WHAT IS PLUS SIZED? . TOP CHARITY SHOPS . SHOPPING DIETS . SLAM DUNK REVIEW . BRIDAL BOUTIQUES
AFRO BEAUTY . LIFESTYLE FASHION WEEK . STUDIO ALCH . WESTMINSTER MA . TATTOO SHOW . EDITORIALS
ISSUE 40 27TH JULY 2019
THE NEW START ISSUE
RRP £9.99
LONDON RUNWAY
CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Staff Photographers: Ian Clark and Fil Mazzarino Music Editor: Neil Dowd - musiceditor@londonrunway.co.uk Arts Editor: Marie Fourmeaux - arts@londonrunway.co.uk Staff Writers - Joanna Cunningham, Madeleine Oakley, Emmie Cosgrove, Ashutosh Kukreja Staff Illustrator - Joe Bailey Lead Graphic Designer: Alex Panek Staff Graphic Designers: Alissa Colville, Louisa Kazig Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Contributors: Katarina, Lesya @XS-Model Management, Dima Grushivsky, Trendhim, Sarah Krick, Melissa Chudesnaya/Wonder, Angelina Galt, Alexandra Burnel, Alexyi Reneece, Mia Mihaela, Ferda Yayci, Ajiana Lopes, Miguel Cepero Special thanks to Dream State, ANM Comms, Hundred Showroom, Slam Dunk
Interested in working with us? We currently have internships available in the following positions: Staff Writers Send your CV and covering letter to info@londonrunway.co.uk
Š 2019, London Runway Ltd and contributors Printed by Micropress and distributed in-house by London Runway Ltd London distributors: The Model Workshops London at 40 Cumberland Road, N22 7SG All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in London Runway are those of the respective contributors and are not necessarily shared by the magazine or its staff.
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EDITOR'S LETTER Welcome to the first ever double issue of London Runway. Well, we had to do something special for number 40, didn’t we?
to a more conservative place. Let’s hope for a release by next season, allowing designers to push boundaries once more.
this week, consider shopping in a different way. In New Start, we’ve got some charity shops that could be a good start.
This time out we’re celebrating two things: the first volume is The Menswear Issue, with galleries from London Fashion Week Mens as well as an upcoming singer you won’t want to miss. Philip Brooks is our cover star as well as interviewee, editorial model, and feature in our live music review – talk about multi-talented!
London’s Pride Parade came and went with great fanfare, and we were on the ground enjoying it as spectators. In Menswear volume we’re looking at how brands cash in on Pride to benefit from access to LGBTQ+ customers, and why they really owe it to them to provide more than one nod a year.
A little note on how this works: a few sections (this letter, New Faces) are the same, while almost everything else is different in each volume. There’s a whole lot to get stuck into, so without further ado:
The second volume is The New Start Issue, highlighting the fact that this issue also marks our switch to monthly releases – on the 27th, going forward, you’ll always be able to expect the newest volume of London Runway. There’s almost too much content to mention in this issue, so let’s take a moment to consider what’s been going on since we last spoke – and we’ll let the contents page speak for itself. LFWM saw plenty of interesting looks, though there was a marked lack of creativity across most of the board. This period of uncertainty in Brexit, political upheaval, and years of continued austerity seem to have dampened colours and pushed styles
Enjoy!
We won’t mention politics any more than we already have; you already know all the ins and outs from reading the news. And if you don’t, you should – because from what our statistics tell us, our demographic is one of the most important groups when it comes to voting time. At a time when divisions run deep and many people are deeply unhappy with our leaders, fashion can be a great way to escape. But it’s important to use your purchases in a responsible way, since each consumer is able to influence the industry. If you are worried about sustainability and the potential impending demise of our planet, as highlighted by ASOS’ misguided #ThanksItsASOS hashtag campaign
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RHIANNON D'AVERC
CONTENTS
44 VISUALS
35 WORDS
Lifestyle Fashion Week
4
Is Plus Size Really Plus Sized?
33
LA Model (Editorial)
35
Are the French More Colourful Than You?
40
New Faces
41
Calm June (Cover Editorial)
44
The Great British Tattoo Show
48
Style (Conscious) Guide: First Date
57
Wardrobe Detox and Shopping 55 Diet: The Real Feel-Good Summer Plan 58 A Guide to London's Top Charity Shops
Afro Hair and Beauty Live
60
A Day at Slam Dunk Festival
69
The Nomadic Woman (Editorial)
72
The London Aesthetic in Fashion
82
Neighbourhood Voices: Tower Hill
79
Behind the Veil: A Bridal Experience
92
Studio Alch
84 Interview: Dream State
98
Michiko Koshino
87 The Big Question
1101
University of Westminster MA
88
C2H4
95
Hundred Showroom x Ipseity
101
St James's
109
LIFESTYLE FASHION WEEK
Lifestyle Fashion Week brings an exctiing glimpse of a culture that drips in embroidery, beading, and colour - in both traditional and non-traditional styles. The designers featured on the catwalk, and here in our pages, are as follows: Adil Ali Agha Noor Ahmed Bham Ayesha Imran Ananya DIVA by Sana Rashid Fahad Hussayn Fatima Saiffudin Gogi by Hassan Riaz Haris Shakeel Komal Nasir Tanzia Purple Haze Rana Noman Sanam Boutique Sonia Mahajan Voile by Sabeen Arshad Wajahat and Shahroz Yatashee Zarsah by Ashsn Waris Zoha Kahn Photography by Fil Mazzarino
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via unsplash
via Instagram @tessholliday
IS PLUS SIZE REALLY PLUS SIZED? This week, Madeleine Oakley explores the complex issues surrounding the labelling of models as plus size. We are a generation of label rejecters. We embrace fluidity regarding categorisation more than ever before. We might check before assuming someone’s gender pronoun or may find ourselves on a spectrum when it comes to our sexuality. If this is the case, then is labelling a model as ‘plus size’ an arbitrary term and unnecessary when it comes to our modern inclusive world? Or is it necessary to classify models for ease in the fashion industry? Embracing these labels could actually be empowering and, therefore, rejecting them may not be the only answer to the debate. The definition of the term plus size in the Collins Dictionary is “a clothing size designed for people who are above the average size”. Considering that the mean dress size in the UK is a 16 and also the size where most plus size clothing starts, it seems strange that anything above a size eight is classified as plus size in the fashion industry (although this is sometimes contested). For the average woman, these body measurements are unrealistic and not a reflection of true life.
Reflecting on this dictionary definition, the most straightforward answer to the debate would be that plus size should begin at least at a 16 to match the UK’s female bodies. However, the fashion world is a creative sphere and not a direct reflection of our society. Therefore, it may be necessary for them to adopt a new term in order to differentiate from the technical plus size definition. High-end labels usually do not cater for sizes beyond a UK 12. Therefore, fashion houses have to have some sort of terminology referring to above a size eight, be it plus size or not, for them to group their models. Karl Lagerfeld once said "No one wants to see curvy women," a comment which is an extreme example, but does echo the fashion industry’s unease in showcasing their clothes on models bigger than their norm or on a variety of sizes. In a 2018 interview with Women’s Wear Daily, the designer Tom Ford gave the explanation: “There is a practical reason that most models are the same size… You make a sample collection [according to] a standardised selection of measurements for models… This is an industry thing. Whether we all decide to start making all of our clothes in the next size up, that’s a different thing.”
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This conveys that it is the ease and custom of using the same size models on the runway which dictates the lack of ‘plus size’ models. Hence, we should not see it as a personal rejection but as a frank business decision. Moreover, the terminology used to describe them is required to differentiate them from the routine catwalk size. Compared to industry standard, a size 12 model is plus-size and perhaps we need to separate this from real life and not relate it to a person’s identity. Fashion is about “dreams and illusions” according to Lagerfeld, and thus should not cross over into the real world. Some fashion houses have started including what they call plus size models in their runway shows. Fashion Spot’s New York Fashion Week Fall 2018 Diversity Report showed that an average of 0.4 of the models cast per show that season were plus sized, a number which disappointingly was on par with Autumn 2017. Moreover, the majority of the models were hired by only two fashion houses:Christian Siriano and Chromat. Models that were defined as plus sized and walked included Ashley Graham (UK size 14) and Candice Huffine (UK size 12), both of which are larger compared to industry standards, but do not reflect
the size 16 and above regarded as plus size on the UK high street.
encourage involvement as opposed to marginalising a certain group.
Plus size model Ariel Pierre-Louis comments "I feel like some brands only decide to add plus-size [models] at the very last minute, to be 'inclusive', and they usually only hire the non-double digit 'plus' [models] or under-a-size-14 [models]. I guess it’s nice they are being more inclusive, but they still aren’t serving authentically plus-size models.” If it is diversity which the fashion houses want to promote, then the token use of these smaller-than-average women seems to have greatly missed the mark.
Holliday’s position as a woman who is larger than the average female means that she fulfils the dictionary definition of plus size and could indicate that she is the embodiment of what a plus size model actually is. Moreover, her unashamed Instagram posts showing cellulite and natural rolls of flesh emphasise that women come in many forms and this does not stop them from being involved and even thriving in the fashion world.
