London Runway Issue 15

LONDON

RUNWAY

STNEVE MG . THGIN SRENGISED LANOITANRETNI . ONOCAI OL OCSECNARF

OLHAK ADIRF . SRENGISED ROF HTLAEH LATNEM . CISUM SV NOIHSAF

ISSUE 15 MAY 2018

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CONTRIBUTORS Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Lead Photographer: Rhiannon D'Averc Photographer: Joanna Foster - shoots@londonrunway.co.uk Lead writer: Rachel Parker - features@londonrunway.co.uk Lead graphic designer: Sophie Brown design@londonrunway.co.uk Lead stylist: Monica Pereira - stylist@londonrunway.co.uk Contributors: Andrea MacLeod at A+ Photography, Nadine Gan, Eleanor Dyson, Malvika Padin, Ana Resende, Valeriya Chudarova, Simranjeet Aulakh, Yasmin Laws, Emily Coleman Special thanks to Francesco Lo Iacono

Advertising enquiries - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Š 2018, London Runway and contributors

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IN THIS ISSUE Letter from the Editor

Is there ever a dull week in the world of fashion? We think not. In the last fortnight, we've managed to party at the Cafe de Paris, watch a character-filled catwalk in Milton Keynes, and discuss the global nature of the fashion industry with some people who really know what they're talking about.

That's not even all. We have some great features this week brought to you by all-new contributors, both on the writing side and the photography side. We love hearing as many different voices as possible, so this feels like something to celebrate!

and gloom. It seems like every week, there are new strides forward in the areas of sustainability, equality, and human rights. We will only keep our fingers crossed that this isn't a trend - but a movement.

This issue also heralds the start of a new semi-regular feature as we examine one form of music and how it has intertwined with fashion. Did the music make the trends, or did the trends influence the music? Find out in our feature on K-pop, which has been gearing up to be the next big thing for a while.

One of our key features this issue is the art of Francesco Lo Iacono, a fashion illustrator whose work caught our eyes on Twitter a while ago. We're pleased to present a showcase of some of his fantastic illustrations from London-based designers, which we know you are going to enjoy.

Meanwhile, we're looking ahead to a calendar which always seems packed with fresh excitement. If you're a fashion fan - and we know you are - make sure to get yourself down to Carnaby Street between the 10th and 13th of May. There's a huge event happening with sales, talks, special one-off items, and much more.

We're getting serious about mental health and the fashion industry's impact on the environment, but it's not all doom

All this happens to coincide with London Craft Week too, as well as Fortnum and Mason's Meet the Maker series, so there's plenty for

you to get stuck into this May. If you can't make it, don't worry we're here to bring you the highlights of everything you missed. Issue 16 will be launched on the 24th May, as we settle in to our recently regular biweekly schedule.

For the grammar nerds: that's once every two weeks, not twice weekly.

Don't forget, we're open to submissions, so go ahead and check londonrunway.co.uk to read our guidelines for writers, photographers, and artists. We welcome contributors from all directions, including minorities and ignored voices.

And as always, drop us a line via info@londonrunway.co.uk if you have a show you think we should see or a feature you think we should run.

Enjoy!

RHIANNON D'AVERC

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CONTENTS Photography International Designers Night - 7 GM Events - 17 Francesco Lo Iacono - 37

P7 Features Fashion News - 4 Music and Fashion: Interdependent Industries - 15 Frida Kahlo:Â Eyebrows and Influence - 28 Fashion Going Global Panel Discussion - 30 The Mental Health of Designers - 33 The Evolution of K-pop - 35 Fashioned From Nature - 41

P37

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PETA ANNOUNCES WINNERS OF VEGAN FITNESS AWARDS 2018

by Yasmin Laws With veganism becoming an ever growing trend, not only in London but within cities throughout the world, it is no shock that PETA now celebrates the best vegan clothing products in the country. London was recently voted the most vegetarian-friendly city due to its wide expanse of specifically vegetarian restaurants as well as meat-free options on many menus. However, the recently-announced PETA Vegan Fitness Awards remind us that a cruelty-free life goes beyond tofu and faux fur.

