London Runway Issue 25

ISSUE 25 27TH SEPTEMBER 2018

INTERVIEW WITH JUAN PALOMINO . THE BEATLES' STYLE . LFW ROUND-UPS . SHOPPING VEGAN

RUNWAY

LFW: JASPER CONRAN . STEVENTAI . XIAO LI . FYODOR GOLAN . FASHION 4 AFRICA . MALAN BRETON . ROHMIR

LONDON

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CONTRIBUTORS Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Staff Photographer: Ian Clark - shoots@londonrunway.co.uk Features Editor: Rachel Parker - features@londonrunway.co.uk Arts Editor: Eleanor Dyson - arts@londonrunway.co.uk News Editor: Charlie Whitehand - news@londonrunway.co.uk Graphic Design: Peter Bevan - design@londonrunway.co.uk Illustrator - Pauline Kate - info@londonrunway.co.uk Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Contributors: Fil Mazzarino, Charles Chau, Martyna Zalewska, Sidrah Sardar, Jessica Montgomery, Pietro Recchia, Manela Rio Tinto, Joanna Cunningham, Judith Willis, Amaaima Fareed, Neil Dowd, Hannah Smith Special thanks to Juan Palomino, Dyelog PR, Eleri Lewis, Francoise Jennion, Jacob Bressington, Aviva Furman, Roxanne Furman

Get more content and access to special offers and behind-the-scenes at patreon.com/londonrunway © 2018, London Runway Ltd and contributors Printed by Pixart Printing and distributed in-house by London Runway Ltd All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in London Runway are those of the respective contributors and are not necessarily shared by the magazine or its staff.

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EDITOR'S LETTER What an LFW it has been. We were catching all the buzz, from the most exciting off-schedule shows that everyone was talking about to the representations and choices made on all levels of catwalks. We didn't see the new, revolutionary thing that we've been waiting for. It was very much business as usual when it came to the clothes, with a few outliers trying something new rather than a big shake-up across the board.

But that's okay for now, because what we did see, we liked.

It's never been more important than now, in the post-#MeToo world, for the fashion industry to stand up and represent different voices. That was certainly achieved this year across many of the shows, with a higher proportion of black models, more menswear showcased alongside womenswear, and the choice to use models who aren't a standard size or look.

While Rihanna's Savage x Fenty line took the crown for showing diversity in New York, we'd like to award it to Steven Tai here for his choice to show disfigured models

who represent the fact that beauty doesn't have to fit a mould.

We met a few designers that we think have a lot of potential, as well as seeing some familiar faces who never disappoint. We also managed to visit so many different shows that we completely ran out of room for this issue! Just like last season, we'll be featuring even more looks and shows in our next issue, so look out for that coming in two weeks.

Now that the excitement is over, does the fashion world go into hibernation for the winter?

Absolutely not - and in fact, we've already got some exciting new shows coming up in the next fortnight that we'll be covering for you.

On our side of things, we've launched a new media kit which is available to all interested advertisers via an email request to info@londonrunway.co.uk. We're also preparing some brand new features for you - after expanding to include beauty articles over the past few issues, we have some more regular columns and guides coming up that we think you will love.

So, onwards into the colder months we go with a sense of excitement and we can't wait to bring you along for the ride. In the meantime, feast your eyes on these beautiful LFW specimens and whet your appetite for more.

Enjoy!

Aside from events, there's also a lot to look forward to as we move into dressing for autumn and winter.

That means a whole style change, and less running around the woods like we've been doing all summer more bundling up in jumpers, scarves, and this season's trendiest coats.Â

RHIANNON D'AVERC

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CONTENTS Photography Richard Malone - 7 Ashley Isham - 12 Dryad - 26 Xiao Li - 40 Fyodor Golan - 43 Steventai - 57 Jasper Conran - 61 Pauline Wong - 71

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Fashion4Africa - 74 Rohmir - 89 Gayeon Lee - 102 BESF**K - 106 J. Won - 111 Malan Breton - 117

Features Fashion News - 4 Femininity At LFW- 24 London Design Festival - 38 Interview with Juan Palomino - 52 LFW Beauty Week: Go Bold Or Go Home - 70 How To Shop Vegan, From Real Vegans - 87 'A Day In The Life': The Aesthetic Evolution Of The Beatles - 100 See The Unseen - 116 Fashion Weeks Around The World - 124 The Big Question - 125

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FASHION NEWS

BY CHARLIE WHITEHAND

ORLA KIELY SHUTS UP SHOP

Orla Kiely was founded in 1995 and named after its owner. The brand is recognised for its colourful 70s inspired geometric prints, with Kiely herself often being referred to as the “queen of prints”. The label’s distinctive stem designs have appeared on bicycles, bedding, Tesco bags for life, budget fashion and on yoghurts.

Over the years the brand has been popular with the likes of the Duchess of Cambridge and Alexa Chung.

The decision to close its stores and website came after its parent company, Kiely Rowan, went into administration. The company ceased trading on 17th September and the retailer's stores on the Kings Road and Seven Dials in London and Kildare in Ireland have closed.

entered voluntary liquidation “following various challenges that have faced the company over the past few years, both in the UK and abroad.” Consultancy David Rubin & Partners has been appointed to wind down the handbag and fashion business and liquidate its assets.

The company employed about 50 staff, half of which worked instore. The rest were located within the brand’s head office in Fitzrovia. About 40 of these individuals have been made redundant as a result of this decision. It has been reported that staff were told the retailer did not have enough funds to pay their salaries.

Kiely's Home and Design licensing business, which accounts for about half of the brand's sales, will continue trading. A spokesperson

Her husband and co-founder of the brand, Dermott Rowan, said it had

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commented: “Orla Kiely’s home and design licensing business will not be affected, and its selection of accessories and homewares will continue to be sold through its distribution partners.”

The exhibition “A Life in Pattern” was set up at the Fashion and Textile Museum to celebrate Kiely’s work. It features more than 150 patterns and products spanning from the 1990s until today, as well as collaborations with photographers, film directors and architects.

The brand's parting statement said, "thank you for embracing our brand and designs throughout the years and for your ongoing support”. The brand will forever be remembered for their signature laminated bags, featuring a simplistic plant print in bright and bold colours.

via Tony Hisgett/Wikimedia Commons

The British high street continues to crumble as the Irish designer closes down her website and brick and mortar stores.

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DIESEL FIGHTS AGAINST BULLYING Diesel stands up against bullying in their new star-studded AW/18 campaign, in an attempt to connect more closely with a younger generation of consumers.

The brand has recruited some of our favourite controversial celebs to front a campaign to make cyberbullying issues more prominent.

The polarising faces include artists Nicki Minaj and Gucci Mane, actors Bella Thorne, Tommy Dorfman and Yoo Ah-in as well as model Jonathan Bellini.

These individuals have endured their fair share of online harassment via social media. They were asked by the brand to collate the most hateful messages they have received and use them to create their own Diesel designs.

The brand is calling it “hate couture”, a play on custom-made haute couture garments.

The video promo features the celebs sporting these items that feature the hurtful words they have tolerated. Nicki Minaj’s slogan tee shouts “The Bad Guy”, whilst Gucci Mane’s says “Fuck You, Imposter”.

The brand noted that by incorporating the hurtful comments into wearable looks, it disempowers them. In a statement Renzo Rosso, founder of Diesel, said “we wanted to create this controversial irony with our clothes. It’s the way we have to communicate today. We have to do it with our lifestyle and irony. The more you expose the hate you get treating it with irony and irreverence, the less power it has to cause harm.”

The brand marks its 40th Anniversary this year and is renowned for providing some of the world’s most controversial advertising campaigns to date.

Their brand values are built on provocation and have tackled issues such as religion, politics, sexuality and race.

way to survive — to be in contact with the new generation.”

The limited-edition pieces will be available to buy in Diesel stores and online and will include tshirts, hoodies, jackets and sweatshirts. From October 6, customers will also be able to create their own customised items featuring the worst comments they have received. The proceeds from the sale of the collection will help to support anti-bullying programmes and the brand,s nonprofit organisation, the OTB foundation.

Rosso believes that the campaigns of today are much more important.

“For me, the 90s advertising was not very controversial, it was just an ironic way to see the problems.

Today it’s more close to the reality of the age, where people are into social issues and can talk with everyone about this. It’s the only

via YouTube

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via Georgi Sharov

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H&M VIOLATES LABOUR LAWS Many workers making H&M's clothes are living below the poverty line. Fair living wages were promised, poverty wages are the reality.

In 2013 H&M committed to ensuring living wages for 850,000 workers in their supply chain by 2018. The clock is ticking and workers are still dependent on wages that are far from satisfactory.

Conveniently for H&M, this promise brought the brand a great deal of positive press and media coverage, but was it all just a PR stunt? They proceeded by removing the original documents that state the terms of their promise from their website. It is clear they are trying to shirk responsibility and cover up all commitment claiming that this was not a promise that they made at all.

This has left hundreds of thousands of workers still earning poverty wages and struggling to survive in poor conditions. Their hard work is going unnoticed and

being hidden behind glossy storefronts. Without a sufficient living wage workers are forced to work overtime that exceeds the legal maximum or multiple jobs to afford to support their families.

