D B L U E W AT E R ( 1 0 T H ) .

£55.6 MILLION FASHION & RETAIL INVESTMENT

IN 2013 LIVERPOOL WAS THE 5TH MOST POPULAR DESTINATION FOR INTERNATIONAL VISITORS TO THE UK. 71 NEW BUSINESSES OPENED HERE, SEEN IN 500 THE 4TH HIGHEST INCREASE SHOPPING LOCATIONS ACROSS THE UK. THE LIVERPOOL CITY REGION IS A £23.1BN ECONOMY.

WWW.VISITLIVERPOOL.BIZ/NORTH-WEST-RESEARCH/KEY-FACTS-AND-FIGURES

HIP HOP HUR

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Garment Design: Aina Franklinos Models: Ann & Tilly Styling & Photography: Anna Higson, Rebecca Loveridge, Sian Vaughan, Rebecca Richardson & Simone Navardauskaite.

Hair: Nicola Cunningham Make up: Grace Woods & Michael O’Shaughnessy

to affiliate or segregate There are many different subcultures that are identifiable in British Culture. The Casual movement of the 1980s is perhaps one of the lesser known of these. Its affiliation with crime has led to a misconstrued image of the subculture, establishing a link with football hooliganism.

At a time when Punks and Skinheads were the dominant subculture, the end of the 1970s saw the emerging underground movement of the ‘Casuals’ in the North West; identified by their strict dress code and violent behaviour, this movement began to spread across the country. Like their peers, the Casuals of the 1980s used clothing as a way to communicate amongst themselves and as a way to stand out against opposing casual groups. Many conclusions can be drawn about a person by studying the way they choose to represent themselves to society using clothing.

Casuals used clothing to create a sense of unity, they were identified by oppositional groups by whatever trend they preferred to adopt; at the time, they not only used this as a way to affiliate themselves as a group, but also as a way to segregate themselves from other subcultures.

– identity – It is by examining what genre of clothing the casuals wore that you can start to link it back to the social and political landscape of individual cities. Casuals from South Wales were identified by wearing the recognisable Burberry tartan. They would accessorise their look with Burberry caps and scarves to make themselves appear wealthier than they actually were by associating with the heavily branded label. One of the reasons they chose to adopt Burberry was due to the brand’s accessibility, thanks to its factory being situated in the Welsh Valleys where many of the Cardiff Casuals worked. However, when the time came that Burberry relocated its factory to China, the brand’s once loyal fans discarded all of their Burberry items in a political protest.

– new tribes – Sportswear is considered the main genre of clothing worn by the Casuals and brands like Armani, Stone Island and CP Company were very popular amongst the group. These items were recognisable to members of the public due to their reputation as designer brands and their association with wealthy, fashionable members of society.

As a way of recognising which individual came from which tribe, the casuals would adopt a different label each week and then discard it the next.

They would also ensure that their style varied from group to group making sure that no two casual ‘tribes’ looked the same. For instance in Manchester, the Perries wore anything with the Adidas label, whereas the London casuals would wear Fila or Ellese.

The Casuals used clothing as a way of communicating at a time when the working class were not being heard. Due to the high population of working class citizens in the North West, Liverpool was heavily affected by the new government policies and many faced unemployment as local factories and business folded. Members affected by this were having to source income from other areas, leading to an increase in crime. The unstable economy and rising levels of unemployment resulted in looting as a way to make money; members of the tribes would often steal items from European countries and sell them on to other Casuals once they returned home. The exclusivity of these European garments increased the demand for rarity in their style and members began to ‘tax’ garments using violence and threatening behaviour.

The association of crime with the Casual scene has led to the subcultures strong affiliation with violence and hooliganism; showing that despite their best efforts to appear wealthy or of a higher status, societies negative opinion on The Casuals may never change. However, the sense of community and identity created will always remain – Sophie Harry

Models: Holly, Karis, Sonny, Rachael, Mike, Zhi, Anin Styling & Photography: Sinead Russell

Model: Nikesh Styling & Photography: Simone Navardauskaite

SKIN HEAD STYLE you have

Subcultural groups have always served as an important piece in the puzzle of understanding human logic. They can help us examine interactions and reactions to hardship or change, as individuals or within groups. Youth subculture is particularly helpful to dissect.

The first of many distinct British youth styles arrived post-WW2. The ending of the war had created a new environment bearing both positive and negative connotations for young people especially, and as a type of resistance a youth subculture was formed, known as Teds.

They were dedicated to quiffs and rock and roll. Around 1968 there was an undeclared split within the Ted scene, separating it into two. The two new subcultures were loosely based on upper and lower class divisions.

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The lower class became the subculture that are now known as Skinheads. The original Skin style was noticeably basic, and consisted mostly of sturdy work-wear such as white work shirts, braces, and work boots. The Skins did not operate under a specific label at the time, they were merely bored working class youths during a time of social inequality.

