London Runway Issue 23

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RUNWAY

INTERVIEWS WITH NATALYCOUTURE & ANETA SMAGALA . IS UNI WORTH IT? . BLACK BEAUTY STANDARDS

LONDON

MISS LONDON CITY . R3-CREATED 18 . AFRICA FASHION WEEK LONDON . JULIE NICAISSE

ISSUE 23 AUGUST 30, 2018

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 News Editor: Charlie Whitehand - news@londonrunway.co.uk Graphic Design: Peter Bevan - design@londonrunway.co.uk Contributors: Fil Mazzarino, Joanna Cunningham, Naomi Purvis, Vanessa Watkins, Lianne Trownbridge at LANtro, Claudia Siquiera, Olivia Church, Manuela Rio Tinte, Kez Anderson, Precious Beattie, Charmanique Thompson, and Julie Nicaisse Special thanks to Patrick Colhoun, Elin Karacagil, Natalia Zobova, Beauty Series, and Aneta Smagala

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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IN THIS ISSUE Letter from the Editor

This fortnight, I’ve been having conversations with a lot of people that always seem to go in the same direction. When we talk about the fashion industry, it’s clear that there’s a change in the air. Everyone is so fed up of seeing the same things over and over. We’re tired of seeing rehashed and restyled versions of looks that we saw last season, last year, last decade. We’re in the mood for something new.

If you think you have something that could show us the change in the fashion industry that we’ve all been waiting for, get in touch via our website and check out the submission guidelines at londonrunway.co.uk. We’re waiting for you.

It’s no coincidence that attitudes are changing, too. Collectively, it seems like we’ve all just had enough. We don’t want to put up with unfair conditions anymore.

We’re not going to allow systemic abuse and targeting of young men and women who enter this industry innocently, unaware of the dangers presented even by established professionals. The movement continues to gather pace, even if the buzzwords are becoming old news.

Earlier last week, a significant portfolio networking site made the step to remove professionals who had garnered complaints from models they had worked with. It’s a step in the right direction, but we still have so far to go.

Having these conversations is difficult, especially when it begins to feel tired and passé. But until real change comes, we have to keep having them – because it’s only through communication that we can truly begin to understand one another and breed compassion.

This is also the case for a movement that has been going for so much longer that it has been in vogue and then out again more times than we can count: discrimination, particularly on racial grounds, is still happening every day in communities across the UK. Sad to say, we even discriminate against one another in the subgroups that are seen from the outside as being whole. That’s something I discussed with some very interesting and beautiful women further on in the issue, so look out for the thoughts we came up with there.

We’re celebrating diversity in this issue, as we always strive to, with two strong editorials capturing the work of creatives who are really making our heads turn.

We’ve got the last of our African Fashion

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Week London coverage to show you, as well as a number of other exciting shows that have happened since we spoke last.

Plus, we are debating the usefulness of university in the creative arts, and looking at how the sizing issues in the fashion industry plague our high street shopping experiences.

This week we also launched our Patreon page, a first for London Runway! We’re offering our readers the chance to access behind-the-scenes content that we won’t be publishing anywhere else, download wallpapers, receive beautiful postcard prints of our editorials, view tutorials and guides, and get involved in decisions that shape the way the magazine looks. It’s pretty exciting, so give it at look at patreon.com/londonrunway. We’ll see you there!

Enjoy!

RHIANNON D'AVERC

LONDON RUNWAY

CONTENTS Photography Africa Fashion Week London - 7 Miss London City - 34 R3-Created18 - 46 Unsung Heroes: Editorial - 56

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Warrior: Cover Editorial - 74

Features Fashion News - 4 Clothes Size Confusion - 31 Fashion Design: The Degree That Breaks The Bank - 43 Is It Worth It? - 44 Natalia Zobova Interview - 53 Documenting Fashion - Illustration And Its Purpose - 66 Beauty Series 001: Cocktails And Conversation - 69 The Three Singers Making Fashion A Vehicle For Empowerment - 72 Aneta Smagala Interview - 94 The A-Z Of Setting Up A Shoot - 97

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The Big Question - 101

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FASHION NEWS RIVER ISLAND TAKES US HOME The perfect fix for an interior design loving fashionista.

The fashion retailer has decided to take on competitors and launch a homeware collection of its own… and it’s affordable!

River Island Home launches this Autumn and will feature a 160-piece collection. There will be a selection of soft furnishings, décor accessories, furniture and storage options. Not to forget, luxury scented candles and diffusers will be available along with an assortment of Mongolian fur cushions and a mixture of scatter tables to fit with the brands signature style.

The head of homeware buying, Dayna Sofair, said in a statement that “The launch of our brand-new RI Home division heralds the beginning of an exciting chapter for us. Style doesn’t end at our clothes”. They plan to channel three interior trends, allowing their customers to “shop the looks easily and refresh and update their home seasonally”.

The final trend, Nordic Nomad, is for the lovers of the Scandi lifestyle. It will offer warm neutrals, metallics and geometric prints. Expect to find the perfect winter rugs, marble ornaments and vintage inspired hanging frames here.

River Island think that “where we eat, the fragrance we wear and way we decorate our homes says as much about us as our favourite pair of jeans. With this in mind, we wanted to give our customer the chance to bring some of that signature River Island style and personality out of the wardrobe and into their homes.”

The brand are yet to release images of the collection, but the art deco inspired illustrations are already getting us excited. Homeware will be available in select stores and online from September, prices starting from £8-£275. Candles & home fragrance will be available in all stores and online, at prices from £5-£32.

via River Island

The first, Babydoll Rock and Roll, is described as a “kitsch and cheeky” collection offering bold splashes of colour and hints of animal print to create a playful aesthetic. It will include sequin embellished cushions, slogan candles, pastel vases and colourful faux furs that hope to “add feminine touches with a quirky edge”.

The second, Electric Opulence, is for the more lavish and aims to add a “sophisticated luxury feel with added personality”. This trend involves a darker palette, glamourous paisley prints and customers will be able to buy soft faux fur rugs, little trinket boxes and velvet trimmed cushions.

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via Highsnobiety

FASHION NEWS STÜSSY TO REVIVE PRESENCE IN UK MARKET They’ve managed to keep it quiet for this long, but it’s official: plans to reopen their UK store are in full effect. On the 31st August, Wardour Street will become home to what Stüssy are calling their “London Chapter”.

This marks their first stand-alone store in almost a decade and their fourth permanent location in Europe - they also have stores in Madrid, Milan and Amsterdam. Back in 2009 Stüssy said goodbye to the English high street, closing the doors to its Covent Garden store. Since then the Californian label has only been sold in the UK via third party retailers.

Earlier this year a plan to relaunch the brand in the UK saw them set up shop in the basement of the infamous Dover Street Market. However, their ultimate goal has been to reopen their physical store, taking up a brick and mortar space in the heart of Soho.

They will be located just around the corner from their counterparts Supreme and Palace. They want to align themselves with London’s current streetwear success stories by placing themselves in an area where their target market is already shopping. You can expect more queues of “Hypebeast”

fanatics or, as they like to be called, the “International Stüssy Tribe”, waiting for the latest limited-edition pieces to drop.

The hipster streetwear brand is renowned for attracting a cult following of surfer and skater types, which is fitting, considering it was created by a surfer. Shawn Stüssy founded the brand back in the 80s and created the graffiti-style logo that the brand is known for today.

The brand made the announcement via Instagram, launching three separate teaser videos. Each of the clips included a giant eight ball rolling through the streets of London, passing landmarks on the way. This object has become synonymous with Stüssy’s branding due to its inclusion in many of their collections.

The store will stock the brands AW18 collection and many more exciting pieces. Think eight ball printed and graffiti logoed garments galore. Why not head over to 115 Wardour Street this Friday to check it out!

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LONDON RUNWAY

FASHION NEWS TOPSHOP X HALPERN: BOOGIE NIGHTS MEETS DISCO FEVER Want to stand out this festive season? Then look no further, the London Fashion Week favourite Halpern is joining forces with Topshop to bedazzle us with the most perfect of party pieces.

The US-born, London-based designer Michael Halpern is admired for his modern take on 70s glamour. His collection for LFW in February 2017 consisted heavily of a mixture of sequin and satin pieces. In December 2017, he won the British emerging talent gong for womenswear at the Fashion Awards.

That same evening the model of the minute Adwoa Aboa sported one of his glistening garments as she was crowned model of the year.

Topshop said that they “are thrilled to collaborate with Michael; especially at such an exciting time in his career".

Their “capsule embodies the disco spirit and signature feminine silhouettes he is renowned for; we can’t wait to bring the world of Halpern to Topshop with styles that will no doubt kick-start the partywear season for our customers.”

The 28-piece Studio 54 inspired collection launches in November and the items will be available to purchase both online and in select stores. An eight second Topshop X Halpern trailer left us wanting more, with barely a glimpse of what is to come. There is talk of iridescent mini dresses, printed co-ords, sequin embellished jumpsuits and velvet separates. It’s hard to think of a more suitable designer for the role.

The idea was to make the brand accessible by offering a more affordable range of disco inspired partywear for the millennial market. The collection will start at just £35, making it more than likely to sell out in a heartbeat. Not to forget, timing is impeccable in the lead up to Christmas and New Year, with people getting ready to celebrate in festive style.