Arguably, including these women makes the issue worse as it publicises fashion’s idea of a plus size body and therefore places even more pressure on the average woman to fit a certain ideal. Runway shows should either be unequivocally inclusive or stick to showcasing using their customary dress size to stop this amplification of the problem. Some may view the presence of these select ‘plus size’ models as a publicity stunt for the designers’ own monetary advantage, rather than a promotion of body positivity. The lack of diversity within the ‘plus size’ models chosen may also confuse the issue more as people may think that they should look like these glowing, flat-stomached women whilst wearing their high street plus size clothes. At a UK size 22, Tess Holliday is one of the only unmistakably plus sized models to work in mainstream fashion. She has published a book on body positivity, started a viral hashtag “#effyourbeautystandards”, and her 1.9 million Instagram followers are regularly updated with photos and captions promoting inclusivity and selfconfidence. She was the first plus sized model to grace the cover of Cosmopolitan - an appearance which came with celebration and criticism in equal measure. Individuals argued that her body positivity campaign was promoting obesity and the journalist Piers Morgan proclaimed the magazine’s coverage to be “dangerous” and “misguided”. Holliday is not afraid to address herself as a plus size model however, and argues that it is important to be able to express your body shape using specific terminology. She says that it is helpful for women as when “they look online, or look in magazines, they see that label, or see that term, they feel like they're not alone". This shows that the phrase plus size could and should be used to
continue to demand change. We should also refuse to let what or what isn’t plus sized define us. It is important to be as happy in our bodies as possible and appreciate the beauty of variation in the human race. Currently, the world of fashion is not a representation of real life and their idea of plus size should not define our identities or affect how we feel about ourselves. We should wear exactly what we want and refer to ourselves how we wish (as long as it is positive of course!).
However, some argue that Holliday should not be defined as a plus size model as her BMI categorises her as obese and therefore, her body should not be promoted positively in the mass media or linked to modelling. Holliday notes that initially she felt obligated to discuss her health and provide evidence of her healthy blood pressure and cholesterol levels. However, in more recent times she has refused to rise to the abuse masked as concern; instead deciding that her health is of no one’s business but her own. Perhaps, her health should not factor in whether she or others of similar stature are classed as plus size, as fundamentally if a body is above the average size, then it places it in the category. What is the ideal definition of the term plus size? What do we want to see in the media labelled in this way? Plus size should be a size above the average. Therefore, for the UK we should recognise above a size 16 as the meaning of this terminology.
via unsplash
via instagram @candicehuffine
If models are happy to classify their size 12 figures as plus size, then this is their decision, however in order to reflect our current society, it may be wise to rebrand them using new words; as lifesize or perhaps middle models. They still need a space to occupy, as it is important for diversity and inclusivity to showcase all shapes and sizes and not discount them for not being on an extreme end of the spectrum. However, it is confusing for the public and simply untrue to brand a size 12 fashion model as plus size when her body is smaller than the average women. It is time for the fashion world to acknowledge that women want to see realistic representations of themselves and this broad showcasing of body shapes may actually promote sales as women can imagine themselves in the garments more easily. The fashion industry has a long way to go when it comes to diversity and thus, we should
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via unsplash
via unsplash Stay up to date with Madeleine on Instagram @madeleineoakleytextiles
LA MODEL Photography - Sarah Krick @sarahkrickphotography Hair and Makeup: Â Melissa Chudesnaya/Wonder Model: Angelina Galt
Angelina wears: Dress - Olivia Von Halle; Shoes, Socks, Belt, Earrings - Gucci
Angelina wears: Set - Olivia Von Halle; Shoes, Choker, Earrings - Gucci
Angelina wears: Set - Olivia Von Halle; Shoes, Choker, Earrings - Gucci
Angelina wears: Set - Olivia Von Halle; Shoes, Choker, Earrings - Gucci
LONDON RUNWAY
ARE THE FRENCH MORE COLOURFUL THAN YOU? Know how to say colour in 18 different languages? We do. And this year, it seems the French do too. Trendhim’s Colour Report ranks Europe’s most colourful countries.
The Top 10 Most Colourful Countries (and how they say “colour”) : France – “couleur” Germany – “farbe” Belgium – “kleur” / “couleur” / “farbe” Finland – “väri” Portugal – “cor” United Kingdom – “colour” Hungary – “szín” Netherlands – “kleur” Spain – “color” Switzerland – “farbe” / “couleur” / “colore” We all know that the French generally put a great effort into the way that they dress, and that they excel in wearing a lot of black and grayscale shades to refine their minimal and modern look. But if you are planning to tour around the Champs-Élysées this summer, and expect to surround yourself in a sea of monochrome, we will save you from the Paris Syndrome; the French are buying more colourful accessories than any other country in Europe this year. Reflecting on this year’s Paris Fashion Week Men’s, this information is hardly surprising. Between the 18th and 23rd June, the City of Lights transformed into the City of Colours as many vibrantly dressed local and international guests flocked to the streets of Paris to express the strong seasonal vibes of summer. Off the streets and onto the SS20 runway, models representing French brands such as Louis Vuitton donned a
range of colour palettes and patterns inspired by flora tones, including a range of different pink and blue hues. This coincides with Trendhim’s Colour Report; while France is recently one of the highest ranking countries for buying accessories of general colours from the summer palette, they are also notably buying the most pink accessories in Europe. Our research shows that there’s an uptick in colourful accessories in both Europe and around the globe. Compared to spring 2018, an improvement of 2.21% more multicoloured items have been purchased this year (spring 2019). But while black didn’t factor into our ranking, it’s still the #1 colour choice in Europe. And for good reason – wearing black is an easy way to add contrast to bright accessories and let that one statement piece really take the spotlight. For example, black is a good way to lay the foundation for a vibrant bow tie or lapel pin. But as black is the #1 ‘colour’ in every country on our list, France taking the top spot for buying colourful accessories means that this year they are consequently buying less black accessories. Colour is the new black; bad news for the Parisian selling black berets. Whether you’re a top-ranking Frenchman, adept at the art of wearing colours, or an 11th-place-wherever, adding colour to your outfit this summer seems officially the right thing to do. Europe supports you, and so does Trendhim. Time to add ‘couleur’ in your life. The Colour Report is based on shopping habits in men’s accessories at Trendhim for May 2019. Data was compiled looking at all colours across all accessories with the exclusion of black, white and grey. See the compiled dataset at buff.ly/2GtTPAe Images via Pixabay
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NEW FACE Name: Precious Joy Oni Age: 22 Location: I'm from South London Agency: I am currently freelance. How long have you been modelling for? I've had an interest in modelling since the ages of 16 but I had a crippling shyness. I've been taking it seriously now (and confidently!) for about 4 years! Where are you from originally? My origin is Nigeria, I'm from the Yoruba and Edo (Benin) tribe. Do you have an unusual talent or party trick? I'm not sure if this counts but I can do really weird shapes with my fingers, we can thank being double jointed for that haha! Photography by Fill Mazzarino
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What would surprise people to know about you? I'm a lady of many mysterious talents - I sing, write music, poetry, spoken word and short erotica; I also play the piano by ear and I'm a young carer. What are your modelling ambitions? To be honest, I spent a lot of time trying to make myself into the perfect model. But now I aspire to shake the industry by modelling just how I am, unapologetically. Of course all aspiring models have the ambition to be on TV screens, billboards and social recognition and 100% I would love that - but I mainly would like to induce a change in the industry to include more women who look like me.
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NEW FACE Name: Filippo Catalano Age: 19 Location: Harlow, Essex Agency: Pulse Agency and freelance How long have you been modelling for? Almost 3 years. Where are you from originally? I was born in Italy. Do you have an unusual talent or party trick? I can speak fluent Italian, get asked a lot to say something in Italian, especially when I meet new people! Photography by Fill Mazzarino
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What would surprise people to know about you? I moved to the UK just a few years back and learnt the English language watching films and interacting with people every day, at work or at college, while I was studying performing arts. What are your modelling ambitions? I grow and learn every day, improving myself and be influential for other people with my story.
LONDON RUNWAY
NEW FACE Name: Sarah Lott Age: 26 Location:Â London Agency: Frame Perfect How long have you been modelling for? So it all began in August last year! I applied to ELM Management who began to create a portfolio with me, and then got me my first London Fashion Week Runway in February this year. I began to model professionally after LFW AW19 and have been lucky enough to have worked with some really wonderful people already! Where are you from originally? Darwin, Australia Do you have an unusual talent or party trick? I can make my tongue into a clover shape? I guess that's not very cool. Probably not something I should whip out at parties.
Photography by Fill Mazzarino
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What would surprise people to know about you? Alongside the acting and modelling, I actually also work in a hostel for homeless men and women in Pimlico. I've been there for 3 years and still love it. What are your modelling ambitions? This year I want to make it to Paris Fashion Week - that's the main immediate goal for me. Long term, I'd love to work on runways and editorials for haute couture designers. I recently went to see the Dior show at the V&A which was spectacular, so to get the opportunity to walk for a Dior designer would be an absolute dream. Eventually I'd like to be the face of a high end brand campaign, but I never want to stop working with new designers who are building and developing their own styles. There's something really magic about watching a designer you've worked with from the start going from strength to strength and getting the recognition they deserve.
