Issue 50: The Bridal Issue

TWIN PEAKS FASHION . WES ANDERSON WEDDING . HAT TIPS . COMEBACK OF THE MULLET . ISTANBUL TRAVEL

L. SAHA . ASIAN WEDDING SHOW . MATTY BOVAN . LONDON PACIFIC FASHION WEEK . UNDERAGE . SABIRAH

ISSUE 50 27TH MAY 2020

THE BRIDAL ISSUE

RRP £9.99

LONDON RUNWAY

CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Lead Photographer: Fil Mazzarino Staff Photographers: Ian Clark, Mrityunjoy 'MJ' Mitra Lead Graphic Designer: Alex Panek Staff Graphic Designers: Lauren Rowley, Karishma Alreja, Barbara Mascarenhas Staff Writers: Maria Henry, Cicilia Brognoli, Grace Pickford Staff Illustrator: Ben Springham Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk / kavyar.com/london-runway-magazine Contributors: Julia Titova, Nika Barsoyan, Yana Bukova, Dress Magic, Wedding Dress Assol, Divo Studio, Francesca Sprovieri, Azionami Produzioni, Giandomenico Veneziani, Sergey Vinogradov, Ruslan Meshchanov, Sweet Nxthing, Milena, Lisanka, Sergey, Varavara, Inna Antonova, Alena Zotkina, Anna Makarova, Olga Shevchenko, Salon You, Lorenzo Mazzarino, Susana Ramos, Irina Izotova, Alena Kosmacheva, Maksim Kosmachev, Yana Gyrenko, Zhanna Zukova, Anna Krylova, Natalia Hamilton, Tracey Whiteside, Julia Gerashchenko, Seashell Wedding, Andy, Anastasia Rostova, Sandy Aziz, Tania Volobueva, Ekaterina Solod, Alessandra Anceschi, Annalisa Fabbrucci, July, Nika Moroz, Dimara Kausova, Aleksandra Bastek, Liang Shi Jing, Caterina Lostia, Talea Couture, Bella Belle Shoes, ZuccIrina, Manifattura Calligrafica, Tableset Luxury Rentals, Nea Milano, Cheyenne Grieg-Andrews, and Joe Bailey Special thanks to Rabi Sultan, L Saha

Interested in working with us?

We currently have internships available in the following positions: Staff Writers Send your CV and covering letter to info@londonrunway.co.uk

© 2019, London Runway Ltd and contributors Printed by Micropress and distributed in-house by London Runway Ltd London distributors: The Model Workshops London at 40 Cumberland Road, N22 7SG 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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CONTENTS

21

41

VISUALS

WORDS

Asian Wedding Show, Preby London 7

The Evolution of Bridal Fashion

4

Magic Morning (Cover Editorial)

21

The Most Influential Designers in Fashion Today

18

New Faces

33 Istanbul Travel Journal

29

Portfolio Piece

39 Interview: L Saha

60

They and Fish (Editorial)

41 49

Mullet Mania: How the Mullet has Made its Way Back into Fashion

64

Matty Bovan, Sabirah, Underage, London Pacific Fashion Week

Twin Peaks Turns 30

77

Style (Conscious) Guide

63 67

Why you Should Have a Wes Anderson-Themed Wedding this Season

89

Art of our Senses (Editorial) Green Heaven (Editorial)

73 Your Style Horoscope

102

Seashell Wedding (Editorial)

80 92

Hats at British Weddings: Fading Away or Here to Stay

116

50 Shades of White (Editorial) Gysophila & Amore (Editorial)

106

The Big Question

122

House of iKons: Marie Belle

119

s ' r o t i d E ter t e l I’ll spare you the usual introduction that seems to have become standard these days: during these uncertain times, while the situation continues, working from home, etc, etc. I’m sure you’re as sick of it by now as we all are, though we still manage to end up talking about the lockdown at every single virtual team meeting!

There’s been a real outburst of creativity through the last month. We’ve been enjoying National Theatre at Home through YouTube, where they’ve been screening live recordings of plays for a week at a time (including one or two we’ve reviewed in these pages). With Instagram gigs, livestream panel talks, and plenty of flash sales going on, there’s been plenty to look at and enjoy.

We’ve been getting in on the action ourselves, with our new podcast – London Runway Style. It’s available on most outlets where you can get podcasts – including Spotify, Google Podcasts, Apple Podcasts, Anchor, and so on. You can get involved by sending us a voice note on Anchor, which is quick and easy to do – you’ll find the link to do that, as well as all of our outlets, on londonrunway.co.uk/podcast.

While we’re doing shameless plugs, we’d be remiss not to mention our coffee table book, London Runway Anthology: The 2019 Editorials. It’s still available on Amazon, and we’ve been loving seeing your shots and videos taken of the big, glossy-covered photo collection. It’s making us excited about putting out next year’s volume already, and we’re not even halfway through the year!

Now a bit of a call to action: we’re putting out our Graduate Issue next month as planned, even though Graduate Fashion Week won’t be going ahead in its usual format. For this reason, we’re putting out the offer for any fashion (or fashion-adjacent) students who would have been graduating to show us their final collections. Whether you managed to get in a photoshoot, or you just have sketches and swatches, we’re interested in seeing what you put together.

haven’t even given you a preview of this issue’s content. Well, this is the bridal issue for a big reason: I was supposed to be getting married on the 4th of May, and I was planning to publish my own wedding photos along with the rest of the editorials and galleries here today. Though that didn’t go ahead, for obvious reasons, I’m still delighted to share this cornucopia of inspiration. If, like me, you’re now looking at a postponed date, at least we can use this time to polish our planning to a real shine.

Get stuck into the editorials and articles we have for you today on the theme of weddings, and a few others that have snuck in as well. We’ll keep you company for the rest of the month @londonrunwaymag on Twitter, Instagram, and Facebook.

Until next time…

Enjoy!

You can submit your work to us at kavyar.com/london-runway-magazine.

It’s free to do so and we’ll even give students a free upgrade to a better submission option. Your work will be our priority, so let’s take a look!

Whew, I’ve said so much and still

RHIANNON D'AVERC

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THE EVOLUTION OF BRIDAL FASHION 1910s

This issue, Grace Pickford explores developments in bridal fashion from the 1800s to modern day.

Bridal fashion has transformed through the ages, expressing the style and attitudes of the time: from the flapperstyle dresses of the ‘20s to the billowing ball-gowns of the ‘80s, let us walk down the aisle and explore the fashion of weddings past.

During the 1800s, white was NOT the new black when it came to bridal fashion. Red was the flavour of the day, symbolising good luck, happiness, and passion. Wedding-wear consisted of the brides 'best dress’, meaning there were a variety of styles and colours hitting the aisle. White fabrics were often too expensive to clean, so deep colours like red were a practical and vibrant option for the big day. In Asian countries, many brides continue to wear red on their wedding day, particularly in Indian culture where red is the colour for new life, and love.

It was not until 1840 when Queen Victoria walked down the aisle for the first time to marry her first cousin, Prince Albert, wearing a laced, ivory silk dress that the trend was set for future bridal fashion. Before this, different traditions were symbolized in the colours that brides wore; in ancient Rome, for example, brides wore yellow veils to symbolise light and vitality, bringing warmth to their new husband’s life- permission to roll your eyes.

Queen Victoria painted the image of the bride white, stamping the mark of royalty onto bridal fashion. Queen Victoria’s reign saw the conception of many trends that have lasted into the modern day, with another example being Prince Albert’s introduction of the Christmas tree to Britain in the 1840s.

The white dress adopted connotations of purity and innocence, symbolising a girl’s passage into womanhood through the act of marriage. It has remained an important traditional element for many brides-to-be when deciding to ‘say yes to the dress’.

1910s bridalwear consisted of long, flowing dresses - floor length cascades of material - to enable the bride full movement for wedding day dancing rituals. Dresses were often embellished with delicate lace and ruffles, but were mostly simple and modest affairs.

1920s Think Great Gatsby- the roaring ‘20s saw a shift from the modest hanging dresses that characterised the fashion of earlier decades, into more adventurous flapper-style dresses. The new age saw elegant beading to add to the glamour of the period, often with shorter, figurehugging silhouettes to express brides’ confidence and sexuality. Dresses were often accompanied with long whimsical veils for ornamentation, and elaborate trains to create the appearance of mermaid-style gowns. Although the high neckline of the previous decade remained in fashion, women were beginning to embrace their bodies and their independence more in the charismatic glitz of the 1920s.