Halpern said in a statement that “it’s fabulous that as a younger brand we’re able to work with Topshop, making the type of clothing we do for the main Halpern collection in an accessible way so more people can really feel the glamour". He wants "the whole world to feel as glam as possible, and this type of collaboration is a fantastic way to accomplish that."

So, go grab that disco glam so you can end your year with a bang!

via Instagram via YouTube

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We're continuing our coverage of African Fashion Week London from issue 22 with this display of designers from the last shows of the event. If you loved the looks we showed you last time, you're in for a treat. Colours, shapes, and styles are all presenting an exciting mix of the new and traditional that we can't get enough of. Designers in order of appearance: AdaChic Designs Blingshiki Catherine Monique Jesu Segun Lady Biba Mamadou Manassas Mary Martin Sarayaa Signature Secrets Tobams Colors Soboye

Photography by Fil Mazzarino

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CLOTHES SIZE CONFUSION Are high-street clothing sizes representative of the average female? Joanna Cunningham investigates whether our high-street stores are supporting the everyday woman.

Name: Joanna Cunningham Age: 21 Height: 5’4” Weight: 66kg Figure: Pear/Hour-Glass Shoulders: 17” across Neck to Shoulder: 6” Bust: 35” (size 10) Waist: 31” (size 14) Hips: 41” (size 14) Inner Leg: 27” Outer Leg: 36” Neck to Waist: 17” Note: The sizes above are according to the UK size guide.

However, on average, I find I am usually between an 8-10 on my top half, and a 10-12 on my bottom half.

Images via @izzy_cunningham

This is me. I am a pretty average size of a 5'4" height, with broad and muscular shoulders, and a large-ish bottom. My BMI is above the normal rate for someone of my height, as I am naturally muscular, and the sport I do increases my muscle weight. I am neither fat nor skinny. Nevertheless, when I decide to treat myself to something exciting on a day out in town, more often than not, I leave feeling disappointed, disheartened, and frankly, fat. Terrible, isn’t it?

During these rare trips to high-street clothing stores, namely New Look, Topshop, Zara, and River Island, I am always shocked to note the excessive fluctuation of clothes sizes throughout. What’s even more shocking is that this fluctuation is not limited to similar items across the stores, but actually occurs within the same shops!

Experiencing this can be both confusing, as I have to take the same garment in multiple sizes to the changing rooms just to ensure I can find the correct size, and degrading, especially when you’re a relatively small person fitting into XL clothes. It certainly begs the question, are all high-street brands adhering to the size guides they claim to be?

Indeed, after assuming I was a size 10 for the past few years, as I mostly fit into size 10 clothing across all stores, I was gobsmacked to research into UK sizes and discover that my bottom half is supposedly a size 14 on the size guide! With this in mind, I decided to look into the uniformity of sizes within high-street clothing lines. So, let the investigation begin…

SKIRTS The skirt is probably the most fluctuating item within highstreet stores. Throughout my investigation I managed to fit into skirts ranging from sizes 10-14, all with gaping waists. Firstly, on my trip to New Look, I tried on two skirts, both in a size 10.

One red skirt was a perfect fit on the hips, however it gaped a little at the waist. A camouflage skirt, on the other hand, was so tight on my hips I almost did not get it over them, yet it still gaped at the waist. Bearing in mind that according to the UK size guide a size 10 waist is 27”, while my waist is 31”, yet they were both too large… go figure!

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Images via @izzy_cunningham

LONDON RUNWAY

Alternatively, in River Island, I was having the exact same issue, but with size 14 skirts! A size 14 River Island skirt has almost the exact same fit as the size 10 skirts I tried on in New Look.

I also explored Zara, and here was where I found the most disparity. I picked up a blue denim skirt in a size medium, which is usually the size I would try here. I also grabbed a size small white skirt; I find you can usually tell if it will fit just by looking at it, so I thought these sizes would be fine. Lo-andbehold, I could not even button up the M denim skirt, but the S white skirt fit almost perfectly, albeit a little tight!

The disparity in sizing continued into Topshop. I found I fit into both a size 10 denim skirt, and a size 12 pink skirt, each with gaping waistbands.

TOPS The one issue which really surprised me was that a lot of the tops I tried on did not fit adequately. As someone with a 35” chest, I fit within the size 10 bracket. However, there were major issues with all the “size 10” garments.

Firstly, in New Look, the size 10 tops were not suitable at all.

The arms of one yellow bardot top were almost cutting off my blood supply, yet the chest area could have fit a second person in there with me! They clearly expect its wearer to have a large chest and very tiny arms… does that seem realistic?

Alternatively, a black bandeau top was perfect for someone with absolutely no upper body fat. It seems I must perpetually stand with my hands on my hips for this garment to remain flattering.

Overall, I did not find one skirt that I would have actually spent money on. In most cases I only just managed to squeeze them over my hips, but they were all too large around the waist. I would not class myself as having a unique body shape. In fact, I think my body is one which many women have, yet I was not successful in finding a suitable item. I think the main issue here is that skirts need longer zips so that there is a wider space to slip them over the hips, and then, once zipped, they should fit better around the waist.

JEANS Next up: jeans. Here I had a similar problem - no matter what size, they were all too tight around the bottom and legs, but too loose around the waist. In all cases, I would not have purchased the jeans; they were uncomfortable and unflattering, due to puckering in the seams from the tightness around the bottom area.

It seems that other high-street brands must learn from Topshop in this regard, as their use of waist and leg-length measurements means that women can more easily find garments which fit their curvy figures.

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LONDON RUNWAY

Similarly, a halter-neck Zara top did not account for the wearer to have one ounce of upper-chest fat. There was space for my chest up to a certain point, but anywhere above that I was flattened like a pancake! It certainly seems that for a woman who measures a size 10 to buy a size 10 top, she must have a small and a large chest all at once, alongside stick-thin arms. Are women not allowed to have muscle!?

ALL-IN-ONES I had major trouble with the fit of all-in-one garments throughout my shopping experience. In River Island, for example, a gorgeous pink jumpsuit in a size 10 fit my “size 14” hips wonderfully but would not close around my “size 10” chest. In comparison, I managed to squeeze my “size 14” hips into size 8 dungarees, yet the top gaped around my “size 10” chest. See how confusing it can be!

In New Look, a black size 12 jumpsuit fit around my body, but gaped massively at the chest, yet a denim-effect size 12 jumpsuit looked a little loose around my bottom half but was extremely restrictive across my chest.

Last but not least, Topshop could also not decide on the shape of their target woman. The size 12 dungarees below fit my bottom half almost perfectly yet gaped hugely across the top half. In comparison, a size 8 jumpsuit fit to a tee, if a little unflattering.

These situations just go to show how, even within the same store, you cannot have the confidence that you will find the same outcome for similar items of clothing.

MY FINAL THOUGHTS…

Images via @izzy_cunningham

As you can see, throughout this one single shopping trip, I ranged between a size 8 to a size 14! It’s funny how I’ve always had this problem but once I actually looked into it, I was astounded by how extreme the issue actually is. Hopefully, my investigation into the lack of uniformity within high-street sizing should open the eyes of these retailers in order to bring them down to earth. As women, we need to feel secure in our shopping experience, by being able to pick up a singular garment in a particular size and know it will fit. I mean, think of the chaos of attempting to online shop if this is how it is on the high street!

Of course, these issues are hard to solve, and it’s something that has certainly been addressed before by the media, yet no action has been taken. The main thing I’ve learnt about being a woman who loves fashion is that it really does not matter how much you weigh, or what clothes size you fit in to, it’s just about how you feel in the garments you wear. If you feel sexy and confident, that’s all that really matters, not the numbers on your clothes tags or weighing scales.

You can keep up to date with Joanna’s work on her blog, itstartedwithrebecca.wordpress.com, or follow @itstartedwithrebecca on social media.

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LONDON RUNWAY

MISS LONDON CITY

The National Grand Finals of the fifth annual Miss London City pageant were held at the Grange Tower Bridge hotel on the 25th August. Miss Aldgate Ewa Medrzycka (far right, above) was named as 2018's winner, receiving her crown from 2017 winner Jade Borkowski. Guest judges included Victoria Ledwidge, Hannah Dorman, Emily Rutherford, and Nosheen Phoenix, while David Blackmore presented. We covered the pageant and all the looks that the competitors wore on the runway!

Head to our Patreon page to see behind-the-scenes shots of the backstage area, at patreon.com/londonrunway

Photography by Fil Mazzarino

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FASHION DESIGN: THE DEGREE THAT BREAKS THE BANK MAKING THE MOST OF IT

Naomi Purvis questions whether design degrees are making fashion an exclusive career.

With results day behind us many young people will be planning to start university in September, some of them with their hearts set on becoming a fashion designer. However, it may seem that hard work and determination isn’t all you need to succeed in the fashion industry.

Although the overall cost may seem daunting, if fashion design is something you are passionate about then you’ll find a way to make it work. Determination is the key to succeed in any aspect of life that may seem difficult or challenging and a fashion degree is no different. It’s important to focus on the future and have a goal in mind for where you want your fashion degree to take you.

The thing nobody tells you about studying fashion design is the deeper you get into in the course, the deeper your bank account sinks into to your overdraft. One vital detail that’s left out of the course induction or university handbook is the reality that many courses won’t pay for anything when it comes to equipment and materials. Everything comes at an extra cost, posing the question of whether studying fashion is something left exclusively for those from wealthier backgrounds and higher incomes?