CALM JUNE Emotional summer starts with rest and self-control Photography: Katarina Makeup Artist:Â Â Dima Grushkivsky Model: Lesya @xs-models Management
Lesya wears: Beige jacket and trousers - H&M; Beret - Zara
Lesya wears: Top - Zara; Accessories - Nylon gloves
Lesya wears: Black shirt - Zara
Lesya wears: White jacket, Breton cap, Accessories - Zara
THE GREAT BRITISH TATTOO SHOW Photography by Ian Clark
Tattoos, costumes, creatures, and fashion - oh my! The brands on display at the Great British Tattoo Show were: Vintage Alternative Catwalk - Stained Class Merchandise - Liam Brandon Murray Art - BHCPO Lingerie Fashion Show - Edge O'Beyond Lingerie - Alibi Clothing - BHCPO Latex Fashion Show - Libidex Latex
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WARDROBE DETOX AND SHOPPING DIET THE REAL SUMMER FEEL-GOOD PLAN Summer holidays: the pressure to look thin and flawless in your bikini is HUGE! And while we women can demonstrate exceptional strength and willpower to achieve this goal by adjusting our diet accordingly, it might prove a bit of a challenge to do so with another area of our life. Yet, the summer might also be a suitable time to do a wardrobe overhaul. Marie Fourmeaux has a few ingredients for a sartorial cleansing. And yes, strong will is also the key, well, as it is for a regular diet anyway… Are you repeatedly violently hit by this relentless and universal “Idon’t-know-what-to wear syndrome”? Every morning, you find yourself in the same situation. Like the legend of Sisyphus, over and over again, dishevelled and in a hurry, you take a look at your wardrobe, end up picking the usual same clothes and can’t think of new combinations. However, it is full, packed, its doors are threatening to burst open! Or, you might either feel that your closet does not reflect who you are any more, your tastes and lifestyle may have evolved. How many times have I heard those comments, from myself, of course, but also when discussing with friends? Well, this is a cry for help from both your closet and the bottom of your heart. Imagination and creativity need a favourable context to be set in motion and this is when a wardrobe audit might help. So, detox or diet? The Cambridge dictionary defines the former as “a period when you stop taking unhealthy or harmful foods, drinks (…) for a period of
time, in order to improve your health (…)” and the latter as “an eating plan in which someone eats less food, or only particular types of food, because they want to become thinner (...)”. Well, one is about quantity, the other, about quality… so, let’s go for both! Let’s start with detox, the prerequisite to a diet (i.e. the healthier shopping phase). Detox means assessing what is in your closet and sorting your clothing out. It’s probably the most important step, as it helps define what works for you or not.
The aim is to have a curated sartorial selection, reflecting who you are, your lifestyle and your tastes. Plus, less is more. It is easier to create different looks and combinations when you can actually SEE what you have. Too much choice kills choice. A refreshed wardrobe guarantees that it will be simpler to make new outfits. The scope of the task might feel a bit daunting. Your living room might look like a shop floor battlefield at the end of a summer sale day. But you can definitely carry it out in a nice environment. Why not turn some music on? Or ask a friend to join you to give you advice and encourage you not to waver along the way? You can also break it into chunks of work, starting with the current season.
“yeah…I’ll keep it for when I’ve lost a few pounds”! However, we all know the hope of slipping into that lovely dress again is not necessarily a highway to the gym class! There is no rule but to enjoy! Try your clothes on in front of a full-size mirror, have fun pairing the same skirt with different tops. Add on shoes and accessories. Take a few pictures of the styles and looks you love to remember them. My second advice would be to ask yourself, when it comes to apparel you wear the most, why is it so? What is it you like so much about these recurrent styles? On the reverse, analyse why some clothes have stayed like sleeping beauties in your wardrobe for months, or even, years, sometimes with an immaculate price tag on them? Answering those two questions will provide you with precious clues on how you work style wise and optimise upcoming shopping sessions. Rediscover those sleeping beauties. If you come to the conclusion that they’re not the right fit, donate or sell them if they’re still in good condition. If not, you can give them away for recycling. Oh, and in the mist of all this cleansing, there is this precious thing you might
My first tip would be to only keep the clothes in which you feel comfortable and beautiful. It sounds like an obvious statement, though it’s amazing how we – well, I - struggle to part with garments we never or rarely wear. There is always the temptation – my favourite one - of thinking
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via Pexels
LONDON RUNWAY
On the other hand, when buying better, when you find a little gem that REALLY fits you, the satisfaction is much deeper. Not only do you feel beautiful, you also know it’s consistent with who you are. And this is when you realise that getting dressed and having your own style is a subtle art, and that working on it may not be as easy as it seems.
Sex and the City still want to keep, for old times’ sake: the old pair of jeans, the yardstick of your silhouette, the benchmark of your figure! Yeah! That, I definitely cling on to! Having assessed your needs and style preferences with the detox phase, you may want to go shopping. But healthily, right? Now that you’ve “detoxed” your wardrobe, it would be a pity to overindulge.
Buying clothes is a GREAT feeling. First, there is the oh-so-flattering part of it when discovering your reflection in a mirror and, wow, it suits you perfectly. Then, you experience this slight yet sheer sense of power when entering your pin code. But, in all honesty, haven’t you sometimes felt a bit “indisposed” when coming home with so many full bags? I sure have! Several times! I had purchased too much, a little shopping indigestion. How many of the clothes we purchase will end up not being worn? Why do we buy so many? Fear of missing out? Pressure to carry the last fashion trends? In my opinion, there are two matters to consider when shopping: their fit and if they are worth their price tag. On your next shopping trip, I suggest you try to pinpoint your buying pattern, asking yourself “How do I buy?”, “What reasons make me buy?”. Countless times have I fallen into the trap of “well, the fabric itches, but it’s well cut and it’s 50% off! It’s an absolute bargain! I can’t miss it, can I?” Bottom line is, anything that doesn’t feel or look perfect, if you have the slightest hesitation, don’t take it. You’ll regret it. When it comes to clothes, don’t go for second best either! Even if it’s a
come home empty-handed after hours queuing at the fitting rooms and trying on hundreds of things. The frustration will fade away, though, unlike the unworn clothes in your wardrobe.
“bargain”. In fact, it is not, when you realise the object of such a bargain may never see the light of day.
If a particular dress or top really made an impression on you and you didn’t buy it, if it’s a big miss, you’ll feel a small twinge in the following days and won’t stop thinking about it. A bit like when you fall in love. Come back to the store, try it again and make your decision. Trust your guts, more than your wallet, especially if the latter is plentiful! Do not be shy to return things either. I may be providing advice here, but I’m still working on my shopping habits! The other day, I gave back an adorable skirt I’d bought on sale. It fitted well, was very summery and feminine. However, after a few days, it dawned on me I didn’t need it, and wouldn’t wear it at all! This particular episode is springing to my mind now, because it’s writing material, but I haven’t thought of that skirt since then. When it comes to ethos, I recommend assessing if the price tag is good value for money. Various personal parameters may be involved here – hence the importance of knowing what you want - but asking yourself whether it is a fair cost, considering fit and quality, is a good way to discern.
A curated wardrobe implies heightening your standards because it means getting closer to yourself. Your closet is the reflection of your life, goes through the bumps and joys. It adjusts to any event that comes across your path: career changes, relationships, babies, or simply getting wiser or perceiving who you are better. And that is why a wardrobe diet is actually a useful tool to reconnect with yourself. I would highly recommend carrying out this little exercise twice a year. Well, this is what I am doing, as my closet is not that big and my shoebox of a flat has limited storage. It allows more room for new and fresh things every once in a while, and to include a few of those super trendy clothes. Also, improving your shopping strategy, as in buying less but in a manner that really targets your needs, is a gesture of responsible consuming, in a way that only you can control. Well, on that note, I’m off to a welldeserved proper apéritif!
You can see more of Marie Fourmeaux on Instagram: instagram.com/marie.fourmeaux
I went shopping the other day. I pushed the door and started browsing. I found the items were excruciatingly overpriced for the quality and left within a few seconds. The salesperson tried to hold me back saying “it’s all on sale”. I replied that they were far above my budget, and by that, I meant, bank account-wise but personal ethics-wise as well. Yes, it’s hard and frustrating to
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Sex and the City still
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STYLE (CONSCIOUS) GUIDE ethical and sustainable style guide selected by Rhiannon D'Averc
Artisan & Fox NJIA Earrings $30.00
Komodo MARA Coat £130.00
Introvert Juliana Off-theShoulder Velvet Dress £120.00
FIRST DATE
WIETSKE NEERINCX at Lone Design Club Aspen Bag £164.95
LuLu's Alaina Black Snake Pointed-Toe Ankle Strap Heels $33.00
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A GUIDE TO LONDON’S TOP CHARITY SHOPS Emmie Cosgrove shares with you the best places in London to find secondhand clothes. With the increasing growth of the slow fashion movement, charity shopping has become a popular way to shop more ethically. Buying clothes in charity shops usually means they are cheaper than high-street retail brands. By purchasing recycled clothes you’re helping the environment and your money is being put towards a charitable cause. However, charity shopping can be a very hit or miss experience. Sometimes you walk into a charity shop for a quick browse and end up finding a bunch of items completely up your street, coming home with several new purchases. Other times you can spend ages traipsing through charity shop rails and return home empty-handed. Personally, for me, more times than not, I usually find at least one or two really good items whilst out charity shopping, sometimes I’ve even found several items in one store. Most of my wardrobe now consists of charity shop purchases. A lot of people still seem surprised when they ask me where I got a certain item of clothing and I respond with “I found it in a charity shop”. Being someone who loves charity shopping, I have decided to create a guide to my favourite charity shops in London: where they are located, what each charity’s mission statement is and what you can expect to find in each shop. So, if you’ve struggled with finding clothing in your style or not knowing places that sell good secondhand designer clothing, furniture, or so on, look no further.