Many have had no choice but to put their children to work instead of in school as well as frequently working Sundays.

H&M produce elaborate Corporate Social Responsibility reports as well as pilot schemes and roadmaps, but it is clear that these are just a means of short-term distraction. The company have the financial capacity (USD 2.6 billion) to uphold the promises that they make as well as covering the whole supply chain in difficult times, but are refusing to use these resources.

Research has been gathered and workers have been interviewed in several countries including Bulgaria, Turkey, Cambodia and India. Workers in India and Turkey are said to earn about a third and in Cambodia less than a half of the estimated living wage. In Bulgaria, the salary at H&M's ‘gold supplier’ is not even 10% of the required

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wage. A worker at a factory in India said, “The wages are so low that we have to work overtime just to cover our basic needs.”

Bulgarian workers also reported that working overtime was necessary just to earn the statutory minimum wage, saying, “You enter the factory at 8 in the morning, but you never know when you will be able to leave. Sometimes we go home at 4 AM.” In addition to this, workplace faintings have become a regular occurrence, as a result of malnutrition and fatigue.

H&M needs to take action immediately to stop the scandal of poverty wages and worker’s rights violations destroying their reputation as a brand. They must start to show transparent changes in the wages of workers in their supply chain in order to be trusted by consumers in the future.

The “Turn Around, H&M!” campaign supports a petition by WeMove.Eu that demands living wages and fair employment conditions for staff in the company’s supply chain.

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RICHARD MALONE Sumptuous fabrics in glossy, often eye-watering shades were the theme of the collection from Richard Malone. Paired with laced and graphic boots, the collection contrastedluxe sheens with oversized stylings, cut-outs, and unusual prints. Opening Fashion Week is never easy, but this was certainly an interesting show. Malone drew on inspiration from his visual diary the photos on his iPhone, which gather ideas from places as diverse as microfibre cleaning cloths and "bad taste Paris wine bars".

Photography by Fil Mazzarino

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ASHLEY ISHAM

Patterns, textures, and varied fabrics were in full-play with Singaporean Ashley Ishamʼs SS19 Collection presented at LFW. With glistening tinsels, metallic fringing, and feather detailing, his 70s-inspired eveningwear pieces took notes from “tropical Ibiza nights and hyper femininity”. The feeling of tropical luxury was further accented by the floral patterns, broderie anglaise, golden threading, and bold colours.

Ashleyʼs luxurious pieces have attracted celebrities for years since the launching of his first collection in November of 2000. From floorlength gowns to more playful swimwear-like ensembles, his SS19 collection exuded a sort of playful elegance that captured the attention of the audience, including us!

Photography by Fil Mazzarino

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FEMININITY AT LFW Following this September’s shows, Jessica Montgomery explores what new collections say about being a modern woman.

The traditional fashion calendar is a binary. February and September.

Dates in the diary that benchmark moods, trends and the future buying patterns of stores and consumers alike. But now in an age where fashion feels as disrupted as ever, where collections come in Supremestyle drops, designers show offseason and it only take a week for shoppers to get the look they desire on Fashion Nova, this binary has become less clear-cut. Seasons are instead becoming punctuated by cultural, social and political changes, the likes of which are coming thicker and faster every year. This Spring/Summer 2019 we are looking at the industry’s consciousness post Time’s Up; a world where defining feminine identity is more contentious than ever.

Sombre black dresses were the activist tool of choice for a myriad of powerhouse women at the Oscars and it’s no surprise; fashion, after all, is one of the biggest statements of identity. Fortunately, it’s not just down to the wearer to engineer meaning from fabric, Fashion - with a capital F - is an industry not afraid to explore the depths of societal unrest and put on a show for all to see and wear. Increasingly, when it comes to the portrayal of gender, designers are happy to blur the lines.

Men are now walking alongside women at a higher rate than ever, and diversity is becoming more than just a question of race and size. The barriers of labels are coming down and questions are starting to be raised about how fashion defines femininity during this genderquake.

What does it mean to be a modern woman?

anniversaries, our expectations were met and then some. Victoria Beckham was out to ceremonially explore the core identity of her decade-old brand, whilst newcomers Alexa Chung and Riccardo Tisci for Burberry wanted to make a statement - but only the kind of statement that the establishment could handle.

The first story to tell when digging deeper into the shows is that of Fanny and Stella, the inspiration behind Erdem’s SS19 Victoriana extravaganza. During his design process, Erdem Moralıoğlu came across an image of Frederick Park and Ernest Boulton, men who in the Victorian era dressed as women in order to be together, thus becoming Fanny and Stella. A gloriously original and bold touchstone for a

collection, there was no need to make tenuous assumptions: exploration of gender fluidity was authentically front and centre at this show. Huge feminine bows were draped across both men and women, flashes of skin visible below swathes of baroque prints.

Bold pops of pigment on the eyes of all models connoted hints of the drag scene and evoked images of literally being made up, drawing attention to how femininity is often something added rather than innate. In case we hadn’t quite got the message, the show was hosted at The National Portrait Gallery, with the models literally walking amongst gendered history. Thanks to the Guerilla Girls it’s a wellknown fact that 85% of females portrayed in traditional galleries are nude. Nice touch, Moralıoğlu.

Via Wikimedia Commons / Via Guerrilla Girls

The London shows were certainly the best place this season to look for answers. An already highly anticipated event with many new debuts and a few industry

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Victoria Beckham celebrated the 10th anniversary of her eponymous label, which for the past decade has focused on creating clothes that women actually want to wear.

From perfectly structured dresses to entire silhouettes, the VB vibe has been infectious, and this crucial milestone explored some core tropes of the working woman.

The vermillion dress, the LDB, the trench coat, the sleek blazer, all tied together with hip bagging trousers, duffel bags, and knitted sport luxe textures. A woman to be looked at for sure, and yet also a woman who lives her life. As Victoria said herself: “I have to be comfortable. It's not about me dressing up and looking good. I've got to get stuff done.” Get stuff done she has, with the show celebrating 10 years of helping to carve out a fearless and empowering image of womanhood.

From anniversaries to debuts— designer Alexa Chung, although no stranger to fashion week herself, only walking the Miu Miu show last season, definitely felt like a newbie sending her first collection down the runway, though she needn't have been. Aptly named Arrivals and Departures the collection was a homage to Chung’s love of the 1960s, but the main takeaway was that the clothes felt like a call to action and an exploration of the very modern definition of freedom: travel.

Dressing for the airport is dressing for adventure. Chung’s woman is one of multiplicity and autonomy, and her collection made a fashionable snipe at recent political Brexit shaped affairs, in a far subtler manner than a passport necklace from Tisci at Burberry. A call for open borders Alexa?

Talk of the town Matty Bovan, a prodigal reincarnation cut from the same cloth as Vivienne Westwood, declared punk is back with his shocking pink, green and logo printed buzzcuts, paralleled with the shapely nipped waists of colourfully layered ball gowns. The show begged the question: how many statements does it take for something to no longer be a statement? The hearty fun poked at the typical voyeurism of the male gaze was a statement all of itself. If we know we are being judged and fetishized, why not play on it? Bovan’s catwalk was a conveyor belt of daring women.

Can we raise the issue of female identity without having a word about diversity? Steven Tai’s

via Instagram

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casting of Brenda Finn and Chloe Root was the best example in an otherwise slender and predominantly white season.

Nothing can quite compare to the feminine diversity on display at Fenty for NYFW but Tai’s presentation of women, plural, presented against a backdrop of downturned dying flowers was healthy challenger. I digress. The feminine ideal is still in the majority, not intersectional across race, size or ability, but designers like Steven Tai, and even Henry Holland dressing the now iconic Winnie Harlow, are pushing the right boundaries.

The London shows don’t exist in an echo chamber, of course, and neither does the debate around the evolution of female identity. What is feminine? Are biker boots feminine? Can I be feminine in a Gareth Pugh leather ensemble? The binary says no, but the spectrum says yes. Through the mire and chaos, we can see a common thread of who the modern woman should be, what defines her femininity, and that is choice. The choice to wear demure silks, florals, have a buzzcut, wear the vermillion dress, the choice to dress up or down to dress for herself. As Simone De Beauvoir said, “One is not born, but rather, becomes a woman.”

