London Runway Issue 22

ISSUE 22 AUGUST 16, 2018

SUMMER HAIR TIPS . ARE MEMES ART? . INTERVIEWS: FRANCESCA PALUMBO & LISA DARBAN

RUNWAY

AFRICA FASHION WEEK LONDON . ARABIAN ART & FASHION WEEK . KANDUMATHI X FIGURE OF A

LONDON

RRP £9.99

LONDON RUNWAY

CONTRIBUTORS Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Lead Photographer: Rhiannon D'Averc Photographer: Ian Clark - shoots@londonrunway.co.uk Features Editor: Rachel Parker - features@londonrunway.co.uk Arts Editor: Eleanor Dyson - arts@londonrunway.co.uk Graphic Design: Peter Bevan - design@londonrunway.co.uk Contributors: Fil Mazzarino, Kaily O'Brien, Federica Marilotti, Saima Malik, Charmanique Thompson, Andrea McLeod, Lisa Darban, Yasra Jaleel at Kandumathi, Anna Kostina at Figure of A, Leah Buckle, Stephanie Harber, Claire Alexander at Totally Flawless, Jade Armitage, Refresh Restyle Weddings, and Hannah of HCACreative Special thanks to Francesca R Palumbo, Valeria Aleksandrova at Hundred Showroom, and Lisa Darban

Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk © 2018, London Runway Ltd and contributors Printed by Pixart Printing and distributed in-house by London Runway Ltd 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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LONDON RUNWAY

IN THIS ISSUE Letter from the Editor

The high street is in peril once again as House of Fraser teeters on the brink of loss – more on that in our news articles. It seems that we’re losing big names on a steady basis, a rate that hasn’t really ever recovered since the recession years of 2008 and beyond.

What does this mean for fashion? Is it possible to envisage a day when the high street is no longer a place to try on clothes and window shop?

Could we really be facing a time when shopping is done only via the internet or in high-end stores at shopping centres?

One thing is certainly clear: whether you’re a fan of a high street chain, an indie brand, or even a larger conglomerate, there’s no real guarantee that they will be around forever – or even that they will live to see next season. For that reason, it’s more important than ever to show your support for your favourite brands, particularly those smaller independent designers for whom every sale could mean the difference between another season and failure.

On a more positive note, this fortnight we’ve been very excited to view some multi-cultural events, with the delights of Africa and also the Middle East coming to London. What’s interesting is just how many of these brands with roots in other cultures now have their home base as our city. It’s encouraging to see these designers flourishing, and we hope they will continue to do so over years to come.

By now you will surely have admired our stunning cover star, actor Kaily O’Brien, wearing a Kandumathi swimsuit with Figure of A accessories. There’s more with a full editorial inside this issue, as well as a look at floral headpieces and accessories from a talented florist. We’ve also got two exclusive interviews for you, which are very enlightening in a number of areas.

As we reach the midpoint of August we can only feel the anticipation building for September and the big event that we’re all looking forward to. Before that, though, there’s plenty to enjoy – we hope you’ll join us for a breath-taking jewellery editorial and lots of excitement in Issue 23.

Until next time, we’re all ears open to hear from you – if you’ve got something to submit, or an event we should be attending, be sure to get in touch via our website at londonrunway.co.uk or info@londonrunway.co.uk.

Enjoy!

Over in the arts section we’re considering whether memes can really be considered to be art, while the music section takes a trip to Camden to explore its very special subculture. We’re also remembering where we came from with an exploration of the history of swimwear, not forgetting protecting our hair from the summer heat with a selection of the best products on the market.

RHIANNON D'AVERC

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LONDON RUNWAY

CONTENTS Photography London Arabia Art And Fashion Week - 7 Rope editorial (cover feature) - 16 Africa Fashion Week London Day 1- 38 Africa Fashion Week London Day 2 - 64 Tropicana editorial - 93

P93 Features Fashion News - 4 Top Sun Protection Hair Products- 15 Memes: What Are They? - 32 Interview: Francesca R Palumbo - 35 Swimming Through History - 62 Camden's Counter-Culture History - 91 Interview: Lisa Darban - 100 The French Girl Renaissance - 103 The Big Question - 105

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LONDON RUNWAY

FASHION NEWS STELLA MCCARTNEY LAUNCHES ADIDAS A/W 18 COLLECTION

by Rhiannon D’Averc Adidas by Stella McCartney has launched the new A/W 18 collection, showcasing a focus on the power of nature. The collection also hinges on the theme of the fact that nature requires our protection to flourish and survive.

Coming just in time for the summer heat to begin cooling down, the collection is aimed at helping female athletes to work out no matter what kind of weather might be happening outside. McCartney uses Adidas technology such as Climaheat for locked-in warmth and Boost for added energy.

There is also a strong focus on reducing the environmental impact of the line. Innovative and ecofriendly fabrics have been used throughout, such as recycled polyester, organic cotton, Parley’s Ocean Plastic, and Econyl yarn. To highlight the ecological viewpoint, prints inspired by endangered animals have also been added to the designs.

"Last season, we launched an ambitious journey with our mission Less Impact = More Power. Now, we're taking that commitment one step further," said Stella McCartney. "As the brand at the pinnacle of female sports performance and style, we have a responsibility to provide women with a choice that allows them to be part of a solution through our sustainable pieces and practices. More than half of our apparel and a third of our footwear in FW18 are made with eco-innovative and recycled materials, such as Parley's Ocean Plastic. It's time to be the difference we want to see. To act now and to mean more in all we do."

These are strong words for our times, reflecting the vegetarian and eco-friendly values that Stella McCartney has been known for throughout her career.

As a frequent winner of green and vegetarian or vegan clothing awards, this collection certainly has the potential to add more to her trophy case.

Images via Adidas by Stella McCartney

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LONDON RUNWAY

FASHION NEWS CHASES & STATUS TEAM UP WITH REEBOK FOR SELFRIDGES INSTALLATION

by Rhiannon D’Averc Musicians Chase & Status have teamed up with Reebok to create a Selfridges installation that opened on the 9th August.

Drawing inspiration from the influence that jungle music has had in fashion, from the mid-nineties onwards, the installation is accompanied by a special soundtrack influenced by the seminal sounds of the genre. Chase & Status, who launched the space on their 15th anniversary as a musical duo, announced on Instagram: "Jungle; our culture and educates a new audience on the music and fashion of that time, one that is now more relevant than ever influencing a new subculture of vintage designer enthusiasts.”

Titled ‘Super Sharp Reloaded’, the installation can be found on the third floor of the Women’s Designer Studio at Selfridges, where it will remain until the 6th September.

Saul Milton, one half of the duo, has also lent his personal collection of vintage Moschino items to the display. Also on show – and on sale – will be eraappropriate pieces from vintage sellers Wavey Garms, Jazzy Badger, Nothing Special, and Serotonin Vintage.

