Twenty2 by Gabriela Cambero

Graduate Fashion Week 2013

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EDITOR’S LETTER // 5 NEWS // 6 FASHION GOES SOCIAL // 8 ACCESS(ORY) ALL AREAS // 10 INTERNATIONAL ARRIVALS // 12 THE BUSINESS // 14 HANDBAGS & GLADRAGS // 27 LOOKBOOK // 28 CUP GLORY // 30 BY GEORGE! // 32 ASHISH: SEQUINNED STALWART // 34 A FINE VINTAGE // 37 MENSWEAR: BRIGHT BOY // 40 WOMENSWEAR: TOUCH SENSITIVE // 46 FASHION MOMENTS: DAVID GANDY // 52 5 MINUTES WITH // 54 YOU CRAZY KIDS: TIPHAINE DE LUSSY // 57 HENRY HOLLAND // 58 ADVICE FOR YOUR

Elizabeth Arthur De Montfort University

22-YEAR-OLD SELF // 59

WELCOME //

e’re delighted you’ve picked up 22, 2013’s official Graduate Fashion Week (GFW) newspaper. So why the number? 22 years have past since the birth of GFW, and this year’s event looks set to be bigger and better than ever before. Our team have put the following pages together bringing you mens and womenswear shoots from this year’s top design graduates, as well as your onestop shop: The Business, with advice and guidance from industry professionals from the world of work. We speak to fashion designer Ashish about his incredible team. We have lingerie, graduate experiences past and present, David Gandy, Henry Holland and much, much more - your perfect GFW tea break accompaniment.

Iranzu Baker //

EDITOR // IRANZU BAKER PUBLISHER // GABRIELA CAMBERO ART DIRECTION // MELANIE DAGHER DEPUTY EDITOR // SASSY BARLOW FEATURES EDITORS // CARLOTTA MINDERHOUT & CHLOÉ BAUWENS COMMISSIONING EDITOR // EVA DOMIJAN NEWS EDITOR // LAURA HASTINGS FASHION EDITORS // GINGER CLARK ADAM GEORGE JOSE APONTE 5 //

FASHION ASSISTANTS // ANA ROSADO & ANNACHIARA BIONDI SUB EDITORS // MARIA GUIHEN & DEVIKA BHARGAV ADVERTISING & MARKETING // AMANDA LANGE & JAHNAVI PRASAD CONTRIBUTING WRITERS // LISA MCCANN & IEVA ZUBAVICUTE PRODUCTION EDITOR BABETTE RADCLYFFETHOMAS

THIS NEWSPAPER WAS PUBLISHED AND EDITED BY THE GRADUATE STUDENTS IN FASHION JOURNALISM AND FASHION MEDIA PRODUCTION AT THE LONDON COLLEGE OF FASHION OUR SPECIAL THANKS TO MARTYN ROBERTS, SCPR AND THE GRADUATE FASHION WEEK TEAM

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NEWS// Editor Laura Hastings

S R d E E an R y ou . sit y sk CA er er ta s E iv are g ha t IN un c tin ite irec cL s n e g N in th dau web g d s se ing O R n av o le nt a ek i er rit nd e m FO FW i y e of ay uch W co car m w u fi larl t :G E s n e s o o a ict K u y w c h , o t e r i e i I at f R TR g rtic is t nts sp r t b sh dv s. g re he O N u n t a a o i c e a r o e n o d E t W pr y d n te F ith ide thi sur ’s p tion tud en ng C its a an g g t n th ce ac r he in ee ua w ins ery en ha sec n s a riti s, N T n d d n d o s i y ev o f o te ur H fo O w ob el ria so in a afin ant Gra vere str th r, t u. W eer ash tha on ’s J . D e N its rop s re ed ecc ppe BA w he co du wi tte yo ar r f fic n er ut uid O s n y t a n e i L TS T ls le for is c y fo eci ctio rap g o a g , so opp ar pe a m dis LC ver e ou h l p e D in s s r ea g : rid a o k R s l m y t s b n p D A ly o s is e e co i e ro n d eri t jo ut cia re e s m eck n i tern ont ears e f h n A bo ha tre t th . Th dis erw ntr ih o o e E K e h e t tio ov gh b sp mo T fr ch tio in c y av e do ig ss e u d . h t c r a y n i R OO c c , c o on t’s cce ntr ce abo or he a e r ful ten bit ide ect rth se for ver few s h vic re h a ing B w L i e r d h t a s o t u t h s t d e s i p t st so n- l c hi ed ed g oul . T ki ock g. iel wri tha rs g s d y w thi hts n a ast en is a int not h l d l s s e e Ea ty, pe na . T rn int atin c ast boo bl kin sp e g e it’ it’ re m ite in ri be e stu . Th on ity, vi rst o atio ick nce pr voc ich e p of foil ma in hre d d so l ca co efin de ent as th n ree ing ers fi uc W co he ad wh th ge ng, per his a t ite e a V d u h r o f n iv t d f t l r g e n y i n m r C e s c o e a di a ot U lle ed ne f )is s os a it’ in loy hat ov fash s fo plan t un o is y kn yo o ve ue ng a r in d p , g rom e m r’s o a p t c r . a s e S u e an nce bo niq thi in okb an de e f th C gn ilit s lso m g pi s he m rls n o a n t s t L r n s i e c o g o o A n a m t i o s h o h t o e g r IR tle g h ny ti ee ec e a rs b tin o en ss d ec fa rti a in ya G es to th l s G r s o t rin e a n i G c ( n r e M Ma fr en- g on r a a ch a m u a in to m rsi ou lo r a he A m d c of o co h r n e ac L de r h us s o p o c i t c t h e c c en s o i f o d M . v co ake e N she ive akin ws be fer , su ess im n t ip of o f hi d R rts t . s ke ul ng es N u s n t s/m T a M of ies pr , S pe tr te s, G ket w E a b rm , or ef ri at E as es s vie le er ca r u , a s s i t . w s d u re re rofi a du vi ter de o d u on ar e nd ok th fo 75 t up h pr t u a d :M i o o £ i a t s i ism rm ro ct op es ve p M al N ng ra /ca le n t ro ra at m iq y B w ok ou g u i o . o c n g e t tiv fo rl g p a y’s e W ra igh e N pic nn uk TE Fo tio th A ni the chn kn ith liar b 5 t ck i o r y ac us f g. o e i u h n t t j g e c h a e y t 6 p M i IS n o . w l t t r e n l or o L es m in e Ho ed fam art y £ Ch ca ia e u d d e t. ny nd h e t h i e c w. m at m h t l . lit ely ers ie co an m t t ven e a s a ut inc gf St Co gap g t avid en are ing gh ect Po lik v -p ir , or a e lik fit b s f j o e f l , e t s m i a o e in D im y at ou b un ntr fiv th ste per pr orld ves ou nd ing ct , th ch as per an cre t r su u l A ts di ch a co is on sy y e s e W s ng o th te ch ex t m ly os he . ar c l t Th ht ip he in e m ati ab le t a pe en l. ok su ve no ia s ok t n ns f s tiz o lig rsh e. T .S th the in nes ab bo ai o ci tr l, ha m n se o bo a e s so tic e U in nt ord uti ark on er ss la g ce ag m le on ri e c t n n o c a e t i i a f nd no th en ese co ro em d is e nd n le ed m sh a s ed /lo in om pr up, ce r el re fe ui m or d y m Th pe o A W irls ro dan eved 09. reb es f its inq sty is f ad entl er .co de B i i 0 l h i c C G lg c r e t 2 e n s w e i i h f ok e r a r L gi get ac in av de ire to n m w r l Po yan e bo ce er ave ing ls h ich equ nd ow yan ngs ving be t M tsid h fa h rm gir wh r a r M so a la rs u it e fo he ip ich ure hei in ern s. H ord e fi ss o w w f th e T rsh wh m t rm st ric rec th ce ie o nu e to d e de ing no We t ly ed me suc terv one nti th s e er is as co d in n, co nd an b to hey n th cov and A b be o fin an oo t to rou T he to ag L ve t n , M n l a w rs rop with y ha oup y. I zine wa al ge p d he gr tr ga e en in gne ic t sed oun ma : “W om si s a c d es w r t u b M ar- eir lan sta we n.” s m th der rs, po me irl of on be em wo aG W m p ll M l e m he . A eN M to rld k/ wo oo eb c fa

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FASHION GOES SOCIAL By Eva Domijan

id you know that one out of every seven minutes online is spent on Facebook? With social media taking the world by storm, the fashion industry wastes no time jumping on the digital bandwagon. What about you? If there are any of you who haven’t yet, 22 brings you your very own idiot’s guide. FACEBOOK More than one billion people in the world have a Facebook account, so it’s only natural that brands followed in their customers’ footsteps. Burberry was the first luxury brand to amass 10 million fans on its Facebook page last year; since then, its fanbase has expanded to 15 million. The numbers aren’t just for show: Burberry CEO Angela Ahrendts reported they had boosted sales by 29% thanks to their champion digital marketing strategy. Matt Ralph, Ecommerce Executive for womenswear retailer Karen Millen, says ‘a good style debate’ has become the most popular way for brands to engage with their customers. “It’s no longer about what the brand wants to say, but what the customer wants to talk about.” On Facebook, fashion brands spark discussion posting exclusive content that’s visually appealing and often funny. The same recipe for success applies to personal Facebook profiles; entertaining updates and beautiful pictures are guaranteed to collect the most ‘likes’ from your friends.

TWITTER Twitter, a social network slash microblogging platform where you communicate in messages of up to 140 characters known as ‘tweets’, has attracted a plethora of fashion insiders from Victoria Beckham to Karl Lagerfeld’s cat, who use it to connect to their fans. Compared to Facebook, Twitter is a playground better suited to personalities than brands; links to fascinating articles you’ve read online, favourite quotes, personal stories, and clever commentary of current events all go a long way on Twitter. An essential part of tweets are hashtags, words preceded by the # sign mainly used for aggregating tweets related to a particular topic on one page, so you can easily find out what everyone else is saying about, say, #lfw (that’s London Fashion Week for the uninitiated). Fancy more Twitter followers? If being your witty self doesn’t cut it, you can buy them, as many celebrities have done to inflate their online rep. Evidently, Twitter means serious business. INSTAGRAM Another photo-editing app you say? Instagram boasts an array of digital filters that transform the most mundane and badly-composed photos into dreamy and romantic square-shaped images in a matter of seconds. Since the whole fashion industry works on the same premise of promoting hyper-stylised reality, it didn’t take long before the fashion crowd collectively flocked to Instagram, sharing pastel-

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hued photos of shopping acquisitions, fashion weeks, and, most importantly, macarons. Food imagery is enormously popular on Instagram, no matter how awkward you feel whipping out your phone to snap a pic before you start eating. Like Twitter, you can add hashtags that best describe the content to your Instagram photos; sadly, many users abuse this by #adding #fifty #inane #keywords #under #each #photo. This practice will annoy a large percent of your followers, but does get more people to find your photo, ‘like’ it and maybe click the ‘Follow’ button. LINKEDIN LinkedIn may look pedestrian at first glance, but that’s because it’s dedicated to professional networking, which is less visually driven than other social media platforms. Your LinkedIn profile is basically your abridged online CV – your prospective employers will take a peek when you apply for a job or internship, so LinkedIn is the one place on the internet where you really want to be professional. Getting people you’ve worked with to write a recommendation on your profile instantly makes you look legit and approachable, while an empty profile gives a lousy impression and discourages people from adding you to their network. Companies are increasingly taking to LinkedIn to find new employees, so it’s a good idea to join groups related to your professional field and look out for job vacancies.

PINTEREST The earliest stage of any fashion project is the mood board, a collage of inspiring images, text, sketches, and anything else you can fit on it. Pinterest adapted the concept of the mood board for the digital age and rapidly became fashion’s go-to website for visual inspiration. You can upload photos or embed videos (what you share is called a ‘pin’), create boards, organise your pins by topic, and follow other people’s boards. Over 80% of Pinterest users are female, predominantly sharing photos of fashion, beauty, food, and design. Fashion brands are particularly motivated to have a large following as Pinterest drives more online sales than any other social network except Facebook. Who knew the curation of pretty .jpegs would prove to be so financially viable?

VINE Vine, the youngest of the big social media platforms, is basically the video version of Instagram – an app that lets you create and share six-second looping videos. Many of the app’s early adopters were fashion industry insiders who figured out Vine and catwalk shows were a match made in heaven as Instagram photos are unable to convey motion. Today, creative users are taking Vine to the next level with stop-motion videos and digital postcards. The love affair between Vine and the fashion industry continues to blossom with online retailers such as Net-a-porter and Asos encouraging their customers to film and share videos of them unboxing their orders. The only drawback of the app is that it’s available for iPhone and iPod Touch only – an Android version is in the works at the time of writing, but there’s no release date yet.

ARAH RAPHAEL, Online Editor at i-D magazine, shares her top social media tips:

1. TRUST YOUR INSTINCTS. They’ll like what you like. Don’t be afraid to write something a bit weird or send out something that seems irrelevant - the things that go viral are always weird and irrelevant. Caution is not a very network-able term, you have to be brave in web world, or else you’ll end up talking to yourself.

INSTAGRAM ‘I’m really impressed with Boden – they pull consumers into their Instagram feed showing what they’re wearing. It feels like a big family.’ PINTEREST ‘Kate Spade’s Pinterest feed is colourful, humorous, and has the tone of voice that perfectly sums up who their consumer is. Benetton recently opened a store in New York and made it look like a Pinterest board with clothes and graphics. It looked fresh; it was a discovery.’ FACEBOOK ‘Tory Burch, who did a Facebook pop-up store which lasted about a week and was hugely successful.’ VINE ‘Paul Smith brought in an artist [illustrator and filmmaker Kate Moross] for the last London Fashion Week who made Vine more about art than clothes.’ TWITTER ‘Donna Karan and Oscar de la Renta PR girls. Everyone wants to be an Oscar de la Renta PR girl, she has a really fabulous life.

TOP 5 BLOGGING DOS AND DON'TS BY NAVAZ BATLIWALLA OF DISNEYROLLERGIRL (www.disneyrollergirl.net) 1. DO ask yourself why you want to write a blog and if your answer fills you with excitement and passion then go ahead.

Amanda Carr

ho in fashion uses social media best? AMANDA CARR of The Women’s Room (www.thewomensroomblog. com) highlights her luminaries:

Navaz Batliwalla

2. KEEP THE CONVERSATION GOING. It’s much easier to add to a conversation than it is to start one, so commenting on current affairs, or things that are related to your field is important. Try and offer a different point of view though, don’t just comment for the sake of it, add something. 3. CELEBRATE PEOPLE. There’s enough cynicism flying around Twitter, if you celebrate someone’s success, for example congratulating a person on a new appointment, people will join you in celebrating. It’s like the theory of applause. Start and people will join in, if only out of politeness. 4. POST NICE PICTURES. Our generation reads images much quicker than text, and a picture is worth a thousand words. A lot of people look at social networks while at work; brighten up their day with a photograph that makes them feel good. Nostalgia plays an important part in this. 5. Having said that, text is still important, but it should definitely be short and either funny or powerful. A GOOD ONE-LINER can transform an image from average to brilliant on Facebook or Instagram, and it makes for a more powerful connection between the person sending it out and the person reading it. 6. QUOTE. Accept that whatever you want to say has probably been said before, and probably said better. The social network masses love quotes from clever people: authors, philosophers, politicians, fashion designers, artists, etc, especially when it’s in context. The Punk exhibition at The Met is coming up, so I plan to tweet a load of Johnny Rotten’s most outrageous Punk sayings.

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2. DON'T worry about being perfect. Some of my old posts are beyond embarrassing but I've left them unedited to remind me of how I've evolved. 3. DO be curious and brave. See it as a personal development project and try to give as much of yourself as you can. Be bold and experimental and you might surprise yourself. 4. DON'T copy (unless you can improve on the original). 5. DON'T over think. The best posts are always the quick-fire, spontaneous, irreverent ones. Sarah Raphael

BEJEWELLED MASK/ Jamie Briggs - University of Salford. PERSPEX NECKLACES/ Francesca Sciambarella Liverpool John Moore University.

METAL, WOOD AND LEATHER BAGS / Clare Baird University of Edinburgh. METALLIC MARYJANES / Siobhan Marie O’Keffe - Norwich University of the Arts.

ACCESS(ORY) ALL AREAS Images by Jose Aponte

COCO CHANEL ONCE FAMOUSLY SAID “WHEN ACCESSORISING, TAKE OFF THE LAST THING YOU PUT ON” WE THINK THAT HAD SHE VISITED GFW, SHE’D HAVE THOUGHT OTHERWISE. JOSE APONTE SELECTS A FEW OF THE KEY LOOKS FROM THIS WEEK’S EVENT, EACH DISPLAYING A MIXTURE OF CRAFTSMANSHIP AND INNOVATION THAT COULD EASILY GIVE ALL THAT GILT AND PEARL A RUN FOR ITS MONEY.