The social conditionings of the underprivileged remained and youths reacted by putting huge emphasis on their style, recreating a sense of community within their estates. They were aware that their participation in a boring, poor education system meant they would more than likely end up in dead end jobs, not reaching the full potential they would have under a better system. This, coupled with low wages meaning escape from their parents’ home was nigh on impossible, caused a build-up of resentment.

Their subculture provided excitement and a sense of social belonging: they were now part of something, together they were beginning a style revolution.

The smart work-wear aesthetic the Skins chose was their way of saying they could be just as fashionable as those with a considerably larger income. They enjoyed mixing style up with traditional English elements, with the main unifying feature of their style, work boots, harking back to their working-class roots. Skins would also be noticed for their bald heads. This was perhaps to avoid having hair get in the way of fighting, which Skins were known to enjoy a little bit of, or perhaps just to unify their look.

Model: Nicole Styling & Photography: Sinead Russell

This first generation of Skins had nothing to do with bigotry or right wing politics, demonstrated by their appreciation of Afro-Caribbean style, culture, and music.

Skinheads even went as far as borrowing certain elements of Rude Boy fashion.

They often wore the traditional sharp suits while out at clubs and dance-halls, for example. The Rude Boys were kindred souls to Skinheads, they were edgy and anti-mainstream. Multiculturalism was rife between the youths during this era; the Afro-Caribbean style was influential to Skinheads and vice-versa. Cross-racial relations thrived in the working-class estates of flailing post-war Britain.

A decade after the decline of the original movement, there was a sort of Skinhead rebirth, this time influenced by punk rock.

This re-emergence of Skin culture was heavily associated with right wing political thought. It was overtly racist and was the cause of the violence and discrimination that is now eponymous with Skinheads.

The new-wave Skinheads adopted the style mostly because it was intimidating, but held very few of the original Skinhead beliefs or interests, such as music taste. The movement lost all of its core meaning and was simply an aesthetic, up for imitation – Sinead Russell

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Garment Design: Amy Hewitt Model: Chloe Photography & Styling: Sara Khorasani & Alex McQueen

– POTENCY – Election Time 07.05.15

“Watch your thoughts, for they become words.

Watch your words, for they become actions.

Watch your actions, for they become habits.

Watch your habits, for they become your character.

And watch your character, for it becomes your destiny” Margaret Thatcher.

Coleus Mutlis Exquisitus

FASHION vs

FUNCTION

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Garment Design: David Vassou Models: Emmanuel, Timur, Joshue, Jordan, Alex Styling & Photography: Miriam Dill & Steph Tyrer.

Hair: Nicola Cunningham Make up: Grace Woods & Jocelyn Miller

Sportswear in 19th century Britain was derived from the practice of dressing for a particular leisure activity. This produced distinct modes of dress relating to certain sports and signified the people who could afford them. Recreation and an active lifestyle was a luxury, and dressing for sports and leisure signified social status and a position that was reassuringly exclusive to the early adopters of sportswear.

In the 1930s the development of latex yarns marked distinct progress in sportswear and at the end of the 1950s spandex was created, also known by the brand name Lycra.

Development of stretch materials had a major impact on the fashion world. Due to the qualities of synthetic stretch materials they were the ideal choice for active sportswear.

By the 1980s spandex was not only used in specialized active wear but also in similarly body conscious fashion styles. Moving onto the present day, sportswear has evolved alongside technology, resulting in more practically considered sports attire. Sportswear is now specifically and technically assembled to deliver functional performance to the user, above and beyond what a normal garment can deliver.

Brands such as Nike and Adidas have focused recently on introducing sportswear to a wider consumer market. They have been applying the same functional intelligence and technology to their garments and foot wear, making products practical, whilst also making them appealing aesthetically. They no

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longer operate solely as active-wear brands, they have also embraced the casual lifestyle market. Sportswear has transcended its original purpose and has begun to incorporate practicality into fashion. Even high-fashion houses like Chanel and Dior have embraced the trend, with sneakers and yoga pants finding their way into runway outfits.

The demand for sportswear apparel is set for strong development within luxury fashion.

With the runway currently embracing sport, the opportunity has been created to explore athletic looks though a fashion lens. Collaborations between sports brands and high-end designers are becoming more common, with Yohji Yamamoto teaming up with Adidas to create Y-3, and Nike developing exclusive footwear in partnership with the London-based heritage department store, Liberty. These types of collaborations are making both high-end fashion and fitness-wear more accessible, and there is the added benefit of the technology involved in sportswear potentially being incorporated into high-end designer clothes.

As sportswear develops and pushes its way further into the mainstream of everyday fashion, it looks increasingly like a worthy market competitor to regular casual-wear.

