London Runway Issue 28

ISSUE 28 8TH NOVEMBER 2018

INTERVIEWS WITH MISS LONDON CITY + REGANALDS . FASHION INFLUENCERS . MENTAL HEALTH

RUNWAY

HUNDRED SHOWROOM . YOUR STYLE . SUYEON CHOI . CARLA FERNANDEZ . HOUSE OF IKONS . PUSHBUTTON

LONDON

RRP £9.99

LONDON RUNWAY

CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Staff Photographers: Ian Clark and Fil Mazzarino - shoots@londonrunway.co.uk Features Editor: Rachel Parker - features@londonrunway.co.uk Arts Editor: Naomi Purvis - arts@londonrunway.co.uk News Editor: Charlie Whitehand - news@londonrunway.co.uk Music Editor: Neil Dowd - musiceditor@londonrunway.co.uk Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Contributors: Hannah Smith, Olivia Jameson, Sidrah Sardar, Suyeon Choi, Judith Willis, Craig Hammond at Eldred Grove, Luis Bonfiglio, Tim Van Der Most, Rabi Sultan, Pauline Kate Special thanks to the Miss London City team, Ewa Medrzycka, Tyrone Reid at Reganalds

Get more content and access to special offers and behind-the-scenes at patreon.com/londonrunway Š 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 Models entering the fashion industry still have a lot to learn. Particularly when it comes to teens and young adults, a bit of an attitude adjustment is often necessary. Feel free to picture me shaking a walking stick and ordering a crowd of young models off my lawn here.

Chief amongst these, at least for our purposes, is the idea that women tend to hold back on shouting about their achievements. We tend to be so focused on getting the job done to a high standard that we forget to stand up and be counted for the things that we've taken care of.

I spoke last week at a workshop held

by The Model Workshop, hosted by Maxine Griffiths. You'll remember their feature a few issues back, when we looked at their Runway Ready 101 workshop and how it was helping aspiring models to (literally) get on their feet.

Of course, gender is a spectrum, and generalisations are never true for everybody. But if you're someone who tends to just respond "Oh, great" when someone asks you how work is going, whether male or female, perhaps it's a good time to remind yourself of the fact that you are actually fantastic.

Giving a talk is when you realise just how much you know about your industry, and how much you have to teach. This ties in quite nicely with the book I've been reading lately: The Glass Wall, by Sue Unerman and Kathryn Jacob. It's a manual for the working woman who wants to succeed in a workplace that is and always has been biased against them, and although it was written in a pre#MeToo climate, it still holds some extremely valid points.

You are valid. Your opinions and your achievements count. You're doing great things, even if you're doing them slowly or on a smaller scale than you would like.

So, next time someone asks you how things are going, really tell them.

Mention that great project you did recently that saved the company their biggest contract, or how you came up with a great idea that your boss loved. Tell them about the new

processes you've been implementing, or even just about the delicious meal you cooked last week that you're super proud of. It doesn't even have to be an event that happened recently - why not fill them in on the fact that you've raised two smart and personable kids while paying the bills and putting food on the table as a single parent?

It's actually quite hard to force yourself to brag about your achievements when you've been living as a bit of an introvert until now, but give it a go. Start with someone you trust and then try it with a stranger.

See how much more positively they react when you tell them about the things you've managed to do.

Let's celebrate ourselves this fortnight - and remember that we're all doing great, in our own different ways. And if you have an opportunity to lend a helping hand and a bit of career advice to someone who is struggling, do it - it costs you nothing at all.

Enjoy -

RHIANNON D'AVERC

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CONTENTS Photography Fashion in Motion: Carla Fernandez- 7 Editorial: Wraith (cover story) - 12 New Face: Shamica Stanley- 25 Hundred Showroom - 30 pushBUTTON - 41 Fengyi Tan - 46

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House of iKons - 51 Neighbourhood Voices: Shoreditch - 99 Reganalds - 106

Features Fashion News - 4 The Power of the Influencer - 10 The Art of Escapism in the 1930s- 23 Interview: Miss London City - 27 Cheap Frills: Fashion’s Dirty Secret - 35 Style Guide: Winter Warmers - 37 The Life of a Collection: Luis Bonfiglio - 39 The Great Depression: As It Is vs the Stigmatisation of Mental Health - 48 Interview: Tyrone Reid - 102 Winter Lookbook: Your Guide to Essential Winter Looks - 114

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The Big Question - 117

LONDON RUNWAY

FASHION NEWS

BY CHARLIE WHITEHAND

NOTONTHEHIGHSTREET OPENS POP-UPS FOR CHRISTMAS them with a retail space that truly represented their offering, whilst mindful of the physical space constraints and the crowded Christmas marketplace.”

The e-tailer will offer information about the sellers behind each gift.

They hope to celebrate the platform’s network of small creative businesses and individual by highlighting their skilled craftmanship within the stores.

Ella d’Amato, chief commercial and marketing officer at notonthehighstreet, said, "We are working with some of our most innovative partners to develop carefully curated ranges of products for each location which showcase the best of the unique gifts that can be found on our marketplace this festive season. We hope it will help our customers to understand the work of the 5,000 creative small businesses that sell through notonthehighstreet by bringing their stories to life and demonstrating their passion for creativity in a way which it can be hard to appreciate when you’re browsing online."

Go grab your Christmas trinkets on your daily commute through Waterloo or head to Westfield to create something magical for a loved one!

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via notonthehighstreet / Campaign

notonthehighstreet.com, the online fashion and lifestyle marketplace which is perfect for gifts, will be showcasing products from over 200 sellers at two pop-up stores in London this winter.

The pop-ups will open at Waterloo Station and Westfield shopping centre for three weeks in November and December. The first store will run from November 2nd-22nd within Waterloo, followed by the second from December 3rd-24th in Westfield White City’s North Atrium on the ground floor.

Designed in collaboration with Initials, the spaces will allow customers to shop from curated collections of gifts. They will offer personalised Christmas Eve boxes and baubles, customisable jewellery and a range of gifts that include stocking fillers, larger limitededition pieces and one-off artisanal items. There will also be live personalisation and ticketed experiential workshops in place for customers visiting the Westfield pop-up.

Rachel Bateman, Head of Experiential at Initials, says, “notonthehighstreet is such a distinctive brand, enhanced by its array of partners, so bringing it to life in the live environment needed careful consideration in every detail.

We worked closely with the notonthehighstreet team to provide

Via L'Occitane

LONDON RUNWAY

L’OCCITANE LAUNCHES INSTORE RECYCLING PROGRAMME Since its creation in 1976, L'Occitane en Provence has cultivated simple values and beliefs which include authenticity, respect and sensory pleasure.

To continually reduce their environmental impact, they have teamed up with international recycling company TerraCycle to make recycling of used beauty products easier for their customers.

The initiative took place in the US earlier this year, but will now occur in-store on a national scale throughout the UK and Ireland.

Customers will be able to bring the used tubes, bottles and containers back to the shop they bought them from. Terracycle will then collect and sort the empties by material composition. The items will then be cleaned, shredded and used to make new recyclable products.

L’Occitane and TerraCycle said they are “committed to saving the planetfrom plastic pollution by recycling and developing sustainable alternatives to packaging”. To encourage their customers to use the service, L’Occitane will be rewarding each individual who recycles their empties with 10% off a full-sized item of their choice. In addition, customers can bring items from any beauty brand to be recycled.

Tom Skazy, the CEO and founder of Terracycle, said, “people who enjoy products that help them look and feel their best can now help the planet by recycling beauty and skin care packaging. Thanks to companies like L’Occitane, consumers can enjoy their favourite goods while being rewarded for doing the right thing.”

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They will accept face mask packaging, refill pouches, soap dispensers, facial cleansers, body lotions, pumps and caps from shampoo and conditioner bottles, hair care containers, lip balm tubes, skincare aluminium cases, make-up remover bottles and pumps, fragrances bottles and pumps, and deodorant sticks.

The luxury brand stated that the partnership is part of its efforts to prevent countless pieces of beauty and skin care packaging from ending up in landfill. They also want to promote wider education around the recycling of beauty packaging and encourage consumers to engage more with the process of recycling.

LONDON RUNWAY

SELFRIDGES OPENS A SKATE PARK On October 26th the London flagship launched a new designer streetwear department, featuring its very own wooden indoor skate bowl.

The installation was created by sports and lifestyle agency Mighty Mighty.

They collaborated with designers Brinkworth and ramp builders FourOneFour. It can be found on the store’s first floor, within the newly opened “Designer Street Room”. The bowl is fully enclosed and has been installed in the window overlooking Oxford Street.

It aims to represent the on-going relationship between skate culture and the fashion world. Phil Young, the founder of Mighty Mighty, said, “skateboarding and fashion have always been bedfellows and while skating traditionally shunned the advances of big labels and institutions, the last few years have seen a coming together that embraces legitimacy in a way we haven’t seen before”.

Whilst the retail concept is the newest addition to the menswear floor, Selfridges has indicated that it is gender-neutral and “welcoming of female shoppers who like to buy

men’s fashion”. Selfridges want to provide a “versatile customer service adapted to respond to all customers regardless of gender”. The collections will allow customers to shop luxury, street and progressive fashion pieces together in one place.

Hosting a flagships for brands such as Gucci, Off-White c/o Virgil Abloh, Stone Island, Amiri, A Cold Wall, A Bathing Ape, Versace, and Kenzo.

In a statement on Selfridges website, the retailer described the space as a “dynamic space [that] will move and change in step with him (or her) and aims to connect the street-todesigner customer with their favourite brands, new labels and creative individuals in a way hitherto unexplored that will be constantly informed by their cultures and communities.”