Images throughout by Emmie Cosgrove
Traid
Crisis UK
Prime Locations: Brixton, Camden and Peckham Mission Statement: “TRAID is a charity working to stop clothes from being thrown away. We turn clothes waste into funds and resources to reduce the environmental and social impacts of our clothes.” Why Shop Here? Traid know how to market to a younger audience. With their whacky and artistic window displays, they use visual merchandising to appeal to younger generations. From dressing up shop window mannequins in skirts made from bin liners one week, to draping them in red mesh and roses the next, there is an undeniable amount of creativity that goes into Traid’s window displays. It makes each store appear cool and quirky, which is exactly the type of clothes and accessories you’ll find in Traid. It is a great store for rummaging around in. If you’re looking for a few basic wardrobe essentials such as a pair of jeans or are on the hunt for an elaborate evening dress – Traid will always have what you’re looking for. Every couple of months Traid will also hold a sale, selling all items for just £1. From recycled clothes from Boohoo and Topshop to obscure vintage labels, the variety and coolness of Traid’s stock will never fail to impress.
Prime Locations: Elephant and Castle, Camberwell and Finsbury Park Mission Statement: “Crisis was formed in 1967, as an urgent response to the growing homelessness crisis. Since then we have helped tens of thousands of people out of homelessness, and campaigned for change” Why Shop Here? They have a section dedicated to clothes and accessories from brands such as ASOS and COS. Their store windows are full of well-styled mannequins sporting fashionable trousers and shirts, as well as a range of handbags pinned up in the windows too. You can expect to find a range of clothes from brands such as ASOS and COS within Crisis. Not only do Crisis have an entire section dedicated to clothing and accessories, they also take pride in up-cycling used furniture including re-painting it if needed and having staff members create a vintage wooden look by using teabags to stain used wooden tables. If you are looking for a fashion bargain or are feeling like redecorating a room with some up-cycled furniture, then Crisis is your go-to charity shop. You can expect to find beautiful wooden tables and old rustic storage units, as well as a great range of books and other quirky items such as vintage record players.
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Barnardos Prime Locations: Brixton Mission Statement: “No matter who they are, what they have done or what they have been through our purpose is to transform the lives of the UK's most vulnerable children. Our vision is to realise Thomas Barnardo's dream of a world where no child is turned away.” Why Shop Here? Barnardos has a great mixture of clothing, selling clothing from your everyday high-street brands like H&M or Zara etc. as well as a large number of second-hand designer pieces. Their stock and the labels you can find in Barnardos are always changing. However, the constant change in stock and having such a large mixture of labels is why Barnardos is a muchloved charity shop. It keeps shoppers on their toes. If you’ve shopped at Barnardos for a while or are a newcomer, you will always walk in not knowing what to expect but then walk out with several great finds. Maybe a rare designer dress or a pair of 60s-style sunglasses. If you like shops that have a wide variety of products and want to find both designer and high-street brands at a good price, as well as supporting a charity, Barnardos is the shop for you.
Cancer Research UK Prime Locations: Marleybone Mission Statement: “Cancer Research UK is dedicated to saving lives through research. Our mission is to prevent, control and cure cancer through our groundbreaking research and in the last 40 years our work has helped double survival rates.” Why Shop Here? Located right around the corner from
Oxford Street, the Marleybone-based Cancer Research UK store is one of the charity’s most well-known and visited stores. Having two whole floors to browse around, this charity shop has some of the best vintage designer finds you could wish for. Due to its location and stock, it can be considered pricier for a charity shop, however, considering the labels and items it does sell you’re still saving a lot for durable, high-end designer clothing. Not only is it designer pieces, you can also get some great vintage finds here. If you’re looking for a stand-out jacket or a pair of 60s platforms, head down to Marleybone High Street and check out the Cancer Research UK store there. You’ll end up with bags full of vintagedesigner gems.
British Red Cross Prime Locations: Chelsea Mission Statement: “The mission of the British Red Cross is to mobilise the power of humanity so that individuals and communities can prepare for, deal with and recover from a crisis, summed up by the strapline 'refusing to ignore people in crisis’.” Why Shop Here? The British Red Cross in Chelsea is the perfect charity shop for finding bargain designer clothing. Being Chelsea’s most visited and popular charity shop as well as sharing the same street with designer stores, including Manolo Blahnik’s only store in London, you can imagine the labels you can find here. Rails are filled with clothing from some of the most renowned designers ranging from Vivienne Westwood to Max Mara. This store is particularly good for finding second-hand designer pieces that are workwear appropriate. With stock including fancy blouses and smart designer dresses, Chelsea’s British Red Cross is the go to store if you feel like zhuzh-ing up your work wardrobe.
Retromania Prime Locations: Pimlico Mission Statement: “FARA's Mission is to marshal and focus the resources and relationships needed to cure FA by raising funds for research, promoting public awareness, and aligning scientists, patients, clinicians, government agencies, pharmaceutical companies and other organizations dedicated to curing FA and related diseases.” Why Shop Here? Disguised as a vintage shop, similar to Traid, Retromania appeals to a young and hipster generation who love to shop vintage. Having purple and yellow coloured mannequins standing outside the store dressed in loud 80s attire and boldly patterned swing dresses with a heavily decorated window, the colour and clutter is impossible to walk past without paying a visit. Walking into Retromania is like stepping into a time machine. You’re transported back in time and surrounded by clothing from all walks of time. From vintage 30s gloves to 60s swing dresses, if you’re looking to shake up your style, have a fancy-dress party coming up, collect vintage pieces or maybe just fancy purchasing a few funky items of clothing, then Retromania is the charity shop for you. Whether you want to shop more ethically or are thinking about donating your clothes but are unsure which charity shop suits your style best – I hope this guide has helped you. As recycling clothes becomes far more popular in the more environmentallyconscious time we live in, head out to these charity shops rather than highstreet ones. You’ll be surprised what you find at cheaper value and your money will be going towards a cause, rather than churning out more fast fashion clothing.
You can hear more from Emmie over on Twitter at @StylesEmmie
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AFRO HAIR & BEAUTY LIVE Photography by Fil Mazzarino
This event celebrating African hair and beauty was a great opportunity for plenty of professionals to show off their skills. Barbers and hair stylists took to the stage to perform under high pressure, giving expert cuts and creating new styles live. Clothing brands also got the chance to strut their stuff on the stage, with models walking in a variety of different styles. Event Organiser Alex Jackman said: “The show was a resounding success with 120 exhibitors showcasing across two days, it was a truly wonderful Spring Bank Holiday.”
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A DAY AT SLAM DUNK FESTIVAL Neil Dowd attended Slam Dunk and brings you this review – along with plenty of nostalgia for events past... As the first festival I ever attended back in 2013, returning to Slam Dunk for the fourth time with a press pass in order to review the event felt like a very significant, full circle moment. Slam Dunk was once again hosting the pop-rock juggernauts All Time Low as their headliner, and the excitement to see them perform once again hit with the same level of intensity as it did in 2013. If the line-up itself wasn’t a big indicator of this festival’s significance in the modern alternative rock scene, the attendees that took residence in the guest area certainly suggested as much. Every glance in any direction brought a person who I’d only known through their music to life. Despite this somewhat overwhelming fact, it remained surprisingly easy to maintain a level head, as the communal, lackisidasal atmosphere that is easy to find throughout the rest of the festival (outside of the mosh pits, that is) was still present. In fact it was a refreshing experience to see artists, radio presenters and musical directors that I hold such admiration for in such a humanised and natural context. However, there wasn’t much time to take the guest area in, as the former Yellowcard frontman William Ryan Key would soon be taking to the Marshall Stage. Even just walking past the stages before the live music had begun was enough to make a regular attendee of the festival feel at home with the likes of Blink 182 and State Champs blaring through the different stages’ PA systems as a subtle foreshadowing of what was to come. Armed only with his acoustic guitar William Ryan Key took to the stage and began easefully talking to the audience about the music he’d been working on since the band’s break-up before opening his set of Yellowcard classics with Lights and Sound. The power-
chorded riff that acts as the basis for the song transferred surprisingly well into an acoustic context, with Key providing a pitch perfect vocal performance throughout, despite having technical issues with his monitors. From the first vocal phrase of Lights and Sound to the final chorus of the anthemic Ocean Avenue, the ocean of fans that had gathered for his performance became a choir, enthusiastically singing back every word to a surprised and ultimately grateful performer. Whilst I was certainly looking forward to getting stuck into the rest of the bands, this set provided a calming atmosphere in a day that I feel would have been missed otherwise, with the chance to bask in the nostalgia of hearing our favourite Yellowcard songs live again creating an added bonus. In spite of the lack of free time my schedule gave me, I was able to delve into the Acoustic Stage and managed catch an extract of John Floreani’s set. The stage was situated on a passage between a sea of trees, which did well to hold out the music from the other stages. In a complete juxtaposition of my expectations, the majority of the audience were sat on the floor, conversing and drinking within their respective groups, further embellishing the community that this festival has become.
instruments all being dyed white. In terms of clothing, each member of the band wore black skinny jeans, with a black top and black and white tie dyed shirts. This choice of imagery encapsulated the aesthetic of the band’s sound, with the choice of such a minimalistic colour scheme conveying their heavier influences through the unclean vocals of the lead guitarist. The shared vocals between the guitarist and lead vocalists, along with the swift changes of whom assumed which responsibility, was an interesting and unique selling point for this band’s set and really helped to keep the audience on their toes. Musically, their sound blended pop-punk with rock and some post-hardcore elements, acting as a reminder to just how much fun a band willing to innovate can be. The right-hand stage of The Key Club tent gradually began to fill in anticipation for the secret set which would proceed following Hot Milk. Many attendees took to online forums to predict who they thought would be taking the slot, with many casting genre-defying acts such as A Day To Remember and The All American Rejects as their favourites to take the slot.
