London Runway Issue 18

LONDON

INTERVIEW WITH RANA FADAVI . SUMMER STYLE GUIDE . GRADUATE THOUGHTS . THE 1975

RUNWAY

LONDON FASHION WEEK MENS . GRADUATE FASHION WEEK . PAULINE WONG . REGANALDS

ISSUE 18 21 JUNE 2018

London Runway | Page 1

CONTRIBUTORS Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Lead Photographer: Rhiannon D'Averc Photographer: Joanna Foster - shoots@londonrunway.co.uk Features Editor: Rachel Parker features@londonrunway.co.uk Music Editor: Caz McKinnon musiceditor@londonrunway.co.uk Arts Editor: Eleanor Dyson - arts@londonrunway.co.uk Graphic Design: Giovanni Rosa, Peter Bevan Contributors: Ian Clark, Pauline Kate, Jarek Duk Special thanks to Rana Fadavi, Hallie Lonsdale, Renael Dixon, Oli Hanania, Pauline Wong

Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Š 2018, London Runway and contributors Printed by Pixart Printing Distribution in-house at London Runway www.londonrunway.co.uk

London Runway | Page 2

IN THIS ISSUE Letter from the Editor

Who said menswear was boring?

We hope it wasn’t anyone here, because London Fashion Week Men’s definitely blew that perception out of the water. We had exploding glitter balls at Charles Jeffrey Loverboy, a march around London after the Iceberg show, and all manner of fun things going on within the BFC Showspace and beyond.

Of course, we’ve got plenty of tastes of that for you to enjoy in this issue. We’re exploring some of the standout shows, and we had a hard time choosing. There was something new and exciting almost everywhere you looked, and somehow, even when looking back to the past, these designers managed to stay edgy and current.

One day, LFWM is going to be just as big as the womenswear event – mark our words.

What else? We’re catching up on a few more of the Graduate Fashion Week shows that didn’t quite make it into last issue, with some really quirky looks that got us very excited indeed. Then we’re taking a look at some new styles from an

outstanding jewellery designer, and chatting to hugely creative illustrator, fashion set designer, and all-around star Rana Fadavi.

We’ve got thoughts about The 1975 and how their music and fashion combine to represent a whole generation, as well as sharing a gorgeous new editorial featuring Reganalds clothing. We’ve got a guide on how you need to dress this summer with some stunning illustrations, and we’ve also been chatting to graduates to see how they were feeling about their end of degree shows.

get better and more exciting.

Don't forget, we're open to submissions, so go ahead and check londonrunway.co.uk to read our guidelines for writers, photographers, and artists. We welcome contributors from all directions, including minorities and ignored voices.

And as always, drop us a line via info@londonrunway.co.uk if you have a show you think we should see or a feature you think we should run.

Enjoy!

We really do spoil you, don’t we? Well, there’s more: we’re now printing beautiful glossy copies of each magazine at A4 size (you may have spotted our new, lengthier layout) which you can purchase at a reduced shipping price direct from us. How neat is that? They’re also shipping much faster than previously, which you’ll be very pleased to know.

We're all about moving onwards and upwards - who wants to stay still? We hope you'll continue with us on our journey as things will only continue to

RHIANNON D'AVERC

London Runway | Page 3

CONTENTS Photography Swarovski International Fashion Awards 2018 - 7 Pauline Wong - 37 Iceberg (cover story) - 39 GQ China Presents Private Policy & STAFFONLY - 50 Ben Sherman - 56

P80

GFW: Nottingham Trent University - 63 Charles Jeffrey Loverboy - 68 Edward Crutchley - 75 This City (editorial) - 80 Barbour International - 93 What We Wear - 97

Features Fashion News - 4 Mirroring a Generation's Psyche: The 1975 - 47 Graduate Fashion Week Interviews - 61 Interview With Rana Fadavi - 91 Summer in the City - 104 The Big Question - 106

P39

London Runway | Page 4

JOHN LEWIS AND STUFFSTR COLLABORATE ON BUY-BACK CLOTHING SCHEME

via Pixabay

FASHION NEWS

by Rachel Parker The retailer John Lewis have announced that they will be trialling a new scheme in an attempt to reduce the thousands of tonnes of clothing sent to UK landfills each year.

“We hope that by making it as easy as we possibly can for customers to pass on clothing that they’re no longer wearing we can ensure that the maximum life is extracted from items bought from us.”

Using social enterprise app Stuffstr, customers can upload any clothing bought online or instore from John Lewis in the past five years, calculate how much they will receive for the garments, and then arrange for a courier to collect the items.

Items bought back will be either immediately resold, mended so they can be resold, or recycled into new products.

via Pixabay

John Lewis sustainability manager Martyn White explained that the scheme is an extension of preexisting service that allows customers to recycle sofas, beds and large electrical items. Now the retailer wants to address the issue of fashion waste.

“It’s estimated that the average UK household owns around £4000 worth of clothes, but around 30 per cent of that clothing has not been worn for at least a year, most commonly because it no longer fits.’’ says Martin White.