Looking forward, it would not be a surprise to see it appear more often on the high street and in luxury apparel, as well as in the gym and on the field – David Vassou

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is unisex clothing the future for the fashion industry?

Men’s fashion is evolving. It would be difficult not to notice that it is gradually becoming more feminine. Bright and pastel colour pallets, draped fabrics, bold prints, and bolder silhouettes that flash some skin have all been emerging in menswear, most likely inspired by women’s catwalks. Designers are also becoming more daring with accessorising; totes, leather purses, and clutch bags have all featured in Dior Homme, Fendi, and Lanvin shows. What is recognised as feminine at present may be creeping into the men’s highstreet stores, low cut tee-shirts that expose men’s cleavage for example. But, looking back over centuries of fashion, it appears that gender lines have been gradually blurring for a while. You need only look back 40 years to see androgynous long hair and blue jeans, commonly worn by both males and females.

Recently, unisex trends have been re-emerging.

The contemporary resurgence of vampire narratives is one element of culture that played a part in this. Vampire-like styling emulates the

romantic dandies of the nineteenth century, who were, perhaps, the original influence on feminising men’s fashion. Male vampire dandies have been featured in several influential catwalk shows including Robert Geller’s fall 2009 collection which featured shirts with small clipped collars, fur-trimmed parka coats, wool trousers with flare at the ankle, and tailored overcoats.

Vampires are particularly symbolic as they are hybrid beings. They are between life and death, human and animal, masculine and feminine. They push controversial boundaries that are translated into today’s men’s fashion trends. Popular novels and films that incited the vampire trend often feature a family that are out of the norm who will sometimes be used to play with the idea of hetrosexual incest and homosexual couples. These ideas disrupt gender roles and translate to trends where mens clothing becomes more feminine and womens clothing becomes more masculine.

Garment Design: Joshua Marriott Models: Joshue, Hannah, Kattreya Styling & Photography: Charly Calvey, Simone Navardauskaite & Jennie Blake.

Hair: Nicola Cunningham Make up: Grace Woods & Jocelyn Miller

Football culture has also had a role in the narrowing of the distinctions between men and women in fashion. David Beckham was key in establishing a link between fashion and football. He is largely responsible for the creation of ‘football chic’, causing young fans of the sport to take influence from their favorite players in terms of clothing and hairstyle. This social movement has shaken up traditional views about sexuality and identity in gender, causing a sort of crisis of masculinity.

The modern man is much more aware of fashion trends and his appearance, traits which were previously regarded as feminine.

The industry is aware of this change in the zeitgeist and is starting to cater towards those who seek unisex clothing. Los Angeles based clothing company, 69, create trousers and dresses that are aimed at both genders.

A company located in New Zealand, Kowtow, stock similar clothing, with an emphasis

on oversized, loose cut fabric to obscure the typical gendered silhouettes and make it difficult to distinguish between male and female bodies. Unisex clothing is becoming more prominent in mainstream high-street fashion as well, with American Apparel beginning to sell unisex t-shirts, modelled on both men and women.

It’s difficult to tell at this point in time whether unisex clothing will truly break out of the relatively niche position it holds, but it’s certainly making waves. It is likely that the trend will continue to develop in the coming years and, provided the backlash isn’t too strong, perhaps it will eventually be the standard for clothing – Mica McKelvey

The ongoing question of anthropologists for generations: where will we stand in the future? What will we look like? Although it may never be answered until the time comes, it is amazing to look at what is available now and where fashion may be headed in the future.

Clothing has evolved dramatically over the last 20 years through the use of SMART and electronic fabrics. Fast fashion has taken over the high street and with consumers demanding more from these outlets, can we expect to see this continue in the time ahead?

available on the market. Along with this, the men’s suit complete with everything he needs, has become a reality in the form of a smartphone in a pocket that can do almost everything, from switching on a light to unlocking his car.

For generations, anthropologists have tried to predict what the future may hold for humans in terms of fashion. A study conducted in 1920 presented a vision of heel-less heels, transparent skirts, and a suit, complete with a phone, a radio, and practical containers for coins and keys.

Considering the accuracy of previous efforts, we can allow ourselves a little more belief in current predictions of the future. Through promotional concept videos, Microsoft has predicted a near-future world rife with interactivity, where children can communicate around the world, sharing languages and other skills. It sees a simple business future covered in smart blank canvases just waiting to be a phone, presentation, drawing, business card, or airline ticket.

In some ways, they were in fact, correct.

Victoria Beckham styled Antonio Barardi’s gravity heels in 2008; and now they are readily

Chasing the elusive dream

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Blurring the line between technology and humans

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In terms of fashion, the late 1990’s went through a huge revelation in discovering man-made fibres can be used to create SMART and Electronic fabrics. SMART fabrics change to adapt to the environment around the wearer, for example, changing colour to different temperatures.