Consider perspective: a three- to four-year course will go by quickly, so make the most of every opportunity you’re given.

If your course includes an optional placement year then don’t think twice about it. Fashion is a highly competitive industry and any work experience you can get will be beneficial to your CV. Look at getting a part-time job at weekends or during university holidays as a way of earning some extra cash.

THE COURSE ITSELF With countless expenses on equipment, portfolios, frequent trips to fabric shops and not to mention the extortionate cost of printing, it’s no surprise that studying a fashion degree costs a lot more than you might expect. Add together three or four years of studying and you almost dread to think about how much you’ve spent on printing things over and over each week for group feedback sessions.

Image via Unsplash

Looking at a graduate collection you first think of the work that’s gone into making it, but the hidden cost is somewhat unthought of. After all, it’s just clothes, isn’t it? Surely fabric doesn’t cost that much? In reality that’s just the start, it’s the work leading up to that final collection that really adds up. It’s key to remember that the work you see at the end, whether it be a final collection or a portfolio, is only the finished product. To reach that point takes years of hard work and determination, but along with that comes a wealth of trial, error and perfectionism – all of which comes with a cost.

It’s also important to think logically and consider who you are as a designer and not spend money on things you don’t need. For example, if you’re designing a collection to be sold within retail you’re less likely to need to buy expensive fabrics used for couture.

LIFE AFTER GRADUATION Studying a fashion degree is only the beginning and unless you’re lucky enough to secure a job pre-graduation, the hard work only continues. In the UK it’s fair to say that a high percentage of fashion careers are situated in London, with a few scattered around other big cities such as Manchester and Birmingham. Although careers in fashion do exist in other cities around the UK, places at those companies are limited compared to opportunities in the capital. This means that many fashion graduates are taking the risk and moving to London in the hope of falling on their feet in their dream fashion career.

However, due to the competitive nature of the industry, many may find themselves stuck in unpaid internships and having to work part-time jobs on the side to make ends meet. As many entry-level jobs require up to two years previous work in the industry, it highlights the discussion that internships should be fairly paid to allow graduates from all incomes the opportunity to gain the experience they need to get a job.

It's clear that a fashion degree is not for the faint-hearted, and something needs to change for the courses to become more cost-efficient and less exclusive. Whether that be subsidised or free resources and equipment, or paid internships, it's a subject that should be more openly discussed to allow all students a fair shot at a fashion career.

You can see more of Naomi’s work at millennialmonologue.wordpress.com.

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IS IT WORTH IT? Ellie Dyson asked artists whether their degree was worth it. Here’s what they had to say…

PATRICK COLHOUN - CERAMICIST @PATRICKCOLHOUN Can you tell me about your work?

My work is contemporary ceramic sculpture which I sell mostly into the contemporary art market. My work is mostly ceramic, however I combine it with other, less traditional materials such as hosiery, neon, latex etc.

How long have you been working as a ceramicist/artist?

I started exhibiting my work in 2009, after a couple of years at night class learning basic pottery.

Images via Patrick Colhoun

Where and what did you study?

I have a degree in Business Studies with Marketing from University of Ulster in Northern Ireland.

What was your experience at university like?

It taught me about the transition into the work place as the third year of a four-year course was as a placement in a company doing something that complimented your course. I was lucky to get a placement in a company that designed office interiors so I was able to have quite a creative time. I went from being involved in sales to being in charge of design.

What were your tutors like? Were they helpful?

Nothing out of the ordinary, university taught me that the lecturers are unlikely to inspire you, you have to do hard work for yourself and motivate yourself, the lecturers are simply putting information across to you.

Would you recommend studying Business Studies at university to others?

It is a very general degree, so if you are unsure of a specific career path, it can lead in many directions.

Would you say that studying Business Studies contributed to your current success, and if so, how?

Yes, and also having a 20-year career in construction marketing helped me to be very professional and disciplined in my art practice. I strived to be as professional as possible in terms of work ethic, meeting deadlines, promotional material etc. There has been a lot that has carried over.

Does it come as a surprise that you are now a ceramicist and artist?

I always liked art at school but took no formal exams even then. I took up ceramics because I couldn’t play rugby anymore because of injury and I was looking for something that would give me the same sort of satisfaction. I thought at the time that art was very open ended and could be whatever I wanted it to be, I have surprised myself with where it has taken me.

Would you say your career in construction marketing helped or hindered your current career?

Very much helped. Even down to having a network of contacts in interior design and architecture, each area I work in feeds the other.

Have you got any advice for aspiring artists?

Be as professional as you can. Meet deadlines, do what you promise, at the time you have promised it. Get professional photography of your work as it is usually the first impression people get of your work. Don’t get disappointed if you and your work get rejected, everything is highly subjective. Recognise opportunities for what they are and what they can lead to.

Would you have done anything differently in your journey to get where you are now?

No, I get to combine my career with my art. I see how hard it is for young artists coming straight out of college and see how many fall by the wayside in terms of art as a career. I get to enjoy it more as I don’t fully rely on it for income which lets me take more risks.

Did university give you any other skills that aren’t directly related to your work?

It is a long time ago. There is value to a university education, however there is also value to learning a trade and working with your hands. I am lucky to be able to do both.

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LONDON RUNWAY

ELIN KARACAGIL - TEXTILE ARTIST @ELINKTEXTILES

How long have you been working with textiles as an artist/designer?

For the past three years, since I started my degree in fashion textiles.

Where and what did you study?

I studied Fashion Textiles Print at London College of Fashion.

What was your experience at university like?

How was your experience as an international student?

Studying at London College of Fashion has really given me insight to the fashion industry and my designer identity.

Starting my degree I didn’t have much experience in textiles and I have really learnt a lot in terms of techniques and processes but also improved my knowledge and understanding of research. My experience as an international student studying in London has been overall positive. I have met a lot of great people from all over the world and I think London is a great place to be when studying fashion or art.

What were your tutors like? Were they helpful?

I have had very positive experiences with all my tutors at LCF. I feel that most of my tutors have a lot of previous experience working in the industry and this has been very helpful. They push you a lot to constantly challenge yourself and they really give you the freedom to follow your own path.

Images via Elin Karacagil

Can you tell me about your work?

Taking influences from art, photography and other areas of design, my work takes on a multidisciplinary approach that is explorative and experimental. I enjoy engaging with contrasting material that inspire sculpture, paintings and mark-making that then go on to form my textiles.

Questioning form and function, chaos and order, with the randomness and the planned of design, my textiles explore fleeting moments as well as movement and the still.

Would you say that studying Fashion Textiles Print at university has benefited you, and if so, how?

In many ways. I think it takes time to figure out who you want to be as a designer/artist and even though three years’ time is not enough to do this, I think it has been a great way to start that journey of discovering who you want to be as a creative. I have learnt so much about myself, my craft and how the creative process works.

Would you recommend studying Fashion Textiles Print at university to others?

Speaking from own experience, it was a great path to take not knowing exactly what I wanted to do within the fashion industry but knowing I wanted to do something that allowed me to be creative. If you want the opportunity to do something different, very explorative and creative I think it’s a great way to start.

Have you got any advice for aspiring artists/designers?

I think it’s great to get critical feedback and guidance along the way but at the end of the day I believe that you should be happy with the work you are doing. My advice would be to not compromise too much of yourself and the identity you think it right for you.

Would you have done anything differently in your journey to get where you are now?

Even though I initially didn’t intend to study textiles, I think it has been a really good fit for me and it has been my first step to getting into the industry. It has been a very creative journey for me. Having said that, I think it opens up a lot of doors to different paths as well and you can apply the knowledge you gain from this experience to many different areas of design and art.

Did university give you any other skills that aren’t directly related to your work?

I have really learnt to collaborate with other people along the way, with people from different pathways and this has been tremendously useful I think, because in the industry you hardly ever work entirely alone.

What are your next moves now that you have graduated from LCF? I want to continue to develop and improve my craft. I enjoy working with other people who inspire me, so to work with different artists and designers is something I can see myself doing in the future.

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R3-CREATED18 R3-CREATED18 is a student-led fashion showcase, hosted by Mochunks. The fundraising show was held in support of The Croydon Nightwatch Charity, who aim to aid homeless people every day of the year in the Croydon borough. With a live DJ and music alongside the catwalk, there was a lot going on for guests to enjoy besides the fashion.

The featured designers were: Ruth Designs SOG Clothing Urban Focus Photography by Fil Mazzarino

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NATALIA ZOBOVA INTERVIEW

Rhiannon D’Averc sat down with the designer behind NatalyCouture, to discuss her amazing path into the fashion industry (via styling, personal shopping, dancing, and even real estate) and her plans for the future.

How long were you working as a stylist?

One year – I graduated from the London College of Style and then I was working from Paris. Now I’m a designer. After I was working in Paris, this idea came to my head that it would be good to make these beautiful dresses, but just for rent. But after, people asked me to sell these dresses, and I realised it’s not just something to do for rent – I want to sell these dresses.

"I CAN SPEND MAYBE TWO MONTHS ON ONE DRESS, IT’S ALL HANDMADE WORK" Now I just started the brand a few months ago, and the first country where I want to promote my brand is the UK, so I came to London. I think it’s the best place. I’m going to present my collection in London Fashion Week as well, on the 17th September, so now I’m here to organise meetings with models and photographers to organise shooting for magazines. That’s my short story!

But you’re a makeup artist as well?