‘Super Sharp Reloaded', a 2nd installation which will be held at Selfridges from myself (Saul) & @tory_turk.

We're proud to be partnering with @reebokclassicsuk & our installation will feature a display of my garms plus pop up shops with exclusive pieces that have taken inspiration from my collection from the likes of @waveygarms @jazzybadger @nothing_special & @serotoninvintage/@194local Rudeboy culture & rave culture has been & still is a massive part of my life.

"Having collected & coveted Moschino all these years it's exciting to have the opportunity to give a subculture's roots a nod through a cultural display in a space as iconic as @theofficialselfridges. Super Sharp Reloaded at Selfridges is a continued collaboration with @lcflondon_, that celebrates Jungle; our culture and educates a new audience on the music and fashion of that time, one that is now more relevant than ever influencing a new subculture of vintage designer enthusiasts. Come & check it on the 3rd floor from the 9th Aug.” Entry is free, and the installation is open until 10pm everyday except for Sundays, with an earlier closing time of 6pm.

The Chase & Status announcement continued, "‘The queue was the catwalk'.... I'm very excited to announce

Images via Selfridges

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LONDON RUNWAY

FASHION NEWS HOUSE OF FRASER FUTURE STILL UNCERTAIN

by Rhiannon D’Averc The future of beleaguered department store chain House of Fraser is still uncertain, even after Sports Direct bought it out of administration for £90 million.

Suppliers are waiting for payments, and many are now demanding that Mike Ashley - the businessman behind the purchase – ensure that their debts are paid in full.

Ashley has also entered into discussions with landlords, with many employees worried for their positions if an agreement cannot be reached to keep rents down.

There have also been concerns raised about the future of the House of Fraser pensions fund, which is now protected under law by the government because the chain went into administration. The fund will not be under the control of Sports Direct, as it was not brought along with the package purchased by the firm.

Meanwhile, Ashley has pledged to “keep as many stores open as possible”, and to turn House of Fraser into the “Harrods of the high street”.

Suppliers are thought to be owed as much as £70 million altogether, which could create a problem for the new administration.

Image via Wikimedia: ahisgett

"Mr Ashley has said that relationships with brands and partners are vital to the future of House of Fraser, and ensuring that bills are settled with concessionaires will be critical to maintaining those relationships," said a spokesperson for Phillip Day, who had also been interested in buying the chain. "The concessionaries have helped keep House of Fraser trading over the last year and the industry is now looking to Mr Ashley to do the right thing."

Image via Wikimedia: James Pett

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LONDON RUNWAY

LONDON ARABIA ART AND FASHION WEEK We were treated to plenty of excitement at this celebration of Arab culture in London. Held at the Jumeirah Carlton Tower Hotel, the event also ran alongside a pop-up shop on the 5th floor of Harvey Nichols. This year, LAAFW was hosted by the London Arabia Organisation and held partnership with Harvey Nichols, Regents University London, Jumeirah Carlton Tower Hotel, Sloane Street & the Arab British Business Association.

Designers, in order of appearance: Brides Do Good Dress of Our Time – UN Haya Alkharafi – Al Jwhara Designs – Kuwait Lamya Alsamra – Lasboutique – Saudi Arabia Meriem El Hajouji – Rafinity – Morocco Sahar Alhmoud – My Boutique – Kuwait

Photography by Fil Mazzarino

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TOP SUN PROTECTION HAIR PRODUCTS

PHYTO PHYTOPLAGE PROTECTIVE SUN VEIL £16.00, phyto-haircare.co.uk

Professional hair stylist Stephanie Harber of Stephanique Styling takes us through her favourite products for protecting your hair from the summer heat.

A light-weight protective mist that protects your colour from UV damage. An invisible formula to gently coat each hair for full protection. You can top this up during the day as the small bottles are perfect for your beach bag.

Seriously, this sunshine! While I do love the heat and I am grateful for it being so consistent, this also means a bit more looking after things that wouldn’t normally be an issue... by which I mean your hair!

Hair is the same as the skin in the sense that it can get burned and damaged from sunlight. It can lighten your hair, which is great for that sun-kissed look, but really your hair still needs protecting from drying out and causing more damage later on.

Days out, beaches, swimming pools, sunbathing, even gardening are all times we are out in the direct sun, so this is the perfect time to be applying one of the following sprays to your hair. Plus, they all smell so good, even if you’re not on holiday, you can pretend you are.

Here are my top 4 products to ensure your locks are safe during the summer sun.

AVENDA - SUN CARE PROTECTIVE HAIR VEIL £22.50 - aveda.co.uk

I’m loving the word veil on these, makes me think of a beach wedding. Bliss! This one is a water-resistant mist that gives you up to 16 hours of protection. Be sure to protect that new colour you’ve just had done.

MATRIX – BIOLAGE SUNSORIALS £9.99 - £12.99, Amazon.co.uk

WELLA SUN PROTECTION SPRAY £14.95+, Amazon.co.uk

I’m not a Wella user, but I have a lot of hair stylist friends who are, and they swear by this stuff!

It protects your hair during and after exposure from UV rays.

Keeps your hair looking healthy and super soft. Great for you ladies with thicker hair.

I use Matrix products on my clients all the time so this is my first choice. I’ve used it before and it smells delicious! This range protects hair that has been or is going to be exposed to sunshine, sea and chlorine. My favourite is the water repellent spray ♥ Ideally you’d use the full range but just the spray is perfect on its own.

I hope this helps, and even if you’re not going away on holiday, you can still use these products for the lovely smells and heat protection elements.

Find more from Stephanie at stephaniquestyling.co.uk Images via, Matrix, Phytoplage, Avenda and Wella

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ROPE

This page: Kaily wears: Kashikeyo Swimsuit - £32, Kandumathi; Kubi Choker - £60, Figure of A Previous page: Kaily wears: Kakuni Swimsuit - £32, Kandumathi; Choker - £50, Figure of A

Photographer - Rhiannon D'Averc Models - actor Kaily O'Brien and Federica Maricotti Make up artists: Charmanique Thompson using MAC Cosmetics, BY Terry, Cover FX, Hourglass Cosmetics; Saima Malik using Huda Beauty, Anastasia Beverly Hills, MAC Cosmetics, Kryolan Wardrobe: Kandumathi and Figure of A Assistance: Ian Clark Location: Kitsch Studio

Federica wears: Marla swimsuit, Kandumathi, price on request; Do Nawa Waist Belt - £85, and Suspension Ring choker - £60, both Figure of A

Kaily wears: Kakuni Swimsuit - £32, Kandumathi; Choker £50, Figure of A

Kaily wears:Â Chithara swimsuit - price on request, Kandumathi; Shinju harness - ÂŁ160, Figure of A