London Runway | Page 5

FASHION NEWS V&A ANNOUNCES NEW MARY QUANT EXHIBITION AND CALLS ON THE PUBLIC TO CONTRIBUTE

by Rachel Parker London’s Victoria and Albert Museum have announced that they will be curating the first international exhibition on the seminal British designer and fashion icon in nearly 50 years.

Opening in April 2019, the exhibition will centre on the period 1955 and 1975, when Quant’s designs started a highstreet fashion revolution amongst British youth. Quant’s vibrant and innovative designs, including miniskirts, hot pants, bold tights and makeup, have become synonymous with 60s style and continue to be hugely influential on modern dressing.

Exhibition curator Jenny Lister said: “Mary Quant liberated fashion in the late 1950s and early 60s. Known for establishing high street fashion, inventing hot pants and popularising the miniskirt, she freed women from rules and regulations, and from dressing like their mothers. This long-overdue exhibition will show how Mary made high fashion affordable for working women, and how her youthful, revolutionary clothes, inspired by London, made British streetstyle the global influence it remains today.”

To help make the exhibition a success, the V&A are calling on members of the public to contribute and help track down rare Quant clothing. The museum is particularly looking for early designs sold in Quant’s Bazaar boutiques, PVC items from when the fabric first emerged in fashion, Peter Pan collars from the mid-sixties, and garments made using Mary Quant Butterick patterns.

For a chance to feature in the exhibition, contact maryquant@vam.ac.uk, or share pictures and memories on social media using the hashtag #WeWantQuant.

Mary Quant is at the V&A from 6 April 2019 to 8 March 2020 – vam.ac.uk/exhibitions/mary-quant

From left: Mary Quant at her apartment in Draycott Place, Chelsea, London, c.1965 © Keystone-France, Gamma-Keystone, Getty Images; Mary Quant and models at the Quant Afoot footwear collection launch, 1967 © PA Prints 2008; Fashion model Ika posing with Mary Quant's new collection of shoes, 6 April 1972 © Roger Jackson, Central Press, Getty Images.

London Runway | Page 6

FASHION NEWS ASOS ANNOUNCE A BAN ON SILK, CASHMERE AND MOHAIR

by Rachel Parker The online retailer ASOS have announced that they will stop selling garments made from cashmere, silk, down, mohair and feathers by the end of January 2019.

Mohair and cashmere are taken from the undercoats of goats, while silk is the fibre used by silkworms to make cocoons. ASOS argue that these materials, along with feathers, bone, teeth and shell, are exploitative of the animals used within production.

The brand say that they have updated their animal welfare policy and will be no longer selling items made from these animal derived fabrics, instead encouraging brands to focus on cruelty-free alternatives.

ASOS’s Animal Welfare Policy explains that "ASOS firmly believes it is not acceptable for animals to suffer in the name of fashion or cosmetics. No animals should be slaughtered specifically to produce products sold through any of ASOS' websites. All animal materials used must be byproducts of the meat industry.

via ASOS

via Pixabay

"Animal products and synthetic materials made to look like animal products must be clearly labelled as faux on the product description and care label to avoid confusion."

This year’s Swarovski International Fashion Awards showcased the best and brightest new talents from around the world. With sources as diverse as The New School Parsons, Hong Kong Polytechnic University, and Centro Design Mexico, there was a lot to see. Just about every fashion viewpoint under the sun was gathered together, with some very interesting results.

In order, the designers you will see are: Anna O’Doherty – Limerick School of Art and Design Anqi Jang – Ying Shen Education Group Bao-Wen Chen – Shih Chien University Bin Chen Yanhong Luo – Chonqing University of Education Carla Rocha – Integra Escuela Pablo Gimenez Chen Jia Xuan – Raffles Design Institute (Guangzhou) Chun Yun Cheng – Fujen Catholic University Clarissa Budiman & Mariia Kombarova – Lasalle College of the Arts Corali Gat – Shenkar – Engineering. Design. Art. Dana Lock – Tafe NSW Danchen Sun – The New School Parsons (also this page) Danqi Chen – Beijing Institute of Fashion Technology Diksha Milind Rathi – MKSSS’S School of Fashion Technology Dylan McCutcheon-Peat – School of Design, Otago Polytechnic Elsieva Khava – British Higher School Art and Design Emi Harashima – Bunka Fashion College Gabriele Sanchez and Cedric Grunewaldt – Akademie Mode & Design Ghimas Karina Ayu – Istituto Marangoni Milano Giunia Guerrera – Polimoda Hannah Lajba – Fashion Institute of Technology Jackson McCabe – Savannah College of Art and Design Jason Wong – Hong Kong Polytechnic University Jose Cortizo Canitrot – Universida de Vigo Julie Eunju Kim – Academy of Art University Justine Woods – Ryerson School of Fashion Lai Yanru Hanna – Nanyang Academy of Fine Arts Luo Xuwen – Hubei Institute of Fine Arts Maria Nava – Savannah School of Art and Design Hong Kong Maria Ponce – Centro Design Mexico Mariana Jacobo Franco – Corporacion Colegiatura Colombiana Mauro Muzio Medaglia – Accademia Costume & Moda Megha Jain – FAD International Miami Sadai – Osaka Institute of Fashion Nathali Abayawardena – Academy of Design Ng Sze Wing – Raffles Design Institute (Hong Kong) Nicolas Cabanes-Gelly – L’institut Des Arts Appliques Rachel Lee – Pratt Institute Rachel Louey – RMI School of Fashion and Textiles Rebecca Paganini – Istituto Europeo Di Design Reiner-Andre Torner – Berlin University of the Arts Salvatore Pezzella – IUAD Academia Della Moda Sarah Baker – Savannah College of Art and Design Atlanta Sarah Bruylant – Amsterdam Fashion Institute Sarina Osumi – Marronier College of Fashion Design

