London Runway Issuu 27

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RUNWAY

INTERVIEWS WITH SUSKI SUE + FAYE CLARKE . SMART FASHION . SOCIAL MEDIA BLUNDERS

LONDON

MINI MODE . TULLEY'S SHOCKTOBERFEST . ROCKER'S DELIGHT . JIMMY CHOO . HERRUNWAY

ISSUE 27 25TH OCTOBER 2018

LONDON RUNWAY

CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Staff Photographer: Ian Clark - shoots@londonrunway.co.uk Features Editor: Rachel Parker - features@londonrunway.co.uk Arts Editor: Naomi Purvis - arts@londonrunway.co.uk News Editor: Charlie Whitehand - news@londonrunway.co.uk Graphic Design: Peter Bevan - design@londonrunway.co.uk Illustrator - Pauline Kate - info@londonrunway.co.uk Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Contributors: Fil Mazzarino, Craig Hammond at Eldred Grove, Rocker’s Delight, Julia Holland, Kerry Curl, Gina Gambhir, Kennet Robertsen, Viktorija Mockute, Renee Baumann, Dew E Dew E, Ciinderella B, Gu De, Joanna Cunningham Special thanks to the Hemraj Goyal Foundation, Suski Sue, Kocca, Faye Clarke, Dyelog PR

Get more content and access to special offers and behind-the-scenes at patreon.com/londonrunway © 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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EDITOR'S LETTER Representation.

It seems like such a small thing – if you have it. It costs nothing. It feels almost ephemeral, intangible, something we never even think about because it’s so inherent.

Unless you don’t have it. Because then, it’s huge.

Growing up, I realise I was incredibly lucky. As a white female born and raised in the UK, I have had access to just about every privilege and opportunity available.

The only way I could have possibly improved upon things was to be born a man. When I opened teen magazines, and later fashion glossies, I saw women splashed across the pages that could have been in my future. I saw them in their elegant dresses, reclining across editorial pages or posing at events, and I knew I could grow up to be like any one of them.

But not everyone has that opportunity. Not everyone can get that feeling of possibility from reading a magazine. Some feel shut

out, isolated, unwanted. Their faces – their skin tones, ages, weights, or disabilities – simply weren’t featured in the pages. I’ve spoken to strong, inspiring, beautiful women who admitted to feeling ugly and unpopular because they had no representation at all.

We’ve come a long way in recent years. Women’s rights have never been so fiercely represented, and with people of colour now gracing the covers of many major magazine titles, it looks like there’s no holding back the tide. But, while it’s right to celebrate and embrace these changes, we must still remember that there are other people still waiting in the wings for their chance to be recognised.

Winning equality, or at least taking a step in the right direction, must always feel amazing. At the same time, however, we should be using these moments and opportunities to reach out for those who are still not being represented. We must call on fashion houses, on PR companies, on model agencies and scouts, and every other

facet of our industry to become truly representational and intersectional.

The London we see on the streets is the London we show on our pages – and it’s the London we’d like to see on our catwalks, too. Here’s to a new season of change, and to being at the forefront of making that happen.

You’ll be hearing from us about this matter again soon, and you’ll be hearing about it often. Speaking up just once isn’t enough: it’s only through repeated, loud, and multitudinous voices that real change happens.

If you feel that you aren’t being represented and would like to change that, please reach out to us on social media (@londonrunwaymag). We want to hear you – and we want everyone in the city to hear you, too.

Enjoy -

RHIANNON D'AVERC

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CONTENTS Photography Charity Fashion Show - 7 New Horizons - 13 Jimmy Choo - 19 Tulley's Shocktoberfest - 29 Richard Quinn - 38 Mini Mode - 46 Rock And Roller - 80

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Herrunway - 94 Roberta Einer - 113

Features Fashion News - 4 Smarter Fashion, Greener Outcomes - 11 New Face - 23 Interview with Suski Sue - 25 CEO Social - 35 Style Guide - 37 A Week In Beauty: Global Trends In Seven Days - 44 Singer And Fashion Influencer - 78 Interview With Faye Clarke - 92 Outerwear Through The Ages: What Would You Have Worn Through The Centuries - 110

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The Big Question - 117

LONDON RUNWAY

FASHION NEWS

BY CHARLIE WHITEHAND

UNDERARGUMENT: THE HOTTEST NEW LINGERIE BRAND Underargument is the new lingerie brand promoting selfacceptance and individuality. A multifaceted brand that reminds all of us to be okay with who we are regardless of whether it makes sense to others.

After years of working in the fashion and marketing industry, founder Maïna Cissé set out to start Underargument combining her lifelong lingerie addiction with her belief in the power of individuality.

She has created a collection of “wearable mindsets” reminding us all to "argue against the norm".

Each of the brand's products are labelled with their own ‘underargument’, a play on words and anagram of undergarment. They want to remind people that every time you put on your underwear you should feel free to express yourself no matter what. Maïna Cissé said, "If there is one thing the world does need right now, it's a shift of mindset."

The brand has just launched their first ‘underargument’ which has been named ‘For Awesome/Against Perfect’. These pieces are made of luxurious French velvet and Swiss

embroidered mesh and hope to encapsulate the core DNA of the brand. The brand website states that “the underargument is for the women and men who prefer to be themselves rather than to conform.

It exists for the lovers of individuality, those who see value in differences and progress in alternative ways.”

The brand places emphasis on their production standards, with craftmanship and sustainability being core elements. They guarantee quality products that last and source premium grade materials from Europe's finest craftsmen in France, Italy and Switzerland. In addition, all of their packaging is recycled, recyclable or compostable.

They also support communities such as the foundation Sekool, which was founded by their manufacturer in Madagascar. The foundation creates educational programs to re-integrate children from disadvantaged communities into the public school system.

The collection is available online and prices start from £45 for bras to £35 for bottoms.

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via Underargument

Because individuality matters.

LONDON RUNWAY

Via Amazon

AMAZON LAUNCHES FASHION POP-UP Amazon Fashion launched their first UK pop-up store on 35 Baker Street from 23rd-27th October.

The 3,000 square foot space plans to feature a selection of women and men’s clothing, brand experiences and activities. They will showcase a different selection of brands every other day.

Experiences are rumoured to include a Pepe Jeans denim customisation service, yoga sessions with Ella Mills and live acoustic sets from top British artists. Amazon said that they are “extremely excited” to launch their pop-up store and that they have “curated a selection of top brands and key fashion items, which we think our customers will love, all of which can be purchased virtually through the Amazon app or physically in store”.

In addition, each day will focus on a new theme. Tuesday will be centred around building the perfect A/W wardrobe as well as a DJ performance from Charlotte de Carle. Wednesday promises an evening of beauty with a panel discussion hosed by Vogue Beauty and Lifestyle Director, Jessica Diner.

Thursday will promote fitness and wellbeing, with a display of Amazon Fashion’s best sports and athleisure products alongside individually tailored advice from one of Louise Parker’s team of expert dieticians.

On Friday and Saturday, streetwear, party and denim will take centre stage. Customer will also be offered makeovers and hairstyling while they listen to a live acoustic set from Tom Grennan on Friday and NAO on Saturday Amazon Fire tablets will be dotted around the room showing the entire curated range at just a swipe of a finger. There will also be Amazon Fashion stylists on hand to help with sizing and fit queries as well as to offer styling advice.

The store will also feature a lifesize neon Amazon ‘smile’ seat, a juice bar and a ‘live wall’ for taking selfies. As part of Amazon’s omni channel retail approach all products will be available to buy in

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store or virtually using the Amazon ‘SmileCode’ scanning technology that can be accessed via the app. This system allows customers to order products that can be sent directly to their homes, work or Amazon locker collection points.