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1930s The collapse of Wall Street in 1929 led to the Great Depression of the 1930s which saw a resurgence of the more traditional and plain bridal dresses of previous decades. Brides of the ‘30s donned figure hugging dresses, with long sleeves and high-necklines, and minimal embroidery or ornamental design. The “Make Do and Mend” attitude that stemmed from the Depression meant a decline in expensive natural materials, and an increase in the use of manmade fibres such as nylon and rayon.

However, moving into the latter half of the ‘30s, the rise in Hollywood glamour and its influence over fashion trends began to see brides opting for dresses with dropped waist lines and slinky, silky fits that characterised 1930s filmstar fashion. Hips were no longer the focal point for attracting the eye, but waist-lines and shoulders, which led to the famous cuts of the ‘30s.

LONDON RUNWAY

1940s

1960s

Bridal fashion of the ‘40s respected the austerity of the time: the Second World War saw women working and contributing to the war effort. Brides would often wear their work uniform to their weddings, or homemade dresses that were shared between friends and family. 1940s bridal wear reflected the impact of the war on everyday life and society, and the “let’s go forward together” attitude that fuelled the war effort.

Bouncing back to the simpler styles of earlier decades, the ‘60s saw a wave of heavier, structured material dresses with shorter veils, and slim silhouettes.

The swinging ‘60s saw various colours begin to peek into the picture, with women starting to experiment more with fashion and shift away from what now seemed old-fashioned traditions.

The emergence of the women’s liberation movement was visible in the knee length tea dresses and shorter wedding dresses that remained in bridal fashion in this decade.

Women who did manage to acquire a new dress opted for an extension of the 1930s fashion with glamorous ruched sleeves and vintage, plunging V-shaped necklines.

1950s Lock the plain-Jane dress back in the wardrobe because the ‘50s was the age of the billowing skirted ball gown. Dior paved the trend for women’s fashion in this decade with the iconic cinched waists and mid-calf length wide skirts extending into bridal fashion. Admired figures such as Audrey Hepburn and Marilyn Monroe ensured the popularity of this style.

The 1957 film Funny Face saw Audrey Hepburn dancing in a tea-length wedding dress with Fred Astaire, setting this as the trend for bridal fashion in the ‘50s. This wedding dress is still considered iconic in bridalwear history.

1970s Back to BIG: bell sleeves, high collars, and hair ribbons. ‘70s bridal fashion was billowing and bohemian. Wedding dresses were long and flowing, with draping materials creating a romantic and ethereal feel. Dior debuted a highneck dress with big sleeves in the ‘70s and this set the trend for the decade.

The ‘70s was also a decade for experimentation and self-expression, with women opting for jumpsuits and trousers, instead of dresses, for their wedding day, as well as further acceptance and popularity of different colours other than the traditional white.

1980s Royalty continued to pave the aisle for bridal trends. Princess Diana’s 1981 wedding dress set the style for ‘80s bridal fashion: puffed sleeves, princessstyle full skirts, and tiaras combined with lace trimmings, and extravagant headdresses. The David and Elizabeth Emanuel ivory gown was an intricate masterpiece, adorned with sequins and pearls, with a veil longer than the train of the dress. The grandiose, extravagant nature of this dress instilled the tone for bridalwear in this decade.

1990s Clueless, Sex and The City... the sophisticated fashion-forward thinking woman of the late 20th century was reflected in the fitted sheath dresses of the wedding runway. No more extravaganza or elaborate decoration, dresses were crisp and white; minimalism being the intention.

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Brides wore elaborate hairstyles with minimal makeup and figure hugging silhouettes which often led to more androgynous appearances, augmenting the increasing freedom of women in their fashion choices, and modes of self-expression.

As couples began journeying to warmer climates for their wedding day, cool, no-fuss dresses became a must for sunsearching brides, highlighting the popularity of the minimal dresses of the ‘90s.

LONDON RUNWAY

2000s

Now?

Vera Wang opened a small bridal boutique in New York City in 1990, and by 2000 Wang was setting the trend for wedding dress fashion as the boutique business grew into a multi-million dollar empire: originality and respect being the keys to rising success.

Bridal fashion is now a space for selfexpression, artistic design, and experimentation. Tradition remains an important part for many when choosing their bridal outfit, but as the Venezuelan fashion designer Carolina Herrera stated: “A wedding dress is both intimate and personal for a woman- it must reflect the personality and style of the bride.”

The spaghetti-strap bridal gown and strapless dresses were popular throughout the early 2000s. Nonembellished, close fitting or A-line, the natural beauty of the bride was central to bridal design with minimal coverage in order to emphasise the bride’s beautiful décolletage and elegant neckline.

Veils were no longer the norm, and although simple and effective was the target look, skirts with intricate detailing did begin to make a comeback, with lace detail and beading becoming more appealing towards the end of the decade.

2010s Kate Middleton’s sleeved, lace dress hit the headlines in 2011: the barely-there style of the lace sleeves, and the detailed netting culminated in the elegant and sensual style that began to define the modern bride. The English designer, Sarah Burton, creative director of Alexander McQueen, designed the royal bride’s dress, continuing the tradition of royalty setting the trend for bridal designs through the ages.

Figure-hugging and curveaccentuating gowns were the most sought after, with mermaid dresses often taking the pedestal for creating the most flattering shapes. Textured details with beading and lace also remained popular.

London Bridal Fashion Week London Bridal Week was created in 1987, and was rebranded as London Bridal Fashion Week in 2019 to encompass the contemporary industry that bridalwear has become.

The international trade show continues to provide a space in order to highlight and present the developments in the bridal industry, and the breadth of designs that are now available for the modern bride. The LBFW motto, ‘in unity there is strength’, illustrates its conception as a celebration of the diversity and creativity that now inhabits the world of bridal fashion.

You can read more of Grace’s work on Twitter by following @pickford_grace Images via Pexels, Unsplash, and images of Grace's parents, great grandparents, and great great grandparents - 1990, 1937, and 1911

Anajali Bridal and Sari

ASIANÂ WEDDING SHOW Photography by Mrityunjoy Mitra

Ekha Couture

Manoj Makwana

Neetika's Couture

Sache

Tasta

PREBY PREBY

LONDON PAGE 16

PREBY PREBY

Photography by Fil Mazzarino

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THE MOST INFLUENTIAL DESIGNERS IN FASHION TODAY This month, Cicilia Brognoli looks into a selection of the most influential designers of our contemporary time.

These legendary names in the fashion industry have created their fame by working for famous fashion houses or creating their own luxury brand. In both cases, they made their way into this lively and competitive industry, becoming true fashion royalty. These designers continue to be talked about both for their creative skills and their commitment to commendable causes.

They have somehow influenced the way we dress: many mass-market brands take inspiration from these masters of fashion, turning luxury trends into affordable options. Their creative ability not only inspires all categories of the clothing marketplace, but in some cases, they brought back the fashion houses they worked for. Meanwhile other designers made their eponymous brands real fashion fixtures, turning their stores into pilgrimage destinations for fashion lovers who hang out in the trendiest cities.

Among the most influential and loved luxury brands, there is certainly Armani, founded in the mid-'70s as a small start-up. This Italian brand now boasts a turnover of around £1.9 billion per year. Giorgio Armani, the only artistic director since the foundation of the brand, started a subtle but powerful revolution.

Regardless of the opinions of others, Armani has decided to subvert the rules of fashion, proposing outfits with flat shoes also for occasions such as gala evenings. He showed how women can dress extraordinarily androgynously while maintaining their femininity. In womenswear collections by Armani, suits always stand out. The dichotomy created by masculine cuts and sensual and feminine materials makes the outfits capable of winning the admiration of consumers and the many Hollywood stars in love with the refined Armani style.

Moving to the Ville Lumière, one of the most-loved Parisian brands is Chanel. Although everyone attributes the success of this fashion house to Karl Lagerfeld, few know his right arm. Virginie

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Viard assisted the German designer for three decades in the leadership of the empire created by Madamoiselle Chanel. After Lagerfeld’s death, Viard took the reins of the Chanel, continuing to adapt the elegance and detailedoriented style of the brand to contemporary fashion. This is how the iconic tweed Chanel keeps on being the protagonist of many outfits, accompanied by sumptuous jewellery and sophisticated accessories. Viard carries on the traditional Parisian elegance of the brand, always shown in settings so realistic that they make everyone forget the artificiality of the show.