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Clare Baird University Of Edinburgh.

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INTER NATIONAL ARRIVALS

By Lisa McCann

raduate Fashion Week’s international show 2013 will be a fusion of electrifying new design talent. Innovative new concepts will be discovered and dynamic new designers will emerge. Over a dozen international universities are involved, bringing with them a variety of cultural influences and styles. This is a significant component of Graduate Fashion Week, with the number of prestigious overseas universities growing., and proves the importance of UK fashion worldwide. For international students, it is a unique privilege to be among the best young fashion designers in the UK and a great opportunity to gain exposure for their work overseas. The passion and creativity involved is inspiring. Universities taking part this year include Pakistan Institute of Fashion Design, Istituto Marangoni Paris and ESMOD Berlin, among others. This year’s show is further enhanced with the addition of Parsons, The New School of Design in New York

and FIT Italia, both recognised worldwide for their design innovation. FIT Italia allows students to study on the international stage while being immersed in the culture of one of the most fashion forward countries in the world. Parsons has a reputation that demands both respect and recognition, having launched the careers of such famous alumni as Alexander Wang, Marc Jacobs, Tom Ford, as well as Lazaro Hernandez and Jack McCollough of Proenza Schouler. Its global reputation for design education excellence is widely known and appreciated, with four campuses abroad and opportunities for students to participate in exchange programmes with other art and design schools. Fashion editor and talent scout of Vogue Italia, Sara Maino, Professor Wendy Dagworthy of the Royal College of Arts and blogger Susie Bubble form the panel of judges who are looking for that one exceptional contestant who combines skill

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with creativity. Marina Hörmanseder, a graduate of ESMOD Berlin and a recent intern at Alexander McQueen says of Graduate Fashion Week “I’m extremely excited to be showing my collection on such a significant occasion for the very first time. It’s going to be a week full of new inspirations, experiences and a chance to meet other upcoming designers in the fashion industry.“In terms of how important Graduate Fashion Week is to young international designers, she is adamant “It cannot get better for a young designer like me to have the chance to show one’s work and passion to such a large and international audience.” Karen Jessen, ESMOD Berlin graduate and last year’s winner has gone on to achieve great success and now has her own label Benu Berlin. “Things are happening very fast, my work is growing and I like it,” she says. “To win was amazing as it was my first international award and naturally it was good motivation to continue what I love to do, art and fashion.”

2012 winner, Karen Jessen and judges

Marina Hörmanseder

Benu Berlin by Karen Jessen.

ashion editor and talent scout of Vogue Italia, Sara Maino talks to 22 :

GRADUATES FROM THE FOLLOWING UNIVERSITIES WILL BE PARTICIPATING Parsons, New York Academy of Art, San Francisco BUNKA (Japan) Shenkar (Israel) Shih Chien (Taiwan) FIT (Italy) Istituto Marangoni Milan IED (Institito Europeo di Design - Italy) Accademia di Costume e Moda (Italy) IUVA (Italy) Kolding (Denmark) Istituto Marangoni Paris ESMOD Berlin ESMOD Oslo Pakistan Institute of Fashion Design Mimar Sinan Fine Arts (Turkey)

AT VOGUE ITALIA, YOU ARE EXPOSED TO NEW DESIGNS ON A DAILY BASIS, HOW CAN THE INTERNATIONAL STUDENTS AT GRADUATE FASHION WEEK IMPRESS YOU? WHAT ARE YOU HOPING TO SEE THIS YEAR?

HOW IMPORTANT IS THE UK IN TERMS OF THE FASHION INDUSTRY WORLDWIDE? WHY IS IT SO IMPORTANT FOR INTERNATIONAL STUDENTS TO SHOW HERE AT GRADUATE FASHION WEEK?

Graduate Fashion week is a very important event where I get the chance to see the most talented students in the UK and also a selection of other international fashion schools not in the UK. It is not just a matter of expectations but also a moment where I have the chance to see in one go what these students have done in their four year course. It is a way of having a general overview.

The UK has always been the center of creativity. In the last few years, London Fashion Week has become very important, giving space and attention to new talented designers who have also had the opportunity to become creative directors for very important fashion brands. For a student, being at Graduate Fashion Week is the first important step in the fashion industry, to be seen by the right people at the right moment.

HOW SIGNIFICANT IS THE INTERNATIONAL SHOW AT GRADUATE FASHION WEEK? IN YOUR OPINION, DOES IT BRING AN EXTRA DIMENSION TO THE EVENT? It gives an important overview of what happens in other schools. In one go you get to see people from different parts of the world being influenced by different cultures and point of views. WHAT DO YOU LOVE MOST ABOUT DISCOVERING NEW DESIGN TALENTS? I love the energy they give, the creativity and most important how firmly they believe in their project.

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AS TALENT SCOUT AT VOGUE ITALIA, ARE YOU STILL IMPRESSED BY NEW TALENTS? ARE YOU HOPING SOMEONE WILL SURPRISE YOU AT THIS YEAR’S EVENT? For me scouting is pure energy and new talents always have something to say and transmit whether you like it or not. My hope is always to be surprised and stimulated. The International Show is on Monday 3rd June, Earls Court 2, Theatre A at 11:00am. (All information correct at the time of going to press.)

THE BUSI NESS A

S YOU’VE PROBABLY BEEN TOLD A THOUSAND TIMES BEFORE, THERE’S NO EXPERIENCE LIKE ‘ON THE JOB’ EXPERIENCE. UNIVERSITY LECTURERS CAN PREPARE YOU FOR THE CRAZINESS THAT IS THE FASHION INDUSTRY TO A CERTAIN EXTENT, BUT UNTIL YOU FINALLY LAND YOUR DREAM ROLE IT’S IMPOSSIBLE TO KNOW WHAT’S REALLY IN STORE FOR YOU. UNTIL NOW, THAT IS. WE’VE COMPILED A DEFINITIVE GUIDE OF ALL THINGS PRODUCTION, BUYING, MARKETING, VISUAL MERCHANDISING AND DESIGN RELATED, PROVIDING YOU WITH THE DETAILS OF HOW TO GET THERE, WHAT IT WILL BE LIKE WHEN YOU DO, AND, (MOST IMPORTANTLY) HOW MUCH YOU CAN EXPECT TO BE EARNING. AND YOU DON’T JUST HAVE TO TAKE OUR WORD FOR IT – WE’VE INTERVIEWED PEOPLE WHO ARE DOING YOUR DREAM JOBS RIGHT NOW, GIVING YOU THE LOWDOWN OF WHAT’S TRULY AHEAD. GRADUATES, IT’S TIME TO GET DOWN TO BUSINESS.

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VISUAL MERCHANDISING // INFO Average salary in London Entry level: £18,000 Experienced: £25,000-£35,000 You wish you were there: £50,000 - £70,000

It is still not a very well known job. So there is room for real talent. As Jimmy Page said about the guitar, I always thought the good thing about visual merchandising was that they didn’t teach it in school.

The role: A visual merchandiser will have a creative, fashion savvy and trend cautious mind that works to conceptualise and create a visually appealing image of a brand. They will create inside and outside displays for a store to draw in business, showcase items and increase revenue. Personal qualities: You will be able to communicate your visual goals across all levels of the business. You will be able to demonstrate your exceptional creative skills and at the same time be able to organise your time, motivate your team and pay attention to details. Education: A bachelor’s degree is preferred in visual or fashion merchandising, graphic design and other fashion related fields. If you are a graduate designer – go for it.

WHAT IS MOST EXCITING ABOUT YOUR JOB?

François- Agathange Hallopeau

NAME:FRANÇOIS-AGATHANGE HALLOPEAU ROLE:LUXURY VISUAL MERCHANDISING AND RETAIL DESIGN MANAGEMENT //

PARIS COSHAM ROLE: VISUAL MERCHANDISING ASSISTANT COMPANY: JIMMY CHOO

By Ieva Zubavicute

WHAT ARE THE ESSENTIAL QUALITIES OF THE EXPERT VISUAL MERCHANDISER?

HOW DID YOU START YOUR CAREER IN FASHION?

·Creativity and innovation: architecture, graphic design, new technologies, understanding trends in fashion and client behaviour. Technical expertise and sense of details. ·Communication: public speaking expertise and the ability to represent the company. ·Leadership: possessing both strong opinions and flexibility as required, the capacity to build strong business relationships and partnerships with suppliers and colleagues. ·General management: the ability to plan and manage budgets with excellent analytical skills. A client service attitude.

After studying photography for two years I struggled to get a job in the industry and ended up working in a dead-end job at a computer company. Shortly after moving to London, I got accepted into the FRA (Fashion Retail Academy) on a 1 year course studying visual merchandising, now I’m at Jimmy Choo.

HOW DID YOU INITIALLY START YOUR CAREER? After a double degree course in Architecture and Graphic Design, I joined Parfums Christian Dior (LVMH group) in 1988, where I spent 15 enriching years professionalising a relatively new discipline in the selective sector, namely visual merchandising applied to luxury products. Quickly entrusted with the management of creative teams, I acquired both technical expertise and creative vision through the execution of several international merchandising projects. DO YOU THINK THERE IS ENOUGH SPACE IN THE MARKET FOR EMERGING TALENTS IN VISUAL MERCHANDISING?

internships or store work. If you work in a store you often have the chance to work with mannequins/ window displays, so if you show a keen interest and eye for detail, chances are this will be picked up by somebody within head office or the in-store visual merchandisers. It’s a great place to start. I personally went down the route of internships, I studied VM at the FRA and it placed me in two companies over the one year I was there. My tutor picked the places he thought were relevant to me and my style; I was placed at Urban Outfitters and Vivienne Westwood. The two roles were very different - one was based in-store and the other was based in head office. Internships are a great way of finding out what you are good at and what you like, and after my two finished I realised that I was much more suited to head office based visual merchandising, focusing on the design aspect and being creative behind the scenes.

There are so any exciting aspects of my job, being a part of a small team means there is a lot to do and see. My favourite part is probably seeing ideas come together. A lot of our window display ideas come from either a shoe or a bag and then just running with everything that relates to it. I love the concepts and the ideas you can get from just one item and everything that happens around it: special props, flowers, events… it’s all really exciting. DO YOU THINK THAT RELATED FORMAL EDUCATION IS IMPORTANT? To an extent. I use a lot of maths and English in my job - I didn’t think I would need that sort of thing much working within the visual merchandising industry, but I work with numbers and budgets a lot as well as emailing suppliers, so it is quite important. I was quite good at maths and English in school, along with graphics and art. I think as long as you have got the basics, you’re ok. Blog: www.pdotties.wordpress.com

WAS A CAREER IN VISUAL MERCHANDISING SOMETHING YOU ALWAYS WANTED TO DO? I always knew I wanted to do something visual, as I’m a very creative person and always have been. It just took a lot of time trying to find the right role for me. I still love photography so I try and work on that in my spare time still. When I discovered the course at the FRA I thought it was perfect as I already had a lot of the skills needed for the course: Photoshop and Illustrator knowledge from my photography course. I put these into practice by mocking up store layouts and windows and mannequin dressing. Visual merchandising really does incorporate so many different skills; it’s a great place to start your career as the roles are often varied. WHAT ARE THE STEPS ONE SHOULD FOLLOW TO START/MAKE A CAREER IN VISUAL MERCHANDISING? I believe there are 2 ways in which you can do this;

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Paris Cosham

DESIGN // INFO AVERAGE SALARY IN LONDON: £25,000 ENTRY LEVEL: £14,000 - £22,000 EXPERIENCED: £45,000 - £60,000 YOU WISH YOU WERE THERE: £100,000+ THE ROLE: Designers’ tasks vary depending on the company size and type. In a smaller atelier designers will probably be responsible for each step of developing an item of clothing. In a larger environment the designer may also be responsible for analysing trends, producing mood boards or sourcing fabrics.

PERSONAL QUALITIES: Generally, creativity is the most important characteristic of a fashion designer. However, good communication and visual skills, as well as the ability to work to a tight deadline, are also important. EDUCATION: The traditional path of a fashion designer is usually a bachelor’s degree in fashion design. However, there are many other fashion related courses that provide specialised knowledge into certain fields of design.

Marta Marques and Paulo Almeida

MARTA MARQUES FROM FASHION DESIGN DUO MARQUES’ALMEIDA // By Ana Rosado

esign duo Marta Marques and Paulo Almeida launched their brand Marques’Almeida in April 2011, and showed their first two seasons under Lulu Kennedy’s platform Fashion East, before being awarded NEWGEN sponsorship from the British Fashion Council and Topshop in 2012. We met with one half of the formidable partnership, Marta, who gave us the lowdown on everything a designer can expect to face when setting up their own label. DO YOU THINK IT’S IMPORTANT TO GET EXPERIENCE WORKING FOR ANOTHER BRAND BEFORE STARTING YOUR OWN? Paulo and I have both worked for other brands. This was important as we learnt about the daily tasks of managing a company that don’t solely revolve around design. It’s also good to meet people from the industry who may be helpful in the long run for advice. WHAT ARE THE BIGGEST OBSTACLES A DESIGNER FACES WHEN STARTING UP THEIR OWN BRAND? The biggest obstacle is dealing with details you know nothing about. When you start a brand, there’s no accountant or someone to manage sales or production, so it’s the designer who has to fulfill all these roles without having been educated about them. Besides having to learn about other

professional areas, the greatest challenge is the short amount of time you have to produce a collection. Comparatively to other tasks that need to be done, creativity only occupies about ten percent of the time. Therefore, it’s important to manage your schedule well so you have time to focus on artistic work. WOULD YOU HAVE DONE IT INDIVIDUALLY? No, we’ve both said that we would never have done this solo. We’re aware of the daily routine of other designers who do it alone, so we know it’s harder, mostly because of time management. It’s easier to have the help of someone else. It’s a matter of mental support too - this is a lonely and risky job so it’s good to be part of a duo. Also, we each have a different set of skills that come together in making the brand as a whole. We can’t even conceive the idea of going about it in any other way now. HOW DIFFICULT IS IT TO FIND FINANCIAL SUPPORT WHEN STARTING YOUR OWN FASHION BRAND? Even though it may be simpler in London, it’s still not easy. London is thirsty for new designers so it’s a great place to establish a brand, but you have to work for it. You still have to convince people of your skills and the message you’re trying to convey. WHAT DO YOU THINK MAKING THE TRANSITION AWAY FROM BEING SUPPORTED BY NEWGEN WILL BE LIKE?

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I think the process will be gradual. These programs help in developing a brand as much as possible by bringing in exposure, stockists and recognition. As a brand grows, it requires change. You may not need ongoing financing but you’ll need a bigger investment to meet production and sales demands. We’ve made a two-year financial prediction to figure out if things will work out without the financial aid, which hopefully will be the case. For now, we are still being supported by NEWGEN, but let’s hope this gradual separation will work for us. WHAT ADVICE WOULD YOU GIVE TO A YOUNG DESIGNER DEVELOPING THEIR OWN BRAND? Meet, talk and get advice from as many people as possible. London is the best place for that - everyone is ready and eager to help and it’s important to absorb everything you’re told. However, at the end of the day you must follow your gut, you still need to be true to your own vision and product. IS THERE SPACE FOR INNOVATION AND FINANCIAL SUSTAINABILITY? There’s definitely space for innovation and financial sustainability, but it’s a long journey. After our third season people were still asking for items from previous collections because they were still getting used to the product. Nevertheless, we are expanding. Maybe it’s just a matter of patience. www.marquesalmeida.com

FOR MORE DESIGNER INTERVIEWS, SEE 5 MINUTES WITH FELDER FELDER, HAIZHEN WANG AND JULIAN HAKES ON PAGE 54. ASHISH ON PAGE 34 AND HENRY HOLLAND ON PAGE 58. Harriet Simmons

NAME: HARRIET SIMMONS ROLE: KIDSWEAR DESIGNER // By Ana Rosado

arriet Simmons was named as the winner of George’s 2012 kidswear competition during last years Graduate Fashion Week, for her six girlswear designs. Harriet won a work placement at George, where, with the help of their in-house design team, she was given the chance to turn her winning range into a collection. We caught up with Harriet and she told us all about it. HOW WOULD YOU DESCRIBE EXPERIENCE AT GEORGE?

YOUR

I loved it. I didn’t know what to expect before I went but it was great to gain an insight into what it would be like designing for a large high street brand. I was very lucky to work alongside the girlswear design team, developing my designs for a more commercial market. I learnt a lot throughout the process, and it was a very friendly and supportive environment. In addition to the development of my winning collection, I worked on designing birthday t-shirts, summer dresses and even children’s tents.

WHAT’S THE BEST ATTITUDE FOR A NEWCOMER TO HAVE ON THEIR FIRST DAY AT A JOB?

I love the creative freedom of designing for childrenswear, it’s unique, free spirited, fun and playful.

As with any job you need to have a willing, friendly and open attitude. You have to be prepared to work hard. Fashion is a competitive industry so you need to be very dedicated and determined.