You can read more of Jessica’s work on Twitter by following @thejessmonty and heading to her website www.jessicamontgomery.com

DRYAD Photography - Rhiannon D'Averc Assistance - Rachel Parker Model - Martyna Zalewska Hair and makeup - Sidrah Sardar Designer - Charles Chau Jewellery - Model's own unless noted

Go behind the scenes at Patreon.com/londonrunway This page: Martyna wears: Printed chiffon bubble dress with stand collar - £1058.20; and earrings, price on request, both Charles Chau

Martyna wears: Printed chiffon blouse with Peter Pan collar ÂŁ359.30; and printed chiffon layered skirt with bow detail, ÂŁ502.70, both Charles Chau

Martyna wears: Printed chiffon blouse with ruffled hem ÂŁ402.20, Charles Chau

Martyna wears: Printed highneck chiffon dress with lace-up detail - ÂŁ1108.50, Charles Chau

Martyna wears: Chiffon bubble dress with stand collar - ÂŁ1058.20; and earrings, price on request, both Charles Chau

Martyna wears: Tie Neck Chiffon Spot Maxi Dress £70, Y.A.S; and Chiffon cape cover-up - £12, TFNC

Martyna wears: Tie Neck Chiffon Spot Maxi Dress - £70, Y.A.S

Martyna wears: Printed chiffon collared blouse with lacing detail - £457.70, Charles Chau

Martyna wears: Printed chiffon collared blouse with lacing detail - £457.70; and printed trousers with flared chiffon - £493.70, both Charles Chau

Martyna wears: Printed chiffon blouse with ruffled hem ÂŁ402.20; and printed chiffon skirt with box pleats - ÂŁ476.20, both Charles Chau

Martyna wears: Printed chiffon blouse with Peter Pan collar ÂŁ359.30; and printed chiffon layered skirt with bow detail ÂŁ476.20 , both Charles Chau

Martyna wears: Printed chiffon cropped top with butterfly knot detail- ÂŁ137.60; chiffon scarf price on request; and printed chiffon tail dress with ruffle detail - ÂŁ639.70, all Charles Chau

LONDON DESIGN FESTIVAL Hannah Smith, Fashion Communication and Promotion Student at Nottingham Trent, attended the festival of design to scope out the talent.

In London, September is overflowing with creativity, innovation and originality; leaving the other 11 months to live in its inspiring shadow. From Fashion Week to the London Fashion Film Festival to the glorious London Design Festival, there is something for any age, culture and profession.

From a students’ perspective and entering my third year this October, having the opportunity to dose myself up on all things art, culture and design in September couldn’t be timed better. Preparing me to fuel future projects with inspiring exhibitions in mind, and imagery bursting with upcoming trends in fashion, interior and architecture.

The London Design Festival is held annually across London. This year, its doors opened on the 15th September and closed on the 23rd. A huge array of artists and designers exhibited their work in some of the most creative ways imaginable. From landmark projects spreading across open places, to commissions held at the V&A, to exhibitions set up in the designers’ own creative spaces. I also attended the 100% Design show held at Olympia this year, not part of the Design Festival, however it was conveniently Iopen from the 19th to the 22nd of September. This, in true Olympia trade-show style, was filled to the brim with stalls, pop-up shops and innovative products. They presented over 400 international brands who are leading the way in interior design, and not to mention the emerging talent within the industry.

Our first port of call for the day was British-born designer Tom Dixon, hosting his incredibly immersive exhibition as part of LDF called ELECTROANALOGUE at the Coal Drops Yard, the brand’s new HQ and flagship store. This beautifully rustic, industrial backdrop marks the spot for Dixon’s detailed interiors, extensive installations and architectural design.

ELECTROANALOGUE stimulates several senses, involving sight, sound and touch.

An add on to this inspiring exhibit was the Bill Amberg Print display. Some beautiful designs printed by him and other designers using leather and other effective materials.

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LONDON RUNWAY My highlights from the V&A were firstly Dazzle Pentagram X 14-18 NOW. This commission is inspired by the First World War which makes it immediately more intriguing, as it has been linked to the world of design. Dazzle was as impressive as it sounds, I entered through a mirrored doorway in the Creative Studio of the V&A; then instantly greeted with animmersive monochrome haven.

The Dazzle monochrome camouflage was painted on the surface of ships during the First World War. The Shapes, patterns and lines were an attempt to confuse the enemy in the stormy conditions.

attached to fire lit walls. Designers were using any means necessary to connect with the consumers’ senses. I am looking forward to stores adopting these unique trends in the upcoming year.

After this exhibition, we veered away from the festival to visit the 100% Design show. This show was not only enormous, but it was overflowing with up and coming design studios, innovative technology and interior trend forecasting for the year ahead. I attended with another student specialising in textiles. Her perspective on the displays gave me a whole new insight into the world of design. Dissecting the brains of those around you can be one of the simplest yet effective ways to gain inspiration. Her interest lay with lighting; considering at every left turn there was a lighting stall, 100% Design did not disappoint. The innovation was great to seeL: reflective lighting, cable cords with bulbs

Another trend that stuck out throughout 100% Design was block coloured interior. Bold, eyecatching art deco inspired sofas and arm chairs. For example, a bright pink sofa would be the focal point of any room and raise eyebrows, however the mock-up living rooms at 100% Design made these features appear so natural and accepted.

And finally, we took the Piccadilly line straight to South Kensington where we were met with Brompton’s design district.

The V&A almost acts as a centre for the London Design Festival where visitors can plan their day around it. It hosts a huge selection of commissions in spaces within the gallery along with outdoor installations such as MultiPly, a landscape project made through a collaboration with Waugh Thistleton Architects and Arup.

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Second highlight was The Onion Farm by designer Henrik Vibskov, this was part of the Tapestries gallery, a unique space kept at the correct temperature and lighting for the tapestries exhibited there.

The Onion Farm is inspired by something growing in the dark which in most cases means underground. This tapestry is interactive, visitors are encouraged to interact with it. I found the shapes and colours used fascinating, as well as the contrast between the natural earth onions grow in compared to this exhibit.

Then, finally, we rounded off our day of art, culture and inspo by visiting the MultiPly installation from Waugh Thistleton Architects.

This sustainable construction in the Sackler Courtyard of the V&A was not only impressive but incredibly satisfying to know the materials used were recycled.

AHEC’s European Director stated, “MultiPly explores a new, more sustainable way of building, bringing together a readily available carbon-negative material – American tulipwood – with modular design.” The maze-like tower was incredibly interactive and great for the public.

To gain more of an understanding or to see the other designers that were involved in the festival check out their social media accounts: @l_d_f_official ; @100percentdesign Images Via Hannah Smith

XIAO LI Broad sailor stripes in baby blue and yellow morphed into pinstripes at Xiao Li, and before we knew it, we were looking at sheer dots and iridescent sunshades. Inspired by Martin Parr and the beaches of Mauritius, where Xiao Li travelled with family before making the collection, it has a real holiday feel to it. With towels instead of handbags, and oversized bows and fastenings everywhere, it's making us fantasise about a winter trip to the sun already.

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Photography by Fil Mazzarino

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FYODOR GOLAN

Rainbow colours and the elevated aesthetics of Fyodor Golanʼs SS19 Collection graced the runways at LFW last week. A clear coral reef and underwater theme was apparent in the collection with the nautical striped pieces, coralinspired colours and accents, and a giant, intricate limestone statue that backdropped the runway.

Established in 2011 by duo Fyodor Podgorny and Golan Frydman, this contemporary designer-sportswear brand based in London provided a collection that played on the reception of identity. The brandʼs voice speaks to us through the playful, light-hearted pieces.

“In its spirit the brand represents Positive Intellectualism movement of passionate self-expression, which comes across in vivid colours and use of tech fabrications merged with progressive sportswear aesthetics.”

Photography by Fil Mazzarino

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JUAN PALOMINO INTERVIEW

Rhiannon D’Averc sat down with one of the most inspiring and talented designers we’ve seen in a while, to get the lowdown on what’s next for his brand – and why he’ll be a big player in fashion seasons to come.

Tell me about your background – you’re from Peru?

Yes, I’m from Peru, and I started studying in New York, at FIT. Then after the first year I was chosen to go to Florence, to Italy, and do a year at Polymoda. Then I came to back to New York, I did one more year and graduated, then I was chosen to come to Central St Martins for a semester. Then I received an invitation from Central St Martins for menswear, and I did my best to change it to womenswear. I showed my project and they said yes, they accepted me.

Since then I’ve done two years at St Martins and this is my last year. I’ve been working in New York for some fashion companies, doing internships, and I was a window display dresser. Then I went to do something with Bergdorf Goodman as well, for window dressing. I dressed some people, some rock and roll bands, as a stylist as well as a designer.

I’m interested in science as well, so I have some astrophysics background as well. That was just for not even a year. When I went to St Martins, I used that science to mix it into a fashion collection. That’s how it’s been going all these years.

"EVERYTHING I WANT, I TAKE MY TIME AND I DO IT." I could see you already had a collection of 79 pieces.

Yes, that was the last collection. That was done by my team, in my name. But now we are in the process of changing the brand. It was a really a nice experience – this last year has been my placement year. As you know in St Martins, that is the third year. So, this placement year, I took a chance to, instead of finding an internship, find investment and put my brand together. That’s what I did with my last partner, Vestaen Balbuena. She and I created this brand and then we started to put more people in it.

Four months ago, we opened a pop-up store in Soho and we had a chance to sell pieces. I got sick for like three months. I had a panic attack and everything. So, that made the whole thing really complicated, and the brand was on standby. So,

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LONDON RUNWAY I’m changing the whole team.

There’s a new brand coming which is going to be just called ‘Palomino’ instead of ‘Juan Palomino’. It will be with another designer from New York that I’m teaming up with.

You worked with small businesses and producers in Peru for the first collection. Is that really important to you?

Small businesses when it comes to Peru, yes. There’s a lot of quality production. That is important for me, to put my clothes in small businesses as well so that everyone can see it, but definitely the main goal is to sell in Selfridges, Harrods and so on.

Tell me about when you started designing.

I was 16. I was a dancer at that time, and I liked sculpture as well.

