Issue 54 - The LFW Issue

LFW REVIEW . VIRTUAL CLOTHES . GENDERED DRESSING HISTORY . MODEL AGENCY SCAMS . THRIFTING 101

PAUL COSTELLOE . MARK FAST . BORA AKSU . JIRI KALFAR . PROPHETIK X THOMAS GOODE . UNDISCOVERED

ISSUE 54 27TH SEPTEMBER 2020

THE LFW 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:Â 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, Cheyanne Greig-Andrews, Darcey Sergison Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk / kavyar.com/london-runway-magazine Contributors: Sam Singh, Angela Clark, Manjot Singh, Dee, Gerda Irene, Danila Gerda, Francesca Esse, Gianmarco Balbi, Ellie Shaddix, Rose R. Anduxar, Sara Helterman, Ricardo G. Rivera, Jhonatan Santos, Beatriz Medeiros Maximo, Irina Gritasenko-Shimanovskaya, Yevheny Krasniuk, Iana Chkhan, Eunika Jeziarowska, Natalia Noga, Wiki Topylo, Trace Publicity, CollectedPix, Este Rabe, Ame Cronje, Isabel de Villiers, Wag Fashion, Cape Karoo Ostrich Emporium, Angelina Chupina, Lil Safonova, Natalia Ostashova, Natalia Danelia, Mari Prikhodko, Katya Lukoyanova, Yulia Esina, Saskia Davies, Noor Qaddoumi, Dyelog PR, and PopPR

Interested in working with us?

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

Š 2020, London Runway Ltd and contributors Printed by Mixam 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

8 VISUALS

111 WORDS

No Matter What (Cover Editorial)

8

EnVers Collection x Gerda Irene (Editorial)

23

New Faces

37

Portfolio Piece

42

Horned Bride (Editorial)

45

Luna (Editorial)

50

Undiscovered Fashion Show, Paul Costelloe

58

Style (Conscious) Guide: Front Row From Home

67

Celebrating an Authentic Woman (Editorial)

Would You Pay to Wear a Dress that Doesn't Exist

4

LFW SS21 Review: Reinstating Joy + Creativity

20

How Gendered Dressing Has Changed Through History

33

London Fashion Icons From the 1960s to 2020

55

Book Club: Girl, Woman, Other

68

Is Your Modelling Agency the Real 81 Thing - Or a Scam?

Your Style Horoscope

107

70

Second-Hand September Items to Bag

120

Starway (Editorial)

78

The Big Question

122

Out of Office (Editorial)

83

Mark Fast, Jiri Kalfar, Bora Aksu

93

Wonderland (Editorial)

111

Prophetik x Thomas Goode

117

s ' r o t i d E ter t e l Finally, London Fashion Week is back!...

Well, sort of. It’s not at all the LFW that we’re used to, you see. With social distancing still in force, even the originally scheduled in-person events had to be reduced or cancelled, allowing appointments for only six viewers at a time.

It’s a completely different way of doing things than we’ve ever seen before. This season, the mostly-digital line-up is complemented by other designers desperately trying to find a way to keep it physical. And in all of this chaos, it’s easy to be distracted by digital techniques and trickery instead of focusing on the clothes. If you’re feeling overwhelmed, don’t worry – we’ve got our LFW report for you to read to give you a guide to which shows were worth the watch.

We’ve launched our own stylish accessory this month, but it’s not

something for you to wear – instead, this is a gift for your phone. Our London Runway branded popsockets, for the moment available in black with a white logo, allow you to hold your phone easily for all kinds of tasks such as selfies, gaming, or simply texting. You can pick one up on our website when you order your copy of the next issue!

Last issue, we crowned our new winners of the Face of London Runway, and we caught up with them in an episode of our London Runway Style podcast this month. Head to wherever you listen to your podcasts to catch an interview with both of our winners, and find out some interesting facts – such as the incredible talent they both have in common, which of them faced low selfesteem when younger, and who was already a star in their place of birth before getting involved with the contest!

Now that September is over, us

fashion fans must look towards the end of the year. December usually means Christmas parties, and while this time around we might be attending them on Zoom, there’s no reason not to get glammed up at home and have a good time. Plus, no one can tell you’re actually wearing comfy sweatpants and slippers underneath that glittery cocktail dress. Win win!

We're definitely not done with fashion just because another lockdown looks imminent - and, in fact, we've got some stunning inhouse shoots coming from next issue for you.

And, one final note: if you’re loving Second-Hand September, check out our article about thrifting – and then stay tuned to our Instagram account, where we might just have a competition coming up for you…

Enjoy -

RHIANNON D'AVERC

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WOULD YOU PAY TO WEAR A DRESS THAT DOESN’T EXIST? This issue, Grace Pickford explores the world of digital fashion and discusses the positives and the negatives of this futuristic trend.

Believe it or not, there is an entire sub-industry within fashion where the clothes do not physically exist.

Yes, you read it right: these clothes are unwearable, untouchable, and un-hangable in your own wardrobe.

They only exist in the realm of technology.

Digitally designed clothing pieces are rendered onto pictures of people and the completed graphic can then be shared online as a cohesive image.

The designs will never be physically produced into clothing items that can be worn in real life.

Digital fashion takes the creative, experimental, and unique side of

fashion and builds it around the philosophy of reducing waste and minimising the environmental damage from the fashion industry.

Why would people purchase clothes that they can never actually wear?

The digital fashion house, The Fabricant, hit headlines in 2019 when they sold a digital dress for £7,500. The dress was bought by Richard Ma, the chief executive of a security company based in San Francisco called Quantstamp. The ethereal, liquid-looking dress was bought for his wife, Mary Ren, who posted the graphic onto her Facebook page after the dress was rendered onto a photograph of herself. Ma stated that they viewed the purchase as an “investment” and as a “sign of the times”. They believe digital clothing will develop

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value as it grows in popularity.

The ‘Iridescence’ dress is a fully tradable and collectible piece of digital art meaning the buyer owns and controls the image that they have purchased, like a real-life clothing article.

The Creative Director of The Fabricant, Amber Jae Slooten, described the context of the design as a “look into the future”. The fluidity of the dress reflects the fluidity of our own bodies when the boundaries of the physical world are blurred and we become connected through technology. People are faced with the questions, “what can a body be when it is freed from physical restraints? What does identity mean when there are endless bits and bytes to express it?”

Slootem states that “we are no longer bound to physical space” thanks to

LONDON RUNWAY

technology which she goes on to title as “our new religion”.

An important motive behind digital fashion is to cater to the changes that have occurred within the fashion industry due to social media and online marketing.

It is well-known that the rise of social media sites such as Instagram have had a huge impact on the value that fashion holds in today’s society. It is also undeniable that the fast rate at which our social media society is pumping through clothes for style pics is damaging to our environment. It has become commonplace for influencers to wear outfits for that ‘perfect shot’ to upload onto social media, only to never wear them again. The idea of wearing an outfit for one photo encapsulates the wasteful nature that is attached to the fashion industry.

Social media has created a platform for experimental fashion, for bold statement outfits, and an outlet for selfexpression through the art of fashion.

However, it has also created a space for fast fashion ideologies to thrive.

The Fabricant has the motto “WE WASTE NOTHING BUT DATA AND EXPLOIT NOTHING BUT OUR IMAGINATION” emblazoned on their website. This highlights where digital fashion houses have found their niche.

They can provide unique pieces of clothing with no strings attached other than you cannot physically wear the items.