Electronic fabrics have micro-electronics builtin and could be used as a tracking device or light respondent.

Bradley Quinn explains what he sees in the future of fashion in his book Fashion Futures: “Wearable technology will create symbiosis between the body and the machine, giving the wearer potential beyond what is generally conceived of as a human. Similar to cyborgs, the man-machine hybrids that technologized clothing will create promise to blur the boundaries between human capability and artificial intelligence.”

Quinn suggests a robo-human future where we aren’t putting our smartphones in our pocket, but rather wearing our means of communication on our sleeve.

More and more safety rules are being put into place each day, guiding us on a path towards a life without spontaneity or risk. Adam Whiton’s ‘No-Contact Jacket’, inspired by electric eels, produces an electric charge on the surface of the material. If anyone were to touch the jacket, they would receive an electric shock strong enough to make them back off.

Is the future bleak and empty, without verbal communication but filled with anti-social cyborgs? Or can we allow ourselves to create a simple, connected world that is a blank canvas for further progression?

– Rebecca Darley

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Blogging is a relatively new phenomenon; dating back to the mid-1990s but only becoming more popular, particularly in terms of fashion, in the late 2000s. Blogs are social media platforms by which electronic word of mouth can be shared consumer-to-consumer.

the blogger Blogging is a relatively new phenomenon; dating back to the mid-1990s but only becoming more popular, particularly in terms of fashion, in the late 2000s. Blogs are social media platforms by which electronic word of mouth can be shared consumer-to-consumer.

Early fashion blogs were typically personal online diaries with occasional photographs as support. Current blogs can be split into one of two categories: personal or street style. The latter are almost completely reliant on visual aspects, whilst personal fashion blogs combine visual and textual content. Personal blogs, as their name suggests, are usually produced by one blogger working alone, and each one provides a distinctive view, offering commentaries on fashion, trends, brands, etc.

As opposed to more traditional forms of fashion media, fashion blogs offer instant updates on trends and outfits. This is particularly valuable considering the fast pace of change in demands of contemporary consumers. Easy access to a wealth of individual blogs has helped to shift the balance of power in the fashion world, giving consumers the ability to deliver opinions on clothing in a very tangible, public way.

A lot of the value of fashion blogs comes from the underlying principle of authenticity. This, coupled with immediacy and interactivity create a hugely engaging, surprisingly accessible platform to share thoughts and opinions. In a very short space of time, blogs have grown to rival traditional methods of branding and advertising and, as a consequence, the fashion industry has begun to engage with the bloggers to capitalise on the promotional potential. What sounds like a success, though, may prove to be fashion blogging’s downfall. Corporate intervention threatens to invalidate the sovereignty and transparency of what is, perhaps, one of the last unbiased platforms of fashion communication – Emma Willcocks

Model: Carmen Styling & Photography: Shenice Nicholas

ALISTAIR BLAIR

T H E

You’ve worked with a great deal of amazing people, has there been any particular highlights?

Without question the five years spent with Chloe and Karl Lagerfeld.

How did you find the transition from student to your first job within the fashion industry?

To be honest it was relatively easy and pain free. But back then it was a much less competitive business. There were fewer fashion companies. Milan was still in its ascendancy and New York had yet to ‘take off’. Also I was very lucky to go straight from St. Martins to Christian Dior – a dream job for any student.

Where have you gathered inspiration from for your designs?

I gather inspiration from everything I look at. I’m proud to say that I have never been influenced by other designers – living or dead. The one thing that Lagerfeld unwittingly taught me was to look at everything. The way people walk/ stand, imagine mono-planes as hats, piano keys as jewellery etc etc. Plus, as many people see you walk away as see you walk towards them – the back of an outfit should always be as interesting as the front. Lagerfeld once used toilet chains as trimming – a stroke of genius but hell for the manufacturers.

B

I N T E R How did you get your first break in the industry?

How to answer this without appearing smug! I’ll try to be brief.

1. A ugust 1978. Met Loulou de la Falaise, right hand to Yves St. Laurent.

2. S he set up an interview the same day with Bettina Graziani who was the French PR for Valentino.

3. S eptember 1978 spent the Prêt-aPorter week with Valentino in Paris.

At the end of which I was offered a job in Rome.

4. R eturned to London to pack.

Afternoon before leaving I had a phone call from Dior. Could I come for an interview ASAP. 5. C hanged London-Rome flight to London-Paris-Rome.

6. H eathrow – fog bound. Took the night train/ferry to Paris. Interview was successful. Returned to London.

Phoned Valentino to say ‘Non grazie’.

You now run your own fashion label, is there a certain trend/inspiration you are currently looking at?