The 18,000 square foot space was designed by Jamie Fobert Architects and is part of a range of new unique customer experience initiatives, which Selfridges has introduced to help drive footfall and sales during a turbulent time for British department stores. The idea was formulated after undertaking detailed customer research and insights that profile the way streetto-designer menswear categories are shopped today and would increasingly be shopped in the near future.

Other innovations include a custombuilt Land Rover Defender, a speaker wall and a space able to transform into a venue for events and music launches. They have also introduced a brand-new category for the room with grooming hosted by Acqua Di Parma, which will house its first Barbiere concept outside of Italy.

Via Selfridges

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The free and permanent skate bowl is open to visit now!

FASHION IN MOTION: CARLA FERNร NDEZ

Mexican symbols and references, white linen painted with slogans, and more interesting moments of draping. Ultimately, Fernรกndez's designs were most elegant and successful in the simple black styles, with loose drapes and oversized sleeves. The more structured garments began to feel also more obvious.

Continuing the V&A Museum's ongoing series of fashion shows, designed to show garments as pieces of moving art, Carla Fernรกndez was the latest designer to be featured.

The show was soundtracked by a spoken word choir who read one of Fernรกndez's own compositions. Sadly, this all felt a bit drama school - it was far too shouty, there were too many slogans without enough deeper

meaning, and there was a bit of a militant vibe which came across as unfortunate rather than convincing.

The models wore hair extensions and gold accessories reminiscent of Aztec or Mayan treasures. Black body paint afforded the most dramatic makeup looks, with some models almost seeming to disappear entirely.

The clothes variously carried

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It all ended with a hideously awkward reading of the alphabet - 'A is for Artisan', and so on - and left you with the impression that the clothes could have spoken better for themselves.

The images shown here are of the designer and activist's clothes 'in action' prior to the show.

Photography via V&A

LONDON RUNWAY

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LONDON RUNWAY

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THE POWER OF THE INFLUENCER Hannah Smith explores how inlfluencers and micro-influencers could be the best way for brands to reach new audiences.

It is argued that social media and the number of likes, followers or retweets one receives defines us as individuals. It began with Millennials, those born from 1989 to 1996; a time also known as the digital age. Millennials championed a different side of the internet, one that revolved solely around friends, followers, statuses or tweets. From 1996, Generation Z were born. Like Millennials, they are tech obsessed, having grown up in a world where mobile phones, internet and technology were at their fingertips.

These two consumer groups are undergoing a switch in the way they use social media and the impact it is having on their self-esteem.

The trends of over-Photoshopping magazine covers, size 0 super models and celebrities advocating absurd and painful diets are passé.

Who really cares anymore? 2018 has taken a shift; it is the year of bodyconfidence, whether that be size, age or skin. A huge encouragement of positive thinking and championing the skin you’re in has been the theme throughout countless campaigns this past year.

Some of my favourites are Missguided, L’Oreal and Dove.

You’re probably wondering where the topic of Influencers fits into this; well, it appears that retailers and ad campaigns are no longer there to disrupt or capture the audience, they are now simply replying, retaliating and responding to the shift in perspective of its consumers, what they class as beautiful and how they can connect to this.

The term influencer was adopted on Instagram not long after the mobile app launched in 2010, and within 3 years, Instagram had reached 100 million users. Once brands began to realise the goldmine that was marketing to

Generation Z through influencers via Instagram, then there was no turning back. What Generation Z seek in brands is more than the product, or what they present on the surface; this unique group of individuals crave more. Nowadays the most successful brands are turning to influencers with far smaller numbers of followers to help them share their message; these individuals are called microinfluencers. In return they receive “intangible benefits, like authenticity, a unique point of view, deeper storytelling and the potential of reaching a more tailored audience” (Suhrawardi, Forbes 2016). This honesty has proven to work, yet only certain brands seem to have mastered this. Others are slowly lagging behind, missing the easiest marketing practice that is speaking the language of one of the biggest consumer groups there is.

I have been exposed to microinfluencers myself whilst working on a university project last year in collaboration with the sock brand Stance. This brand seeks out collaborators, creatives, and sportsmen or women who have a story to tell. These individuals are labelled

by Stance as Punks & Poets, advocating the brand via their social media handles and connecting with the brand’s unique audience of Gen Z

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and Millennials. As touched upon previously, these consumers are tired of seeing the same airbrushed celebrities and make-up enriched faces, so Stance’s brand ambassadors are not only refreshing, but raw and authentic too; again this is a perfect example of a brand capitalising on the phenomenon of influencers.

Another brand I touched upon earlier which is excelling in the authentic micro-influencer market, speaking to core audience Gen Z in a dialect they want to listen to, is Missguided. Last May they launched their #InYourOwnSkin campaign, celebrating “what the industry perceives as ‘flaws’ and ‘imperfections’, but which actually make up who we are”. It features a mix of women with scars, skin conditions, and birthmarks, all completely comfortable in their own skin. They are sharing their story with the world, connecting with the audience and impacting how they view themselves and others.

Missguided also launched their #MakeYourMark campaign last year, which involved the boycotting of Photoshop and retouching images.

They encouraged women to reject what the world perceives as perfection and embrace their own perfection.

This type of interactive campaign

LONDON RUNWAY encourages this consumer group to get involved and share their stories.

Gen Z responds well to this type of campaign. It is honest, personal and authentic; it highlights the shift our society has seen in social media and body empowerment and gives influencers a real story to inspire with. Campaign casting has noticeably changed this last year, and something hopefully all brands will take on; making it the norm rather than an anomaly.

The final brand I will delve into on how marketing by using microinfluencers can be hugely beneficial is the Glossier phenomenon. Glossier launched in 2014 and disrupted the beauty industry as we know it. This brand communicates directly to its consumer – using a Slack account to

exchange messages, gaining feedback, constructive criticism and simply hearing it from the horse’s mouth - what’s working and what is not. This is so effortlessly simple, yet many brands seem to speak to consumers in a more commanding way rather than conversationally.

Furthermore, Forbes found that 62% of millennials stated that if a brand engages with them on a personal level through social media, they’re more likely to show loyalty to that brand. Not only do brands need to keep up posting on their social media accounts, they also need to connect with their audiences. Furthermore, their Instagram page is filled with reposts of tagged images from the consumers themselves, whether

they have 300 followers or up to thousands of followers. I find this very refreshing compared to the endless celebrity-endorsed posts that fill my Instagram feed.

The next best thing in the world of marketing, aside from microinfluencers, in a way that captures the short and unique attention of Generation Z and Millennials is brand video. WGSN has stated that brands that have recognised this are ahead in the game. Short videos and branded content using influencers who fall in line with a brand’s values and who are creating content that will resonate with the Gen Z audience will reap the rewards. Videos that reflect the world this age knows, one that is diverse in background, shape, and personality.

Find more from Hannah, a student at Nottingham Trent University, at Instagram.com/fcphaanlilly Images from top of article via L'Oreal; via Instagram - Glossier/Zendaya; via Missguided

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WRAITH Photography - Rhiannon D'Averc Hair and Makeup: Sidrah Sardar Wardrobe: Suyeon Choi with bershka, Miss Selfridge, Mango, Reclaimed Vintage, and PrettyLittleThing Model: Olivia Jameson

Olivia wears: Red Ruffle Sleeve Dress - £59.99, Mango

Olivia wears: Red Ruffle Sleeve Dress - £59.99, Mango; check wool trouser - £140, Suyeon Choi

Olivia wears: Red Ruffle Sleeve Dress - £59.99, Mango; check wool trouser - £140, Suyeon Choi

Olivia wears: Red Ruffle Sleeve Dress - £59.99, Mango; Petite Balloon Sleeve Mini Dress (worn under dress) £45, Miss Selfridge; Floral Brocade Tiered Dress £365, and Puff Sleeves Shirt - £180, both Suyeon Choi

Olivia wears: Sleeveless Cotton Shirt - £90, Suyeon Choi

Olivia wears: Puff Sleeves Shirt - £180, and Puffed-sleeve Jacket Dress - £460, both Suyeon Choi

Olivia wears: Check Button Front Blouse - £9.99, bershka; Silk-organza Trouser - £270, Suyeon Choi

Olivia wears: Winged Striped Cotton Top £240, and Silk-organza Trouser - £270, both Suyeon Choi

Olivia wears: Puff Sleeves Shirt - £180, Suyeon Choi; and Button Front Trouser in Grey Check - £25, PrettyLittleThing

Above: Olivia wears: Silk-organza Puff Sleeves Shirt £320, and Floral Brocade Check Trouser - £170, both Suyeon Choi; Inspired Top With Shoulder Puff and Button Front - £35, Reclaimed Vintage

Right: Olivia wears: Winged Striped Cotton Top £240, Suyeon Choi

Olivia wears: Puff Sleeves Shirt £180, and Brocade Print Skirt (as seen on cover) - £170, both Suyeon Choi

LONDON RUNWAY

THE ART OF ESCAPISM IN THE 1930S Naomi Purvis explores how the fashion of the decade impacted the working woman ‘Night and Day’, the new exhibition currently on display at London’s Fashion & Textiles Museum, celebrates the 1930s with a collection of exquisite never-before-seen garments alongside an array of complementary photographs and memorabilia from the decade.

The exhibition sits alongside an instalment on the work of a notable photographer of the time, Cecil Beaton, titled ‘Thirty from the 30’s: Fashion, Film & Fantasy’. Cecil Beaton (19041980) was a distinguished photographer and contributor to major fashion magazines, photographing the most popular names in fashion, film, the arts and society. Although his work was not solely fashion-based, some of his best-known works are his fashion photographs of the 1930s, making him a truly fitting choice of photographer to accompany the exhibition. The capsule exhibition reflects highlights from his career during the 1930s, featuring portraits of Princess Marina and Princess Karam of Kapurthala, as well as a selection of designers such as Chanel and Schiaparelli, and fashion models Mary Taylor and Princess Natalia Paley.