The concept of digital fashion pertains to the theory that if people are wearing outfits to be seen purely online, then why not fully integrate the experience into the technological world?

If people buy clothes for the purpose of sharing the pictures online, digital fashion provides this service whilst avoiding the environmental and ethical issues attached to the physical production of fashion. Therefore, the fashion industry can keep producing and experimenting with new designs whilst avoiding the inevitable damage.

This year, The Fabricant collaborated with Puma and students from London’s Central Saint Martin’s to produce a wholly digital campaign. It was made to showcase how digital fashion technology can be utilised for future fashion campaigns to deplete the amount of waste, overproduction, and travel that is needed to promote new clothing campaigns.

Another collaboration with Scandanavian clothing company, Carlings, saw a release of digital clothing pieces on The Fabricants’ website which could be downloaded for free, including Carling’s “yellow INTOXICA leather jacket.” The aim was to democratise fashion and make it accessible for everyone.

In 2018, Carlings released its first digital collection titled NEO-EX. The collection consisted of digital streetwear and all of the items sold out in the first month.

Although it seems impossible for digital clothing to ‘sell out’, the company stated that they wanted to make it a limitededition range to make it more unique.

In addition to this, Carlings’ streetwear collection sold items starting from around £9 which is no more expensive than clothes you would find in-store.

This highlights the direction in which digital fashion is moving as it becomes accessible and a viable option for the next generation of online creators.

Despite this, as with all things, there is another side to the tale and technological advancements will always come with their fair share of controversies.

It could be argued that the creation of digital fashion simply perpetuates the toxic tendencies of social media, as well as the one-hit wonder fast fashion ideology.

Sharing fashion that only exists online may contribute to the inherent addictive nature of social media, and the toxic unattainability of the lives and personas that people create and post online. The comparison culture that has emerged from the use of social media is based on

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constantly being fed images of other people’s lives. When this is combined with clothing that not only does not exist in reality, but is also made to be unique and can cost thousands of pounds, a dangerous concoction is produced.

By relying on digitisation for the clothes that we wear, it could make society even more reliant on technology than it already is, and perpetuate the notion of investing more time and money into our online personas than our physical realities.

However, it cannot go unsaid that the concept of ‘digital outfits’ is not an entirely new one. The inspiration for fashion house The Fabricant actually originated from video and computer games. For years, players have been spending their money to buy online outfits for their game characters and personas. This is a complex mission for game designers as these outfits, or skins, have to be three-dimensional and functioning in the world of the game.

Therefore, armed with the knowledge that virtual fashion has already been masterminded by game designers, digital fashion designers have the confidence that virtual fashion is of interest to consumers. It also allows them to carve out a space in the virtual market that has potential to maintain longevity into the future of fashion as more of our daily lives migrate online.

Although it seems a little ‘Black Mirror’ to have a wardrobe that only exists in the virtual sphere, the world has been going in this direction for a long time now. The creation of digital influencer Lil Miquela in 2016 marked a pinnacle moment in society’s interest in virtual reality.

With 2.7 million followers on Instagram, Lil Miquela is evidence of people’s commitment to online creations and their willingness to believe in its reality.

Lil Miquela was created as a marketing and advertising tool and has now been used for many luxury fashion and streetwear campaigns including brands such as Prada and Calvin Klein.

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In 2018, the creative director of Balmain also chose to use three digitally produced models to showcase the newest collection. CGI generated robots Margot, Zhi, and Shudu were created by British photographer Cameron-James Wilson and styled by CLO Virtual Fashion, another digital fashion house that creates 3D, hyperrealistic clothing simulations.

It is unknown yet how far digital fashion will go and how far it will become mainstream in our culture of online interest.

It is a steep and slippery slope when even what we wear can be altered in photographs, along with all of the face tuning and photoshopping apps available. It seems entire photographs can be rendered until reality becomes a distant memory.

As The Fabricant states on their website, their goal is to create a future “where fashion transcends the physical body, and our digital identities permeate daily life to become the new reality.” They want to become the leaders in taking “the human to the next level of existence.

If you are ready to upgrade YOUR reality, then hang on tight because it’s happening…right now.

You can read more of Grace’s work on her website gracepickford.com Images via Canva Pro Library and Instagram @the_fab_ric_ant

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No Matter What

Model/Photographer: Sam Singh @foto.vogue Retoucher: Dee @Dee.instapak Photo Editor: Manjot Singh @mango.photography Model/Makeup Artist: Angela Clark @angelaclark.theone

Angela wears: Dress - Sheike; Heels - Kurt Geiger

Angela wears: Clothing - Camilla & Marc; Heels - Sophia Webster

Angela wears: Dress - Shaike; Heels - Kurt Geiger

Angela wears: Dress - Shaike; Heels - Kurt Geiger

Angela wears: Clothing - Camilla & Marc

Angela wears: Clothing - Camilla & Marc

Angela wears: Dress - Shaike; Heels - Kurt Geiger

Angela wears: Clothing - Camilla & Marc; Heels - Sophia Webster

Angela wears: Clothing - Camilla & Marc

Angela wears: Dress - Alice McCall

Angela wears: Clothing - Camilla & Marc; Heels - Sophia Webster

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LFW SS21 REVIEW: REINSTATING JOY AND CREATIVITY Darcey Sergison explores the whole LFW SS21 digital schedule, allowing you to skip to the highlights!

Similar to Fashion Week in June, SS21 continues to face the restrictions of an industry under stress from the global pandemic. With the rule of six being implemented a week before this season’s shows were about to occur, we were all concerned about what another season under these constraints would hold.

With this season being created from the isolation of lockdown, many assumed that this would lead to collections of practicality and simplicity for this new life of being homebound. Instead, I have been met with countless examples of how isolation has produced an abundance of creativity and flare.

Hillier Bartley

As many designers decided to turn entirely digital or descale their shows to smaller appointment-based viewings, creativity and passion have still broken through. I believe that with the abandonment of catwalks, this has enforced a new age of presentations.

Moving away from the traditional catwalks and towards dance or abstract presentations has allowed many designers to stand out even further from the crowd. Digital has diversified how collections are shown to an audience of enthusiasts and I, for one, have not been disappointed.

Adding fun and progressive spirit to shows, SS21 has been filled with an insert of colour and hope. With pops of orange emerging throughout numerous collections and bold prints seeping into feminine silhouettes, this season has shown that as lockdown has lifted, it has revealed a new world full of change, both in fashion and globally.

Here’s a list of the very best and inspiring collections for this season, and ones not to miss!

Halpern

Choose Love Panel Discussion The British Fashion Council supported Choose Love, a charity focused on

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helping refugees worldwide, who collaborated with five British designers to create five t-shirts. As well as supporting an amazing cause, the tshirts were also sustainably produced with Teemill in a British factory run on renewable energy. The discussion panel, consisting of the designers, looked at how fashion can be the starting block for change and what inspired the designers’ work. Artist Tolu Coker looked at Blackness from a space of celebration. In a time of trauma, and with the persisting global refugee crisis creating stories of deprivation, it is essential to show the power of identity.

Tolu used portraits of people she met while travelling to inspire her work and show the importance of empowering identity.

Halpern With the past couple of months highlighting heroes in our society, Halpern decided to tribute their collection to them. Featuring heroines in film and portraits, eight women from across the public service sectors reflected on their work during the lockdown period. This incredible project has brought joy to these workers and adds a sense of hope with the laughter and smiles seen throughout their campaign.