DO YOU THINK CHILDRENSWEAR IS OFTEN OVERLOOKED BY DESIGNERS?

WHAT ARE THE ADVANTAGES OF WORKING FOR A HIGH STREET BRAND, AS OPPOSED TO CREATING YOUR OWN? There are obviously plus points for both, but working for a brand gives you support and advice from other designers. It allows you to bounce design ideas off one another, and work alongside experienced professionals. WHAT MADE YOU CHOOSE CHILDRENSWEAR? I feel my designs naturally lend themselves to childrenswear, because of the fun and colourful prints. DO YOU FEEL YOU HAVE MORE CREATIVE FREEDOM WHEN DESIGNING FOR CHILDREN?

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Yes, but I believe that’s dramatically changing, and many design houses are now producing children’s collections. It’s a rapidly growing market. I would love childrenswear to get the recognition it deserves because there are many very talented designers in this field. WHAT’S THE BIGGEST OBSTACLE FOR A CHILDRENSWEAR DESIGNER? Recognition. There isn’t much media attention on childrenswear designers, in comparison to womenswear or menswear.

PRODUCTION // INFO AVERAGE SALARY IN LONDON ENTRY LEVEL: £20,000 EXPERIENCED: £30,000 - £40,000 YOU WISH YOU WERE THERE: £60,000 THE ROLE: Production managers are the center of the universe in terms of logistics and the many important things that happen in between the second a designer creates something and that something reaches a store. The job may include cost-tracking and spreadsheet maintenance, acting as the liaison between the designer and the fabric supplier. Visiting factories both in the UK and overseas is a major part of the role, as is sourcing new suppliers. PERSONAL QUALITIES: You should have exceptional organizational and communications skills, be able to multi-task and work in a team. You should also have the gift to communicate with people at different levels and at different responsibilities – so that you understand what a designer wants and what a fabric supplier offers. EDUCATION: A degree in marketing and merchandising would be a plus; however, other professional experience in the field of fashion would work.

Charlotte Jones

NAME :CHARLOTTE JONES, ROLE :CREATIVE PRODUCTION MANAGER // COMPANY : MATCHES.COM // By Ieva Zubavicute

WHAT DO YOU LIKE MOST ABOUT YOUR JOB?

NAME: DALIAH SIMBLE // ROLE: HEAD OF PRODUCTION // COMPANY: ROLAND MOURET

I like the variation of the job. I manage day-to-day marketing and editorial projects as well as seasonal print, mobile and digital projects, making every day a new challenge.

By Ieva Zubavicute

YOU HAVE BEEN WORKING IN FASHION PRODUCTION FOR QUITE A LONG TIME NOW – DO YOU STILL FACE CHALLENGES THAT MOTIVATE YOU?

sampling/production. It’s a strategic role that works very closely with product design and development, buyers and merchandisers, and technical and sample room logistics – that is, the entire product cycle.

I have been working in production and sourcing for over 20 years now; and have found out that every company, brand or retailer presents you with a different set of challenges. I firmly believe the day we stop learning or challenging ourselves, is the day we are done with the fashion industry - thankfully that day hasn’t arrived yet for me. I have been fortunate to get the opportunity to work with mid high street retailers, bridge brands, department stores, wholesale and luxury brands.

WHAT DO YOU LIKE MOST ABOUT YOUR JOB?

YOU HAVE BEEN DOING INDEPENDENT CONSULTANCY AS WELL AS WORKING INHOUSE. WHICH MODE SUITS YOU BETTER? I have found that different ways of working have suited different stages in my personal life. It is incredibly satisfying to complete projects on a consultancy basis on the behalf of brands, but it is also satisfying to work in-house and transform a company’s sourcing strategy. A FEW WORDS ON WHAT A PRODUCTION MANAGER DOES. A production manager’s role is to work closely with the design or product development team or directors, and enable the company to realise the design vision and desired profit margin required for the company. It involves sourcing and meeting new factories, negotiating prices for raw materials, components and

There is never a dull moment since fashion moves at such a quick pace. My real passion is discovering new factories, particularly UK based ones. I sit on many industry panels, looking specifically at the skills gap we currently have in this country due to moving production off shore in the 90’s. In fact, we are seeing production returning to the UK, and I have been monitoring this for over six years. This process ticks so many boxes - no duty, low freight, control over product and sustainability. I also enjoy building and fostering relationships and have worked with some factories for over 15 years. WHAT KIND OF PROFESSIONALS DO YOU HAVE TO DEAL WITH EVERY DAY? Creative directors, collection development teams, product developers, factories, mills, component suppliers, production teams, technical teams, the sample room people, sales directors, finance directors and MD’s.

WHAT ARE THE MAIN ACTIVITIES YOU DO EVERY DAY AT WORK? I traffic all creative projects that are required for the website so I accept project briefs, schedule time in for copy and design and give feedback approval dates. I do meetings to discuss and strategise new projects and pull processes together to ensure we work as efficiently as we can. Exciting projects like planning our seasonal print magazine and look books will be on my to-do list as fashion week approaches. WHAT ARE THE ESSENTIAL PERSONAL QUALITIES AND SKILLS TO HAVE IN ORDER TO BE GOOD AT FASHION PRODUCTION? Organisation is so important. You must know where every project is at all times, as it’s essential not to miss deadlines. At most times you can have up to ten projects, big and small, on the go at the same time so it’s important to have control. Communication, attention to detail and a calm exterior are also vital. HOW DID YOU START YOUR CAREER IN FASHION?

Delays and poor communication - the enemies of the supply chain!

After completing my fashion design degree at UWE (University of the West of England) and showing my final collection at GFW (Graduate Fashion Week) I went into magazines as a fashion assistant. I worked hard for nothing, but was lucky enough to travel the world on shoots and attend as many parties as I could squeeze in! I worked on everything from shoot production to sample requests (and returns) to having my own still life pages.

www.rolandmouret.com

www.matchesfashion.com

WHAT IS MOST DIFFICULT ABOUT YOUR JOB?

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Daniele Ceni

Daliah Simble

NAME: ROXANA MERLUSCA // ROLE: FREELANCER: PRODUCTION/LOGISITCS COMPANY: ROKSANDA ILINCIC

Roxana Merlusca

NAME: DANIELE CENI ROLE: INDEPENDENT PRODUCTION CONSULTANT //

By Iranzu Baker

By Ieva Zubavicute

CAN YOU DESCRIBE A TYPICAL WORKING DAY AT THE STUDIO WHEN YOU ARE AT YOUR BUSIEST - WHAT DOES YOUR ROLE ENTAIL?

WHAT DO YOU LIKE MOST ABOUT YOUR JOB?

My main job at the studio is garment quality checking, which means I have to make sure that every single finished garment is in perfect condition before it reaches the stores. Every minute detail from a button, to an invisible stitch has to be checked in order to fulfil the brand’s requirements and the customer’s expectations. I am involved from the moment garment production starts, right until it ends. So, regular visits to manufacturers play an important role in my job. WHAT ARE THE MAIN DEVELOPED SINCE PRODUCTION?

SKILLS YOU’VE WORKING IN

The three skills I’ve developed the most are: an eye for detail, a consideration for the garment and being more organised. I definitely know what to look for when I’m buying something now. WHAT HAVE YOU LEARNT THE MOST FROM YOUR EXPERIENCE AT SUCH A PRESTIGIOUS FASHION BRAND? Working for such a renowned fashion brand is certainly an incredible experience. I’ve wanted to work in fashion all my life and although my academic background is not related to production, working here is a great opportunity to broaden my knowledge of the industry. My job has taught me that every big mechanism only ever works if the smaller elements are functioning in the right way. A dress doesn’t just magically appear in a shop window - there is so much more work involved before it gets there. WHAT DO YOU LOVE THE MOST ABOUT YOUR JOB? I love the fact that it’s a busy environment, I love being surrounded by beautiful garments and beautiful people. www.roksandailincic.com

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First, that I’m independent and, of course, fully responsible for my job. Second, I’m working for different companies (French, Japanese), different jobs, and different mentalities every season - It never gets boring. WHAT ARE THE NECESSARY SKILLS AND KNOWLEDGE TO MAKE A CAREER IN FASHION PRODUCTION? You have to love your job because there are plenty of problems to manage and solve every day. Flexibility, planning capacity and good technical knowledge for fabrics, skins, accessories and making processes is vital. YOU HAVE BEEN WORKING AS AN INDEPENDENT FASHION CONSULTANT – WHAT ARE THE MAIN PROS AND CONS IN COMPARISON TO IN-HOUSE EMPLOYMENT? Pros: you are fully responsible for managing yourself. Cons: all the problems are on your shoulders, and each year you have to worry about whether the contracts will be renewed. WHAT ARE THE STEPS A FASHION GRADUATE SHOULD FOLLOW IF HE/SHE WANTS TO PURSUE A CAREER IN FASHION PRODUCTION? They should try to get experience in different fields to know all the rings of the chain (even commercial.) HOW DID YOU START YOUR CAREER IN FASHION? I’m a textile designer and I started with fabrics development and purchasing (for Salvatore Ferragamo.)

MARKETING // INFO AVERAGE SALARY IN LONDON ENTRY LEVEL: £20,000 EXPERIENCED: £30,000 - £40,000 YOU WISH YOU WERE THERE: £50,000-60,000 THE ROLE: Marketing involves the communication and promotion of products to consumers in order to maximise sales. A marketing role will often span product processes from the initial design stage right through to production and the final communication to potential customers. PERSONAL QUALITIES: Understanding the customer and responding to their tastes is a big must in fashion marketing. Juggling

sales tracking data, attention to media coverage and focus groups means you need to be able to multi-task and have good communication skills, as all this information functions as feedback to the designers and manufacturers. In addition to this, it is all about branding so you need to be able to sell, sell, sell. EDUCATION:A degree in fashion marketing would prepare you for jobs in fashion advertising and styling for media or fashion PR. Other bachelor’s degrees in marketing, management or business with the right work experience should be sufficient too.

Maurizio Grasselli

Jayne Hicks

NAME: MAURIZIO GRASSELLI ROLE: HEAD OF RETAIL COMPANY: JOSEPH // By Amanda Lange WHAT IS YOUR EXACT ROLE AT JOSEPH AND WHAT ARE YOUR EVERYDAY TASKS? My Job title is Head of Retail. My everyday tasks include overseeing the Joseph Stores and directing four area managers. I have to drive sales, maximize profitability while managing and motivating the team. I also have to monitor stock levels, liaise with merchandising, analyse sales figures and forecast future sales volume. Other responsibilities include staffing issues such as interviewing candidates and conducting appraisals. YOU HAVE SHOWN EXTREME LOYALTY AND DEDICATION TO JOSEPH OVER THE YEARS. TELL US HOW YOUR CAREER IN THE COMPANY STARTED? I started as a sales assistant about 20 years ago in Equipment, which was one of the stores that Joseph ran as a franchise in London. Within a

year I was given the opportunity to manage the store, and after a while I became Area Manager, looking after three stores as well as the UK wholesale distribution. The passage to Joseph’s own brand came in 1998 when Joseph asked me to open the large concession stores in Selfridges and Harrods.

NAME: JAYNE HICKS, ROLE: STYLIST AND MARKETING CONSULTANT // COMPANY: FREELANCE

BASED ON YOUR STUDIES AT UNIVERSITY, DID YOU ALWAYS KNOW YOUR CAREER WOULD END UP THE WAY IT DID?

WHAT IS YOUR EXACT ROLE AND YOUR EVERYDAY DUTIES?

No, initially I trained as an Accountant, so when I took on a temporary job in fashion and loved it, I realised I could make a more interesting career in the fashion industry and I have never looked back. WHAT ADVICE WOULD YOU GIVE TO STUDENTS LOOKING TO START A CAREER IN THE UK? I think the UK offers great opportunities, as people tend to change jobs quite often so it constantly makes openings for hard working and ambitious younger people. My advice would be to take your job seriously, set yourself goals and work hard to achieve them. www.joseph.co.uk

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By Sassy Barlow

I am contacted by various clients and companies to either merchandise stores, style editorials or music artists’ shoots. Booking appointments for preparation for either additional crew members, PR, locations, travel and budget are vital. It’s all about strong communication, organisation and time management. My job is to produce something that looks visually effortless and incredible despite the amount of hard work and effort it may require. WHAT ARE THE MAIN SKILL SETS REQUIRED FOR A CAREER IN FASHION MARKETING? Communication, organisation skills, networking, creativity, being able to

adapt and assertiveness. Knowing the market you are aiming for and tailor everything towards your audience. Clear, extensive knowledge of fashion, art and culture - past, present and forecasted. Through rigorous research into my chosen field, I obtained certain skills to allow me to market effectively and promote my expertise to the clients and companies that need my service. DID YOU ALWAYS KNOW YOU WANTED TO PURSUE A CAREER IN MARKETING? HOW DID YOU BREAK INTO THAT PART OF THE FASHION INDUSTRY? Yes and no. Marketing is an interesting subject because you are subject to various elements such as politics, economy, culture, current affairs etc. Everything and anything effects marketing. Being able to keep ahead of your competitors and target your chosen audience is a finely tuned skill. It’s more of an interest I’ve pursued and it led me to freelancing. jaynehicks.foliohd.com/view/LJK

BUSINESS INITATIVES By Carlotta Minderhout

STARTUP BRITAIN - STARTING UP GRADUATES

re you thinking of setting up your own business? Do you want to learn how to launch a Pop-Up shop or write a business plan? Then don’t miss StartUp Britain’s stand at this year’s Graduate Fashion Week, where you can attend talks and get involved with the workshops held by industry professionals. Founded by eight individuals and business owners and launched by the Prime Minister in March 2011, StartUp Britain has a goal to inspire, accelerate and celebrate entrepreneurship. Co-founder Emma Jones says: “Around 60 per cent of new businesses are now started at home, often by one person. They need to meet their customers, find out what people think about their products face-to-face and work with fellow entrepreneurs to get a physical feel for the retail landscape. They need to effectively ‘showroom’ their own online brand in order to take it to the next level.” Since its launch, StartUp Britain has organized several events on how to start or grow a business, which have been attended by over 15,000 people, helping them to get that one step closer to realizing their dream. During Graduate Fashion Week, they can do exactly the same for you, so make sure you pay them a visit. www.startupbritain.co

NESTA

Nesta is a charity that helps people and organisations by providing investments and grants. Its Creative Business Mentor Network was set up to aid the growth of creative companies through one-to-one mentoring. It also has a toolkit written for designers, focused on production management, with the objective to help them communicate their needs effectively with production units. nesta.co.uk

ARTS COUNCIL ENGLAND

Its program Hothouse provides support and advice for emerging makers, including access to funding. They will provide with peer to peer support to help you start your small business. craftscouncil.org.uk/professionaldevelopment/maker-development/ crafts-council-collective/hothouse/

THE PRINCES TRUST

Creative Industry Finance is a program that provides support and advice to individuals who wish to develop and grow their creative company and make it commercially viable. It is aimed at artists, writers, performers, designers, producers, promoters, publishers or innovators. In addition to the support package, loans of up to £25,000 are available. a r t s c o u n c i l . o r g. u k / f u n d i n g / a p p l y - fo rfunding/creative-industry-finance/

The Princes Trust gives practical and financial support to young people who need it most. By helping to develop key skills, confidence and motivation, enabling young people to move into work, education or training. http://www.princes-trust.org.uk/

CAPITB TRUST

NewGen, sponsored by Topshop is a well-known British Fashion Council initiative to support emergent British Fashion Design businesses. Winning designers can participate either as part of the design exhibition at London fashion week or on the catwalk itself. For application criteria, please go to: http://www.britishfashioncouncil. co.uk/content/1144/NEWGEN

As an independent charitable organization, CAPITB aims to benefit those employed or looking to be employed in the British clothing industry. It accepts applications from students, graduates and small business owners and will provide grants in many categories, several times a year. capitbgrants.com

NAME: SEAN MCGINTY ROLE: HEAD OF MARKETING // COMPANY: GEORGE

NEWGEN

types of marketing roles. 1) Know your customer. Insight into your customer will drive ideas that will be relevant to them, meaning that your communications will stand above the rest. 2) In fashion marketing in particular, especially for a brand like George, flexibility is key. The business can literally change like the weather and we have to be able to respond to changes in demand. This year as part of our summer campaign we had digital billboards which changed outfits dependant on the outside temperature. 3) I believe this to be true for all roles, ensure that you enjoy it. You’ll more than likely spend more time doing it than you’ll spend at home, so it had better bring a smile to your face now and again.

process, and then also wraps it up at the end. Therefore, it’s involved with every single department. Our most important marketing tools are our colleagues, if they’re not engaged in our campaigns, nothing else matters.

WHAT ARE THE MAIN SKILLS NEEDED FOR A ROLE IN FASHION MARKETING?