Remaining in Paris, another fashion house symbolic of both heritage and innovation is Balmain. The young and resourceful Olivier Rousteing became creative director at the age of 25, and immediately made the brand an emblem of sophisticated glamour.

Rousteing thus became the darling of many stars who appreciate the French craftsmanship he brought back, homaging the style of Pierre Balmain.

Rousteing celebrates multiculturalism in his campaigns and catwalks, refusing to consider it as a passing trend, and commendably defending the beauty of inclusiveness.

This is how the traditional French artisanship is worn by beauties of all ethnicities. Those are part of the 'Balmain Army', just as Rousteing defines the brand's models.

Tradition, innovation and ethical commitment blend perfectly, and they are not slow in gathering the admiration of Rousteing's social followers.

Leaping back to Italy is the extrablonde Donatella Versace who, from the top of her stilettos, is a long-time supporter of the LGBTQ + community, AIDS activism, and sisterhood. Wrapped in outfits printed in the typical Greek-inspired Versace motifs, Donatella has always forged friendships with the stars of the jet-set. Strong colours, sensuality, and Mediterranean prints are the key elements of the style created by Gianni Versace. Over the years, his sister Donatella united the brand's heritage with more contemporary silhouettes and colour palettes. She is seen by many as an irreverent free spirit, aesthetically over the top, but always on the front line together to defend the ideals in which she believes.

In the case of Versace, the artistic direction after the death of the founder fell on a family member.

However, for the majority of brands, this is not possible. Thus, some figures silently emerged on the fashion scene, generating a great rumour thanks to their

stunning visionary fashion aesthetic. As in the case of Hedi Slimane, one of the most powerful contemporary designers who led two of the most prestigious French fashion houses. Shortly after becoming assistant in the marketing department of Yves Saint Laurent (YSL), Slimane was appointed ready-to-wear menswear director. In the F/W 2000 collection Slimane showed his predilection for the superskinny silhouette. This collection named Black Tie strongly clashed with the baggy fashion of the time.

However, once he became the creative direction of Dior, he further accentuated his razor-thin iconic style. The new androgyny proposed by Slimane marked the

restyling of Dior Homme as a brand.

Once back at YSL he was determined to revolutionise the brand, and he did so starting by boldly dropping the ‘Yves’ in the fashion house’s name.

Another overwhelming fashion talent capable of revolutionising one of the biggest brands is Alessandro Michele.

Since he became Gucci's creative director in 2015, he instilled in the brand his colourful and bold aesthetic, making it a cool topic to talk about.

Michele started the genderless fashion revolution, sending endless genderfluid outfits on the catwalk. He loves strong clashing colours and bold patterns that characterise statement garments. Michele’s peculiar vision is applied indifferently to womenswear and menswear. The fluidity in fashion is precisely what Michele wants to accomplish, particularly reshaping the definition of masculinity. Alessandro Michele continually expresses his quirky taste allowing shoppers to escape from style conventions by diving into a world of bold genderless escapism.

Environmental commitment is one of the pillars of corporate social responsibility, and in recent years pledging to safeguard the environment is a key focus for many brands.

Although all the designers already mentioned diverted through more ecofriendly collections, two British designers are pioneers of sustainability.

The forerunners of the

contemporary craze for fashion sustainability are Stella McCartney and Vivienne Westwood. The first dedicated her creative genes to the design of feminine tailored-based collections, always 100% ethically committed. Since the debut of her brand in 2001, McCartney presented furand leather-free collections. Thus, recycled polyester, upcycled materials, and vegetable-based leather are used in all her collections and runway shows. Also, the signature product of the brand, the Falabella bag, is made of soft leather-like polyester.

During the Fashion Awards 2017, McCartney was awarded the Special Award for Innovation.

Vivienne Westwood was also honoured with an award for her commitment to more sustainable fashion. Westwood won the Swarovski Award for Positive Change at The Fashion Awards 2018. From the beginning of her career, she mainstreamed punk and new wave fashion, with irreverent and thorny collections always ready to send strong messages. It is also thanks to special merchandise that Westwood spreads her environmental commitment by promoting the Campaign for Nuclear Disarmament and climate change awareness.

The defence of tradition and the pursuit of innovation, on the verge of upheaval, are common and obvious elements in the progression of the history of fashion.

However, what makes these designers the pillars of contemporary fashion is their ability to remain faithful to their ideals and aesthetics, albeit sometimes outside the box.

Furthermore, their commitment to leverage their fame to defend ideals such as environmental sustainability and inclusiveness are fundamental aspects for their success as style icons and ethicalcommitted leaders of one of the most talked about creative industries.

You can read more of Cicilia’s work on ciciliabrognoli.weebly.com Images via Wikimedia Commons

Magic Morning

Photographer: Titova Julia @titova_wedphoto Model: Barsoyan Nika @nikulya_barsoyan_official Makeup Artist: Bukova Yana @bukovayana.mua Accessory Designer: Dress Magic @Dress_magic_simf Wedding Dress Designer: Wedding Dress Assol @wed_salon_assol Architect: Divo Studio @divostudio_photo

LONDON RUNWAY

ISTANBUL TRAVEL JOURNAL Photography by Fil Mazzarino

Fil Mazzarino takes us on a tour of another city – this time, Istanbul in Turkey.

Istanbul is Turkey’s economic, cultural and historic centre. It has been known in the past as Byzantium or Constantinople.

As part of the historic Silk Road, the city held a strategic position between the Black Sea and the Mediterranean, and controlled rail networks between the Balkans and the Middle East. This allowed it to become a powerful hub.

The historic centre is partially listed as a UNESCO World Heritage Site.

Istanbul's public transport system is a network of trams, funiculars, metro lines, buses, and ferries. To pay fares across all of them you only need the contactless Istanbulkart, a pre-paid card similar to the Oyster which allows multiple taps for the same journey. So, you only need one card for the whole family.

Istanbul is primarily known for its Byzantine and Ottoman architecture, but its buildings reflect the various peoples and empires that have previously ruled the city. One of Istanbul's most iconic structures is the Hagia Sophia. Topped by a dome 102Â feet in diameter, the Hagia Sophia stood as the world's largest cathedral for centuries. It is now a museum.

The Basilica Cistern, or Cisterna Basilica (Turkish: Yerebatan SarnÄącÄą), is the largest of several hundred ancient cisterns that lie beneath the city. It was built in the 6th century during the reign of Byzantine Emperor Justinian I. Today public access is allowed inside the space.

The ceiling is supported by a forest of 336 marble columns. The capitals of the columns are mainly Ionic and Corinthian styles, with the exception of a few Doric style with no engravings.

One of the columns is engraved with raised pictures of a Hen's Eye, slanted branches, and tears. Ancient texts suggest that the tears on the column pay tribute to the hundreds of slaves who died during the construction of the Basilica Cistern.

LONDON RUNWAY

The Sultan Ahmed Mosque (Turkish: Sultan Ahmet Camii; also known as the Blue Mosque) was constructed between 1609 and 1616 during the rule of Ahmed I. It contains Ahmed's tomb, a madrasah, and a hospice. Hand-painted blue tiles adorn the mosque’s interior walls, and at night the mosque is bathed in blue as lights frame the mosque’s five main domes, six minarets and eight secondary domes. The upper area is decorated with approximately 20,000 hand-painted glazed ceramics in 60 different tulip patterns. More than 200 stained glass windows with intricate designs admit natural light, today assisted by chandeliers. On the chandeliers, ostrich eggs are still found that were meant to prevent cobwebs inside the mosque by repelling spiders.

The decorations include verses from the Qur'an, many of them made by Seyyid Kasim Gubari, regarded as the greatest calligrapher of his time.

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LONDON RUNWAY

The Grand Bazaar (Turkish: Kapalıçarşı or Büyük Çarşı) is one of the largest and oldest covered markets in the world, with 61 covered streets and over 4,000 shops, attracting between 250,000 and 400,000 visitors daily.

In 2014, it was ranked number one among the world's most-visited tourist attractions with 91,250,000 annual visitors.

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NEW FACE Name: Francesca Sprovieri Age: 22 years old Location: Parma, Italy Agency: Freelance

What would surprise people to know about you?

Maybe, that I can act, I love acting but nobody knows it!

How long have you been modelling for?

I started modeling four month ago

What are your modelling ambitions?

I hope I can be scouted by an agency, working abroad with great photographers and fashion professionals. I hope to experience the field of artistic portrait even more and to work for important magazines like yours.

Where are you from originally?

I am from Italy Do you have an unusual talent or party trick?