Shortly after the exhibition’s launch, the museum held a talk with curators and contributors which provided an interesting insight into the curation as well as the research process behind the exhibition. Curator talks are held frequently at The

Fashion & Textiles Museum and are worth a visit if you haven’t been before. Hearing the creators talk about their thought processes and ideas behind the exhibition not only brings the exhibitions to life, but provides a background narrative the viewer would have been oblivious to otherwise.

This event lasted around an hour and included Fashion and Textile Museum curators Dennis Nothdruft and Teresa Collenette, curator of photography Terence Pepper, and guest curators from C20 Vintage, Cleo and Mark Butterfield. C20 vintage provided most of the clothing displayed within the exhibition, with a large proportion coming from Cleo’s own personal collection. The talk begun with an overview of the exhibition itself and the thought process behind its creation. The speakers provided an

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LONDON RUNWAY interesting insight into the behind the scenes world of museum curation and why the 1930s were chosen as the focus point for this latest exhibition.

An interesting discussion point during the talk was that of the name of the exhibition. As it suggests, Night & Day represents the transition from a women’s work clothes worn through the day to those worn in the evening to outings such as dances or the cinema. The 1930s brought a new sense of dress for women as fashion shifted from the straight cut of the flapper dress seen throughout the 20s and instead towards a more feminine silhouette. This change in dress could also reflect the social changes present in the 30s.

Women were becoming more present in different roles within the workplace, all of which called for appropriate dress which may have not been worn beforehand.

As a result of this, there became a more obvious distinction between evening and day wear.

An important theme that presents itself throughout both the talk and the exhibition itself is the idea that clothing in the 1930s was a way of escapism for the everyday working woman.

Following on from the Great Depression in the 1920s, and with the threat of a second war firmly set in people’s minds, there was a need to find joy and distraction elsewhere. For many this would be attending local dances or visiting the cinema, where they would be presented with images of immaculately dressed women in clothes they could only dream of owning themselves. Alongside this there was also a rise in a new age of woman’s magazines. Steering away from the unattainable aspirational images presented in the likes of Vogue, these new

magazines were much more tailored towards real women. They provided advice on how to dress and saw the beginnings of ‘agony aunt’ columns, enabling a more personal platform which women could reach out to, something that hadn’t been available before this point. Fashion became more personal and an opportunity for women to connect with each other in a way they perhaps hadn’t before. The magazines were becoming a place in which women could escape to with excitement and enjoyment in this new-found personal connection with clothing.

Throughout the talk this idea of escapism was referred to on

numerous occasions, clarifying that this was an important starting point for the exhibition. When speaking about her research into the 1930s through magazines, curator Teresa Collenette used a fitting example from a popular publication at the time, Miss Modern. In one article the subject revolved around an evening dress and the idea that it would fully transform the wearer into an entirely different person, emphasising the reader’s need to own that item of clothing.

Towards the end of the exhibition, the final room features work from Cecil Beaton. His work also relates to the running theme of escapism as he was the first to start photographing Hollywood actresses behind the scenes. This allowed him to capture a more relatable image of the Hollywood scene than the typical glossy magazine shots.

Not only does the exhibition display some of the most exquisite dresses and imagery from the 1930s, it also portrayed the voice of the everyday woman. Whereas other fashion museums tend to focus on the designer couture dresses with little interest in the clothing worn by real people, the Fashion & Textiles museum have celebrated clothing worn by real women – whether that be in the workplace or for leisure. The notion that clothing was a sense of escapism for these women is something also relatable to modern time. In today’s world we face many things that may make us want to escape from reality, similar to the threats of war, politics and social changes faced by women in the 1930s. Trends may come and go, but the idea of escaping reality and finding a sense of enjoyment and excitement through clothing will never go out of style.

Images courtesy of the Terrence Pepper Collection; The Cecil Beaton Studio Archive, Sotheby's; Naomi Purvis

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Night and Day: 1930s Fashion and Photographs & Cecil Beaton: Thirty from the 30s, Fashion, Film and Fantasy Exhibition Dates: 12 October 2018 – 20 January 2019

LONDON RUNWAY

NEW FACE Name: Shamica Stanley Age: 21 Location: Kentish Town, London Agency: Unsigned How long have you been modelling for?

I have been engaging in modelling activity for 2 years now. I recently entered a modelling competition called 'Fashion4Africa' and to my surprise am now the official female winner and face of Fashion4Africa 2018. This would most certainly count as one of my major modelling experiences.

Where are you from originally?

I am half Jamaican and half Nigerian, however I was born and raised in London.

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Do you have an unusual talent or party trick?

The only thing that came to mind is I can bridge walk/Crab walk, hopefully that counts.

What would surprise people to know about you?

I have freckles under my left eye.

What are your modelling ambitions?

I hope to build up a portfolio that displays my creativity and flexibility to adapt to various modelling environments. I also hope to join an agency that will help aid my modelling journey, do more catwalk shows, photo shoots and continue learning about the industry.

Photography by Ian Clark

MISS LONDON CITY INTERVIEW Rhiannon D’Averc met with Miss London City 2018, Ewa Medrzycka, to find out what it’s like to represent the whole city as a beauty queen.

Can you introduce yourself for our readers?

I’m from Poland, and I’ve been living here one and a half years. It’s not too long, so I’m still learning and improving my English! I finished college here also, and I’m working every day. And, I’m Miss London City 2018.

Tell me how that came about.

It was one year ago when I applied to the casting online. They asked me for an interview. Everything was a big challenge for me. I was surprised, everything was a new experience, new people, and everything was in English. It was very amazing for me!

What happened after the interview?

They sent me a message that I’m a finalist. We had some appearances before, for Fulham, at the match. Fulham won, so it was good! (laughs) Two months before the final we had a charity gala, because Miss London City supports a charitable organisation every year. The winner chooses the organisation which she will support for the year.

"I LIKE TO DO NEW THINGS AND IMPROVE MYSELF" Then you went to the final.

Yes, it was in August. We spent all day at the hotel where the final was, and we had four shows on the catwalk. One was swimwear, one was with the basic black dress, one was fashion – so, what we would like to wear – and one was the evening dress. Then we had some questions about us, about the competition.

Were you really nervous?

Everything was new for me, so I was nervous before they asked the questions on the stage. I didn’t know what they would ask me, but it was great. The people were amazing and very supportive of us. It was a good day, really!

What questions did they ask you?

They asked me about which animal I would like to be, if I was an animal. I said dog because it’s man’s best friend. Very simple answer. Another question was about my quality, and I talked about my life. I love travelling, I love meeting new people, new experiences. I couldn’t swim, but I did scuba diving. I was scared of the water, but I went to scuba diving

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LONDON RUNWAY training. I like to do new things and improve myself. When they had chosen the top five girls, they asked about what I would like to do as Miss London City. I said I always like supporting children and the family, because I would like people to feel not alone. To feel goodness from each other. If it’s difficult for them to live normally, I would like to help them.

What did it feel like to know that you’d won?

It was a big surprise for me. I was so happy. My Mum came from Poland especially for this day and she doesn’t speak English, so my friend explained everything for her. So, she was so happy! It was a very nice, lovely day.

Do you have anyone that you look up to as a style icon?

I don’t have just one person that I really like and I look at every day. I like to see something new every day. Each person has a different body, so not everything will be good for me. I like to make everything mixed and have my own style.

Have you been doing any duties yet?

I have a schedule for a year, I will be taking part in a lot of events and campaigns, and also I will be supporting my animal charity – Shooting Star Chase. I’m planning

What was the atmosphere like backstage?

It was great, really. The girls were together and we helped each other, with makeup and everything. Our hairdresser was Italian Shades, they made the hairstyles for us.

They also supported us, speaking with us and everything. It was really like a family atmosphere.

How did you choose your outfits?

The fashion was what I have in my wardrobe. I love Zara, Mojito in my country, so I like that style. It was easy to choose something. The swimwear, I wore a white swimsuit with long sleeves, so I think it wasn’t only swimwear. It was a little bit dressy, so something new. My evening dress, I bought here. I was looking for it for a long time! I love diamonds, so I was looking for something like this.

What kind of clothes do you like to wear, day to day?

I love to mix the sportswear, comfortable clothes, with elegance. Like wearing black trousers with high heels, maybe some sportswear on the top.

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w to do some fundraising or maybe an auction.

Will you carry on doing charity work after your year as Miss London City is up?

We have something in Poland, a big event in each year where in each town we have concerts and we do fundraising. We have one in London – it will be in January. I will also be supporting this. So, it’s not like only one year as Miss London City – before, I was a volunteer in an animal shelter because I love dogs. I try to do my best always. If I can help, I will help.

LONDON RUNWAY Is there any particular cause you’ve always supported?

This year I’m supporting Shooting Star Chase, but I also support World Breast Cancer Day. It’s not only animal charities, but also different causes.

Do you want to take part in more pageants in the future?

I’m not sure, really. I loved Miss London City, but I’d like to do something more and go forward.

Maybe something different.

Do you plan to do more modelling?

Yes, I love fashion. Maybe not on the catwalk. In Poland I was a model as well, in a beauty salon and on a calendar. I really liked this.

Is there anywhere you’d really love to go in the future?

Tokyo, and Australia – Sydney.

Those are my big two.

Do you have any advice for someone who wants to enter Miss London City?