WHICH OTHER DEPARTMENTS DO YOU WORK CLOSELY WITH AT GEORGE?

george.com

The main skills that are needed for a role in fashion marketing are the same as those needed for most other

Marketing helps to build the customer propositions at the beginning of the

By Iranzu Baker HOW LONG HAVE YOU BEEN WORKING IN THE MARKETING DEPARTMENT FOR GEORGE? I’ve been working at George for over ten years in many different roles from advertising manager, to global marketing manager, to my current role as head of marketing. I’ve been very lucky to work in nearly every part of the marketing department and have learnt so much over the years.

Sean McGinty

CRAFTS COUNCIL UK

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HAVE YOU ALWAYS WANTED TO WORK IN FASHION MARKETING? I always wanted to be in marketing and I worked in a clothes store throughout university and college, so I had a natural interest. The two fitted together beautifully. Fashion is a great thing to market and working for George really allows you to have fun with it. From kids at Easter to full on seasonal fashion campaigns, we get to work on everything.

BUYING // INFO AVERAGE SALARY IN LONDON: ENTRY LEVEL: £18,000 - £25,000 EXPERIENCED: £35,000 - £60,000 YOU WISH YOU WERE THERE: £55,000 - £70,000+ THE ROLE: If you’re good at predicting trends and buying patterns, then you may want to look into a career as a buyer. Buyers are in charge of the product purchases for a company, so the most important aspect is thoroughly understanding the customer and determining the items that fit best,

both aesthetically and financially. PERSONAL QUALITIES: A buyer should have impeccable taste and strong negotiation skills. In order to be successful, they must be detail oriented and be able to deal with budgets, planning and meeting deadlines. EDUCATION: The educational background of a buyer is typically a bachelor’s degree in fashion merchandising, retailing or business administration. Retail experience is also extremely beneficial.

Carmen Borgonovo

NAME: CARMEN BORGONOVO ROLE: FASHION DIRECTOR COMPANY: MYWARDROBE.COM // By Chloé Bauwens WHAT’S IT LIKE BEING A FASHION DIRECTOR AT MY-WARDROBE? Moving away from my previous editorial roles into a role as fashion director, leading the buying team at mywardrobe.com, has been an exciting and inspiring challenge. Essentially I’ve been applying my editorial eye to each collection, selecting the pieces I believe would engage and excite the my-wardrobe shopper. As an editor I had to think commercially as well as selecting the most beautiful products for the pages, and that’s the way we work in the buying team too. We’ve been focusing on introducing some exciting new designers, as well as working with brands to create exclusive collections and pieces for our customers. This Autumn/Winter we will be presenting 76 new designers to my-wardrobe. WHAT ARE THE MAIN SKILLS YOU NEED TO DO YOUR JOB?

You have to have a good eye, a thorough understanding of the customer and an exceptional knowledge of the everchanging fashion industry. We’re a global brand and we need to cater for a global customer with different needs, seasons and cultures. One of the biggest challenges has been to grasp the analytical side of the buying process. We’re a retailer and being online the merchandising and sellthrough of each collection is the key to our success, and as the buying team we have a lead role in that. WHAT DO YOU THINK IS THE NEXT PHASE FOR ONLINE SHOPPING? Online retail has changed so much in the last 10 years and to be a part of this dynamic and ever-changing world is really exciting. We’re in a privileged position to be able shape the way consumers shop. The next chapter will continue to see the blend of publishing and ecommerce, and more immediacy for the consumer, blending the seasonal collections. WHAT ADVICE WOULD YOU GIVE TO CURRENT FASHION STUDENTS AND RECENT GRADUATES? Get as much experience as you can. Internships provide a fantastic opportunity to gain experience within different areas of the industry, whether

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it’s PR and marketing, buying, design, editorial or styling. This enables you to decide which path you want to follow. Also, the use of social media provides a window into the industry that we didn’t have before. It’s a very powerful tool to gain an understanding of brands, designers and key influencers in real time. WHAT DO YOU THINK THE IMPORTANCE OF GRADUATE FASHION WEEK IS? Graduate Fashion Week is a fantastic platform to launch and propel the careers of young fashion designers straight out of college. We’ve seen so many stars rise from winning the accolade at Graduate Fashion Week, so it continues to be an important event in the industry calendar. WHAT ARE YOU LOOKING FOR IN THE GRADUATES? I’m looking for those who bring something different, something unique, but a collection that is wearable and essentially commercial. It’s not just about creating a buzz with a collection that’s fiercely unique and dramatic, it’s about understanding the customer and bringing them something they can’t live without, but can wear everyday. my-wardrobe.com

READ MORE ABOUT BUYING WITH GEORGE BRAND DIRECTOR, FIONA LAMBERT ON PAGE 32

Damien Paul

NAME: DAMIEN PAUL ROLE: MENSWEAR BUYER // COMPANY: MATCHESFASHION.COM By Chloé Bauwens CAN YOU GIVE US A BIT OF A BACKGROUND OF WHAT IT IS LIKE TO BE A MENSWEAR BUYER? It’s an extremely fast-paced lifestyle. Buyers are at the forefront of fashion evaluating the new collections at the start of each season, we have to curate an edit that not only reflects the latest trends but appeals to our customer, while trying to stay true to the designer’s vision. It’s a highly multi-faceted role that’s different every day. HOW DID YOU GET INTO BUYING? After graduating I interned in a department store buying office, and quickly became passionate about forging a career in menswear buying. I went on to work as menswear buyer at one of the largest department stores in Dubai, before returning to London to work for Matches.

WHAT’S A TYPICAL DAY LIKE FOR YOU?

ARE YOU ALWAYS ON THE LOOKOUT FOR NEW DESIGN TALENT?

My days vary greatly – I can be at buying appointments with brands, previewing new collections, meeting with designers to offer advice or attending fashion weeks and trade shows internationally.

We’re constantly on the hunt for new names, and I think the success of London Collections: Men has shown how much young talent there is in menswear at the moment. I’m very proud to sit on the BFC NEWGEN Committee, which gives me a chance to work closely with emerging designers.

MATCHES SHIPS WORLDWIDE. HOW DO YOU KNOW WHAT ITEMS WILL BE SUCCESSFUL GLOBALLY? The traditional fashion cycle is changing and is becoming increasingly seasonless. We look to offer our global customer product that is relevant to their market, whether it’s beachwear or knitwear, 365 days a year. For us it’s about balancing trends with commerciality - our global customer is very fashion savvy and interested in constant newness, which we aim to deliver wherever they are. WHO IS THE MAN YOU ARE BUYING FOR? We try not to think about just one man, but our customer is certainly fashion literate with an eye for quality and detail, an international lifestyle and a strong sense of taste.

WHAT DO YOU THINK GRADUATE FASHION WEEK?

There’s nothing quite like Graduate Fashion Week for sheer energy. It’s a real incubator for exciting design and it really is possible for particularly talented designers to stand out. WHAT DO YOU THINK IS THE NEXT PHASE FOR ONLINE SHOPPING? Menswear as a category is set to explode. We’ve seen an astonishing growth in demand for high-end menswear online. For us, it’s about continuing to offer a seamless customer experience for our ever expanding audience. matchesfashion.com

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THE GRADUATES By Ana Rosado

What they’ve been up to recently… MARVIN MADDIX, SOUTHAMPTON SOLENT

STEPHANIE CARRUTHERS, UNIVERISITY OF SALFORD

EMILY TYSON, NORTHBROOK COLLEGE

arvin Maddix is a freelance trend forecaster for a company based in the United States. He has also worked for publications like XEX magazine and with Victoria Beckham, B-Side by Walé and Fendi. Additionally, Marvin runs a successful blog named ‘Fashion Glossary.’

tephanie Carruthers is a Fashion Styling and Image Making student who has worked in New York with photographer Olivia Malone. Recently, she has also secured a job with photographer and stylist Lesley Edith who won the Graduate Fashion Week Media and Design Award in 2008.

mily Tyson has co-created a brand called NOYB, which promotes emerging artists, designers and has a customized clothing line, while studying Fashion Media and Promotion at Northbrook College. She has work experience with Missoni, Wildfox in Los Angeles and London Fashion Week.

AS A FREELANCER, HOW DO YOU PROMOTE YOURSELF?

CAN YOU TELL US ABOUT YOUR DAILY ROUTINE WHILE YOU WERE WORKING WITH PHOTOGRAPHER OLIVIA MALONE?

WHAT IS THE MOST EXCITING ASPECT OF PROMOTING BRANDS?

Running the ‘Fashion Glossary UK’ blog since my second year of university has kept me focused but it has also been a great promotional tool. Currently we have a large social network that has kept the work coming in; however, many of the jobs I get are through people I know or meet in parties, or even in the supermarket. Freelancing is not just about viral promotion; it really is about meeting people, going where they go and making that first initial contact. WHAT'S THE BEST ASPECT OF WORKING AS A FREELANCER AND THE BIGGEST OBSTACLE? The best aspect is the no nine-to-five schedule. Your day can begin as a regular job does or just as you want it, or even not at all. It's about how you work - pushing yourself to get the best but knowing there’s always room for growth. The worst aspect is nothing is guaranteed. Since you’re not employed by a company, there’s no paycheck at the end of the month unless you make it happen. Some months you work more, others you earn less. It's all about balancing your spending. There’s no doubt freelancing isn't for everyone but the array of crazy people you meet while working makes it worth it.

Well, when I worked for Olivia in New York, she had never been as busy as she is now. My role ranged from going to rent camera and lighting equipment to sending edits to clients, as well as location scouting, assisting Olivia on shoots and backing up all of her work. To be honest, I had nearly every experience you could think of from plant shopping, model castings, big productions at Milk studios, model tests at home, e-commerce work and good old running errands. WHAT ADVICE WOULD YOU GIVE TO OTHER STUDENTS PURSUING A JOB POSITION? If I had to give two pieces of advice about pursuing a job I would say always keep an open mind and don’t limit yourself to one position. Also, I’d say interact and speak to as many people as possible because you never know what doors they may open for you. WHAT WERE THE BIGGEST OBSTACLES YOU HAD TO OVERCOME WHILE WORKING IN NEW YORK? I wouldn’t say there were any major obstacles, except from homesickness at first and trying not to get swallowed up by such an enormous city. I was pretty much learning on the job and, as I said, no day was ever the same, so it was a lot to take in. I also understood that asking for help isn’t the end of the world; after all, I was there to learn how to be a successful fashion photographer.

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The most exciting aspect of promotion is making ideas come alive, watching a brand grow and seeing other people appreciate the vision intended for it. WHAT DO YOU THINK MADE YOU STAND OUT WHEN APPLYING FOR YOUR PREVIOUS WORK PLACEMENTS? I would say my focus and determination in getting that particular placement. It is important to research into the company before applying to make sure you are suited for the job role and know what they do before attending an interview. It definitely shows if you haven’t done your research. HOW HAS AN INTERNATIONAL EXPERIENCE ENRICHED YOU?

WORK

Doing an international work placement was far out of my comfort zone, but I grew and learnt a lot from it. It was one of the best experiences of my life and the placement inspired me to set up and co-found NOYB. I would highly recommend international work placements as it gives you a completely different perspective in all aspects of the job, from the people you meet to marketing techniques.

ELIZABETH CALOW, NOTTINGHAM TRENT UNIVERSITY

IMTAYAZ QASSIM, UNIVERSITY OF WALES

KELLY WALKER, NOTTINGHAM TRENT UNIVERSITY

lizabeth Calow is a Fashion Communication and Promotion student and one of just four people from Nottingham Trent University who had the opportunity of participating in a four-month exchange with the Fashion Institute of Technology in New York. During this time, she interned for several designers and worked at New York Fashion Week.

mtayaz Qassim started his own men’s stree wear brand while at college. Since then he has seen his business grow from selling T-shirts to friends and family to a worldwide business. He already has celebrity followers such as the English boy band JLS, Bluey Robinson, Dappy, Fazer, Kirk Norcross, Action Bronson and Rob Kardashian. This client list has enabled him to create bespoke luxury garments for musicians.

HOW WAS YOUR RECRUITMENT EXPERIENCE IN NEW YORK?

HOW DID YOU START REACHING A HIGH PROFILE CLIENTELE?

As an intern I found the recruitment process massively different in New York. Internships seemed more accessible and a more integral part of a business set-up. I think it is easier to find internships over there, with less people fighting for the same roles.

If I have an idea that I think is perfect for a certain person I get in contact with them to explain it and we go from there. There are also a few London stylists who contact me regularly and ask for pieces for their clients which is always exciting. You have to be confident and not afraid of approaching people first.

WHAT WOULD YOU SAY ARE THE BIGGEST OBSTACLES AN INTERN HAS TO OVERCOME? I’d say money - whether it’s because you’re in an unpaid position or you have to relocate temporarily to London, it is so tough to survive without any financial help. I think another barrier is judging whether your internship has potential for progression. It’s easy to feel like you have to take anything you can get but if you’re not going to gain any mobility, it may not be worth going for.

WHAT DO YOU LIKE ABOUT PRODUCING BESPOKE GARMENTS? Since the garment is a one off for a specific client it allows more freedom. You take on board what the client wants and then you include your ideas and creativity without having to worry if it coincides with other pieces from a collection. It is also rewarding to see the finished piece on the client whether they’re wearing it on stage, in a promotional shoot or just to an event. Every piece is as individual as the client it was designed for.

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elly Walker is a fashion design student. As the winner of an Abercrombie and Fitch competition, she has interned for the brand for three months in the United States. At the end of this experience, she secured a job position with Abercrombie and Fitch. CAN YOU TELL US ABOUT YOUR DAILY ROUTINE WHILE YOU WERE INTERNING FOR ABERCROMBIE AND FITCH. I worked at the flagship Abercrombie and Fitch women’s sweater department during my threemonth internship. Alongside my team, I had to do research to find current trends and adapt them for our target customer. We would go through several design meetings and present our ideas to the senior designers and other teams to ensure coordination across the different brands. With the help of the tech team we had to create technical packs to send to the factories. Once the samples had been knitted and sent back to us, we would fit them until they were perfect and ready for our stores. HOW HAS INTERNING FOR AN INTERNATIONAL BRAND ENRICHED YOU AS A PROFESSIONAL? I have learnt so much about brand identity, consumer markets and store presentation. Being part of such a huge company taught me the importance of teamwork and the design process as a whole - from the initial design to the production. I was also trained on internationally used data management software and programs and presenting to senior employees pushed my public speaking skills. Working on a different continent certainly helped me to gain independence and increased my confidence.

CERI-ELLEN CHALLINOR AND DANIELLE RAY, LEEDS UNIVERSITY

EMMA CHILVER, UNIVERSITY OF NORTHAMPTON

JAMIE BRIGGS, UNIVERSITY OF SALFORD

eri-Ellen and Danielle Ray decided to carve their own path as fashion designers, so they opened a shop that sold unique handmade pieces inspired in vintage fashion with a modern twist. Their success was recognized with a Business Plan Award and an Enterprise Scholarship which gave them capital for the business. WHAT MADE YOU WANT TO CREATE YOUR OWN BUSINESS? Running the ‘Fashion Glossary UK’ blog since my second year of university has kept me focused but it has also been a great promotional tool. Currently we have a large social network that has kept the work coming in; however, many of the jobs I get are through people I know or meet in parties, or even in the supermarket. Freelancing is not just about viral promotion; it really is about meeting people, going where they go and making that first initial contact. WHAT WERE THE MAIN OBSTACLES YOU HAD TO OVERCOME DURING THE DEVELOPMENT OF THE SHOP? Owning our business was very time consuming, but we were prepared for this as we are not afraid of hard work. However, managing cash flow was our biggest obstacle as start up enterprises need constant investment in their first few years of business. To overcome this we both invested money saved from previous employment, were awarded The University of Leeds Enterprise Scholarship and, finally, won The University of Leeds Business Plan Competition.

mma is a Footwear and Accessories student. As part of a scholarship she won with Church’s English Shoes, Emma had the opportunity of producing her final collection at its Northampton factory. More than a great opportunity, this has proved a fruitful work experience. WHAT DO YOU LOVE ABOUT CREATING SHOES AND ACCESSORIES? Having the opportunity to create my designs within such a prestigious company has been an incredible experience. In particular, I enjoy being able to observe the transformation of my ideas into a physical, wearable product. When designing shoes and accessories, I like collating broad indepth research throughout the design process. This allows me to be creative yet keep a balance with the production and technological aspect of design. It is extremely important for me to be able to make my designs work technically for production. WHAT OBSTACLES CAN YOU FIND WHILE CREATING A COLLECTION? Making sure the collection creates a continuous range is essential. As I began production it was important to make sure each design was linked in an individual way. Also, when producing a collection industrially, technical issues may arise through the process; therefore, compromises to aspects of the design may have to be made to correlate with what is technically viable.

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amie Briggs has interned with Alex Noble, a visual artist and fashion designer and with milliner Piers Atkinson. WHAT DID YOU LOVE ABOUT PREVIOUS WORK PLACEMENTS?