My unusual talent is my laugh I guess, my friends always tell me that it’s very strange!

Model: Francesca Sprovieri @francescasprov Communication Agency: Azionami Produzioni @azionami_produzioni Photographer: Giandomenico Veneziani @jeanven.official

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NEW FACE Name: Ruslan Meshchanov Age: 30 years Location: Saint Petersburg Agency: Freelancer How long have you been modelling for?

10 years Where are you from originally?

Originally from Almaty, USSR (Kazakhstan)

Do you have an unusual talent or party trick?

I am a theatre and film actor.

What would surprise people to know about you?

That I dubbed very famous movies.

What are your modelling ambitions?

I bet more on playing in the theatre and in the movies

Photographer: Sergey Vinogradov @vinogradovs Model: Ruslan Meshchanov

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NEW FACE Name: Milena Age: 21 Location: Sochi / Saint-Petersburg, Russia Agency: DNK model management How long have you been modelling for?

Difficult to answer, but I can say that about four years, and maybe more.

My first pictures were taken when I was 15 Where are you from originally?

I was born and spent my childhood in the small Siberian town of Ust-Ilimsk.

So, I’m a Siberian, I really love my native land Do you have an unusual talent or party trick?

I don’t know whether this can be

a called talent, but I can scream like seagull and click chewing gum without stopping. My record is 26 clicks What would surprise people to know about you?

Oh, probably this is the fact that at the age of 15 I became a Candidate for a Master of Sports in swimming, many people are surprised by this.

What are your modelling ambitions?

Hm, to be honest, this is not an easy question for me. There are many circumstances that can change my life. I will say this, the only thing I know for sure is that I believe in myself, believe that I can achieve success, at all costs.

Photographer: Sweet Nxthing @sweet_nxthng Model: Milena

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SKETCHBOOK Portfolio Piece Fashion Designer: LISANKA @thelisanka

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The LISANKA clothing brand began its existence five years ago. The brand cultivates individuality as a desire to express the character of a person’s personality. The main emphasis is on colorfulness, reverse processing and product design.

The inspiration for creating collections is determined by a conceptual approach to the historical data of the selected topic, life stories, as well as works of artists.

For example, for the creation of one of the collections, sketches were developed to give the image of a warrior due to the abstract manner of drawing, since the sketchy version makes it possible to go beyond everyday life and portray the originality of a stylized warrior.

According to the designer, the projects were born on the basis of graphics, which the designer transferred from paper to clothes. An important point is the expression of your own vision in the form. Starting his journey with individual tailoring, the brand tried to maintain its style, aimed at preserving the characteristic features of a person so as to emphasize not only the figure, but also the personality.

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Models: Sergey and Varvara at SIGMA @sigma_rzn Photographer: Inna Antonova @inna.antonova.photo Wardrobe Stylist: Alena Zotkina @style_grad Fashion Designer: Anna Makarova @annamak.moda Makeup Artist: Olga Shevchenko @klimova_makeup_ Accessories: Salon You

THEY AND FISH

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LONDON RUNWAY

MATTY BOVAN Photography by Fil Mazzarino

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SABIRAH

LONDON RUNWAY

Photography by Fil Mazzarino

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UNDERAGE Photography by Lorenzo Mazzarino

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LONDON PACIFIC FASHION WEEK Photography by Fil Mazzarino

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INTERVIEW Susana Ramos talked to Laboni, the designer behind L Saha, after her onschedule London Fashion Week Show.

L Saha is a London-based luxury womenswear brand that was launched in 2014. The brand’s principles are to create timeless outfits with a pro-planet and pro-people approach. We had a chance to talk about her new collection called Qi (after an invisible force that runs through the universe).

“For every collection I am brewing thoughts in my mind,” says Laboni. “I’m inspired by different things and I see a lot of complaints about climate change and all the injustices that people have done, blaming each other. When I keep hearing these stories one thing constantly comes to mind. That the universe and earth was there before us and will stay after us and whatever we do, we are not powerful enough to change this. But if we do our bit towards the right things then it can look after itself and we don’t need to sign up to all

these rebellions and petitions. So I think I wanted to reverse the complaining attitude.”

So how does a fashion brand with a deep philosophy apply a pro-planet and pro-people principle?

“From the way we source our materials and the way we package. Part of the collection you saw today was vintage fabrics. They are fabrics that have been around since the 1980s and not produced in a factory. Also, all our silks are 100% and can decompose without any problems,” Laboni continues. “Our embroiders have been in the trade for 4-5 generations and they are facing a lot of challenges to continue as there is not enough work for them. So, we hire them and some of our pieces have over 200 hours of embroidery work for a single piece.”

With this level of detailing, Laboni explains: “We use craftsmanship in a way that slows down the process immensely. So, the details you see are handmade and some of the items in the collection are 100% handmade.

"This will slow down the process of making and the process of selling. So, people will need to appreciate a single piece a lot more and not instead buying something and giving it up when it falls out of fashion. Timelessness, craftsmanship, and slow is what we are trying to say. Less is more is the approach. There are pieces in our collection returning from 3-4 seasons ago. For instance, the champagne suit that you saw in the collection today, the trouser was introduced in 2017 and now you see it again. We have enhanced it to suit the current taste and it blended well with the vintage material we sourced.”

L SAHA

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It’s clear that there is a commitment here to a new way of working, of being sustainable and aiming towards a future of fashion that looks totally different.

“That is a way of saying that fashion can be exciting without being wasteful. With the super brands they make a new 100look collection each time. But you should also encourage the use of the old and the new at the same time by creating new fresh looks with old pieces.”

Things are changing, though, and it looks like there is a reason to hope.

Since beginning the brand, Laboni has seen some positive attitude shifts within the industry. “We have been doing this since the beginning of our brand, since 2014. At that time very few people were talking about it then. We have been advised by people in industry not to use the word timeless collection because they say fashion is not timeless. I was applying for this particular fashion week and they said don’t use the word timeless in your description. And here we go, Net-a-Porter has permanent collection and these bigger department stores are introducing timeless collections.”

A final word on the overall look of the collection: “I’m inclined to design outfits with a high neck for some reason. Some people like it, some don’t,” Laboni says.

“It could be my style, I somehow feel inclined to do it. I grew up in India, so I think some of the designs have been inspired by what I grew up seeing. I think that I would probably see my parents wear this. It is very common in a kameez which is a type of top from India, and both men and women wear it.

It is normally made with more embellished fabrics. I don’t think it is a conscious decision it just comes to me. I believe design should have an element of freedom with the customer in mind.”

STYLE (CONSCIOUS) GUIDE ethical and sustainable style guide selected by Rhiannon D'Averc

Artisan and Fox DARA Lapis Lazuli Cufflinks $85

Artisan and Fox EESAR Ring $148

COS Relaxed Wool Blazer £150

COS 3/4-Sleeved Grandad Shirt £55

USO Earrings $35

COS Wide-Leg Wool Trousers £89

Hill & Friends The Riley £275

Georgia Hardinger Osirus Dress £174

KOI Footwear Bright Shadow Men's Cyber Boots £80

100 Lamperto Milano Lavinia Red £294

BEST DRESSED WEDDING GUEST PAGE 63

MULLET MANIA:

HOW THE MULLET HAS MADE ITS WAY BACK INTO FASHION In this article, Emmie Cosgrove explores the history of mullets and how the hairstyle is now being embraced again, despite ongoing criticism. Illustrations

by Ben Springham

Billy Hargrove via Netflix

This year has seen its fair share of past trends making their way back into mainstream fashion. VSCO girls bought back the 80s scrunchies (though as a wrist accessory, rather than a hair piece), and the vibrant bohemian patterns of the 70s have made a scene on the fashion week runways. 2020 has been a truly nostalgic year for style, and we all know that fashion loves to revive trends from the past.

Barbie Ferreira via Instagram @BarbieFerreira

Even so, it may come as a surprise to some that one of the current hair trends is the mullet. Yes, you heard it right, the mullet. It could be possible to blame this year's RuPaul Drag Race contestant, Crystal Meythd, for the mullet mania.

She has proven to all Drag Race fans that you can look absolutely stunning and still rock a mullet. However, the mullet has been working its way back into mainstream fashion since late 2019 and though this hairstyle has received a large amount of criticism, 2020 may be the year you find yourself sporting this ‘do.

It's easy to think that the mullet made its debut appearance in the 70s and 80s, but the hairstyle that's all business in the front and party at the back has been around for an exceptionally long time.