Kaily wears: Rindheli Swimsuit - price on request, Kandumathi; Do Nawa Waist Belt - ÂŁ85 and Nami Choker - ÂŁ50, both Figure of A

Federica wears: Marla bikini - price on request, Kandumathi; Shinju harness - £160, and Nami Choker - £50, both Figure of A

Kaily wears: Chithara swimsuit - price on request, Kandumathi; Shinju harness - ÂŁ160, Figure of A

Kaily wears: Chithara bikini- price on request, Kandumathi; Kubi Choker £60, Figure of A

Federica wears: Kashikeyo Swimsuit - £32, Kandumathi; Kokoro Heart Charm - £75, Figure of A

Kaily wears: Marla swimsuit - price on request, Kandumathi; Suspension Ring choker - £85, and Kikkou Waist Belt - £140, both Figure of A

Kaily wears: Marla bikini price on request, Kandumathi; Kokoro Heart Charm - £75, and Nami Cuff - £40, both Figure of A

Federica wears: Marla bikini - price on request, Kandumathi; Shinju harness - ÂŁ160, and Nami Choker ÂŁ50, both Figure of A

Kaily wears: Marla bikini price on request, Kandumathi; Kokoro Heart Charm - £75, and Nami Cuff - £40, both Figure of A

Kaily wears: Rindheli Swimsuit - price on request, Kandumathi; Nami Choker ÂŁ55, Figure of A

Federica wears: Kashikeyo Swimsuit - £32, Kandumathi; Kokor o Heart Charm £75, Figure of A

MEMES: WHAT ARE THEY? Image via Wikimedia Commons

This issue, Ellie Dyson investigates the origin of memes, and if they can be considered a form of art.

Meme miːm/ noun noun: meme; plural noun: memes 1. An element of a culture or system of behaviour passed from one individual to another by imitation or other non-genetic means.

The word ‘meme’ originates from the Greek word ‘mimema’, meaning ‘that which is imitated’. The word was coined by evolutionary biologist Richard Dawkins in his book, ‘The Selfish Gene’. In one chapter, he wanted to give an example showing that evolution could be present elsewhere to genes, theorising that it could be present within culture. He goes on to explain his theory in his Oxford Union talk on ‘memes’, describing a form of natural selection that happens when a catchy tune is more likely to be passed onto other people than an uninteresting one, with someone hearing the tune being whistled, and copying it, passing it around the town. He explained that "the meme is the unit of cultural inheritance. It's anything that behaves likes a gene in human culture." (Richard Dawkins - Oxford Union Talk on Memes.) To acknowledge the similarities between the two, Dawkins shortened the original ‘mimema’ to meme, rhyming it with gene.

“What a gene is to biology, a meme is to ideology... Madonna is a meme, Catholicism is a meme, Marxism is a meme, yellow sweaters are a meme... rainbow-colored dreadlocks are a meme. Launch your meme boldly and see if it will replicate — just like genes replicate, and infect, and move into the organism of society. And, believing as I do that society operates on a kind of biological economy, then I believe these memes are the key to societal evolution”

Image via Wikimedia Commons

Image via Flickr

Terrance McKenna, 1996 (two years before the first internet meme)

Image via Flickr

2. An image, video, piece of text, etc., typically humorous in nature, that is copied and spread rapidly by Internet users, often with slight variations.

Many of us today know memes as a source of absurdist humour plastered all over the internet, becoming more nonsensical by the day. But because of the high engagement and visual nature of this trend, does this mean that Dawkins’ ‘meme’ is the latest art form?

Now, to be more specific, an internet meme is a concept or piece of media that spreads via the internet. It could be anything – a video, hashtag or image. The piece of media is often adapted and then re-shared, taking it further into the ‘evolution’ that Dawkins mentioned. They could be formed from a social interaction, pop culture, or political view.

The power that a meme has in terms of sharing a political view was revealed in the case of cartoon character Pepe the Frog.

Appropriated from the comic series ‘Boy's Club’ by the alt-right, it ultimately became a symbol of racism until its creator, Matt Furie, killed the character off.

So how could something like that be considered art? If we look at previous art movements Dadaism and Surrealism, we may find some answers.

Dadaism was an artistic movement which began in Zurich, Germany. It arose as a rebellious reaction to the First World War, and the Nationalism that many had thought had led to war. Its aesthetic mocked materialistic attitudes, and its influence reached artists in Berlin, Paris and New York. The movement began to fade after Surrealism began to emerge. For the first time, artists rejected aestheticism and reason, instead tackling questions about society and the purpose of art.

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Surrealism began in Paris in 1924 and was created by Andre Breton.

He was inspired by founder of psychoanalysis Sigmund Freud and his book The Interpretation of Dreams, in which he stated his belief that there was a layer of the human mind where memories and basic instincts were stored, called the Unconscious Mind.

Breton believed that the concept of desire was central to the surrealist vision of poetry and freedom, and it was also the key to understanding human beings. Surrealist artists liked to put objects which weren’t normally associated with each other together to make something that was both playful and disturbing at the same time.

They believed it stimulated the Unconscious Mind. Unlike with Dadaism, Surrealists intended to reinvent world order instead of deconstruct it.

people working together to advance their shared political, social, or artistic ideas.’ One can’t deny that memes allow a user to share their political and social views with like-minded people, even if these views are sometimes offensive or racist, like in the case of the hijacking and manipulation of Pepe the Frog’s once innocent caricature.

Dadaism, Surrealism and memes are all connected by the fact that they are an idea which spreads. The two art movements had to spread to other artists around the world, in the same way that a meme is sent from person to person over the internet, allowing it to evolve. The PBS Idea Channel released a video entitled ‘Are LOL Cats and Internet Memes Art?’, in which the presenter, referencing memes, stated that "people are creating images and sharing them with strangers for the purpose of communicating their personal experiences? That…is art, plain and simple." Having read Dawkins’ definition, one could even say that any form of art movement is a meme, rather than fight for memes being a form of art themselves.

The Oxford Dictionary defines a movement as being ‘a group of

R/Place was an April Fool’s experiment, but it made a point that an impact made over the internet (in the form of a meme, for the context of this article) is not an individual’s work, but rather the work of many. By creating more adapted content, one can make the meme ‘movement’ louder and stronger. The sheer amount of people involved is what makes meme culture stand out.

The movements and memes are connected in other ways.

Dadaists didn’t view themselves as artists, they saw themselves as just going against normal societal views. The same can be said of the modern humourists of today, who don't call themselves

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Image via Flickr

Image via Flickr

Image via Flickr

Image via Flickr

But how can this be related to a dank meme?