YOUR

What I loved the most about interning was the fact that everyday was different and I was constantly learning new techniques. I liked being in a studio environment, as it had a very particular creative atmosphere surrounding it. It was also amazing to see the thought process of someone who is so inspirational to your own work and to be part of making their vision a reality. WHY DID YOU WANT TO WORK FOR ANOTHER BRAND INSTEAD OF CREATING YOUR OWN? What I took away from my work experience is invaluable. You don’t really realize how much you absorb until you put it into your own creative practice. It also gives you a true insight into the industry, and a greater ambition to chase your dreams. I want to work for other designers to gain extra knowledge about how everything is run and managed, since I will be coming straight out of a purely design based course and wouldn’t want to build a business until I have full knowledge of how to run it.

HANDBAGS & GLADRAGS // The Mulberry Accessories Award winner - one year on By Carlotta Minderhout

s a leading luxury and accessories brand, Mulberry is constantly on the lookout for new talent, and is always a huge supporter of upcoming British designers. Returning this year as official sponsors to Graduate Fashion Week, the brand will once again be awarding one very lucky winner with a Mulberry Accessories Award. As a tasty preview of what this year’s hopefuls can expect, 22 caught up with last year’s winner Laura Smallwood from Kingston University. 1. IT’S BEEN A YEAR SINCE YOU WON THE MULBERRY ACCESSORIES AWARD, WHAT HAVE YOU BEEN UP TO SINCE THEN? After graduating I started doing freelance illustrations for Studio Nicholson, a project for MaxMara and then went traveling around Asia and Australasia for three months. Quite a controversial choice, but without doubt the best decision I have ever made. Since November, I’ve been working in the womenswear outerwear and leather department at Massimo Dutti in Barcelona. Working for them is amazing, because we get to use high quality fabrics and trims, and are encouraged to think really creatively. Last week I even got to go to Korea for a design trip and to visit suppliers, which was incredible. Taking time out after collection was very important to me, and I was really lucky to have such an amazing job to come back to. 2. WHAT WAS THE INSPIRATION BEHIND YOUR WINNING COLLECTION? The collection was influenced by the expeditions to the South Pole and the Antarctic at the beginning of the twentieth century and the mountaineering gear that was worn. Old family photographs from the time showed my explorer great-grandfather dressed in completely inappropriate attire – formal costume was worn for climbing and other outdoor pursuits. 3. WHAT DO YOU THINK IT WAS THAT MADE YOU STAND OUT FROM YOUR COMPETITION? I feel that my drawing and sketchbooks were maybe one of the reasons why. I’ve always looked at the sketchbook as the most important tool in the development of a project, it really allows you to experiment and try different looks, shapes and details. There are no limitations in a sketchbook and using this as a starting point, and as a form to enhance and inform 3D work, is really beneficial. 4. HOW WOULD YOU DESCRIBE YOUR WORK? I would say that my work is clean, simple, tapered, classy and functional. It’s very natural, both in terms of the

finished outcome illustrations (I hardly use computers or Photoshop at all) and the process, which is basically a lot of sketching, is the most important element of my work. I look at the sketchbook as an important form of development, a work in progress, and think it should be continually evolving and changing. The materials I use are always natural and traditional, think wool and cotton mixed in with skins, like pony and sheep. I like transforming these more traditional and natural materials into modern womenswear. I’ve always been really influenced by menswear, and all of my work (including my collection) has been inspired by various aspects of it, like work wear, tailoring and exploration gear. I really admire the attention to detail and the challenge of working within a more limited framework. 5. HOW IMPORTANT DO YOU THINK GRADUATE FASHION WEEK IS FOR YOUNG GRADUATES WHO ARE JUST STARTING OUT IN THEIR CAREERS? I really think it’s incredibly important. We’re so lucky to have such a great publicity tool at our fingertips. It’s such a famous and prestigious event, industry professionals and scouts watch the shows and exhibitions, ready to discover new designers. There’s no better opportunity for us to publicise our work. It really opens doors, and allows and encourages you to spread your name and work. We’re so lucky to have such a great event set up for us. 7. WHAT ADVICE WOULD YOU GIVE TO THIS YEAR’S PARTICIPANTS? I would say that it’s important to figure out where you see yourself working.The difference between brands is huge, so it’s key to work out what type of customer you want to design for, whether it’s your own brand, luxury or high street. This, therefore, means that although you might want to jump on every opportunity that you’re lucky enough to have come your way, you should make sure that it fits with your style, as you want to be true to your own image too. I would also say that tenacity is key, because you have to be pushy and keen without being irritating, and you have to appreciate that it might take a lot of perseverance and internships, but it will be worth it in the end. And of course, you need to look at your own work with pride, because Graduate Fashion Week is a culmination of three years of hard work, and it’s important to congratulate yourself on such a great achievement. Find out more about Laura and her work at www. laurasmallwood.com.

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Laura Smallwood - GFW 2012

Photography // Toung Walsh

Naomi Lewis Notthingham Trent University

Fashion // Sara Gilmour

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Hair// Roxane Attard Make-up // Kate Lindsey Models // Ellie @ Select / Lexie @ Union / Alistair @ Elite 22 // Annachiara Biondi

LOOK LOOK BOOK // // BOOK

Styling assitant // Elizabeth Black Make-up assistant // Daniel Delgado

Jessica Wakeman Winchester School of Art

Rebecca Docherty Bradford College

Amy-Olive Parish Norwich University of the Arts

Caroline Nadzanja Edinburgh College of Art

Elizabeth Arthur De Montfort University

Emma Wynn University of Salford

Jessica I Read University of West London

Samantha Seymour Colchester School of Art

Kathryn Hewitson Northumbria University

Juliana Siqueira Istituto Marangoni

Emma Shea University of Northampton

Michael Beel The Arts University Bournemouth

Anna Wilhelmi ESMOD Berlin

Sophie Sutcliffe

CUP GLORY // By Maria Guihen

ranny pants, sexy lace French knickers, superhero y-fronts or that thong-tha-thongthong-thong - how do you wear yours? Or in the case of the students of De Montfort University’s Contour Fashion BA course, the question would be how do you design yours? Degrees don’t get much more niche than De Montfort’s. Established in 1947 to support the local corset industry, it’s the world’s oldest, and until recently only, contour course, specialising in lingerie, underwear, bodywear, swimwear, loungewear, nightwear, sportswear and corsetry. The internationally renowned program, headed by the fabulous Gillian Proctor, produces highly sought after graduates who are currently dominating the industry. As Gillian says, “Virtually every lingerie and sportswear brand globally has a DMU trained design and technical team”. Give me one good reason why I should turn my back on womenswear for a career in lingerie, you ask? Sue Herrick, Product and Brand Director of Figleaves, tells us why, “It’s pretty specialised in terms of the level of design detail, componentry and technical aspects to fitting, which I find more challenging than general clothing. It’s also quite a small community so friendships and partnerships are built quickly and often last a

life time”. And ironically, underwear has been coming out on top of late. The lingerie market has been outperforming the womenswear market throughout the recession, with lingerie sales even growing 0.6% between 2008 and 2012. Why is this? Perhaps consumers want to invest in better quality and therefore longer lasting underwear. Perhaps people are staying in a lot more and need a way of spicing their evenings up a bit? Or, as Sue believes, maybe it’s just a cheaper way of being indulgent, “It’s called ‘the lipstick and knickers effect’. This happened during my first major recession in the late eighties when I was part of Knickerbox. While others struggled, we found that women, despite being short of cash, still wanted to treat themselves to something, and cosmetics and knickers tick that box”. The industry is at a dynamic place at the moment, where innovation is at the forefront. “It’s grown, and continues to grow, and has emerged as being more fashion driven and adventurous with materials and directives”, says Gillian. “Companies are recognising the power of innovation and the future. Intimate Apparel used to be the foundation wear of outerwear fashion,

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now we dictate it. This industry has the power to drive trend.” There is one outside force that’s managed to have an effect on lingerie trends recently, however, and that’s the impact of the phenomenal success of erotic novel Fifty Shades of Grey, which Sue refers to as “the Grey effect”. The novel, which is now the fastest selling paperback in history, has encouraged many of its readers to be more adventurous in the bedroom, which according to Sue, has resulted in “more and more sexy product becoming broadstream in the market place”. And as Gillian states, “It has never been so acceptable to show skin, to reveal your intimate self and to have such body confidence”. There’s never been a more exciting time to join the industry. So, think you might fancy a career in lingerie? Are you innovative and imaginative with skill and drive (Gillian’s words, not ours)? Then here’s a bit of advice from Sue, “Work hard, play hard. Speak to people, get to know them, be personable and work together for win-win solutions. Develop product or die in the market, I was once told. And nothing beats face-to-face contact, email can be the death of many a relationship.” Wise words, no matter which area of fashion you want to go into. After all, it’s what’s underneath that counts.

Sophie Sutcliffe

Sian Whitefoot

ingerie giant Triumph hosts the annual Triumph Inspiration Awards, presenting an award to the best lingerie design from an up and coming designer. 2012’s winner was a student from the De Montfort course, Sian Whitefoot. We caught up with her to find out about her experience. WHAT MADE YOU DECIDE TO GO INTO LINGERIE? I’ve always been interested in lingerie. Some women have a shoe thing or a bag thing, but mine was always lingerie. WHAT MAKES THE COURSE SO GREAT? The sheer knowledge of the staff is amazing, from technical, to design, to finishings, to embroidery techniques - there’s always someone to guide and assist you. How would you describe your design style? My work’s delicate and feminine, but always has a strength. I like to produce whimsical dream like garments. THE THEME OF THE COMPETITION WAS “BUTTERFLIES AND DRAGONS”, WHICH OF THESE DID YOU DRAW MOST OF YOUR INSPIRATION FROM? My inspiration was taken from the butterfly. I knew straight away that was the route I wanted to go down, as all my designs are very feminine and fragile, unlike the dragon. My real burst of inspiration came from some images I saw on a blog, macro photographs of butterfly eggs. When

zoomed in they display these amazing sheer spheres with thick white panelling running symmetrically throughout, and when zoomed out they look like hundreds of tiny beads glistening in the light, so I looked into using crystals and beading to make it really iridescent. The unusual shape of my piece was inspired by butterflies emerging from their cocoons. WHO (OR WHAT KIND OF WOMAN) DID YOU HAVE IN MIND WHEN DESIGNING IT? I didn’t envisage a particular woman when I was designing it, but I suppose all my work is designed with a particular woman in mind without even realising it - she’s strong, independent and stands out in any crowd, but is also feminine and delicate. THE JUDGING PANEL CONSISTED OF DESIGNERS UMA WANG AND MATTHEW WILLIAMSON, AND VOGUE ITALIA EDITORIN-CHIEF FRANCA SOZZANI. WHAT WAS IT LIKE SHOWING YOUR WORK TO SUCH ICONS? Meeting the judges was out of this world. I’ve always been a huge admirer of Matthew Williamson’s work, so meeting him was amazing, and to be chosen as head judge Franca Sozzani’s favourite is still hard to get my head around. We got to visit Uma Wang’s shop and meet her in person, it’s amazing how humble she is even after all of her success. I remember seeing Matthew in the hotel lift prior to the finale and I was almost shaking with nerves, I couldn’t even bring myself to say anything, but I ran into him again during breakfast the next day and he was so lovely.

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HOW HAS IT CHANGED YOUR LIFE? It’s most definitely changed my life. It’s opened the door to so many opportunities, such a travel and meeting great designers. There’s been a lot of press regarding the awards, and it’s so nice to see bloggers saying such kind words about my work. It’s given me the confidence to believe anything is possible. I’ve learnt so much and I’m so grateful. HOW ARE YOU GOING TO SPEND THE €15,000 PRIZE MONEY? I’ve spent some of it on my final collection. It’s allowed me to have total creative freedom without having to worry about financial restraints. WHAT’S NEXT FOR YOU? I’m still unsure myself. I have an internship coming up with designers Fyodor Golan, and an interview for an internship in Amsterdam with Iris Van Herpen. I eventually want to start my own brand, merging lingerie and outerwear, but I want to get as much experience as I can first. HOW DID IT FEEL TO BE FEATURED IN ELLE? It was so great. Three years ago I couldn’t sew a thing, and now I’m being mentioned in ELLE about collaborating with Triumph. Amazing. www.dmu.ac.uk

Fiona Lambert

BY GEORGE! Brand Director Fiona Lambert talks G21 Talent // By Iranzu Baker BRAND DIRECTOR OF GEORGE, FIONA LAMBERT HAS LONG HAD THE FASHION RETAIL WORLD AT HER FEET. NOW SHE WANTS TO GIVE SOMETHING BACK TO BRITAIN’S HOT NEW DESIGN TALENT. 22 MEETS FIONA TO TALK ABOUT HER OWN EXPERIENCE IN THE BUSINESS AND THE BUZZ AROUND THE G21 CONCEPT COLLECTION. It’s the third biggest fashion retailer in the UK and if that’s not a good enough reason to headline sponsor Graduate Fashion Week (GFW), we don’t know what is. BIBA boutique luminary Barbara Hulanicki’s George ranges? Winning ‘The Best Internship Provider’ at the National Council for Work Experience Awards 2013? The list goes on. For the third year running, George supports Graduate Fashion Week; “We’re trying to make it bigger and better every year,” says Fiona. Fresh out of university, Fiona Lambert worked as an assistant designer for the high street retailer Next. “I wanted to go into fashion since the age of 11”, she says. “But right up until I graduated, I wasn’t aware of the amount of careers you could go into. That’s one of the reasons why I’m interested in being involved in GFW. I remember exactly how I was, I didn’t actually know what the role of the buyer was.” Fiona’s time at Next sparked her interest in the entire design and manufacturing process of a garment, and she eventually became a buyer, mainly thanks for her uncanny ability to

understand what the British public wanted, and to ensure they could buy it at the right price. Today, as Brand Director of George, Fiona’s role involves “setting the scene for the brand.” Overseeing design, buying and quality, she ensures that all of the garments George sells are “wearable, and innovative, while still making them good quality and affordable.” It may seem like a lot to juggle, but she’s entirely undeterred. “I’m passionate about our brand so it doesn’t feel like a hardship. I love it, I feel like I’m being paid to do my hobby.” Fiona’s own experience means she delights in supporting graduates during the early stages of their career. Last year she won ‘Mentor of the Year’ at The Women of the Future Awards. How did that feel? “I’ve been given good advice and support from people throughout my career, I feel lucky that I’m in a position where I can give that back now.” Fiona is doing just that. March 2013 saw the launch of an exclusive new label by the name of G21 Talent. Functioning as a platform for outstanding graduates, five star design students from last year’s Graduate Fashion Week were invited to create limited edition collections; “Buy now to avoid disappointment,” says Fiona. “These students are stars of the future and I think it’s great that there’s an element of exclusivity about what people are buying,” she adds. Sold in over 560 stores nationwide and online at George.com, G21 Talent is the first label of its kind. The collections have been well received so far

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with designer Claire Acton’s eye print shirt selling out within a week of it going on sale. “We’ve had a fantastic response. G21 talent brings us something, fresher and more edgy but still has an element of the George personality which is quirky and fun.” The great news is that the G21 Talent label wasn’t a one-off for last year’s graduates. Five students from this year will also have the opportunity to get involved. So what exactly makes a student fit for G21 Talent? “We’re looking for graduates who are vibrant, exciting and passionate about what they do, and who will bring freshness to our ranges.” So, think you’ve got what it takes? You could be offered a placement with the design and technical teams at George’s London-based design studio located along fashion’s iconic Carnaby Street. “Claire also went on the trip to New York with our trend team last year, so taking it a little bit further to see how we work in the total cycle.” Quite an experience, we think - Fiona agrees, “It’s a fantastic one-off opportunity, as is GFW – it’s one of the buzziest, most exciting events on the fashion calendar. I absolutely love it, and it’s become an integral part of how our company approaches design.” george.com

The sell out eyelash print shirt Claire Acton

Claire Acton

Aniaml print cardigan Chloe Jones

Hairclip print dress Claire Acton

NIVERSITY OF CENTRAL LANCASHIRE GRADUATE CLAIRE ACTON SHOWCASED HER WORK AT GRADUATE FASHION WEEK 2012. NOT ONLY DID THE EVENT GIVE HER THE OPPORTUNITY TO DESIGN A LIMITED EDITION COLLECTION FOR G21 TALENT, BUT IT ALSO PLAYED A PART IN SECURING HER DREAM JOB. CLAIRE CATCHES UP WITH 22 TO TALK ABOUT HER EXPERIENCE AND SELLOUT HIGH STREET COLLECTION

interesting cuts and face prints with a focus on hair accessories. I used the same sixties inspiration to create a wearable, high street version with similar eye prints, hair clip prints and bright colours.

played a key part in this. I’ve come to realise it’s just as exciting and sometimes more challenging to design for a high street label. I love the challenge and everything about the role so far.

YOUR DESIGNS ARE CURRENTLY ON SALE IN ASDA STORES AND HAVE BEEN EXCEPTIONALLYWELL RECEIVED. HOW DOES THAT FEEL FOR YOU, HAVING GRADUATED JUST UNDER A YEAR AGO?