Common fabrics made from animal hair include angora wool, horsehair, cashmere and even felt, something a lot of us forget when ordering online.

However, due to the properties required of fitness fashion such as comfort and breathability, a lot of active wear is made from polyester and spandex as synthetic materials hold more of these properties than natural ones. Similarly, the flexibility required of trainers usually requires a mixture of synthetic rubbers and cotton. PETA have found the best of the best of vegan activewear and announced the winners of the Vegan Fitness Awards 2018.

via Adidas

FASHION NEWS

Exploration Soft Shell Jacket has swapped out the feathers usually found in outerwear for Primaloft Insulation and the Adidas Gym Bag, in true Stella McCartney style, uses no animal products to create a versatile bag that can be worn both as a shopper and a rucksack. One of the less expected winners is ASOS with a new 4505 trainer in grey with yellow strap detail.

However, replies on Twitter question how practical these shoes really are, with comments such as “Why are none of them suitable for sports?” and “active line trainers […] not suitable for sports”. Similar reviews are left for the Exploration Sweaty Betty jacket; it is “not up to the job”, “the fabric is stiff” and “it just doesn’t keep the wind out”.

This leads us to question whether, where activewear may require animal products and they are substituted for synthetic materials, this may also substitute the practicality of an item? And when an item costs £385, as the Sweaty Betty jacket does, is the ethics of it superior to its use? This is something for the individual to answer.

via Asos

Big brands such as Sweaty Betty and Adidas by Stella McCartney are two of the names on this list; the Sweaty Betty

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FASHION NEWS VIONNET X MARC QUINN POPUP STORE AT SELFRIDGES

by Valeriya Chudarova

Sustainability has been in particular interest for the few past years, with the fashion industry being the second most polluting in the world. Textile waste, toxic chemicals and water pollution have been among the most discussed problems. The idea behind the new Vionnet and Quinn collaboration is to increase awareness of the extent of ocean pollution; an issue that is also close to the heart of Selfridges, who actively promoted sustainability and rethinking consumption through the “Material World” project back in 2017.

Half of the money from sales will be given to Parley For The Oceans, an organisation that helps to prevent destruction of the oceans, and to Ambiente Europeo, which promotes awareness of waste-free seas in the Mediterranean.

Vionnet Creative Director Goga Ashkenazi underlines that “the materials used are made from the plastic found in the ocean. Every time you buy a piece, you will be doing your part in cleaning it”.

Marc Quinn has put a heavy emphasis on the destructive relationship between human and nature in his works.

Ashkenazi has clearly been influenced by Quinn’s “Raft Series” that featured paintings and sculptures made up of

swatches of crushed plastic bags symbolizing how human consumption can be harmful. “Raft Series” pieces are full of bright yellow, blue, pink and red colours that became the main print theme of the collection, which is made solely out of sustainable materials like eco-leather, recycled plastic, cotton poplin and terrycloth.

The pop-up store located on the 2nd floor of Selfridges also reflects an eco-friendly vision, utilizing materials such as bamboo, wood and aluminium and also invoking the spirit of the ocean with surfboards installed on the surrounding rails.

Prices range from £55 for a belt to £1,605 for a silk-satin dress. The collection varies from belts and t-shirts to pants and dresses. It also features sunglasses made from 100 percent recycled plastic, produced in collaboration with Sea2see.

Marc Quinn already has a long-established relationship with Selfridges. Back in 2011, the creator of the famous Kate Moss gold sculpture in a yoga pose released his special collection of t-shirts and accessories inspired by his Orchid paintings and Irises series, as well as being the mastermind behind the giant snow globe installation for the Selfridges Christmas window display. Fashion and art are two fields of enormous creative expression and their collaborative decision to take an eco-friendly route can help make today’s world a better place.

ia Selfridges

Parisian fashion house Vionnet has teamed up with British visual artist Marc Quinn to create a surf-inspired sustainable capsule collection. Itwas launched exclusively in a pop-up store at Selfridges and online on 7th May.