Not all memes are offensive, however, and they are able to move from person to person on the internet in positive ways. Whilst members of the Dada movement held meetings and talks to further the group, there are internet-based activities which everyone can be a part of. Reddit Place was a collaborative canvas made up of 16 million pixels, in a similar format to Microsoft Paint. Over one million Reddit users could paint one ‘tile’ every five minutes, and the slow speed of the game meant that the users had to work together to create images on the canvas.

artists when they draw their absurd pictures. They, too, are going against what is normal, and making things which are humorous but also make the viewer feel slightly uncomfortable. The unnerving aspect of memes is also found in the work of surrealists, who were trying to stimulate the Unconscious Mind.

Dadaism emerged from the pain of the First World War, when the artists were disenchanted by societal attitudes. Many current memes are in relation to America, where Millennials are frustrated with unemployment, unaffordable college tuition fees with no promise of a job afterwards, threats of terrorism and a controversial President. People are displeased with the government but can't do anything about it apart from make satire from it.

Even if there is disagreement on memes’ place as an art form, there are still instances where memes and art have had successful collaborations. Several art exhibitions have been curated, including an exhibit in 2016 called ‘What Do You Meme’, where memes were gathered into the context of a gallery. There was also an exhibition where thirty artists worked to create Grumpy Cat-themed art work.

Artist Lauren Kaelin has a painting project inspired by the internet.

She has painted subjects such as Sneezing Panda, Grumpy Cat, and Sloth Photo Bomb, and her work, entitled ‘Benjamemes’, is based on the theories of Walter Benjamin. In his 1936 essay, "The work of Art in the Age of Mechanical Reproduction", he addressed how art can now be easily reproduced. He questioned the value of the original art piece, and theorised that the original possessed an aura which made viewing it a unique experience, compared to viewing a reproduction.

Kaelin aimed to create an aura with her paintings, even though there is no ‘original’ when it comes to memes

Further into the ‘Are LOL Cats and Internet Memes Art?’ video mentioned earlier, the presenter states that "Philosophers Immanuel Kant and David Hume might say that internet memes don't count as art because they're not beautiful." However, Dadaism didn’t focus on aestheticism either, but is widely accepted as an art form. Beauty is subjective to the viewer, so according to Kant and Hume, the Mona Lisa itself would be discredited as art if a viewer doesn’t find it aesthetically pleasing.

So, what have we learned from this? There are many similarities between art movements Dadaism and Surrealism, and the marvel of a meme. These similarities could contribute to memes being accepted as an art form, especially with their explosive popularity in today’s internet servers. Memes fulfil a movement’s definition of people working together to progress their views. However, it is also a conceivable conclusion that art could instead be considered a type of meme, being a cultural concept, which is passed from artist to artist, from generation to generation, like the evolution of a gene. Perhaps this whole article has destroyed the essence of what a meme is, something not meant to be understood, and when thought about for more than a couple of seconds, killed by the sense of lost irony.

You can see more of Ellie’s work on Instagram @elliejdyson or on her website at https://bit.ly/2MNxE8T

Image via Wikimedia Commons

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FRANCESCA R PALUMBO INTERVIEW

Rhiannon D’Averc caught up with Francesca R Palumbo, a designer with Hundred Showroom, to talk about her exciting Beauty in Poison collection – one of the most interesting uses of knitwear we’ve seen.

So, tell me, how long have you been a designer?

Well, I graduated last year from Middlesex Uni and then I started my own collection, which was a continuation from my graduate collection. So, it's been a year of being out of uni and being a designer.

What have you been up to so far?

I took part in Britain's Top Designer at the beginning of the year and that was a great experience as well, getting to showcase my stuff at that fashion show was the first time my collection had been shown again since uni so it was really good, and the judges had really good opinions so it was really good to get that feedback. Uni was really great, I studied Fashion and Textiles and that was really good, exploring loads of different mediums. I don't really like to stick to what I'm told I can do, I like to see if I can't do it, why can't I do it, and go and do the opposite and see if it works. Sometimes I have made mistakes but it's all part of the process and I’m quite determined to work out what will work and what won't work.

I DON'T REALLY LIKE TO STICK TO WHAT I'M TOLD I CAN DO, I LIKE TO SEE IF I CAN'T DO IT, WHY CAN'T I DO IT, AND GO AND DO THE OPPOSITE AND SEE IF IT WORKS. And when did you first realise that's what you wanted to do?

It sort of started from a young age. I was into dancing and stuff and I really enjoyed with playing with making costumes for dancing. I liked the way you could create a character from putting outfits on. So that sort of sparked my interest in textiles, and then when I went to uni I realised that my true passion was knitwear and that was the route I wanted to go down.

Great, I wanted to ask you about the knitwear actually. So what made you choose that specifically?

On my course you had to choose what you wanted to do, and I really liked knitwear. I hadn't done any knitwear until I went to uni and I just loved the way you can do anything with it.

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LONDON RUNWAY

Your collection isn't traditional in any way.

Yeah, that's what I wanted to do. I wanted to challenge people's idea of what knitwear is and be like ''it's not just jumpers''.

Tell me about the inspiration for that collection.

That collection was inspired by oil. I was looking at consumption and the silhouettes are from looking at the animals trapped in the oil, so that why they're all quite sleek.

It's quite sad to look at, when I was doing the research it was quite sad to look at the poor animals getting trapped. And the colours were all from oil and oil spills and that's why you've got the surface. I'm just trying to raise awareness of something I don't think is talked about much.

Is that really important to you in your work?

Yeah, I really like to bring awareness for something and have a meaning behind my collections as well as creating nice stuff. So people can wear it and it have a purpose and it's not just nice, it has some story behind it as well. I think that's important.

So what kind of political and social causes are you inspired by at the moment?

Well, a big thing for me, even when I was designing the oil collection, is making sure women feel empowered. My stuff is very see-through but girls should feel happy wearing that and shouldn't have to be judged. And this [next] collection is looking into more about women empowerment.

I read as well that you have an interest in sustainability?

Yeah, so making sure we go forward and make it sustainable and ethical. I'm trying to be like that with my designs.

Why do you think it's important to embrace those causes through your work?

I think it's important because as designers we have voices and we can talk about things and I think it's important to raise voices for people who can't speak out, and we all just need to raise awareness and make sure that things are talked about and things are brought to people's attention and not just forgotten about. Because things do go on in the background, and I think it's important as a designer to have meaning behind something that people can understand, so people can relate to it.

What about from the consumer side of things, do you think it's important for

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someone to buy clothes that reflect these kind of ideals?

I think fashion is changing and I think consumers are more concerned. I think it's really nice to have a story behind, because if someone compliments your dress or something you can say 'Well actually this is raising awareness for this', or 'This is doing this'.

You use really interesting drapes and falls, how did you develop that?

It's all through stand-work. I drape them on the mannequin, I see what fits the body, how it hangs, and then I hand sew each piece together so everything is unique. I like the idea of having something that nobody else will have, like I can make another one but it won't be exactly the same, so everyone can have a unique piece of work.