WHAT’S BEEN THE HIGHLIGHT FOR YOU?

CAN YOU SUM UP YOUR GRADUATE FASHION WEEK EXPERIENCE IN THREE WORDS?

The opportunity to design a range for George’s G21 Talent label was amazing and it was even better when the range was so well received by shoppers. It’s still available to buy in both Asda stores and online at George.com and is selling really well, which is incredible. Now that I am working full time at George as a G21 accessories designer, I am overwhelmed by what I have been able to achieve in less than a year; it has been a whirlwind and I have loved every minute. It’s such a great feeling to know women up and down the country are wearing my clothes.

Amazing, inspirational and fun HOW DID IT FEEL TO BE CHOSEN TO TURN YOUR DESIGNS INTO AN EXCLUSIVE HIGH STREET COLLECTION FOR G21 TALENT? It was crazy, I was approached and asked if I would like to design a collection for George’s brand new G21 Talent label following GFW last year and I almost didn’t believe it. It was such a great opportunity to start my career in fashion design after graduating. I’m extremely grateful that I was given the chance to create my own high street designs for such a huge brand. TELL US ABOUT THE INSPIRATION BEHIND YOUR G21 TALENT COLLECTION? My collection for G21 Talent was inspired by my final university collection which I showcased at GFW last year. It was sixties inspired, using bold colours,

WHAT HAVE YOU LEARNT FROM YOUR TIME AT GEORGE? Since working at George I have learnt a lot about designing for the high street and the fashion industry as a whole. I have a better understanding about what shoppers look for and have developed the skills needed to make a collection wearable for the high street. Translating my catwalk designs into high street pieces

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There have been so many highlights I can’t choose one. From getting the opportunity to go to New York on an inspiration and trends spotting trip with George and LOOK Magazine, to seeing my friends wearing the clothes that I designed for the G21 Talent range. It’s been an amazing experience. WHAT WOULD YOU SAY TO GRADUATES WHO ARE ABOUT TO SHOW AT GRADUATE FASHION WEEKS THIS YEAR? IS THERE ANYTHING YOU WISH SOMEONE HAD TOLD YOU BEFORE THE EVENT THAT WOULD HAVE MADE YOUR EXPERIENCE SMOOTHER? I would definitely say just enjoy it, this is the time when all your hard work will come together. Your final year at university is so busy and the creation of your final collection has led to this moment, so make sure you show it off, be confident and proud of your work and enjoy the amazing experience. I think a lot of designers come out of university with a preconception that they need to design for a luxury brand, but actually there are so many different types of design jobs out there designing clothing for the high street, which I have realised since designing for George, and that would have taken the pressure off somewhat.

SEQUINNED STALWART Designer Ashish talks to 22 about his sparkling career By Chloé Bauwens

ou can’t mention the word sequin without immediately thinking of London based designer Ashish. He’s built his entire career around the sparkly little pieces, and for young Londoners, (particularly those in the media) his simple separates packed with pop cultural references are a welcome antidote to the pompous red carpet fodder that dominates the eveningwear industry. “I’m so lucky that I do what I love for a living”, says the thirty something designer. “My brain is a bit like a sponge as I seem to absorb everything, from movies, to music, to trash TV - so in a sense designing lets me free up some disk space.” 22 had the pleasure of meeting the king of sequins in his castle (not an actual castle, although his house does look magnificent), where he chatted about his studies, his inspirations and the importance of having a great team behind him. FATE & ESCAPISM Ashish has no idea what prompted him to embark on a journey from the middle class suburbs of Delhi, to the catwalks of London Fashion Week. “I don’t know. It’s like, what makes somebody want to be a doctor when they grow up? It’s just what you want to do, isn’t it?” After giving it some thought, he remembers when and why fashion became a point of interest to him, “I grew up with a lot of fashion. My Mum was really interested in it, so we always had copies of Vogue lying around the house. Plus, don’t forget this was Delhi in the 1980s and we didn’t have cable or Internet or anything, we just had state controlled television. My only access to Western culture and fashion was through US Vogue. I think for me that was like an escapism to an amazing other world.” The escapism of Vogue eventually led to him arriving in London to study fashion. After completing an MA in Fashion Design at Central Saint Martins, he set off for Paris with his portfolio ready to start working for a design studio. That is, of course, until it was tragically stolen at the Gare du

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Nord (or not so tragically, as the case may be) and he had to change his entire game plan. “I believe in fate. I think everything happens for a reason. You don’t necessarily see it at the time but when you look back it’s quite clear. I guess it put me in a new position - I did things that I wouldn’t have done otherwise, like starting my own label.” And, so far, he’s got no regrets. “Obviously I’ve made some mistakes, but hindsight is a weird thing, you just have to learn as you go. You have to look ahead and keep going - it’s better to do that than to be constantly thinking about what you could have done better. Who knows? perhaps I might have been designing T shirts for a sportswear company if I hadn’t been robbed all those years ago.” THE TEAM It’s no surprise that Ashish is happy with the way things have gone. He’s grown up to be a globally recognised fashion designer dressing singers Madonna (and Lourdes), M.I.A. and Taylor Swift, not to mention a fiercely loyal client base of young women who appreciate his irreverent, unfussy aesthetic. “It’s a much bigger business than it was at the beginning. There are more projects and as we’re getting to be more high profile we’re get asked to do a lot more consultancy and collaborations with other brands. Plus I can barely cope with the work load on my own, so my team are like an extended family.” Ashish’s team is a reasonably small one, so he claims it’s crucial that they all get along. “I actually have two teams behind my collections, one based in London and another in India, they’re both equally important but they have entirely different roles. The London team is involved in the design process and business side of things, it’s quite small so everyone has a key role. The team in India is much bigger and is more for the technical side of things and the production.” He choses his London work mates with a customary mix of business acumen and personal intuition. “Well, creatively you’re looking for someone who has a

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good ‘eye’ – and that’s almost impossible to quantify. It might be that you share a similar interest, it might be that their creative work is a good counterpoint to how I see things creatively, they also need to understand what the brand is about and the kind of aesthetics we have. All of the above is important, but so too is a camaraderie, the ability to have a laugh, and spark off each other creatively.” If there’s one team member Ashish knew he’d get on with straight away, it’s Nadine. “I started working with Nadine because we’ve been friends ever since I started out - she actually bought the first thing I ever made. She used to be a stylist at Tank magazine and she was a house model for Ghost, so she came from a fashion background. Now she looks after my sales. We do have separate sales agents for the US and Japan as well, but she handles them here, knows a lot of the clients on a personal basis and is really good at feeding their likes and dislikes into the business. Nadine’s like a soundboard for all different types of things, she’s like a right hand (wo)man.” Although no one else from his team can make as big a claim as being his first ever customer, they’re all just as equally valued. “I’ve also got Jessie who’s just finished an MA at Saint Martins and she’s a real minimalist. Her taste is quite different to mine but I love it and it works really well. She helps me with a lot of the design, design research, visual creative stuff, editing. Another member is John, who does the most gorgeous drawings and illustrations. He’s my go-to guy if I want something painted up as artwork for beading. Then I obviously have a press office, which is Village Press, who do a brilliant job ensuring that the clothes get the right kind of editorial. Then there’s Jose who organises things, helps with a lot of admin and functions sometimes as a model when we need one for menswear. There’s Suzanne who does my sales and press in America, Esme who does all the pattern cutting and helps develop shapes and prototypes, and finally there’s

SS 13

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SS 13 // Photography Will Sanders

Anna Trevelyan, the stylist who works on the show but is also a part of the creative process while I’m working on the collection.’ INSPIRATION & RUNWAYS So you’ve got right team on board, but then how does working together, well, work? How does a designer get a vision across? ‘I don’t really explain the inspiration because I think everybody is involved in it. We’re such a tight team and everyone kind of knows what’s going on and where it’s going. It’s not me walking in one day and going, “guess what we’re doing XYZ”. Sometimes I’ll sit down and say, “I feel we should go more in this direction” and then we all go off and do research and come up with ideas, but it’s a really collaborative process,’ he says. With the production team being based in India, Ashish makes a trip there before every Fashion Week, ‘I’m away a whole month before Fashion Week, and that’s the phase where the collection really travels and develops rapidly. When I come back it’s good to have feedback, or even when I’m there I’ll send pictures, because I love getting an opinion, a reaction’. And where else does a designer get more reactions than at the showing of his collection during Fashion Week? ‘The actual day of the show is the most exhilarating part of being a designer. It’s the first time that everything really comes together. It’s like making a movie and finally getting to see it. You just hope that it all works and that what you have seen in your head is what you actually see on the runway. It’s quite weird though - in less than ten minutes it’s done. I suppose that’s the most exciting thing, the adrenaline rush of it all.’ As exhilarating as it may be, Fashion Week is exhausting, and despite what you might expect, celebrating is usually the last thing on Ashish’s mind once it’s all over. ‘We’re so tired, we just want to sleep. You don’t want to do

anything except go to bed. Then you have to prep for the Paris showrooms, the sales etc, you don’t get to wind down until at least a month after the show, by which time the next one is already looming.” ADVICE & THE FUTURE There’s one question we’re desperate to ask Ashish, and that’s what advice he would give to current fashion students and recent graduates. ‘It’s very important to believe in your own ideas and work. The fashion industry is very dense and it’s hard to make any kind of impact, so you really have to have a creative vision and be prepared to work very, very hard. Be true to yourself, if your work is compromised too much, or trying to fit in with a certain style, it loses its edge.’ Has anybody ever offered Ashish a piece of advice that he still clings on to today? ‘Louise Wilson, my course director at Central Saint Martins, once said to me, ‘you have to dream, otherwise there’s no fucking point.’ And dreaming is exactly what he does, ‘there are loads of things that I’d love to do, and hopefully I’ll end up doing them. I’d love to travel the world, get married, either in Vegas or on a beach, have an Ashish shop and write a book’. Based on his success rate to date, we’re pretty sure he’ll end up doing all the above. But in the meantime, there’s nothing to dull the sparkle on the man who single-handedly made sequins cool for a whole new generation of fans. www.ashish.co.uk/content.html

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A FINE VINTAGE

By Sassy Barlow

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William Vintage

Ossie Clark from William Vintage

ou might not bump into Marc Jacobs rifling the racks at William Vintage, but no doubt it’s one of his design team’s top shopping destinations. Sassy Barlow investigates two very different stores with different perspectives on the vintage phenomenon. Vintage clothing and accessories possess a certain intrigue and nostalgia that make them exclusive, so much so, that the buyer feels pretty damn chuffed that they’ve stumbled upon something no one else owns. Although outside of trends, vintage is timelessly in fashion; which is why designers are turning to it for inspiration like never before. The spectrum runs from high to low end, with countless boutiques emerging daily to make it easier for shoppers who don’t always want to spend hours at a car boot sale, yet still want to inject something different into their wardrobes - and that goes from your teenage trendsetter, to cool hunters working for LVMH. HIGH-END There’s a growing interest in the small number of specialist stockists who source and deal in designer vintage, to not only sell special pieces to lucky buyers, but to provide current designers with inspiration. WilliamVintage is a magical source for lovers of Haute Couture. Situated on Marylebone High Street in central London, from outward appearance it seems like any other stylish designer boutique to passers-by, yet displayed in the window might be an original 1955 Lanvin cocktail dress or a 1920s Chanel beaded flapper. It possesses a wide range of couture items spanning many decades, with each piece lovingly restored to its original flawless state. The boutique not only offers a visual treat through its extensive collection, but a vast repository of knowledge thanks to its owner William Banks-Blaney. When it comes to William, each appointment is undoubtedly personal and his close-knit team demonstrate a mind-boggling knowledge about the pieces they have to offer, from construction, fabrication and occasionally anecdotes about the garment’s former life. Harboring a soft spot for André Courrèges, the go-to designer for Sixties modernism, William claims that “at one point last year we had 27 pieces at one time – that’s more than the Met museum in New York.” His passion for what he does is undeniable, providing a service personally not only to private clientele but also to important designers. Selling garments to the likes of Victoria Beckham,

William Banks- Blaney

Mr Ben

Michael Kors, Rachel Zoe, Zandra Rhodes and Marc Jacobs, it’s clear that WilliamVintage is an exclusive and vital resource for creatives. “Vintage has always been an inspiration for designers, because, of course, no one can be taught the skills of Balenciaga directly from him, but almost through osmosis, through the clothes, they can pick up details of how he worked,” he says.. The boutique boasts pieces such as a 1959 Christian Dior floor length boned evening dress, complete with all the original horsehair underskirts, and a 1965 Mary Quant tweed pinafore dress with a cut out front for a shirt. Plus, the diverse and ever changing stock at the store is key to designers, “who often come in not knowing 100% what they are looking for. They find by examining a garment, they can articulate that one thing they have been trying to put into words; the execution of what is in their head.” With the store collecting garments that cover a range of sizes and body shapes, William has succeeded in producing a relaxing and ‘unedited’ shopping experience, far from the musty mishmash of some vintage shops. “I know I’m only selling dresses and not curing cancer, but I believe fashion is just as much about the story of women as well as the clothes, and that’s really important. When a woman has the chance to wear a dress like some of these, it’s like, ‘Wow look at that!’ It’s one way she can really just knock it out of the park.” Couturiers from the past worked in a way that is mostly removed from what we consume en masse today - hand sewn sequins, perfectly cut panels, intricate beading and hidden boning makes it clear to see why designers value designer vintage as inspiration. The craftsmanship that went into producing each of these garments reflects the elegance and glamour that were highly regarded at the time it was made, and this is precisely what they are influenced by. By bringing these vintage pieces out of museum storage or a dusty attic, boutiques such as WilliamVintage give them a chance to be worn and loved like they were always meant to be, and also inspire new collections for the modern catwalk.

AFFORDABLE Everyone knows an amazing vintage shop that others don’t, and the team at 22 Magazine is no exception. In this case, the focus is on Mr Ben, a Glasgow vintage and retro shop that has been going strong for 21 years. It’s the impressive result of owner MaryAnn King’s 40 year obsession of collecting vintage clothes, shoes and accessories, housing over 1500 pieces of sartorial history ranging from £5 to £250. Known for its great range of authentic 1960s items, it’s a treasure chest of fashionable goodies, popular with students, fashion designers and collectors. In shops such as Mr Ben there’s rich opportunity to find something so quirky and individual that most get so involved in rummaging through the rails they can while away an entire afternoon sifting through mounds of polyester and nylon. Priding itself on being Glasgow based, where the shoppers are more ‘eclectic than the rest of the UK’ in their personal style, Maryann thinks this is the reason that they remain a chaotic shopping experience, with stock she describes as “all killer with no filler.” It’s a popular browsing spot for student designers looking for inspiration for their new collections: “They sometimes come in looking for something specific, so I will take them round, pulling out the pieces that might work for them,” she says, “sometimes they find inspiration from one part of a garment, such as a neckline, or they sometimes just need to see how a piece is cut. It’s great fun for me and I love getting involved.” Rich in military jackets, unusual hats and fur, it offers the hard hitting kind of vintage wished for by those with a strong sense of style. It might be easy for designers to go to the high end side of vintage for inspiration, yet there is also something special in the more affordable side, which is not so much about the well-known finesse of the label but more about a flair from the past that can then be styled for the present. Fashion designers often find that by delving into these Aladdin’s caves of inspiration, they find the story they want to tell through their own collections.

Williamvintage:

Mr Ben:

2 Marylebone St London W1G 8JQ 020 7487 4322 www.williamvintage.com

Kings Court 101 King St, Glasgow G1 2RB 0141 553 1936 www.mrbenretroclothing.com

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Mr Ben

Discover something different. Seek out these vintage gems different from the rest:

Mr Ben

VINTAGE GURU - A well-loved vintage shop in the West end of Glasgow. Possessing a high turnover of stock, 100 new pieces every day at affordable prices, Vintage Guru offers something new for every visit. 195 Byres Rd Glasgow, Lanarkshire G12 8TN. www. vintageguru.co.uk OOLA BOOLA (Vintage At Heart) - Situated in the Georgian town of Holt, North Norfolk, Oola Boola provides an exciting mix of handpicked contemporary vintage clothing and accessories, ranging from eclectic dresses to leather bags. 33 Market Place, Holt, NR25. HOBOS VINTAGE - A dinky little vintage shop in the High Street Arcade in Cardiff. Mini in size, epic in stock. 26 High St Riverside, Cardiff CF10 1BB.

