Thursday, 29 January 2015

Berlin Fashion Week

So ok I didn't know what to expect from the German capital's display of fashion, I didn't know any of the names on show apart from Marc Cain yet that's what intrigued me. Far from budget, the tent is well constructed and the capacity could easily rival London's, the whole 'free seating' thing threw me off, basically unless you're front row or standing you can sit wherever you please, seeing many scramble for second and third on more than one occasion in order to grab a goody bag was quite funny.

Highlights:



Odeur
sculptured street wear, light tailoring, sheer, cuffed tailored trousers, cat boots added edge, bomber jacket backpacks, sheer floaty and flowing undergarments softening an overall hard edged collection.



Kilian Kerner- 

A riot of pattern, print and pleats, ribbing,  ponchos, skirts over trousers, jumper dresses,  relaxed and casual forms of tailoring light and slight with pinstripes playing a large portion of the tailored segment of the collection. An exercise in casual sport's luxe. 


Marina Hoermanseder



Juxtaposition of hard and soft with multi strapped bondage esque  buckled skirts, light leather shirts and sculptured body defining skirts and bodices. A woman at war with herself showing two sides of the same coin at once showcasing her strength yet not shying away from her femininity.  

Jaiden James
https://twitter.com/rebelkidd90

Tuesday, 2 December 2014

Eclectic Photo studios NYC





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At some point it's more than likely that you're bound to shoot something or commission someone to shoot in New York.  My Friend who just so happens to be a rather brilliant photographer/ set designer has just taken over a spacious photo studio in Long Island city. Offering a range of services the studio also happens to be connected to a prop house where you can find all sorts of pieces from the weird & wonder to the essential.

Eclectic Studios is ran by someone who knows the in's and outs of what not only photographers need but also set designers, they know how to deliver the best options creatively & commercially at competitive and most importantly affordable rates.

For more information: http://www.eclecticphotostudios.com/


Boxfresh presents 89:14 – A Street Style Journey




Throughout 2014, iconic British streetwear brand Boxfresh has been marking its 25th year with a series of unique events. The brand concludes its’ Boxfresh 25 series in London this December with 89:14; an exhibition which celebrates seminal moments in British streetwear from 1989 to 2014, housed at one of East London’s most progressive creative exhibition spaces, Londonewcastle Project Space.

The four day exhibition from the 4th - 7th December, will take visitors on a journey of 25 years, showcasing the defining street style trends of British style from the past 25 years, curated by young archivist and curator Tory Turrk.

89:14 will document the reasons why people chose a certain look and how trends can connect and mutate; creating tribes from the catwalk to the street. Visitors to the exhibition will be encouraged to interact with these archives and also join in the ever-evolving debate on music, fashion and street style.
The exhibition will feature ‘style based’ exhibits by pioneering music and fashion influencers and two central fashion and music archives; ‘What We Wore’ a live archive by Nina Manandar and ‘The Hyman Archive’ the largest magazine collection in the world. 
Dec 05 2014 12:00 - Dec 07 2014 19:00
 Londonewcastle Project Space
 Redchurch Street, E2 7DP London

Sunday, 16 November 2014

Critical Thinking- Who is fashion made for?

I sometimes wonder to myself who is fashion made for? For many the fashion show has become nothing but a performance of taste, aesthetic and vision. Garments made to sell are quite often hidden under a balaclava of showpieces, concept garments and casting choices. Sure this is by no means a new concept. For many brands the lifestyle that is marketed from it is more important than the product itself. Calvin Klein successfully mass-producing basic essentials at a premium price, that can be bought anywhere else on the high street for cheaper is a perfect example of this marketing concept. But for young designers out of their means to find enough stockists to count on one hand, whom are they creating fashion for exactly?



Lets look at CSM as an example. The Central Saint Martins MA showcase supposedly represents the cream of the crop from new graduate designers from the UK. Only the 'best' are accepted to CSM and only the most forward thinking is selected to be apart of the graduate show of the season covered by most major fashion press. It has become a show that has become awe-inspiringly avant-garde and synonymously unsellable. The show isn't necessarily there to sell garments though. More than anything it celebrates pushing boundaries and new original voices. It is safe to say then, that this kind of fashion isn't made to involve your everyday customer. It is very much fashion, made by fashion designers, for the fashion industry. Which happens across the board of London designers fashion shows. Look at the complexity of JW Anderson on the catwalk for example in comparison to his super conservative and often bland variety of charcoal skirts and cashmere jumpers available for sale. I guess what I am getting at really is what is the point in it all? What about the millions of other designers that the British Fashion Council and popular fashion press choose not to represent?

Whether they sell their product on a stall in Wembley Market or in a luxury boutique in Hampstead Heath, the majority of independent fashion designers in the UK are ignored by the fashion elite. I have witnessed conversations by valuable voices of the industry that worry me, talking unapologetically about the "state" of London College of Fashion in comparison to Central Saint Martins. I have watched editors regard tickets to Vauxhall Fashion Scout shows as little to no priority during London Fashion Week, and I just wonder to myself what the point of all this is? These actions are coming from the same people who preach about the importance of designers having to be able to make money. Surely then credit is due to graduate designers making relatively "normal" clothes with good business acumen as oppose to those who make un wearable clothes and have no idea of how to market, or price their product? If fashion is just a business as it is so often described, then why are so many recent graduates who are showcasing at as part of LFW, the highest level of prestige for British fashion counting pennies to buy noodles whilst graduates snubbed for making clothes to appeal to the general public are making a decent living as independent designers, or working designing for high street chains for fantastic money?

I can't help but notice an ongoing trend here of opposing to the masses. London Fashion Week is often gawped at by media platforms outside of the fashion bubble. Outlandish and colourful pieces are used in newspapers to visually entice people with little to no interest in the industry. Can you blame them? Most people in Britain aren't in their means to afford designer product so really what difference does it make whether they know who Lucas Nascimento or Simone Rocha is or not? Put it this way, how many people who don't work in a board room for example read the financial times? Probably not many.

I understand that the fashion industry make the bulk of their money as a whole by selling fantasy, prestige and marketing a better way of life to be bought into by the "other". It is on this premise I always believed logo cultures were created. People buy into the Louis Vuitton emblem or Chanel logo without a care in the world about the collection or brand heritage. But for boutique designers that the populous of Britain either don't know or don't care about, where is this sense of elitism coming from? And especially for those designers barely making tuppence, what is the need for it all? It is the same reason that the voices of fashion so often hated seeing Kim Kardashian on the cover of Vogue, or the Diane Von Furstenberg label. It is nothing more than good old-fashioned snobbery. My interests may lie in a certain market of art, fashion, film etc. But I would never assume something isn't worthwhile merely because it doesn't fit my common interest at heart. I don't shop in boutiques and the only thing I buy from the market is my toiletries and sometimes some fresh fruit and veg. But I want to see an award for market fashion at the British Fashion Awards. Alexa Chung doesn't have to wear a dress from by the winner or anything, but why not pay tribute? Are they not a part of British fashion too? Only seems appropriate considering style cultures that originate from the everyday shape how designers create trends and styles anyway. Look at Vivienne Westwood or Christopher Nemeth…

Alex B Rowland