Agne Kuzmickaite

My favourite look from the collection has to be the red tartan coat adorned with a black feather trim worn by Arianna, a Senior Staff Nurse at Homerton Hospital.

Christopher Kane Effortlessly blending art and form, Christopher Kane’s latest collection brings together an outburst of artistic exploration formed during lockdown.

Reacting to restrictions with creativity, glitter and glue was used to create piles of portraits from the spirit of people the designer has known. Additional large canvases have been used as mindscapes to play with colour and make formations. Conscious of people’s safety, Kane didn’t feel it would be appropriate to stage a large scale show this season. Instead, using paintings created from March, there was a progression of glitter work to clothing.

Kane has created an uncharacteristically small collection directly inspired by his art. Using digitally printed duchess satin and hand-painted glitter applications, this is an immensely limited and personal collection. This collection speaks volumes for craftsmanship, and the effortless focus on colour and art translated into unique pieces of art.

Hillier Bartley Displaying the new tuxedo paper clip earring capsule, Hillier Bartley produced a slapstick video based in a world where paperclips are outlawed.

Titled ‘keep it together’, this tongue in cheek film saw the mission to take the last protected paperclip. However, it can be debated how much the ‘agent’ kept it together as the treasured paperclip was dropped among hundreds of fakes. In a world where it has been hard to keep it together, this film brought together an amazing new collection along with a characteristic humour that sets this capsule apart.

Molly Goddard Initially contemplating creating a minimalised and essentialised collection of core shapes during lockdown, Goddard instead wowed us with her loud and layered collection, which debuted her collaboration with UGG. Going in the opposite direction

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to the term ‘essential’, this collection is filled with volumes of tulle, her trademark creation. Using neon green and pinks, the looks encouraged a lift in energy and showed the power of creativity that lockdown infused.

Tighe-Mearns-Smith Tighe-Mearns-Smith presented a psychedelic performance to match their equally bold patterned collection. Using music and graphics, which created what looked like a video game, TigneMearns-Smith has created a playful take on fashion. A game with jesters and neon colours throughout the video seemed to pack a lot into a small amount of time. Presenting individual looks as though on gaming characters to choose, this was a unique and memorable

take on the traditional catwalk. The quilted kaleidoscope dress was one of the standout pieces for me, creating a bold silhouette paired with an equally bold pattern.

Emilia Wickstead This collection was inspired by the relaxed and fantastical South Seas.

Blended with minimalism and elegant full skirts, this collection created an overall sense of “ease, strength, and minimalism”. Taking inspiration from the 1921 Faery Lands of the South Seas book, which Emilia found on her daughter’s nightstand, sailboat prints, and layered peter pan collars were an essential part of this collection. My favourite pieces from the collection were the two-piece sets. These included a full skirt and cropped shirt or bralet, which stood out in their monochrome and neutral colours.

Agne Kuzmickaite Presenting her fashion film in a small London hotel, Agne Kuzmickaite looked to her childhood in Lithuania for inspiration this season. Looking at a time where there was no fashion industry in Lithuania, Kuzmicaite looked to colours in magazines and adverts as her core muse. My favourite piece from the collection is a yellow block dress that stood out in the film set.

Discussing advertisements and how they dressed, Kuzmicaite’s matching bright collage blazer and boots demonstrated the adverts’ importance to this collection.

Lupe Gajardo

Bethany Williams

Set in the Andes, this film presented a genderless collection at the heights of isolation in the mountains. Lupe Gajardo created a zero-waste collection with recycling at the core. Regarding the materials used, Lupe Gajardo used different fabrics, including natural wool, silk, and cotton, as well as some upcycled synthetic fantasies. In each garment, the techniques of moulage, collage, and patchwork are formally and visually present.

Using bold maxi pieces, with asymmetrical shapes, these pieces stood out as the catwalk was amongst the Andes’ snowy peaks. With accents of fur, this alluded to the weather presented in the film, while the hints of mint and orange throughout the collection demonstrated spring and summer emerging.

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Accidental Cutting During these unprecedented times, fashion and all its processes are affected, as with the rest of the world.

This collection was created during lockdown as the designer Eva Iszoro adapted to learning specific 3D construction software. With an intense period of change, Iszoro created a 100% virtual collection in times when access to real models and seamstresses was not obvious. With a sense of fear and confusion conveyed throughout the fashion film, this collection demonstrated clearly the sense of APOCALYPSE, which many has felt is our new reality.

Rixo Encapsulating the theme of summer through the coastal-themed collection, the British coast deeply inspired every piece. Using block print patterns, the dresses were a colourful mixture.

Presenting the behind the scenes set making process, Rixo’s fashion film gave a look at how their lookbook was created on set. My favourite pieces from the collection included a mermaid portrait print slip dress, which reminded me of Andy Warhol’s pop art.

Additionally, one dress created a bold combination between contrasting a blue skirt, yellow bodice, and purple sleeves.

Bethany Williams This vibrant collection saw a theme of newness with multiple debuts and the focus of charity during such unprecedented times. This collection supports the Magpie project, which works with children and mothers who are homeless or at risk of becoming homeless. Bethany Williams also designed a flag that will be erected at Somerset house in honour of the charity. This film also demonstrated the importance of family spirit in a child’s life, highlighting the different realities of family households and how they dealt with lockdown at home. Working with deadstock, organic and recycled materials, this collection also looked to the future of the children, seeking to protect the future by using sustainable materials. After undertaking research at the V and A, this collection also featured the debut of childrenswear by Bethany Williams.

Agne Kuzmickaite film stills taken live

by Grace Pickford; all other images via BFC.

EnVers Collection x Gerda Irene

Fashion Designer/Model: Gerda Irene @gerda.irene Photographer: Danila Gerda @danila_gerda All wardrobe: EnVers Collection - fully handmade from vintage fabrics

HOW GENDERED DRESSING HAS CHANGED THROUGH HISTORY This month, Cicilia Brognoli looks into the evolution of gendered dressing through history.

The way we dress is dictated by a set of well-established cultural and social norms, apparently indisputable. This is true for most people, who tend to conform with what the crowd does, accepting the fact that for example, skirts are for women, and ties are for men.

However, many designers are increasingly making fashion genderless, to create pieces that are unisex and appreciated by both genders. The way we dress is like a business card we carry with us every day: the garments, colours, and styles we choose generally depend on our mood and how we want to show ourselves to others.

Many times we may think that we have chosen a look that is too bold or does not conform to what social and cultural norms established. Yet these conventions, which at times seem set in stone, have undergone enormous changes throughout history.

BAROQUE GRANDILOQUENCE A champion of style and opulence was certainly King Louis XIV, nicknamed the'Sun King' for having presented himself at court wearing a completely golden outfit, as well as being the fulcrum of life in Versailles and all of France. In fact, during the Baroque, a typical male outfit consisted of a long coat with a waistcoat and breeches worn over long socks up to above the knee.

An abundance of embroidery covered the entire outfit, but in the case of Louis XIV, great attention was given to shoes. Heeled slip-on shoes were worn by both men and women.

It was common for men to wear shoes that look very feminine nowadays. In general, the beauty routine of the nobles was unisex: powders, voluminous and often curly hair were a must.