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FASHION NEWS POTENTIAL UK-WIDE FUR BAN PROPOSED BY PARLIAMENT

by Simranjeet Aulakh

The current stigmatisation of wearing fur came to an apex during the recent activism at London Fashion Week. Now, Parliament has expressed desire to implement a UK-wide fur trade ban. The proposed ban has possibly accounted for Burberry wanting to stop incorporating fur in their clothes, consequently joining the likes of other major fashion brands such as Gucci, Michael Kors and Jimmy Choo. With this being said, Burberry chose not to exhibit any real fur during their London Fashion Week shows, opting for faux fur instead. In this regard, London, famously known as being one of the major fashion capitals of the world, has become pivotally involved in the war against wearing fur.

Just last month, attendees of London Fashion Week received an official email from the British Fashion Council, specifying that they should avoid wearing fur out of fear it would act as a catalyst for the anti-fur protestors who would be protesting outside the event.

This goes without saying that the world of fashion has been rocked hard by the power of activism in society today, leaving fashion’s most credited events and organisations almost feeling obligated to cater towards the rebellion.

One individual who will be pleased about the supposed ban will be future royal Meghan Markle. Recent rumours have suggested that Markle’s well known disapproval of fur enabled Burberry to reconsider their fur use. In this case, Burberry are infamous for being associated with the royal family, in other words as being their go-to fashion brand.

The Humane Society’s executive director, Claire Bass, who has credited Prince Harry’s soon-to-be wife, has implied that her ethical principles and newfound royal status provided Burberry with the push they needed to join their fellow anti-fur brands. So, if Burberry doesn’t stick to their recently declared no-fur policy, could the brand’s relationship to the royals reach its end when Markle officially joins the family? We will have to wait and see.

Even though many have already decided to implement a ban on using fur in their brands themselves, one cannot help but ponder the fate of fashion, not only in London alone but for the rest of the UK. If the UKwide fur trade ban is passed, just how will fashion change in Britain and what will be the reaction of those who are in contempt with this decision, or in more applicable terms - ‘pro-fur’?

via Pexels

When one thinks about high fashion, fur can come to mind. However, in recent years we have come to notice a growing decline in the usage of fur for fashion with many luxury brands gaining ethical awareness, which organisations such as PETA have been loyal advocates for.

Contextually, humans first began wearing clothing made out of animal fur over a hundred thousand years ago. Ever since then, fur has become an emblem of affluence and luxury in the fashion world, dominating the industry from collections to runways from almost every prominent fashion brand.

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INTERNATIONAL DESIGNERS NIGHT When Izabela Calik announced a designer showcase at the Café de Paris, we knew we had to be there.

The runway held a number of looks from different designers, modelled in an exciting show from the venue's dramatic stage.

Izabella is a jewellery designer who began her networking events to great reception they now run on a regular basis in London, providing designers with an outlet to show their designs to industry professionals and fashion fans.

The dresses on show included soft flowing fabrics, pastel and neutral tones, and chic wedding looks that go beyond the norm.

These were juxtaposed against glittering fabrics and velvet sheens, bright pops of colour, and delicate jewellery.

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This page: Photography by Andrea MacLeod at A+ Photography

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This page: Photography by Andrea MacLeod at A+ Photography

MUSIC AND FASHION: INTERDEPENDENT INDUSTRIES Ana Resende explores the ever-growing relationship between music and fashion.

It’s safe to say that music and fashion are the most influential forms of art in our society. Fashion has allowed us, as a society, to express daily and present struggles; similarly, music has also been a weapon for that. Take the Cambodia-based – ‘every thread matters’ – influencers, Tonlé. They’re successfully running a zero waste, environmentally friendly fashion brand to make a difference. Likewise, Maggie Lindemann held up her middle finger to the world (quite literally!) in her song ‘Pretty Girl’ when she ditched all feminine norms and values. Only two examples out of the billions there are out there today; music and fashion will speak about pretty much anything. Religion, feminism, poverty, bullying, environmental awareness… You name it, I guarantee you it has been done!