Yeah, I was starting in New York for six months, but after that I realised… I love makeup and everything, and I was working in London as a makeup artist, with airbrush makeup. Everybody was very impressed with that because it’s only me who was using the airbrush machine, without using my hands. Airbrushing was very popular in the USA, but not here. So, I could be very popular with that here! But I decided to change my specialisation because I love fashion.

Fashion is my preference!

Fashion called out to you?

Yeah, I’m a very creative person so it suits me.

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Images via Natalia Zobova

LONDON RUNWAY

Tell me about some of the other work you’ve done in the past.

In Russia, I’m in real estate - completely different! I rented apartments for tourists, and it was a good business in Russia. My education, I’m a psychologist! (laughs) Before I was also a dancer… I can do everything! (laughs) You’ve assisted Paul Costelloe and Zeynep Kartal, what was that like?

It was with the London College of Style during London Fashion Week. We worked as dressers for the models. Before you can be a stylist, you have to work from the bottom up. We just dressed the models backstage, and afterwards I wrote a blog about that with the process of what we did. I had some pictures with them, because they are famous designers. I would like to work with them, I even tried to message them, but no answer! So I decided, okay, I will work on my own.

Actually, I found a designer, she’s a new one; I messaged her that I wanted to meet with her, I wanted to try my chance while I’m here because I’m only here for six months. Maybe if something is going to be interesting to me, then I’ll stay here more of course, or maybe change my visa and find partners. I found this lady who registered her business in October, and we decided to learn from each other. I’m going to be her assistant for one week, I’ll help her and then she’ll help me. I’m a new designer, because for me really it’s a new thing. I want to learn more things with another designer, so it’s better to be with someone who has the same job as you. Also, her dresses are amazing.

What about the dresses that you make?

I use just Italian and French fabric, no Asian. I start with high quality. My team is in Kazan, it’s in Russia - I work as a designer, I’m drawing everything, and

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also work as a couturier. I sew pieces on dresses. I can spend maybe two months on one dress, it’s all handmade work. After the show, I hope I will – (laughs) no, it’s not just about selling, but I want people to know that it’s not just a dress, it’s really hard work. For one dress I spend one month at least. I want to find my public and work for this kind of person.

Who is that ideal person?

Maybe wives of government officials or football players. Now it’s a dream. I just started, but in a few years…

Could you tell me about your personal shopper work?

I just graduated from college, and after I went to Russia because of my visa. Then when I came to Paris, I have a friend there, she was selling dresses and I started to bring her customers. Together we began to work with ladies who go to Fashion

LONDON RUNWAY

Week for example, and they don’t want to spend money just for one day. They come and they trust me, and I find a dress for them! I used to go personal shopping with people, but I didn’t make money from it. Now that I’m a designer, I focus on designing things. Also, I’m learning about styling – it’s a different way of styling. I’m learning every day how to do things, like there are 50 variations of pockets – it’s too much! (laughs) But I’m really interested in men’s fashion. Men don’t complain like women sometimes – I like to work with men because they trust me more.

Will you end up making menswear in the future maybe?

I thought about it, but for now I really want to focus on one thing. But if it’s growing – it will grow, I’m sure, because I work hard – I just need to improve my English maybe! – but I’m sure that after London, in Russia they will really appreciate it. For them London Fashion Week is like, wow! That’s why I’m here.

Images via Natalia Zobova

Why do you think style and fashion is important?

It brings you confidence. I see how people change when I give them a new style. Their face changes – even just with changing the colour. Being a personal shopper, it’s also knowing that the face will completely change with the colour that suits your skin tone. The person changes, even wrinkles can seem to be removed because of the colour. I see their happy face, they start to feel confident, and this really brings me happiness as well. They can even find a good job, because first people look at how someone looks and after how experienced they are.

If everything could go perfectly, how do you see your brand growing?

I want to be international. First in Russia, after I’ve been back to Russia I plan to go to Monaco and register my business in France. I don’t know about England because if I don’t find a partnership, it’s very complicated to stay here. But in France it’s much easier, so I’m looking for an easier way. But in London it’s very hard to come and stay here and do this. After this, we’ll see how it goes. But now I need to calm down! (laughs) So I decided to do it in Russia and France, and if it grows then London for sure. Here there is more competition than anywhere, so first I think I need to do it somewhere else.

Even in Paris, in the south of France, in Nice, there are lots of Russians and I have friends who can help me there.

Find out more about Natalia and see her work at Instagram.com/nataunique

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UNSUNG HEROES Photography - Fil Mazzarino Models - Vanessa Watkins Styling - Lianne Trownbridge Hair and Make-up - Claudia Siqueira Designer - LANtro “Unsung Heroes” is a celebration of the people of everyday who inspire us and go out of their way to help others. Reminiscent of vintage comic book superheroes, the collection is a tribute to the memory of Lianne's great-grandfather who served in the army in Tunisia and Morocco in the 1930s. Merging sportswear and military references, Unsung Heroes is a unique urban range of pieces fit for extreme sports and streetwear.

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Vanessa wears: Bou Arada bodysuit - £195; Toulouse top - £195; Tabarka tunic £210, all Unsung Heroes

Vanessa wears: Belli bodysuit £175; Grenoble trousers - £675; Sfax bib - £70, all Unsung Heroes

Vanessa wears: Belli bodysuit £175; Grenoble trousers - £675; Sfax bib - £70, all Unsung Heroes

Vanessa wears: Bizerte bodysuit £175; Beja coat - £675; Cazeaux vest - £275, all Unsung Heroes

Vanessa wears: Bou Arada bodysuit - £195; Le Bardo top £125; Le Pradet Coat - £295, all Unsung Heroes

Vanessa wears: Bou Arada bodysuit - £275; Corenc shorts £495; Marrakech Jacket - £1,095, all Unsung Heroes

Vanessa wears: Bou Arada bodysuit - £195; Istres tunic £175; Tunis coat - £900, all Unsung Heroes

Model wears: Item - £, designer

Vanessa wears: Bou Arada bodysuit - £195; Istres tunic - £175; Tunis coat - £900, all Unsung Heroes

Vanessa wears: Bizerte bodysuit £175; Rabat trousers - £250; Grombalia jacket - £1,015; Cazeaux vest - £275, all Unsung Heroes

DOCUMENTING FASHION: ILLUSTRATION AND ITS PURPOSE Olivia Church explores the future of fashion illustration in a digital world.

Image via Jodie Welsh

For aspiring fashion illustrators today, the difficulty in getting your work seen is enormous. Social media undeniably plays a large part in showcasing an illustrator’s work. It provides a prime opportunity to build a contacts book and increase online visibility. Illustrators tend to work autonomously but The Unique Illustration is just one example that proves creative collaborations can result in a variety of positive outcomes. If an illustrator works straight from the catwalk or engages in a live drawing event, however, their line work and application of colour is bound to be different to an illustrator who works at their desk. Sketchbooks are a vital resource for any illustrator and can become fascinating ‘reading’ a few years down the line. It is truly a talent to be able to capture fabrics, weight, embroidery, textures and emotion that cannot otherwise be seen without the help from an illustrator.

Images via Ellie Mason

British Vogue’s editor-in-chief and stylist Edward Enninful recently collaborated with one of the most successful singers and songwriters of our age. For his first September issue, Rihanna graced the cover, draped in dramatic floral headpieces and swathes of luxurious fabric - not to mention probably some of the thinnest eyebrows in editorial history. For Alina Zamanova, co-founder of the Instagram collective The Unique Illustration, one look at photographer Nick Knight’s work was enough to spur on a collaboration of her own. Situated in Ukraine, her collective connects like-minded creatives from all over the world. Together, she and her flash mob of illustrators have made a series of illustrated versions of this historic cover in recognition of #NewVogue.

It’s refreshing to see that fashion illustration is still recognised for its contribution in the fashion world. Drawing has long preceded much more common means of image making such as photography and digital drawing. It provides almost an element of visual respite in a world that is densely graphic. To document fashion through illustration is to provide information that will act as evidence and proof that will be relied upon as a visual record of clothing’s existence and appearance. Potentially a form of reportage, it suggests that illustrators have a compulsion to pass on what they have experienced to others; to form new levels of engagement with fashion. This type of illustration often acts as a strong reference point for fashion buyers and stylists whose job is to attract and sustain commercial interest with brands through clothing. It provides an opportunity to reinvent and reinterpret - to create a new reality and situate the clothing within different spaces.

We, as an audience, place trust in an illustrator to capture and define fashion. With such a large amount of artistic freedom, illustrators often infuse their personality into their drawings – but the reliability of an image can come into question. An illustrator’s personality can sometimes obscure the vital information that we search for when deducing meaning from an image. It is perhaps understandable why photography is a preferred method of documenting fashion. Photography can capture fashion in real-time and with life-like detail. It’s arguably a more honest and direct way of narrating what an item of clothing looks and feels like when the vast majority of people are not able to see them up close for themselves.

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Image via Bethany Lord

Fashion photography does have its downsides. We are immersed in a culture where audiences have an insatiable desire to inform and be informed. Photo-manipulative techniques have just as much capability of controlling how we view a subject much like the methods adopted by illustrators. What is shown in an image is just as important as what is left out. Both an illustration and a photograph translate as mere impressions of a subject they both result in a static image that hopefully conveys a subject with truthfulness. It doesn’t always stop there though – documenting fashion means that illustrators and other image makers aim to communicate how fashion ‘moves’. Photographs, in fact, contain a kinetic energy when placed in succession with one another, making it in to a piece of film. Illustrators, on the other hand, can animate their work to describe fashion in yet another dimension.