At the time I think, when I was dancing, a lot of my friends were girls. A lot of people were asking, “are you gay?”, and I was wondering that. Then I came to the point that I’m not, so I was like, okay, I gave myself a chance to see, and I’m not. If I was, it would have been fine! But, all my friends were girls, so I was hanging out with them and talking about clothes.

From the styling point of view, I started to see “Oh, that fits you better than that” – then I came to the point where I actually grabbed fabric, like okay, I can create something. Obviously, when I started in fashion my main idols were the classics like Chanel, Karl Lagerfeld, Dior. Then I discovered who McQueen was – at the time he was alive – and it was like… (clicks fingers). He wasn’t that super famous – he was already with Givenchy, but he wasn’t a legend yet. It was his death that made him legendary, unfortunately! (laughs)

That’s how I started, and my mum, when I was really young – and even before I was born – she was really poor in Peru, and she was selling toys in the street and clothes. She started creating her own clothes, along with my grandmothers. None of them were designers, per se, but I got some sewing machines. Not a classic story like I was dressing my Barbies or anything, but by some magic I knew how to use the

machines at 16 years old. I had a lot of fashion magazines from 1987, from my mum when she was in Germany. I didn’t understand what they said, but I knew what I saw.

How would you describe your personal style?

I dress like you see! I have a uniform I wear all the time. This is the first collection where I’m introducing a lot of colour. My personal style is more like rock and roll, that’s what I wear. But what I sell is more a combination between a bit of that and fashion. Because if you want to make a business you have to follow trends nowadays.

That’s something a lot of people at St Martins sometimes don’t get.

They are like “Oh, I’m going to live doing these noodle dresses…”

Probably one out of a thousand or a million will, but not all of you! I don’t think I’m the most talented ever, I think I’m just good – I have some, but I think I’m just doing what I can. A lot of people criticise me because of that, saying “he’s just following trends, he’s not creating anything new”. I think I created something when I did something for Balenciaga, because I like shapes. But I can’t sell that everyday. This year has been really amazing because it’s been the time that I actually conquered fears, try to produce something, and see if it

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works – to grasp that feeling of how it is when you own a company.

You have to manage so many things – it’s not just about, I’ve finished this and I’m waiting for my tutor to see it, so I’ll go and have a drink. Nothing like that. It’s a whole experience.

My personal style is just simple.

It’s nothing new. It’s just my tshirt from H&M and my Doc Martins, which I always change because they get broken. Then maybe a suit when I go to a wedding, but nothing else.

Do you feel it’s a struggle between running a commercial business and being more creative?

Definitely. Because you have two groups of people: those that say “oh, that’s great”, and those that say “he’s not inventing anything”.

Inventing – I don’t think it’s a word that can be used for a lot of things, but anyway. It’s like the word ‘genius’ – I don’t think anyone is a genius unless people say it, otherwise you’re talented.

This business is a first try to see how it goes, and I think we had success, but for reasons outside of the business the team had to separate.

What was that project you did with Balenciaga?

At Central St Martins, every year

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they do a cut project, where you go into tailoring. This year was a special one because the V&A Museum teamed up with the Balenciaga Museum, and they did an exhibition called Balenciaga: Shape and Fashion. St Martins got the chance to partner with them and say, okay, we’re doing this project with tailoring right now, and Balenciaga was a tailor as well, so why don’t we do something? So, it was a one-time chance. I don’t know if they’re doing it again, but I haven’t seen it. So, from all the second-year students at St Martins, we did one piece inspired

by Balenciaga and a personal subject. We went to Spain for a day to see the Museum, we had the chance to touch the real Balenciagas and see how they were inside. Personally, I always loved Balenciaga for the way he would treat clothes. How the cut was, eliminating seams, like Charles James. When we came back I joined that idea with Peruvian aspects.

Because Balenciaga was always really amazing and when he moved to Paris, he said, “Nothing of what I do is going to make me forget where I come from.” It’s the same for me. When I think of Peru, I think of these beautiful women wearing their babies on their backs with their hats and skirts. So that’s the shape of my Balenciaga project, like a woman holding a

baby. The dots were reminiscent of the 50s Balenciaga styles.

Finally, they chose 15 students, then three. I was one of them. We presented at the V&A. It was an amazing chance because we had three runways there. There were thousands of people, and it was beautiful. I did a video with my team, which was growing at that time. It was an honour to be at the V&A and to present something – anything! (laughs) How did it feel to see it walking down that runway?

Beautiful. That was the third time in my life that I’ve seen one of my pieces walking on the runway, but this was the most important one. It was magical. It was beautiful to see something that you’ve created with your own hands, and have other people taking pictures of it.

It was great.

What do you think you take from your roots in Peru to your style?

Colours. Not in the classic way that a lot of people… I think a lot of designers make a mistake when they do an exact copy of what the colours represent. I don’t think that’s going to be successful in a European market. We have to consider the climate, how they are framed politically. A lot of these aspects are important. You have to

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consider what people are thinking sociologically at the moment. If it’s not matching, it’s not going to work. People will clap, and say, “oh, that’s a Peruvian thing”, but they’re not going to wear it. What I take from traditional Peruvian clothes is the shapes. Maybe. Then the colours, one by one. Not a salad! (laughs) I don’t think that works anymore. Galliano tried to make something like that. I think as a Peruvian, it wasn’t good. I’m not going to say it was good just because it’s Galliano!

What are your plans for the future?

There is some business with China that is still… there’s a company, for contract reasons I can’t name it. It’s a company in China which is interested in European designers.

I’m not European, but I live here, so I was chosen! Another great platform is Not Just A Label. Not Just a Label has given me a lot. On there, a lot of companies from around the world contact me to see what I’m doing and send me free fabrics, free swatches. They invite me to their plants. One of these companies was the Chinese company, which is a small LVMHtype. They want to gather new designers, and I’m one of them.

What they want is to invest money in the brand and sell it in the Asian market. That includes Taiwan,

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That’s not 100%, we haven’t signed the contract yet. If it goes ahead, then there’s a percentage I will get for each garment that is sold, so that’s one of the plans.

The other is to rebuild the brand, which is what I’m doing right now.

Find new investors, which is the difficult part, because people always ask you the wrong questions about the brand and you don’t know what to answer! I will have some news soon, but we’re doing the business plan, social media strategy. In the last collection we didn’t have a marketing plan.

We just had the investment £35,000, which is not too much to build something. We did amazing things with that, thanks to my team. Without them, I wouldn’t have been able to do anything. All of them are great, they did an amazing job in putting the store together, the collection, the gallery, going to Peru to produce it… But what we saw in the end is that the mistake we made is we got to the end of the budget and we didn’t have money to do publicity.

We just did Instagram. When you start Instagram, you make a lot of mistakes – you don’t know if you should publish three times a day or once a day, and it’s a nightmare.

That’s what I’m telling you – it’s not the same as doing a project in school and then you go back and

get an A and you go and have a drink. You have to market the collection, do research, put the team together. When you start selling, which we did, you get excited for the first time. Then you have to sell again, and you have to work out how to fold the clothes!

Every detail – how the label is hanging…

I’m done with school, to be honest.

St Martins is great, it’s fascinating, but I’m done. I want to move on with my business. I’m 28, the majority of my classmates are 22 or 19 even. Those people are great. I feel like I’m their grandpa!

I understand why they aren’t too keen to start something.

What are your ultimate dreams for the brand?

I’m debating… if I get investment, it’s probably going to be in the next six months. Maybe it will be better if I start it here, or I’ll go back to New York. But that really depends on the people I’m going to be with, how it’s going with the Visas. I’m on a temporary Visa, so that’s something that’s tough. I would like to sell in department stores, like Selfridges, Bergdorf, you know – which I’m going to do.

For sure. That’s something I have in mind. Everything I want, I don’t care if people believe or not, everything I want, I take my time and I do it. I don’t care if I have anxiety, mental problems…

able to create something transcendental. I wish. But I think that’s not for me to judge. If people one day think I did something valuable, then that’s the dream. As a designer. As a company, well, to make money! (laughs) To make the dream possible. If I want to live on making science and technology, which is my other passion, I need money. That’s actually one of my dreams – I also have another investment plan. I’ve been talking with some people in California.

This is more like Silicon Valley stuff – this is something else. A fabric machine. It’s still on paper, still a baby. I want to do something like a 3D printer but for clothes.

I know it has been done as a prototype, but it has failed. Now I’m gathering all the figures and trying to put something real together, and gathering tech people as well. That’s another dream, something I would like to do – maybe to add that to the fashion company, so we have a just-in-time model of business.

You just produce what you need.

Science is a passion for me.

It’s interesting – you want to create something valuable; maybe this could be it.

Maybe. I don’t know. I want to make a company like that, I would love to create a machine to build clothes. I would like to be the next Spotify for fashion, I want to be an app.

I’m not sure if I’m ever going to be Tell us a bit more about you!

What’s the meaning behind your tattoos?

This tattoo is my position in the universe, a friend of mine from the team did it. This was because I was drunk! It was done by stick and poke. It was my first tattoo, I said “just put something”. It was really painful! It took five hours and a lot of Jack Daniels! It was mainly more to have a tattoo. When people ask me what it means, I honestly say, it means I have time and money to get a tattoo! I don’t want to put a whole story behind it.