Music and fashion are such personal aspects of an individual.

It’s something everyone acquires. You, me, him, her, them, we all have a taste in fashion and music. There is no denying that!

Everyone has a style; we all have a specific look we go for, whether we’re trying to or not. And the same goes for music: some of us are into classical, others into punk; some are into jazz, some are into musical theatre; there’s a whole world of musical genres and sub-genres out there, and we all fall into a category. And sometimes, our tastes in fashion and music coordinate with each other.

So, it’s easy to recognize that music and fashion have, without a doubt, been serving the same purposes. The question is, how do the two work together? Easy answer. The two industries have gone from being two utterly different businesses, to merging and becoming interdependent. Music sells fashion, and fashion sells music. Let’s take Lady Gaga for example: the woman swings fashion statements left, right and centre in her music videos. Her wardrobe choices scream runway fashion looks! She sells trends through her music. In a society where we see celebrities as role models, designers use that to their advantage. If you’re trying to sell punk designs, your target population will be punk lovers. So of course, you’re going to get a punk singer to model your clothes; they have the fan base that you need! Fashion and music walk hand in hand.

Let’s not forget how musicians launching their own fashion lines have considerably evolved the relationship between music and fashion. It’s a simple logic: a fan will dress like their idol, and what we see in the streets is what inspires the runway.

When it comes to a fashion show, music may not be the main focus, but it really does make a collection stand out in a whole other way. A runway show is telling a story through fashion. It only opens with the clothes, then come the models, make-up, hair, lighting, props, and most notably, the music. It really does set the tone; it’s what drives the plot along. In fact, not only that, it also impacts how the viewers obtain that story. Whether you want to make the audience laugh or cry, it’s the music that decides.

On another point, every collection is different, but the way they’re presented will be relatively the same. Many runways have pretty much the same standard routine, so they need a point of difference. That’s where music comes in. It’s highly unlikely you’ll attend any two shows with the same soundtrack. Each collection speaks for itself, and the music will complement the theme of the clothing to create perfect harmony.

You may expect to walk into a fashion show and hear chart music playing in the background while the models show off the new collection, but the truth is that many designers are now opting for the choice of live music.

To break out of the same old mould, designers are finding

MUSIC AND FASHION more and more ways to be innovative and bring fun to their fashion shows. Designer Tarun Tahiliani was one of many who brought in live entertainment during one of his fashion shows; he says that live singers that “fit in with the design sensibility and contribute to the atmosphere” can really bring a show together.

However, do live singers always contribute to an innovative show? Some of us would argue that live entertainment can take away the essence of the show – the actual clothes. What we’re really there to see is the collection, not to hear live music. The clothes and the music should complement one another, not take away from each other. It’s very easy for the clothes and models to get lost in the whole razzledazzle of live music.

It’s interesting to see how two completely different industries have come together in recent years to collaborate and benefit one another. With the rise and success of new technology, chances are we’ll see more and more of a collaboration between music and fashion.

Images via Pixabay

GM EVENTS WELCOMED INDEPENDENT DESIGNERS TO THE RUNWAY, SHOWCASING THE LATEST TRENDS FROM LOCAL BOUTIQUES Photographs by Joanna Foster

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EYEBROWS AND INFLUENCE: THE MONOBROW THAT CHANGED THE WORLD Emily Coleman considers Frida Kahlo's influence, ahead of an exhibition of her clothing at the V&A. From fashion to fiction, Frida Kahlo has left a lasting impression on the face of modern culture. Not only have her use of vibrant colours and iconic style motivated designers such as Louis Verdad and Jean Paul Gautier, but with the upcoming V&A exhibition, Making Herself Up, her wardrobe will be a hub of inspiration for the masses. Locked away in her home in Mexico for over 50 years, Kahlo’s wardrobe consists of an array of personal belongings, from eyebrow pencils to prosthetics to traditional Mexican clothes. Her husband, Diego Rivera, even once likened his wife’s iconic eyebrows to hummingbird wings.