I’m a firm believer in once something is on trend/in fashion it is already out of date.

AS A DESIGNER I BELIEVE YOU MUST MIND MUST ALWAYS BE OPEN TO TH WHILE TALKING TO THE 3RD YEAR WHO HAS BEEN IN THIS BUSINESS CYNIC) THAT’S A HUGE COMPLIMEN 84 |

Do you feel there is a movement within the fashion industry further up north, outside of London?

That’s difficult to answer. There is without doubt just as many talented designers/ companies outside of London but getting the press and buyers both domestic and international to travel north has always been a struggle.

Do you feel the dominance of social media has had a positive effect on the fashion industry?

Personally I think it has almost killed off the need for real creativity. Every one has a voice/opinion usually based on very little knowledge. The fact that any Z-list celebrity, footballer, or soap star can have their own fashion lines and perfumes is insulting to many of us who have worked long and hard in a cut-throat business. Of course we can now go on-line and see the latest collections ‘live’ and see who wore what, where, but I feel this diminishes the excitement and also opens wide the market for cheap copies or as they are sometimes politely called, ‘variations’.

I G

Was there anything that stood out for you during your stay in the city of Liverpool?

God, where do I start?

Hearing ‘Ferry cross the Mersey’ whilst on the Mersey Ferry.

The Cavern.

The Slave Museum.

And standing outside the house where John Lennon was born.

A fashion designer can be a trashy tourist too, you know (I hope those were the sort of answers you were looking for!)

±

What would be your advice be for this years graduates?

Today, fashion on every level is a very competitive business. So my advice to you is this: (In no particular order) 1. Enter it, if and only if, you love it, live and breathe it and honestly believe you cannot do anything else.

2. Always aim high.

3. Take any job that’s offered.

You will only be adding to your experience/knowledge.

4. Have absolute confidence in yourself but always know what you are talking about.

5. It is a fantastic business to be in so have fun.

6. And as Lagerfeld once said in an interview with a very ignorant UK journalist “Mein Gott – it’s only fashion. We’re not curing cancer”.

V I E W How did you find your experience as a visiting lecturer at LJMU? I loved every minute of it. I honestly wish it could have been longer.

As a designer I believe you must never stop learning and your mind must always be open to the new.

I learnt a huge amount while talking to the 3rd year students and from someone who has been in this business for over 30 years (and a born cynic) that’s a huge compliment.

T NEVER STOP LEARNING AND YOUR HE NEW. I LEARNT A HUGE AMOUNT R STUDENTS AND FROM SOMEONE S FOR OVER 30 YEARS (AND A BORN NT. | 85

T A L NICHE TRENDS

SEGMENT WANDER PURE GREEN FOR S/S 16 & A/W 16/17

Forecasting trends before catwalks even begin, we predict the colours, fabrics, prints and styles that will be hanging in your wardrobe for Spring/Summer 16 and Autumn/ Winter 16/17; whether you are haute couture, ready-to-wear, mass market, or a streetwear fashionista. Our trend forecasters have drawn influence from everywhere and everything around them, generating the latest looks and hot colours which will inspire the next wave of designer collections.

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K I N G N D S

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S E G

M T

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Rural, weathered textures, untouched surfaces, and decay influence a modern adaptation of country workwear.

A N

DNAL EPACS L SREYA RG SSA MRAW LARUTAN

D FIBRE BRUSH NATURAL DIRT

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Renaissance opulence, extravagant architecture and beach textures inspire the golden tones and sandy yellow colours.

P U

R E Inspired by minimalism and opacity, tones of grey have a huge impact on this trend. Light tones of stone can be referenced throughout, often muting the bolder colours.

PANTONE 0686BB

PANTONE C4CXCA

PANTONE F0D88E

PANTONE DAFOFA

PANTONE 9B9896

Inspired by the natural tones of the sky, beach and sea, cool powder blue complements the repetitive grey tones, with a dash of cyan for detail.

G R

E Inspired by fresh, clean and crisp natural forms.

Verdant greens and soft whites feature throughout.

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furfair

The use of fur in clothing dates back thousands of years. It was originally the only form of protection against the elements; animal hide was used for basic clothing, primitive shelters, and tools, amongst other practical items. However, the use of animal hide in earlier human history was always connected with the consumption of the meat and use of bones as tools. Animal carcasses were stripped for all of their practical value.

With the growth of civilisation, fur developed from its position as a basic staple of clothing, to a symbol of wealth and hierarchical power.

The increase in regulation laws around fur have increased the price, in turn increasing the appeal of fur as a luxury, conspicuous item.

The variety of furs available has expanded and opened up a wider target market by offering hide from less exclusive animals for cheaper prices. It is also often used more sparingly in lower priced garments, as lining or a collar, for example. This still allows a slightly more expensive price, but doesn’t quite match up to the cost of a real fur coat or leather jacket.