There will be many brands available throughout the week including designers such as Calvin Klein, Tommy Hilfiger, Vans, Levi’s, Paul & Joe, Gestuz, LOVE Moschino, Aldo, Antik Batik and Filippa K, as well as Amazon Fashion’s Private Brands such as Find, Truth & Fable and Meraki.

The brand said that “with the ongoing schedule of activities taking place throughout the week, we hope our pop-up shop will be an exciting and inspiring way to shop for fashion”.

The pop-up is only open for 5 days, so make sure you don’t miss out!

LONDON RUNWAY

ICON OUTLET OPENS AT THE O2 The UK’s first urban outlet has opened at The O2. London’s number one entertainment venue is providing customers with a new shopping experience.

The 210,000 square foot premium outlet space was developed by US entertainment group AEG and Crosstree Real Estate Partners. It features a futuristic design, 85 new stores and a strong brand mix. Labels will include, Cheaney Shoes, Aspinal, Gant, James Lakeland, Hobbs, Kurt Geiger, G-Star Raw, Ted Baker, Guess, Jack Wills, Levi’s, Pepe Jeans London, Phase Eight, Cath Kidston, Gap, The Cosmetics Company Store, Lindt, Clarks, Karen Millen, Radley, and Osprey London.

there will be 35,000 square foot of new restaurants, cafés and bars, as well as 50,000 square foot cinema extension for Cineworld and a 30,000 square foot trampoline park, leased to Oxygen Freejumping.

Leasing director, Marion Dillon, said in a press release: “Since revealing our vision for Icon Outlet, we have been targeting select brands to open new outlet concept stores at London’s most exciting new retail destination. Icon Outlet will offer a much-anticipated opportunity for visitors seeking new experiences at The O2, and we look forward to welcoming consumers from all over the world.”

AEG hopes the shops will “complete the circle” of attractions ringing the 20,000-capacity arena and draw in more visitors during the day.

The mall also plans to host a range of experiential services, including personal shoppers and stylists, hands-free shopping, and unique shopping packages and events. Not to mention, the brands will retail at a lower price than in their regular stores. Alongside the retail space,

Via Fashion Network

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The outlet is focused on a number of themes, “each reflecting consumer trends, and behaviour.” It presents the ‘Best of British’, offering both quality and heritage as well as ‘global fashion’ supplying premium brands from around the world. It will also offer ‘beauty and accessories’ and ‘sports and lifestyle’ brands.

Marion Dillon also added, “it truly merges retail, leisure, dining, and entertainment for the very first time and is the most relevant and exciting development to open in the capital for a number of years.”

The new stores opened on Saturday 20th October, so head on over and check them out!

CHARITY FASHION SHOW Photography by Julia Holland and Kerry Curl

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In partnership with Barnardo’s, the National FGM Centre, and BINTI, the Hemraj Goyal Foundation’s Charity Fashion Show combined both fashion and politics in an evening of awareness and celebration. With prosecco, cupcakes, canapés, brilliant performers, and passionate guest speakers, the event shone a light on the menstrual indignity that many girls and women still face today and the harmful mental and physical effects of FGM (female genial mutilation).

Stunning and elegant designs from designer Raishma glided down the runway. Presenting her couture and past collections, A/W18 Regal Elegance and S/S19 Decadent Romance, the pieces had intricate beading with lace and sequin accents. S/S19 had floral detailing and lighter colour palettes that contrasted with the darker toned gold-accented pieces from her A/W18 and couture collections. She also introduced a new collection, appropriately titled the Scarlett Collection, that had all-red pieces that exuded femininity, confidence, and control. The models walked down the runway with upside-down red roses that represented acknowledgement of the female genitals and her period.

LONDON RUNWAY

“TONIGHT, THROUGH FASHION, WE HOPE TO LEAVE KEY MESSAGES TOWARDS ENDING FGM.”

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LONDON RUNWAY

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LONDON RUNWAY

"I RESPECT HER"

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SMARTER FASHION, GREENER OUTCOMES Sustainability was this year’s fashion buzzword, but what does it mean in practice? Gina Gambhir examines whether smart fashion could be the answer to an industry plagued by environmental issues.

The fashion industry is taking a turn for greener pastures, with brands and consumers aligning on the same front and asking the questions that really matter. Is our fashion sustainable? Is it ethical?

Are we being smart about our choices? With these questions becoming increasingly prominent in the consumer consciousness, we could be set to embrace a time of smart fashion.

With influential decisions at our fingertips, we hold the power to redefine how fashion is sourced and produced for our future. Fashionista or not, our wardrobe choices are no longer simply about what just looks good. The decision of what to wear has evolved to encompass other factors that as a consumer we are ethically and environmentally bound to weigh in on.

With climate conditions calling out for urgent attention, the voices of pioneering designers such as Stella McCartney have finally hit home—

our only consolation here is that it’s better late than never. This year has seen an awakening for multiple leading fashion brands and designers, who finally appear to be delving deeper and rethinking their strategies. Of course, aesthetics matter—it’s fashion after all—but superseding the superficial pleasures of trendsetting comes a more objective consideration: sustainability. Can we uphold the balance between sustainability and trend, equating to the ultimate smart shopper of our time who embraces smarter fashion?

CAN WE BE SMART AND SUSTAINABLE? An increased awareness of sustainability is forcing brands to take responsibility for their actions as well as encouraging innovative methods to correct the mess being created.

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Measures must be implemented that benefit people and their communities as well as reducing damage on the planet, from the design right through to the recycling of clothes. The fashion industry can no longer continue its detached existence. After all, doesn’t it make sense to preserve one of the greatest inspirations for those alluring trends that grace our runways?

You may be surprised to learn that second to the oil industry, the fashion industry is the largest polluter of the world. With a global mass production of over a hundred billion garments each year, the alarming statistic is that only 1% of this is recycled, while over 80% ends up in landfills. The difference in waste and percentage reusability is clearly too vast to ignore. It’s clear that the time to explore serious measures for sustainability couldn’t be more pressing. Whilst we strive to look and feel good, it is coming at a

LONDON RUNWAY cost. A cost that is having catastrophic effects on our planet.

Should vanity come at such a price?

Surely not.

To understand the need for change we need to understand exactly what is happening beyond our consumer fashion bubble. Whilst choosing from the shop floor rails and discarding the obsolete garments from our wardrobes hardly sounds like the most drastic procedure (in the United Kingdom, consumers have about $46.7 billion worth of unworn clothes in their wardrobes, food for thought) the bigger picture has a different story to tell. In 2015, two billion tonnes of carbon emissions were produced by the global fashion industry, while it takes more than 5,000 gallons of water to produce just a T-shirt and a pair of jeans. Very few communities have textile recycling programs and about 85% of this waste goes to landfills, whilst 95% of textiles could be recycled. In China the textile industry wastes over 2.5 billion tonnes of water, making it one of the top three global water wasting industries. If we were to use recycled cotton, we could save up to 20,000 litres of water per kilogram of cotton.

Needless to say, the rise of fast fashion does not exactly help the urgent nature of the situation. In fact, it is one the major contributing factors towards the increased global garment production. “Extreme convenience leads to extreme waste”, stated a lead speaker at the Ellen MacArthur Foundation Summit 2017. However, the rising awareness of the need of sustainability has summoned the attention of global leading brands.

HOW BRANDS AIM TO CHANGE THE FUTURE One of the core principles voiced at the Copenhagen Fashion Summit 2018 was the need for brands to take responsibility for their actions, taking smarter steps for production and manufacturing. Consumers still want access to great quality fashion but now the grounds rules are changing, calling for production methods which yield less waste whilst using materials that are both ethical and eco-friendly, transitioning the fashion industry to a more circular economy.