Tell me about your internship with Julian MacDonald.

Yeah, I interned with Julian MacDonald as part of my second year at uni which made me realise the potential of knitwear, and then I was with Mark Fast, that was really as good as Is there something you could pick out like a big thing you learned from them?

It was more just overall such a good experience, just overall learning I think.

Tell me more about your Beauty in Poison collection - tell me about the shapes and what kind of girl would wear them?

I think anyone could wear them- they are not all necessarily for one thing and I think you could wear garments underneath, or if you're confident you could go out wearing nothing. I'm not one for saying what you can or cannot wear! I

LONDON RUNWAY don't really have a muse, any woman that I come across and anyone who does inspirational things is a muse. From my friends to big designers to people just in society, everyone can wear it and I want my collection to be inclusive. It doesn't matter who you are, what shape, what size - anyone can wear my clothes. I don't have a particular person in mind, as long as you have confidence and feel happy in it, that's what I want.

What about your personal style?

My personal style is pretty all over the place. I just like wearing things I feel confident in.

Five or ten years in the future, what would your dream be?

To have my knitwear brand. To push boundaries and take knitwear to new places, and really show what can be done with knitwear because I don't think that anyone's really interested in the whole potential that can be reached with knitwear.

Is there anything you want to try with knitwear that hasn't been done?

I really want to push what materials can be used. I have used metal before and metal wire, so I really want to push what I can put through sewing machines and what I can create, and what rules I can break as well to see what can be produced with knitwear. To push it and see how far I can go with it, where it could end up.

Do you have any ideas for your next collection yet?

It's definitely focusing on women empowerment and things that have been happening in my personal life, so it's more about pulling yourself together.

Do you have any shows planned?

I'm going to do one with Hundred Showroom, so that's the next thing I'm going to do.

How has being with Hundred Showroom helped you in your career so far?

It's been really good, I've only been there a couple of months but it's really helped me and it's really good to get work out there and get the message out.

If you could have a celebrity wear your clothes, is there one person you would pick?

Not really, I have a few people I wouldn't mind. It would be great if somebody wore something to the Met Gala, it wouldn't matter who but it would be amazing because that always gets such cool styling.

How does it feel to see your clothes walking down the runway?

It's an amazing feeling, I love it so much, I love the adrenaline and I love seeing people's faces as well. They think 'Here comes a knitwear designer' and I love to see people's surprised faces and their reactions like 'It's not a jumper!'. It's like yeah, it's still knitted but it's not what you think it is, and I love challenging people and showing it's not a knitted jumper like your grandma would make. It is amazing when it comes down the catwalk.

Any message you would like to give to our readers?

Just be yourself and be true to yourself.

See more of Francesca’s work at hundredshowroom.com/designers/francesca.r.palumbo Photographs by Emily Grace Morgan – models Tia Hurd and Maya Gregg; Portrait of Francesca by Rhiannon D’Averc

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This two-day extravaganza of African fashion from across the continent was a real stunner. So many looks walked before us that the flashes of bright colour were almost overwhelming - though not so overwhelming that we couldn't notice the interesting shapes, prints, and fabrics at play.

Ranging from traditional styles, to modern takes, to even more Westernised designs, this collection shows that there's a lot more to African fashion than the stereotypical traditional prints that might spring to mind.

This is just the first part of our coverage, with more to come later in the issue.

Designers, in order featured: Kachi Blazers Mercy Azupwah Sista By Eyoro Sarayaa George Amua Belouis Couture Evelyn Babin TIKZN, made up of: Percy Gugu SHWE Style N Pride Afrolicious Bright Shadow Brenda Quinn

Photography by Ian Clark

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SWIMMING THROUGH HISTORY Ellie Dyson researches the evolution of women’s beachwear.

In the early 1800s, women went into the water fully-clothed in bathing dresses and bonnets to protect their skin against the sun.

Weights were sewn into the hems of the dresses to keep them from floating up in the water. This early beachwear would have upheld the Victorian value that a woman’s modesty was her greatest asset. The Victorians took this one step further with a contraption called a ‘bathing machine’. A horse would drag a little hut on wheels into the waves, where a woman could change into her bathing dress and step right into the ocean, hidden from view, allowing maximum privacy.

suit, as it showed her neck, arms and legs. She later altered the design to have long sleeves, legs and a collar, and marketed her own line of swim wear.

The 1910s saw a sailor-inspired style with added frills and stripes. Bloomers reduced the risk of accidental exposure, as the skirts were shorter than they were in previous eras, and the garments were made of flannel. The flannel still would have created problems when swimming, becoming very heavy after absorbing water. Lace up shoes were worn on the beach.

In 1916, new swimwear brand Jantzen introduced figure-hugging swimsuits featuring shorts and cut-outs. The suits were advertised as a ‘swimming suit’ rather than a ‘bathing suit’ to justify them as athleticwear.

In the late 1800s, full coverage was still needed. Women were not supposed to show much skin, and they also didn’t want much sun exposure. The suits at the time resembled dresses and were made from flannel. Bathing slippers allowed protection from broken glass and pebbles.

The 1900s called for a new style that was still modest but allowed women to swim, something which previously wasn’t possible.

This came in the form of the seaside walking dress. It had less fabric than the previous century, but still covered the body of the wearer. Annette Kellerman, a famous swimmer at the time, was arrested for indecency when wearing her one-piece bathing

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Images via Wikimedia Commons

With the holiday season upon us, shoppers everywhere are browsing the aisles looking for the best deals on mix-and-match bikinis. But that two-piece in your basket has gone through a two-hundred-year evolution to be where it is today, from a time when women could even be arrested if their outfit didn’t follow protocol. A day at the beach a hundred years ago hardly sounds relaxing.

Image via Unsplash

By 1920, women had started to show a little more skin, but their shorts had to reach a certain length down their leg otherwise they would be arrested by the ‘Swimsuit Police’ waiting on beaches with tape measures.

The 1930s saw the introduction of stretchy synthetic fabrics, lower necklines and shorter shorts, now cut at upper-thigh length. Many of the suits were backless and made of elastic rubber.

In 1946, French model Micheline Bernadini modelled the first bikini for designer Louis Reard. Marketed as a two-piece swimming suit which revealed “everything about a girl except her mother’s maiden name”, it was named after a US atomic test entitled ‘Bikini Atoll’. The smaller garments were also a functional decision, in response to fabric shortages during the war.

In 1952 Brigitte Bardot starred in 'Manina, The Girl in the Bikini', one of the first times a bikini featured in a movie. As two-pieced costumes gained popularity with the public, they tended to still cover the navel. Swimsuits started to have support like underwiring and ruching to create the sought-after hourglass figure. Being post-war time, there were larger amounts of supplies and more factory resources.