This isn’t the first time this year that illustration has overtaken photography in a high-profile campaign.

Working with the likes of FKA twigs and Dior in the past, London-based illustrator Ignasi Monreal turned heads with his ethereal and enchanting illustrations for Gucci in their Spring/Summer campaign. Influenced by classic paintings, he combined them with the latest looks from the catwalk. While his style is clearly digital, his images, in fact, are reminiscent of painterly techniques from the likes of Millais’ ‘Ophelia’ (1852) and ‘The Garden of Earthly Delights’ (1400-1500) by Bosch. His computer acts as an easel and results in illustrations that are a smooth blend of computer-generated mark making and Monreal’s own imagination. On this occasion, they are a more stylised look rather than a technically accurate impression of the garments. They are nevertheless filled with narrative and decorated with modern-day motifs – also known as accessories.

Image via Megan Gabbey

Image via Mabel Ducker

As for the future of fashion illustration, our knowledge of its history and its place in today’s ever-changing culture mean that while it is still sufficient in expression, it sometimes struggles to maintain its purpose in the face of much more efficient and transferable means of image creation. Reinforcing the technicality behind each garment should be stressed by industry professionals in balance with creating an image with appealing aesthetics.

Working via a computer allows for accuracy, speed and a spectrum of creative possibilities where errors can be easily corrected. With a pencil and paper, one wrong move could result in the illustrator having to start from the beginning – wasting time and energy. Some may say that fashion illustration is not being replaced but is instead given the opportunity to be enhanced. Who says that fashion photography and fashion illustration cannot coexist instead of attempting to replace one another?

Simply because there are ‘better’ ways of image making does not mean that previous methods stop working.

You can see more of Olivia’s work on Instagram by following @olivia_writesandcreates

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Model wears: Item - ÂŁ, designer

BEAUTY SERIES 001: COCKTAILS AND CONVERSATION

Images via Rhiannon D'Averc

Rhiannon D’Averc attended the inaugural event for Beauty Series, a new networking experience for beauty fans. With hosts Wunmi Bello and Chioma Neke, we talked about huge topics in the beauty realm and beyond, pulling no punches. This feature touches on the main points of conversation and the conclusions we came to through group discussion.

BEAUTY STANDARDS Even though we agreed that all skin types and body types should be celebrated, the general feeling in the room was that black women experience the most pressure to conform to beauty standards. With influences coming from social media, traditional media, and in the pages of magazines, the struggle to feel attractive is real.

Even television is making a big impact. The recent series of Love Island made people feel particularly that a certain look was undesirable, with cast members placed into the show without any hope of finding a match.

For women, the solution is to find the inner strength and peace that allows you to look good for yourself, not for anyone else. When you begin to feel anxiety while looking at social media, or you begin to feel inadequate, make yourself shut down that feed and step away. Stop looking at and comparing yourself to Americans, because they aren’t us – and we don’t have to conform to their standards!

Negative messages coming from our peers can be incredibly harmful. Some women go so far as resorting to surgery to attain the larger bum and tiny waist, with big boobs on top of abs, that has been so popularised on social media. The truth is that many images of others have been altered with apps, or show them only at their best – so don’t believe the hype!

When you see someone doing squats in the gym, realise that it may be that they’ve had surgery and are only posting that 5-second clip to deny the rumours. It doesn’t mean it’s real.

As women, we can help ourselves by posting photos of ourselves first thing in the morning, and natural shots without any makeup. Not only will we feel better about revealing that side of ourselves, but we’ll also help our fellow women to realise that natural is beautiful. It’s also helpful to remind people where things come from – the latest beauty trend might be something that women in certain areas of the world have been doing for a long time, not just a fad.

Remember your heritage and be proud of it!

CHAMPIONING DIVERSITY London Runway has pledged in the past to support diversity in our pages, so this was a particularly important topic for us!

The feeling is still that dark women in particular are not represented enough, with lighter tones being more acceptable in the public eye.

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Images via Rhiannon D'Averc

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It’s important for brands to remember that black beauty is not a trend. With the success of Rihanna’s Fenty Beauty, many makeup brands have been jumping on the bandwagon with new tones of foundation and formulas for dark skin. But when the trend is over, black women won’t be going away. In order to encourage growth of the beauty industry for black women, it’s important to support smaller companies rather than only the mainstream bandwagoners – like beauty brand VLace Cosmetics, who attended the event to showcase their latest pigmented products specially designed to be bright on dark skin. The brand also teamed up with 10FT, a company producing storage solutions for your makeup collection as well as vanity mirrors.

and then become aggressive. While it’s completely understandable, the feeling is that we need to be having more open conversations instead – telling people what their words do, and helping them understand that they are wrong, rather than clapping back.

The way black beauty is presented in the media creates insecurity for women about their particular skin complexion.

They can begin to feel like they aren’t good enough because they aren’t being represented, and there is a huge rift in colourism of dark versus light tones in the skin. The male view is very important here, and while we can make efforts to change their minds, we can also change our own. Women must remember that they aren’t beautiful just because they have lighter skin – and mustn’t feel ugly just because they have darker skin. A big part of this is also raising our children so that the next generation understand that simply skin colour isn’t enough to make them ugly or beautiful.

The easiest way to empower yourself is to find your purpose. What are you here on this earth for? When you know that – and it may take a while to find it – you will be much stronger and more secure in yourself. You also need to protect your energy. Watch how your behaviour changes based on the people that you are around. It may be that some of the people around you are affecting your energy negatively, and you need to move on from them.

SELF-LOVE AND EMPOWERMENT Self-love, we all agreed, is hugely important – whoever you are. You have to have that respect for yourself to know that when you’re talked down to at work or made to feel small, you’re better than that.

Darker women expressed their treatment at the hands of their peers and partners, relating that they had heard men tell them “I would never date a dark-skinned woman”. They also talked about being ignored because they had lighter friends, which led to them never feeling attractive or wanted. Having moved to Wimbledon from Uganda, one woman expressed that she had felt that “Africa wasn’t good enough”.

Change has to happen at home. Men were quoted as saying “I hope my children are this light” when seeing lighter-toned children on the street, a phrase which again cuts to the core of any woman with darker skin who hears it. This harmful language has to be changed.

In the fashion industry, too, there is discrimination. Models talked about being told that no one wanted to hire them because they were too dark, and even being casually asked why they didn’t consider bleaching. In the face of this appalling insensitivity, it’s easy to feel threatened and hurt,

Accept yourself for who you are. Don’t apologise for having to cut people off, or for changing. If people criticise you for becoming someone else, remember: you’re just becoming who you really are, who you were all along underneath it all. Accept your flaws and realise they may in fact be your strengths when you have fully embraced them.

Hair is such an important thing for the black community in general, and debates can rage on and on about whether wigs, weaves, or natural hair are best. The truth is that you just need to do you. If you want to wear wigs, fine – and if you want to go natural, that’s fine too! The important thing is that you’re taking care of yourself, because hair shouldn’t define you.

Go your way and stay in your lane. Ignore any hateful comments that come your way, because everyone gets them. The best response to someone who wants to hate on you? “And what else?”

Have a thick skin on social media. Bear in mind that most of the time, it’s not even personal.

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LONDON RUNWAY

FUCKBOYS

Images via Rhiannon D'Averc

Oh yes, we got onto the subject of fuckboys – perhaps the most raucously debated topic of the day! Women need to know that there is a difference between guys who are just looking to have some fun and guys who actually want to see where something might go. But on the other hand, if you never come into contact with a fuckboy, you’ll be missing out on some important life lessons – so just know that if you get hurt, it’s part of the learning curve.

Women sometimes think that they can change a man, but in almost all cases, that’s not going to happen. When you see that first sign that he might be a fuckboy, run! There is no perfect man out there, so don’t be too harsh to judge – but just know that there is a right man for you. You are both imperfect together, but there is someone who will be the right one.

It’s important to acknowledge that there are fuckgirls out there too! You need to understand what you want out of a relationship. If he can’t give it to you, then tell him to have a nice life. If you can’t love yourself, you can’t love somebody else. Tell him to pull his socks up and fix his life, and then he can have you. If he wants you enough, he’ll do it. If he’s been about, tell him he’s not going to be about you!

When you see that first sign, show him that he can’t be a fuckboy with you. If you chase him, he’ll continue to be a fuckboy.

On the subject of cheating, there was some conflict. Some women felt that if a man has stepped out of the relationship to be with someone else, then he can’t possibly love you enough to deserve you. Others were more cautious, particularly if the cheating happened while the couple was married. They felt that throwing a marriage away should be a big consideration, and that if it only happened once, it might be possibly to move past it. Others still questioned whether you would really be able to forgive and trust the man, and whether he would really be able to stop.

TO WIG OR NOT TO WIG? When is it too early for your man to see you without your wig? Some say you should let him see you au naturel right away, preferably over FaceTime or something similar so that he can see you how you really are and adjust to that.

However, together we acknowledged that it may depend on who you are dating.

That doesn’t change the fact that you should be able to feel comfortable, no matter what. If you are hot or your wig feels uncomfortable, you should be free to take it off! That stage can happen once he has got to know you, and gotten past the idea of just the looks that attracted him in the first place.