I’m seeing life more calmly right now, because that’s what brought me to failure four months ago. It was the day we opened the store. It was supposed to be an amazing day. It was great, and we had all

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these people coming in, and suddenly… I was taking some medicine since a week before. They told me not to drink with it.

Because I had problems with drinking at the time, I was thinking, it’s the opening of the store, so I want to drink some champagne. I was talking with a friend in the middle of the event, and I had a sip. Then I started thinking about it. I’m a bit of a hypochondriac, but everything was fine, so I took another sip.

Then I thought, okay, one second. I left the store and I started feeling heart palpitations, my heart raced like never before. I felt heat coming up and down, and I was feeling dizzy. I honestly thought, I’m done – I’m having a heart attack right now. So I went in front of the store, and I looked at my name on the front of the store, and I thought: “God, I know I’ve been saying I don’t believe in you, but right now I do! Please, please, please… Please do not kill me right now. I cannot die today.”

I didn’t, obviously! They took me to hospital in the middle of the event, so this was a whole thing.

They told me it was a panic attack.

The next month was horrible. We closed the store, everything was on standby. We sold some of the clothes, which was brilliant in terms of the business, but I couldn’t persist anymore. Every day I woke up, I was trembling, my heart was racing, I couldn’t stand up.

I went to Peru for three months. It was a whole experience. Thanks to my parents and my ex-girlfriend, who was my business partner at the time, things were kind of great.

But then we broke up, and I had to face the music. I came here and now I’m better, I’m much better.

Do you have a coping strategy now?

Yes. Now I know what not to do. I can’t be living la vida loca all the time, like I want. Because that’s the thing, I love living like that.

It’s a self-destructive thing. That’s why I have to not do something like that. Things are much better.

Now, I’ll have a beer, and that’s it.

Now I can actually talk with

someone and pay attention to them, and not be always thinking about something else, if you know what I mean. I’m calm right now, I just moved to a new place, I took up running as well. I was always like, that’s not for me, and laughing at people who go running every day. Now I’m one of them!

Now I’m running every day, just training my heart, and keeping healthy.

It’s an age thing, too. Because when you start getting older than your 22-year-old classmates, you start to realise, hey, I actually need 8 hours of sleep.

Yeah, I never slept. I also work as a tutor, so I give private classes to people about fashion, politics and art history. I used to work in the UN in New York, and my mum works for the UN, so I have a political background. Every day I was waking up at 7 or 8am, having 3 or 4 cups of coffee, give classes, then automatically start working on my company – because I used to live with my team, I had this stupid idea that seemed wonderful at the time. When you’re drunk, everything seems wonderful! I thought, I’m going to live with my team so we can work 24/7. I don’t know why that sounded great at the time, because it isn’t! I started working and then 10, 11pm, I would say okay, guys, let’s go drinking.

We’d go drinking and come back at

4am, then I would sleep 3 or 4 hours every day. Impossible. I was in party mode when I was living in Italy and New York and it was great. I love partying, but not in that way anymore. It’s in my head, because I haven’t let go of a lot of stuff. I’ve been realising a lot of stuff in my family as well, personal stuff that is really delicate. Now I’m trying to cope with that.

Follow Juan’s next chapter at juanpalomino.com Portrait: Photographer: Rhiannon D'Averc Studio Images: Model: Lizaveta Kavalenka / Linden Staub ; Photographer: Daniel Cuadrado ; MUA: Sarah Shaw Editorial pictures: Rachel Wu ; Agnes Biro ; Photographer: Daniel Cuadrado

STEVENTAI Feminine beauty was embraced in all forms at Steventai. The presentation saw models standing inside an area surrounded by preserved, dried, and plasticwrapped flowers hanging down from above.

This romantic canopy was the setting for a collection of contrasting sheer and solid fabrics, with an airy, feminine colour palette occasionally punctuated by an acid yellow. The designs referenced Sofia Coppola's The Virgin Suicides.

But much more talked about than

the clothes were the models themselves - like Chloe Root, who has a port wine stain birthmark across two thirds of her face. Brenda Finn, who has suffered from alopecia since she was 14, stood proudly amongst agency models.

Burns survivor Raiché Mederick shone in a silvery ensemble.

These unique models were chosen as part of an ongoing project involving photographer Rankin and charity Changing Faces, to highlight that beauty can come in many different guises.

Photography by Rhiannon D'Averc

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Founding member of LFW, Jasper Conranʼs SS19 Collection features bright neon colours, monochromatic ensembles, and contrasting hues. The array of colours that danced in front of our eyes included, but was not limited to, hot pinks, mustard yellows, emerald greens, and cobalt blues.

The all-white and simple runway further accentuated the pieces and colours.

Jasper Conran received an OBE for his services to retail and has designed and produced costumes and sets for 13 plays, operas, and ballets. Heʼll also be designing costumes for the Royal Opera Houseʼs 2019 production of ‘Within the Golden Hourʼ. With passions and ventures ranging from performing arts, fashion, and even an accredited hotelier, his endeavours have always led to success and acclaim, and his SS19 collection is no different.

Photography by Fil Mazzarino

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LFW BEAUTY REPORT: GO BOLD OR GO HOME Manuela Rio Tinto explores this season’s key beauty trends.

Holland, and the power double bow ponytails from Emilia Wickstead.

It’s that time of the year when the Internet is buzzing with street style pictures, catwalk shows, trend reports and, last but not least, beauty looks for the new season.

Punk and goth also had their minutes of fame on the catwalk.

From up-do braids with woven neon plastic at Nicholas Kirkwood to spiky knotted faux-hawks at Molly Goddard and Mohican clipped waves at Gareth Pugh, the punk look was bold and aggressive.

The emo goth hairstyle came in perfect bobs at Ashley Williams and Ryan Lo, this last one adorned with childlike ribbons, and on beehives with slicked-down sideburns on Halpern.

Summer 2018 was all about the natural look, and even though it is supposed to be effortless, we all know it can be pretty difficult to get that glowing-flawless-baby-skin look.

Beachy hair – well, it is summer – was the must-have look in two different ways: wet-look with the help of a little bit of gel on the roots, or cool and wavy à la Gisele Bundchen. But with these summery looks getting now oh-so-last-season (that is the beauty, or ugliness, of fashion – we still cannot decide), it is time to move on to SS19 beauty trends. Where are we heading next?

Regarding makeup, the au naturel look is still a must – thank God, at least we can wear no makeup at all and pretend that is just because we are fashionable, not lazy – as seen at the Preen, Delpozo and Rodarte shows, to name just a few.

One of the biggest hair trends we can expect for SS19 is a pop of colour. It can be different tones of pink, from vibrant to millennial pink or the infamous troll doll hair in blue and yellow, seen at Matty Bovan’s and Ashley Williams’ shows.

On the other hand, glitter and summer have been a great match since forever. SS19 make up is heavy on glitter over the lids – be it a cat-eye look at Halpern or a messy shimmer as per Simone Rocha.

Moving on to an easier look: greasy messy hat-hair is a trend you can try to recreate at home in your half-hour time slot between waking up and leaving the house, although we already know in fashion and beauty nothing is as easy as it may seem. As per the name, you probably do not even need to do anything after getting out of bed: the more worn and squashed-down the better. This trend was seen at Preen, an all-wet style at Ashish and in a slightly timid way at Markus Lupfer.

Matching the colourful hairstyles, makeup can also use a few bright

shades- or at least that is what Peter Pilotto, Erdem and Ashish believe. At Erdem, the bright blue baby eyeshadow was meant to be slapdash, not only on the lids but also below the waterline. At Ashish the orange eyes were also sloppy, as you are just leaving a party at 7am.

Bold eyes were the mood for Gareth Pugh’s show. Mixing strong colours and graphics, the look was an impressive 80s punk girl. Ashley Williams and Nicholas Kirkwood have also bet on dark eyes: black eyeliner is the must-have beauty item to copy their looks.

It's not all about the eyes: statement lips are also having their moment. Be it glossy red at Ryan Lo, vibrant matte pink at Chalayan or bold lilac at Marta Jakubowski, LFW gave us plenty of options to choose from, just go extra. After all, it is summer, the sun is shining and there are plenty of sunset parties for you to model your beauty around the globe. Let's start dreaming of Summer 2019.

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

Do not put the gel aside just yet. You will still be using it a lot to do all the pushed-back styles we saw at Victoria Beckham and House of

Fyodor Golan by Fil Mazzarino; Ashish by Pietro Recchia

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PAULINE WONG

Pauline Wong presented her jewellery collection during an event that showcased the best of property and style from Malaysia.

She collaborated with Re-Consult PTL (Malaysia) and property developer Setia Sky Seputeh (Malaysia) to present her Chameleon necklace - the charm of which is the easy way it can be customised and changed on a whim.

take a look back at Issue 24 - we featured some of her other designs in our featured editorial.

Featuring elegant stones that drip down the neck, and look perfect with an evening dress, this new collection certainly did not disappoint. As ever, we're looking forward to seeing what Pauline does next.