Questions have been raised by animal rights activists since the 80s about the ethics of using animal skins, but the fashion industry has continued to thrive on the use of both fur and leather, which have become timeless classics. The pervasiveness of animal skin in popular clothing – from hyper-masculine leather jackets to aristocratic fur coats – has given it a position as an almost unquestioned element of the public’s wardrobe.

Recently, extremists within animal rights groups have been forceful in making themselves heard about the cruelty that goes hand in hand with the production of leather and fur garments. PETA, for example, have a campaign backed by celebrities – the influential public figures that were arguably responsible for popularising fur in the first

place – against the use of real fur. This, paired with the power of social network sites, and the social-conscience of the internet in general, is helping to raise awareness about the state of affairs involved in the production of animal hide clothing.

Although there are still plenty of fashion designers who continue to use real fur in their products, opinions are more divided in the industry now than ever before. Huge names like Stella McCartney and Ralph Lauren, influenced by activists like those from PETA, have publically advocated the desertion of real fur. The fact that fake fur exists in the market alongside its real counterpart is evidence enough that it is a more than acceptable replacement.

Although it is difficult to imagine that animal hide will ever go out of fashion completely, there is a noticeable change already in how it is being perceived by society at large.

Brands, such as the prolific leather based company Doc Marten, have started to offer ‘vegan’ versions of a limited number of their products. The quality is reportedly the same, but the materials used are synthetic rather than harvested from animals.

Simply put, real fur is not needed the way it was thousands of years ago, we have come a long way from our primitive roots. There are many alternatives available on the market, and fur’s status as an indicator of wealth is slowly disintegrating. The decline of fur may prove to be a catalyst for a change in the perception of leather products too, and, over the course of time, perhaps the use of real leather and fur will be abandoned in favour of modern, animal friendly alternatives – Miriam Dill & Alexandra Telfer

Garment Design: Rachel O’Brien Model: Abigail Styling & Photography: Anna Higson, Rebecca Loveridge, Sian Vaughan, Rebecca Richardson, Simone Navardauskaite.

Hair: Nicola Cunningham Make up: Grace Woods & Michael O’Shaughnessy

Garment Design: Sophie Harry Model: Erin Styling & Photography: Eve Slater

&

Art

ARCHITECTURE

Garment Design: Fern Rebekah Bywater Model: Sophie Styling & Photography: Jennie Blake

MATERIAL REVOLUTION Many people’s vision of the future is one of high tech methods of production and complicated processes, but what if the future of our textiles industry was to take a stripped back approach, using only the things around us and relating back to old processes? Would that give us a platform for sustainable production for new materials?

In recent years, international interest has been sparked in the production of materials and the ethical values held by the fashion and textiles industry. Bio manufacturing, a concept combining biology with fashion in order to create new materials, has become a hot topic as issues of sustainability increase in severity. Bio manufacturing utilises natural resources and promotes an ethical and sustainable future for the fashion industry and the broader economy. The problem faced by advocates of bio manufacturing, however, is questioning whether these methods and materials can work in an industry fuelled by disposable fashion.

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Algae, made from plant matter and requiring only water, sunlight, and time, to grow, is one of the forerunners of bio manufacturing, and offers exciting possibilities with future research. It could potentially be used as a material in a whole range of different garments. The fact it requires very little assistance in its growth and uses only natural resources understandably gives algae the benefit of being both ethical and sustainable.

Garment Design: Hettie Chadwick Dickinson Model: Claudia Styling & Photography: Anna Higson, Rebecca Loveridge, Jennie Blake, Miriam Dill & Simone Navardauskaite.

Make up: Grace Woods

Suzanne Lee, head of BioCouture, a design consultancy, is a leading name in bio manufacturing fabrics. Her expertise is creating Kombucha, an organism which, once combined with tea, sugar, and vinegar, grows into a material that resembles a vegetable leather. It is an entirely organic and bio-degradable material. Lee describes the process as being ‘closer to brewing beer or making food than any kind of traditional textile process.’ The fabric can be sewn using conventional methods, but can also be moulded onto a shape to create a seamless garment.

Due to poor public perception of the processes, and the aesthetics of the finished materials, it is unlikely the industry will fund the necessary research to push bio manufacturing into mass production any time soon. However, pioneers of the techniques and a small number of interested individuals still engage in the process on a smaller scale. Perhaps, as the technology advances and matures, costs will lower sufficiently for further interest to develop.

Until then, it is safe to say we’re not on the brink of a material revolution – Hettie Dickinson

Most bizarre, perhaps, of the up-and-coming bio materials is Hagfish slime. Hagfish produce a slime that, when treated, can be used conventionally like silk. The problem with this material is that Hagfish only produce the slime when threatened or scared, which poses the question; how quickly and ethically can this material be produced?