Mr Ben

«OUR STOCK IS ALL KILLER NO FILLER»

JUJU - Found in the North Laines in Brighton, JuJu focuses on independent vintage brands and vintage inspired clothing to create a unique and customized look. 24 Gloucester Rd North Laine, Brighton BN1 4AQ. www.jujubrighton.com

MARY-ANN KING

VINTAGE AT NUMBER 18 - An unusual shop dedicated to selling vintage dresses and wedding dresses, for those who want a different and glamorous look for their wedding day. 18A Blandford Square, Newcastle, Tyne & Wear, NE1 4HZ. www.vintageatnumber18.co.uk PAST CARING - A tiny shop in Norfolk. It has a wide range of both vintage and pre-vintage clothing - including Victorian capes and Edwardian petticoats. They also have a beautiful brooch collection. 6 Chapel Yard, Holt, Norfolk, NR25. THE CARDIFF FASHION QUARTER - Housing 20 independent traders providing a range of clothing, accessories and collectables, the former Art Deco cinema turned vintage market is a perfect snooper’s paradise. Womanby Street, Cardiff, CF10 1BS.

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BRIGHT BOY // Photography // Jeff Boudreau

MONOCHROME SHIRT & TROUSERS // LAUREN BOND, UCLAN

Fashion // Ginger Clark

TRIBAL DRESS/TUNIC // NNEKA OKORIE, THE UNIVERSITY OF SALFORD

CERISE JACKET // JEETINDER SINGH, ISTITUTO MARANGONI

LILAC COAT // MIRANDA POPPY KALE, NORTHUMBRIA UNIVERSITY

PEONY PINK SUIT // REBECCA HILSON-HELLER, KINGSTON UNIVERSITY // SHOES, TOPMAN

BLUE BOMBER // LEITARA WILLIAMS, BRADFORD COLLEGE

Model // Dylan Williams @ Elite Grooming // Polly Mann using Dermalogica skincare and MAC Pro cosmetics Fashion assistant // Ana Rosado

TOUCH SENSITIVE Photography // Ali Kepenek

Fashion //Adam George

BLUE DRESS // HANNAH PODBURY, UNIVERSITY OF NORTHAMPTON EARRINGS // LINDA BEE, GREYS ANTIQUES

POLKA DOT DRESS // KATIE HINCHCLIFF, UNIVERSITY OF SALFORD SHOES // MIISTAGREYS ANTIQUES

COLOURED JUMPSUIT // CHARLOTTE MATTHEWS, DE MONTFORT UNIVERSITY

ORIGAMI DRESS // REBECCA NIELD, UCLAN

Make up // Amy Rose Macdonald Body illustrator // Kai Suede Hair // Snowden Hill Global Ambassador for Fudge using Fudge products and Babyliss Pro electrical tools. Assistant // Natalia Vieira Stylists Assistant // Annachiara Biondi YELLOW DRESS // MORWENNA DARWELL, EDINBURGH COLLEGE OF ARTS GOLD ENAMELLED CUFFS // ÂŁ335 EACH BY VALENTINA BRUGNATELLI, SOBOYE

My Fashion Moments

DAVID GANDY By Gabriela Cambero

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David Gandy, phwoar!

ALTHOUGH HE’S ONE OF THE MOST ICONIC MALE MODELS IN THE WORLD, THERE’S MORE TO DAVID GANDY THAN A CHISELLED JAW AND THOSE INFAMOUS WHITE TRUNKS IN THE DOLCE & GABBANA ADVERTS. HERE HE LETS 22 IN ON SOME OF THE MOST IMPORTANT MOMENTS IN HIS EXCITING CAREER.

1.Probably

the one most pivotal moment in Gandy’s career to date is when he first started modelling, thanks to a competition in the daytime TV show This Morning in 2001. One of his friends entered him secretly and he ended up going through to the finals, although at the time “being in TV wasn’t exciting for me because I’m quite shy but after 12 years, I’ve learned how to hide it”, he says. Not surprisingly, he won and got signed by top London agency Select Model Management. But contrary to what you’d expect, his career didn’t suddenly skyrocket. At a time when skinny androgynous male models were the norm, tall and rugged Gandy was simply not what the industry was after. He reasoned that biding his time was sure to pay off.

2.The next moment was not a single one, but five

cumulative years’ worth. It was the time between his entering the industry and the Dolce & Gabbana Light Blue campaign. Gandy had secured a great deal of commercial work, but not the editorial jobs he yearned for. He made use of this time by observing and gaining experience. “You can’t walk into something and think you know it all. You’re way down the ladder from the people who have been in the industry for 25 years so you have to learn from them,” he says. “I learned the ropes of the job and what worked for the industry, I learned to think for myself, not to follow trends and to differentiate myself by playing to my strengths-I was told to lose weight, so instead I got bigger”.

3.Tandy

Anderson, head of Select and responsible for much of Gandy’s success, saw something special the moment she signed him, despite the fact that his looks were not ideal for the industry at the time. This was not quite the case for superstar photographer Mario Testino, “I met Mario within my first weeks of modelling, and he looked at my polaroids as if I was an alien,” he laughs. Tandy, however, identified his look as “so Dolce & Gabbana”, a prescient comment that was soon to pay off after sharing that with Mario Testino. And since then Mario’s come round too, for just as fashion changes, so to do fashionable models.

4.In 2002, he first walked the runway for Dolce & Gabbana in a show where they gave every model the same haircut, which subsequently put pay to

other commercial gigs later in the same season. Six months later, Gandy refused to do it a second time. He was told, ‘David, either cut your hair or get out of the changing room’, so he walked with his head of hair intact. «Looking back, I’d do it again», he says, as to him, it was a matter of principle. “I think they respected the fact that I stuck to my guns”.

5.One

of the most important moments in his career was when he dropped every client he’d gained up to that point, in order to pursue what he really wanted to do. “I was in a very comfortable position, but I wasn’t happy: I wanted more. I wanted to create something, to push the boundaries” he says. Due to his admiration of the Levi’s models back in the 80s and the infamous launderette campaign starring Nick Kamen, he realised that was exactly what he wanted –something iconic. He told Tandy, “we should get something big or I don’t want to do this anymore.” Initially, people considered him crazy for leaving all the lucrative commercial work behind, but slowly he started getting more credible editorial jobs. This decision was undoubtedly the game changer for his modelling career.

No one knows when you might meet your fate, but Gandy knows it was at top photographer Mariano Vivanco’s birthday party. Tandy from Select was invited, and when she learned that Domenico and Stefano would be attending, she knew she had to secure an invitation for him too. When he walked up to them to say hello, it was clear that they were interested in working with him again after a hiatus of five years

7.In

2007, David Gandy the brand emerged from the beautiful coast of Italy, as a result of Dolce & Gabbana’s Light Blue ad campaign which inadvertently turned the fragrance into a top international best seller, making it a Cool Water of the noughites. This iconic campaign was the catalyst for making him into a household name. David Gandy was no longer just about looks, but about what he represented. He became a product in himself and his name became a commodity. The Gandy brand boomed “When they use me now, brands get much more exposure and it all came about from Light Blue.” Thanks to the campaign that launched him into the world of celebrity, he’s now often able to control the concept, clothes and team on his shoots, something most models only

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dream of, “something I learned from Mario Testino is to bring a team you love to work with you, so even when things don’t go right, you still have a good time. In all my shoots, it’s always such a fun atmosphere”, he says. Fortunately, industry insiders state he’s still one of the nicest, humblest guys around. “I try to bring in as many talented people as I can to my team, to give them an opportunity.”

8.Gandy’s

first public relations coup was appearing on The Jonathan Ross show in 2010, as the first male model ever to be featured. «People got chance to put a name to the face and I stopped being just the ‘guy in the white pants’».

9.His

modelling success has also allowed him to dip into other interesting ventures. He recently launched his fundraising ‘Blue Steel Appeal’ – a cheeky nod toward the infamous Zoolander pose, and he also supports Battersea Dogs & Cats Home, becoming their first ambassador in March last year. He writes a popular blog for Vogue.co.uk, a monthly column on cars for GQ.com, and contributes to Man About Town magazine. He’s also the subject of a recently launched book, David Gandy by Dolce & Gabbana, which documents his most important and exciting shoots. When not making women salivate, he recently completed the Mille Miglia in Italy, a three day road race that covers 1000 miles, in which he drove a classic Jaguar, accompanied by fellow petrol head and supermodel Yasmin Le Bon. “We had no idea what we were doing but it really was a dream come true. My friends were laughing at me-‘you’re in a classic car, you’re racing, and you have a supermodel next to you, it can’t have been that bad’”, he says.

10.The time Gandy spent at university studying

multimedia computing and marketing made him realise that the path his life was going down wasn’t for him: “Hating university inspired me to do something else” he admits. However, despite the fact that further education wasn’t for him, “it helped me realise were the future was going, I knew it was in technology-based” – he has successfully launched two lifestyle apps for men, David Gandy Fitness and Training and David Gandy Style Guide for Men. He also took from the marketing side of his degree all of the knowledge he applied into creating his own personal brand “I’m not sure I’d be here today if it wasn’t for University.”

Annette & Daniela

5 MINUTES WITH... By Chloé Bauwens

BEING A DESIGNER IS A FULL-TIME JOB. THOSE TEN MINUTES THEY HAVE TO SHOW THEIR COLLECTION ON A RUNWAY DURING FASHION WEEK DON’T MATCH UP AT ALL WITH THE TIME AND EFFORT THAT GOES INTO THE COLLECTIONS MONTHS BEFORE AND AFTER. WE ASKED THREE YOUNG UK BASED DESIGNERS TO SPARE FIVE MINUTES OUT OF THEIR BUSY SCHEDULE TO GIVE US AN INSIGHT INTO WHAT IT’S REALLY LIKE.

FELDER FELDER //

fashion houses and would recommend it.

COULD YOU DESCRIBE THE FELDER FELDER WOMAN? The Felder Felder woman is fun and has many different sides to her personality and she is not afraid of showing them all. She is sexy, sophisticated and a little bit wild.

win sisters Annette and Daniela Felder started their own label Felder Felder in 2006 immediately after graduating. Although originally from Germany, they felt that London was the perfect place for their modern sexy label: ‘London really embraces young talent with a lot of support.’ LET’S GO A FEW YEARS BACK. HOW WAS YOUR TIME AS FASHION STUDENTS? It was very creative; we were more concerned about the individuality of our sketch books and the detail of our prints than about running a business. It was a beautiful place to hide from reality. HAVING DONE THE FASHION DESIGN EDUCATION PATH YOURSELVES, WHAT KIND OF ADVICE WOULD YOU GIVE TO CURRENT FASHION STUDENTS AND GRADUATES? To not hide from the reality. You must always be aware that fashion is, aside from being a creative industry, it is also a tough business. Knowledge is power, so we would recommend being as informed about all different aspects of the fashion business as possible. WHAT WAS IT LIKE TO START UP YOUR OWN FASHION LABEL? We threw ourselves in at the deep end and it was very exciting. We just went for it. WHAT KIND OF OBSTACLES DID YOU FACE WHEN STARTING FELDER FELDER? Not knowing how tough it is for a new label to make a name for itself. Everything happened very organically, but we learnt through a lot of trial and error. Sometimes we wish we’d known better, but at other times, we feel it was perhaps better to start naive, as it makes you much more fearless. YOU STARTED YOUR LABEL IMMEDIATELY AFTER GRADUATING, DID YOU EVER CONSIDER WORKING FOR A BIG FASHION HOUSE FIRST? Yes of course, but when we graduated we had already started building the Felder Felder brand, so it seemed natural to continue focusing on our own vision, although we do think it’s very helpful to gain experience in big

FELDER FELDER IS OFTEN SEEN AS A MORE ‘COMMERCIAL’ LABEL, HOW DO YOU SEE YOURSELF WITHIN THE LONDON FASHION SCENE? I think we see ourselves as a unique brand within the London fashion scene. We represent a lifestyle, and want to be more than just another designer. We want to ‘Felderize’ the world. WHAT MADE YOU DECIDE TO LAUNCH YOUR LABEL IN LONDON? WOULD YOU HAVE CONSIDERED DOING IT SOMEWHERE ELSE LIKE GERMANY OR NEW YORK? London is the best place for an emerging brand. London and the BFC are very much ahead of any other fashion city, and really embrace young talent with a lot of support. We were very lucky that we were able to start our label over here and it would be definitely our first choice all over again. YOU GIRLS TAKE A LOT OF INSPIRATION FROM THE WORLD OF MUSIC, HOW DOES MUSIC INSPIRE YOU? WHERE ELSE DO YOU DRAW INSPIRATION? Music was always the starting point, we wanted to be rock stars when we were teenagers, but since we didn’t have great voices, we tried to look like them. So we started to dress like our rock idols, such as Kurt Cobain, Janis Joplin, The Velvet Underground, Iggy Pop, etc. Music is still influencing us a lot, but also exhibitions, art, nature and animals. I think it is important to stay open minded, and being able to find inspiration in anything that surrounds you. There is so much to discover every day. So you must always keep your eyes open.

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www.felderfelder.com

HAIZHEN WANG //

riginally from China, Haizhen moved to London to study fashion. After completing a Bachelor’s degree in Design Technology he went on to complete an MA in Womenswear. He completed his knowledge and experience by working for several big fashion houses before starting his own label which led to his first solo on schedule show at London Fashion week this year. LET’S START AT THE BEGINNING. HOW WAS YOUR TIME AS A STUDENT? Studying at (CSM) Central Saint Martin’s was a great experience as it was mainly about exploring creativity. As the university has some of the most talented students in the world, I would constantly be influenced and inspired by my co-students. Also having highly skilled professionals as tutors made this extremely valuable. Studying and living in London also brings you all the best of the world’s cultures, traditions and ideas. WHAT KIND OF ADVICE WOULD YOU GIVE TO CURRENT FASHION STUDENTS AND GRADUATES? I think it is incredibly important to follow what you believe in. It may require you to give up other things in life, so you can’t really go for it unless you are willing to make those sacrifices. You also need to have continuity in your work. YOU WORKED FOR FASHION HOUSES SUCH AS MAX MARA, BOUDICCA AND ALL SAINTS. WHAT DID YOU LEARN FROM WORKING FOR SUCH BIG FASHION BRANDS? Working for these labels, who are all in quite different ends of the fashion industry, gave me a lot of valuable insight and experience. Working alongside other creative people brought me to a lot of valuable knowledge and inspiration, as I got to see what lies beneath a sustainable and successful brand with all the details that make a business live. Working for these brands shaped the path leading towards creating my own business and gave me a lot of insight and knowledge. WHY DID YOU WANT TO START YOUR OWN LABEL? From the very beginning my goal was to start my own brand, but designing for other established brands gives you a lot of good experience and knowledge. After a while I felt the time was right, so I felt I just had to go ahead.

WHAT KIND OF OBSTACLES DID YOU FACE WHEN STARTING YOUR OWN LABEL? Setting up your own business always requires a lot of planning, paperwork and late nights. Setting up a fashion label in particular I think is challenging, as it can be hard to reach out to get people’s attention. The financial aspect can be difficult, as it is hard to gain any sponsorship until you have reached a certain point of press and sales. If you keep going, and prove that you stick to your visions and identity, people will notice you and have confidence in what you are doing. THIS YEAR YOU DID YOUR FIRST SOLO ONSCHEDULE SHOW AT LONDON FASHION WEEK. WHAT WAS THAT LIKE? It was an amazing experience and a great opportunity to show my collection to the fashion industry. I was very excited, but also a bit nervous: it’s not easy to stay calm when you know you have worldwide media and a packed audience watching you. Overall I believe that the show made a good impression on everyone and I am now looking forward to the next one. YOUR STYLE IS VERY ANDROGYNOUS. COULD YOU DESCRIBE THE HAIZHEN WANG WOMAN? A strong and fierce woman, who embraces fashion and herself. She is fashion forward, appreciates quality and detail. The woman I create garments for is someone who presents her aesthetic without the traditional boundaries between male and female dress codes; a woman who is not afraid to express a strong vision and aesthetic. FOR YOUR LAST COLLECTION YOU TOOK A LOT OF INSPIRATION FROM ARCHITECTURE, HOW DOES ARCHITECTURE EXACTLY INSPIRE YOU? WHERE ELSE DO YOU DRAW INSPIRATION? Yes, gothic architecture was a fundamental inspiration for my last collection. I find architecture very moving and always find ideas when exploring the form of buildings, roofs and other structures; form and function is essential. I draw inspiration from various things including my surroundings and the mixture of cultures and traditions. In Portobello Road, near where I live, people and the vital life there always inspire me. I believe that’s why London is such a great place, as it provides you with plenty of different experiences and a cultural mixture of people from around the world.