Photography by Rhiannon D'Averc

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FASHION4AFRICA African fashion designers and models representing the four corners of the continent came to China Town to showcase the 7th edition of Fashion4Africa. 17 models and 7 designers came not only to present their collections but also to compete for Designer of the Year and F4AUK Face.

Showcasing designers were: Africa Has Art, Massassi Batique (Nigeria), Fiona Adetula (Nigeria), Sincerely Nude (Ghana), Kitu Kali (Kenya), and Tatt2 (Kenya).

Exhibitors included AfroTreats, Massassbi Batique, CN&D Gingerbeer drinks, Yartecho, and Sincerely Nude.

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Massassi Batique was the winner of the design award. They won a skills mission to The Gambia, while the winning models won a photoshoot with Black Beauty mag (female) and the Kwame Koranteng "Novum Maribus" collection (male). They were Ugandan Norman Womuhai & mixed heritage Nigerian Shamica Stanley.

Photography by Rhiannon D'Averc

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HOW TO SHOP VEGAN, FROM REAL VEGANS Joanna Cunningham interviewed everyday vegans to show you the ropes on how to shop with a sustainable mentality.

ELERI LEWIS, 23, STUDENT

Veganism involves the practice of consuming no animal products whatsoever, whether that be meat, dairy, or sometimes even honey! In today’s society, most vegans simply eat with a vegan mindset, however, there are some who resolve to abstain completely from all animal products, including leather and cashmere, alongside beauty products which involve animal cruelty.

Eleri has been a vegan for around 1 year now, and says she avoids “anything that once belonged to an animal”, for example leather, wool and fur. She advocates for synthetic materials, such as faux leather, which are not only vegan, but also a lot cheaper than genuine animal products. H&M, Dr Martens, Birkenstock, and Nike are the brands she mainly looks for, but most retailers these days will have something available, so it’s best to check the label to see what materials it’s made from before purchasing.

The issues concerning animal cruelty, and the ways in which our environment can be affected by the manufacture of animal products, have become more prevalent over recent years.

Indeed, with the help of TV programmes such as Cowspiracy, more and more people are becoming aware of the ways in which animals suffer at the hands of humans. In fact, the Vegan Society have noted a marked increase in vegans over the past 4 years, doubling twice over this period, reaching the grand total of around 600,000 people in the UK. The fashion world is even joining the force themselves, with London Fashion Week 2018 being the first ever to ban fur! Whatever your personal reasons, Veganism is growing more popular by the minute; whether you become a vegan gradually over time, adopt only certain habits to do your part, or simply go cold-turkey (pardon the pun).

When it comes to beauty products, Eleri sticks by crueltyfreekitty.com, who list all the brands that are suitable.

For makeup, she uses mostly NYX and Revolution, which are both affordable and great quality, or more high end brands, such as Urban Decay, Too Faced, and Tarte Cosmetics. Eleri notes that some “vegan brands are owned by bigger companies that aren’t cruelty free, for example NYX is owned by L’Oreal”, but she says she personally doesn’t avoid these brands, because “it’s like saying ‘I don’t want to buy veggie burgers from Tesco because Tesco also sell beef burgers’!” However, for those of you who are worried about these issues, it’s best to look out for it.

In my own experience, my first year at university 3 years ago was one of the pivotal moments wherein I became fully aware of these issues. It was a time when horrible videos of suffering animals cropped up all over my Facebook page, and I couldn’t help but watch. As someone who loves animals, is concerned about the environment, and strives to stay healthy, I see veganism as the ultimate goal in an ideal world. However, being a lover of all things cheese, I will always struggle to completely adopt a vegan lifestyle, so I aim for a mostly vegetarian diet.

Therefore, I look to outlets other than the food world, such as fashion and beauty, to ensure I do my part.

This is, by no means, a call for everyone to suddenly adopt these vegan habits, as I know that there are so many reasons why people might not feel that this lifestyle is for them.

However, for those of you who wish to change your lifestyle to inject a little veganism into your life, then these tips from vegans should help you to make those small changes:

When it comes to skin and hair care, Eleri says she struggles a little more because big brands, such as No.7, Nivea, Herbal Essences, and Colgate, are all non-vegan, so it’s difficult to steer clear. However, she simply purchases all her shampoos, shower gels, moisturisers, and even toothpaste, from Superdrug’s own brand, which she would definitely recommend! Overall, Eleri says “it all gets a lot easier and second nature when you get used to looking out for things that are vegan/cruelty free. I’m hoping to do more research into clothing brands and cosmetics in the future!”

FRANCOISE JENNION, 22, BUSINESS SUCCESS MANAGER AT MICROSOFT, AND JACOB BRESSINGTON, 24, OVERHEAD LINES MANAGER AT NETWORK RAIL Francoise and Jacob, as a couple, have been vegan for a year or so now. They note the traditional view that animal products are luxurious, and better quality, than their vegan alternatives.

However, as time has moved on, quality alternatives to leather,

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such as Pinatex, which uses pineapple leaves to produce ecofriendly “leather”, are constantly developing, changing the demand for leather goods. The best place to purchase these new materials is online, but the growing popularity of these items means that hopefully they’ll become more freely available as time progresses. Frankie states that, by doing your part and avoiding animal materials, they will eventually generate less demand, so fashion stores will turn elsewhere to make a profit.

consumption of animal products, but also helping animals indirectly too”. Therefore, any animal product whatsoever, including honey, and palm oil, or any product which endorses animal cruelty, pollution, or deforestation, is off the market for Roxy. To do this, she advises the avoidance of single use products, and always ensures to prepare her plastic bags for any outings.

With a vegan mindset, the aim is to avoid harm to any living being, so the couple not only avoid animal cruelty products, but also purchasing items made in sweatshops, as these conditions are unethical for humans. They also note the unsustainability of polyester, and other materials which affect our environment, avoiding these also. Both Jacob and Frankie ensure to check all labels before purchasing anything, as this is where “you can find a breakdown of what percentage of the item is a particular material”. They both agree that, once you do this a couple of times, “it becomes second nature”.

In terms of clothing, she avoids leather, wool, cashmere, and silk, but doesn’t really have a “go-to” brand for clothes, as most places have vegan options. Roxy also warns to make sure that any items labelled “fake fur” are actually fake. There has been a lot of recent media coverage about stores, particularly online, who sell items labelled as “faux fur”, which are actually not at all. You can spot this by examining the lining of the fur, which will have either fabric webbing, or skin, attached to it.

Since becoming vegan, Roxy will only replace broken clothing items with vegan alternatives. For example, her down coat from years ago would not be repurchased, but she would equally not get rid of it - in this, it seems she agrees with Aviva.

One important point Frankie and Jacob make is the rising popularity of recycled fashion, for example sandcloud.com have a range of t-shirts made from recycled plastic bottles and cotton. This is not necessarily just popular amongst vegans, but for anybody who is interested in sustainability.

AVIVA FURMAN (51), HATHA YOGA TEACHER, AND WHOLE FOOD VEGAN SUPPLEMENT DISTRIBUTOR Aviva says she “doesn’t avoid any shops because most sell some things that aren’t vegan” anyway. Instead, she is just careful with what she purchases, and makes sure to always do her research before buying. She also doesn’t believe in throwing out any clothing we already own which may not be vegan, for example our leather shoes, as it is a “bit of a waste of that animal’s life if we’ve bought them already”. Her main advice is to look out for the bunny logo on beauty products, as this means they are cruelty free.

ROXANNE FURMAN, 22, ZOOLOGIST AND BUSINESS OWNER OF ZEPHYR ECO MARKET Roxy has always been devoted to animal care and safety, and has recently graduated from Leeds University with a degree in Zoology. Alongside her degree, Roxy also started up her own business, Zephyr Eco Market, which is a website that sells vegan, eco-friendly alternatives to mainstream products. She says that, to her, “being vegan is not just about the direct

SUMMARY OF TOP TIPS FOR SHOPPING VEGAN So, here are the top tips to remember: Always check the label - look for synthetic fabrics, avoiding leather, cashmere, silk, fur, and wool.

Remember to check whether “faux” materials are actually faux.

Avoid beauty products which endorse animal cruelty - look for the bunny logo, or just shop at Zephyr Eco Market or Sandcloud for reliably vegan hygiene, beauty, and home products.

Don’t simply throw away your animal products if you’ve already purchased them, so as not to waste them.

Always bring reusable bags for any shopping outing.

Avoid single-use plastic products.

If in doubt, Google it, or search on crueltyfreekitten.com.

Overall, we can see how simple it is to change our mentality with just a little bit of extra knowledge and research. Thank you to our interviewees, who have really shown us that it is so easy to shop with vegan mindfulness, whether that be for animals, the environment, or even your own health.

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

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ROHMIR Showcasing at Freemason's Hall as part of Fashion Scout, Rohmir presented elegant and luxurious shapes, colours, and fabrics, with a dance theme running through the performance as models were swept up into the air or spun on their toes in front of the audience. Many of the styles were reminiscent of fairy tale fare, yet totally appropriate for a red carpet event. Striking a lot of good notes, this collection is sure to be a favourite for those who want clothes with not just elegant beauty, but also a bit of movement.