Surya Pratap Singh – Pearl Academy Thanh Long Nguyen – Istituto Marangoni Paris Wu Dan – College of Humanities & Sciences of Northeast Normal University Wu Zihan – College of Fashion and Design, Donghua University Yang Lu – Raffles Design Institute (Beijing) Youhong Luo – Sichuan Fine Arts Institute Zeng Yue – Sino-Japanese Joint Programme, Donghua University

SWAROVSKI INTERNATIONAL FASHION AWARDS 2018

London Runway | Page 8

London Runway | Page 9

London Runway | Page 10

London Runway | Page 11

London Runway | Page 12

London Runway | Page 13

London Runway | Page 14

London Runway | Page 15

London Runway | Page 16

London Runway | Page 17

London Runway | Page 18

London Runway | Page 19

London Runway | Page 20

London Runway | Page 21

London Runway | Page 22

London Runway | Page 23

London Runway | Page 24

London Runway | Page 25

London Runway | Page 26

London Runway | Page 27

London Runway | Page 28

London Runway | Page 29

London Runway | Page 30

London Runway | Page 31

London Runway | Page 32

London Runway | Page 33

London Runway | Page 34

London Runway | Page 35

London Runway | Page 36

LONDONRUNWAY.CO.UK

Visit our website to read many of our previous articles, buy physical copies, and submit your work to be published in this magazine.

We accept contributions from writers, photographers, and artists across all disciplines. You can read a little taste of our submission guidelines in the screenshot shown here - but for the full picture, make sure you visit londonrunway.co.uk.

London Runway | Page 37

We’re excited to share this preview of Pauline Wong’s stunning new collection.

With a theme centred around the evil eye, these pieces exude power and protection – as well as quirky sense of style which is sure to go down a treat with fans of Lazy Oaf, Iceberg, or CARBS.

The lips brooch features trailing tears from a glistening blue eye, a bright contrast which nicely brightens up any outfit when worn on the collar. If you prefer, it’s also possible to mount it on a chain and wear it as a necklace.

Flexibility is also the name of the game with this collection, which will be available at lifestylewithfriends.com. The necklace shown here is the ultimate in wearability: just slide the pendant off the choker-style necklace and you can replace it with another from Pauline’s collection. This bright turquoise eye makes a huge statement against the purple heart, and turns heads wherever it goes.

Each piece is meticulously put together, featuring Pauline’s signature: multiple elements wrapped together in wire, placed just so, creating an overall look of elegance and fun.

Oh, and you may have spotted our backdrop: a black and white scarf by Adam and Alice London. Could this be a preview of an editorial for an upcoming issue? We have to go – we’ve said too much…

PAULINE WONG

London Runway | Page 38

ICEBERG Iceberg presented a fantastic show to open London Fashion Week Men’s with a bang. Their iconic knits were infused with F1 and football references, creating an interesting clash between athleisure and top-price fashion. Cartoons and logos are everywhere, as well as the stripes that have become synonymous with the Iceberg brand. Beautiful brights – red, blue, green, pink, and acid yellow – scream for attention, while models wore clever “glasses” painted onto faces by Andrew Gallimore at CLM Hair and Make-up and Pixi.

The show ended with what the brand termed “a positive act of rebellion”. Creative director James Long led his models out of the doors of the BFC Showspaces and down The Strand, stopping off at Somerset House, Trafalgar Square, and Piccadilly with high-energy music blaring from backpack speakers. What a way to kick off a fashion week!

Photography by Ian Clark

London Runway | Page 40

London Runway | Page 41

London Runway | Page 42

London Runway | Page 43

London Runway | Page 44

London Runway | Page 45

London Runway | Page 46

MIRRORING A GENERATION'S PSYCHE WHY THE 1975 ARE A BETTER POP BAND THAN YOU THINK Caz McKinnon discusses how The 1975 represent their generation with music and fashion English pop band The 1975 are two steps away from being a rock band, and one step away from being a hipster boy band. Their music may be defined as pop, but they use rock as a sonic and visual influence. Musically, they share a lot of common ground with contemporaries like Francis and The Lights, MUNA and HAIM, drawing on 80’s electric guitar riffs, heavily laden pop synths and vocoder reverberations. The resulting sound is a direct call-back to artists like Cyndi Lauper and Huey Lewis and the News. Their image is reminiscent of emo bands from 2006, with a healthy dose of irony and self-deprecation thrown in for good measure.

As a band they have polarised listeners and critics. They have been described as "soulless", having “no danger to their music” with “unconvincing emo lyrics” and a sense of style that is “punch your tv obnoxious” (according to the music video for The Sound). They've also been described as being “timeless” with a discography of “memorable songs and sharp lyrics”, possessing a taste for song writing that is “uncompromising” and “commanding” (The Guardian).