With one eye on the ball of sustainability, the path forward requires innovation and technology to reach the new goals. In production, industrial pioneers will be encouraged to source recyclable materials holding principles of restoration and regeneration at their core, ditching the old ‘take-makedispose’ system. Let’s look at polyester for example, one of the most common fabrics used for clothes. This material is made from petroleum, which means it is difficult to recycle to a high quality.

However, industrial innovation has found a microbe which can break down polyester back to its raw components, making it perfect for reuse. The silver lining to this, if one was needed: this process is actually cheaper then creating the material from petroleum in the first place.

As for cotton, it is not only hard to work to produce but also difficult to recycle, not to mention the pesticides required for production.

However, an eco-friendly solvent has been created which dissolves old cotton clothing into a cottonlike material. This can then be spun into new fibres with an added benefit of eliminating waste. These are just a few examples which form part of the Circular Fibres Initiative Vision, an initiative by the Ellen MacArthur Foundation for the future of the fashion industry.

Chemicals which pose a harm to the environment and cause skin irritation will also be eliminated from the sustainable process.

When it comes to waste, brands will encourage consumers to become more mindful about their purchases and their garment’s durability. In order to encourage consumers to buy less and recycle more, brands such as Zara are installing collection bins across their stores in China and pledging that by 2020 they will no longer sell clothing that will end up in landfills. H&M were one of the first brands to introduce a garment collection scheme in all their stores around the world willing to accept textiles in any condition from any brand.

On the ethical side, companies are beginning to do more to ensure their

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workers have safe working environments as well as helping their local community. For example, the US brand Eileen Fisher run a project in India to empower their workers based in rural communities.

With consideration being given to the impact of the garment process from start to finish, the value of the fashion industry is slowly but surely metamorphosing into something which adds greater value to its holistic existence. With the injection of radical changes to the mindset of the industry we are going into an era of smart choices with our fashion.

CAN WE WORK IN SYNERGY? As brands make their much overdue shift towards a greener future, so must we. After all, we cannot underestimate the value of the influence that we as consumers hold. The key tool at our disposal is knowledge. Whilst the fashion industry evolves to embrace crucial issues about the origins and making of garments, so must we. The key emerging marketing point for brands is transparency. As consumers we are increasingly growing aware that we are not simply buying a garment from a brand, we are more drawn to buying into the ethos of the brand. 66% of the world’s millennials are willing to spend more on sustainable brands- and an ethos of credibility can only encourage loyalty. Do not hold back from raising questions where information is lacking whilst also researching the brands that are making the necessary changes.

The underlying principle is to become more mindful about our purchases from the moment we choose to own a garment right through to our means of discarding it. By no means does becoming smarter with our fashion warrant a loss of love for the creativity that inspires our daily attires. If there is anything to take from here, it is the power our choices hold. Small choices they may feel, but collectively they hold the power to create a profound difference on having a greener future for our planet.

NEW HORIZONS Photographer: Ian Clark Model: Ciinderella B Wardrobe: Dew E Dew E and

Gu De, presented by Kocca

Cinderella wears Cutting Dress Red - Price on request. Dew E Dew E; Milky Bag Black - Price on request, Gu De

Cinderella wears Ribbon long dress white - Price on request.

Dew E Dew E; Eli Bag Black - Price on request, Gu De

Cinderella wears Ribbon long dress white - Price on request. Dew E Dew E; Eli Bag Black - Price on request, Gu De

Cinderella wears Cutting Dress Red Price on request. Dew E Dew E; Milky Bag Black - Price on request, Gu De

Cinderella wears Ribbon long dress white - Price on request. Dew E Dew E; Eli Bag Black - Price on request, Gu De

Cinderella wears Ribbon long dress white - Price on request.

Dew E Dew E; Eli Bag Black Price on request, Gu De

LONDON RUNWAY

JIMMY CHOO Would you ever say no to a Jimmy Choo? These shiny, sparkling numbers hit the carpet at a special event in London.

The bejewelled footwear is part of the Genevant line, created by Choo in collaboration with jeweller Reggie Hung. You’re sure to see more of this new luxury brand in the future, so keep your eyes down and watch out for the glitter.

Photography by Fil Mazzarino

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LONDON RUNWAY

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LONDON RUNWAY

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LONDON RUNWAY

NEW FACE Name: Kennet Robertsen Age: 23 Location: East London Agency: Unsigned

Do you have an unusual talent or party trick?

I’m a professional dancer, so my party trick would be twerking!

How long have you been modelling for?

3 years

What would surprise people to know about you?

I’m a vegan.

Where are you from originally?

Tromsø in Norway

What are your modelling ambitions?

To join an agency. Also having something to look back on, because dancing is in the moment and is just gone, but pictures stay.

What’s your philosophy in life?

Tie the knots of life and see how things fit together, how they affect the world in good and bad ways.

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Photography by Rhiannon D'Averc

SUSKI SUE INTERVIEW

Rhiannon D’Averc sat down with Suski Sue, the designer behind label Black Doll Boutique, to discover which bands inspire her aesthetic and why she chose to move to London from her native Finland.

Tell me about Black Doll Boutique?

Basically, I’m mainly self-taught. I’ve been doing lots of sewing since I was a kid. I had a Barbie doll called ‘the black doll’, so I decided to call my label Black Doll Boutique. Years go by and I was like, I need to do something about it, and I got a tattoo which was the logo as well. I love so much gothic music, and rock and roll and stuff like that. Because my flatmate works in a rock and roll magazine as well, so I got really into it. I was like, I’m going to start my own label, and I went to [Central] St Martins for a little bit. I was there and then I realised, actually, I’m not learning that much in there that I can actually learn from something else, and I could learn by myself. I thought, okay, well, I’m going to start from scratch, and start building this label based on a gothic environment. But it’s an aesthetic way as well, because I love loads of sequins and cocktail dresses, so that was the whole idea behind it – but still keep it gothic-y.

"WE’RE DEPRESSED, YOU KNOW, BECAUSE OF THE WINTER – SO EVERYTHING HAS TO BE BLACK" The collection is quite accessible. I don’t necessarily dress in a gothic style, but there are lots of designs of yours that I would wear.

Yeah, that’s what a lot of my friends say as well. They’re not really into it at all, but then they would wear that sequin dress on a night out or something. I tried to make it commercial gothic, if that makes sense.

Who would the ideal customer wearing your aesthetic be?

The ideal customer could be anyone between, let’s say 18 and 45, because lots of my friends who are around 45 are really into the dresses. Then also, their kids are really excited about wearing a velvet cocktail dress or something.

I would say there’s a huge target in there in that way.

You use luxe fabrics like velvet and sequins a lot.

Yes, velvet, sequins and lace are my favourite ones. I try to stay away from other fabrics because I feel comfortable with these fabrics, so I have a proper quality. They’re done perfectly, instead of trying to achieve something that I can’t.

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LONDON RUNWAY fan. I actually went to see his wardrobe when he was playing in London last time. I was looking at them like “AHHHHHH! Amazing!!”

But that’s menswear anyway… they were quite womenswear to be honest with you, like fur coats and everything, and I was thinking I could put them on!

Did you ever consider doing a different career?

I wanted to do this and that, like little kids do. But I was always making dresses for my dolls, so that was always in my background. I was working in a pub here for five years, and then my friend got me to go to St Martins – actually walked me down to the reception, like “here you are”!

Because I really didn’t want to go.

Just denied the fact that I really needed to get on with things, basically. I’m glad he did, otherwise I probably would have not opened it at all.

Do you think your Finnish background has an influence on the style that you’ve chosen?

Yeah, probably! We’re depressed, you know, because of the winter – so everything has to be black (laughs). I try to get out of my comfort zone.