Photography by Ian Clark

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‘A DAY IN THE LIFE’: THE AESTHETIC EVOLUTION OF THE BEATLES Long before an unexpected feature on the Rihanna and Kanye West track FourFiveSeconds left many people in the New Generation demographic wondering “who the heck is Paul McCartney?!”, The Liverpudlian rock quartet The Beatles had taken the world by storm and are now regarded as the most influential band in history. For those of you who (for whatever bizarre reason) haven’t heard of The Beatles, the band was comprised of primary songwriter, vocalist and bassist Paul McCartney, rhythm guitarist and vocalist John Lennon, lead guitarist George Harrison, and Ringo Starr on drums.

The peak of their popularity was similar to that of the Directioner fandom and with a name like Beatlemania being given to the intense frenzy directed towards them, you can only imagine the scale of their popularity was just as huge and the fans were just as rabid. With an estimated 800 million digital and physical album copies sold worldwide, The Beatles are the best-selling band in history, having more number ones and selling more singles than any other act. They have received seven Grammy Awards, an Academy Award for Best Original Song

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Score, fifteen Ivor Novello Awards and were inducted in the Rock and Roll Hall of Fame in 1988. Similarly to their musical stylings, their image shifted and evolved throughout their career, with some of their fashion choices becoming the archetype aesthetic for certain groups and subcultures.

During their earliest days in 1958, before Ringo Starr had even joined the band, John Lennon, Paul McCartney, and George Harrison aged sixteen, fifteen, and fifteen respectively formed a skiffle band named The Quarrymen. Taking influence from artists such as Chuck Berry, they later evolved their sound into a rock’n’roll influenced sound under the name of Johnny and The Moondogs, typically playing in pubs around Liverpool. The trio only recruited Pete Best as their drummer when their unofficial manager Allan Williams arranged them a residency in Hamburg. It was at this time that Astrid Kirchherr took the first semi-professional photos of the band. In these images, the band have adopted an aesthetic that takes influence from the Greaser subculture, a style predominantly popularised by the working class and which vitally revolved around rock’n’roll. In short; this look involved a lot of leather. In the photographs taken

by Kirchherr, the band can be seen wearing leather jackets with formal, leather shoes. If you look to the far right of the image, you can see John Lennon’s hair is pushed off his face, styled into the pompadour hairstyle which was a popular trend around that time.

Slim-fit/drainpipe jeans were also worn by the band in many early photos and in the eyes of older and middle-class people, were linked with rock’n’roll in epitomizing the delinquent stereotype placed upon the subculture.

LONDON RUNWAY Behind every great band there is more than likely an amazing manager acting as the intrinsic glue that holds the band together; in this case Brian Epstein is the man. Referred to by McCartney as the ‘fifth Beatle’ in a 1997 interview, Epstein was responsible for a lot of the bands’ early changes. Along with being the band’s messenger when it came to firing Pete Best and enrolling Ringo Starr in 1962, Epstein also had an immense impact on the dress code and overall demeanour of the band. The extent of these changes can seen be in footage from their live performance of I Wanna Hold Your Hand on the Ed Sullivan Show in September of 1962. Understandably, this video portrays The Beatles’ image in a way that most now associate the band with as it is taken from a time when Beatlemania was at an all time high. This video also showcases the band trading in their Greaser inspired pompadour haircuts for the mop-top, a look that would go on to be highly popularised by the band and imitated by the public. Named after its resemblance to a mop, the hairstyle entails a straight fringe/bangs with a straight cut across the back and the sides grown out to cover the ears. Along with this change and despite initial disapproval from the band, Epstein had also changed the visual aesthetic of the band, trading the aforementioned leather jackets and drainpipe jeans to black suits and ties, the first of which were tailored by Beno Dorn. To support this, Epstein also altered their stage demeanour to a much ‘cleaner’ approach, insisting that the band stopped swearing, smoking, eating, and drinking alcohol onstage. He even insisted upon their famous synchronised bow at the end of each of their performances. Musically, their sound at this time drifted away from their earlier rock’n’roll material towards a more pop-rock, ballad inspired sound, making their clean and tidy appearance more suitable for their more commercialised sound. However, it can also be argued that their suited aesthetic could have also been an appreciative nod towards the rock’n’roll artist Chuck Berry,

whom is regarded as one of the pioneers of rock’n’roll music.

The Beatles toured almost nonstop between 1962 until 1966 wherein they decided to completely stop touring or playing any live performances. This allowed the band to embrace the freedom of experimenting both musically and aesthetically with their eighth studio album, Sgt. Pepper's Lonely Hearts Club Band. The album is now renowned for its incorporation of a number of different genres such as British psychedelia, Western and Indian classical music to name a few.

When looking at their drastic aesthetic change during the Sgt. Pepper’s era, it is important to note that their outfits are still synchronized. Taking a much more colourful approach to their imagery, the band can be seen wearing matching military jackets, with each members jacket having a different colour. The clean and tidy aesthetic has been dropped here as shown by their uniformed facial hair and their hair

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outgrowing the mop-top of previous years. This look highlights the beginning of their progression into a more relaxed and hippie inspired look, working well with their psychedelic inspired sound.

Finally, following the death of Brian Epstein in August 1967 and the later disbandment of The Beatles in 1970, the synchronized stylings and aesthetic that the band had used in prior years had been replaced. Each member of the band beginning to develop their own individual, relaxed and authentic styles; the lingering similarity between the four being the grown out hair. Following the disbandment of the band, each member of The Beatles went on to pursue their own solo careers, which hit songs such as Imagine and Band on The Run being just two of many tracks that continued to capture the ears and hearts of their loyal and committed fanbases.

Text: Neil Dowd Illustrations: Pauline Kate

GAYEON LEE Egon Schieleʼs figurative works are apparent inspirations in Gayeon Leeʼs SS19 collection. With prints featuring a bold, natural colour palette, stripes and spots, and her contemporary take on 50ʼs silhouettes, her pieces exuded femininity and elegance. Detailing that created volume, a combination of fabrics and abstract, geometric shapes, and intricate ribbon and knot designs were the key focal points of the collection. Her varied array of pieces ranged from daywear to evening wear with the use of an equally varied selection of fabrics from plain cottons to printed silks and crepes.

Paying more homage to the twisted shapes and movement in Egon Schieleʼs works, a choreographed piece by Glen Snowden with early 20th century piano music as the backdrop accompanied the show.

Professional dancers, models, and beautiful garments all accompanied by innovative piano music, this was definitely a show not to be missed.

Photography by Oda Eide Via Dyelog

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BESF**K Striped sleeves, lapel collars, pattern and fabric layering, and trench coat reformations make up BESF**Kʼs SS19 Collection at LFW. Duo South Korean designers Jae Lim and Bona Kim were the masterminds behind this budding brand and ‘unconventional bespokeʼ pieces. Inspired by a mixture of cultures, the use of Japanese textiles, 1980s American street-styling, and British tailoring were all combined into one collection to reflect the designersʼ unique experiences in London.

Each piece was heavily and intensely deconstructed to the designerʼs satisfaction and then tailored to perfection before it was completed. Ranging from work to sportswear attire, the designs would appeal to a wide audience looking to update their wardrobe with enhanced versions of their everyday clothing.

Photography via Dyelog

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JIRI KALFAR Environmentally responsible glamour was the main theme and focus of Jiri Kalfarʼs SS19 Collection. With the 1970s as the inspiration, sequins, embroidery, hand-woven wool, and all of that 70s goodness were incorporated into every design. Each piece was handcrafted and handembroidered in the Czech Republic by a team of seamstresses using zero waste patterns, recycled sequins, and up cycled clothing.

Also, in collaboration with Czech designer, Oldrich Voyta, a new line of ecofriendly and sustainable leather-free shoes made of corn and wood was introduced into his SS19 collection for the first time. If you thought luxury and conscious consumerism couldnʼt pair up, think again with this collection.

“Because the real luxury nowadays is consciousness.”

Images via Dyelog

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SEE THE UNSEEN Judith Willis attended a talk by Lauren Bowker, founder and creative director of fashion studio The Unseen.

Do you believe in “magick”? Lauren Bowker does. The 33 year old Manchester-born alchemist is the founder and creative director of The Unseen, a material exploration house that develops intelligent materials that produce colour to visualise data.

Sound fascinating? It is.

I had the pleasure of listening to Lauren speak at a recent seminar hosted at the Victoria and Albert Museum as part of their Future Series. In the session, she had the whole audience enthralled as she explained the colour-changing inks she invented which react to unseen factors, such as pollution, temperature and even emotion. But Lauren is quick to confirm that The Unseen is not about being a fashion house, it’s about materials and using them to understand more about the world.

used a lot more intelligently than how we currently use it (the company’s tagline is “We change the way the world uses colour.”)

Lauren pondered how she could use materials to display colours caused by data and began to learn about the world of science and chemistry. During this time, she created a compound that could absorb and exhibit carbon emissions. “It took me on a journey…If I can create materials that respond and change their colour and will communicate unseen and unspoken things, [then] how should they look, how should they feel or what guise should they exist in?”

In a promotional video for her company, Bowker states “We believe in a world where pollution is made real when objects expose emissions…

[Imagine] a world where you can visualise pain and anticipate illness or see the strength within your body.