Garment Design: Lotte Manson Model: Allysia Styling & Photography: Anna Higson Hair & Make up: Michael O’Shaughnessy | 115

Garment Design: Lowri Davies Model: Jennie Blake Styling & Photography: Anna Higson, Rebecca Loveridge, Jennie Blake, Miriam Dill & Simone Navardauskaite.

Make up: Grace Woods

Garment Design: Hannah Smith Model: Abigail Styling & Photography: Anna Higson, Rebecca Loveridge, Sian Vaughan & Simone Navardauskaite.

Hair: Nicola Cunningham Make up: Grace Woods & Michael O’Shaughnessy

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// OUR STUDIO CULTURE IS FOCUSED ON CREATIN AND CREATIVE ENVIRONMENT WHERE STUDEN OFTEN INVOLVE WORKING COLLABORATIVELY HAND EXPERIENCE IS VITAL, IT HIGHLIGHTS TH FROM MEETING CLIENT DEADLINES, PRESENT MANAGING OTHER ARTISTS AND DESIGNERS. CR SKILLS OFTEN NOT ALWAYS SEEN IN THE TRADIT COMMUNICATION, ADAPTABILITY, PROBLEM CONFIDENCE, LEADERSHIP, AS WELL AS BEING C ACCELERATES THE LEARNING PROCESS AND PRE ESSENTIAL JOURNAL / LIVERPOOL ECHO / RESEA PRISM LONDON / THE COLLECTIVE MAGAZINE / S / TATE LIVERPOOL / PINK MEDIA / RESPONSIBILIT & HERS MAGAZINE / LASULA / L1 PR / PRESENTAT / DIVA MAGAZINE / MARTINE / ALEXANDER MC COM / INSPO MAGAZINE / COMPANY MAGAZIN / BRANDED LAB / THE FOUNDRY AGENCY / COL ONE / TEAM BUILDING / CHIC MAGAZINE / BEL PITCHING PROCESS / GETTHELABEL.COM / LIVE FLUORESCENT PR / TOAN MAGAZINE / SELFRIDGE LIME PICTURES / JAMES LONG / PRODUCTION / PATON / ADIDAS / STRATEGIC THINKING / DOL MA / NETWORKING OPPORTUNITIES / START UP CO DEVELOPMENT / CHANNEL 4 / PAUL SMITH / MIN PETER PILOTTO / MISSGUIDED / IRIS VAN HERPE / JENNIFER ROTHWELL / CORSET STORY / JONAT / CENT MAGAZINE / DEBENHAMS / MONSOON / G ARMSTRONG / CORSET STORY / KIRSTY DOYLE / C FURSTENBERG / NIKE / THINK PR / ASOS / MARK REGATTA / TED BAKER / USC / WAREHOUSE / THE

NG AN INDUSTRY ATMOSPHERE. A PROFESSIONAL NTS WILL ALWAYS BE CHALLENGED. PROJECTS MIMICKING INDUSTRY PRACTICES. THIS FIRST HE EXPECTATIONS OF A COMMERCIAL WORLD, TING IDEAS, AND TALKING TO SUPPLIERS, TO RITICALLY, THIS PROCESS BUILDS ON THE SOFT TIONAL TEACHING ENVIRONMENTS; TEAMWORK, SOLVING, TIME MANAGEMENT, ATTITUDE, CREATIVE AND WORKING UNDER PRESSURE. THIS EPARES STUDENTS FOR THE REAL WORLD. // THE ARCH & ANALYSIS / LONDON FASHION AGENCY / SHOP DIRECT / IMAGE CENTRAL STUDIO / CHIC PR TY / RICH LONDON PR / PLEXUS / BURBERRY / HIS TION / TRIP MAGAZINE / ORB EVENTS / RINGSPUN CQUEEN / WORKING WITH CLIENTS / BOOHOO. NE / CRICKET / MATALAN / MUNDIAL MAGAZINE LLABORATION / CHIARA FASHION / LIVERPOOL LFAST FASHION WEEK / WEAVERS DOOR / THE ERPOOL CELEBRATION OF STYLE / FLEXIBILITY / ES / DECISION MAKING / VISUALISATION / DISNEY REAL UNDERWEAR / DANIEL SILVERSTEIN / HE AGAZINE / MISS SELFRIDGE / SAMANTHA CHONG O LIVERPOOL / ASTON MARTIN / 13 / CONCEPT NIE BEE / MISS FRANCESCA COUTURE DESIGN / EN / MARY KATRANTZOU / CRITICAL AWARENESS THAN SAUNDERS / MOTIVATION / LIME PICTURES GILES DEACON / PORTFOLIO BUILDING / PHILIP CHASE PR / COLLECTIVE MAGAZINE / DIANE VON KS & SPENCER / PONY STEP MAGAZINE / PREEN / E LONDON FASHION AGENCY / INDUSTRY READY

SAY HELLO TO OUR STUDENTS

The fashion industry is constantly evolving. Today, our graduates need to know everything about the fast paced world of fashion.