But how did this style icon develop a brand that makes her the only female artist whose image is instantly recognisable across the globe?

her later work such as the world-renowned “The Broken Column” which shows her wearing a corset to aid her recovery. This is perhaps where the association of Kahlo within feminism and female empowerment in today’s society stems from.

Born in Mexico City in 1907, Frida Kahlo experienced a traumatic upbringing. Upon enrolling in the Mexico City Preparatory School in 1922, she realised that she was one of only a few female students. This fuelled her desire to succeed. However, in 1925, whilst travelling home from school, she was involved in a tram accident which left severely injured. Despite several serious injuries, including fractures in her spine and pelvis, the now bedridden Frida began to paint. She completed her first self-portrait the following year. Her accident also influenced

Not only is Frida Kahlo a feminist icon, but also a style guru.

Her outrageous mix of traditional Southern Mexican Tehuana dresses with Mayan huipil blouses and rebozo scarves from China and across Europe made her style completely unique.

This extensive mix of cultures and traditions is what made Kahlo a true pioneer in the industry. She saw fashion as not only aesthetic but also a type of symbolic uniform regarding race, gender and heritage. As she got older Kahlo used fashion as a way of rebellion against the years she’d spent as a young child hiding out of sight. Her intention was to challenge western beauty standards with braided hair and bold brows, which eventually led to the creation of her trademark look. She even began to merge her professional practice with her individual style by painting directly onto the fabric that she would then wear. “My Dress Hangs There” is a perfect example of how she glorified and empowered fashion and self-expression. Kahlo had a love of fashion and would regularly go shopping or commission pieces to develop her look. Her 1939 trip to Paris even inspired Elsa Schiaparelli to design the Madame Rivera dress in her image.

As well as combating adversity Kahlo also defied other stereotypes set for women in the early 20th Century. She challenged gender stereotypes by refusing to alter her ‘masculine’ features such as her monobrow and moustache.

She was also openly bisexual and had numerous affairs throughout her marriage to Diego Rivera, the most famous being with entertainer Josephine Baker.

Kahlo is still a key influencer in 21st Century fashion, with designers Rei Kawakubo and Alexander McQueen sighting her as their ‘muse’. Most recently the Chanel spring 2018 collection was inspired by how Kahlo “deviated from the traditional depiction of female beauty in art and instead chose to paint the raw and honest experiences that so many women face”. The collection acts as a tribute to the artist.

Kahlo was also featured in Riccardo Tisci’s couture collection for Givenchy in autumn 2010, which saw floor-length redcarpet dresses with the bones of the spine and rib cage

EYEBROWS AND INFLUENCE picked out in bugle bead embroidery and hand-painted with birds and monkeys.

This was said to represent the plaster cast corset worn by Kahlo to protect her damaged spine.

As well as being an activist for women she also played a huge role in the recognition of the LBTQ community and for people with disabilities. She was openly bisexual and her paintings reflect her exploration of what it is to be a woman and her struggle to find feminity. Kahlo frequently used cross-dressing within her work and deliberately used male drag to project empowerment and independence. This is shown in a family photograph from 1925, in which she wears a three-piece tweed suit, complete with shirt and tie. Her hair is tied back. Her stance is assertive, with one hand in her pocket as she looks towards the camera.

Kahlo also had a strong political voice. Not only was she the face of a bracelet worn by British Prime Minister Theresa May in October 2017, but she was also a keen communist and Mexican Nationalist. Upon joining preparatory school in 1922 she joined the Mexican Communist Party, within which she befriended other likemined individuals. Further in her career she was not afraid to paint stereotypical taboos including her injured body and miscarriage. “Henry Ford Hospital” famously depicts her laying naked on a hospital bed following a miscarriage.