By the 1960s, the introduction of Lycra and nylon enabled swimsuits to be even tighter, but without restricting movement too much. The suits initially followed a similar style to the 1950s, but as the decade wore on they became even less conservative.

During the 1970s, Bikinis got even smaller, and came in vivid colours. The use of Lycra became more common, improving elasticity and reducing drag, and so it became very popular with Olympic swimmers. Coverups, sunglasses and statement accessories took a bikini to the next level.

Image via Pexels

Image via Wikimedia Commons

In the 1980s bold prints became very popular, paired with even bolder beach accessories, and it was the new style for swimsuits to plunge at the front and back.

An athletic style became popular during the 1990s, mainly because of popular television show, Baywatch. The invention of Tankinis (half bikini, half tank top) was a major innovation in the late 90s. The style quickly took more than one third of the swimwear market. The era also saw the arrival of mix and match tops and bottoms.

So, there you have it! Today beachwear comes in many styles to cater to different body shapes, with new designs being released every season. Thankfully, these days women can leave their hut on wheels at home when they want a dip in the big blue!

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AFRICA FASHION WEEK LONDON DAY 2 Day two of the AFWL showcase promised yet more exhilarating shapes, colours, and patterns. Stay tuned for the rest of our coverage from this event in issue 23 there were so many vibrant looks, we couldn't deprive you of any.

Designers, in order of appearance: Afrodite Ethnic Revival Aphia Sakyl De Valasco Gallery Fresh and Different House of Yaya Kiannara Preline Rusuvero WB Collection Abby Lewis Boaba Beau Sapeur Becca Apparel Nim Designs Photography by Fil Mazzarino

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Rachel Parker explores the relationship between music and fashion history in Camden, one of London’s centres for subculture style.

There are many areas of the capital known for their influence on British fashion, but few are as synonymous with subversive style as Camden. The codes of alternative dressing that can be seen up and down the streets of NW1 have been defined by the music that has shaped the area. Famed for its live venues such as The Roundhouse, Dingwalls, Jazz Café and The Underworld, as well as its many record shops and street performers, Camden’s music scene is as eclectic as its aesthetic.

Music and fashion have been inseparably linked in Camden since the 1970s, when an abandoned Victorian packaging factory named T.E. Dingwall was converted into a new dancehall, "reasonably priced at half a bar for entry". Within a year, the first stalls of the famous Camden Market opened outside Dingwalls Music Hall. What began as an arts and crafts market quickly expanded to supply North London with all the costumery of ‘70s counter-culture, from bohemian flares and vintage dresses to leather jackets and Sex Pistols t-shirts

Image via Wikimedia Commons

CAMDEN’S COUNTERCULTURE HISTORY

The punk scene was one of the first to thrive in Camden, beginning in 1966 when Pink Floyd played their debut gig at Camden’s Roundhouse. The venue quickly became a magnet for similar groups, with bands such as The Ramones, The Stranglers, The Sex Pistols, The Damned and Chrissy Hynde all taking to the stage and streets to variously perform and fight with each other throughout the following decade. Icons of the punk scene The Clash shot the cover of their debut album in a grubby Camden back alley, and returned to town two years later to perform a four day residency at KOKO nightclub during their ‘On Parole’ tour.

In the decades that followed, further music and style scenes exploded out of Camden’s market stalls and music venues. The bohemian and punk subcultures of the ‘70s slowly morphed into new goth, grunge and heroin-chic movements during the 1980s and ‘90s.

Electronic music and the rave scene launched Cyberdog, a Camden store selling futuristic fashion and neon club wear. Meanwhile, the opening of The Underworld, a live metal and hard-rock venue, brought new audiences to Camden's music scene, as did the establishment of the Jazz Café in 1990.

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Images via Rachel Parker

While punk music flourished on Camden’s stages, its influence could also be seen on street style. Market stalls began to sell ripped Levi’s and tartan kilts as well as band t-shirts and beaten-up Doc Martens boots. To this day, Camden Market is one of London’s best spots for picking up vintage punk regalia, as well as boasting an array of piercing studios and tattoo parlours.

Image via Rachel Parker

Image via Wikimedia Commons In July 2011, Amy Winehouse played her last ever UK gig at The Roundhouse to the rapture of fans. Throughout the 2000s the singer had become a Camden Town icon, starting out her musical career playing the area’s bars and pubs and remaining a loyal local throughout her ascent into super-stardom. Camden’s adoration of Amy Winehouse continues to this day, with venues hosting regular tribute nights and the recent construction of a new statue of the singer in the market. Meanwhile, the star’s influence on fashion remains visible. Her retro-glamour and Rockabilly style spawned a wave of stalls selling 1950s and ‘60s inspired tea dresses and pencil skirts, ready to be worn with red lipstick, tattoo sleeves and a messy beehive.

Camden Market stall, the couple began their brand in 1982 and quickly built up an internationally renowned business. The brand won the British Fashion Council’s inaugural ‘Street Style Designer of the Year Award’ and today a wedding dress in the iconic Red or Dead Space Baby print is on exhibit in the V&A. In many ways, Camden’s enduring popularity as a centre for sub-culture communities and off-centre style is a result of its marginal status, both geographical and economic. Located just north of Central London, the neighbourhood occupies a

But not only rising stars of the music world have emerged from Camden over the years.

The Market has also launched the career of many designers, beginning their fashion businesses from Saturday stalls which have attracted the attention of Camden’s eclectic clientele. In the 80s labels such as Eine Kleine, English Eccentrics and BodyMap expanded from their market roots to take over the London fashion scene.

space between the city and suburbs: close enough to attract tourists but still able to retain its unique identity as a town.

Immigrant communities have bought new musical influences such as reggae and ska, while a strong student population continues to impact the area’s youth style.

With the intertwining legacies of fifty years of music and style, Camden has one of London’s most rich and diverse cultural histories. For many, the area is now past its heyday, with the streets overflowing with tourists and London’s more glamourous young populations heading east to Hackney and Dalston. The run-down appearance of the market stalls and onceiconic shop facades certainly attest to an area that has passed its prime.

But as London local radio host and Camden resident Robert Elms explains, it’s precisely Camden’s darker side that gives the area its edge. "One of the other things about Camden Town is that it's lacerated by canals, and there's always back alleys.”

"Rock 'n' roll grows best in dark places, just like mushrooms."

Image via Rachel Parker

Founders of Red or Dead, Wayne and Gerardine Hemingway, started out in the world of fashion by opening a small stall selling vintage clothing and shoes.

Discovering the eternal popularity of a pair of beaten-up Doc Martens, the pair were inspired to design their own footwear label combining hardwearing properties with daring design. Funded by the profits of their

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You can find Rachel on Instagram with @rachelfrances_

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TROPICANA Photographer: Andrea MacLeod of A+ Photography Hair and Makeup: Claire Alexander at Totally Flawless Model: Jade Armitage Various designer macrame items: Refresh Restyle Weddings Stationery: Hannah of HCACreative Dress: model and photographer's own.