The other thing I do is stage wear for bands, and I’ve already done a few bands, but then someone was asking me to do red I was freaking out because it was outside of my comfort zone. It turned out okay, but not amazing. I prefer to stick to black.

Black is better for women anyway, because it slims you.

So, what made you choose to come to the UK? Because I got an internship here. I was working for a designer called Catherina Eden, and I was emailing her a few times and then I got a response. She flew me over here, and then I was here for a few weeks.

Obviously, I probably did a good job or something, because then she invited me back after that. I was basically just sewing prototypes and doing buttons, and just learning the fashion culture here – because it’s

Which bands have you worked with?

I worked with Goldray, HIM – a waistcoat – and there’s been a few others as well, but not really huge bands. That’s why I’m hoping to get somebody big who’s wearing it on the red carpet or something.

Who would you love to dress?

I would say I would love to dress Fleetwood Mac – Stevie Nicks for sure. I love her because I love fringe for sure, so that would by my ideal.

Or Paloma Faith. She’s a bit experimental. That would be another one. Obviously, my favourite – Marilyn Manson… [ed’s note: Suski is wearing shoes with Marilyn Manson’s face printed on them during our interview] I’m a massive

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completely different to what it is back at home. I was really young at that point as well, so that was really helpful. Then I decided to move over here permanently, and I was working in a lot of clothing shops like Rocket Vintage, in Brick Lane, in Camden, Dolce & Gabbana, all sorts of places. I decided to stay, but I was always thinking it’s better to work in a pub for a while and then set up my own business and work for myself, see how it goes.

LONDON RUNWAY

How would you describe your personal style?

Funnily enough, even though I love to do dresses – cocktail dresses, evening dresses, whatever – I don’t like to wear them! My personal style is basically skinny jeans, a nice top or even t-shirt, big hair, and lots of makeup like Marilyn Manson wears (laughs). And trainers or sometimes high heels, but I’m quite basic.

That’s my own style, but when I like to dress other people, that’s a completely different story.

Why do you think it’s so different?

I don’t know, it’s really weird. I was thinking, should I wear something I’ve done, like a dress or something for today, but then I was like no – I’ll be so uncomfortable. But when I dress someone else, I’m super happy. I just want to put leggings or skinny jeans on, or a mini skirt and a crop top, and aviators, and here we go! (laughs)

Tell me about some of your tattoos.

Yeah, I love tattoos. I’ve got quite a few of them, I would love to get more. I tattooed my chest about ten years ago. All of them have some little story. It would take hours if I get into it, but this [tattoo] is my mum’s rose garden, where she used to have her poppies in there. Then I love Smashing Pumpkins, so this is ‘Adore’, the album. That one’s from Black Sabbath, Marilyn Manson… that’s old school scissors that were used to cut fabrics. That’s a heart for Smashing Pumpkins as well. This is from Horrorpops, this skull, from the album cover – but I was like 15 when I got it! (laughs) Then I got the logo tattooed on my shoulder. This is from my Grandad’s grave, the roses.

I took a picture and got it tattooed on my chest. So that’s it, briefly!

Music is obviously really influential for you.

Yeah, totally.

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Do you think there are touches of that that come out in your designs?

Totally. I get influenced all the time.

Bits and bobs from what I see, even like Stevie Nicks’ latest outfit, so I’ll get the fringe over there and modify it to the way I would like to wear it, or Marilyn Manson of course, or Smashing Pumpkins… the album ‘Adore’, there’s this amazing gown on the cover of the album, so it’s really cool. Lots of chiffon in there. I don’t really like working with chiffon, but if I have to, I will.

Do you have a new collection coming up?

Yeah, I’m hoping to get new stuff out ASAP. We already took some pictures, I’m just waiting to get them. I’m off to New York just to see what’s going on over there. I’ve been there four times this year already.

I’m quite influence by what’s going on there. The fabrics and materials are so different over there. Then I

LONDON RUNWAY

competing, competing, and competing, so that’s what I think personally.

What will we see in the new collection?

It will be more glam. There will be lots of sequins and less fringe, that’s for sure. A little bit of velvet and different materials, but lots of sparkle.

have a photoshoot happening in NewYork as well with a local model, so that’s happening. I’m hoping to get everything out before Halloween, but I think Halloween is important for me. Christmas and New Year too, obviously, but always Halloween.

"HERE IT TAKES FOREVER BECAUSE EVERYONE IS COMPETING, COMPETING, AND COMPETING" What do you see as the biggest difference between New York, London, and then Finland for their fashion scenes?

There’s a huge difference, I think. I was doing lots of stuff on the side in Finland, but I didn’t think I was going anywhere. There wasn’t that market for what I wanted to do. I don’t think people understood what I was trying to say. Then I came here

and the competition is so hard, everyone wants to do exactly the same thing and exactly the same kind of style, you have to be super special to make it or you have to have a lot of financial support as well. Which, I don’t think is necessary, you know? You can just take selfies on Instagram and become famous! But then, when I went to New York, I met people on Instagram and they said “Okay cool, let’s shoot”. They were there like that (clicks fingers). No one cancels anything, I’m getting the photos, they’ve got a completely different approach to everything. They want to make money, so they’re like, let’s make this happen, you know what I mean? Let’s get big. If they believe in you, they will make it happen. I didn’t even know these people – I thought, okay, cool, how can I trust them? But it went really well, and now I’m going to go again next week, so I’m super excited. But here it takes forever because everyone is

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So, we know Smashing Pumpkins, Fleetwood Mac, and Marilyn Manson – are there any other big bands that really influence you?

Yeah, Sisters of Mercy. I love them.

Not in a style way, but how they were in 1985 – the hats… they were super cool. Even though it’s menswear, it still inspires me because I can change that around to womenswear.

But this time around, I’m going to use less hats! I’ve been using hats quite a lot, so that will go away. And the chokers, they’re gone. It will be more cocktail dresses, a little bit of glamour in there. There might be some hats… I’ve been so much influenced by 1985 Sisters of Mercy.

Find the new Black Doll Boutique collection online at blackdollboutique.com Suski Sue portrait by Rhiannon D'Averc Album covers via Marilyn Manson, Smashing Pumpkins, and Sisters Of Mercy Other images via Suski Sue: Models Carol Borges and Christina Christofi

TULLEY'S SHOCKTOBERFEST These images are from the opening night at Tulleys Farm from this years Shocktober Fest. The black carpet was rolled out for celebrities who were brave enough to venture into the night and the attractions that were created for their pleasure. They ranged from cast members of Love Island, X Factor, Eastenders, Gogglebox and TOWIE to some of the top bloggers and singers. The staff had some amazing costumes and makeup to really give the full horror experience.

Some notable people in attendance included Larissa Eddie, Amel Rachedi, Maison Noise, Charity Kase, Sandi Bogle from GoggleBox, Dean Gaffney, Talulah Eve of BNTM, Keiran Hayler, DJ Ikonik, Sam Black, Amelia Goodman, Naomi Isted, and Love Island alumni such as Georgia Steel, Sam Bird, Hayley Hughes, and Chloe Crowehurst.

Photography by Ian Clark

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CEO SOCIAL Rachel Parker discusses how fashion and beauty CEOs on social media can hinder as well as help a brand.

It’s a truth universally acknowledged that in the modern world, all fashion and beauty brands need a strong social media presence. There’s no better way to build a brand identity than to fill your Instagram with beautiful images, or to tempt customers into a Sunday afternoon shopping splurge when a sale appears on their feed.

for its bizarre approach to social media strategy—strewn with shakily filmed videos of Truaxe announcing everything from public firings and supply chain communications to arguments with customers.

In October, the brand made headlines when the CEO posted a minute-long monologue stating “This is the final post of Deciem. ... We will shut down all operations until further notice, which will be about two months.