Unfortunately my time at this stage was short-lived, as Hot Milk were due to take to The Key Club Stage’s left-hand platform. As a name that had become increasingly familiar amongst friends and on social media, I was nothing but curious to see what they were about. Even as the band first walked onto the stage accompanied with an ambient, synth lead backing track and the lead guitarist and bassist jumped onto the monitors and excitedly shouted to the crowd, their tightly-refined image was one of the first things to stand out. Their colour scheme revolved around black and white, with the bodies of their
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Slam D unk 20 13: Ter Dan Fl rified te int enage me mee ting You
Me At Six's
However, the sea of people filling and surrounding the outside of the tent as far as I could see were not disappointed when the pop-rock legends Busted took to the stage, accompanied by former Lower Than Atlantis drummer Eddy Thrower. The audience erupted into a wave of cheers as the iconic, Blink-182inspired introductory bass riff of Air Hostess was met with roaring distorted guitars and the trip down Memory Lane began. This set showed the Slam Dunk audience at its loudest and most energetic, as the choruses for renowned hits such as What I Go To School For and Crashed The Wedding were chanted back with a high-volume enthusiasm that made the vocal microphones almost completely obsolete. However, interwoven with the nostalgia driving anthems that made this set, the band took the time to delve into some of their later material, inadvertently providing me with the highlight of their set: Reunion. Although it was clear that not everyone was familiar with the track, the enthusiasm from the audience did not dwindle, as it arguably showcases the band at their most pop-punk sounding. Much to the dismay of the audience, the band announced that the next song would be the last of their set. However, the band did not intend to go off without a bang and as the iconic introduction of The Year 3000 began to play through the speakers, the entire audience innately began to the jump in time with the beat, with their voices screaming just as loudly along with a song that was a staple in so many of our youths. If nothing else, their set proved that they still deserved recognition as one of the pioneers and powerhouses of the genre and could definitely go onto headline the festival in later years. As the final chord of The Year 3000 rung out and Busted’s set came to an end, I was taken back to the Monster Energy stage to catch a band that have become regulars to the Slam Dunk lineup, rising through the stages since their debuting appearance in 2015 for their first year on the main stage. As It Is took to the stage as the droning synths and dissonantly haunting keys from the sets opener The Reaper played through the speakers. As someone who had followed the band’s earlier works very closely, this performance marked a definitive departure from the pop-punk roots
that I had formerly associated with them, with the majority of the setlist revolving around their latest record The Great Depression. However, the deeply engaging stage presence and emotively visceral audience interaction from frontman Patty Walters were the defining characteristics that had stuck with this band through their sonic and aesthetic changes. The Truth I’ll Never Tell provided a calming, sombre moment in the set, capturing thesimplistic, picked, clean guitar riffs that were synonymous with the band’s earlier works, whilst still bearing the ‘darker’ lyrical tone that their newer works embodies. Tothe fortune of the bands older fans, the genre-renowned track Dial Tones still made an appearance in the set and is quite rightly still a staple of the bands live show. But nonetheless, in the unreliable state of the music industry, the most respectable choice to take a risk and this change for the band is definitely one that presents themas their most authentic and comfortable in themselves. When you’re faced with an incredible festival line-up such as this one, the one inevitable downside is set clashes. For Slam Dunk 2019, the subsequently named Hour of Many Clashes started at 3:15pm, wherein the Aussie skater punks in Between You and Me, Canadian poppunkers Seaway and ‘God’s favourite boy-band’ Waterparks all coincided into such a short space of time. Albeit a tough decision, curiosity regarding the group’s latest single Turbulent drove me to watch Waterparks’ set, which was definitely the right decision. The band opened with two fan favourites from their most recent album: Blonde and Not Warriors. This suitably showcased the more poppunk leaning elements of their sound early on in the set. Carrying a similar on-stage essense to the All Time Low frontman Alex Gaskarth during their earlier years, Awsten Knight had seamlessly slick stage demeanour that along with his witty and eccentric audience interaction, effectively kept the audience engaged and hanging onto the frontman's every word. Surprisingly, the highlight of their set came in the form of their latest single Turbulent, a track that upon first impressions left me feeling skeptical as to how it would translate into a live setting due to its drum and bass feel. Contrary to my expectations, this song
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friends! 2015 with Slam Dunk
actually had the audience at their most energetic, with the majority of the audience screaming along with the chorus’ main hook, “I’d unfuck you if I could”, despite this being only the second time they had performed the track live. The unexpected, yet incredibly well-suited closer Tantrum showed the band’s sound at its most aggressive, with the fast-paced chugged power chords and Knight’s shouted vocals in the songs outro. If this performance is anything to go by, Waterparks will only continue to rise through the Slam Dunk line-up in years to come, proving themselves well equipped to be a potential headliner in years to come. Despite spending the majority of what remained of my day at the Monster Energy, my brief detours to the bar between the intervals allowed me to witness a short snippet of I Don’t Know How but They Found Me performing a stripped-back acoustic rendition of their track Choke from the balcony of Fearless Records’ bar,The Fearless Arms. The duo performing on a ukelele and cajon were met with a sea of fans excitedly reciting the lyrics, despite the spontaneous nature of the set. However, my attention was immediately stolen from this soothing environment when the opening guitar riff from I’d Do Anything blared through the speakers and Simple Plan took to the stage. The set consisted of all the classics you would expect, with just under half of the tracks in the setlist being taken from their 2002 record No Pads, No Helmets... Just Balls. However, the lack of youth that you might accuse the band of in their later years did not
Whilst on the topic of nostalgia, it would be impossible for me to not delve deeper into the unexpected turn of events which was the New Found Glory setlist. The stagewas immediately animated as soon as the band sprinted to the stage and the chugged, powerchord riff opened their rendition of Eye of The Tiger. Lead vocalist Jordan Pundik took to the stage dressed in the iconic Rocky Balboa boxing uniform. The double-timed, brash drum playing and the high tempo, roaring distorted guitars helped to create a strong punkrock vibe for the cover, which both worked well with the source material and suited the band’s style and original repertoire perfectly. The inclusion of this one cover was enough to waver my expectations. So, when I discovered that one third of the setlist was compiled with covers, intrigue and pure curiosity consumed me and I was curious to see how they would translate. A cover that proved to be one of the highlights of this group’s set was The Power of Love, which packed all of the feel-good energy of the original whilst also incorporating some classic rock detailings with the guitar work. The guest features from Less Than Jake’s JR and The Mighty Mighty Bosstones’ Chris Rhodes helped to make this cover memorable as the change of instrumentation added a variety to the set that kept it engaging. However, it was the band's indisputable
Slam D unk 20 19: The All Tim e
Whilst for a lot of the audience, including myself, the trip down memory lane providedby the band’s earlier works was all that we expected from the Canadian pop-punk veterans, the inclusion of Boom! from their later works was greatly appreciated, with the chorus’ main vocal phrase making for an ear-catching, irresistible hook that the crowd couldn’t help but sing along to. Their set was appropriately closed with the emo/pop-punk anthem Perfect. As Pierre Bouvier sang the renowned phrase “I’m sorry I can’t be perfect”, the same angst-filled emotions that made this song connect with so many people began to swell as the exuberant, nostalgia-filled set drew to an end.
Low ra inbow !
result in a lack of energy in their performance. The synchronised jumps from the band and audience during the appropriately named Jump and drummer Chuck Comeau’s invigorated stage dive during the final chorus of I’m Just a Kid acted as a solid reminder that age isn’t everything.