Floral accessories: Lisa Darban at Bespoke Florist

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LISA DARBAN INTERVIEW

Our ‘Tropicana’ editorial for this issue features the work of florist and accessories designer Lisa Darban.

Rhiannon D’Averc caught up with her to find out what it’s like to work with a living material.

How did you get into working with flowers?

I actually got the flower-arranging bug when I was very young from my dad. I grew up in a horticulturally-based family business, often working events like The Chelsea Flower Show, which was quite an inspiration.

As an adult I had resigned flower-arranging to the category of ‘hobby’, as the prospect of starting my own business felt daunting. Since 2013, creating the floral tributes for several personal family funerals, it really hit home just how much flowers can mean on those significant days. They are an integral part of how we celebrate and commemorate the milestones in life, and make a big difference when they are designed specifically.

So, I realised life is just too short not to do what you love, especially when it can also make such a difference to the people around you.

When did you start to bring flowers more into being accessories, instead of doing floral arrangements for display, and what made you start?

I just love being creative and working with colour, and I knew I wanted to work in a bespoke way. I was commissioned by an international haircare brand to provide florals for a new product range launch, designing leis and headpieces with a Hawaiian theme. The research I did for that sparked my interest in wearable florals, it was a brilliantly fun three-part project where I could push my creativity.

"I JUST LOVE BEING CREATIVE AND WORKING WITH COLOUR, AND I KNEW I WANTED TO WORK IN A BESPOKE WAY" Image by Eneka Stewart Photography

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LONDON RUNWAY How is it different to create a headpiece as opposed to a more traditional floral arrangement?

It’s a totally different skill, it is very intricate and delicate, and far more time consuming than you would imagine!

There are various different methods of constructing flower crowns and headpieces, so it’s a matter of choosing the best one for the style I am making each time.

Of course, the major difference between wearable flowers and traditional arrangements is that there is no water source for the flowers, so while an arrangement can be made in advance, floral jewellery and headpieces are much more time sensitive and more difficult to care for.

Image by Eneka Stewart Photography

What kind of flowers are your favourite to work with?

Oh gosh, I wish I could give you a straightforward answer to this... but I honestly love all flowers! A few of my favourites would be Eustoma ‘Alissa Champagne’, the Allium family, the Avalanche spray rose, and I do love a scented garden rose too. And hydrangeas, I can’t get enough!

What I really enjoy is being able to create meaning through flowers, so using a specific bloom that the client loves, or that has a traditional meaning. And of course, creating corporate and event work too. One of my favourites to date was a ‘Pink Ribbon’ design for a Breast Cancer Awareness fundraising event.

What inspires you to create the designs and select which flowers should be used together?

I really like to make everything as individual as possible, so the colour palette and flower selection reflects the client, the event or occasion. I’m also interested in working more

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with seasonal and UK grown flowers, moving towards being as eco-friendly as I can!

I managed to carve out a little time to make myself a floral neck piece for a Remembrance Day ball, very simple but it felt great to wear something of my own!

How do you go about making custom arrangements and tributes?

Being able to relate to a client is so important, taking the time to get to know them, and often helping them to figure out what it is they want, when they can’t quite put it into words. Having an emotional connection helps me to focus the design and provide sketches and options which interpret the meaning and feeling behind it. I find it incredibly rewarding, particularly for sympathy tributes. Being able to support someone at such a difficult time, even in a small way, is really special.

How would you describe your personal style?

Hmm… I would say my style is quite eclectic. It kind of depends on my mood really, generally I tend toward elegant, classic styles, but I definitely enjoy a statement trend from time to time, and also have a hippy/boho side that makes an appearance! I like to be comfortable, (especially when I’m working), but I’m equally happy in a ballgown or jeans!

Why is it important that customers go to a florist, instead of buying flowers from a supermarket?

Lots of reasons! I would say that it’s important to find a knowledgeable florist that you trust, especially for special events.

Having that personal touch makes all the difference. For me, receiving a gift of flowers is an absolute joy, and if they are carefully chosen, and beautifully arranged just for you… well, that is incomparable.

The quality of flowers is generally quite superior from a good florist, and they will be able to advise you on flower care, how to get the most from your purchase, and help you to create a beautiful combination.

Lastly, I think it’s SO important that we all try to support small/local businesses. If we don’t, we all lose out to the big corporations.

When you are sending flowers, ensure you call a local florist.

Google often throws up the number for ‘middle man’ companies who then order your flowers for you, but take a cut and have no control over the quality of the end product.

It’s a really tough industry and good floral designers put their blood, sweat and tears into their work, so choose someone whose style fits with yours!

What do you think the next floral trend could be?

Well, of course I think everyone should be wearing flowers all the time! Floral jewellery is really trending now, and I think that will continue to grow and evolve.

My most recent creation has been ‘bump belts’ for baby showers, such a unique gift to make a mum-to-be feel really special.

For me, I will continue on my quest to be creative and to personalise floral art for as many people as possible, because the end result is always a smile, and what more could anyone want?

Find more from Lisa at instagram.com/bespokeflorist Images via Lisa Darban

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THE FRENCH GIRL RENAISSANCE Leah Buckle explores the new return to French trends that has crept up on us, and why we're obsessed with Gallic grace.

Summer 2018 has seen the revival of Parisian chic. Think slouchy t-shirt tucked into cropped jeans with just-out-of-bed perfectly tousled locks and minimal make-up look. Floral wrap skirts paired with oh-so-crisp white trainers and a little basket bag.

The effortless chic that we all aspire to.

It seems that the French have always had a reputation for being at the centre of fashion. Louis XVI and Marie Antoinette were renowned for their jewel encrusted finery and penchant for luxury. Even after the French Revolution and the end of monarchical excess, Paris quickly regained its standing as the capitale du mode. By the mid-1900s the first department store had opened in Paris and the Parisienne woman had become a cultural phenomenon, famously depicted by painters such as Renoir and Tissot.

Image via Jane Birkin

Image via Wikipedia

However, it wasn’t until the early 1900s with the advent of designers such as Paul Poiret and Coco Chanel that we see the beginning of the French style that is so iconic today. Poiret, a costume designer and couturier, abandoned the corsets that had been so fundamental to women’s fashion in the previous centuries, preferring looser silhouettes and simpler designs.