We also had a good laugh wondering when was the right time to fart in front of your partner for the first time. We concluded it’s best to try to hold them in until you both know enough of each other!

After a lot of discussion, we were all pretty happy with the opportunity to moisten our throats with delicious cocktails provided by Iced Cups. Finally, we took home some goody bags filled with products from Barry M, L’Oreal, Evangeline Barrett, 10FT, and more. Are we looking forward to the next one? You bet!

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THE THREE SINGERS MAKING FASHION A VEHICLE FOR EMPOWERMENT Manuela Rio Tinte explores how Beyoncé, Rihanna, and Lauryn Hill are using collaborations with fashion brands to push feminism, equality, and empowerment.

These two major entertainment industries – wait, is fashion even considered entertainment? It depends on how we look at it, but if we think about major catwalk shows, exhibitions and movies revolving around the theme, we can definitely agree that it is. Associate it with names such as Beyoncé, Rihanna, and Lauryn Hill, just to name a few, and the results could not be anything less than sold out collections.

Queen B has been a fashion and music icon for a long time now, and her outfits both on stage and outside are always one of the most talked about topics. This is particularly true whenever she is starting a new world tour, such as her current On The Run Tour II. She did not disappoint. She wore brands like Gucci and Balmain, going from a sparkling tulle dress to a sexy leopard body and over-the-knee boots.

Images via Instagram

Far from being something new, collaborations between fashion and music have always been quite popular. Past years have seen countless big names merging together their talents, coming up with some of the most desired collections for their customers and fans. The newness about current collabs is that they are going beyond profits and fame and actually sending a positive message to women, as their main customers.

Beyoncé and Olivier Rousteing, Balmain's creative director, have been working together since her Formation World Tour in 2016 when she appeared in a so-Balmain white bodysuit made in lace and embellished with pearls, stones, and silk ruffles. DSquared2, Roberto Cavalli and Gucci were also responsible for her jaw-dropping outfits.

However, for her presentation in Coachella this year she teamed up exclusively with Balmain to come up with her now-infamous looks. Being the first black woman to headline the festival, we could not expect less than a stunning array of costumes carrying a strong message of feminism and black culture’s empowerment. That is what she has been doing since the beginning of her career and it may be one of the reasons she is called Queen B. This very successful partnership between her and Balmain resulted in a three-piece collection released last July in the brand’s flagship in Paris and being sold also in the brand’s website. Besides the iconic yellow and pink sweatshirts she wore on stage, there is also a black shirt with the same motif, prices varying between £225 and £650.

What makes this collection so appealing and historically important? The clothes and embellished motifs were inspired by the marching uniforms of America’s historically black colleges and universities – maybe that is why it is so relatable to Beyoncé’s legion of fans. The message is clear: if she managed to achieve everything she wanted, anyone can.

Besides this, all the income is going to the United Negro College Fund together with a $100,000 donation from her to four historically black colleges.

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LONDON RUNWAY She is still a reference for rap and R&B music even after all these years without recording a new album. As surprising as it might be, Lauryn Hill has never collaborated with a fashion brand until this year. She is launching an AW18 collection in partnership with Woolrich, an American heritage outerwear brand.

‘Woolrich: American Soul since 1830’ is a series of capsule collections celebrating creators versus creations, and who better than Ms. Hill to kick off this campaign? Her strong and fashionable style is engraved on some on the brand’s classic items, such as the Arctic Parka and the Silverton Coat, giving them a modern twist.

Image via SavageXFenty

She also stars in the fashion campaign, which pays homage to her iconic album. She was shot in the streets of Harlem, the same place where she produced the video of her single ‘'Doo Wop". She then makes her way to Apollo Theater where she performs "Ex-Factor" wearing her new designs.

All three powerful and visionary singers have been encouraging women to step up, to empower themselves – to be feminists and be proud of it. Their fashion collaborations are way beyond just making money, they are about making a difference, making a positive and remarkable impact on people's lives.

Another powerful and fashionable singer that has been flirting with fashion for a long time is Rihanna - from working with River Island to becoming the first black spokesperson for Dior, to being announced the creative director of Puma and to launching Fenty Beauty. Fenty Beauty arrived almost one year ago, aiming to be an inclusive makeup line for women from all skin tones and types, and has become a huge success, selling all over the world in prestigious department stores.

What better way to do that than combining two of the most powerful industries in the world, two of the most important means of communication and self-expression? As Olivier Rousteing said: “When music and fashion meet each other, it becomes a strong world together. An entire nation.” Could anyone say the opposite?

You can see more of Manuela’s work on yourthinkingcap.wordpress.com.

From Fenty Beauty Rihanna decided to take a step further and launch this year Savage x Fenty, her first lingerie collection.

As you can expect, there is also a body positivity and female empowerment message behind her new fashion venture. The size range goes from XS to 3XL and the nude variation colours come in different shades to match a wider range of skin tones.

From basics and everyday essentials to sexy bodysuits and corsets, there is something for every style. The price range goes from £16 for a microfiber thong to £109 for a floral lace catsuit.

Equally as powerful and revolutionary as Beyoncé and Rihanna, singer Lauryn Hill celebrates the 20th anniversary of The Miseducation of Lauryn Hill this year, an album that has changed music’s history and continues to be relevant up until today. Her songs helped to break barriers for a young generation of black music, inspiring women to be proud of themselves and chase their goals.

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Images via Woolrich

If you are in a kinky and edgy mood there is also the Xccessories collection with leather and satin pasties, whips, fluffy handcuffs and lacy garters. It is all about women’s pleasure. “I can only hope to encourage confidence and strength by showing lingerie in another light. You can take risks with lingerie. I want women to own their beauty,” said Riri.

WARRIOR

Photography - Rhiannon D'Averc Assistance and behind the scenes photography - Ian Clark Models - Kez Anderson and Precious Beattie Hair and Makeup Artist - Charmanique Thompson Makeup - BY Terry, MAC Cosmetics, Cover FX, Hourglass Cosmetics Designer - Julie Nicaisse Location - Kitsch Studios Go behind the scenes at patreon.com/londonrunway

Previous page: Kez wears: Rain Drops Earrings - £190; Nebula Choker Necklace, £480; Rain Drop Rings - £95 each; and Sunlight Ring £90, all Julie Nicaisse This page: Kez wears: Falling Star Earrings £195; Falling Star Necklace - £200; Supernova Bracelet - £325; and Rain Drop Rings - £95 each, all Julie Nicaisse

This page: Moonlight Rings - £90 each; and Sunlight Rings - £90 each, all Julie Nicaisse

Precious wears: Fairtrade Meteor Stud Earrings in 18c gold £570; Comet Pendant £90; Sunlight Ring - £90; and Moonlight Ring - £90, all Julie Nicaisse

Kez wears: Fairtrade Comet Stud Earrings in 18ct gold £840; Comet Pendant - £90; and Rain Drop Ring - £95, all Julie Nicaisse

Precious wears:Â Supernova Bracelet - ÂŁ325; and ring, price on request, both Julie Nicaisse

Precious wears: Comet Stud Earrings £60; Supernova Pendant on Chain - £210; Angel Wings Ring - £100; and Sunlight Rings £90 each, all Julie Nicaisse

Precious wears: Fairtrade Meteor Stud Earrings in 18c gold £570; Comet Pendant - £90; Supernova Bracelet - £325; Angel Wings Ring £100; Sunlight Ring £90; and Moonlight Ring - £90, all Julie Nicaisse

Kez wears: Rain Drops Earrings ÂŁ190; and Nebula Choker Necklace - ÂŁ480, both Julie Nicaisse

Kez wears: Falling Star Earrings £195; Falling Star Necklace £200; and Moonlight Ring - £90, all Julie Nicaisse

Precious wears: Nebula Choker Necklace - £480; Supernova Bracelet - £325; Angel Wings Ring - £100; Sunlight Ring - £90; and Moonlight Ring - £90, all Julie Nicaisse

Kez wears: Rain Drops Earrings £190; Nebula Choker Necklace £480; Moonlight Rings - £90 each; and Sunlight Ring - £90, all Julie Nicaisse

Precious wears: Constellation Necklace, worn on head £325; Meteor Stud Earrings £60; Falling Star Necklace £200; and Rain Drop Ring - £95, all Julie Nicaisse

Precious wears: Ring - price on request, Julie Nicaisse

Kez wears: Nebula Choker Necklace, worn on head - £480; Rain Drops Earrings - £190; Constellation Necklace - £325; Falling Star Necklace - £200; Supernova Necklace - £200; Rain Drop Rings - £95 each; Sunlight Rings - £90 each; and Moonlight Ring - £90, all Julie Nicaisse

Kez wears: Rain Drops Earrings - £190; Supernova Necklace £200; Rain Drop Rings - £95 each; Sunlight Rings - £90 each; and Moonlight Ring - £90, all Julie Nicaisse

Precious wears: Lightening Earrings - £190; Supernova Necklace - £200; Supernova Bracelet - £325; Angel Wings Ring - £100, all Julie Nicaisse

ANETA SMAGALA INTERVIEW Rhiannon D’Averc caught up with well-established professional makeup artist Aneta Smagala, to find out what it’s like to work on the inside of Fashion Week.

How long have you been a makeup artist for?