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www.haizenwang.co.uk Haizhen Wang

Julian Hakes

JULIAN HAKES //

esigning a shoe for a design blog was the thing that got the ball rolling for award-winning architect Julian Hakes. With all the success and press attention he’s been getting for his ‘Mojito shoe’, he can now call himself a shoe designer without blushing... The only thing he’ll have to learn is a bit of patience, ‘As soon as I create a new style I want to let people try it’. YOU ARE ACTUALLY AN ARCHITECT, HOW DID YOU COME TO DESIGNING SHOES? I had been thinking about shoes for a while – probably as far back as 2005, they were one of several things I kept thinking about. I was considering items we use every day but which were simply getting repeated and tweaked, but had not really evolved. So much has changed in the past 15 years in terms of material technology and production techniques, but it always annoys me when I see something that has not really been designed. To me it is just lazy and does not really improve or enhance our experience of things around us, so I decided one evening to stop thinking and start designing. One night I was the last one in the studio, so I took my own foot, wrapped it in tracing paper and masking tape, and just started drawing shapes over my foot - and that was the beginning. YOUR MOJITO SHOE HAS NO FOOTPLATE, BUT ACTUALLY WRAPS AROUND THE FOOT AS A CONTINUOUS RIBBON. HOW DID YOU COME UP WITH THIS CONCEPT? When I was drawing on my foot, I was thinking about the footprint in the sand and how it clearly illustrates where most of the load goes when you walk. If we consider adding a raised heel to the idea then the middle part of the shoe ‘footplate’ surely carries little, if any, load. I tested it, and we found we could physically ‘cut out’ the middle part of the shoe and the wearer doesn’t notice. Then once I had identified these two points of support – one in the heel and one under the ball, I started testing ways to link them back together and the spiral ‘mojito’ was the result. I called it ‘mojito’ because it reminded me of a twist of lime in a cocktail. I CAN IMAGINE THAT DESIGNING THE STRUCTURE OF A SHOE HAS SOME SIMILARITIES TO ARCHITECTURE, AS IT HAS TO BE STABLE, BUT IN THE END THEY’RE TWO COMPLETELY DIFFERENT OBJECTS. WHAT KIND OF OBSTACLES DID YOU FACE? It’s not so different if you consider fashion as architecture for the body. The foot can then be seen as a canvas for experimentation in form and material. When you find that perfect blend between form, material and function it can generate something very unique and special. One of the biggest perceived obstacles was that I had never designed a shoe. In fact that turned out to be very liberating as I did not know the rules... I later

learnt that I had pretty much broken them all anyway. I went to speak to the RCA (Royal College of Art) and showed the early ideas to Sue Saunders who is one of the MA tutors. She tried the early prototype and said it could work with some development – so off I went, and 18 months later I did my first catwalk collection at London Fashion Week. After two more years of development, the shoes hit the stores for the first time. WHAT KIND OF ADVICE WOULD YOU GIVE TO CURRENT FASHION STUDENTS AND GRADUATES? Gain a wide variety of skills in different fields. You never know where an idea or inspiration will come from. You need to recognise a bad idea just as much as the good ones. In fact, the more bad ideas and failed designs you have, the easier it is to spot the good ones, but never stop having ideas – even if they don’t work. Never say ‘no it cannot be done’, take this as a challenge then go away, work hard and prove it can be done. For graduates, I would suggest find some work – if it’s in the desired field then that’s great, but then you can pay back your loans and get some cash in the bank (or under your mattress)...and do not work for nothing! I was once asked at an architectural interview in Paris “did I have a rich dad?” I said, «no he is a teacher!», when I asked why they said, “well, because we will not pay you”. I held out for something else and found a much better paid position in London. If you are going to work for nothing, work for yourself on your own ideas and your portfolio, not to line someone else’s pockets. If you want to start something yourself, you will need some money to invest to register your ideas and protect your product, even if it is just to register your domain

56 //

names ready for future E-commerce. You can also use this time to gain experience in life, business, commerce and the fashion industry and market. After all, unless you have unlimited funds, you are going to have to sell what you design to someone at some point so you can carry on doing what you love. WHERE, APART FROM YOUR BACKGROUND IN ARCHITECTURE, DO YOU DRAW INSPIRATION FROM WHEN DESIGNING? I am very drawn to the sea and love to surf, as I get to be away from it all for a few hours and then my mind is free to think; your subconscious is a powerful designer. I tend to have a number of ideas in my head at the same time, so I let them sit there, with some coming to the foreground for a while, developing a little further, then drift back. Then it can take just a little spark for one to ignite and take off. The architectural and engineering training I have had and running an architectural company for over 10 years are a fundamental part of what influences me. I can equally be influenced by a new innovation in aeronautical design or space travel, just as I can by the spiral Fibonacci sequence spiral within a seashell. I never look at other shoe designs or designers, so that gives me freedom to experiment, and I only ever look back at what I have done to make sure I am always moving forward. WHAT IS, IN YOUR OPINION, THE HARDEST PART OF WORKING IN FASHION? Having to wait six months (a season) before you can show people your new designs. As soon as I create a new style I want to let people try it. Maybe the evolution of 3D printing will be my savior.

www.julianhakes.co.uk

Miss Fleur

Paris Essex

YOU CRAZY KIDS

By Babette Radclyffe-Thomas // Images : Lesley Silwood & Phill Taylor

IPHAINE DE LUSSY, KNITWEAR DESIGNER AT PARIS ESSEX, TALKS TO BABETTE RADCLYFFE-THOMAS ABOUT MOHAIR, DIRECTIONAL CHILDRENSWEAR AND 80’S STYLE KNITS. Tiphaine de Lussy established one of the UK’s coolest childrenswear labels during the 1990s and the early 2000s. Miss Fleur was one of the first independent UK kidswear brands to pioneer trendy childrenswear, and as the UK market is expected to reach £5.7 billion by 2016, the childrenswear market offers exciting opportunities for graduating designers. “If I wanted to make money I would sell pyjamas covered in flowers as I know that’s what people want - because people don’t have an idea of wanting something different.” With that concise advice for aspiring designers,Tiphaine de Lussy takes a sip on her bottle of lemonade. Sitting alongside St Catherine’s Dock in London, her dogs lying by her sneakerclad feet, she speaks with authority and persuasion. And so she should, having founded two successful designer labels, with years of teaching up-and-coming designers behind her and her personal style admired in Vogue’s pages (she was Vogue’s style icon for ‘How to Look Good in Your 40s’). Having studied Textile Design at Chelsea School of Art, and Knitted Textiles at the Royal College of Art, and with two young daughters of her own (Seraphine and Agathe), Tiphaine launched her first childrenswear label, Miss Fleur in 1998. Starting the label with fellow designer Natascha Radclyffe-Thomas, and later stylist Carole McIlwain and knitwear designer

Carolyn Clewer, the Miss Fleur designers weren’t scared to do something different. “There were no nice directional labels in London that were really exciting, so we thought that we could do something really edgy and fashionable,”. Her sense for the spirit of the age has always been highly attuned, as she says, “What was interesting was when we started Miss Fleur, Junior magazine started at exactly the same time as us, and in a way I look back and think that was a real coincidence, but obviously we did hit on something that was happening in England at that time”. Winning awards such as the Best Newcomer Award at Premier Childrenswear 1998, the Drapers Best Stand Award at Premier Childrenswear 1999 and highly commended as Best New British designer at the Junior Fashion Awards 1999, the label pioneered directional childrenswear. Miss Fleur retailed in hip British boutiques including The Cross, The Conran Shop and House of Fraser, as well as internationally. In 2005 Tiphaine returned to her first love of knitting as she and Carolyn founded the knitwear label Paris Essex. Just as the brand name is a melange of the designers’ hometowns (Parisienne Tiphaine and Essex girl Carolyn), the designers and best friends share a similar design aesthetic. “We always loved things that were very textural and very 80s. It always involved glitter and mohair. Not unisex but it wasn’t very girly, it was very much about the fabric”. Sweaters, jumpers and cardigans with ladders and fringing in bold, big shapes proved a successful formula, and Paris Essex sold worldwide in Selfridges, Japan and LA. But further brand expansion proved demanding, “When

57 //

you don’t get to that next stage it becomes difficult to enjoy it, because every time you produce something whether I produce that 10 or 100 times - it’s the same amount of design work”. Since then the label’s design focus has shifted from producing the whole look, to making design snapshots by creating hand-crafted, directional accessories. When asked what the future has in store for Paris Essex, Tiphaine cutely knocks on the wooden fold-up table, and says, “The plan is to sell to a few really lovely shops that really understand what we are”. With two successful brands behind her, Tiphaine has an abundance of wide-ranging advice for budding graduate designers. She believes one of the most important factors when establishing a new label is to find somebody to look after the business side, and cites various successful labels that are a union between a bold business mind and a creative designer. She recommends that every graduate designer keeps their eyes on a who’s who list of young British design talent, ranging from Roksanda Ilincic to Christopher Kane , to see their design process and success. Tiphaine also says designers can’t afford to be offline, and that they have to embrace social media, “I think everything is a bit of an experiment at the moment, but you can’t afford not to be part of that experiment”. As she awakens her napping dogs to continue their walk, Tiphaine gives a final, astute piece of advice, “Just go for it. Don’t be too nervous and be quite organic about it, as however much you prepare, it isn’t going to go according to plan, is it?” parisessex.com

HENRY HOLLAND

Teen mags, t-shirts and tips By Iranzu Baker

Henry Holland

AW 13

SINCE HOUSE OF HOLLAND’S DEBUT ONE TRICK PONY COLLECTION IN 2007, HENRY HOLLAND HAS PROVED HIMSELF AS BEING ABOUT MUCH MORE THAN JUST SOME SLOGAN TEES.

got a bit restless, I don’t have diagnosed ADHD but I definitely feel like I’m on the cusp” says fashion designer Henry Holland about his switch from writer to fashion designer in 2006. “I actually tried to change my journalism degree to a fashion journalism course four days after I started because I realised I’d done the wrong thing.” We sit at an almost empty desk space next to a huge bookshelf stacked with hundreds of fashion magazines at House of Holland’s open-plan studio in East London. When Holland was 18, he moved to the capital from his hometown Ramsbottom in Lancashire to study at London College of Communication. I look at the bursting bookshelf and ask about his experience as a journalist. He reminisces over his time working for teen magazines Sneak and Bliss: “We once did this feature called ‘mum proof your outfit’,” he says grinning. “The trivialness of the subject matter was satisfying.” Later he digs out an old copy of Sneak flicking through to find the ‘Who’s Blinging and Who’s Minging’ style pages. By the time Holland was 21 he was fashion editor of two teen magazines - but this wasn’t to be his only fashion calling. Sitting just metres away from the rest of the team, I ask, how House of Holland started out? “I started doing some t-shirts, it was a bit of a ‘oh why not’? and an in-joke with my friends. There was not much further thinking on it than that.” Henry’s fidgety nature led him to explore design without really thinking about

where he was heading. With no formal training, he would try things out, “If it goes hideously wrong then you stop doing that and try a different way.” Following the success of his slogan t-shirts, the initiative for emerging designers, Fashion East, invited him to showcase a collection at London Fashion Week in February 2007 - Henry notes this as being his best fashion moment to date, “I never really had a plan to be doing shows and so that first one completely blew me away.” House of Holland has since flourished into the hugely successful fashion label it is today. With high profile ambassadors such as his model friend Agyness Deyn and musician M.I.A, the brand has become synonymous with fun and is now sold in over 23 countries worldwide. House of Holland collections are colourful and consistently energetic - the latest was no exception. “I love creating crazy stories and building a wardrobe around them” says Holland. So what’s the story behind Autumn/Winter 2013? “‘Rave Nana; it’s about sending a bunch of nanas to a field with a pocket full of pills.” Sound crazy enough? The opening psychedelic print tailored suit with clashing print shirt and tortoiseshell accessories set the scene for a colour palette of vibrant orange, green, purple and blue. An eclectic mix of shapes and silhouettes were topped off with the brand’s signature print tights and cosy parkas. Naturally, fun was the protagonist in the lustrous sprinkling of cocktail and pill shaped diamantes embellishing necklines and trouser hems. Then came the half expected slogan sweatshirt (slotted in for good measure) shouting “Viva la Vibe.”

58 //

AW 13

SEVEN TIPS FOR SURVIVAL IN THE FASHION INDUSTRY COURTESY OF HENRY HOLLAND. 1.Get as much WORK EXPERIENCE as you can while you’re still in full time education. You need industry experience to get yourself focussed and motivated. It’s hard work and you need to decide that this is what you really want to do. 2.DON’T PANIC or put too much pressure on yourself now. Stay open to ideas and different options for yourself. 3.STAY TRUE TO YOUR VISION particularly in terms of design - always keep it in mind. No one can take that away from you. Whether they like it or they don’t, you’ve always got your integrity and you know that it’s your creative decision. 4.BE NICE, it seems so obvious but it’s often forgotten. 5.Keep your head down and WORK HARD. It’s a difficult industry to get into so show people you have a great work ethic. 6.DON’T BE AFRAID to start at the bottom and be willing. 7.NETWORK - I hate this word but if you don’t get yourself out there, no one’s going to know about you and know whether you’re the right or the wrong person for a job. houseofholland.co.uk

WHAT ADVICE WOULD YOU GIVE // TO YOUR 22-YEAR-OLD SELF?

PENNY MARTIN EDITOR OF THE GENTLEWOMAN // “BE INTERESTED IN EVERYTHING, FASHION IS ALL ABOUT THE HERE AND NOW, BUT ALSO THE THERE AND YESTERDAY - SO THE MORE CULTURALLY AWARE YOU ARE THE BETTER.” PEARL SHAH, FASHION DIRECTOR, MARIE CLAIRE INDIA // “TRAVEL AS MUCH AND EVERY WEEKEND YOU GET - THE PEOPLE YOU MEET AND THE EXPERIENCE YOU GAIN WILL CHANGE YOUR LIFE.” SARA GILMOUR, FASHION EDITOR TANK MAGAZINE // “WORK HARD AND TAKE EVERY OPPORTUNITY YOU HAVE, BECAUSE EVERY SINGLE THING YOU DO FROM NOW ON COULD RESULT IN SOMETHING HUGE IN THE FUTURE. REMEMBER THAT HOW YOU BEHAVE WITH OTHER PEOPLE CAN INFLUENCE YOUR CAREER, SO BE NICE AND DON’T ACT LIKE A DIVA.” REUBEN ARNOLD, FOOTWEAR DESIGNER AT FRED PERRY // “TRY AND LEARN AS MUCH AS POSSIBLE, AND TAKE ON BOARD ABOUT 50% OF THE FEEDBACK YOU GET. GET AWAY FROM THE COMPUTER, CARRY A NOTE BOOK ALWAYS, DRINK COFFEE, PRACTICE,PRACTICE,PRACTICE. HAVE FUN. BE INDIVIDUAL.” PRIYANKA KHANNA, FASHION FEATURES EDITOR, VOGUE INDIA // “DON’T WORRY. EVERYTHING HAS A WAY OF FALLING INTO PLACE WHEN YOU LEAST EXPECT IT. AND DREAM BIG.” ANGELA CLARKE, AUTHOR OF CONFESSIONS OF A FASHIONISTA // “BE TRUE TO YOURSELF, DO WHAT MAKES YOU HAPPY, IT'S OK TO SAY NO, AND WEAR MORE COMFORTABLE SHOES.” DAVID GANDY, MALE MODEL // “FOLLOW YOUR GUT INSTINCT. BE RESPECTFUL AND HUMBLE AND MAYBE TAKE MORE TIME OUT FOR YOUR PERSONAL LIFE, IT'S NOT ALWAYS ABOUT LIVING TO WORK.” MAURIZIO GRASSELLI, HEAD OF RETAIL, JOSEPH // “BE INQUISITIVE ABOUT THE WORLD SURROUNDING YOU, DO WHAT YOU ENJOY AND TRY TO MAKE A CAREER OUT OF IT.” IRANZU BAKER, EDITOR IN CHIEF, 22 // “THE MORE YOU ASK, THE MORE YOU GET.” 59 //

Catwalk Show Schedule 2013 // SUNDAY JUNE 2ND 12.30 BOURNEMOUTH 14.00 CENTRAL LANCASHIRE 15.30 EDINBURGH 17.00 NORTHUMBRIA 18.30 NORTHBROOK & WILTSHIRE COLLEGE SALISBURY 20.00 ISTITUTO MARANGONI

THEATRE B THEATRE A THEATRE B THEATRE A THEATRE B THEATRE A

MONDAY JUNE 3RD 11.00 INTERNATIONAL SHOW 12.30 LIVERPOOL JOHN MOORES 14.00 ROCHESTER 15.30 RAVENSBOURNE 17.00 NOTTINGHAM TRENT 18.30 DE MONTFORT CONTOUR 20.00 EPSOM

THEATRE A THEATRE B THEATRE A THEATRE B THEATRE A THEATRE B THEATRE A

TUESDAY JUNE 4TH 11.00 EAST LONDON THEATRE A 12.30 BATH SPA & NORTHAMPTON THEATRE B 14.00 DE MONTFORT THEATRE A 15.30 BIRMINGHAM THEATRE B 17.00 MANCHESTER THEATRE A 18.30 SALFORD THEATRE B 20.00 KINGSTON THEATRE A

WEDNESDAY JUNE 5TH 16.00 BEST OF GRADUATE FASHION WEEK 19:30 GFW GALA & AWARDS SHOW

THEATRE A THEATRE A

EARL’S COURT 2 EXHIBITION CENTRE WARWICK ROAD LONDON SW5 9TA