Please take me seriously.” Deciem

But what about those faces behind the brand, particularly those at the very top of the company? The question of whether CEOs should be active on social media has been a hot topic throughout the past months as a result of Elon Musk, who was fined and forced to step down as Chair of Tesla after he tweeted about taking the firm into private ownership. On one hand, a socially engaged CEO offers a perfect opportunity to maximise exposure, convey a brand ethos and build a personal relationship with consumers.

However, in an industry as imageobsessed as fashion, the dangers that an unfiltered public platform can present for a brand are clear.

These dangers were recently illustrated by the beauty brand Deciem, who removed their founder Brandon Truaxe as CEO after he posted a number of confusing announcements on the company Instagram account. Branded ‘The Abnormal Skincare Company’, Deciem shot to fame for their The Ordinary range, beloved by beauty experts and regular women alike for their simple formulation, unfussy packaging and affordable price points.

Truaxe shared a video of himself in January stating that he had ‘‘realised what we all know: marketing is simply a way to try and convince people to buy what they don’t want or don’t need’’ and would therefore be taking control of the brand’s social media presence. Since then, the Deciem Instagram feed became notorious

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stores worldwide were closed, until an injunction by shareholder Estée Lauder led to a ruling that Truaxe should be removed as CEO. The controversial posts have since been deleted, but the brand has lost thousands of followers.

It’s not just beauty brands who are notorious for their outspoken CEOs. Adam Frisby, the founder of InTheStyle, a fast fashion ecommerce brand famed for its collaborations with high-profile bloggers and reality

LONDON RUNWAY TV stars, was recently criticised for entering into a public Twitter argument with influencer Grace Victory. Grace claimed that she was asked to take part in a TV campaign and photoshoot, as well as to provide social posts promoting the brand, without receiving any fee. The InTheStyle CEO responded to deny the claim and assert that ‘‘It’s influencers like this who have become so self-obsessed and arrogant that actually they give others a bad name’’. Other bloggers weighed in to discuss the issue of an industry fuelled by unpaid creative work and criticise Frisby.

It’s not the first time the InTheStyle CEO has used his personal and professional platform to court controversy. The brand went viral

over summer for their livetweeted commentary of ITV’s Love Island, responding to one dramatic recoupling with a WEHATEJOSH discount code and tweeting ‘‘Well one thing is for sure… we won’t be giving Megan a discount code girls’’. Frisby then tweeted from his personal Twitter account ‘‘My brand, my rules…”

While some have criticised the outspoken CEO for his use of social media, it’s certainly true that for an ecommerce retailer, an active and attention-grabbing online presence is crucial. But InTheStyle’s strategy is not without risks—igniting a Deciemstyle controversy can damage a brand’s reputation as much as it can increase exposure.

Yet there are some executives who have been praised for their use of social media to engage with consumers. Emily Weiss, founder and CEO of the beauty company Glossier, has 409k Instagram followers, nearly a third of the following boasted by her brand. Weiss’s Instagram serves as a personal as well as business account, which she uses to share snapshots of her own life, travels and achievements alongside new product launches and promotions.

Perhaps the difference is that Weiss started out in the world of beauty as a blogger and Glossier is known as one of the most successful ‘Instagram brands’, a company with social networking built into the DNA of its business model. The brand used Instagram to build a cult following and loyal consumer base from the moment of its inception, interacting with followers and forging direct connections with fans of its millennial-pink aesthetic. The CEO’s strong social presence acts as an extension of this brand identity, carefully curated to strike the perfect balance between relatable and aspirational.

While traditionally, fashion executives have been fairly hidden from the public gaze (Philip Green notwithstanding), the opportunity to become an influencer within your own industry has multiple benefits for figures at the top of a brand. It’s hard to ignore the three billion social media users worldwide offering new opportunities for communication, collaboration and investment. Yet the unfiltered nature of social networking does present its risks for brands with outspoken executives. Whether it’s better for CEOs to be socially connected or to remain shadowy figures hidden at the top is up for debate—but it’s clear that some brands must wish their leaders would steer clear of Twitter.

You can read more of Rachel’s work at www.rachelfrances.co.uk

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STYLE GUIDE selected by Rachel Parker

Lindex Spider Earrings £2.99

Henrica Langh at Uhuru Memento Mori ‘Rib cage’ vest £57

Mother of Pearl Francis Jacquard Jacket £595.00

People Tree Halima Velvet Skirt in Black £65.00

SUSTAINABLE GOTHIC Beyond Skin Silka Black Lace-Up High Heel Vegan Boots £150.00

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RICHARD QUINN Sending out models in all-black bodysuits that also covered the face was always going to get people talking.

But really, prints were the big news for Richard Quinn's S/S 19 collection. They blossomed and roared, with designs inspired by nature in startlingly bright shades.

The real highlights were in the details. It takes looking closely at some of the designs before you notice something like feathered footwear or the way the bodysuits slowly morphed into matching gloves and tights. Worth a second look, we think.

Photography by Fil Mazzarino

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A WEEK IN BEAUTY: GLOBAL TRENDS IN SEVEN DAYS Viktorija Mockute explores how global beauty trends influence our make-up bags, every day of the week.

Beauty is an international language and it is a universal truth that women from around the world love makeup. Through the use of subtle and bold looks, individual traits of various cultures are expressed and shared between women of all backgrounds, and these looks become a form of art in their own right as they inevitably change with time. England has been well known for its minimal approach to makeup while places like Italy have incorporated eye-catching colours into their looks. Beauty trends vary from place to place; however, some items have become worldwide essentials.

MONDAY - ENGLAND: Women in England have traditionally taken a less-ismore approach to beauty. Whilst dramatic contour has been in the spotlight, cheekbones should remain delicate with liquid highlighter as opposed to the powder type; this will result in a natural glow which can be paired with a subtle eye liner. To maintain a radiant complexion in rainy weather, women in England nourish their skin from within. A healthy diet and vitamin supplements can help with this, combined with a simple skincare routine consisting of a cleanser and moisturiser.

lashes are coated with a layer of mascara. A bold red lip completes the look. In order to maintain a natural dewy complexion, French women have been known to perform facial massages, often done with a cleansing balm to remove impurities.

WEDNESDAY - SOUTH KOREA: Established through South Korea’s cultural fixation on health, the ten-step routine has turned into a global phenomenon allowing Korean women to boast their porcelain skin. For some this may be a daunting number of steps. A simplified version comes into place for the modern minimalist.

The recipe for this effortless five step routine requires only five items: a cleanser, a toner, a

TUESDAY - FRANCE: French women have always been famed for their effortless Ă la mode looks. Their minimalist makeup routine consists of only a few essential items used to accentuate their unique features.

A fresh face is achieved with a rose toned blush extending to the temples of the cheeks as the

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serum, an eye cream and a face cream. A face mask can also be easily incorporated into this regime to add great benefits.

THURSDAY - BRAZIL: Brazilian beauty has always been innocent with an added plot twist. Bare skin, bright eyes, and an effortless glow are standard, but matte lips have definitely made their mark in Brazil in the recent years. Matte lipsticks can be paired with a powdered highlighter for a radiant glow. Nude shades will give a balanced look whilst bright colours will bring attention to the facial features.

Matte liquid lipsticks from Anastasia Beverly Hills provide long lasting colour and an endless array of shades to choose from.

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FRIDAY - CANADA:

Images via Pexels

The typical Canadian makeup bag includes just a few simple key products: a light coverage foundation, a nude lipstick, and most importantly a brow pencil. Bold brows have become Canada’s all-time favourite beauty trend—the fuller the better. To get the Canadian look, groom natural brows into place and fill them with a brow pencil if need be. Anastasia Beverly Hills gives the very best brow products, which should be staple items for any makeup bag, Canadian or not.