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STYLISH SOBRIETY - EMPIRE STYLE, VICTORIAN ERA AND DANDYISM The women's fashion of the nineteenth century instead saw a revival of the classic silhouettes, belonging to the Greco-Roman fashion. In France during the first empire, and in Great Britain during the regency, wealthier women liked to wear much less pompous clothes than in previous years. The long and voluminous gowns were, for a short time, replaced by soft dresses that marked the natural shape of the body. These dresses had a deep neckline and a seam under the breasts, thus freeing the waist from any constriction. The favourite colour was white, and the dress had a few simple decorative lines embroidered often in gold.

The light-heartedness and greater exposure of the body through empire style dresses in Great Britain was supplanted by the austere Victorian Era style. Women returned to long gowns down to the feet and with long sleeves. Gloves and hats were essential accessories, and therefore the only uncovered part of the body was the face. Meanwhile, men's fashion from the 17th century to the Victorian age moved closer to the silhouettes still favoured by men today. Long pants, shirt, and waistcoat were often a light colour, contrasting with the long brown, black, or dark blue coat.

Another unforgettable style of English fashion is dandyism. This is a real lifestyle, as the pursuit of aestheticism is not just about clothing since it involves any dandy’s daily activities. The eccentric Beau Brummell is remembered as the first dandy in history and one of the most remarkable members of the British Regency. Brummell spent up to five hours a day dressing, daily polishing his boots with Champagne. It may seem somewhat bizarre that, however, his outfit consisted of always similar clothes and the same colours. High black leather boots, high-waisted beige pants, white shirt, a long two-tailed midnight blue coat and finally his beloved tie.

This was the highlight of the outfit, and it was not like the contemporary tie, but it looked more like a foulard Brummell loved to tie differently, creating a real foulard craze.

THE GLAMOROUS ROARING TWENTIES The meticulous choice of clothing preparation and the impeccable and time-consuming dandy dressing table was an inspiration even in the 1920s.

The Roaring Twenties saw the boom in the use of make-up, sequins and all kinds of splendour for both genders.

Among the most famous literary characters of the 1920s is Jay Gatsby, by many associated with the film

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counterpart Leonardo Dicaprio in 'The Great Gatsby'. Precisely in this film, you can admire the sumptuous evening outfits of that decade, a parade of exquisite womenswear outfits adorned by sequins, feathers and small fluttering fringes. On the opposite side, for the evening wear men opted for sober, yet elegant, black suits with a white shirt and bow tie. However, gentlemen tended to flaunt stylish outfits enjoying light colours and especially pastel tones.

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were key.

Despite this, in working hours, the style was sober and almost minimal, contrasting the fashion of free time, characterised by bright sporty outfits.

Men and women loved fluorescent colours for tracksuits, tights, and leotards to show off during gymnastic moments like aerobics, the craze of the decade.

Gender-specific fashion has undergone huge changes over the decades, best representing what society and cultural norms and expectations demanded.

Overt ime, these restrictions have become less and less severe, making people free to express their personality, always dividing between men's and women's fashion. The gender division could be identified as the last restriction that is still applied to clothing today. However, due to Covid19, some fashion houses have decided to abandon the official Fashion Week calendar by preparing for collections never seen before. Some brands, including Gucci, have decided to create genderless collections to free their brand identity from gender conventions. It is not only luxury brands that express interest in genderless fashion, in fact, but there are also other excellent brands that are less expensive, and totally genderless.

Among these stand out British brands such as Riley Studio, Too good,One DNA, and Lane Forty five that offer excellent genderless and environmentally-friendly outfits. The news in the fashion world about gendered and gender less fashion seems to be coming almost daily, and is very interesting. So, dear fashion friends, keep an eye on your favourite brands.

Leaving aside the glitz coming from the United States, a huge revolution in fashion came from France, where Coco Chanel was the first woman wearing trousers. Not without criticism, Chanel slowly got the attention of her clients, inspiring them to change their view about trousers as a taboo for women.

FLOWER POWER AND THE FLASHY 1980s Jumping to the 1960s, the British designer Mary Quant invented the mini skirt, thus creating one of the most loved garments ever. Also in this decade, theHippie counterculture began to come to life, which continued until the ‘70s.

The Hippie style was colourful, bold, exotic-inspired and almost genderless.

Men and women wore the same patterns depicted on long gipsy-style skirts, baggy pants, long shirts, and dresses. The Hippie style perfectly represents the desire of freedom, carefreeness, and anti-consumerism.

Many Hippies love to create their very unique hand-made accessories.

Women showed their candour, abandoning make-up and sometimes adorning their natural hairstyle with just a flower crown.

In the 1980s, however, the hair became fluffy and showy, as well as the clothes.

This was the supermodel era, where an athletic physique and flawless make-up

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You can read more of Cicilia’s work onciciliabrognoli.weebly.com Images via Wiki Commons, Canva, and Hair (1979) promotional still (below)

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FRANCESCA ESSE Name: Francesca Age: 28 Location: Naples Agency: Freelance How long have you been modelling for?

I started modeling at 21 and worked up to 27 Where are you from originally?

I’m Italian

Do you have an unusual talent or party trick?

I can sleep more than 12 consecutive hours...Can i consider this as an unusual talent? [laughs] What would surprise people to know about you?

People are usually amazed by my tattoo What are your modelling ambitions?

Actually, more than aspiring to be a model, my dream is to become a good make-up artist

Model/Makeup Artist: Francesca Esse @francesca__esse Photographer: Gianmarco Balbi @gianmarcobalbi

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Gray cropped hoodie - Champion; Skirt and suspenders - Shein; Salty socks - Mad Sports; Black cap - OVOY

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ELLIE SHADDIX Black T-shirt - Brandy Melville; Black blue cut out jeans- Malianna

Name: Ellie Shaddix Age: 14 Location: Orlando, FL Agency: Bohemia Group

Do you have an unusual talent or party trick?

I do dance and gymnastics, and I’m a bit of a contortionist.

How long have you been modelling for?

I started modeling about 3 years ago.

My mom was not pleased with my school photos that year and set up a photoshoot for me instead. I realized I loved being in front of the camera!

What would surprise people to know about you?

I can rap/sing the entire Hamilton soundtrack. It’s not pretty, but I can do it!

Where are you from originally?

II was born in Florida, and then we moved to Maryland for 9 long years.

We were very fortunate to move back to Florida 4 years ago, so now I’m back home.

What are your modelling ambitions?

I love modeling and I love traveling — being able to combine those two and working with creative and visionary designers and photographers would be a dream come true!

Model: Ellie Shaddix @EllieShaddixOfficial Photographer: Rose R. Anduxar @Candid_Artistry Wardrobe Stylist: Sara Helterman Production Assistant: Ricardo G. Rivera

Blue hat - Upgrade Overalls - Choosy; Rainbow sweater - Shein; Shoes Vans; Red beanie - The Hatter; Red belt - Zara

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BEATRIZ MEDEIROS MÁXIMO Name: Beatriz Medeiros Máximo Age: 21 Location: Osasco, Sao Paolo Agency: Freelance

Do you have an unusual talent or party trick?

I love to dance

How long have you been modelling for?

Two months

What would surprise people to know about you?

I sleep easily with the sounds of rain and I'm a great cook

Where are you from originally?

São Paulo, Brazil

What are your modelling ambitions?

I'm a hobby model

Photographer: Jhonatan Santos @jhonfoto Model: Beatriz Medeiros Máximo @_bemax

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ROBERT CAMPBELL SPOTLIGHT Robert Campbell is a photographer based in Ayrshire who specialises in portrait, fashion, and an occasional wedding.