Today, we are creating a more intelligent future, combining science and technology with design, using colour to communicate data by creating colour changing materials, compounds and coatings. Responsive to multiple triggers, we offer applications tailored to you in your world. To see is to believe, what will you see?”

She decided that rather than continue on to do a PhD, she would attend the Royal College of Art to complete a textiles course in order to try and marry up the design language with the science that she had learnt. After graduating, Lauren encountered another frustration that spurred her to begin her enterprise. Whilst attending the Royal College of Engineering she was working for a company that asked her to invent pioneering creations but not bring any of them to market. The reason was the risk factor, and once she realised no one else was going to take that leap of faith, Lauren applied for a government grant to start The Unseen. Her business idea was backed by the British Fashion Council and was set up as a wearable technology company – although Lauren is quick to point out that she considers it to be a wearable material company.

The Unseen was born out of many influences affecting Lauren. The first was “an internal disease” that she suffers from with her spine. She explained that she became frustrated by her inability to verbally express how much pain she was in and wondered whether she could communicate her level of discomfort through colour. Lauren believes colour is a language and that it can be

But perhaps the greatest influence behind The Unseen is Lauren’s curiosity about the world around her: “I called The Unseen, The Unseen because essentially that’s what I’m interested in, stuff that’s unseen.” Nature is her biggest influence; she tries to make time to visit places she has not been before and sees a lot of the world through her work, including the North and

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South Poles. Inspiration, for Lauren, comes from a natural source that she can experience and sense.

Most recently, Lauren ventured into an industry that many people had told her to avoid: cosmetics. In the run-up to Fashion Week and Women in Science Day, Lauren was asked to come up with a concept to encourage young women into the scientific field. And she did, in the form of a hair dye which, just like the intelligent materials she designed, reacted with unseen elements. Over a weekend, Lauren made a short video for Dazed and Confused, featuring a model wearing a wig that slowly morphed from mousy brown to fiery red.

The video went viral, gaining 38 million views overnight and spurring eight of the world’s biggest cosmetics companies to contact Lauren and her team asking when they could put the product on shelves.

Creations from The Unseen do initially sound and look like something you’d expect to see in sci-fi or fantasy movies, but as technology and science continue to advance and are showing no signs of slowing down, perhaps it won’t be so long before we are all walking around wearing jackets that tell the world what mood we’re in or if we’re in pain.

Perhaps this could make society a more open place where feelings and emotions are visibly communicated; making it easier for people to connect with one another and bring greater issues like mental illness to the forefront.

What an interesting thought.

Find Judith on Instagram @_misswillis_

MALAN BRETON Gold, gold, gold. The new collection from Malan Breton was dripping with it. The sparkle and dazzle of this show was much talked-about in the days that followed, with just about everyone heard to ask, "Did you see Malan Breton?"

The Fashion Scout returnee certainly did not disappoint, bringing his trademark suits and

sparkle to the runway once again.

This time, we have a feeling that it caught just a few more pairs of eyes.

Inspired by Ziegfield Follies and the days his grandmother spent as a showgirl,it had all the glamour one might expect from those sources plus a good dash of wearability.

Photography by Ian Clark

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FASHION WEEKS AROUND THE WORLD Amaaima Fareed takes a look at how Fashion Weeks around the world may seem different – but really have more in common than you expect.

This month has seen the start of a global fashion celebration, with New York kicking off Fashion Weeks around the world. From emerging new talent and fresh new looks on the runway, we were presented with both the weird and wonderful and were not disappointed.

We can see a massive shift in how different political, cultural and societal issues are displayed in fashion. The catwalk has officially become a place to make a bold statement. The great thing about fashion is it breathes inclusivity no matter where you’re from or what your style is. It shows the power fashion holds and how trends are translated in so many ways to fit their audiences.

designs from Lakme Fashion Show had an ethnic vibe with long shirt dresses and flowy trousers.

Beautiful and delicate dresses accessorised with real baby’s breath delicately wrapped around each arm gave each design a greater impact.

The Rodarte dresses dip into a pale colour palette with soft and subtle embellished details. Whereas the beautiful mermaid style lengha by designers Abu Jani and Sandeep Khosla is heavily embellished, creating its own charm complimented with the baby’s breath. Both designs, one from the East and the other Western demonstrates beauty and a timeless style that is helped with the clever display of inexpensive soft blooms.

Eastern and Western style is one place where you can clearly see the difference in style and design. There is a massive contrast in formal, casual, and party wear. But there is a parallel between the shape, cuts and colour of the garments. It’s nothing new that the Western design industry has sometimes adopted an Eastern style that’s given a fresh look to their collections and vice versa.

As well as displaying similar fashion styles, designers from around the globe highlighted a range of important social and cultural issues on the ramp. Maheen Khan's 'Liberation' collection from Pakistan Fashion Week delivered an engaging show that addressed discrimination and the #MeToo movement through her work. Across the globe, Rihanna debuted her Savage X Fenty lingerie line closing New York Fashion Week.

Her show was the most diverse show yet that challenged the industry’s stereotypical standards of beauty, and included women of all difference shape, size, colours and ethnicities proving beauty comes in all forms.

Gigi Hadid strutted her stuff at New York Fashion week at the Oscar de La Renta show wearing a gown that took inspiration from South Asia and Morocco, in a style similar to a kurta.

Gigi wore bright yellow trousers paired with a long white striped fabric with slits down both sides, resembling a kameez. Her look definitely got everyone talking. The uncanny resemblance to a traditional, casual clothing pieces in Asia had a beautiful twist, with the pop of colour and cut out detailing. Similarly, the

It’s clear to see that Fashion Weeks now hold a greater purpose. With innovative new styles and looks there has been a considerable change and a need to express how we feel about today’s current events. This shows and demonstrates the power of fashion and the different effects it has in many different industries. Any future collections that will be shown are sure to be unique and impactful in their own way to engage with the audience, and to leave a lasting effect.

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Gigi Hadid; Savage x Fenty ; via Instagram

THE BIG QUESTION We asked, you answered “It’s hard! I can pick an era, and pick a few from that era. In the 50s and 60s, designers like Valentino and Balenciaga – the originals who were really innovative, doing different things in terms of pattern and classic styles that you still think “wow” today” – Sejah Shah, designer

“I WOULD GO VIVIENNE WESTWOOD BECAUSE OF EVERYTHING SHE'S DONE - SHE'S VERY GOOD AT SPEAKING OUT AND THINGS AND I JUST LIKE THE WAY SHE STARTED OUT AND HOW HER COLLECTIONS HAVE EVOLVED OVER THE YEARS” – FRANCESCA PALUMBO, DESIGNER

“Alexander McQueen. The vision, the style, the bravery to do something different but yet make it feel like it could actually be wearable in your wildest dreams. Without McQueen, I don’t know that I would have been so inspired to start working in fashion myself” – Rhiannon D’Averc, Chief Editor

“Zuhair Murad. Because I do dresses like he does. Of course I have my own ideas, but first I look at his dresses and designs” – Natalia Zubova

“TED BAKER” – ASHELY CONRAD, PRESENTER

“Yves Saint Laurent, competing with Cristobal Balenciaga. I think Saint Laurent was the transition from that era to nowadays. I think if he came back to life and saw what’s happening now, he would prefer to keep being dead! I think he’s the most important designer in my vision because he was able to take haute couture and make it more wearable – still elite, but a less complicated look. Balenciaga because of the perfection, he would do a stitch seventeen times just to make it look amazing.”

- Juan Palomino, designer

“At the moment there’s a designer I just love called Ulyana Sergeenko. I just love her classic silhouettes and beautiful garments” – Louise Allison, designer at Louise Rose Couture

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

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CONTACTS ASHLEY ISHAM - ashleyisham.co.uk CANDICE WU - instagram.com/candice_x9 CHARLES CHAU - instagram.com/_charles.chau_ DYELOG PR - dyelog.co.uk ELLIE DYSON - twitter.com/elliejdyson FASHION4AFRICA - fashion4africa.com FIL MAZZARINO - cyclopevideo.com FYODOR GOLAN - fyodorgolan.co.uk GAYEON LEE - gayeonlee.com IAN CLARK - photobyian.com JASPER CONRAN - jasperconran.com JESSICA MONTGOMERY - jessicamontgomery.com JIRI KALFAR - jirikalfar.com JOANNA CUNNINGHAM - itstartedwithrebecca.wordpress.com JUDITH WILLIS - instagram.com/_misswillis_ LIFESTYLE WITH FRIENDS - lifestylewithfriends.com LONDON FASHION WEEK - londonfashionweek.com MALAN BRETON - malanbreton.com MANUELA RIO TINTO - yourthinkingcap.wordpress.com PATREON - patreon.com/londonrunway PAULINE KATE - paulinekateillustrates.com PETER BEVAN - peterbevandesign.com PAULINE WONG - lifestylewithfriends.com PIETRO RECCHIA - pietrorecchia.com RACHEL PARKER - twitter.com/rachelfrances_ RHIANNON D'AVERC - pcistudio.co.uk RICHARD MALONE - instagram.com/richardmalone SIDRAH SHAH - sidrahmakeup.com STEVENTAI - steventai.co.uk

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Front cover: Martyna Zalewska by Rhiannon D'Averc Back cover: Fyodor Golan by Fil Mazzarino

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