Over 10 years now, probably 15. I'm 29. I started working when I was around 16. I started to build up my portfolio as a basic makeup artist, and I started to have contact with the designers and more photographers, and then they invited me for the Fashion Week, first fashion week in my country, which was in Holland. I was working as a manager for a couple of makeup brands, but I was working at the same time as a freelancer as a makeup artist. I joined Charlotte Tilbury and then I became the lead makeup artist. That’s when I was travelling for Charlotte Tilbury around the world.

I was in Paris for the Fashion Week. I was in Fashion Week for London. I’ve been to Kuwait to do the training for the team for the first opening there, and I’ve been doing editorials and other stuff. I just left Charlotte Tilbury so I’m doing freelance at the minute.

What styles of makeup do you usually work with?

There's not just one style. I love natural makeup. It’s like very very natural, soft makeup that you just tap in with your fingers, not really using brushes. Just lashes and foundation.

Brush in the eyebrows to pick them up, and I think a very natural look for the shoot is one of my favourites at the minute. Obviously, it's a trend, and trends are always changing. However, it always looks good because you can really just focus on the details, but in the end, it’s very natural and you can see more the face and more than just hiding it.

Image via Rhiannon D'Averc

"I WANT TO SEE WHAT THE WORLD WILL GIVE ME, WHO I WILL MEET ON MY WAY" What are some of the most exciting projects that you've worked on so far?

It's hard to say. I've been cooperating with a lot of shows. I was doing a lot of red carpet, and we were launching this

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Image via Aneta Smagala, backstage at Ulyana Sergeenko

Image via Artur Piekarski

Image via Sylwia Bomba store as well, and a couple of celebrities were invited. I was working with them, and I was invited to do some touch-ups and stuff, plus promote some headphones.

And, I was also working with Kate Moss as the right hand for Charlotte Tilbury to help out with a shoot as well. But, most of the time I do lots of work with products and fashion shows.

Image via Aneta Smagala

Were you kind of starstruck when you get to work with someone like Will.I.Am? No, not anymore. It’s just people.

Obviously, you have to know that is kind of different from the normal people, and that they live in different worlds. But, obviously, you have to work under stress because those kinds of people just sometimes just need time. Also, like, top models when I used to work with like supermodels, obviously, they have their own manner, own style, and you have to

keep the time to be under stress and give them a little bit space and time. Even if you have to do something faster, that’s… you have to find a balance in a middle and give them space. That’s just how they are, obviously. You just have to... as long as you are a makeup artist doing makeup for different people, you know how to speak with them, how to manage to do the makeup because everyone is a little bit different.

Image via www.mentalfly.pl you're doing it something for a bigger, like a photoshoot there’s obviously a lot of people around and, obviously, a lot of staff.

Personally, do you prefer working with the A-list celebrity people, or do you prefer working with models?

I don’t have something like, “I prefer this or that.” Like, both is different. At least, I’m doing something that I love, but, you know, sometimes I’m working with the kids as well, and they ask me to just do the Part of your job is having good people touch-ups for the kids. And, for me, I’m skills, as well. enjoying it, and this is my fashion, but to Yeah, exactly. You’ve got to obviously work me, there’s not a difference, to be honest. under the pressure, and also have a relationship, just a normal relationship And, do you have any go-to brands that because you can’t just ask questions or ask you like to use? them to take pictures with everyone. At Charlotte Tilbury! I love to use a variety of least, they will say something in the end, makeup. Obviously, everyone has their or they will feel that they can be open with own preferences. Like, I love skincare us. Otherwise, it is just not professional to products from Lancome, I love mascaras do it. from Lancome as well, but I also love Charlotte Tilbury, their foundations… their What's the difference for you? For light foundations for Charlotte Tilbury, but example, if you’re doing makeup for a red then when it’s like a higher cover, because carpet or makeup for an editorial, how is I like to do a little bit of a mix, I like to use that different?

Nars and Laura Mercier as well. But, It's a huge difference, actually, because I mostly I like to use a lot of Charlotte know usually when I was doing it for the Tilbury because their products are just BBC people and I was working on shows we really, really good. But, obviously, I love had a separate studio. Everything was Nars as well, like the concealers and provided for that person. She was the most foundations, the eyeshadows. I use the important. It was just myself and this most eyeshadows and the lips are amazing person. No one else, at least the first hours, because they’re really, really long-lasting. but that’s all. When you’re working for the Same with the lip glosses and mascara, editorial, that’s obviously a lot of people. that’s why I use a lot of products from Because you have a photographer, or you them. have a stylist. You have a designer.

Sometimes another makeup artist.

How would you describe your personal Sometimes with a couple of models. For makeup style? red carpet, its more one by one. When My main makeup style is changing. It used

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to be completely different like this now. If I’m going on a holiday, I like to have a nice tan and some freckles. And, my kind of style and how I look like with the makeup, I usually do the eyeliner. People recognise me because of the eyeliner.

That is very me, and I love to do it. Even for some people it’s really stressful, but doing that perfect line, for me it’s something I can do in two seconds. I really like to concentrate on the skin. The skin is supposed to glow and just have a medium coverage but look healthy. Like, I’m 4 months pregnant, but still people say, “Oh, you have great skin!”. Basically, I use more natural products.

How about your fashion sense?

This also depends because it depends on the seasons. I really like Givenchy. I really love his styles. It's very classic and very feminine, and I really like a couple of designers, but this is one of my favourites. I really like a Dior style. It’s also quite feminine but also quite strong. And, also back to fashion shows, with the makeup, I also really like from the face to the bottom… everything, it’s just amazing because

the skin looks healthy and glowy. The makeup is very natural but always on point and the clothes is very fashionable, as well.

Do you have any tips for our readers for everyday makeup?

I think the most important things to consider is the skin, and if somebody has a blemish, then just cover it up with some light coverage foundation. Obviously, some people have more things to cover up, but then, I would recommend to use the good products that are best for their skin. And then, concentrate maybe more on that one area of the eyes or the lips. Also, this depends on the style because, for some people, it’s just not their kind of look for their makeup.

Some people will look better with a little more intense eyes or lips, but it really depends. I would be more concentrated on the skin because that is the most important, I think.

Why do you think makeup is important?

It's important. I think it's to make us, as women, feel more, like, beautiful on the inside because basically it’s for ourselves, not for others. I think, as a woman, you just have to put a tiny bit on, for ten minutes, just to feel good on the inside. As a woman and speaking from a lot of things because a lot of things, at the same time, moves us. If you’re tired, you can see it straight away. That, I think, makes us feel more possible with our skin and feel more fresh.

Image via Tony Tran, model Kelly Rian

What’s your favourite thing about being a makeup artist?

I think I can meet people from different worlds and different countries, as well, which I think is crazy because when I’m in my country... obviously, I do have a chance to meet the people from another world, but here, obviously, it's a different world. It's different opportunities. I get to go around the world. I have fashion shows, and, here, you can really meet the people from everywhere, from the high celebrities to the people who are just normal, simple people who just want to change a little bit of themselves. This is great, I think.

Image via Sylwia Bomba

Is there a trend you think you can see happening 20 years?

I think people are always going back to what used to be. I don’t think it's going to be something crazy, like crazy hair and makeup and lashes. I think we are going somewhere and then we are coming back with something like from a long time ago, the 20s or the 50s, and it’s always on top. Same with the makeup because it was about the very natural makeup with the lids and the lipstick, and then, it was more about the contour, more about the lashes. And now, all the things coming back to the beginning again. Softer skin, softer eyes, soft lips, but I think that that will be the trend, I think.

Looking forward to the future, do you have any plans at the minute?

I want to see what the world will give me, who I will meet on my way because, obviously, you can’t really plan everything because you never know who you’re going to meet and what will be changed in like one or two weeks, or a month. But probably, I just want to keep going with my paid job with the makeup and just enjoying doing that and meeting people.

That’s just something I want to do.

See more of Aneta’s work at anetasmagala.com

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THE A-Z OF SETTING UP A SHOOT Setting up a fashion shoot can take a lot of work, particularly if you are the lead creative. Rhiannon D’Averc takes us through an A-Z list of the kind of things you need to think about…

ARTISTIC DIRECTION - If you are running the shoot, you are most likely responsible for artistic direction. You may, however, have a client who decides how the shoot should look.

This is all about envisioning what you want in the final image the theme, tones, style, presentation, lighting, and choice of model all come under this umbrella.

BOOKING - Don’t leave everything to the last minute. Book your models, MUA, stylists, clothing, photographer, venue, or anything else you may need ahead of time. If you are looking at a week to go before the shoot and some of these elements are not in place, you may find it difficult to achieve your shoot in time.

CASTING - Running a casting call is the easiest way to attract people to your project if you don’t already have contacts in mind. You could use a site like ModelMayhem or StarNow, or even a Facebook group dedicated to photoshoots. You could also contact agencies to ask about booking their talent - give as many details as possible and offer pay in this case.

DECISIONS - Make your decisions early so you can plan accordingly. How long will the shoot be? Where? What is your creative brief? What sort of model do you need, and should they bring anything with them? Do you need props? Will you pay your team? What will you do with it afterwards?

EDITING - Plan time for editing and sorting the images out after you shoot. Post production is a very important part of the process, and if you tell people they will get their images on the same day as the shoot, you’re being unrealistic. Make sure that you have a good estimate of how long it will take, so that no one is disappointed by your schedule.