Finding the creative art of photography not until his late 40's, Robert quickly discovered he had not only a passion but also the drive to find his way through the quagmire of creativity and discover his true calling in life. In two very quick years Robert has achieved nearly 80 worldwide magazine publications and also achieved success in gaining firstly HNC in Photography but also Ayrshire College student of the year in Art, Media & Fashion and also passing his HND in Photography.

portfolio piece

Robert states that he loves to learn whether it's the technical aspects or the post production side. He never rests on his laurels and the only way is forward.

Recently he has also gained his qualification with the MPA and is now Robert Campbell Master Photographer LMPA which he is immensely proud of and in addition he has gained Licentiate qualification with The Royal Photographic Society both based in the United Kingdom.

Models: Robyn Archibald @robyn_archibald_x; Kerry Browne @brownekerry; Elle Thompson @_ellethompsonn; Mhairi Waddell @mhairiwaddell1; Chloe Bella Arnstrong @chloe.bella.armstrong; Alexandra Frances Mccue @alexandramccue Photographer: Robert Campbell @rob_campbell_01

HORNED BRIDE

Model: Irina Gritsaenko-Shimanovskaya @gritsaenko_shimanovskaya Hair Stylist: Yevheniy Krasniuk @braids_krasnyuk Photographer: Iana Chkhan @4han_ph @4han_ph Accessory Designer: Iana Chkhan @Iana_Chkhan

LUNA Photographer: Eunika Jeziorowska @eunikajeziorowska Makeup Artist: Natalia Noga @hellonatii Model: Wiki Topyło @wikitopylo All wardrobe: Zara

LONDON FASHION ICONS FROM THE 1960S TO 2020 Cheyanne Greig-Andrews explores some of recent history’s most iconic fashion legends to arise from the streets of London.

London, home to some of the world’s most notorious trailblazers in fashion. Pumping out style icons year after year, there seems to be an endless supply of creative ingenuity here. However, there is occasionally one person who embodies a style so evocatively that they become known asa fashion icon. Each decade from the 1960s to today has certainly seen at least one person stealing the show for each era.

The 1960s - Twiggy Lesley Hornby was born in London in 1949, unaware that by 16 her slight frame would catapult her rise to stardom. Working as a salon assistant for the hairdresser Nigel Davies (later known as Justin de Villeneuve), he would often refer to her as Twigs. This relationship eventually led to an experiment with an edgy bob, false lashes, and thick eyeliner. Unbeknownst to them, an icon was being born. A fashion journalist from the Daily Express in 1966 would be the one to christen Lesley with her forever title: Twiggy.

From this point, her supermodel fame skyrocketed. Twiggy’s thin boyish frame was ideal for the rising hemlines, boxy shapes, and unisex patterns of the 1960s. She became the emblem of ‘60s fashion, inspiring the youth with her makeup, hair, and style. Twiggy has been regarded as the first ever supermodel, her face recognisable across the globe.

Twiggy’s unique look inspired the youth of the ‘60s, but her legacy will surely last far longer.

The 1970s - David Bowie David Bowie is possibly one of the most adaptable, chameleon-like artists ever to cross the earth. He has become a timeless icon, but certainly, the peak of his fashion influence can be traced to the 1970s.

Born in Brixton in South West London, he is an emblem of London culture, something Londoners are just as proud of today.

Bowie was able to seamlessly intertwine music and visual worlds to create a persona unlike any other.

Illustration by Ben Springham

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The 1990s - The Spice Girls Ah, the ‘90s, probably one of the most ‘extra’ decades in recent fashion history. To match this decade’s over-the-top energy there couldn’t be just one fashion icon because there were five of them. The Spice Girls. The little black dress (LBD as it’s classically known), platform shoes, and double bun hairstyles were all thanks to these five influential women. Oh, and of course we can’t forget the Union Jack dress, thank you Ginger Spice.

From cross-dressing to wild hairstyles and face paint, Bowie was constantly turning out unfathomable looks. He opened the doors to new possibilities of dress that broke down old gender barriers. His fearlessness inspired the youth of the ‘70s to express their individuality and break the rules.

The 1980s - Princess Diana Without a doubt, Princess Diana is one of the most iconic women of fashion the world has seen. Declared one of the most photographed women in history, Princess Di’s outfits were constantly admired, critiqued, and replicated the world over. She reignited a love of classic English fashion, but with a modern flair which the princess seemed to master.

The ‘80s were certainly the era that Diana’s style gained the most attention. In those ten years, hundreds of looks inspired women around the world. Whether she was in an oversized jumper and biker shorts or decked out in velour ball gowns and a diamond tiara, Princess Diana quite simply always looked good. Her effortless elegance and down to earth attitude were the cornerstones of her fame in the ‘80s and her style has seen a resurgence in popularity in recent years.

This London girl group took the world by storm with their risqué outfits, sky-high shoes, and of course their catchy music. The Spice Girls had a rapid rise to fame and were quickly flying worldwide spreading the ‘90s London look across the globe. Without The Spice Girls, who know what fashion would be like today.

The 2000s – Kate Moss The early 2000s were when jeans turned dangerously low and tiny purse dogs came onto the scene.

There was a lot of fashion to cringe over from this decade, but, one person who managed to make the 2000s look effortlessly cool and edgy was Kate Moss. The South London-born supermodel saw her rise to fame in the 1990s alongside other influential models of the decade.

Her career didn’t stop there though.

Possibly thanks to the edgy public persona she created, her career thrived in the early 2000s. Her street style became a source of inspiration for many fashion lovers of the decade. She was able to layer unpredictable pieces and make it look unbelievably chic. Her roll-outof-bed look changed the structured, skin-tight, and perfectly tailored pieces that were seen as fashionable until the 2000s. A relaxed attitude that fashion lovers have continued to emulate today

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The 2010s – The Royal Family Once again the royals deserve a spot on this list of London fashion icons.

However, it seemed impossible to pick just one for the 2010s. The Queen, Kate, and Meghan have all been hugely regarded for their style influence in those 10 years. Kicking off the decade in 2011, Prince William and Kate Middleton wed. The entire country, and the wider world, tuned in to watch the exciting royal nuptials. With her picture-perfect street style, she was quickly catapulted into fashion icon territory. The 2010s also saw the Queen being recognized for her decade’s worth of fashion wins.

Later in the decade, the stunning Meghan Markle joined the royal family in 2018. She has been photographed in several gorgeous jewel-toned outfits. An emerald green caped number with matching hat was just one of the iconic looks Markle has worn. The classic and timeless fashion worn by these three women not only reflect traditional British attire but also how it can be brought into the modern era for women of all ages.

The 2020s –?

Almost one year into this new decade and most of the fashion trends to date have comprised of face masks and loungewear.

Predicting who the next great London fashion icon will be is anyone’s guess. London has no shortage of fashion icons and, with young people expressing themselves in new and unique ways, the possibilities are endless in this new era. The 2020s surely won’t be like anything we’ve seen before.