Due to growing up after the revolution, much of her cultural identity was dedicated to respect and appreciation for the pre-Columbian Aztec civilization. Her fascination with her mestiza (or mixedancestry) heritage meant that motifs such as Aztec symbols, including monkeys, skulls, and flowers, featured in many of her paintings. She even became part of cachucas which was an informal group which rebelled against everything conservative, played pranks and discussed philosophy.

her influence is immeasurable, I think it is safe to say that Frida Kahlo was a true historical legend.

Whilst living in the United States Kahlo experienced the oppressive nature of capitalism and imperialism which saw heavily enforced class divides and segregation within society. Her later works seemed to celebrate her enthusiasm for Marxism and Stalinism, which she hoped would lead to the adoption of nationalism in Mexico. Just before her death Kahlo is said to have attended a protest against US intervention in Guatemala.

Frida Kahlo remarkably overcame adversity, fought for the breakdown of gender stereotypes, empowered women and had a strong political voice, all whilst maintaining the thoroughly eccentric image that we all recognise to this day. Her use of fashion and art as a second voice spread the passion that she felt and was paramount in creating the largely culturally accepting socially in which we thrive today. Although the true extent of

Photographs by Guillermo Kahlo Art by Gem Diaz

FASHION GOING GLOBAL PANEL DISCUSSION This week, Candice reflects on her experience at the Fashion Going Global panel discussion hosted by The Fashion Clinic, as well as the rapidly growing fashion industry in Nigeria.

On the 2nd of May, I was lucky enough to attend the Fashion Going Global event hosted by The Fashion Clinic at the London College of Fashion. Founded by the school’s MA Fashion Entrepreneurship and Innovation Programme, The Fashion Clinic is a community for fashion enthusiasts and entrepreneurs of all statuses and levels. Whether you’re a new, emerging, or already established business, their regular panel discussions can offer you advice, networking and collaboration opportunities.

Topics including, but not limited to, the global fashion industry and the effects of e-commerce were explored with fashion professionals Stephen Bardle, Andy Jefferies, Serge Carreira, and Angela Quaintrell.

On behalf of the UK government, Stephen Bardle, the founder of a jewellery e-commerce business, has advised numerous companies on international ecommerce. Andy Jefferies is the co-owner of Dock and Bay, a fast-growing travel lifestyle brand selling in 12 markets across the world. Lecturer at The Paris Institute of Political Studies, columnist for M le Magazine du Monde, and chief operating officer for London-based designer Mary Katrantzou, Serge Carreira shared his plethora of experiences and knowledge with us. With over 30 years of experience in high fashion retail, Angela Quaintrell was the head buyer at luxury department store Liberty and was one of the first to buy McQueen’s designs. She is currently a mentor to young emerging designers from the Vauxhall Fashion Scout programme and MA students at the London College of Fashion, and she also advises on the British Fashion Council showcasing fund. This impressive line-up of panellists gave us their tips and tricks and shared their thoughts on where fashion could be headed in the near future with the ever-developing digital world.

It's hard to condense all of the topics discussed during the 2-hour long discussion into a smaller space, but here are some key pointers that I took away.

To build a relationship with buyers, Serge’s biggest advice was to be yourself. He said, “You’re also selling yourself and your values as a designer, making people committed to you and believe in your view, vision, and creativity. Don’t try to be someone else.” Angela and Andy also advised on directly and consistently calling your buyers and trying to connect with them personally. Sliding into their DMs is also a less daunting option if calling just isn’t your forte, but establishing that trust and friendship will take your relationship from that of just a simple seller and buyer level to a more collaborative and inclusive exchange.

Legalizing and claiming the rights to every aspect of your brand and business was also a key factor that Serge stressed to start-

ups and new entrepreneurs. One needs to register everything when they first start. If another competitor decides to claim it first, attempting to reclaim your name, which is basically the face of your brand, will be very difficult and time-consuming. This can lead to more loss with the need to hire lawyers, months of court sessions, and so on.