Visually, they draw inspiration from the British mod and skinhead aesthetics that dominated underground fashion in northern British cities in the late fifties that came to fruition

in the 1960's. The style is comprised of tightly tailored jeans, loose fitting t-shirts, grungy black biker boots and knee length long black wool coats. In addition to adopting this style The 1975's clothes are minimal, androgynous, and often entirely black ensembles with the occasional appearance of a Fred Perry polo t-shirt or a ruffled white office shirt shoved half-heartedly into black skin-tight jeans.

Their hair is often undercut or closely quaffed. Matt Healy's sad, self-hating persona is certainly typified by his curly emo quiff kept in place with brill cream. Finally, their sombre, stripped back approach to fashion is complimented by their approach to set design (often modernist and basic) and their album art. This is reminiscent of contemporary installation artists like Mark Dion and Dan Flavin, who use a lot of pale glass and pink and yellow glow lights.

I should go on the record right now and say that I love The 1975, much to the chagrin of my too-cool-for-school friends.

With all of their success, liking The 1975 is not a popular opinion outside of pre-teen circles, and such an admission will most likely be received with an eye roll or a groan about the decline of modern music. But I personally think they get a bad rap. I find their albums consistently good, their music production creative and accessible and their lyrics intelligent, observant and nuanced.

But, to an extent, I can understand the general dislike. To begin with, they are outsiders of both pop and rock. True rock fans find them wishy-washy and insipid whereas true pop fans find them hypocritical, confused and pretentious. I do think this polarisation is precisely the band's intent, but this is probably inconsequential if one doesn't care for the music to begin with. Matt Healy, the band's front man, seems to have a perpetual sourpuss expression on his face that comes across as childish and irritating for a grown man.

Their songs have been described to me on more than one occasion as watered-down and generic which, especially from a serial rock fan, I can understand.

While I can objectively get on board with this criticism, I don't think they get enough credit for shrewdly mirroring the millennial psyche through their lyrics, their image and their nostalgic music production.

The calculated approach to their fashion sense coupled with

to remember a time before YouTube. We know how to work a VCR and we spent our childhoods riding bikes and talking in our kitchens in hushed tones because the landline phone wasn't cordless yet. This bridge that only we know how to walk has made us potentially the most nostalgic generation of the 20th century.

THE 1975 their minimalist "arty" image brings forward the interior logic of their lyrics, which is really where their image and style become crystallised. It’s not a case like the band Pale Waves, where their image is subversive in contrast to their musical style. Rather, by taking inspiration from traditionally edgy aesthetics like mod and skinheads and paying homage to the sad boy MySpace emo aesthetic of the early 00's, The 1975’s image manages to act as a blank canvas for their music and lyrical intent. It acts as a neutral backdrop that compliments the music, resulting in a band that, from every possible angle, is very generationally indicative. To put it simply, The 1975 could only be a product of the millennial generation.

That being said, it’s not simply a case of The 1975 being quintessentially millennial.

There are plenty of contemporary pop artists who fit that mould - Taylor Swift, Rhianna and Anne-Marie, among others.

It has more to do specifically with the intimacy of their lyrics. They tap into a psyche and interior intimacy that is distinctly theirs and feels very familiar to the millennial ear. Lyrics like “Jane took her own life at 16. She was a kid who had the box tattooed on her arm" (Give Yourself a Try, 2018) sound like a conversation happening between millenials.

In describing people we know or how we feel and act in small ways every day, they access our train of thought, the way all good music does. Their lyrics tend to be structured as small stories with characters that the protagonist either knows or is quietly observing - this dynamic creates an

interior world, making their lyrics suitable for introspection and escapism. By tapping into a specific type of familiarity, their lyrics manage to reflect the things that millennials talk about at five in the morning after several bottles of wine with the people they know the best. This, in my opinion, is what sets them apart from other bands directly reflective of their generation.

There is a melancholy self awareness to the way Healy describes characters. They are sad, self-involved, superficial and yet somehow deeply complex - just like millennials. "I've been so worried about you lately. You look shit and you smell a bit...she said I'm full of diseases. Your eyes were full of regret. Then you took a picture of your salad then put it on the internet."

(Change of Heart, 2016) Millennials have a tendency to be nihilistic, sarcastic, emotional, creative and politically engaged. Our entitlement is predicated on the idea that because our formative years were defined by the technological boom, global terror, economic recessions, and corrupt politics, that we are somehow the greatest generation to ever live. We have lived through progressive highs like witnessing the first black president, the transgender movement, the legalisation of gay marriage and the decriminalisation of marijuana. We have also lived through 9/11, The Iraq War, Black Lives Matter, Me Too, Brexit and Donald Trump.

It should therefore come as no surprise that this cluster of paradoxical events has made us neurotic, confused and discouraged. It has also made us resilient, in touch with the world's pulse, creative and outspoken. We are the last generation

If this is our context, then it makes sense that our music encompasses a lot of these values and feelings, whether it's the political resonance of Kendrick Lamar's DNA, the exhilarating defiance of Lady Gaga's Born This Way, or the child-like simplicity of The 1975's Chocolate. Like every generation, our music has commoditised our feelings towards the world and each other. And in this case, what is special about the 1975 in my opinion is that they do a really meticulous job of explicating the internal narrative that this generation rides on.