Photos from Pixabay and Canva

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UNDISCOVERED FASHION SHOW Brands: Mardi Gras Victees Fashion FPM Fashion by Princess Melodicah Fungai x Rufaro Aristocrats Photography by Fil Mazzarino

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PAUL

COSTELLOE Photography by Fil Mazzarino

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Images below and on following pages via Trace Publicity

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STYLE (CONSCIOUS) GUIDE LONDON RUNWAY

LAILA Pendant Necklace ARTISAN AND FOX $138

Pack of 3 Face Masks SEASALT CORNWALL £19.95

ethical and sustainable style guide selected by Rhiannon D'Averc

MWAMBA Statement Earrings ARTISAN AND FOX $45

Equestrian Doublebreasted Blazer INTROVERT £48

Stripes Pyjama Trousers in Pink and Blue FILANDA N.18 £129 Sweatpants TOKKOU £217

Chiara top INTROVERT £42 Blouse by Monki ASOS £30

Sleeveless Jacket KRISTINA LAPTSO £320

Sequin Gioia Silver Peony Blazer AGGI £170

FRONT ROW FROM HOME PAGE PAGE106 67

LONDON RUNWAY

BOOK CLUB

Girl, Woman, Other

BY BERNADINE EVARISTO

Each issue, London Runway’s very own Book Club discusses their favourite book of the month. For our second recommendation, Cara Balen reviews Bernardine Evaristo’s Girl, Woman, Other.

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By focusing on the lives of twelve different people, Evaristo takes a deep dive into the Black British psyche in an exploration of the way in which structural issues of racism, sexism, classism, and homophobia touch people from all walks of life.

This novel is a web of stories which interweave and interact to form a tapestry of black, British, female experience.

By creating a narrative that is less of an arc and more of a tangle, Evaristo implies that the complexity of life cannot be condensed into a single storyline and instead lets her characters burst forth from restrictive traditional narrative conventions. Each thread follows the story of a woman or non-binary person as they pursue their dreams, struggle against adversity, fall in love, and try to create a life for themselves in a society that constantly sees them as different, or an ‘Other’ to the heteronormative and white standard.

From an immigrant mother struggling with her identity to an Oxford Alumni investment banker who beat the odds, and from a 93year-old farmer to a disillusioned school teacher, this book refuses to submit to the toxic idea that black women are a homogenous group with the same hopes and fears. As such, Evaristo’s novel is as much about her character’s differences as their similarities as she shows the way in which they react to each other, and examine their own prejudices that have been instilled into them by a country that still views different as dangerous.

The novel begins with Amma, a radical feminist lesbian playwright who is preparing for the opening night of her first play to break through to the National Theatre.

Evaristo then ingeniously weaves through the stories of Amma’s friends and relatives before jumping off to explore other lived experiences of women who seemingly have nothing to do with this initial character. Yet, as the narratives progress, the reader starts to catch hints to previous characters with the increasingly apparent suggestion that their lives are all somehow connected.

Evaristo creates a fascinating metanarrative as each character is in some way associated with Amma’s play. Their presences are linked through Amma’s artificial creation which is itself about black, female history. Evaristo suggests that each person must build up their own story in the same way that Amma has put hers onto the stage.

Evaristo said, in an interview with the Guardian, that she “wanted to put presence into absence” as she became “frustrated that Black British women weren’t visible in literature”. Indeed, her characters struggle with their own invisibility as they grapple with having to find their own way without role models to look up to for guidance or advice.

Their stories are both inspiring and disheartening, as Evaristo does not rely on poetic licence in order to pretend that everything will work out for the best. Her tale is an authentic one, and examines the harsh realities of constantly being cast as an alien object in a world dominated by white, straight men.

Evaristo holds no punches when it comes to recounting the vicious cycle of being impoverished, underprivileged, and underrepresented.

It is hard to pinpoint my favourite section of the book, as each individual story is like stepping into a different novel as Evaristo plays with genre and style. Some parts have really stuck with me, however, and I have been turning them over in my mind since I read the book.

Evaristo details, in tortuously accurate prose, an abusive relationship which furtively moves from young love to overwhelmingly toxic. By doing so she exposes the way in which women, who are all too often seen as docile and passive, can be the perpetrators of abuse.

She also looks at the way in which black women have to distance themselves from their culture and upbringing to be taken seriously in the world of work.

There are many poignant, heartbreaking moments that permeate through the book so that bitter sweetness becomes a recurring flavour. Yet, for every painful

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moment there is a tender, joyful one like the beautiful relationship between Amma and her best friend which shines throughout the novel, showing that platonic love is just as strong and pure as any romantic emotion.

This novel burst onto the literary scene at the perfect moment. In a time in which divisive politics cuts through society, and #blacklivesmatter works to expose the systemic racism in our country, it is important to look at how these issues affect real people in very real ways.

Although Evaristo’s characters are fictional, the message of her novel is genuine. We must learn about those who are different to us, as well as seeing ourselves represented in artistic ways. It is not enough to see white, straight, and male as standard, we must diversify our opinion of Britain and in doing so there will not be so many misunderstood ‘Others’ anymore.

If you decide this is the book for you here are some ways to support independent or eco-friendly book shops: Hive.co.uk supports local bookshops on an online platform making it easy to shop for a variety of books Wordery is an alternative online bookshop which offers free worldwide delivery and vows to help bookworms find their new favourite book Blackwells is an academic independent bookshop which has grown from Oxford to other parts of the UK but hasn’t lost the charm of its welcoming and helpful staff World of Books is a second-hand online book retailer that buys good quality unsold books from charity shops and delivers them to your door

CELEBRATING AN AUTHENTIC WOMAN Fashion Designers: Isabel de Villiers @isabeldevilliersclothing; Wag Fashion @wag_fashion; Cape Karoo Ostrich Emporium Creative Director/Photographer/Retoucher: Collected Pix @collected_pix Wardrobe Stylist/Model: Este Rabe @este.rabe Makeup Artist/Hair Stylist: Ame Cronje @amemakeup_hair Este wears: Green blouse - ZARA; Trousers - WAG Fashion, South Africa

Este wears: Feather Jacket - Cape Karoo Ostrich Emporium, South Africa; Jewellery - Dear Rae, South Africa

Este wears: Green blouse - ZARA; Trousers - WAG Fashion, South Africa

Este wears: Jacket - Poetry

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Este wears: Jacket - Poetry; Shoes - Converse Allstars

Este wears: Green blouse - ZARA; Trousers - WAG Fashion, South Africa

Este wears: Dress - Isabel De Villiers Clothing, South Africa; Boots: Freestyle Shoes, South Africa

LONDON RUNWAY

Este wears: Dress - Isabel De Villiers Clothing, South Africa; Boots: Freestyle Shoes, South Africa

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Este wears: Feather Jacket - Cape Karoo Ostrich Emporium, South Africa; Jewellery - Dear Rae, South Africa

STAR WAY Model: Angelina Chuprina @gelya_eye

Photographer: Lil Safonova @lilphotographer.ru Dress - Monsoon

IS YOUR MODELLING AGENCY THE REAL THING – OR IS IT A SCAM?

We’ve all heard the stories of top models being stopped by agency scouts, looking to take them from normal people to the next big names in fashion. From supermodel Kate Moss, who was scouted by the founder of Storm Model Management whilst she was at the airport, to Forbes highest-paid model of all time Gisele Bündchen, who was scouted at the mall – opportunities to be discovered are all around us.

Now that we are living in the age of social media, the opportunity to be discovered is growing every day. As the industry is being pushed in a more online-driven direction, agents look for potential models via their social media presences. Instagram scouting has become a primary form of model scouting, and scouting has even been said to take place on social media platform TikTok, sparking an array of video submissions for aspiring models.