From styling, photography, brand development, and social media, to garment constructions. Everything we do is about giving our students the skills to be successful in their future lives. Our ethos is to encourage work experience, internships, and new job opportunities.

P A S T I have been lucky to have experienced a PR account executive position placement for three months. I spent my time writing market reports, press releases and features, as well as collecting coverage and managing social media. Working for Pink Media has given me confidence and I have learnt a great deal about industry practice.

I am currently working at Pony Step magazine London for the Fashion Director and Fashion Editor on shoots, styling and managing the organisation behind the scenes. Studying Fashion at LJMU has really helped build my organisation and planning skills.

Natalie Oldershaw

Becky Darley

A N D

I was unsure I ever wanted to go to University, but coming to Liverpool has taught me different skills from so many influential people. The wide range of tutors covering all aspects of design is invaluable and the course has given me everything I need to hopefully have a successful future.

Anna Higson

I have had the opportunity to work on a variety of placements, including working with the visual merchandising team at Burberry, PR with the London Fashion Agency, and a design internship with His&Hers Magazine, which I am now paid for. All of the placements have given me confidence in my abilities and the skills I need to work in a fast paced environment.

Jenny Blake

E N T 132 |

Throughout my degree I have completed a number of placements, mostly in the editorial industry.

I have worked as editorial assistant for The Collective Magazine and most recently with The Essential Journal in Communications & Design Management. Both placements have allowed me to network and build confidence. My time at LJMU has given me knowledge about working in industry.

Eve Slater

Throughout my studies at LJMU, I have been consistently provided with the resources and facilities required to realise my ideas, which in turn has allowed me to explore and solidify my own personal aesthetic.

Chris Flynn

In the past three years I have had various placements and internships including a PR position at The London Fashion Agency, becoming a personal assistant to the editor-in-chief of #INSPO magazine, and joining the creative team at the visual production house Sane Seven, where I was recently offered a paid full-time job.

Simone Navardauskaite

The University has been a major stepping stone in my career path. The fashion course culminated in two live catwalk shows, one at the University, and another at Graduate Fashion Week London. The tutors were amazing with both shows and the quality in the end spoke for itself.

Katie Davidson

P R E S The tutors on the Fashion BA Hons course are brilliant.

They identify student’s qualities and nurture the talent they see in individuals. Studying at LJMU has made a massive impact towards my chosen career path, giving me exposure to the industry that wouldn’t have been possible otherwise.

Joshua Marriott

±

I have undergone various placements whilst at LJMU including working for Branded Lab PR, Celebration of Style, Plexus Cotton and Light Night.

In these roles I have covered various positions including events management, marketing, graphic design, PR, and social media. I feel that my time at LJMU has prepared me for working in the fashion industry, as well as opened up a wealth of opportunities for me.

Steph Tyrer

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UN_FOLD Magazine_VOL I BOUGHT TO YOU BY

Acknowledgments I would like to thank the following people for their generous support and input on UN_FOLD Magazine – this wouldn’t have been possible without your hard work and dedication: Sian Vaughan, Rosie O’Neill, Jennie Blake, Rebecca Darley, Simone Navardauskaite, Shenice Nicholas, Alex Bowen, Eve Slater, Sara Khorasani, Ally McQueen, Miriam Dill, Anna Higson, Esther Pillans, Chris Flynn, Rebecca Loveridge, Jen Hawley, Jade Hill, Josie Thrower, Sinead Russell, Steph Tyrer, Rebecca Richardson, Rosie Leggett and Alice McGreevy. Special thanks must also go to our guest editor Mark Birchall and the fashion staff, from garment design and dissertation writing to photography and visual communication: Lesley Peacock, Kayla Owen, Kira Courtney, Paul Robinson, Anne Liddell, Dr Lee Wright, Fiona Armstrong-Gibbs, Carol Ryder, Jacqueline McAssey, Margaret Woodley, Liz Edwards, Ann Jones, Cathy Reilly, Lol Baker, Neville Costain, Carlos Santos Barea and Viktorija Grigorjevaite.

Lastly, to those who generously gave up their time and resources, Andrew & Charlie; Andrew Collinge Hairdressing, Lucy McKeown; La Moda Models, Grace Woods; The MUA Studio and Paddy; Green Lane Metal Recycling.

Sorry if your name has been missed, but thank you, everyone appreciates your help and contribution. Thank you Paul Owen Creative Director

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