The competition is very good for exploring your possibilities. It’s not just about beauty and a good face, it’s also about being beautiful on the inside. Also supporting young women and charities. If the person wants to know more about herself, it’s a good opportunity. If she loves to help others, too.

What would you like to do with your career?

I would really like to have my own company. I studied business management in Poland.

Do you travel often?

Before when I was in Poland, I travelled around my country.

The mountains, the sea, North, West, East, everywhere. I really wanted to start going abroad.

The first one was Italy – Tuscany. It was amazing. I love the wine, the olives! I said to my boyfriend, “Honey, we have to go there again!”. In August, before the competition, I went to the Amalfi Coast. The sea meets the mountains… mozzarella… prosciutto… the food! Italian people are very nice, and we spent a good time there. I’ve been to Thailand twice also, totally different places. I like it.

It’s very hot, people are amazing, the food is good – nothing bad. I love this. I went to Germany, Holland, and so on for just a couple of days. I love travelling, and my boyfriend loves it too.

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What do you think is needed to win?

To be true. Be real and smiling, be helpful. It’s not one recipe to win.

It’s not like you should be ‘like this’ and you’ll win. No - you have to be real. If you’re a good person, people will see this.

Find out more about Miss London City at misslondoncity.com Images via Miss London City, Ewa, Fil Mazzarino, and by Rhiannon D'Averc

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HUNDRED SHOWROOM FRANCESCA. R. PALUMBO: PEARLS OF DISPARITY Viktorija Mockute writes about Francesca. R. Palumbo’s new knitwear collection, on display at the Hundred Showroom S/S19 show.

Francesca. R. Palumbo graduated from Middlesex University in 2017 and was shortlisted for MTV Costume designer in the same year. Whilst completing her degree she interned with Julien Macdonald. Once graduating she also interned with Mark Fast and was part of the final of Britain’s Top Designer in 2018. Her outstanding achievements over the years have encouraged her to pursue her career further by expressing her views through her intricate designs, which you saw previously in our interview in Issue 22.

Francesca has been inspired by many female role models who have shaped her ideas and inspired her work. By exploring a variety of textures and colours she creates sustainable garments which are personal to the owner, challenging the idea of fast fashion. She aims to highlight the female figure with her clothes by creating detailed patterns that follow the natural curves of the body and highlight their unique beauty. Her aim is to make women feel valiant and empowered, as they are able to take on any role and make a difference in today’s society.

She is passionate about a variety of environmental issues such as saving endangered species, saving the rainforest, and cleaning the oceans as shown with her previous collection, Beauty in Poison, which was her reaction to their terrible destructive nature as well as the negative effects on sea life. Each piece was named after an oil spill and aimed to represent the entrapment of species.

Throughout Francesca’s work, she emulates the surroundings and community that we are currently living in. Inspired by conservation and preservation, Francesca strives to make her clothing as sustainable as possible whilst bringing attention to current events and important issues.

She believes it is important to question, raise awareness, and challenge issues in society whether it be environmental, political or social.

Francesca. R. Palumbo’s latest collection, Pearls of Disparity has been showcased at Hundred Showroom. Each piece was unique and vibrant in colour, demonstrating the bold confidence of collection with a range of different textures giving the pieces a unique twist.

This page and next page - all designers from Hundred Showroom catwalk, sponsored by Inglot Cosmetics. Featuring Elvhem, Nuno, C.U.M., Nathalie Coste, Karol Cygan

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Photography by Val Yuwen Hsieh (this page) and Martin Edwards

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this page: Karol Cygan, photographs by Justine Tores

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CHEAP FRILLS: FASHION’S DIRTY SECRET Judith Willis reviews a new documentary tackling environmental issues caused by fast fashion.

Did you know it can take over 15,000 litres of water to grow the cotton to make a pair of jeans?

Up until recently, I had no idea of this staggering statistic – nor did I know of the speculation that the fashion industry is one of the top five most-polluting industries in the world.

I discovered that the business I love and work in has caused and is continuing to cause immense damage to the environment, in ways I was completely oblivious to. I found this out when I watched Fashion’s Dirty Secrets, a BBC documentary presented by investigative journalist, Stacey Dooley. Like most of her viewers, Stacey’s eyes were opened by the shocking impact that the everincreasing demand for cheap clothing is having around the globe.

The first unexpected issue she addresses is cotton. Cotton is the most used fibre in textiles produced in the EU and totals 43% of all clothing sold. I’m sure I’m not alone when I say that I used to think cotton was one of the best materials out there. If a garment is made of cotton then in my eyes it is well-made and healthier than wearing synthetic materials. Little did I know that the production process includes pesticides used in cotton farming, toxic dyes in manufacturing, and a colossal amount of water, which is causing serious knock-on effects. Early on in the documentary, Stacey travels to Kazakhstan – a country that has been hugely affected by cotton production – and discovers just how badly fashion has affected the environment. Back in the 1960s, the country was home to the Aral Sea which covered 68,000 sq km (the size of Ireland) and was home to an array of fish and wildlife.

Now, it has all but dried up. A whole sea, gone, after one of the rivers that fed it – the Amu Darya – was diverted into cotton

production farms and drained. As Stacey was driven across the desolate landscape which once was the sea bed, she spotted a camel roaming in the distance. “I feel that this portrays perfectly what is going on here,” Dooley says. “There used to be fish.

Tens of thousands of tonnes of fish.

And now there is a camel.”

The result of the sea drying up has had massive effects on the entire region. Without the sea, fishermen lost their jobs and struggle to provide for their families. Without the sea, tourism has ceased. Without the sea, the climates are extreme, with temperatures reaching as high as 45 degrees Celsius or as low as -30 Celsius. “You don’t understand the enormity of the situation until you’re here,” explains Stacey. “I feel like we understand what plastic does to the Earth, we’re fed that every day, but did I know cotton was capable of this? Of course I didn’t. I had no idea.”

The next issue Stacey investigates is the cheap garment industry and the chemical waste discarded during manufacturing. It’s well known that if items are suspiciously cheap, a corner will have been cut somewhere along the way. Stacey visits Indonesia, an international hub for clothes production.

All images via BBC

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She is taken along the banks of the Citarum River by a group of activists who show her the toxic chemicals released everyday by over four hundred factories that neighbour the river, through the waterways. The river is largely a murky muddy brown but an aerial camera shot shows areas that are purple or yellow. In some parts of the river, the water is bubbling and frothing. When a sample was taken from the river water, toxic levels of mercury, cadmium, lead and arsenic were found. This is water that the local communities use to wash themselves, their clothes and their dishes. Stacey was stunned: “To me, this feels like a complete catastrophe…

Indonesia isn’t even in the top five [of garment manufacturing countries] globally.”

Upon returning to the UK, Stacey reached out to representatives from brands including ASOS, Primark and ZARA, to find out what they were doing to be more sustainable, but all declined to comment. Even when Stacey approached reps at the Copenhagen Fashion Summit, they were practically running for the hills.

The only individual willing to have a discussion was Paul Dillinger, head of global product innovation for Levi and Strauss. He told Stacey, “We share information on how to reduce the water footprint of our cotton. We’re

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working on a solution that takes old garments, chemically deconstructs them and turns them into a new fibre that feels and looks like cotton, but with zero water impact."

These changes aren’t going to happen overnight. “This is a big industry. It’s so broadly decentralised that affecting change is nearly impossible,” Dillinger continued. “Especially when the appetite doesn't want change [but] there needs to be a regulatory solution.”

business are doing to avoid being a participant in fashion pollution. I was pleasantly surprised by his willingness to discuss the subject and the measures the company are taking to work towards being more sustainable. I then emailed the CSR and Sustainability Executive for the retail group that owns the company I work for and expressed my concerns to her. She emailed me straight back and invited me to have a meeting with her to discuss our options.

In other words, fashion brands need to start investing in eco-friendly production, but the government needs to get involved too. An inquiry in June was launched this year to investigate the impact of fast fashion, but Parliament has yet to report its findings.

Bringing an end to this problem may never happen, but at the very least we can try to reduce it or prevent it from worsening. It will be a mass team effort that all of us need to be involved in; brands, consumers, laws. We have been educated and now we must act.

In today’s world of fast fashion, shops no longer produce just seasonal collections. New lines on the high street are being added on a weekly basis and people are buying more clothes than they need, just to follow the latest trends. “Fast fashion lures us,” explains Lucy Seigle, a journalist specialising in environmental issues.

“It’s a production system that brings us clothes at intense volume.” The more that high street brands produce copies of catwalk fashion at affordable prices, the more that people are tempted to keep updating their looks - and their wardrobes. “Globally, we’re producing over 100 billion new garments from new fibres every single year, and the planet cannot sustain that,” explains Lucy. On top of that, 300,000 tons of clothing is dumped in landfill every year.

After watching this documentary I was haunted, riddled with guilt and shame. Not only am I consumer of fast fashion but I work in it. I tried to justify my role as a consumer of fashion by reminding myself that I am a conscious shopper but at the end of it all, I’m still part of the problem.

So, I’m taking steps to change this.

The day after Fashion’s Dirty Secrets aired, I accosted one of the brand directors at the company I work for, about what we as a

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STYLE (CONSCIOUS) GUIDE ethical and sustainable style guide

selected by Rachel Parker

Sea2See Sky 19 Sunglasses: Havana Shiny frame with Rovirex Bordeau Fumé lenses £82.87

H&M Conscious Wool-Blend Coat £79.99

Genevieve Sweeney Soar Wool Cashmere Ecru Jumper £150

LUXTRA at Lone Design Club FRIDA Vegetable Leather Cross-Body Bag £295.00

Monkee Genes Libby Straight Leg Slim Fit Organic Jeans in Light Wash £60

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By Blanch Candice Vegan Ankle Boots £130

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THE LIFE OF A COLLECTION: LUIS BONFIGLIO This season, we're following designer Luis Bonfiglio as he puts together a collection - from the first inception of the designs through to the finished pieces. This issue, we introduce the man himself - in his own words.