Hair historians reckon that it was the Neanderthals who were the first to have mullets.

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Having a hairstyle that dates this far back means that it probably wasn’t about the style, but about the practicality. Mullets were practical for Neanderthals as they help keep hair out of the eyes but still protect necks from wind and rain. This is a definite bonus of the contrasting lengths of a mullet.

The fact that we think Neanderthals approved of the practical mullet cut could also mean that it may actually be one of the oldest haircuts of all time, albeit not amongst Homo Sapiens.

As well as having antique pedigree, this hairstyle has been worn by multiple cultures. Native Americans donned mullets, not only for the practical benefits of the haircut, but also as a sign of spiritual strength. Tribespeople held the belief that a person's hair encapsulated their spirit.The longer a person's hair, the stronger their spirit and spirituality was. However, not wanting to have hair get in their face or eyes meant that mullets were the ideal cut to represent spirituality whilst being practical.

Over time the mullet made its way into Western culture. The mullet became a popular style for colonial wigs, with George Washington and Benjamin Franklin having the most notoriously mullet-like hairpieces. However, it didn’t take long for colonial wigs to decrease in popularity as more gendered haircuts became the new thing.

Society developed a more conservative look when it came to hair and clothes, and this caused the mullet to fizzle out into the background. It became appropriate for men to have short hair: it was more practical, kept hair out of the way and required far less maintenance. Though long hair had always been a symbol of femininity, it wasn’t until the 20th Century that long hair was seen as too feminine for men.

It was seen as unnatural to dress loudly and boldly and experiment with your own personal style. Those who dressed against society's strict and gendered boundaries were often frowned upon.

Throughout the 60s, men began to grow their hair out and challenge the status quo, and by the 1970s hair and fashion trends were becoming even more avant-garde. As part of his Ziggy Stardust persona, David Bowie rocked a bright orange mullet. By having elements of both long and short hair all in one, David Bowie stunned audiences with his androgynous hair and fashion choices.

Thankfully, when the 60s rolled around, the narrow-minded views people held towards fashion, style, and appearances began to change. People wanted to be free from mainstream society and rebel against it. Hair and clothing choices were a perfect way to show the world you didn’t care for its rules and restrictions. You’re a free-minded individual and you can make your own choices about how you look.

This was a major turning point for the mullet. Forget wigs and colonialism, the mullet now had a whole new meaning.

Thanks to David Bowie and Ziggy Stardust, the mullet symbolised pushing past gender boundaries and was a style for the stars. Inspired by Bowie's iconic look, musicians ranging from the Duran Duran members to AC/DC’s guitarist, Angus Young, began to rock mullets. It was a bold rock ‘n’ roll look.

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We’ve all had those times where we’ve taken pictures of our favourite celebrities into a hair salon, and have asked for the exact chop, and, with so many rock stars and actors sporting the mullet, it didn’t take long for the mullet to become a mainstream haircut. By the 80s, the mullet was everywhere.

Queer culture of the 80s also grew a taste for the mullet. With the hairstyle’s androgynous and ungendered look, the 80s mullet became a staple lesbian haircut for women who were comfortable and confident in openly expressing their sexuality through appearance.

The mixed length nature of the haircut also allowed those who identified as lesbian to have a haircut that contained elements of both masculinity and femininity. The mullet went against traditional beauty standards set for women by the patriarchy, and queer and feminist culture has always fought against this. The mullet was a powerhouse haircut for queer women.

were all the rage in the 90s for male hair trends. With the rise of the 90s sitcom Friends, the show's character Rachel Green's haircut, known as ‘The Rachel’, was the biggest hair trend for women in the 90s. These mainstream hair trends were seen as a lot more sleek and stylish, and on the other spectrum those who wanted a more grunge look would just let their hair down and leave it long.

nature of the slang term, the mullet very quickly became a haircut of worldwide ridicule. It didn’t matter where you were from, the mullet just wasn’t a look to be seen with.

However, though a few women did rock the mullet, it was still seen as a far more masculine haircut. In the mid-80s the mullet was heavily endorsed by male athletes, which added an even stronger hyper-masculine flavour to the hairstyle. Towards the end of the 80s, the mullet died out once again and it didn't take long for this hairstyle to become associated with trailer parks and hillbillies.

With the mullet no longer being an ontrend look, and its association with cringey all-American country culture, by 1994 the mullet was coined as a joke haircut. The Beastie Boys song Mullet Head actually gave the haircut its name whilst mocking the culture the mullet represented. The term “mullet head” also started to be used as an insult. It referred to people who had no common sense, as who in their right mind would ever have a mullet? Following the Beastie Boys song and the insulting

However, somehow the mullet persisted through all this. This hairstyle slowly crept its way back into fashion, and in 2010 Iran even banned the haircut for being a symbol of western culture. In the later 2000s multiple celebrities have been seen sporting mullets. Stars ranging from Zendaya to Rhianna and Barbie Ferreira have all pulled off the mullet, showing the world this style can look cool. Shows such as Stranger Things have also shown wide audiences that men too can look attractive, rather than tacky, with a mullet, thanks to the show's character Billy Hargrove.

Middle partings and spiky frosted tips

Many may have assumed that the 90s would be the final end for this haircut, with all the jokes about how tacky it was.

With major celebrities pulling off the look and TV shows bringing back the hype for 80s fashion, the mullet has begun to pick up again. People are now seeing the fun of having a mullet and are getting more experimental with the look and pushing the mullet past its ‘Billy Ray Cyrus’ boundaries. Bright coloured mullets and mullets with a more subtle and shaggy look are in for 2020, and we can expect to see way more people asking for this trim at the hairdressers.

With this shaggier look and fun textured layers, and a less dramatic contrast between the front and back of the hair, the modern mullet gives this look a whole new fashion-forward vibe. It’s still a statement, but the new mullet style is a definite move away from the trailer park tackiness that mullets have long been associated with.

You can read more of Emmie’s work over on Twitter at @Ems_Pen_

Art of our Senses These photos of a real wedding were taken in the Kryachkov Novosibirsk State University of Architecture, Design and Arts

Makeup Artist: Izotova Irina @kiva_vizazh Models: Kosmacheva Alena @ph_kosmacheva and Kosmachev Maksim Jewellery Designer: Yana Gyrenko @yana_gurenko Photographer: Zhukova Zhanna @zhukova.photonsk Accessory Designer: Anna Krylova @kruchu_cvety

GREEN

Heaven

Model/Makeup Artist/Hair Stylist: Natalia Hamilton Photographer: Tracy Whiteside @whitesidetracy

Natalia wears: Dress - ML Monique LHuillier; Belt - Banana Republic; Necklace - Catbird

Natalia wears: Dress - ML Monique LHuillier; Earrings - Eye Candy LA; Necklace - Catbird

Natalia wears: Top - Laura Ashley; Skirt - Mr. Pretty; Necklace - Catbird

Natalia wears: Top - Laura Ashley; Skirt - Mr. Pretty; Earrings - Eye Candy LA; Necklace - Catbird

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TWIN PEAKS TURNS 30: ‘THAT FASHION YOU LIKE HAS FINALLY COME BACK IN STYLE’

On the 30th anniversary of Twin Peak’s release, Maria Henry explores how the show’s costume design added to its cultural legacy.

What is Twin Peaks?

Twin Peaks is a show that is hard to define. Part mystery, part horror, part surrealist artwork, the show brought something fresh and unique to TV when it was first released in 1990. It was created by David Lynch and Mark Frost, two notable presences in the film industry. Lynch had been working in cinema since the 1960s and was known for his signature surrealist and absurdist stylings as seen in films such as Eraserhead and The Elephant Man.

He drew more from early European cinema movements such as German Expressionism and the Italian Neorealism than modern Hollywood conventions, which gave his work a unique edge that was not often seen on the US film circuit.

It was with The Elephant Man that Lynch broke somewhat into the ‘mainstream’, gaining critical acclaim and receiving eight Academy Award nominations for his efforts. He went on to direct two more films, Blue Velvet and Dune, before deciding to make the move into television.

The idea to make Twin Peaks arose from a casual conversation between

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Frost (who was working as a producer) and Lynch, who were both looking for a new project and had the idea that a story could come from: ‘a corpse washing up on a shore of a lake’. With this conversation, Twin Peaks was born.

The show, which is often looked at today as niche with a cult following, actually had major success when it was first released in April of 1990. Tom Shales, for The Washington Post, wrote that: "Twin Peaks disorients you in ways that small-screen productions seldom attempt. It's a pleasurable sensation, the floor dropping out and leaving one dangling”.