The paperwork and documentation may seem daunting in the beginning, but once your branding is secured, you have more freedom to develop your own ideas and designs.

In the tradition of a panel discussion, the curious audience interacted with the panellists enthusiastically asking questions and sharing their thoughts and concerns over their businesses or future businesses. Attendees to the event included current students, graduates and alumni of the school as well as designers, entrepreneurs, and aspiring hopefuls.

Uzoamaka Ukegbu, a fashion consultant, entrepreneur, founder of the fashion company ANKA, and aspiring hopeful was one of the audience members who came across the session by chance during her vacation from Nigeria and decided to attend.

Coming from Nigeria, she told me how she never even thought of starting a fashion business there because of the huge differences in the fashion industry and economy itself.

Although skilled and talented designers are not scarce, the lack of power and infrastructure make working conditions really tough, causing a huge obstacle for the industry. There is limited access to major machinery and materials to help simplify tasks. Time is also often spent training and retraining workers as there aren’t a lot of institutions to train pattern makers, tailors, and so on.

Young designers, in particular, have policies placed upon them making it

even harder.

But, with the rapidly growing industry, more governments and corporations are making their investments to help with development, and fashion is being accepted more as a respectable art form of self-expression.

As part of the Commonwealth of Nations, the UK is one of Nigeria’s biggest trading partners, and trade relations will only continue to improve as a result of Brexit. Nigeria's local currency, the naira, will be added to the UK’s roster of “preapproved currencies,” which provides financing for transactions with Nigerian businesses denominated in the local currency increasing trade and support between the two countries. The Commonwealth Secretariat expected trade between the United Kingdom and Nigeria to increase from $3.7 billion to $4.5 billion post-Brexit.

Brexit is not ideal for everyone, but this could be good support and a boost for Uzoamaka and other Nigerian entrepreneurs looking to start their own brand. She told me that Nigerians don’t really have a passive income to spend on clothes, and it was only until recently that local brands and ready to wear businesses were introduced into Nigeria with shopping usually done abroad.

After listening to the panellists and discovering the possibilities, she is more inspired to develop her brand where she aims to produce ready to wear clothing at a high street to premium level. “I don’t think Nigeria is ready for me to start and house my brand there. The workshop basically helped me see how I can design as a Nigerian, sell to Nigerians but also distribute to other parts of the world as well.”

If you want to keep updated on her journey and just everyday style tips, follow her company on Instagram @theankaofficial!

If you’re looking for more free workshops and talk sessions with industry professionals, check out more of Fashion Clinic’s events on their social media pages below.

Networking sessions fueled by complimentary snacks and drinks are at the end of every panel discussion. They’re also free, so I definitely recommend signing up for a future event!

Social Media: Instagram: the_fashion_clinic Facebook: theualfashionclinic Twitter: icfthefashionc1

You can read and view more of Candice's work on Instagram by following @candice_x9 All images by Candice Wu

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THE MENTAL HEALTH OF DESIGNERS: WHAT THEY DON’T TEACH YOU AT FASHION SCHOOL This week, Ellie Dyson writes about the effects that perfectionism within the fashion industry can have on designers.

With Ian Bonhôte and Peter Ettedgui’s documentary “McQueen” premiering this month at the Tribeca Film Festival, it revives the conversation about the stress that designers may face during their careers.

The problems caused by perfectionism in the fashion industry have already been emerging, such as models sharing their horror stories of agents telling them to lose even more weight, and the terrible effects this has on their mental health. But there is another topic which isn’t acknowledged as much - that is the mental wellness of designers. Those working in a creative industry are 25% more likely to be affected by mental illness.

Fashion designers live with the pressure of staying on trend, releasing multiple collections every year, and are constantly networking. As Emma Hope Allwood said in ‘Dazed’(1), “In a

world of fast paced fashion, expectations on designers are reaching fever pitch - do we risk driving them to the brink?”