My name is Luis Bonfiglio and I'm an Italian fashion designer based in Amsterdam.

In the age of 13, I knew that I wanted to become a fashion designer. My great-grandfather was a well known couturier in Sicily, Italy - the country where my parents are originally from.

I was born and raised in the beautiful country of Switzerland.

Being creative was always a part of my life. After finishing high school at the age of 15, I went to the College of Design and Art in Zurich. Then at 16, I moved to Luzern to do an internship as a couturier in an atelier for one year. During my internship, I learned different techniques on how to sew different garments like skirts, trousers, dresses, and jackets. My mentor back then was a super strict old lady. She was very hard on me but it was an amazing experience as I learned so much from her, even though I cried sometimes!

After completing my internship in Luzern, I moved to St. Gallen where I did an apprenticeship for 3 years as a stylist. After getting my diploma as a stylist, I worked as a part-time stylist and began studying to become a fashion designer in Zurich at the Swiss Textile College. After two years of studying and lots of hard work, I graduated with a Bachelor

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of Arts degree. During the time that I was studying and working parttime, I created my own little atelier/studio at home and started attracting my own clientele. During this time I created lots of designs for different VIPs in Switzerland, such as DJ Tanja La Croix, top model Ronja Furrer, Nadja Broenimann, and Miss Switzerland Linda Fäh, just to name a few!

I've also collaborated with Swarovski, designing dresses for their windows at the flagship store in Zurich at the Bahnhofstreet.

After my BA I had the luck to get a job in a small boutique where I was the head of design and created there their collections. At the same time as working as the head of design for the boutique, I still worked for my own brand, Luis Bonfiglio couture.

After 2 years working as a head of design, I changed career and entered into visual merchandising for the MANGO flagship store in Zurich. I was there for 2 years in the VM management team and continued working for my own brand.

At the age of 27, I decided to move away from Switzerland and went to London, where I lived for 3 years. In London, I started working in retail (I thought just for the start, but ended up working in retail the entire time I was living there haha). I was working for the first 9 months at Mount Street in Mayfair for Pringle of Scotland and then moved to the house of CÉLINE at Harrods in Knightsbridge. Unfortunately, time didn't permit me to continue with creating fashion; instead, I was selling fashion!

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In March 2018 I decided to relocate to Amsterdam and I've rediscovered myself as a fashion designer. In August 2018 I started my new collection for Fall/Winter 19/20. This collection represents me and tells who I am as a fashion designer.

"IT'S NEVER TO LATE TO CONTINUE FROM WHERE YOU STOPPED AS LONG AS YOU DO IT WITH PASSION" - LUIS BONFIGLIO I live in the beautiful and trendy area of "De Pijp" which is actually just a 10 min cycle from my current workplace, which pretty cool.

Once again I've set up my studio in my apartment - I have all my equipment like sewing and overlock machines, dress forms, etc. I love this place as it gives me so much inspiration and in general Amsterdam has that creative vibe to me.

As you can see, I use my big table for sketching and sewing, actually for everything!

I remember when I started to do fashion sketches, I was always so bad at drawing faces and hair. So now instead of drawing sketches as most designers do, I created my very own "Miss Robot" fashion sketch template! This gives a flair of futurism combined with timeless designs. I think they are pretty cool and I believe when people see my sketches they will always remember me as "The designer that uses a robot for his fashion sketches."

So how do I start a collection?

First of all, the most important thing is to create a mood board. What is a mood board? This is a board where designers put different pictures together that can inspire them. A mood board is used to create a story!

A mood board, also called an inspiration board, can be created by using several or just one single image. Only you as a designer can decide what inspires you.

It can be an image that has great importance or holds fond memories, maybe an old picture of your grandparents. It can be an object, a specific flower or maybe pictures from the last place you travelled to on holiday. In my design process, I prefer to use several images so that in the end I can choose the strongest images that compliment each other and show a clear idea of my vision.

After creating the mood board I continue with creating a colour board. This colour board shows the colours that I want to use within my collection and requires a lot of research. For my upcoming collection, I want to follow the Fall/Winter 19/20 colour trends but mix it up with my own colour taste.

At the end of the day, the colour board has to inspire you and translate the vision of my collection.

Once I have created a story for my collection (mood board & colour board), I start to do some raw sketches, these are sketches that show different silhouettes and shapes, lengths of the garments, etc.

Automatically I design one look after the other and then I finalise the designs from those raw sketches into detailed sketches. I then decide on how to translate my inspiration into the sketch, complete the design and then create it in 3D. After this part of the design process is completed, it's time to experiment with colour which is actually a long process until I really happy with the final designs as a sketch.

This is a really amazing process as it really brings out all my creativity and allows me to try things that I'm familiar with, new things, and even reinvent myself. Each new collection is a whole new journey and I grow every single time.

Once I have decided on what the final looks are, I begin making the patterns either through draping on the dress form or drawing them technically on big sheets of paper.

You will see this next step in an upcoming issue of London Runway!

Photography by Tim Van Der Most

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PUSHBUTTON Designer Seung Gun Park showcased the latest pushBUTTON collection, inspired by the designer’s scribble of repeatedly drawn squares.

This was the label's first show in London.

The main silhouette of the collection was inspired by the meaningless piece of paper. This is how he settled on the square shoulder. .

Various tabs and hooks can completely change the silhouette just by closing or opening them, and separable jackets, shirts, and pants can completely create new asymmetrical silhouettes by being separated or combined together.

Photography by Fil Mazzarino

The colour palette started out with achromatic colours and moved on to pastels, making us reminisce about the 198os styles that are beloved by the designer.

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FENGYI TAN When it comes to presentations, we're always ready to see something a bit different. With plastic masks, twisted dancers, and a dim room filled with burnished mirrors, Fengyi Tan certainly delivered that.

Photography by Fil Mazzarino

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THE GREAT DEPRESSION: AS IT IS VS THE STIGMATISATION OF MENTAL HEALTH Neil Dowd explores how one band is fighting a battle against the stigma that still surrounds mental health.

As It Is have become one of the most recognisable names in the United Kingdom's pop-punk scene. Formed in 2012 in Brighton, the band is made up of guitarist and vocalist Benjamin Langford-Biss, bass guitarist Alistair Testo, drummer Patrick Foley and lead vocalist Patty Walters.

Though the band have been together for six years, Patty Walters had been regularly uploading cover videos from as early as 2009, building up a following of 400,000 subscribers and getting over 3 million views with his most successful content.

He has since stepped away from YouTube following the bands’ signing to Fearless Record, around the same time that the band revealed they would be releasing their debut album titled Never Happy, Ever After via Fearless.

Since then the band has released a total of four EPs and three albums, with songs like Pretty Little Distance, Winter’s Weather and Dial Tones from their first two albums now being regarded by many as renowned hits within

the pop-punk scene at the time. So when they, at the height of their career, announced a complete change in musical direction through a series of Instagram and Twitter posts from Walters’ account, the one question on the mind of fans everywhere was; why?

The Great Depression is the band's third full-length album. It is a concept album which focuses on the themes of mental health and the societal romanticisation of depression throughout. The album’s title is derived from the severe economic depression of the same name that occurred in the 1930s in the United States, although the album’s namesake refers more to a psychological depression as opposed to an economic one.

The main concept behind the idea was suggested by guitarist Benjamin Biss and follows the story of a narrator whom the band refer to as The Poet. The album follows The Poet’s struggles with depression and the band have stated that the character is one that they feel they can relate to on some level; being a typically normal, married man living life like anyone else. As the album progresses, the severity of The Poet’s depression becomes so high that he begins to talk with

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his mind’s depiction of Death. He speaks to Death in the same way he would speak to his wife, neither Death or his wife acting as a clear protagonist or antagonist, but both offering their solutions to his problems. His wife desperately tries to show him the beauty that life has to offer and ask him to stay with her, whilst Death is trying to take his suffering away, with both characters trying to do what is best for The Poet. The End is the closing song of the record which lyrically conveys The Poet’s frustrations with the events occurring across the album, leaving The Poet’s story unfinished. In their official announcement on their Facebook page, the band wrote “This album is about asking questions rather than offering answers, exploring the lines where consolation and glorification collide, and asking if art is too subjective to offer a universal solution.”

The drastic change in musical styling that is prominent in this record was subtly hinted at in their older works. For example, when looking at the middle section of No Way Out (a single from their second studio album Okay), the band’s emo-rock/ post-hardcore influences begin to subtly show, in the form of roaring, distorted guitar riffs and Walters’ raspy, shouted vocals. However, it is also

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Formerly self-described as ‘happy/sad pop-punk’, the band were renowned for combining typically up-beat, ear catching instrumentals with introspective and often self-loathing lyrical content.

Furthermore, whilst themes of mental health were still prominent in earlier releases, this record takes a step back in order to give commentary on the topics discussed as a whole, instead of speaking from their own experiences. The Wounded World was the leading single from this album. Lyrically, this track discusses The Poet’s views on the state of society and the dystopia he predicts we will fall into, due to the ever growing influences of technology and social media.

In an interview with Rocksound Magazine, Walters expresses his concerns regarding these issues, stating “It’s terrifying to think that kids are growing up feeling validated by their social media likes, numbers and engagement. I think that’s going to breed an entirely new type of person who thinks completely differently.”