You may think this would lead to an over-saturated market, with an abundance of models and few job opportunities, when in fact social media has done the opposite and created a bigger need for models. As brands now have social media presences, they require more and more models to showcase their products to a wider audience and often persue sponsorship deals with models that fit their aesthetics and target audiences. There are a lot of opportunities out there for aspiring models - it is just a matter of finding the ones that are right for you and ensuring that they are safe and legal.

The new heightened demand for models has created an influx of false agencies trying to scam new hopeful models out of money and time. This article will aim to provide you with some tips and tricks for spotting false agencies and finding real opportunities within the modelling industry.

MODELLING JOB OR SALES PITCH? One of the most common forms of modelling scams are the agencies that charge the models, rather than paying them. These fake agencies approach people with the promise of turning them into models but rather than providing them with the tools to start their career, they attempt to sell them modelling classes, photos with their photographers, or screen tests, all at the expense of the model. These agencies often have no real connection to the industry and rather than providing their clients with jobs, they simply take their money and yield few results.

Never accept a job that tells you that you need to pay them.

Modelling agencies look at their models like investments – they make money when you get hired.

It is also very rare that an agency will ask you to pay their photographer for photographs. Polaroids and headshots will often be required by agents; however, these will usually be taken by a photographer of your choice prior to you signing, and once signed, they will be provided by the agency.

“A ONCE IN A LIFETIME OPPORTUNITY” If an agency wants you to work for them, they will likely wait for you to decide if signing with them is the right move for your career. The FDC warns against opportunities that approach aspiring models telling them that they must “act fast” or that the offer will disappear if they do not pay a fee.

If an agency is interested in you, they will provide you with a legal contract mapping out the details of signing with them. Beware of any agency which asks for a deposit, fee, or wants you to ‘invest’ with them.

CASH ONLY Any agency that tells you that you must pay them in cash is almost definitely a scam. Using cash means that the money is not traceable once it leaves your hands, making it much easier for scammers to run away with your money. Legitimate agencies will set up

Photo via Unsplash

Maria Henry explores the ways in which aspiring models can protect themselves from scammers and find real opportunities within the modelling industry.

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Photo via Unsplash a legal contract with their signed models, which means that money can be transferred from them directly to the model.

“UP AND COMING AGENCY” Though new, independent agencies appear to be popping up all over social media, you should still be wary of their legitimacy before giving them any personal information. Ask to see a business licence or check with a consumer protection agency if you are struggling to find information on them. Keep any papers or contracts that they may send to you for your legal protection. If the agency has advertised any of its successes with their models, you can also contact the models they are advertising for references – if they have worked with the company they may be able to advise you as to how truthful they are.

REPUTATION AND REVIEWS A simple, yet effective way to find out if your agency is a scam or not is to look into its reputation. Real modelling agencies will have a website and social media platforms set up to showcase their talent and find new clients. You will also be able to look at reviews on platforms such as Google, Yelp, Glassdoor, and Facebook to see if people have had positive experiences with the company. Beware of agencies with only a couple of reviews, as it is easy to create fake reviews on platforms such as Google – if the company is real, it will have a larger online presence.

DON’T BE DISCOURAGED Just because the agency that has reached out to you isn’t legitimate, doesn’t mean that you aren’t capable of being a model. Scammers will seek out aspiring models and try to prey on their ambitions – it doesn’t mean that you are not good enough for a real agency, it just means this one isn’t the right one for you.

PUT YOURSELF OUT THERE Being scouted isn’t the only way to get signed to a modelling agency. A lot of big agencies accept submissions from aspiring models.

Model submissions have been a long-standing and successful way that many well-known models have found themselves getting into the industry. For example, supermodel Doutzen Kroes submitted photos of herself to an agency when she was only 18 and was signed immediately, launching her career into the success it is today.

World-famous modelling agencies such as IMG accept submissions from people with no prior experience. All that is required is some photos (they don’t even have to be professionally taken) and no fee is required to submit your application.

So, instead of waiting for them to come to you, put yourself out there and go to them! If you have a genuine love for modelling, seek out the opportunities that you think are right for you. Grow your social media presence and improve your skills on your own time. Create and

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find your own opportunities to grow.

If you enjoyed this article you can read more of Maria’s work @mariawriteshere on twitter

OUT OF OFFICE Photographer: Natalia Ostashova @natali_dreamer Wardrobe Stylist:Â Natalia Danelia @danelianata Makeup Artist: Mari Prikhodko @mariprix.mua Model: Katya Lukoyanova at Lilas model management @katya_luk Retoucher: Yulia Esina @retouchmenowcom

Katya wears - Tie - Henderson; Shirt - Zara; Vest - Lime; Skirt Stradivarius; Accessories - Monki; Knee socks - Calzedonia

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Katya wears - Tie - Henderson; Shirt - Zara; Vest - Lime; Skirt - Stradivarius; Accessories - Monki

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Katya wears: Blazer - New Yorker; Skirt - New Yorker; Shirt - Zara; Tie - Henderson; Knee socks - Calzedonia

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Katya wears: Blazer - New Yorker

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Katya wears: Blazer - Pull&Bear; Skirt - New Yorker; Shirt - Stradivarius; Shoes - Monki; Accessories - Monki

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Katya wears: Blazer - Pull&Bear; Skirt - New Yorker; Shirt - Stradivarius; Shoes - Monki; Accessories - Monki

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Katya wears: T-shirt - Uniqlo; Headscarf - H&M; Accessories - Monki; Bermuda shorts - Zara

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Katya wears: T-shirt - Uniqlo; Headscarf - H&M; Accessories - Monki; Bermuda shorts - Zara

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Katya wears: Blazer - Lime; Skirt - Lichi; Shirt - H&M; Accessories and shoes - vintage

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Katya wears: Blazer - Lime; Skirt - Stylist's own; Accessories - H&M; Scarf - H&M

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MARK FAST Photography by Fil Mazzarino

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JIRI KALFAR Images via Dyelog PR

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BORA AKSU Photography by Fil Mazzarino

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YOUR STYLE HOROSCOPE Loungewear for Virtual SS21 LFW

With the SS21 London Fashion Week going virtual, Candice brings you loungewear perfectly suited for the signs still wanting to stand out fashionably at home.

Aries March 21 - April 20

Some Cherry Frankie Flares by Hara is just what an Aries needs for this season’s SS21 LFW virtual shows! Made with natural plant dyes and bamboo fabric, these trousers will effortlessly support these signs making them feel and look good!

Taurus April 21 - May 21 For the Taurus wanting to stay sophisticated while lounging, this Trinity Nouveau Fleece Cardigan by Amour Vert is the perfect solution! With dolman sleeves, a removable waist tie and side slits, it adds modernity to loungewear.

Gemini May 22- June 21

Knowing this carefree sign, Know the Origin’s Stella Low Cut Pumpkin Bamboo Bra and Lena High Waist Pumpkin Bamboo Undies are all they will need to shine. Their self-confidence and bubbly personality will exude through.

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Cancer June 22- July 22 Ettitude’s Bamboo Lyocell Sleep Shirt in Cloud Pink tunes into the Cancer’s sensitive and gentle side. They’ll instantly fall in love with the silky-soft, cooling fabric and construct piping design.

Leo July 23- August 21

Arak’s Cadel Slip in lemon is a fierce and gorgeous fitted silk georgette slip.

Known for their impeccable, eyecatching fashion sense, a Leo’s LFW loungewear fit will, of course, be even that much more elevated with this on!