It was one of the first instances in which

‘art cinema’ made its way onto television and producers found that there was a large audience who were ready and wanting to engage with this sort of media.

The show's plot primarily focuses on an investigation led by FBI Agent Dale Cooper, after the corpse of homecoming queen Laura Palmer washes up on the shore of a lake. It is based in the fictional town of Twin Peaks in Washington, USA, and became a success not only for its unique plot points and motifs but also for its signature style and colourful cast of characters. Patricia Norris, who was a close friend of Lynch, designed the costumes for the show and created a unique blend of 1950s and 1990s fashion that adds to its unusual aesthetic. On the 30th anniversary of the show, we look now to how the costumes and styles of the characters helped to build the world we have come to know and love over the last three decades.

Audrey Horne We could not possibly start to consider the fashion of Twin Peaks without looking at Audrey Horne. Audrey is the daughter of Twin Peaks business tycoon Benjamin Horne. Her character is smart, self-assured and often a little devious.

Audrey is no stranger to drama as she frequently finds herself getting involved with the mysterious happenings that surround her town.

Her everyday style celebrates all things 90s, with short plaid skirts and sweaters being a staple. Though this style is also seen on her classmates Donna and Laura, they tend to take a more oversized approach — wearing their skirts longer with thick wool tights and accessorising with cardigans. Audrey chooses to style herself in more fitted jumpers and shorter skirts, separating her from her classmates. She is rarely seen without her signature red lips, perfectly drawn eyeliner and she wears her dark hair in a classic short bob, giving a slightly 1950s twist to her otherwise very 90s aesthetic.

Audrey is a confidant woman and she uses her clothes to show the world not only who she is but how she wants to be perceived. This is no more evident than in the now infamous cherry-stalk scene in which she wears a little off the shoulder black dress as she ties the stalk of a cherry into a knot with her tongue — showing us that she is not just a girl, but a woman confident and assertive of her own sexuality.

Agent Cooper Cooper's signature look is clean and crisp. Usually consisting of a beige trench coat, a white shirt and tie, black trousers and black shoes — his style resembles everything he seems to stand for in the show, he is good, he is (mostly) professional and his neat style reflects his ‘heroic’ agency in the series.

He is also more often than not seen with a cup of coffee in his hand, which you could class as an accessory, as is it so frequently associated with his character.

Log Lady Often seen as embodying the surrealist nature of the show, Log Lady’s style is somewhat reminiscent of the 70s. She is often seen in chunky cardigans, brightly coloured shirts layered over turtlenecks and oversized glasses with a bold red rim which she sometimes matches to her lipstick. She wears long skirts over thick wool tights and of course, always accessorises her outfit with her favourite companion — her log. Log Lady lives and dresses how she wants and does not look for any outsider approval, she is a character who truly knows herself and this is reflected in her eclectic style.

Audrey

James Hurley James’ style is perfectly reflective of his character. He wears oversized leather jackets, baggy jeans and sunglasses.

Drawing heavily on the conventions of a James Dean type, he is the epitome of a teenage boy who wants people to think he is deeper than he is.

Lucy Moran / Brennan

Log Lady

Lucy works as a receptionist at the sheriff’s department and embodies a cosy yet individual style. She is nearly always seen in big funky, knitted jumpers, with her curly hair tied in a half-up, half-down style. Her fashion sense is always fun and quirky and truly represents her excitable character.

Sheriff Harry Truman Harry’s style, much like his character, is both practical and charming. He is most often seen in his beige police uniform; however, he layers this with a thick tweed blazer, or oversized coat, giving a stylish touch to the otherwise plain

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James

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outfit. He also is almost always seen wearing his cowboy-esque sheriff’s hat, which is black with brown leather trim — alluding to westerns of the past in which the sheriff plays the small-town hero.

Shelley Johnson Shelley has one of the most diverse wardrobes on the show. She is often depicted in her work uniform, which is a classic 1960s-style waitress dress and matching headband. However, when she’s not working her costumes showcase an array of 90s fashion staples such as sheer blouses, chunky belts, velvet blazers and oversized coats.

Shelly embodies the 90s cool-girl aesthetic, with both feminine and grungy aspects to her style.

Bobby Briggs Bobby Briggs is a master of layering. His wardrobe is full of t-shirts layered over long-sleeve shirts, plaid shirts layered over those and leather jackets thrown casually on the top of it all. His style is cool, effortless and - much like girlfriend Shelly - embodies a soft grunge tone reminiscent of 90s icons such as Kurt Cobain and Johnny Depp.

Why is fashion so important to film?

Fashion is vital to film and television to build a realistic world: the personalities of each character who inhabits it must be uniquely defined. Each character’s costume in Twin Peaks helps to build an image of who they are and what they represent as an individual, helping the audience to create a defined image of them in their minds. Fashion on-screen also has an effect off-screen and the legacy of Twin Peaks is no exception to this. Twin Peaks is still sparking light into the imaginations of designers today; for example, the opening coat from Jil Sander’s Spring 2017 menswear collection was a twist on Agent Cooper’s beige trench coat.

Harry and Cooper Alessandro Michele's Fall 2016 menswear show also drew inspiration from the show mimicking the infamous “Red Room” with its runway. Designers Carol Lim and Humberto Leon even took this one step further and collaborated with David Lynch directly on the soundtrack and set for the Kenzo Fall 2014 show.

These are only a few examples of how the show managed to break into the fashion industry, without even trying to do so. This powers of film and fashion are more interlinked than they may appear, with both having the goal of making the watcher feel something when they are to look at their product.

In this sense, both are extremely powerful forms of art and when they work together, this is elevated even more.

If you enjoyed reading this piece, you can find more of Maria’s work over on twitter @mariawriteshere.

All images are stills from Twin Peaks, the TV series.

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Seashell Wedding Photographer: Iuliia Gerashchenko @iuligera Wardrobe Stylist/Fashion Designer: Seashell Wedding @seashell_wedding Makeup Artist/Hair Stylist: Anastasia Rostova @anastasia_makeup_spb Model: Andy at Fiord Models @andyfiordmodels

WHY YOU SHOULD HAVE A WES ANDERSON-THEMED WEDDING THIS SEASON April (bridal) showers bring May flowers and wedding planning!

Sandy Aziz helps us celebrate visionary director Wes Anderson’s 51st birthday this May by giving you Andersonian wedding inspiration.

Once upon a time, you were transported to a fairy-tale wedding – traditional yet unconventional, authentic yet whimsical, and intimate yet undivided.

Welcome to a Wes Anderson-themed wedding.

W IS FOR WEDDING AND WHIMSICAL

As if planning a wedding wasn’t stressful enough, the uninvited guest showed up early in pandemic form.

However, despite many wedding plans being rearranged or postponed, many brides-to-be are using this time to continue to plan for the future. Suitably, ‘love is timeless’ resonates now more than ever and it also happens to be part of the recurring charm streamlining most of Wes Anderson’s films.

Even with that notion, these days, we have all become a little nostalgic for the past. Things that we once thought seemed crazy by society’s standards have seemingly become the new ‘normal.’ Brides are craving something traditional or familiar, but they have begun to accept, and even embrace, the unknown and the unconventional. All of this is more proof of how we are already organically living out Anderson’s sophisticated realities and whimsical ways. Traditional yet unconventional, authentic yet whimsical - if you will. From Anderson’s colour schemes and the way he dresses up his surroundings and destinations, you too can have your cake and eat it too. Let’s start with something old, something new, something borrowed and….

SOMETHING BLUE

From the red Adidas tracksuits featured in The Royal Tenenbaums to the velvet, ultraviolet suits from The Grand Budapest Hotel, Anderson’s wardrobes are a true testament to the love affair between fashion and film. Among other things, Anderson’s aesthetic never goes out of style.

In fact, per the fashion industry, he is a de facto style icon who regularly informs catwalk trends.

A few of the many include Prada since 2013, Orla Kiely SS14, Lacoste AW15, Delpozo Pre-Fall 16, and Bally SS18. Perhaps most noticeably, the usual suspects associated with the director’s quirky style are Miu Miu and Gucci by virtue of bright and pastel colours, school-girl cuts, and playful patterns.

wedding dresses complimented by collars and shoulder bows. Other Andersonian wedding dress suggestions include French Connection’s Eliza lace fit and flare wedding dress and Daalarna’s FLK 802 dress with a high neckline and a tiered lace skirt.