The music video also depicts these ideas as present-day headlines and technologies are displayed in exhibits as the warning signs of an impending disaster, with the band acting as tour guides and exhibits trying to

warn the viewers, much like The Poet does through the music.

Ultimately, this track puts the responsibility of our society’s nature, to be guided by misinformation in a way that is totally void of open-mindedness or empathy, on the listener in a plea for us to change our ways.

Whilst The Stigma (Boys Don’t Cry) feels more detached from The Poet and his story, it is one that definitely deserves its place on this album. Thematically, this song and the music video do what the title suggests, touching upon the topics of toxic masculinity and the societal expectations placed upon us by gender. In

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statements posted from the band’s Twitter account, the band stated “The eponymous stigma is that sense of shame associated with showing and expressing”, going on to assure their audience that the showing of emotions and expression of a person's true self is acceptable as it is “real and human to do so”.

The music video for this track also does its part to portrays these ideas, using a military commander character and setting as a metaphor for the societal pressure for people to shadow their emotions, with scene showing the phrase ‘man up’ being written onto a whiteboard.

This metaphor is progressively taken further throughout the video, with gut-wrenching scenes of Biss’ face being forcefully dunked into water as the commander scrubs his face screaming “boys don’t wear makeup!”. This imagery of something different to the societally ideal body portrays the pressure many feel in regards to appearance and gender. The song aims to directly dismiss these ideologies and act as a rally against these dangerous stereotypes.

As expressed earlier in this piece, the musical and creative elements that make this band are not the only thing to have adapted with this record. So with that said, it is time to touch upon the final part of the band’s evolution: their fashion. As a band, As It Is are no strangers to thematically fuelled aesthetics. In 2017, the band’s second studio

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album Okay was released which featured an aesthetic heavily influenced by the 1950’s. The main theme behind this record is the idea ‘that it’s okay not to be okay’ and discusses the topic around mental health from Patty’s experience, following his struggles with mental health whilst touring in earlier years. The album’s artwork depicts a woman happily riding her bicycle past a row of brightly coloured houses on a summer's day.

However, in the basket of her bicycle, there is a bomb with the album’s titled carved into it, which the woman does little to acknowledge.

This metaphorically depicts the themes of the album as it highlights the tendency to bottle up and ignore dangerous emotions, pretending to be fine without facing feelings and the danger that can have on your mental health. During this time, the band’s fashion fittingly portrayed the 1950’s aesthetic of the album. The staple component to this aesthetic was a plainwhite, slim fitted t-shirt, tucked into their jeans. This would be paired with either a short sleeved, open shirt or black leather or denim jacket, with the collar of the denim jacket being pushed up as an additional touch. It is also

worth mentioning that Patty also opted for the quiff hairstyle during this era. These fashion choices were in keeping with the theme of the album as it portrayed a modernised, clean-cut version of the Greaser style that many rock’n’roll bands adopted during the 1950’s.

Much like their sound, the influences for the fashion and aesthetical aspects of The Great Depression era can be traced back to the hardcore and emo scene of the early 2000’s. When looking at photographs of bands like My Chemical Romance and Finch, it is impossible not to deduce that the band were aesthetically inspired by these bands. The first thing to note when analysing the change is that black has become the staple colour across the majority of the clothing; with Patty even opting to grow his hair out to cover most of his face and dying his hair black in the typically emo style. The outfits are also more formal in this era, mainly consisting of black jeans, a formal shirt in either black or white with a black jacket, blazer or cardigan to support the look.

Ben is the only exception to the jacket rule, instead opting for a black shirt, jeans and tie with

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white stripes and white suspenders to finish the outfit. These changes are appropriate for the release as it highlights the ‘darker’ turn that there music has taken whilst also adhering the connotations of the genre.

The topic of whether the musical or visual stylings of As It Is are to your tastes is one thing, but this bands ability to resonate with their loyal fanbase and potentially pave the way to starting meaningful conversations on the topic of mental health is something that can only be commended; and I for one have nothing but the utmost respect for that.

Images via As It Is

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HOUSE OF IKONS A two-day fashion extravaganza of shows, House of iKons has become well known in the London fashion scene.

With various performers entertaining on the stage, as well as a large number of brands showcasing their latest collections down the catwalk, it's a real event which is increasingly popular with the crowded audience. Get here early next season if you want a seat.

Photography by Rabi Sultan

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

This week, we’re updating our Patreon page with a new set of illustrations – each tied to one of our exclusive reward tiers. With plenty of added extras ready to claim, make sure that you take a look at our page and consider signing up for as low as $1 per issue.

In the meantime, we couldn’t possibly let the beautiful illustrations by Pauline Kate linger alone – so we wanted to share them here in our pages as well. Each image represents a tier, such as Trend Setter, Style Guru, Snappy Dresser, Fashion Follower, or Fashion Brand.

So, which one fits you the best?

Head to patreon.com/londonrunway to see one more illustration that completes the set!

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HOUSE OF IKONS CONT. Photography by Rabi Sultan

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NEIGHBOURHOOD VOICES: SHOREDITCH Shoreditch is inarguably one of the most fashion forward neighbourhoods in London. With vintage shops at every corner, creative and wacky bars and clubs, and loudly graffitied walls, it's a statement neighbourhood that attracts tourists and locals alike.

Because of its magnetising nature, the thousands of people who visit the neighbourhood bring their own style and pop of identity into the eclectic neighbourhood. The people I chanced upon during my fashion adventure into Shoreditch are only a small margin of what can be discovered, but their voices are nonetheless still important and resounding.

ANNIE (STUDENT, BERLIN) AND NINA (STUDENT, FASHION DESIGN AT KUNSTHOCHS CHULE BERLIN) FÜRSTENBERG

What and who are your fashion inspirations?

Annie: I love getting inspired by high fashion that I can’t afford and musicians my parents were fans of. I try to combine timeless classics with modern pieces and let myself get influenced by different music and art genres, like rock, techno, and shabbychic aesthetics. When I was younger,

my role models used to be legends like Kurt Cobain, Nena, and Freddie Mercury. Today, I’m mostly inspired by walking through my favourite shops and clubbing.

Nina: I like feeling feminine and confident, so I want my look to present it as well. I love wearing tights, dresses, oversized jackets, leather bags, and high heels. I have to

Candice ventures into one of London’s most fashionably vocal neighbourhoods to let you hear its voice.

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wear at least one piece that feels familiar to me. My green Diesel jacket, for example was bought by my mother in the early 90s in a partner look with my father when they came to West Berlin. It represents the freedom to go wherever I want, and it is a piece of childhood. My favourite clothes are short stories that I am reading and telling at the same time just by wearing them.

What goes into your decision process when dressing and presenting yourself?

Annie: I like feeling feminine and confident, so I want my look to present it as well. I love wearing tights, dresses, oversized jackets, leather bags, and high heels. I have to wear at least one piece that feels familiar to me. My green Diesel jacket, for example was bought by my mother in the early 90s in a partner look with my father when they came to West Berlin. It represents the freedom to go wherever I want, and it is a piece of childhood. My favourite clothes are short stories that I am reading and telling at the same time just by wearing them.

Nina: Of course I think about where I go during the day but actually I didn‘t really dress up for Shoreditch today.

It’s representative of my style on a casual day. My reasons to choose a certain piece are probably emotions, like how I feel but also how I want to feel.

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HANNAH ROHANI (ART TEACHER, LONDON)

in Scotland has to be weatherproof, so I often use layering to add interest to an outfit. There are many makers and craftspeople up here. The bag I had with me was by @redrubyrose.

Do you go to Shoreditch often? Why? Annie: I visited my big sister, Nina. I have never been to Shoreditch before, but I bought a vintage leather bag there, I am excited by what I am going to adventure with.

What and who are your fashion inspirations?

People I see in the street, friends & sometimes family.

Nina: I was in London before when I was sixteen for the UAL summer school and really wanted to go to Brick Lane because I heard it was alternative and cool. Now, I am back for an Erasmus at Kingston, so I am far away and can‘t go that often.

When I returned after six years, I still find it an interesting and vibrant place. It’s kind of unreal because people there don‘t seem to have an average life, but I also know that people there also try to be like that. “Hip and cool” places, like this, can be a bit similar, regardless if it‘s London or Berlin.

What goes into your decision process when dressing and presenting yourself?

What colours & patterns I feel like wearing that day. Also how much time I have before I have to leave!

Do you go to Shoreditch often? Why?

I mainly go for the different markets and arts events/exhibitions, and it's a good middle meeting point to see friends.

Not often but when I can.

SHIRLEY ROSE (ART TEACHER/ BOUTIQUE B&B OWNER, ULLAPOOL) What and who are your fashion inspirations?

I get my fashion inspiration from online magazines and clothing retail sites. I particularly like the Fashion for all Ages spread in the Guardian Saturday supplement. I enjoy mixing vintage pieces with re-worked one offs and mixing prints together.

Statement necklaces are a favourite with me, I travel widely, so I am able to find unusual pieces at art galleries and by artisan makers.

What goes into your decision process when dressing and presenting yourself?

I try to be eco-friendly and mindful

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LONDON RUNWAY about garment waste. Everyday wear in Scotland has to be weatherproof, so I often use layering to add interest to an outfit. There are many makers and craftspeople up here. The bag I had with me was by @redrubyrose.

Do you go to Shoreditch often? Why?

I mainly go for the different markets and arts events/exhibitions, and it's a good middle meeting point to see friends.

Not often but when I can.

OLIVIA COOK (STUDENT/ OWNER OF WEIRDO CLOTHING, LONDON COLLEGE OF FASHION, ESSEX) & FRIEND What and who are your fashion inspirations?