Building on this new trend, Chanel discarded a typically feminine style of dress, introducing androgyny to women’s design. Chanel revolutionised female fashion both aesthetically and philosophically, famously stating that: “Fashion has to do with the ideas, the way we live, what is happening." In her striped B

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Image via Fashionetter

Image via Instagram - leabonleabon

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reton top and loose trousers Chanel was redefining what it meant to be a woman; configuring a new way for women to interact with the world around them. No longer confined to restricting clothing, the French style heralded by Chanel was about female presence in public life, in the work place, and on the street.

features pictures of her lounging in the French Riviera in beautiful silk dresses from her clothing line or out and about on the streets of Paris, perched outside a coffee shop in straight leg jeans and a simple blouse, somehow oozing sexiness and chic without trying at all. The French have mastered the art of effortless glamour and we can but try to emulate it.

The fashion icons Jane Birkin and Brigitte Bardot, whose street style remains as influential today as it was in the 1960s and ‘70s, built upon Chanel’s subversive femininity. Birkin was a pioneer of the androgynous look. Her go-to outfit: a pair of flared trousers and a t-shirt, or even one of Serge’s shirts. Many have tried, but Birkin truly made stealing your boyfriend’s shirt a fashion statement. Bardot, more classically feminine in style, was a likely to be found in a shockingly short dress as a highpower skirt-suit. What these two icons had in common and what makes their sense of style so endlessly resonant is simplicity.

They were glamourous without all the glitz.

How to achieve the French Girl Look:

The French Girl Renaissance we’re experiencing now is a testament to the timelessness of this classic look. The pictures of Bardot or Birkin that regularly appear on my Instagram feed could have easily been taken by a fashion blogger equipped with a vintage-looking filter.

Brands such as & OTHER STORIES, ROUJE and RÉALISATION PAR have capitalised on this trend, turning it into every It Girls’ uniform. Jeanne Damas, the founder of ROUJE and part-time model, lives and breathes French style. Her Instagram feed

Simplicity is key. An outfit should never have too many patterns, ruffles or colours. Your statement pieces should have room to shine. A plain t-shirt or bandeau top looks great with a ditsy skirt, and a floaty blouse is perfect paired with jeans or black trousers.

Less is most definitely more.

Minimal make up. Think statement lip, sun-kissed skin and not much else.

Tousled tresses. Perfectly imperfect post-beach waves. If only we could live in Southern France all year round.

Live in jeans. Jeans can be dressed up with a nice blouse, a few accessories and statement heels. Or, dressed down with a t-shirt and trainers. The trick is to find a fit that is not too skinny and not too loose. The straight leg is always your friend.

Find more from Leah Buckle at instagram.com/leahhannahbuckle

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THE BIG QUESTION We asked, you answered

“My chosen superpower would be to fly. I would fly off to different destinations around the world. Help humans and animals. By travelling I would see more of this beautiful planet. Not forgetting to fly with the birds, over the oceans and under the stars. I could do it all and not tell – Marie Sansome, designer

“Would defo have to be teleportation” – Clarissa, model

“TO SILENCE PEOPLE. LIKE A MUTE BUTTON FOR AN HOUR OR SO” – STEPHANIE HARBER, HAIR STYLIST

“To be able to read people’s minds. I don’t like not knowing what people are thinking, it just really irritates me! I have these clients come in that say ‘I don’t know what I want’, and they have a million different pictures that they bring in, and I’m talking to them and they don’t like this one or this one. You brought these pictures, do you like this one? They say yeah, and I say that’s the one you should have brought!”

- Sejal Shah, designer

“I would choose multidimensional time travel” - Samuel Rangsamay, Photographer

“ABILITY TO HEAL” – AMIE EGAN, DESIGNER

“My superpower would be laser cut fingers – then I could cut any material without having to edge and produce fabulous designs and cutouts for hats!” @mrs_gaskett, milliner

“I would choose mind reading as my super power!”

– Ellie Dyson, Arts Editor

“To go anywhere I like in just one second – tomorrow I would just go to New York in one second! No more trains, that would be amazing” - Aneta Smagala, makeup artist “Probably teleportation so I could just get anywhere I wanted and see things” – Francesca Palumbo, designer

Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question

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CONTACTS A+ PHOTOGRAPHY - aplusphotography.co.uk ABBY LEWIS - shopabbylewis.com AFRICA FASHION WEEK LONDON - africafashionweeklondon.com AFRODITE - afo-dite.com AL JAWHARA DESIGNS - instagram.com/aljawhara_designs ANDREA MCLEOD - aplusphotography.co.uk BEAU SAPEUR - instagram.com/beausapeur BECCA APPAREL - beccaapparel.com BELOUIS COUTURE - instagram.com/beloiscouture BESPOKE FLORIST - instagram.com/bespokeflorist BRIDES DO GOOD - bridesdogood.com CANDICE WU - instagram.com/candice_x9 CHARMANIQUE THOMPSON - charmamua.com CLAIRE ALEXANDER - totallyflawless.co.uk DRESS FOR OUR TIME - dress4ourtime.org ELLIE DYSON - twitter.com/elliejdyson FEDERICA MARICOTTI - instagram.com/fedemolotov FIGURE OF A - figureofa.com FRANCESCA R PALUMBO - hundredshowroom.com/designers/francesca-r-palumbo FRESH AND DIFFERENT - facebook.com/Fresh-and-Different-109434579221043/ GEORGE AMUA - instagram.com/george_amua HCA CREATIVE - etsy.com/uk/shop/HCACreative HUNDRED SHOWROOM - hundredshowroom.com IAN CLARK - www.photobyian.com JADE ARMITAGE - instagram.com/jade_armitage KAILY O'BRIEN - kailyobrien.com KACHI BLAZERS - kachiblazers.com KANDUMATHI - kandumathi.com KITSCH STUDIO - kitsch-studio.com LEAH BUCKLE - instagram.com/leahhannahbuckle LISA DARBAN - instagram.com/bespokeflorist LONDON ARABIA ART AND FASHION WEEK - londonarabia.co.uk MERIEM EL HAJOUJI - instagram.com/meriemelhajouji/ PETER BEVAN - Peterbevandesign.com PRELIM - instagram.com/designsbyprelim RACHEL PARKER - twitter.com/rachelfrances_ REFRESH RESTYLE WEDDINGS - refreshweddings.co.uk RHIANNON D'AVERC - www.pcistudio.co.uk RUSUVERO - instagram.com/rusuverolove SAIMA MALIK - instagram.com/saimmakeup SARAYAA - sarayaafashion.com STEPHANIE HARBER - stephaniquestyling.co.uk STEPHANIQUE STYLING - stephaniquestyling.co.uk TIKZN - tikzn.co.za TOTALLY FLAWLESS - totallyflawless.co.uk WB COLLECTION - instagram.com/thewbcollection

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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

A/W 18

Front cover: Kaily O'Brien wearing Kandumathi and Figure of A, with makeup by Saima Malik, shot by Rhiannon D'Averc Back cover: Africa Fashion Week London shot by Ian Clark

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