Virgo August 22- September 23 Perfect for commuting, work or watching the up and coming fashion trends of SS21, Virgos will thrive in Athleta’s Presidio Dress in russet brown. It even has pockets!

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Libra September 24- October 23 The S106 Organic Bamboo Super Oversized Zip Hoodie in pastel yellow will be a staple in any of Libra’s future ensembles. By the Giving Movement, it is sustainably and ethically made to offset the negative impacts of the fashion industry.

Scorpio October 24- November 22 With a tight-fitting bodice but relaxed, wide-leg fit, the Chandler Jumpsuit by Reformation will keep Scorpios chic yet comfortable. Their charisma will ooze through the screens!

Sagittarius November 23- December 22

Asquith London’s Long Harem Pants in forest green allows the constantly wandering Sagittarius the much needed free movement and comfort to enjoy the LFW presentations while quarantining at home. They’re great additions for their travels as well!

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Capricorn December 23- January 20

Beaumont Organic’s Adrienne-Mel Organic Cotton Trouser in Plaid is great as both casual and formalwear. The culotte style and elasticised waistband allow the always ticking Capricorn to go from lounging while watching the LFW presentations to enjoying a COVID-19 safe break out in the sun!

Aquarius January 21 - February 19 Lounge in luxury with this 100% Mulberry Silk Robe by The Ethical Silk Company. An Aquarius will love the funky hand block printed geometric design in coral and grey.

Pisces February 20 - March 20

Under Protection’s Rania Slip Dress Black, with the lyocell satin and blossom print, will enflame any Piscean’s creative passion for fashion, especially after all of the LFW SS21 presentations and shows. Perfect for any occasion, especially lounging!

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

All images via their respective retailers

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W

NDERLAND Model: Saskia Davis @sassycd Photographer: Noor Qaddoumi @noorqaddoumi Saskia wears: Glasses - Jeepers Peepers; Earrings - Boohoo; Rings - ASOS; Dress - Boohoo

Saskia wears: Earrings - Boohoo; Crop top - Prettylittlething; Kimono - Boohoo

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Saskia wears: Jumper - Boohoo; Skirt - Boohoo

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Saskia wears: Jumper - Boohoo; Earrings - Primark

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Saskia wears: Glasses - Prettylittlething; Earrings - ASOS; Choker - Prettylittlething; Rings - ASOS

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Saskia wears: Earrings - ASOS; Choker - Prettylittlething; Rings - ASOS; Trousers - Prettylittlething

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prophetik x thomas goode Images via PopPR

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SECONDHAND SEPTEMBER ITEMS TO BAG Darcey Sergison looks at the items you should be buying second-hand to help the environment and reduce the effects of fast fashion.

It can be daunting going thrifting, whether you are a regular or a first-time charity shopper, but it is worth giving it a go. With September being the month to buy items second-hand, I recommend looking for items which are durable and timeless.

Platforms such as Depop have risen in popularity as more people, particularly young people, are looking to buy vintage and thrifted pieces. Many people have even gone as far as to upcycle pieces they have found and design their own unique items.

As fast fashion continues to damage the environment as well as risk workers’ rights, thrifting is the most sustainable way forward for the fashion industry. When I first went thrifting with friends in Paris, I was sceptical about the quality of second-hand clothing and whether it would be worth the purchase.

But now I am completely hooked! I think there is nothing better than finding vintage pieces at the bottom of a forgotten pile and giving that piece a new lifespan. These pieces may also already have a story behind them especially if you find them with their original labels or tags.

For any first time thrifters, or anyone looking for some inspiration, here is a guide to the five items I would recommend keeping an eye out for when your next at a charity shop or second-hand platform:

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1. Leather coat: Leather coats are one of this season’s biggest trends. Taking inspiration from Bella Hadid or even the Matrix, leather coats are forecast to be a staple for the colder months to come ahead. Leather coats are a trend recycled straight from the 90s, so thrifting is crucial to not aid the fast fashion cycle. With the trend filtering through to the high street from high fashion designs, fast fashion is producing thousands of leather coats as we speak. Zara and Weekday are among the most popular today. But I highly recommend that there is a higher reward for the price and style with the success of finding a leather coat at your local charity shop. Alternatively, Depop is a great place to find leather coats. Due to their popularity, Depop provides great prices and quality for a variety of styles as well as lengths and sizes.

2. Shirts: A variety of shirts are an essential for any charity shop. From oversized men’s shirts to fitted and tailored women’s shirts you will be

sure to find at least one at even the smallest charity shops. With autumn ahead of us, a traditional flannel or check shirt is a great find while out thrifting. Dior has incorporated multiple check patterns into their latest collection so if you want to be part of this trend be sure to find the shirts from a more sustainable and lower-cost alternative.

3. Graphic t-shirts: Thrifting a t-shirt or sweatshirt with vintage graphic designs of old cartoon characters or reminders of old brand logos is one of my favourite parts of thrifting.

Essentially thrifting does not always have to be about finding last season’s collection at a reduced price but going back further can be even more exciting.

This summer I have seen many influencers sporting graphic t-shirts as a casual beach cover-up or paired with shorts. But these graphic designs are also great for winter. These can be layered with a simple long sleeve underneath to keep you warm while staying on board the 90s trend

look, similar to those seen in Friends.

4. Jeans: Jeans are one of the worst offenders for water wastage within the clothes industry. The majority of the fashion industry’s use of water is for cotton cultivation and wet textile processes like bleaching, dyeing, printing, and finishing. The global production of cotton is estimated to use 222 billion m³/y of water. Even just to make one pair of jeans it is estimated that 10,000 litres of water is needed. By thrifting a pair of jeans, you are giving a second life to a clothing item which has a huge environmental cost. Brands such as Wrangler and Levi are a top pick amongst second hand jeans. By finding high quality brands it will ensure that the jeans, although thrifted, will still have a long lifespan when you buy them.

5. Scarfs: Most charity shops will have ‘that’ basket. It may look like an intimidating number of scarfs and bandanas, but it is worth the rummage to bag yourself a new stylish accessory.

Scarfs are one of my go to items to thrift. The designs will be unique or limited so wearing them as a headband or around your neck will make you stand out. Whether you are at fashion week or at brunch, adding a stylish scarf is a must. Most designer scarfs from the 70s onwards can be found in charity shops around the country but I highly recommend taking a trip to Notting Hill where there is huge choice of designs.

Images by Darcey Sergison

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Q A THE BIG QUESTION We asked, you answered

WHERE'S YOUR FAVOURITE PLACE TO EAT IN LONDON?

&

“This sounds really bougie, but I went to a place called Andina. I think it’s closed in Notting Hill, but there’s one in Shoreditch as well, and it’s all tapas-style fish and meat. Really beautiful but tiny dishes. I love sharing, and I love choice. I hate getting one main dish and it’s massive. It’s like a proper experience and it’s beautiful” -Benedict Cork, singer-songwriter

"It has to be Vapiano! I love watching my food being made in front of me, the portions always fill me up and the flavours never disappoint. Definitely one of my favourite places"

- Sherrece Ollivierre, model

"MY HOUSE!!"

- Leyre Gomez, model

"I'm always on the go, usually to and from Soho, so my favourite treat is getting some buns from the Chinatown Bakery to eat before my next meeting or on the train home!"

"The Temple of Seitan WOW" - Luke, university student at Queen Mary

- Rhiannon D'Averc, Chief Editor

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IMAGE - BACKSTAGE AT MISS LONDON CITY BY FIL MAZZARINO