FINALISE - Be sure to finalise all of your details with a call sheet at least a week before the shoot. This lets the whole team know that you are serious and will also cement everything that you have agreed upon. With a call sheet in place you are less likely to have people who fail to show up or drop out at the last minute.

GREET - Be ready to meet your team at least half an hour before they are due to arrive. Be ready and set up with everything that you need before they arrive. Be a good host too - offer them refreshments and ensure that everyone is as comfortable as possible. Be ready to give directions over the phone to reach your location in case someone gets lost.

HANGERS - Think about how you will store the clothes that you are going to take with you, if you are doing so. A rack with some hangers ready to go is a really good idea if shooting with a designer!

INVENTORY - Make sure that you have a list of everything that you need to take to the shoot, and everything that the others are supplying. Make sure that everyone leaves with the same items. Getting everything back to the people who own them might be more difficult after you leave the shoot location.

JUMPERS - Take care of your models between shots. If it’s going to be cold, tell them to bring jumpers or coats to wear in off moments. If you’re walking a long way, tell them to bring flat shoes to change into. Thinking about details like this can really make a shoot much easier and more comfortable - and the images will show the results.

KEY INSPIRATION - Make sure that you have inspiration in mind - and if relevant, make a moodboard so that everyone else involved with the shoot knows where you are coming from. You can even use something like Pinterest for an online version.

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LAUNCH - After your shoot, plan the launch of your images carefully. You should ideally supply differently sized versions of the images, include logos as watermarks where appropriate, and “tag” those involved where possible. This ensures as much impact as possible. Try to launch your images first but make sure everyone else gets their images very quickly too.

MODELS - Here’s one of the most important parts of the shoot - finding the right models. Working with one of the best makeup artists in the UK and getting in fantastic wardrobe choices won’t help save the shoot if you have chosen the wrong model. You can either put out a casting call or look for your ideal model and get in touch directly with agencies, but don’t settle for the wrong look.

NOURISHMENT - Make sure that you have all the refreshments your models and team will need. Water is an essential at the very least. You could also think about providing hot drinks and a selection of snacks. During a day-long shoot, lunch should be provided.

ORGANISE - If you find it difficult to keep track of things, you need to work even hard on organisation. Keep everyone’s details and all important communication saved or written down in the same place so that you can refer back to it often.

PUBLISH - If your aim is to have the images published, think about this very carefully beforehand. Think about the restrictions and requirements that the kind of publications you are looking at enforce. If you have one in mind, look at their style, tone, and requirements very specifically.

QUESTIONS - Make sure that you get all of the relevant information before everyone leaves. If the models are wearing their own clothes or accessories, get the brand names. Make sure you have contact details for everyone, and try to find them on social networks too so that you can tag them later.

Giving the right credits is really important when using images.

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LONDON RUNWAY REST - Get a good night’s sleep the night before the shoot, and don’t overstretch yourself or your team. If your shoot looks set to take four hours or more, you should probably make sure that everyone gets to take a break at some point.

SIGNATURES - Model release forms are hugely important.

If you do not get them signed, you could wind up being legally challenged on your right to use their images, especially if you make a profit. Whether the model is paid or not, they must sign a release form.

TIMETABLE - Setting up a clear timetable is very important, and helps you to understand what you need to achieve during your day. Make sure that everyone knows when to arrive, how long is scheduled for hair and makeup, when you will start shooting, and when you plan to finish.

UTENSILS - Make sure that you have all the right equipment that you need. This can include but is not limited to camera, lenses, lighting, backdrops, accessories, clothing, shoes, make up, props, reflectors, drapes to cover windows, chairs, tables, and so on.

VENUE - Your location can make or break a shoot, so choose it carefully. If you need to book, do so as far ahead of time as possible. You also need to include this in any budget forecasts that you may make.

WHAT TO DO - If something goes wrong, you need to know what to do to make it right. Location falls through?

Have a back-up in mind. Bad weather? Be ready to move it inside. Model doesn’t show up? Not a problem, you booked two. Clothing doesn’t arrive in time? Ask the models to bring their own.

X-RATED - Are you shooting something that involves nudity? Think about this carefully, especially when choosing a location. Make sure that your models have somewhere they can model for you, not for anyone who walks by, unless they are comfortable with this. Always make sure that you have toilets, covered windows and doors, or a changing room too, as you do not want a fully clothed shoot to have to turn x-rated when your models change their outfits…

YOUR JAM - Setting the mood of a shoot can make it go a lot smoother, and you can do this easily with music. Fun shoots require pop or rock songs, classical music might be best for period pieces, and slow ballads can help evoke looks of sadness or longing. Set the tone and you will see the results in the images.

ZEBRA-PRINT - Alright, this letter was a bit of a stretch, but what you want to do is to make sure ahead of time that everything matches up - clothing, accessories, jewellery, makeup, background, even down to whether the models have any tattoos that would be hard to remove and would look odd. Get a stylist to help you with this if you don’t have an eye for fashion or graphic design.

Learn more about photography skills or book a shoot with Rhiannon at pcistudio.co.uk.

All images via Pixabay

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JOIN US ON PATREON! London Runway has just launched on Patreon.

Our fans get to see behind-the-scenes content, read the full issue online, and bag lots of exciting extras and goodies. Pledging is also an easy way to subscribe to our biweekly print issues, delivered in full glossy colour right to your door. Our representation promise means that our gorgeous editorials don’t just feature beautiful fashion, but also models that you can identify with.

When you pledge, you'll be able to: – Vote on the cover for each issue – Access discount codes from our brand partners – Access behind the scenes content – Download desktop wallpapers from our inhouse editorials – Read the full issue online for free – Receive a print postcard from each issue’s editorial – Access digital bonuses when available, such as presets, overlays, and graphics – Watch and read tutorials and how-to guides from our experts, on a range of subjects related to fashion – Access private Discord channels where you can ask our experts your questions directly

THE BIG QUESTION We asked, you answered

“I think right now I’d go with racism, because it’s a big thing and I can’t wrap my head around it. Especially what’s going on in America right now, it’s just so terrible and it’s something that I’ve never really experienced myself. I know my parents have, but I just don’t get it” - Sejal Shah, designer

“To slow down, not to rush everywhere at a speed. There’s plenty of time” – Marie Sansome, designer

“EVERY CHILD TO HAVE A LOVING CHILDHOOD” – ALINE MINJA AT ALINES HANDMADE, CHILDREN’S CLOTHING DESIGNER

“I would say there is a reason why fashion is the way it is right now, because it’s the superficial reflection of where it comes from.

Something I would change is nationalism. I think it’s redundant, I think it’s bigoted, and I think it can only live in someone who’s ignorant about culture and history. It always leads to fascism, as we see in America. Europe wants to reach that point. I’m not one to talk about Europe because I’m not from here, but since I’ve been here, the only modest opinion I can give is this: open the door” – Juan Palomino, designer

“People’s perception of their own power, one person CAN make a difference & if we all banded together instead of against each other/various factions… The world would be a kinder place… Live & let live!” – J.James, designer

“I love animals, I don’t want people to hurt animals! Some people are very bad, like hunters, I would stop that” – Natalia Zobova, designer

“TRUMP” – MEHMET HASSAN, PHOTOGRAPHER

“I would make sure everyone has equality, that everyone is equal to everyone” – Francesca Palumbo, designer

“Trump. Oh and Mondo to have won Project Runway!” – Jared Rehal, store manager

“To make people be more positive, because they always have a problem with something. They can’t see what they have, they want something more.

They always try to find something else that will make them happy. If people were happier, that would be better” – Aneta Smagala, makeup artist

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

LONDON RUNWAY

CONTACTS ANETA SMAGALA - anetasmagala.com BEAUTY SERIES - beautyseries.co.uk/ CANDICE WU - instagram.com/candice_x9 CHARMANIQUE THOMPSON - charmamua.com CLAUDIA SIQUIERA - instagram.com/kuraudiasumisu CROYDON NIGHT WATCH CHARITY - croydonnightwatch.org.uk ELIN KARACAGIL - instagram.com/elinktextiles ELLIE DYSON - twitter.com/elliejdyson IAN CLARK - photobyian.com JOANNA CUNNINGHAM - itstartedwithrebecca.wordpress.com JULIE NICAISSE - julienicaisse.com KEZ ANDERSON - iamkezanderson.com LANTRO - instagram.com/liannetro LIANNE TROWNBRIDGE - instagram.com/liannetro MANUELA RIO TINTE - yourthinkingcap.wordpress.com MISS LONDON CITY - misslondoncity.com MOCHUNKS - twitter.com/MoChunks NAOMI PURVIS - millennialmonologue.wordpress.com NATALIA ZOBOVA - instagram.com/nataunique OLIVIA CHURCH - instagram.com/olivia_writesandcreates PATRICK COLHOUN - patrickcolhoun.com PETER BEVAN - peterbevandesign.com PRECIOUS BEATTIE - starnow.co.uk/preciousbeattiee RACHEL PARKER - twitter.com/rachelfrances_ RHIANNON D'AVERC - pcistudio.co.uk RUTH DESIGNS - instagram.com/ruth_designs SOG CLOTHING - instagram.com/sog_clothing URBAN FOCUS - instagram.com/urbanfocuscl_ VANESSA WATKINS - instagram.com/vanss_chantelle

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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: Precious Beattie wearing Julie Nicaisse with makeup by Charmanique Thompson, shot by Rhiannon D'Averc Back cover: Africa Fashion Week London by Fil Mazzarino

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