SATURDAY - RUSSIA: With Russia being known for its beautiful models, it is no surprise that glamorous looks are becoming the norm there and false lashes are a staple item when emulating these looks. Russian women have long been famed for their sharp facial features like those of supermodel Sasha Pivovarova.

Contouring can do wonders for the face as it emphasises the structural features that bring the look together. Hourglass cosmetics have contouring palettes that make achieving this look as simple as applying a set of false lashes.

SUNDAY - ITALY: Looking local in Italy is simple with the right colours. Italian women love incorporating colour into their looks, whether that's a signature red nail polish or a bold eye shadow.

Experimenting with different lip shades and bold eye shadows can be a fun experience. Urban Decay have a range of palettes to brighten the eyes and fit any look ranging from natural to the most daring.

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MINI MODE

Mini Mode was an impressive celebration of all things childrenswear. The kids themselves took to the catwalk, with devastatingly cute results (and more than one wanderer who decided the runway should be taken in a different direction). They say never work with children or animals, but these brands are definitely pulling it off.

The brands that appeared were: Infantum Victoria, Small Stories, Hugland, PezPunto, Kimba Kids, JNR Nation, Iscream, Hunter + Boo, Shokunin Shoes, ARI London, Coco Chic, Jenni Dezigns, Leya.Me, Roses and Rhinos, Teasy Shiruo Sun, SarBear Designs, Koh Mabby, Bebebebe, Alexander Evans, Tarantela, Little Borne, Chakra Design Studio, Isossy Children, Kidette, Adam and Louisa, Deena London, Liberated Folk, Zoobug London, and Yoi Socks.

The show was also presented by, and contained entertainment from, children. The entertainers pictured here included singer Josie, rapper Olivia, and performer Danny Ash. Photography by Rhiannon D'Averc

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SINGER AND FASHION INFLUENCER Renee Baumann explores how Zara Larsson has made her mark on the fashion industry with her outspoken views of feminism, the influence of her model boyfriend and her music.

Zara Larsson is perhaps one of the most remarkable young artists of our generation.

Making a name for herself worldwide, she had a humble start to life in Stockholm. Now Zara Larsson is known for her outspokenness, her strong feminist views and her music which empowers young women all over the world.

As we can see with this year's Paris and Milan Fashion Weeks, Zara has always been interested in fashion, wearing clothes ranging from Balmain and Moschino to Miu Miu and Giambattista Valli. She was also asked to perform at the Etam Live Show and the amfAR Gala Milano, where she sported a beautiful Moschino floor-length gown, embellished with BVLGARI diamonds. Being an influential artist we are not surprised that the singer too wanted to spread her message of selflove and feminism through her fashion.

Zara Larsson has undergone many changes to figure out her signature look, similar to many other singers who have a particular style with which we associate them. Take, for example, Beyoncé’s various skin-tight bodysuits or Michael Jackson's gloves.

Although the singer has only recently found her official look, we now see her wearing custom-made outfits for her performances.

Displaying her initials Z and a reversed L in white and black, she makes a strong mark on her fan's idea of her. But this has been an ongoing development, as earlier looks the singer wore in her career were similar to the American artist Ariana Grande, with both of them frequently wearing knee-high boots with an oversized t-shirt dress. Zara Larsson made a debut with this look in her infamous ‘It Ain’t My Fault' video, where she wore

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sparkly silver over-the-knee boots and an oversized white t-shirt dress. This same idea was later translated into her collection where we first got an introduction of Zara as a fashion designer or part of the fashion industry, as H&M announced their collaboration with the ‘Lush Life’ singer. The collection was a reflection ‘of fierce and feminine women, but also the pop star’s personal style’ as described by H&M. The clothes included knee-

-high boots, oversized shirts, denim coats and comfort wear.

And most of the clothing sported the iconic line ‘Lush Life’ taken from her hit single, released back in 2015.

Throughout the whole collection, Zara was preaching a strong message for all women, with jumpers covered in words such as ‘Equality’, ‘Feminist’ and ‘Girl Power’.

She also included a more comical take on cat calling as an oversized denim jacket read ‘Cats against catcalling’. The collection is dominated by the colour pink which Zara Larsson explains as being a ‘feminine, powerful’ colour which ‘everyone looks good in’.

Just a few months ago we have seen the singer not only make bold statements with her music but also with her hair.

She was pictured at the Coachella Festival 2018 with a brand new mix of turquoise and blue hair. This is a trend which we have seen on other celebrities such as Kylie Jenner and Dua Lipa. Kylie Jenner is known for her colourful wigs and choice of bold colours, so it wasn’t hard Zara to fit in.

The naturally blonde singer was also joined by her boyfriend who had made a significant change to his look, as he dyed his naturally dark brown hair to bleached blond.

But this is not the first time Zara had changed her hair; in the music video for ‘Symphony’ we are introduced to a gorgeously blended pink colour faded into her blonde hair.

dating in June 2017. The pair have appeared together in the media, with Zara talking about her long-distance relationship with her boyfriend of two years and the struggles they face with their schedules being very different. Brian is on his way to becoming a world known model for his poignant green eyes and mixed skin. His knowledge and current involvement in the fashion world could be a strong reason as to how the singer stays on top of all the fashion trends and has increased her presence at this year's fashion month.

Zara Larsson is an exciting and new influence in our understanding of music and fashion. She has made her mark with a strong and outspoken collection and made a conscious effort to always stay on top of current fashion trends. Zara has achieved a high status within the fashion industry because of her hands on attitude and involvement in the creative process but also because she is a fashionforward woman representing all women.

Images via Wikimedia Commons: Tore Sætre; Daniel Åhs Karlsson; Frankie Fouganthin Below: via H&M; via Instagram

As mentioned before the Swedish singer has recently become more present within the fashion world and we could attribute this to her British model boyfriend Brian Whittaker, whom she started Model wears: Item - £, designer

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ROCK AND ROLLER Every now and then a designer comes along who challenges the status Quo, tests the boundaries and simply does what he loves.

Meet Dave Little; artist, entrepreneur and all round good guy. Here is an exclusive look at his first collection under the Rockers Delight label.

With over 30 years of design experience under his Rockers Delight skull belt, Dave has worked with some incredible brands. He is well known for his amazing record sleeves and posters that he created for the likes of Paul Oakenfield, William Orbit, Bomb The Bass and SExpress to name just a few.

Some of his work can even be found in the V&A Museum, as well as displays in Berlin, Paris and Rome. So if that isn’t recognition that he is, one of the UK’s leading lights in design, I don’t know what is!

Wording by Eldred Grove

www.eldredgrove.com Photographer - Ian Clark Model - Craig Hammond Wardrobe - Rocker's Delight

Craig wears: Julius 44 Dot Camo Jacket - £400.00, and Truman 44 Dot Camo Trouser - £250.00, both Rocker's Delight

Craig wears: Tanet Work Pant - £170.00; Sachi Work Shirt - £120.00; and Marvin Skull Buckle Leather Belt - £70.00, both Rocker's Delight

Craig wears: Tanet Work Pant - £170.00; Sachi Work Shirt - £120.00; and Marvin Skull Buckle Leather Belt - £70.00, both Rocker's Delight

Craig wears: Tanet Work Pant £170.00; Jett Cafe Racer Leather Jacket - £1000.00, both Rocker's Delight

Craig wears: Tanet Work Pant - £170.00; Jett Cafe Racer Leather Jacket - £1000.00; and Ruben Skull Print Sweatshirt, all Rocker's Delight

Craig wears: Tanet Work Pant ÂŁ170.00; and Ruben Skull Print Sweatshirt, both Rocker's Delight

Craig wears: Tanet Work Pant £170.00; and Sachi Work Shirt £120.00, both Rocker's Delight