I agree with everything good and bad about The 1975. In spite of my fan girl status, I do agree that they are pretentious, narcissistic, self-indulgent, selfcongratulatory, and angsty in a way that often comes off as juvenile. But what interests me about this is the parallels between the adjectives used to describe them, and to describe us. In terms of our generation, aren’t these the very same negatives that people often throw in our face? And with all that said, I believe the positives to describe them, and us as a generation, are even more true – nostalgic, ironic, emotional, vulnerable, creative, maybe a little sad but very in touch with the times.

After attempting to discern what it is about the 1975's approach to fashion and music that I am so fond of, I was left with an affirmation of sorts. Are they pretentious, up themselves and somewhat infantile? Oh, absolutely. But they are also creative, vulnerable, ironic and emotional.

In the same way that I am proud to be a millennial, I am also happy to say that the reason I like The 1975 is valid - in their visual homage to the iconography of British rock and roll, their nostalgic 80's music production and their sanguine, intimate lyrics they remain a band that successfully convey the interior life of a millennial in a clean, funny, original way.

This, in my opinion, is what makes them a better band than general opinion would have you believe.

Images from top of article: Marcus Hillgartner; Begoña

The ‘GQ China Presents’ series brought Private Policy and STAFFONLY to this year’s London Fashion Week Men’s.

Aiming to present more Chinese designers to the world, the initiative selects the most promising brands to give them a London debut.

Private Policy blended the styles of punk, hip-hop, and grunge with traditional Chinese elements to create a more worldly collection. Their aim is to break the ‘looking glass’ and present a real Asian figure, rather than the stereotypes perceived in the West.

STAFFONLY wanted to explore the inner crisis which is hidden behind the outer self, particularly for younger people.

Ambiguity in fabric and texture is combined with muted tones to achieve this goal.

Repression, quirkiness, defence, and protection were represented as major themes.

Photography by Ian Clark.

PRIVATE POLICY / STAFFONLY

London Runway | Page 50

London Runway | Page 51

London Runway | Page 52

London Runway | Page 53

London Runway | Page 54

London Runway | Page 55

BEN SHERMAN Rock and roll, Ivy League preppy uniforms, the 1960s, Americana versus Brit influences, sailor blue against fresh silver pink – these are the themes running through the Ben Sherman collection. Set in a lofty hall and followed out by the 24th Invicta Rifles brass band, this collection aims for unisex delight.

Collaborating with House of Holland, the Ben Sherman show also featured hair and make-up by Maarit Niemela at Bryant Artists, with styling by Mitchell Belk.

Photography by Ian Clark

London Runway | Page 57

London Runway | Page 58

London Runway | Page 59

London Runway | Page 60

GRADUATE FASHION WEEK: INTERVIEWS Candice Wu talks to graduating designers at the GFW event

OLI HANANIA

Bath Spa University graduate, on Instagram at @olihananiadsgn Who are you, and what did you study?

I'm Olivia, and I'm a fashion student studying at Bath Spa University I'm a graduate at the moment. My collection is inspired by mainly architecture in the Mediterranean, and I wanted to bring something from where I'm from, which is from Uruguay in South America. So, I started looking at the Gaucho, which is like a cowboy. It's like kind of traditional wear and also 20s and 60s elegant fashion. And, I also looked at Carlos Páez Vilaró’s work, which is very abstract work, so I kind of combined all of that and created my own print and embroidery to which I can put abstract faces that kind of represent my family because its like an abstract way of them to kind of bring them all in. It's a very relaxed collection. It's a Spring/Summer collection, so this was the final outcome of it. It's very relaxed; kind of like going to the beach but then still like an elegant collection. The suede, as well, in my country is a very big thing, so I also bring that in with the textiles, so that's why it's important.

I love the pops of colour, like the royal blue and orange. Was that also inspired by the architecture and artworks?

They all come from the Mediterranean architecture, those oranges, the blues, and also from the paintings, which are very bold colors. So, yeah; they all came together.

What drew you in to doing fashion?

Images via Oli Hanania and Candice Wu

I was always really interested in fashion since I was young.

Yeah, it was always something that I wanted to do, and I came into it and I really enjoyed it. It's something that I like because you're expressing yourself but in a different way. It’s more like it's art that you wear, which I like that because I think that it's really important how what everyone's wearing speaks so much about themselves. So, yeah; I just want to show that in my work.

Since you’re graduating soon, this year, what are your plans for the future? How do you feel being done with University?

I don't believe it! It's so surreal but I‘m excited for what's to come. I would like to have my own brand in the future or start-up, but I don’t think I want to do that right now. More in the future. I think you need to learn as much as you can before you can do that. So, yeah. Experience first. I would also really like to go to Spain, if possible, but, for now, just whatever opportunities that I get, I'll just consider all of them. I'm open for all of the opportunities... all of the opportunities.