genre-defying hits which really stole the show and had the audience at the most thoroughly engaged. From the staccato, broken-chorded guitar riffs in All Downhill From Here to the unforgettable lyrical content of Dressed To Kill, the band played with a sense of poise and finesse that comes with years of dedication to your craft. At long last, the moment had finally come. The rain that had so inconsistently seemed to stop and start when least convenient, leaving behind a rainbow, which the band would later joke came out just for their set. As previously promised through social media, their setlist heavily revolved around their 2009 album Nothing Personal, opening with Damned If I Do Ya, Damned If I Don’t. Right from the the infectiously bouncy opening chord progression, the lighthearted, tonguein-cheek vibe of he track rang through, with many people beginning to jump and sing along immediately as the song’s chorus began. As an avid fan of the band who has seen them play more than a handful of times, it felt like an exclusive treat when the remainder of the Nothing Personal section of the set arrived and hidden gems such as The Party Scene and Break Your Little Heart had made their way into the setlist. Waterparks’ Awsten Knight’s guest appearance during the final chorus of Break Your Little Heart acted as a signifier to the pivotal influence that this album, and this band’s entire discography have had on the shape of today's pop-punk scene. Even through the distinctive changes in their usual setlist, the band still possessed their usual interactive charisma and boyish charm, with the staple comedic interactions between frontman Alex Gaskarth and lead guitarist Jack Barakat still making their way into the set. It was clear that this band were headliner material, if not by
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their flawless musicianship and finesse, by their sets dynamic fluidity. Following the power-chord high intensity of Stella with the synth-heavy, anthemic-feeling Dark Side of Your Room, along with the blasts from the past found embeddedin their slot, All Time Low proved they were not afraid to take risks during their headlining appearance. This was never more clear than with the unveiling of a new track, Getaway Green. With its triplet laced vocal phrases and memorable, hook driven instrumentals, the track really expressed Gaskarth’s growth as a songwriter since the days of the Nothing Personal era, with his writing taking making greater emphasis on musical elements closer related to the world of pop music. From Therapy into the pop-rock banger Something’s Gotta Give, it was a real testament to the loyalty of the band’s fanbase that the majority of the audience were able to sing along to every single song, in a setlist which covered so many of theiralbums. The highlight of the set however came in the form of Life of The Party, whereunderlying, distorted power chords from the guitars were brought to the forefront of this synth led track to create a more rock driven vibe than the recorded version, with Gaskarth's guitar soloing during the outro of the track having an almost electrifying effect that was goosebump-inducing. The sun had completely set by the time the four-piece had reached their iconic, staple closer Dear Maria, Count Me In and as Gaskarth and Barakat routinely flung their guitars aside and ran down to interact with the crowd, that feeling of community,brought together by a common interest, swelled once again and is one of the main things many audience members miss when it is over... until next year!
Photography -Alexandra Burnel @Capturedbyalexandral Hair Stylist: Alexyi Reneece @alexyireneece Makeup Artist:Â Mia Mihaela @mia_mihaela_makeupr Stylist/All Clothing Throughout: Ferda Yayci @ferda_london Model: Ajiana Lopes @itzajiana Location: Nomadic Gardens, Shoreditch
THE NOMADIC WOMAN
NEIGHBOURHOOD VOICES: TOWER HILL
Candice explores Tower Hill for this menswear edition of Neighbourhood Voices.Surrounded by both modern complexes and historical landmarks, Tower Hill has loads to offer. Tower Hill Memorial, a war memorial, and the Tower of London are only a skip away. The original city wall is also a nice attraction within the area. Tower Bridge and the River Thames arenearby for a midday stroll or picnic, as well as shops and pubs aplenty
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VASILIS (GREECE, THESSALONIKI)
What are your fashion inspirations? How do you decide what to wear and dress in the morning? I just see what I like and what fits me, and that’s it. I don’t have to think about it. Just take it and bye-bye Haha! Does where you’re from, Greece, have an influence on how you dress? Oh no, it’s exactly the same. It’s just myself. Do you come to Tower Hill often? When I’m off, I’m always here. I like the area. I live in North London. My friend works here, so I just come out for beers and relaxing. So, yeah.
You can see more of Candice's work on Instagram by following @Candice_x9.
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ADAM DAWELBAIT (PHILIPPINES / HONG KONG) What are your fashion inspirations (things, people, places)? My fashion inspiration is generally heavily influenced by pop culture, streetwear and famous artists in the rap/trap music scene. I also get inspiration from American comedians who have a good sense of style, like Chris D'Elia. Does your home or where you grew up have an influence on how you dress? Yes, I often source inspiration for outfit ideas from the local culture and the people that I socialise with. Having traveled and lived in multiple countries, I find that my fashion sense is a mixture of different styles from South East Asia and North America. Do you come to Tower Hill often? Why? No, I don't really go there.
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THE LONDON AESTHETIC IN FASHION What is the London aesthetic in the fashion industry? Join Ashutosh Kukreja as he traces down the legacy of the time-tested fashion capital ofthe world, London, and what it has to offer the world in terms of its style aesthetic. Inked on the maps of history for the past two millennia, the city of London isn’t much younger than the calendar itself – it is, however, anything but old. The city isn’t a pair of worn boots lost in the sands of time; London is a vintage shirt embellished with the future – a metaphor that’s apt to describe the fashion of London, one of the most significant forces that has kept the city so young. And that’s a powerful force too, to have crowned London as a global fashion capital, simply for the increasingly interesting and unique aesthetic the city has to offer. Hard as it may be to define the style aesthetic of a city as fashionably diverse as London, to put it in a nutshell (or attempt to!), I’d say it is the impeccably tailored bold shapes and silhouettes with eccentricity at heart that is the signature of the ‘London fashion look’. Though this aesthetic manifests itself in so many unique ways by so many different designers, if there’s one thing London fashion represents, it is power – much in tune with London as a city. And it is that spirit of power that London is a symbol of, that London fashion oozes with: a playful and powerful aesthetic.
The huge influence of fashion on London (and vice-versa) shouldn’t come as a surprise, considering how fashion is not just a tag-along. It is a deep link in the history of London, strong enough to be embedded in its very culture and civilization. Indeed, fashion has not only played a crucial role in shaping London to what it is today, but has contributed to the world as a whole – contributions without which the face of global fashion would bear a different look. The elements of what is today considered the ‘quintessentially British fashion aesthetic’ haven’t been a recent emergence, but have developed throughout the course of centuries of dressing [RD2] in Britain. In other words, the iconic era-defining looks scattered over history have lined up to create modern-day London fashion as we know it. For instance, the famous (or infamous?) corsetry that became as much of a characteristic feature of British fashion as a political symbol in the 18th-19th century has contributed to the art and skill of fine structural tailoring which has only been perfected throughout the years, to form a crucial element of 21st century British fashion. Along similar lines, the opulent and insanely extravagant attires of the nobility and royalty (fashion influencers of the old days, if you will) live on in terms of their
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larger-than-life essence in the artful fashion collections of British designers. Having said that, it’s really no coincidence that the industry hails Charles Frederick Worth, an English man, as the father of Haute Couture! The dawn of industrialisation in the United Kingdom revolutionised fashion, hiking the speed and efficiency of garment construction around the globe, with Britain being at the centre of it all. And with the transformation of London to the metropolitan, fashion moulded itself to form and function that lay the foundation of menswear for years to come. Even the military wardrobes would go on to inspire British fashion, as the mackintosh and the trench coat were born in the trenches of the World Wars – then, to serve as waterproof, tough outerwear for soldiers, and now, simply as iconic Burberry and Aquascutum fashion pieces believed to be a staple of any British fashion fanatic. The post-War Londoner’s lifestyle most importantly, the establishment of the popular club culture of the working classes - became a major source of inspiration to fashion then, as well as in the future. The same period, marked by a tumultuous political atmosphere with the rise and fall of empires witnessed the influx of immigrants and gave rise to the subcultures which, needless to say, affected fashion at a mammoth scale in a city that was well on its way to becoming one of the most diverse metropolises on the planet: from the
LONDON RUNWAY In that sense, London fashion is like the rebel under the giant’s nose, one that also exists in harmony with it. And in that way, it perfectly embodies the essence of a Londoner. That’s perhaps one of the most interesting qualities about London fashion – the fact that it’s built around the heart of the Londoner. Quirky, experimental, bold, creative, unapologetic, stylistically inclined, risktaking and essentially, a rebel at heart: Londoners can be sure to find themselves mirrored in the fashion of their City, fashion created with them as the inspiration.
Teddy Boys to the punk kids, London became an epicenter of the fashion industry, making it the shrine of style that it is today. And although London fashion has evolved by leaps and bounds from what it was centuries ago to what it is today, if there’s one thing that has remained constant, it is that London spirit of power in the clothing – the very spirit which lends the predominant Londonness to it. However, at the same time, London fashion does in fact distinguish itself in the way it executes this essence of authority. If London is emblematic of power in terms of its royalty, civilisation, strength and advancement (infrastructural, technological, economical or mental), London’s fashion provides a departure from this tightly bound image to something that allows more freedom, creativity and playfulness. In simpler words, London fashion offers a form of escapism from the pristine and polished, sophisticated image of London, to a world where you’re not only free to go wild, but encouraged to. And that’s exactly what makes London fashion so powerful – in such an environment of absolute creative freedom, you either go hard or go home, case in point: Alexander McQueen, Vivienne Westwood, John Galliano and several others.
Constantly defying style norms, and daring to play around with concepts of what is fashion and so-called antifashion, it radiates the London rebel attitude, and stands as a living example of art imitating life (or life imitating art). Having said that, the aesthetic shapes itself around the London lifestyle, to retain its edge and offer functionality to travel in the Tube, survive the everunpredictable weather, and make heads turn at the club. Hence, it combines wearability with artfulness – creating practical outfits with an edge to keep you warm and dry while you catch the trains in the day, and something a little more extra for the night. It’s got
something to suit every style and every function for everybody, which again gives a nod to London as a cultural hotspot of diversity. Though backed by the past, London fashion is all about the future. It sets the trends, looks ahead, leads the path and forges new ways – and it’s the sheer creative freedom that makes it powerful enough to do so! Constantly defining and redefining the industry norms, London fashion is always developing, changing, and metamorphosing to give rise to even more beautiful forms, much like the city and those who dwell within it. And though its future is ever unpredictable, since London fashion is super dynamic and you can never know what’s coming, one thing’s for certain about the future: the London aesthetic is here to stay.