Craig wears: Tanet Work Pant - £170.00; Sachi Work Shirt - £120.00; and Griffin Half Moon Gilet £120.00, both Rocker's Delight

Craig wears: Tanet Work Pant - £170.00; Sachi Work Shirt £120.00; and Griffin Half Moon Gilet - £120.00, both Rocker's Delight

Craig wears: Tanet Work Pant £170.00; Sachi Work Shirt £120.00; and Jayce Shore Pea Coat - £250.00, all Rocker's Delight

Craig wears: Tanet Work Pant - £170.00; Sachi Work Shirt - £120.00; and Jayce Shore Pea Coat - £250.00; and Marvin Skull Buckle Leather Belt - £70.00, both Rocker's Delight

Craig wears: Tanet Work Pant - £170.00; and Sachi Work Shirt - £120.00, both Rocker's Delight

Model wears: Item - £, designer

FAYE CLARKE INTERVIEW

Meet Faye Clarke, the graduate designer hoping to inspire change amongst the fashion industry and encourage inclusive clothing. Her graduate collection incorporates new technologies with innovative design, featuring a smart labelling system which is aimed at creating more accessible garments for those who are visually impaired. She has also started her own business Ma’s House to pursue this concept further. I was able to speak to her amongst her busy schedule to find out more about her inspiration and why accessible fashion is something she’s so passionate about.

Give us an overview on your fashion background and how you’ve got to where you are now?

I recently graduated from Portsmouth university with a degree in Fashion and Textiles and I’m currently studying for a MRes in Creative Industries. My graduate collection was chosen to represent the university at Graduate Fashion Week in London and it was there that I made great connections with people in the industry, ultimately leading to me being offered to showcase at IGL (International Jewellery London). As I still want to develop my research around accessibly fashion, the Masters is allowing me to explore this further so that I have a real depth of knowledge to back up future collections. Within this my research paper will be a discussion into what issues people with disabilities currently face within the fashion industry and will then focus more on those who are visually impaired.

"MY MUM IS MY MAIN INSPIRATION AND REALLY IS THE BACKBONE TO ALL MY WORK." Why did you choose to focus accessible fashion?

Images via Jessica Parsons, Chloe Muddiman and Bernadette Fahy. Hair: Krista Ward, Clive Boon, Mary Geoghegan, Dan Law, Eloise Dudley.

I feel as though assessible clothing is lacking within the fashion industry. During my second year at university I worked on a project which focused on disabled fashion, which quickly made me realise how uncatered-for it is within the industry. As disability is a diverse area, I had to decide on an area to focus on. It was then that I came

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LONDON RUNWAY across a type of braille labelling that had been used for disabled athletes during the Rio Olympics and thought this would be interesting to experiment with.

Although the project wasn’t long enough to explore my ideas further, so I decided to revisit the idea for my final year and the opportunity was given to me to gain funding to improve the smart labelling system.

Your graduate collection takes inspiration from the British Military, can you explain where this came from?

I did an internship at a brand called Companies of Makers in Portsmouth which makes products from old military uniforms, influenced by pop culture. Their work also helps fund workshops for families of those who are in the military. I fell in love with all the old uniforms I was seeing everyday, I knew that it was something I wanted to use in my own work. For example, the florals used throughout the collection started off as hand drawings of peace and remembrance flowers which I then digitally manipulated to create my own prints.

promote change within the fashion industry.

Did you always want to have your own brand?

It wasn’t planned – I went to ask at my university whether there was any funding available to me and I am supported by Nest, who provide funding for start-up businesses at the University of Portsmouth.

What is the future for Ma’s House?

I’m currently working on a childrenswear collection that will feature the smart labelling chips in a way that’s both fun and educational. By making the

garments interactive I hope to appeal to all children, whether they're visually impaired or not.

For those who are, the aim is to provide information within the chips that educates the wearer on everything from what colour a garment is to how it should be worn.

How has the feedback been regarding your work?

Incredibly positive, which is obviously great and has been really encouraging, as I feel really excited about developing the business further.

How did you incorporate the smart labelling idea into your final collection?

In a way my final collection was a trial run to test out the smart labelling I had created. I created a chip which could be embedded into a garment and then scanned to relay information to the user.

As I had already taken inspiration from the British military, I decided to use the chips as a storytelling aid to educate people on WW1 which would also let me see how they would work.

You recently started Ma’s House – can you explain the inspiration around the business?

My mum is my main inspiration and really is the backbone to all my work. Being a disabled woman herself I know she had her own issues with clothing and this continues to inspire me to

Models: Debbie Sexton, Tanya Kambanga, Verity Horton.

Photographer: Nemo Macharia Hair: Debbie Sexton.

Faye’s work can be found at: Make up: Iulia Eana.

Designer: Faye Newham / Ma's House

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@mas_houseltd

Taking place in the luxurious settings of an Aston Martin showroom, there was no doubt whatsoever about the intentions of HerRunway: to awe and inspire, with impressive designs from an all-female design showcase.

Under the direction of award winning brand specialist Kubi Springer from SheBuildsBrands, the show included everything from dazzling gowns to true nude lingerie. With an international group of brands on show to boot, this was all about the power of women to dress women the way they want to be dressed.

The designers included: Helen Howe Atelier The House of Nubian Soraya B Couture Samira Ebrahimi BSS by Safiyyaa Babayeva Own Brown Dache Boutique Luxury by Feyi

Photography by Fil Mazzarino

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OUTERWEAR THROUGH THE AGES: WHAT WOULD YOU HAVE WORN THROUGH THE CENTURIES? Joanna Cunningham shows you a glimpse into how our ancestors would have dressed during the winter months through the past 800 years! Over the centuries, fashion trends have chopped and changed constantly. Even today, fashion is always changing, and the clothes I wore growing up are completely different to the clothes we see in stores nowadays. As the Autumn and Winter months approach, and our coats, hats, scarves and gloves come out of hibernation, I thought it only fitting to explore the coldweather garms our ancestors would have worn throughout the ages...

1200-1300s

1400-1500s

During these times, simplicity and uniformity prevailed across the continent. For men, the cyclas was all the rage; a simple tunic made from a rectangular piece of cloth with a hole for the head. Later on, its sides were sewn together, and a sleeves and hood were added. For women, a similar item called a mantle was worn, which was just a cape or shawl acting as a wrap to shield from the cold. This would have been tied together using a cord across the chest and, for the wealthier, might have been lined with fur. As you can imagine, these items of clothing would most certainly have done very little to shield the workers from the cold, but those luckier to use more expensive and thicker materials would have really benefited from these clothing items during the colder seasons.

Characterised by extremes and extravagances, due to Europe’s increasing prosperity, these centuries were poles apart from the previous two. Bright colours and rich materials were used, and the practice of slashing - slitting material on the top of a garment to reveal more vibrant colours beneath was a very popular fashion trend. The Houppelande was the outerwear of choice; a long cloak with sleeves cascading to the floor. Otherwise, a sideless, pleated gown, like a tabard, was worn, loose or belted. For women, a high-waisted silhouette was preferred. In particular, cloaks were very popular, and were perhaps a little more sophisticated than those of the previous centuries.

Additionally, military boots became a great winter shoe for men.

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including basque coats, which were tightly fitted and knee-length, and spencer coats, which were waistlength and frequently doublebreasted, alongside redingotes for riding. This was another period wherein women wore masculine outfits for riding, and they also wore elbow-length capes, lined with fur.

1900-1910s

1600-1700s During this time, fashion was rapidly on the move, but was mainly characterised by long, lean lines, with low waists for both men and women. One very popular design, following the restoration of Charles II to the throne, was the baroque style, which we actually still see today throughout highstreet stores. This is a very ornate design inspired by the baroque architecture of the time.