HALLIE LONSDALE

Graduate from The University of Northampton and owner of Island Temple

Can you tell me a little about yourself?

My name is Hallie Lonsdale, and I study footwear and accessories design at Northampton. I’m a third year, so I finish the course now and will be graduating in July.

So, what is going on today? What is Graduate Fashion Week about, and what does it offer for students presenting their work and those viewing?

So, today is Graduate Fashion Week where people from industries, students, and prospective students will come together. They have catwalk shows from the unis. They have stands where you can go to look at people’s portfolios and work.

It's a really good place for students to decide which uni they’d like to go to. With an open day, you can go and see the classes and the course, but here, you really get a vibe of what kind of uni it is because each stand has a different personality. And, it’s good for people from industries to come because, if they’re spending hours flipping through CVs and portfolios, they can just come and see everyone’s work all in one place.

How do you feel about graduating? Excitement? Fear?

I feel excited. I know a lot of the people have said that they're scared and nervous, but I'm just excited. I feel ready because I've been in education my whole life. I did two years doing fashion, 3 years doing Footwear design, and this is a lot of time to be in education. I'm excited for when I can just go out and put the skills that I've learned to use, develop on those, and work, you know, in a big team, or whatever. It's... yeah, I'm really excited!

What are your plans for after graduation? What is the ultimate post-graduation goal?

Well, my ultimate goal is to actually have my own brand, so its something that I’ve already started while I was in University. Its called Island Temple. You can find it on Instagram (@islandtemple) or at Islandtemple.com.

Basically, its this brand that I’ve created where 70% of the profits go to charity, so its footwear and clothing. I’ve also started another thing as well. I’ve been in contact with Samara’s Aid, which is a charity in Syria, making shoes for them. I’ve got 250 pairs of shoes that I’m making. Half of them, I’ll sell, and the profits from that will pay for the other half, which I’m sending to Syria because there’s all of these women walking around, like in bomb sites, with no shoes.

All of the ones that we’ve donated have worn out, so I’m making new shoes for them so that they’ve got something to wear. So, following Uni, I want to focus a lot more on design and charity and how I can kind of put that together. Sorry!

That’s such a long speech.

No no no! That’s great that you do that. How did you personally get into fashion?

It was something that I was always into, but even when I was really really young, I used to just draw shoes, bags, and clothing. Then, I studied fashion designing in college at Plymouth, and I realized that it was footwear that I actually wanted to do. Because with fashion, it’s a lot of sewing, and you have to think of the whole garment together. Whereas with footwear, because it's a product, you know, you have nailing, sanding, and sewing. It's a lot more, and it's all in one product together. It's like this beautiful item that you can just hold. Oh, it's so nice. Yeah. I do; I really do love it.

Images via Hallie Lonsdale and Candice Wu

As part of their Graduate Showcase, Nottingham Trent University presented a wide range of looks and styles. These images represent a selection of the graduating designers. In order, these are the designers you will see: Lauren Beamer (this page, right) Kirstie Johnson (this page, below) Charlotte Platten Pearl Munhawa Louise Yi Chen Molly Dilks Helen Kaye Chloe Roberts Jacaranda Brain Holly Hainsworth Photography by Ian Clark

NOTTINGHAM TRENT UNIVERSITY

London Runway | Page 64

London Runway | Page 65

London Runway | Page 66

London Runway | Page 67

CHARLES JEFFREY LOVERBOY

As ever, the Charles Jeffrey Loverboy show was a real spectacle. Creating his own circus, the designs celebrated the genderless and misunderstood. Described as a “sci-fi Xanadu of utopic harmony – a post-gender Shangri-La littered with stardust”, it’s an homage to the battle fought over the surface of our bodies on a daily basis.

Titled ‘Emergence’, the show aimed to reveal the imperfections and misconceptions we see in the mirror when seeing ourselves without a filter.

For the first time, the designer embraces athleisure – albeit in a way that is still decidedly Loverboy. The collection also draws inspiration from two sculptors, Lynn Chadwick and Henry Moore. The footwear was produced in collaboration with Roker.

Silver balls full of glitter that poured over models, surreal headpieces by Leo Carlton, green and purple skin, a choir – it was all happening at this intense and bizarre show. All of which makes us very excited indeed.

Photography by Ian Clark

London Runway | Page 69

London Runway | Page 70

London Runway | Page 71

London Runway | Page 72

London Runway | Page 73

London Runway | Page 74

EDWARD CRUTCHLEY Edward Crutchley’s new collection was all about collaboration. There was collaboration with Lucien Murat, an artist who helped provide prints and embroideries. There was collaboration with Chiso, printers who created a revolutionary material featuring a mix of traditional hand painting and foil print.

And there was collaboration with so many more brands and individuals who helped create new fabrics and blend them with old techniques: James Bosley Studio, the London Embroidery Studio, Bower Roebuck, Shimogawa, Toyota Gelanots, and Shieso Company.

The collection was inspired by the shapes of samurai, kimono vests, and archival robes, mixed in with Crutchley’s own signature and statement styles.