Thankfully, there is something for everyone and you can indulge in picking an Anderson-inspired wedding colour scheme for your wedding mood board thanks to Beth Mathew’s designs.

This wedding season’s trends turn to dreamy, romantic looks, often in cooler shades. Rest assured these cooler shades also play to Anderson’s eccentric flair. Your something blue can be your wedding dress and you can ‘say yes to the Anderson’ with Anne Barge’s Emory Gown in steel blue from the SS20 collection. Alternatively, you can try on Prabal Gurung’s goddess gown from his Fall 2020 NYFW collection.

If you would like your something blue to be something different, Hassidriss’ SS20 collection gives us The Royal Tenenbaums vibes via its Pink Echoes and Silent Escape dresses. For more of a Moonrise Kingdom presence, Viktor & Rolf’s Mariage 2021 collection is for you, featuring short, laser-cut flower Emory gown by Anne Barge

SET THE SCENE Anderson’s colour schemes are as striking as the surroundings lining them. Speaking of surroundings, before directing, Anderson dreamt of becoming an architect. Notably, his architectural attributes manifest themselves at every corner of every scene he sets. His obsession with symmetry, meticulous attention to detail, and carefully narrated storylines make his films visually memorable and place him in a cinematic category of his own.

When thinking about your wedding surroundings and destination, you’ll also likely find yourself obsessing over the details and storyline of the big day.

Be it as it may, amid lockdowns and social distancing, physically travelling is unattainable. However, new perspectives have arisen and people are rediscovering their homes as destinations for work, art, study, and more. Genuinely, people are finding new space for creativity through DIY projects and these benefits will spill over even after lockdowns are lifted. If that is the case, you can start planning your Andersonian wedding now by renovating your living room with the perfect new rug from the Mary Katrantzou x The Rug Company collection. Called Botanical Paradise, the rug is part of Mary Katrantzou’s collection Nostalgia and her careful designs were inspired by her childhood ‘paint-by-numbers’ books. Wholly Wes-approved.

For the post-pandemic times when we are able to travel safely, other charming Wes wedding destinations

include Rhode Island’s scenic Point Judith Lighthouse and the muted pink Presidio County Courthouse in Marfa, Texas.You can also pay homage to the director’s Texan upbringing in the southern state while celebrating your nuptials.

luminescent ‘blue hour,’ cobblestone streets, and pastel perfect buildings.

Hint: Angoulême also happens to be where Anderson is filming his next highly-anticipated movie, The French Dispatch, with a new release date of October 2020.

Crossing the Atlantic, you can find Anderson’s symmetry present in every corner of the picturesque and quaint Cambridge, UK. Besides being deemed an architectural city and also picturesque, Cambridgeshire is home to some of the most stunning wedding venues in the UK.

If all the above was anything less than convincing, then I’d like to make a toast.

Cheers to the fact that, much like a wedding, Anderson’s films are crafted with the most important ingredients friends, family, and love. And, cheers to Anderson’s 51st birthday - we are grateful for his whimsical charm, pastel colour schemes, and quirky destinations. All of which, again, are just a few of the reasons you should have a Wes Anderson-themed wedding this season.

Finally, you can’t go wrong with the South of France - and you can even substitute your wedding cake for Mendel’s Courtesan au Chocolat.

Southern France also boasts the

So, do you take this article and a Wes Anderson-themed wedding to have and to hold in your wedding planning this season? I do.

Hassidriss by Sam Rawadi

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You can read more of Sandy’s work on her digital portfolio at sandyaziz.com. Above: Mary Katranzou x The Rug Company

Color palettes by Beth Mathews Design Point Judith Lighthouse in Rhode Island by Suzanne Rabitaille Presidio County Courthouse in Marfa, Texas by Sandy Vasquez

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Photography - Tania Volobueva @volobueva.photographer Makeup Artist: Ekaterina Solod @solod_ekaterina_official Models: Alessandra Anceschi at 2mmodel @alex____andra______; Annalisa Fabbrucci at Wmm Models @annalisa_fabbrucci; July at 2mmodel; Nika Moroz at Wmm Models @nk.moroz

Nika Moroz wears: Dress Talea Couture by La Nuova Sartoria; Hat and Bag Oblique Creations

Alessandra and July wear: Dress - N-Style Abiti da Sposa

Alessandra and July wears: Dress - N-Style Abiti da Sposa; Hat - Pasquale Bonfilio

July wears: Dress - N-Style Abiti da Sposa

Annalisa and Nika wear: Dress - Talea Couture by La Nuova Sartoria

Alessandra wears: Hat - Pasquale Bonfilio

July wears: Hat - Oblique Creations; Dress - NStyle Abiti da Sposa

July wears: Dress - Talea Couture by La Nuova Sartoria; Hat - Pasquale Bonfilio

Nika wears: Skirt - Talea Couture by La Nuova Sartoria

Alessandra wears: Suit - Talea Couture by La Nuova Sartoria

July wears: Dress - N-Style Abiti da Sposa; Hat Pasquale Bonfilio

July wears: Dress - N-Style Abiti da Sposa

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YOUR STYLE HOROSCOPE Candice brings you affordable last-minute bridal dresses that are sustainable for the environment!

Many of you bride-to-bes would have already done your dress shopping months ago and finalised fittings and details, but for those who need a quality dress that’s both fitting for the occasion and affordable without the chance to plan ahead in person, here are some options that have personalities of their own to highlight and compliment each sign.

Aries March 21 - April 20

Amy Mair Couture’s Monroe inspired wedding gown on Etsy features a delicate French beading trim. Suiting both the passionate and delicate sides of this fiery sign, this dress is perfect!

Taurus April 21 - May 21

The balloon sleeves and lightweight material will be loved by these brideto-bes. Perfect for a summer garden reception or idyllic forest ceremony, STAUD’s Amaretti dress in white is just what’s needed!

Gemini May 22- June 21

For the playful Gemini, this lacy Daisy Dress by Reformation is both elegant and youthful for their special day!

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Cancer June 22- July 22

This simplistic Kimono Plunge Back Maxi Dress by ASOS is stunning and definitely for this reserved yet eye-catching bride.

The satin-like material and form-fitting silhouette will keep eyes on this bride!

Leo July 23- August 21

Always one for a statement, Reformation’s Sauvignon Dress does just that while still keeping the attention on this standout bride. They don’t need any other extra adornments to mask their natural shine!

Virgo August 22- September 23

Matchimony’s Scoop Cowl Neck Bridal Dress is the no fuss, form-fitting dress that a Virgo needs on their big day for them to be comfortable and really enjoy themselves.

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Libra September 24- October 23 This Champagne, airy Tulle Wedding Gown by RenzRags on Etsy is ethereal and elegant. The champagne colour of the dress will pair well with this sensitive and soft sign.

Scorpio October 24- November 22 Free People’s Ashlee dress is just the dress for Scorpios who want something not too frilly or layered with details.

Classic, simple but with an edge!

Sagittarius November 23- December 22

For this travelling soul, this bohemian, relaxedstyle Imogen Embroidered Gown by Free People is the perfect dress for any of their gorgeous wedding adventure destinations! Pair it with some flowy trousers or a maxi skirt, and it’ll be the perfect ensemble!

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Capricorn December 23- January 20 The Hestia Dress by Reformation is perfect for Capricorns who want to keep it conservative with the long sleeves and high neckline, but the form-fitting silhouette and open V-back will provide that bit of alluring classiness.

Aquarius January 21 - February 19 There’s an array of gorgeous, last-minute options on Esty, such as this delicate, multi-coloured Opal Wedding Gown by FableDresses on Etsy. It is definitely unconventional but so suiting for this stylish and trend-setting sign!

Pisces February 20 - March 20

RenzRags Off-White Tulle Wedding Gown with floral detailing sold on Etsy features a lovely, to-die-for open back. Delicate yet full of depth just like this sign.

You can see more of Candice's work on Instagram by following @Candice_x9.

All images via respective retailers

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Gypsophila & Amore

Photographer: Tania Volobueva @tania.volobueva.photographer Makeup Artist: Dinara Kausova @dinara.muah Models: Aleksandra Bastek @aleksandra_bstk; Liang Shi Jing @leungkr, both at Nologo Management Milano Design & Plan: Caterina Lostia @caterinalostiaevents Wardrobe: Dress - Talea Couture @lns_taleacouture; Shoes - Bella Belle Shoes; Jewellery - Nea Milano @nea.milano Cake Designer : ZucchIrina @zucchirinadesserttable Stationery/Calligraphy: Manifattura Calligrafica @manifattura_calligrafica Rentals: Tableset Luxury Rentals @tablesetrentals

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HATS AT BRITISH WEDDINGS: FADING AWAY OR HERE TO STAY? In this article Cheyanne GreigAndrews explores how hats have become a staple in British wedding guest attire, but will this tradition stand the test of time?