In general, Perwigs were essential. These were curly, long-

haired wigs, ironically reminiscent of the Cavalier King Charles Spaniel! For men, clothes were much more relaxed and loosefitting during this period, and were decorated with hundreds of yards of ribbon, but were then superseded by the more formal long coat, waistcoat and cravat. For women, hunting and riding dresses were all the rage, consisting of mannish coats, doublets, hats, and periwigs also. This meant that no one could tell men and women apart during the hunt. Hats also became a fashion statement during this time, varying greatly throughout the period; brim sizes and styles varied, and feathers were very on trend.

Late 1700-1800s Numerous coats hit the scene during this period. Men certainly had an array of choices: justacorps, which were knee-length coats fitted to the waist with flared skirts; frock coats, also knee-length; morning coats, tailcoats, smoking jackets or cutaway coats, worn as formal wear; military coats called coatees; lounge coats or sack coats for less formal occasions; or duster coats, for riding horseback. Women also had a number of choices,

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During the Edwardian era, men often wore suits similar to today, including sack suits, which were long, plain, loose fitting, and wide, with lapels, and a high-closure neckline. These ranged in colours, from dark, to navy, to grey, to green, to ivory, to brown. Blazers and Norfolk jackets were also popular, whilst women wore tailored suits for their white collar jobs. Huge, broad-rimmed hats, as depicted in the Hollywood blockbuster, Titanic, also started making an appearance, with feathers, ribbons, and artificial flowers for decoration.

1920s As Hollywood movies depict, this decade saw the modernisation of clothing, from the restrictive garms characteristic of the previous millenium, to more loose-fitting outfits, for a more boyish figure.

For men, small bowler hats were worn, depending on class. They also wore long, smart coats with lapels, similar to the shorter lapel coats we wear today. Alternatively, women wore loose coats and jumpers, and fur was a particularly popular choice for these straight, long coats.

Gloves were also prominent during this period; short gloves for daily wear, and longer gloves, reaching past the elbow, were popular for nightwear. Overall, this period was revolutionary for fashion.

1930-45s During the wartime decades, attention to the shoulders, using

butterfly and banjo sleeves, and exaggerated shoulder pads on coats, was popular. This meant the return of hourglass waists to further accentuate the shoulders.

Women wore cloche hats, whilst men wore gangster-style homburg or fedora hats, and manufacturers introduced coordinating ensembles of hats, scarfs and gloves, often in striking colours and geometric designs. Moreover, this period saw the introduction of man-made fibers, due to the lack of available animal materials during rationing.

1950s The 50s saw the domination of youth fashion, which meant that young people started wearing different clothes from their parents, in a rebellious style.

Leather, denim and bomber jackets were certainly the top choices for these young people, as reminiscent in Grease. In addition, the introduction of suits for the new working women taking the scene after the women’s experience during WWII meant that men’s and women’s outerwear was not too different. This marked the beginning of clothes which began to be worn by both sexes!

1960s This period was defined by more boxy shapes and thigh-length hemlines, alongside bright colours.

Furthermore, PVC and polyester became very popular, with plastic raincoats and swing coats adding to the look. The Nehru jacket also became a staple piece for men and women, with its high neck and Indian-style collar, as modelled by Jackie Kennedy on numerous occasions.

1970s With the overproduction of clothes due to the increasing use of synthetic materials at this time, fashion became much more free,

with less rules. Sweaters were particularly popular, with items such as sweater coats and dresses becoming perfect for those autumn/winter months. Layering was also key, with suede coats, peacoats, and blazers topping these outfits. Turbans also became very popular, and the cloche hats from the early 1900s came back in.

1980s This was another period of bright colours and expensive clothes. This extravagance led to faux fur coats and velvet blazers enjoying the spotlight. Trench coats and reversible coats, with leather on one side and fur on the other, were also introduced.

1990s Coming to more recent decades, the 90s were a time of minimalist fashion, with less bright colours, and more pastels making a mark.

Trench coats continued into this period, reaching all the way to the ground, alongside collarless coats, leather jackets, and turtleneck sweaters. We can certainly start seeing a real recycling of fashion trends within the recent decades, and these are certainly apparent within this period.

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2000s Finally, we reach our current century; the 2000s, which contains a real mixture of clothing from the previous 50 years. Indeed, if we take look through the outerwear fashion from the previous century, we can see trends from throughout these times littered across the past 18 years, reaching today.

This just goes to show how cyclical fashion can be! The development of outerwear throughout the ages, and the merging of fashion to create unisex choices, really shows us how far we have come. Indeed, these days, our outerwear almost hasn’t changed since the 1950s, and we have simply picked up other clothing items along the way to create a diverse array of outerwear choices for the modern population.

You can keep up to date with Joanna’s work on her blog, itstartedwithrebecca.wordpress.co m, or follow @itstartedwithrebecca on Instagram, and @iswrebecca on Twitter.

Images via Pixabay and Pexels

ROBERTA EINER Bright, tropical colours and floral prints formed the backbone of Roberta Einer's S/S19 collection. Add some sparkle via her trademark beads and sequins, and you have real magic.

Photography by Fil Mazzarino

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LONDON RUNWAY

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LONDON RUNWAY

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LONDON RUNWAY

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LONDON RUNWAY

CONTACTS ADAM AND LOUISA - adamandlouisa.com ARI LONDON – arilondon.com BEBEBEBE - bebebebe.co.kr BLACK DOLL BOUTIQUE - blackdollboutique.com CANDICE WU - instagram.com/candice_x9 CHAKRA DESIGN STUDIO - chakradesignstudio.com COCO CHIC - cocochic.it/en/ CRAIG HAMMOND – eldredgrove.com DEENA LONDON – deenalondon.com DEW E DEW E – dewedewe.com DYELOG PR – dyelog.com ELDRED GROVE – eldredgrove.com FIL MAZZARINO – cyclopevideo.com GU DE – gu-de-official.com HERRUNWAY - herrunway.com HEMRAJ GOYAL FOUNDATION – HUNTER + BOO – hunterandboo.com IAN CLARK - photobyian.com INFANTUM VICTORIA – infantiumvictoria.com ISCREAM – iscream-shop.com ISOSSY CHILDREN - isossychildren.com JENNI DEZIGNS - jennidezigns.clothing JNR NATION - jnrnation.com JULIA HOLLAND - all-about-image.co.uk JUNONA – junonastore.com KIDETTE - mumzworld.com/en/kidette KIMBA KIDS – next.co.uk/shop/brand-kimbakids-0 KOCCA – kocca.kr KOH MABBY - kohmabby.com LEYA.ME – leya.me LIBERATED FOLK - liberatedfolk.com LITTLE BORNE – littleborne.com MINI MODE - MINI-mode.co.uk OWN BROWN – ownbrown.com PATREON - patreon.com/londonrunway PAULINE KATE - paulinekateillustrates.com PETER BEVAN - peterbevandesign.com PEZPUNTO – pezpunto.com/en RACHEL PARKER - twitter.com/rachelfrances_ RHIANNON D'AVERC - pcistudio.co.uk RICHARD QUINN – richardquinn.london

ROCKER’S DELIGHT – rockersdelight.com ROSES AND RHINOS – rosesandrhinos.com SHOKUNIN SHOES - shokunin-shoes.com SUSKI SUE - blackdollboutique.com TEASY SHIRUO SUN - teasyshiruosun.com THE HOUSE OF NUBIAN – thehouseofnubian.com TULLEY’S SHOCKTOBERFEST – shocktoberfest.co.uk YOI SOCKS - instagram.com/yoi_socks/ ZOOBUG LONDON – zoobug.com

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

Front cover: Tulley's Shocktoberfest by Ian Clark Back cover: Richard Quinn by Fil Mazzarino

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