I would say that I’m more inspired by certain items, and I build my outfits around some accessories, a top, or etc.

In terms of people, I adore Freddie Mercury, Jeffree Star and Lady Gaga.

RYAN FOMIATTI (OCCUPATIONAL THERAPIST/ UNEMPLOYED, AUSTRALIA)

What goes into your decision process when dressing and presenting yourself?

I always dress a bit “extra” and get weird looks wherever I go because of it, but I always dress up more if I am going shopping or out for dinner, as I enjoy dressing up. It's just a bit of fun!

What and who are your fashion inspirations?

My ex-boyfriend, 70s/80s, sportswear, Australian sharpies, flamboyance

Do you go to Shoreditch often? Why?

What goes into your decision process when dressing and presenting yourself?

Weather: will I be warm/dry enough?

Do I feel good in the clothes? Finally, if I saw myself walking down the street, would I want to fuck me?

I go to Shoreditch as I love all the crazy vintage clothing you can buy and the bagels!

Do you go to Shoreditch often? Why?

I'm new to London and currently staying in Shoreditch. I was told from friends in Australia that East London was the place to be.

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TYRONE REID INTERVIEW

Rachel Parker caught up with Tyrone Reid, director of the fashion company Reganalds, to discuss fashion’s creativity problem and find out how he went from sports and software development to design.

Why did you want to be a designer?

It's the funniest thing -- I actually wanted to start designing clothes because I hated fashion. A couple of years ago I went out with my friend because it was his birthday, and so I went to Versace. I bought a blazer jacket and I thought 'Yeah, I'm gonna wear this on Saturday, it's gonna look nice". I went out with my friends that same Saturday and I saw three other people wearing something similar or exactly the same. I realised that fashion these days isn't fashion—it’s literally copy and paste. A lot of the brands are copying the same fabrics, the same colour palettes and textures. There's no real uniqueness in fashion any more, from the high streets to the designers, everyone's copying someone else. I got frustrated with that because I don't want to go wearing someone else's look or trend.

"FASHION THESE DAYS ISN'T FASHION—IT’S LITERALLY COPY AND PASTE" I got invited to LA Fashion Trade Show to help a friend who was showcasing his clothing. I met a guy who said he had his own clothing manufacturer in China, and he wanted me to collaborate with him. I said I don't know, because I wasn't really a designer. So, I designed a top, and the drawing was so bad it was like a kid's drawing.

But the concept was there, and I chose the fabric, made sure the quality was there, and then maybe a month later I got it delivered. My friend was like "Tyrone, where did you get this? Is it Gucci? Is it Versace?" and I was like "No, I designed it." He was like "I want it" and I said "Well, I just made it for myself." He ended up saying "Here's £80. I want this, and I want it in white." And so, I thought that maybe I should start making clothing, and that's how it all came about.

So you didn't have any formal training?

Nothing. And my manufacturers can tell you that as well!

I have no concept of terminology, I am literally learning as I go. I just know what I like on a woman, and I know what I like on myself, and what I think is missing from

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the industry. I just come up with designs and make them.

My background is in sports, so I played some professional football and I had professional trials. I was playing semi-professional between 18 and 21, and football was my whole life. I went to university to study Sports and Exercise Science but then I snapped my achilles tendon. I had my degree and I thought I could get into sports science, but every football club told me I would have to do a year and a half free work experience. So I was lost, and then one of my friends said "You're a smart guy, why don't you learn web development?". He showed me a free website to learn it from and said it might take me a couple of years. It took me six months, because I was determined to change my career. Then I got a job in it and was there for six months as a senior developer before I

started my own international software company. Then I got frustrated with fashion and started designing, and so one company funds the other.

What are your main influences?

I'm a perfectionist, and it's hard to always be a perfectionist because even when you do something and it looks good, you can make changes. My influence is looking at something and knowing I can make it better. I can just look at a jacket and think that I can change the whole look, but keep the same structure, but have my own stamp.

Even this scarf I'm wearing I designed myself, this is 3D fabric, which is made from one layer of fabric. I have a jacket version of this. It was all just because you can't see this fabric in the shops any kind of embellished fabric tends to have two layers of fabric but this is one sheet of fabric moulded so that it won't lose its

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shape ever. That's the type of quality that I want. So my influence isn't other people- I don't look at brands, I don't look at colour palettes, I don't look at trends. My inspiration is creating something from my heart and my mind. I do like other brands in terms of the audience they've created and their following, but when it comes to the design I want to know that it came from me.

Can you tell us a bit about your brand?

I'll tell you first what makes my brand different from all the top brands. I'm competing with the likes of Ted Baker, Hugo Boss, Versace, Gucci: I'm a similar price range as that. To make my company different, we have something called Editions. So we have Limited Edition collections, and then we have Rare Editions which means we only make eight items of that design. Then we have

LONDON RUNWAY something called Continental Edition, which means that only one person per continent can purchase one item. When you purchase that item we'll fly you over to London and get you fitted up for that garment, and then we get your signature and sew your signature into that garment, and you become the Continental for that season.

The concept is not about how much the garment costs, it's about how much you pay for it. So it's a bidding process which starts at base price, and then the highest bidder in that continent will get the garment. Similar to how you buy a painting.

Why did you decide to do Editions rather than seasonal collections?

I do Spring/Summer and Autumn/Winter collections, but I didn't want to restrict my thought process. I make clothes from my heart and what I think is missing, and a lot of people tend to like the fact that it's different to what the average collection would be. My collections aren't as vast as other brands and I've done that to make sure it flows better, rather than just picking random different clothing that looks very similar. When you see my collections, every piece is different from the different fabrics to the design and the look, so for each item, you will either like it or know someone else who would like it. Whereas when you go to see a collection you might only like two or three pieces out of a twenty-piece collection, with me, each piece is the top level.

thinking "I'm going to treat myself" rather than just buying loads of clothing. I expect my target audience to come in maybe once a month and purchase one or two items, and then maybe save and a couple of months later do the same again. I've realised that no matter what your wealth or your background, you want to feel luxury and save up for at least one piece that stands out.

Is there one person that you would love to dress?

I would love to dress personalities like Drake or Rhianna. I would like to dress Jay Z because he looks tough but not fashionable or slick.

You wouldn't think fashion with Jay Z if that makes sense. I would just give him one or two pieces and make someone say "Jay Z, where did he get this from?". I want to change someone's look and see what happens.

Change people's perceptions, that's what I like to do. I'd rather people say "You know what, that is a nice top" then actually buy it!

To know people like what I'm doing, that gives me more pleasure than someone actually buying it.

We also have different sections, so we have Smart Casual, we have Classic Formal which is business attire, and then we have Occasion which is couture. So I cover all the bases.

"I'VE REALISED THAT NO MATTER WHAT YOUR WEALTH OR YOUR BACKGROUND, YOU WANT TO FEEL LUXURY"

Who's your ideal customer?

For me, my target audience isn't an ethnic background or gender or a demographic. My ideal customer is someone who wants to go out now and again, and wear one piece that looks nice which they can mix up with everything else and feel comfortable. It's about getting paid at the end of the month and

You've talked about the lack of creativity, but what other problems do you see in the fashion industry at the moment?

In the fashion industry it's very cut-throat. People don't help other people and I come from a background where I've come from nothing, basically. I've just been very lucky in what I'm doing and I'm very hard working. I feel that

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when I've come into the industry, models and photographers have taken a liking to me, simply because I'm very down to earth and treat them with respect and they're not used to it. I like to interact with people and treat them as good friends, and that respect has helped me in terms of getting word of mouth. I feel like that's not usual in the industry anymore- everybody is cut-throat and won't want to help you unless you're paying them. I feel like if you start being kind that will trickle down to other people and hopefully the industry will change.

It needs to be more user-friendly because at the moment it's very closed off. I've learned from my experiences, from where I was and where I am now, to interact with all different types of people and show people a lot of respect.

Can you tell us a bit about your personal style?

My personal style is very random! I like to be stylish now and again, but I also like to wear crazy just-got-outof-bed type of things. I like the fact that I can look good, so I don't have to look good, if that makes sense. I can just come out, hair all mangled up, looking grisly, but I know I can go to the barbers for two minutes, wear a nice top and I'm blessed! So my style is good, but I don't take it too seriously and I don't have to look good all the time. I wouldn't say I'm a very colourful person, but I like to have some kind of colour- even though my favourite colours are black and gold. When I do go out I like to stand out. I like things you can pick and mix with.

Do you wear a lot of your own clothes?

The funniest thing is I don't, you know. Sometimes I do, but I feel like most of the things I do wear are brand new and I find it frustrating when people ask "When is this coming out?" and they have to wait until Spring/Summer! It just frustrates me that I haven't got all my clothes out right now. I've made a few sales through people seeing me wearing my own clothes.

Are there any trends you hate at the moment?

Yes, there was a rose flowery patch that they put on jeans, and it was

LONDON RUNWAY everywhere. I was like "Why is everyone using the same patch?

And just putting it in the same place?". It was just so baffling to me. It annoyed me because I saw it too much. I feel like fashion brands should have responsibility to have some kind of originality.

Do think there's not enough distinction between the high-end brands and the high-street brands in terms of design?

Yeah, there's no distinction. I think even now, so many brands are using that Gucci pattern. I see other brands using it and it looks exactly like Gucci. It's bizarre to me.Â

complex it is. Working consistently is the hardest thing to do. The ability to put a whole lot of time into doing something is what leads to success. If you're not busy you're doing the wrong thing. You need to manage your time, and you need to have a bit of luck as well. And then the joy comes when you look back and think ''I did it myself'''.