You can read more of Ashutosh’s work in the coming issues of London Runway. Images by Fil Mazzarino, shot at Graduate Fashion Week 2019
STUDIO ALCH Photography by Fil Mazzarino
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Photography by Fil Mazzarino
MICHIKO KOSHNO
Photography by Fil Mazzarino
UNIVERSITY OF WESTMINSTER MA
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BEHIND THE VEIL a bridal experience
Many of us dream of the day we finally get to (legitimately) step into a bridal boutique and search for the perfect dress. As our Chief Editor, Rhiannon D’Averc, prepares to get married in May 2020, she went on the hunt for a gown – and a story… I stepped into the first boutique not at all knowing what to expect. This was going to be a bit of a hectic day: between me and my Mum, an essential partner in crime for this process, we’d only managed to find one day we could both do for the next couple of months. It was a Saturday… and it was tomorrow. Normally you need to book into the good boutiques in advance, and a lot of the ones I was potentially interested in warned that you wouldn’t be able to turn up at all without an appointment. Given the nature of the situation, there
was only one thing we could do: find an area with a high proliferation of boutiques, jump in, and go door to door trying to get an appointment. So, that’s how I ended up visiting three shops in particular: one high-end, one that was lower-priced and very popular, and another that was within the mid-priced range with a lot of different options on display. I won’t name the shops, but will give them code-names so you can figure out which is which: Elegance, Prom Night, and Choices. Now, step behind the dressing-room curtains with me as I try on as many dresses as a girl can manage in a single day…
CHOICES Our first appointment of the day was at
All images via Pixabay
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the shop I’m calling ‘Choices’. Here, they were able to fit us in only by diverting the receptionist away from her station. Anyone else who wanted to come in, or give them a call, was out of luck. We essentially shut down their whole operation. Now, that’s power. Joking aside, it definitely made us feel valued as customers that they would do anything possible to get us that appointment. We didn’t feel rushed, either; we were given as much time as we liked to pick out dresses, to try them on and look in the mirrors, and to come to a decision. I had no idea at this stage what kind of dress I was going to go for. Instead, I figured I would just go for whatever looked nice to me and start narrowing it down by eliminating anything that didn’t suit me. Going to a boutique that had literally hundreds of dresses on the racks really helped in this regard.
Neil Dowd attended Slam Dunk and brings you this review – along with plenty of nostalgia for events past...
The attendant ushered me into one of the private, spacious dressing rooms and began to help me getting into the first dress. She was very respectful and made me feel comfortable despite the fact that this required me stripping down to my underwear in front of a stranger. She averted her eyes, and was very friendly and matter-of-fact – the perfect approach to put me at ease. She instructed me fully on how to climb into – literally – each dress, did up all the snaps and zips and buttons, and led me out of the dressing room. Just past the curtain was a raised platform in front of a mirror, where I could stand and see the whole of the dress as well as the train. We’d then have a discussion about how it looked, with the attendant leading us with some questions where we needed them: how did I feel? Could I move, could I dance? Did I like it more, or less, than the last one? When we’d made our way through all of the dresses I’d picked out, she even helped me try a couple more, just in case. Sadly, we hadn’t found our number one here, even though the boutique was very helpful. The experience as a whole was enjoyable, and while there were other people trying on gowns in the same open space in front of their own mirrors, it never felt like we were anything but alone together. The biggest downside? The amount of choice, ironically. It took us a very long time to make our way around the room, looking at everything, checking the sizing on each dress to see if it would be a realistic fit. They did reassure us that anything could be altered, but that doesn’t do much good if the dress is too small to begin with – though I wore my fair share of clips and safety pins holding in dresses that were too big.
ELEGANCE
We headed to Elegance next, walking in to find that the attendants had just finished with their last bride and, miraculously, had a spot open. They were waiting for someone, they told us; but if she didn’t show up – and she was already late – we could continue for a normal-length appointment. We were never rushed here, and never given less than 100% of their attention, even though we weren’t booked in. We didn’t get a glass of champagne with our fittings (nor did we for the full day), as those are for pre-booked customers only (boo!), but we were offered as much tea or coffee as it is sensible for a person to drink. Elegance was a world away from any other boutique we even looked into. This was a high-class place, and they took only two appointments at a time: one upstairs, and one downstairs, for absolute privacy. We headed upstairs, which was fabulous because that’s where all the most expensive dresses
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were. A large dressing room led out into a podium in the centre of the dress racks, where a full-length mirror reflected the glittering light. A shelf of tiaras with veils hanging below provided easy access to styling notes, something we hadn’t been given at Choices. Here, the attendant was possibly the chattiest person I’ve ever met. She hit all the right notes, never faltering: talking to me in the changing room as we did the awkward dressing dance all over again, including Mum in the conversation so that she wouldn’t get bored on her own, and making us laugh as well as ensuring we felt at home. She had her own ideas about what might suit me, but she was careful not to be pushy. It was more, ‘you don’t have to try this on if you don’t want to, and if it doesn’t work we’ll move on’. After hearing that I hadn’t decided on what kind of silhouette or detailing I wanted, she asked some quick elimination questions about what I didn’t like and then moved quickly to pick out a number of dresses in different styles. Each fitting was used as a gauge for the next direction to go in. If we liked that skirt, there were two others with the same shape but different bodices. If we enjoyed the sparkle on that belt, she had some more belted dresses that had different silhouettes. Piece by piece, we put together a picture of a dress that was closer to being right. So many times, I looked in the mirror and saw a person I’d never seen before – and that was really exciting. I put on the final dress of our session – one that had been sitting on a mannequin at the back of the room,
Neil Dowd attended Slam Dunk and brings you this review – along with plenty of nostalgia for events past...
until they spotted it while doing a final sweep (I was waiting on the podium, held still by the weight of another improbably heavy dress). The attendant stepped back, looked at me, and said: “I can tell by the look in your eyes, that’s The One.” I wasn’t to be swayed yet, however. There was more exploration to be done. So, I gave the dress a final look, and stepped down. She allowed us to break the rules by taking a few quick snaps while her ‘back’ was ‘turned’, so we could reference them later, and sent us out the door with a reminder of their closing time that evening.
PROM NIGHT Prom Night was actually the first boutique we visited that morning, but while they were able to fit us in, it wasn’t for a good couple of hours – allowing us to shop around in the meantime. Despite the fact that this was the only place where we actually were booked in, it was the place where I felt like I had the least amount of focused attention. I didn’t feel special here, or looked after. I felt like a customer being given a hard sell. The changing spaces were tiny, and the main area was filled with groups of loud girls and women, all of them trying on dresses and coming out to show them in a space that was smaller than the whole floor I had to myself at Elegance. When I looked in the (slim) mirror from above my (rickety) podium, I could see them over both shoulders. The attendant, too, was less than desired. She gave no respect and made
no attempt to ensure I was comfortable. The others would help me into a gown, then tuck my bra straps away so that I was covered at all times, and would only actually suggest taking it off when we had a gown that felt like a winner. That was done under the privacy of the gown itself, with the bra extracted tastefully and no blushes required. This woman walked into the dressing room, yanked the curtain shut behind her, and unhooked the back of my bra without even asking permission. Then she shoved me into a dress that was two sizes too small – which she had picked out, rather than letting me do it – and proceeded to do it up with force of willpower alone. I had a red mark on my back from that dress for the next two days. There’s such a thing as being unrealistic, even if you will be able to squeeze someone’s body into a much smaller space with enough heaving and pulling. By the time we had tried on two vastly different dresses – one of which was actually very flattering, despite not being what I had in mind for a wedding dress – I had had enough. When the attendant offered to go and find some more dresses that might work, I turned her down. And when she went and pulled some shimmering monstrosity from the rack anyway, I turned her down again. Prom Night was a nightmare, and looking at the clientele with new eyes, I realised the red flags had been there. While downstairs might have appeared to be a classy bridal boutique, the actual fitting area was a mess of jumble-sale dresses and cawing teenagers caked in bronzer and thick mascara. I couldn’t leave that place
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quickly enough.
THE TAKEAWAY (NO, NOT THE KIND YOU EAT)
After trying three vastly experiences, what advice do I have to give to you, dear reader, if you find yourself in the market for a wedding dress? My tips are as follows: Just because a boutique is busy, doesn’t mean it’s good Seek the shop with the most gorgeous dresses hanging on the rack, not the longest waiting line Find an attendant who makes you feel comfortable and listens to your requests Avoid any boutique where the customers look more like they are shopping for a prom than a wedding Insist on absolute attention, or leave Don’t be afraid to try a silhouette or style you have never worn before in your life If you don’t get a tear in your eye looking at yourself, it’s not the right dress I wasn’t actually supposed to buy a wedding dress on that day. It was more of an exploratory excursion, to work out what fitted me and suited me so that I could order it bespoke from a designer I had in mind. But somehow, thanks to the patience and attentiveness of the staff at Elegance, I had found The One. We went back before it closed, snapped up the dress after trying it on one last time, and finally got a glass of pink strawberry-flavoured champagne for our troubles. What does it look like? Well, I’ll tell you in May 2020… Read more from Rhiannon at twitter.com/rhiannondaverc
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Photography by Fil Mazzarino
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INTERVIEW: DREAM STATE thepostshop I’m calling ‘Choices’. Here, they Many of us dream of the day weNeil Dowd sat down with CJ and Rhys, one half of the Welsh, were able to to fit us in only by diverting finally get to (legitimately) stephardcore into a band that are taking the alternative rock scene by storm, discuss Dream State’s leap to the Main Stage, self-care in relation the receptionist to away from her station. bridal boutique and search for the mental health, and flying shoes. Anyone else who wanted to come in, or perfect dress. As our Chief Editor, give them a call, was out of luck. We Rhiannon D’Averc, prepares to get essentially shut down their whole married in May 2020, she went on operation. Now, that’s power. the hunt for a gown – and a story… I stepped into the first boutique not at all knowing what to expect. This was going to be a bit of a hectic day: between me and my Mum, an essential partner in crime for this process, we’d only managed to find one day we could both do for the next couple of months. It was a Saturday… and it was tomorrow. Normally you need to book into the good boutiques in advance, and a lot of the ones I was potentially interested in warned that you wouldn’t be able to turn up at all without an appointment. Given the nature of the situation, there
Joking aside, it definitely made us feel valued as customers that they would do anything possible to get us that appointment. We didn’t feel rushed, either; we were given as much time as we liked to pick out dresses, to try them on and look in the mirrors, and to come to a decision. I had no idea at this stage what kind of dress I was going to go for. Instead, I figured I would just go for whatever looked nice to me and start narrowing it down by eliminating anything that didn’t suit me. Going to a boutique that had literally hundreds of dresses on the racks really helped in this regard.