Hold on to your hats, we are about to soar into the world of British wedding guest attire. 70 years ago, my Grandmother left her London home to start a new life in Canada. While still a young woman living in the capital city, she was always dressed like a vintage movie star - wearing perfectly tailored outfits and dainty hats decorated in birdcage netting. Less than a year ago, with an ancestral visa in hand (thank you Grandma Doris!) I retraced her steps and moved, to London.

Coming from an arts background, I managed to quickly land a job in a Marylebone shop creating bespoke headbands, fascinators, and hats like the ones my grandmother used to wear.

Being from Canada, the only hats I grew up with were toques, shielding against the ceaseless cold winters. Admittedly, I had never heard of the word millinery before moving here. I quickly realized that most women I assisted in the shop were looking for something special to

wear at an upcoming wedding. This notion of having a personalised work of art perched on one’s head endlessly fascinated me, pun intended.

Although the classic lady’s hat remains an iconic part of British fashion today, and a staple amongst wedding goers, it has not had a linear trajectory. So, where did this traditional form of dress originate and how does it fit into the modern era of weddings? More importantly, how does one decide whether or not to wear a hat?

We don’t know exactly when humans first decided to pop on a hat. However, we can assume they have been around since people learned to protect themselves from the elements. Some classic styles of British hats may offer the wearer a bit of sun protection at most. However, more often they serve virtually no functionality - except perhaps to make you appear a bit taller.

To understand how the tradition of decorative hats came to be, we need to start in the middle ages. This was a time when the Catholic church dominated nearly every aspect of life.

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Modesty of dress was essential. For ladies that meant being covered literally from head to toe. Women of the middle ages didn’t have many freedoms, but they certainly got creative within the confines. One particularly popular style of headdress was called the henin.

These were enormous coned hats sometimes reaching almost a metre in length. I guess if you are going to be forced to wear a hat, why not make a statement!

Over the centuries, Britain has witnessed hundreds of hat styles come and go. Influence from other countries and advancing millinery techniques were vital to the creation of what is now a quintessentially British attire. Wearing a hat was the rule and the norm up until the 1950s and even into the early 60s.

An outfit was simply not considered complete without a hat. Special occasions, like weddings, had women pulling out their best hats or titivating their old shabby one to perfection.

Nowadays you wouldn’t wear a classic British hat to the supermarket, but the wedding remains one occasion in which this tradition still extends to any woman who wishes to take part.

LONDON RUNWAY Hats, like most elements of fashion, have waves in popularity. By the late 60s and early 70s fashions became less controlled and women moved away from traditional wedding guest attire.

According to Annabel Lewis, owner of V V Rouleaux and atelier of custom headdresses: “Well, the 60s everybody started not wearing any knickers or shoes and walking down the Kings Road! It got a bit more casual, and hats become not as popular.” The 70s triggered many of our modern perceptions of fashion as being a form of self-expression and freedom of choice. This new casualness and individuality translated to wedding customs as well.

We can’t talk about British headwear without talking royal family. Without a doubt the royal family has played a key role in ensuring the longevity of this tradition. The 70s lull period didn’t last long as Princess Diana and Prince Charles wed in 1981. Wedding guests appeared in their best garb, and impressive hats to match. This reignited the public’s love for hats and by 1991 we witnessed the arrival of modern millinery masters like Philip Treacy solidifying the modern era of this ageold tradition.

the guests' attire at these events is often more intriguing than the bride’s herself – sorry, Kate and Meghan. It’s no surprise that the public would feel inspired and proud when they see the beauty and artistry of this tradition and want to reflect it at the next wedding they attend.

There is another traditional theme often seen with ladies’ hats. Annabel Lewis notes the historical importance of colour matching: “In the old days they would not have thought of going to a wedding with a hat without it being exactly the same colour as their dress.”

The Queen is a prime example of this elegant fashion. The colour of her hat always matches her outfit perfectly.

Today many women opt for contrasting colours, blends of multiple shades, or matching their hat to accessories instead

The more recent royal nuptials once again saw women wanting to replicate the hat fashions they saw amongst the regal attendees. Plus, let’s be honest,

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of the dress. All of these options look divine, but there is something about the matching hat, perhaps thanks to the Queen, which feels classically British.

Even at a mostly hatless British wedding, there is one guest who is most likely to be seen wearing a headpiece.

There is an unspoken rule for the mother of the bride to wear a fabulous hat on her daughter’s big day. Milliner Charlotte Goode excellently speculates why this might be: “I think it is important for the mother of the bride to wear something, because then it’s someone that you look for. Like, who is that, oh it’s the mother of the bride because she looks stunning as well.” Of course, the mother of the bride can choose not to wear a hat if she prefers, but it is a great way to spot her in a crowd!

LONDON RUNWAY Not that long ago it was unheard of in England for a wedding to take place outside of a church. Nowadays wedding locations are only limited by your imagination. Naturally the location of the wedding is a major factor when deciding what would be suitable on your head. According to Kate, a bride to be who works in British Heritage: “There’s an old tradition of people wearing Sunday best to church and that would involve wearing hats.” Likewise, if there is an outdoor component where the sun might be shining, then a lovely wide brimmed hat would be appropriate.

Younger wedding guests have recently been seen opting for headbands, instead of an extravagant hat or fascinator. As suggested by Abigail Noronha who worked for four years in a bridal studio: “Headbands are definitely a trend, but I never know how long these things last… the headband is kind of that midway if they don’t want to wear a hat but they still want to wear something nice.” The headband is a great option for wedding guests of any age, they are comfortable and can beautifully finish an outfit.

However, if you are looking for impact and artistry then a hat is the way to go.

“Like Sunday roast, the British love a tradition,” says Charlotte Goode, and wearing a hat to a wedding is certainly a fun tradition to have. Hats have served many roles over the years from establishing rank to offering modesty and being a form of artistic expression.

Amazingly, the British hat has stood the test of time. I hope to see this tradition

The black & white images are of Cheyanne’s Grandmother Doris Greig; purple and brown bow hats by V V Rouleaux; illustration by Ben Springham

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continue to thrive as new trends and millinery techniques arise. With all this new insight about British hats I can’t wait to receive my next wedding invite.

A wedding is one occasion where we can play dress-up and wear something we normally wouldn’t. The beauty of our modern era in weddings is the freedom of choice. When deciding how to decorate your head for that next wedding, being comfortable should always come first. That can be going hatless, throwing on a headband, popping on a pillbox hat, clipping in a fascinator, or going for the drama of a wide-brimmed hat. Whichever attire you choose, rest assured that the British hat is a resilient force, and will surely be seen at weddings for centuries to come.

Hats off to you!

You can find more of Cheyanne’s writing at thelondonhippie.com, where she covers topics to help you find inspiration, growth, and wellness while living in The Big Smoke.

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HOUSE of iKONS Photography by Mrityunjoy Mitra

Marie Belle Couture

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Q A THE BIG QUESTION We asked, you answered

WHAT DESIGNER WOULD YOU WEAR ON YOUR DREAM WEDDING DAY?

“Off-White” – JC, model

“Vera Wang for me”

- Maria Henry, writer

&

"I've always stared longingly at each Zuhair Murad collection!"

- Rhiannon D'Averc, Chief Editor

“I WAS PRETTY FURIOUS WHEN THE ROYAL WEDDING HAPPENED BECAUSE KATE MIDDLETON ESSENTIALLY STOLE MY DREAM DRESS, AND NOW IT CAN'T BE MY DREAM DRESS ANYMORE OF COURSE!” – Emma, accountant

“I WOULDN'T SAY NO TO A VINTAGE DIOR WEDDING DRESS!” - Lauren Rowley, graphic designer

“I think my favorite will always be Audrey Hepburn's character's wedding dress from Funny Face (Givenchy)” – Catherine Higgins, stylist

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

NEXT: THE GRADUATE ISSUE THE BRIDAL ISSUE FIND LONDON RUNWAY: LONDONRUNWAY.CO.UK @LONDONRUNWAYMAG INFO@LONDONRUNWAY.CO.UK

BACK COVER: RABI SULTAN BACKKSTAGE AT L SAHA