Continue reading for a look at the most recent Reganalds show!

What's next for your brand?

Global takeover! I've built a mobile app through my IT company and it's been downloaded in thirty companies worldwide. My new update allows people to purchase any of the clothes in any country.

I'm less than ten months old and I've already been exposed quite a bit globally, so give me another year and it will be in more stores and places online. I just want it to be self-sustainable. I want people to understand what my brand represents, and to enjoy it.

"WORKING CONSISTENTLY IS THE HARDEST THING TO DO. THE ABILITY TO PUT A WHOLE LOT OF TIME INTO DOING SOMETHING IS WHAT LEADS TO SUCCESS. IF YOU'RE NOT BUSY YOU'RE DOING THE WRONG THING." You can find Reganalds using the app or at www.reganalds.com, or follow @reganalds on Instagram.

Do you have any advice for designers just starting out?

I would say know what kind of clothing you want to make. Because when I started I just wanted to make a top, and for it to look good and feel good and last a long time.

But when I started looking for fabrics I realised that if I wanted quality that I would be making luxury high-end stuff. I didn't want to originally, but I realised you only get quality and longevity with premium luxury garments and fabrics. So I ended up making couture dresses by accident. I needed to make sure my target audience understands the the quality. So I would say know what kind of clothing you want to make, and then you'll know how much time and money you need to put in. People say I'm talented, but I don't feel talented. I think you have to work hard. I got to where I am because I put so much time into it.

The hardest thing for success, not just in fashion but the biggest killer of genius is time. It's not how

Images via Tyrone Reid and Rhiannon D'Averc; left: from our Issue 18 editorial - photographer Jarek Duk

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REGANALDS

As well as chatting with designer Tyrone Reid in our interview over the previous pages, we were also lucky enough to attend his catwalk show and see his latest collections.

Combining all of the styles as described by Tyrone in his interview, this show offered the full Reganalds experience. We can't say it any better than his own words, so without any further introduction - enjoy seeing his work come to life.

Photography by Rhiannon D'Averc

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WINTER LOOKBOOK: YOUR GUIDE TO THE ESSENTIAL WINTER LOOKS Joanna Cunningham gives you an insight into her wardrobe, and what she loves to wear during the colder winter months.

The winter months are finally upon us, meaning we can now don our woolies, boots, coats, and fluffy socks - who else is excited!? I know we’ll all miss that glorious British summer sun we were so lucky to experience this year, but with winter comes cosy nights in, hot chocolate and whipped cream, and (apologies in advance) Christmas!

Therefore, in lieu of those shorter days creeping in, and the heating turning on, here are some winter essentials for us all to dig out of the back of our wardrobes…

LOOK 2 (BELOW RIGHT) COAT: DOROTHY PERKINS TOP: NEW LOOK BOOTS: NEW LOOK

LOOK 1 (RIGHT) TOP: NEW LOOK SKIRT: NEXT BOOTS: PUBLIC DESIRE COAT: HOLLISTER Who doesn’t love a high-necked top and button-down skirt? I know I do! Burgundy has to be the colour of the season, making this top perfect. This skirt is also my go-to for all those warmer, sunnier winter days, when I want to dress a little smarter, perhaps for a dinner out, or even a lecture or a day of work, if you’re feeling glam. I also love these silver boots - they’re a great height, making them super comfortable, and a perfect statement for almost any outfit.

Another absolute essential is a Parka coat with a fluffy hood (faux fur, of course). This just elevates the average coat, making it look cosy and chic. Grabbing one of these in a plain colour means you can simply add it on top of any outfit - so versatile!

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Here it is again - that classic black skirt! It’s such a multifaceted piece and will make any outfit special.

I’ve paired it here with a thin turtleneck, cropped jumper, kneehigh, suede, black boots, and a gorgeous pink, double-breasted coat. I love this coat, as it really classes up any outfit and, along with the knee-high boots, you’ll look sexy and chic.

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LOOK 3 (BELOW & RIGHT) JUMPER: NEW LOOK JEANS: TOPSHOP HAT: NEW LOOK BOOTS: PUBLIC DESIRE This is a classic combination; highwaisted blue jeans, a turtleneck jumper, and a wooly hat. Pair this outfit with trainers for a more casual ensemble, or pop on any pair of heeled boots you have lying around for a more put-together look.

This outfit incorporates the classic bobble hat - an absolute essential for winter to keep you warm, and to add a little something extra to every look! By getting a pretty neutral colour, without much pattern, you can buy one hat for all winter occasions.

What I love about this combination is all the little hints of pink throughout, which really tie it all together. We also, again, have a splash of classic burgundy for that Christmassy feel; a colourful look for any occasion.

LOOK 4 (RIGHT) JUMPER: NEW LOOK JEANS: ZARA SCARF: NEW LOOK BOOTS: ZARA This next look is a little different, as I’ve paired a casual pair of mom jeans with a statement pair of ankle boots. However, I think it really works, and with this thick turtleneck jumper (I’m sensing a theme here), and this burgundy scarf (another recurring theme), I’ve created a matching outfit for any day of the week!

I personally think that a thick jumper is paramount for those winter days and nights. You can wear it over any top to stay warm, but you can also add a coat on top too, for any outdoors-y adventures you may have planned.

The addition of a chunky scarf is also a must, alongside another statement pair of ankle boots (can you tell I’m obsessed with shoes!?), completing every and any cosy ensemble.

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LOOK 5 (RIGHT) JEANS: TOPSHOP JACKET: RIVER ISLAND BOOTS: PUBLIC DESIRE

LOOK 7 (BELOW LEFT) TOP: NEW LOOK SKIRT: NEW LOOK SHOES: REEBOK

Here is another outfit which enables these amazing silver boots to shine! All black on black, with the addition of the fluffiest pink jacket you could imagine! With all black underneath, we really allow the statement pieces to have their moments, and the ripped jeans add the edginess to dress this outfit down.

This final winter look also incorporates the Reebok trainers to dress it down, but you could always dress this one up with a heeled ankle boot for a drink with the girls!

I’ve been loving these tie-front tops, as it’s just that additional detailing which really makes this look. A plaid skirt is also a must for any winter wardrobe, providing that sexy school-girl, Clueless vibe, making it ideal for school, lectures, or work.

LOOK 6 (RIGHT) JUMPER: NEW LOOK JEANS: URBAN OUTFITTERS SHOES: REEBOK

I hope I’ve provided a little inspiration for anyone who needs an injection of colour and style into their winter wardrobe. These are all outfits I rustled together from clothes I’ve had since last winter! In fact, some of these items I’ve had for years, so it takes no money to pull together some fashionable, effortless winter ensembles, for anyone who is on a budget.

Moreover, every one of these garments can be mixed-andmatched with one another to provide endless outfit opportunities. There’s no harm in getting creative… happy winter!

This outfit may seem a little controversial due to the 90s vibes, however, corduroy jeans are so underrated! They are super, super comfy and, although, I admit, they are very dated, they definitely add that pop of colour we need to pull this outfit together.

Following that 90s theme, who doesn’t love a pair of Reebok trainers to jazz it up? These have been a staple in my wardrobe for the past 3 years or so, and dress down any outfit for a more casual daytime look.

To finish it off, we have a simple, thin, black, high-necked jumper to add that Addams family, gothic touch.

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.

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THE BIG QUESTION We asked, you answered

“The first thing that comes to mind is Read it and Weep – not that you’re going to sit there crying because it’s so sad, but you’ll be crying because I’m doing some great things and you wish you were me!” – Sejal Shah, designer

“Madness, Luck and Tears of Joy. Because that's how my life has been.” – Tyrone Reid, designer at Reganalds

"DREAMER BEYOND" FIL MAZZARINO, PHOTOGRAPHER

“It would be something about not making mistakes. I’m good at making mistakes, and I never regret them – but I think if I ever get to something good, it’s going to be because of my mistakes” - Juan Palomino, designer

“Changing the World, One Dress at a Time!” – Louise Allison, designer at Louise Rose Couture

“HOW IS IT LIVING LIKE A BLACK DOLL?” – SUSKI SUE, DESIGNER AT BLACK DOLL BOUTIQUE "Au clair de lune (In the moonlight)" - Viktorija Mockute, writer “It would have to be either 'Enigmatic' or 'The life story of that weird girl'” – Shamica Stanley, model

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

LONDON RUNWAY

CONTACTS BERSHKA - bershka.com CANDICE WU - instagram.com/candice_x9 CARLA FERNÁNDEZ - carlafernandez.com

FASHION & TEXTILE MUSEUM - ftmlondon.org FIL MAZZARINO - cyclopevideo.com

HANNAH SMITH - instagram.com/fcphaanlilly HOUSE OF IKONS - houseofikons.com IAN CLARK - photobyian.com JOANNA CUNNINGHAM - twitter.com/iswrebecca JUDITH WILLIS - twitter.com/_misswillis_ MANGO - shop.mango.com MISS LONDON CITY - misslondoncity.com MISS SELFRIDGE - missselfridge.com

PATREON - patreon.com/londonrunway PAULINE KATE - paulinekateillustrates.com

PRETTYLITTLETHING - prettylittlething.com RABI SULTAN - roamingpixel.com RACHEL PARKER - twitter.com/rachelfrances_

REGANALDS - reganalds.com RHIANNON D'AVERC - pcistudio.co.uk SUYEON CHOI - instagram.com/s.choi.official TYRONE REID - reganalds.com

V & A MUSEUM - vam.ac.uk

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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: Olivia Jameson by Rhiannon D'Averc Back cover: Reganalds by Rhiannon D'Averc