LONDON RUNWAY So we’re here at 2000 Trees where you guys played the Main Stage earlier today, how are you feeling about your set? Rhys: Yeah, it felt really good! CJ: Yeah, it was great. This is your second time at the festival, having played the Axiom Stage in 2018. Would you say there’s any major differences between playing the two stages? CJ: Well we played our set right this time, so there’s that difference [laughs]. Um, the main stage is definitely different! With the smaller tents I can feel closer to the crowd. Whereas with the Main Stage I’m nearly killing myself trying to jump down to them! Can I ask what happened in 2018? CJ: Well, I did bring it up. My bad [laughs]. Yeah, just technical issues. Everything went diabolically wrong. Rhys: The second half of the set was alright. It was just during the first half we were like “Oh my god, what’s going on? Who’s singing what?” CJ: But no, people were really kind about it. Your latest single ‘Primrose’ premiered on the Radio 1 Indie Show earlier this week, can we talk a bit about what’s happening in the track lyrically?
CJ: Yeah definitely. Basically, I’ve been so honest with myself recently. I have an addictive personality. Most of us do. It comes out in various forms. I find that life for me is about finding yourself in these recurring cycles and the only way to grow as a person, spiritually is to learn to conquer your ego. So that song was just a depiction of a cry for help. It brings me back to a time not that long ago where I found myself stuck. You know, you go from one thing to another and you think “ah, I’ve gotten better from that”. But you’re lying to yourself and then you’re there again. I’ve been learning over the last couple of weeks that it’s about consistency with it. I had forgotten what it was like to enjoy things sober and that’s been really nice. It’s definitely a great message to give to your fans, to seek that stability and support when dealing with mental health. CJ: Yeah, it’s definitely helpful to find your own self awareness in regards to your patterns. You’ve got to learn to say no. But you’ve gotta want that change. It’ll happen naturally, you can’t force it. Do you have any tips regarding selfcare that you’d say helped you personally? Rhys: One thing that I do is I’ll try and break my day down into the smallest chunks possible. So for instance if you’re lying in bed, the first thing could be ‘sit up’. Then all you’ve gotta do is sit up. Or even before that, a step smaller is turn your phone screen off, you know? You can get very stuck inside your own little cage. Sometimes I think breaking it down into the most minute parts helps you conquer it, little by little. I completely agree. I think a good one I’ve found is making your bed. Because you’ve then done something productive and are more likely to be in the mindset to keep being productive. CJ; Yeah, 100%! Open the windows. Rhys: That’s one thing. If you can’t
sleep, tidy your room. I also try to put my phone outside of my room as well. Sometimes I can just find that I’m working or watching videos or getting stressed out, if my phone is in my room. If I can clear my room, I can wake up feeling a lot better. So you’ve been quite openly working on your debut album, how far into the process are you guys with that? CJ: It’s ready to go! Have you guys got a release date in mind? CJ: Not to share just yet! Rhys: There’s still a fair bit to do before then, but we know it’s soon. Along with releasing Primrose, you also announced your headline UK tour for the end of the year. You guys must be really excited about that! Rhys: Yeah, some of the venues we’re playing are really big! We’re anxious to see how it goes. CJ: But, the tickets went on sale today and it’s doing really well already. Rhys: Yeah, we’re seeing a lot of interest, which is really awesome. CJ: Very scary! Rhys: Yeah, it’s scary whenever you announce a tour. Anything that’s a step up from what you’re doing before is always. Do you guys have any ideas for the support acts? Rhys: Yeah we do. So for our headline tour, me and one of our managers went and tried to find as many artists in as many places as possible to try and find bands we really liked and that were the perfect fit. I think it makes a huge difference when there’s that curated feel because we want anyone that does come to see us, to be coming for all of the bands. It is something that emcompasses everyone. I think if you’re too self-centred and you just leave it to the promoter, I mean sometimes it can go well, don't get me wrong. But I think the more TLC we as a band put into it, the more that people are getting their money's worth. So looking ahead to this next tour, there’s been no chats so far, because we’ve been so damn busy [laughs]. CJ: There’s been like no room to breathe. We thought when we finished the album, we’d be like “ah it’s over, we can have a break”. But no, now we have the album campaign to start! [laughs]. Maybe next year.
LONDON RUNWAY I can imagine it’s a hectic time! Will you guys be playing any more festivals? Rhys: Yeah, we have Reading and Leeds coming up next! We’re playing The Pit Stage! Thank you to Daniel P. Carter for squeezing us in on that one [chuckles]. Obviously, we don’t wanna delve too deep into this right now, but do you have any more singles lined up for the album any time soon? CJ: Yeah, we’ve some lined up. I’m stoked about them. They’re all unique to themselves. Would you say you’ve experimented with this new record then? CJ: Yeah, we’ve put no limits or boundaries on Dream State. We just and go with the flow. Finally, do you guys have any funny tour anecdotes? Rhys: Okay, I’ve got a good one. We were playing a show the other day. We were soundchecking for it was during the stop time of our song New Waves. I was looking at our drummer and I was like “wouldn’t it be funny if I just flick
my shoe during the pause?”. So I go to do it and I just watched my shoe sail across the room, way further than I intended it to. After we were playing, there was this burlesque act playing and one of the girls in the act was watching us, because she was a big fan of the band. Turns out my shoe was sailing towards her and thankfully, she saw it coming and moved out of the way just in time! CJ: As much as I love her, it would’ve been way funnier if it had hit her! Rhys: It would’ve been a very awkward conversation for us to have afterwards.
You can catch the band on their biggest headline tour to date, at the dates below: Oct 27th - Glasgow Cathouse Oct 28th - Manchester Club Academy Oct 29th - Birmingham Asylum Oct 30th - Bournemouth Old Fire Station Nov 1st - Swansea Sin City Nov 2nd - London ULU
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HUNDRED SHOWROOM X IPSEITY During London Fashion Week Mens, Hundred Showroom collaborated with Ipseity to bring more than 20 designers to the catwalk. The designers were: Cha.rak.ter Daixa Somed Dhenze Elin Manon Elizabeth An'Marie Elvhem Francesca R. Palumbo
Harem London ISBIM Jen MM DSGN Karol Cygan KathKath La Filippine Manimekala Mengdi Pan Nathalie Coste North East Nancy Oceanus Poopydoo Rebervere
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Q A THE BIG QUESTION We asked, you answered
Who’s your favourite British designer?
&
“Stella McCartney”
- Kelly Leanne-Marie Stoddern, model
“I have to pick two because they convey two different feels. I love these two mainly because of their precision. Noemie Wilson displays an embodiment of nostalgia from the 90s with her colour blocking but still has the ability to showcase the modern day sport/street style fashion. Ozwald Boateng designs are so neat and I especially loved the way he brought African culture to one of his collections through prints - again bringing culture but modernising it at the same time”
- Precious Oni, model
“JOHN GALLIANO”
- Hurd and Co, clothing brand
“I actually tend to drift and change preferences depending on the collection, but for a while now I've been in love with the designs of Longshaw Ward (technically a designer duo made up of Kirsty Ward and David Longshaw but I think it still counts.) Every time I see one of their garments I'm amazed by how they manage to craft together so many elements and details with such success. They use layers to create really interesting shapes, and I particularly love how they draw attention to the practical elements of clothing, outlining and defining features such as pockets and seams. My favourite collection of theirs was AW18 but I can't wait to see what they've created for their SS20 collection this year!” - Sarah Lott, model
“Always and forever, the late Lee Alexander McQueen. It doesn’t matter how much I study his clothes and shows, there is still always something to amaze me – and his work was what first truly drew me in to fashion”
“STELLA MCCARTNEY” - Claudia Della Fratina, Milliner
- – Rhiannon D’Averc, Chief Editor
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LONDON RUNWAY Find London Runway: londonrunway.co.uk instagram.com/londonrunwaymag twitter.com/londonrunwaymag facebook.com/londonrunwaymag pinterest.com/londonrunwaymag/ info@londonrunway.co.uk Front cover: Lesya by Katarina Back cover: Backstage at Graduate Fashion Week by Fil Mazzarino