Photography by Ian Clark

London Runway | Page 76

London Runway | Page 77

London Runway | Page 78

London Runway | Page 79

London Runway | Page 80

THIS CITY Photography - Jarek Duk www.jarekduk.com Models - Ceci Zhang, Marc Mullen-Browne, Andressa Claas, Jermaine Bryan, Alisha Safo Hair and Make-up - Edvinas Maciulis www.instagram.com/edvinmacmakeup Designer - Tyrone Reid www.reganalds.com

RANA FADAVI INTERVIEW

We spoke to Rana Fadavi, a Parisienne turned Londoner who has worked as an assistant art director at the Issey Miyake fashion house in Paris. She’s also a set designer, illustrator, and much more – so we were excited to sit down with so much creativity!

Hi, tell us about yourself!

My name is Rana, I’m 25 years old. I just moved from Paris to London six months ago. I graduated two years ago from art school in France. I did scenography. It’s quite a wide area, so now I’m focusing on exhibition design and fashion mainly.

What brought you to London?

It’s been seven years that my goal was to come to London, because I find that people are much more openminded, there are much more art opportunities for young people. It got confirmed – it’s been six months that I’ve been working here, and indeed, that’s the case.

"MY GOAL WAS TO COME TO LONDON, BECAUSE I FIND THAT PEOPLE ARE MUCH MORE OPENMINDED" What are you working on right now?

I’m assisting a set designer who is doing exhibition design for fashion, for Carolina Herrera. It’s an exhibition that will be held in different countries, but the first one is the city of Buenos Aires. I’m also running costume design workshops in college, so they are between 16 and 23. I’m also doing a lot of illustrations for different kinds of people – I can do storyboards for films, or so on.

What’s it like to teach workshops?

It’s something that I have every week and it’s well paid, so I’m sure to have something every week. I thought I would hate teaching, but I actually love it. You learn a lot just by sharing things with others, especially younger people. We draw a lot, and we just started actually

making the costumes, because they finished doing their designs. They’re quite excited – and me too!

Tell me more about your illustration – this is something new you’re looking to pursue?

Because I see a lot of friends who did illustration, they struggle a lot – but I feel in London there is possibility, so I really want to expand that. I never thought in my mind it would be possible to live and draw, so that’s something I want to do more. I just opened this illustration account and I really want to expand that more.

Where do you find inspiration?

From anything, really! If I have a project in mind, everything that I see can be related, an idea can just show up. Most of the time it’s when I’m not expecting it, which is a bit frustrating!

What’s your proudest moment so far?

I think when I graduated, my final project, I’m quite happy with it. Even if I know it could have been pushed more, it was my first time I could really deal with a team and do a whole thing – not just a small part, but think about everything, like hair and make-up, and the set, and the performance, and everything. I guess also when I worked with Issey Miyake, which sounds good… it wasn’t artistically amazing, but in terms of CV. How would you describe your personal style?

I just feel like wearing comfortable stuff to run around in London!

Do you have any rules while your work?

Yeah, I would never work with people that don’t have a work ethic – that aren’t trustworthy. I’m also avoiding too much commercial stuff, I really like focusing on people who have something to say or something creative to show.

Whose work would you say you admire most?

I really like Molly Goddard’s work, the fashion designer. I also love the work of – it’s one of my goals to work with him – Terry Gilliam. He does amazing pictures, images, visually it’s impressive.

What do you want to have achieved in 20 years?

I want to work on as many different projects as possible, that require a lot of different things – not just one area. I also want to have a lot of assistants! (laughs)

Find more from Rana on Instagram at @ranafadavi, and @ranaillustrates for her illustration work.

All images supplied by Rana Fadavi

London Runway | Page 93

BARBOUR INTERNATIONAL The Barbour International presentation during LFWM looked back on the brand’s heritage, during inspiration from the motorcycle suit that was designed for the 1936 International Six Day Trials. Covering both their International Originals and Sport collections, the intention was to show how these can seamlessly blend: old with new, motorcycle jackets with track pants, primary colours with the darker hues of the motorcycle world.

Steve McQueen once wore Barbour International to compete in the same trials event, and that effortless cool seeps over into the current collection. Paul Wilkinson, Global Marketing and Commercial Director of Barbour International, said: “The brand has come a long way since 1936 when Duncan Barbour introduced the first motorcycle suit yet it has stayed true to its biking heritage.

The distinctive Barbour International black and yellow badge signifies a brand that is authentic, real and truly original.”

Photography by Ian Clark

London Runway | Page 94

London Runway | Page 95

London Runway | Page 96

WHAT WE WEAR Tinie Tempah’s brand What We Wear is now officially a year old, and the timing of London Fashion Week Men’s couldn’t have been better for him. The brand focuses on luxe sportswear and athleisure, which fits perfectly with the launch of the World Cup. Drawing inspiration from the sense of unity that people feel as they watch their country play the world’s most popular sport, this season’s looks feature bold colours, matching tracksuit looks, and hints of global flag schemes.

Partnering with Daily Paper and Filling Pieces to create full looks, the show was named ‘Hat-Trick’: a reference to not only the trio of brands involved, but also the beautiful game itself. With Tinie in charge, this year’s football stadiums will be filled with a new level of class.

Following the catwalk shots, enjoy a selection of moments from behind the scenes as the models prepared for the runway.

Photographs by Ian Clark

London Runway | Page 98

London Runway | Page 99

London Runway | Page 100

London Runway | Page 101

London Runway | Page 102

London Runway | Page 103

SUMMER IN THE CITY The weather’s heating up in London and it’s time to update our wardrobes accordingly. Illustrator Pauline Kate and Features Editor Rachel Parker bring you this season’s trend essentials.

White Trousers If white jeans remind you of Desperate Housewives, it’s time to think again. This season, trousers in white and cream denim, linen and cotton twill will be all over the high street.

Silhouettes are boxy, boyish and casual – think wide legged, cropped and relaxed fits. Style with t-shirts and blouses, and add a slouchy jumper when the inevitable British chill hits.

Co-ord Denim Denim isn’t just for jeans—matching jacket and skirt co-ords are on trend this season in a pastel rainbow of pale pinks, blues and yellows, as well as hotter shades of red and orange. This look is perfect for nights out or festival wear, paired with a t-shirt and statement earrings.

Basket Bags and Floating Dresses Sunny days call for light and flowy fabrics, so a loose midi dress is ideal for keeping cool while still covered up. These look great styled with basket bags (which are everywhere at the moment) as well as trainers and chunky cardigans for the evening. Perfect for summer picnics in the park.

Midi Skirts A button-up midi skirt and T-shirt or crop top is one of the easiest outfits to throw on in summer, and you can unbutton the skirt halfway to create a split for an even breezier look. This is a great summer essential which can be dressed up for a more elegant feel, or left casual to create a boho vibe.

Patterned Jumpsuits A bright jumpsuit can be a multi-tasking summer wardrobe hero. Wear a vibrantly patterned jumpsuit in the day with sandals or trainers, or switch to eveningwear by adding some heels and chunky jewellery.

The best thing is that this look requires minimal styling—a bold jumpsuit does all the talking for itself.Â

THE BIG QUESTION We asked, you answered

“Models not bothering to turn up to photoshoots, without any explanation! So unprofessional, if not illegal it should at least result in a lifetime ban from the industry" - Rhiannon D'Averc, Chief Editor

"ENVIRONMENTAL DAMAGE THROUGH PRODUCTION AND CONSUMERISM" – RUTH CAVA, BESPOKE TAILOR AND ENVIRONMENTALIST

"Walking naked in the street!" – Nathalie Coste, designer

"Really unhealthy food. Cut down on the really bad food, because that can help people’s health. Although it's a nice treat sometimes, it will make people feel better in the brain and the body. My mum is not doing so well, I think if she would eat healthier, that would help a lot!

And this is the same for a lot of people" – Sander Gee, Art Director

"Wearing socks with sandals" -Peter Bevan, Graphic Designer

"Binge drinking! It has left an awful influence in the media and the world" – Nandi Pama, model

"RACISM" @ONYXPHOTOGRAPHY_OFFICIAL

Lack of selfawareness – Stephanie Harber, hair stylist

"Judging others would have to go" – Bam, model

"Rudeness… it’s totally unnecessary, hurtful, disrespectful, aggressive and ugly. It ruins the mood of thousands of individuals on a daily basis" – Amanda Loiselle, developing milliner Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question

London Runway | Page 107

CONTACTS BARBOUR INTERNATIONAL - www.barbour.com BEN SHERMAN - www.bensherman.co.uk BEVAN, PETER -Â www.peterbevandesign.com CHARLES JEFFREY LOVERBOY - www.charlesjeffrey.net CLARK, IAN - www.photobyian.com D'AVERC, RHIANNON - www.pcistudio.co.uk DUK, JAREK - www.jarekduk.com EDWARD CRUTCHLEY - www.edwardcrutchley.com FADAVI, RANA - www.instagram.com/ranafadavi HANANIA, OLI - www.instagram.com/olihananiadsgn ICEBERG - www.iceberg.com ISLAND TEMPLE - www.islandtemple.com KATE, PAULINE - www.paulinekateillustrates.com LIFESTYLE WITH FRIENDS - www.lifestylewithfriends.com LONSDALE, HALLIE - www.islandtemple.com MACIULIS, EDVINAS - www.instagram.com/edvinmacmakeup NOTTINGHAM TRENT UNIVERSITY - https://www.ntu.ac.uk PRIVATE POLICY - www.privatepolicyny.com REGANALDS - www.reganalds.com REID, TYRONE - www.reganalds.com STAFFONLY - www.staffonlystudio.com SWAROVSKI - www.swarovskigroup.com/S/news/Graduate-Fashion-Week-2018.en.html V&A - www.vam.ac.uk/exhibitions/mary-quan WHAT WE WEAR - www.whatwewear.com WONG, PAULINE - www.lifestylewithfriends.com

LONDON RUNWAY London Runway: londonrunway.co.uk instagram.com/londonrunwaymag twitter.com/londonrunwaymag facebook.com/londonrunwaymag pinterest.com/londonrunwaymag/ info@londonrunway.co.uk

Front cover: Iceberg Back cover: Diksha Milind Rathi, MKSSS's School of Fashion Technology, Swarovski International Fashion Award 2018

.