Lee Alexander McQueen was seen by others as successful but still had pain in his life, and obsessed over achieving perfection in his work. John Galliano admitted that he took on too much work, which resulted in him spiralling into substance abuse, and losing his position at Dior after a stream of anti-Semitic comments.

The media is insensitive. When a well-known personality reveals a personal struggle, it is used as fodder for tabloids to pick that person’s life apart and for the writer to decide at what point that person’s life ‘went wrong’. Fashion critics focus more on their public personas than thinking about the negative effects their comments have on a designer’s mental health.

A fashion designer’s work is never done, only continually improved - until the deadline dawns for the work to be submitted, and they take a step back, thinking phrases such as: ‘that will have to do’, or ‘if only I’d had more time.’

Top this off with the anxiety of fulfilling a client’s vague brief, and the fact that all they have to work from is that they want something ‘edgy’, and you’ve got yourself a negativity sandwich.

In a 2013 interview with Charlie Rose, John Galliano said (2) “We’re in search of perfection. We’re setting that bar impossibly high...”

So, what can designers do to prevent burnout?

Self-care Self-care is all about taking care of ourselves. It won’t specifically cure depression or anxiety, but when implemented it can be like a mental tool kit. If we look after ourselves properly from the beginning, it could prevent a burnout.

Several things prevent us from utilising self-care in our routine. We think things like: ‘Isn’t that ‘for girls’?’, ‘I have no time for this!’, ‘Isn’t it selfish to just focus on myself?’

The lesson here is that we need to learn what we as individuals are capable of. Ask for help if you need it, and most importantly, be kind to yourself.

Let yourself feel So many times, we might be ashamed of ourselves for being upset over a criticism we received. But why should we be ashamed for feeling this? Our work is an expression of ourselves, so of course it is hard when it is criticised.

Perfection is impossible, after all.

We shouldn’t block the emotion, but instead learn to be aware of it. The thought doesn’t define us, and it doesn’t make us weak. Instead, aren’t we stronger, because we feel this way but we still power on?

MENTAL HEALTH Self-care is often misconstrued as involving nail varnish and face masks, but it is more about actions we can take to maintain our general wellness. One of the excuses above is having no time, but there are techniques for busy people.

We can try drinking enough fluid, opening a window for some air, keeping our workspace tidy, preparing meals in advance, and most importantly, pencilling in some non-negotiable time to clear our heads, even if this just means taking a long shower.

It is important for designers, or everyone, really, to remember to look after themselves. Self-care is imperative to keep a person thriving, otherwise, just like Galliano and all the rest, it will be too little too late.

Learn your limits Mental health can be hard to discuss, and unfortunately even those trying to help can sound patronising. Sometimes, the only advice we hear from doctors involves going for a walk in the sunshine, or going to the gym every morning. This misses the point that people with depression and other mental illnesses struggle to find the energy or interest to do such things, with it even manifesting itself in physical symptoms such as the socalled ‘lead legs’, and slow movements. Busy designers and creatives struggle to find the time to dedicate to exercise because of the quantity of work.

There will be times when we are completely burned out with no energy. We might be exhausted and just be trying to make it to a deadline, but this is terrible for our health. People are like phones - the more you use them, the quicker the battery goes down, and so we need that screen-off time to recharge.

In the sink or swim environment of fashion, there is a pressure to be ground-breaking and push the limits of fashion every collection.

Sometimes, though, we tend to catastrophise situations.

We might discover that a design doesn’t look as good on the physical form as we had hoped, and our response is to think something along the lines of ‘I am terrible at my job, I will never be successful’. This is assuming the worst and is therefore not an appropriate reaction. Next time you catch yourself thinking in an all or nothing way, try to take a step backwards. Do you really know for sure that this scenario will happen?

It’s been eight years now since McQueen ended his life, and as the time has passed, it feels like people have forgotten how brutal the industry can be. The standards are so high, with every collection having to top last year’s, that it is only a matter of time until another creative feels the pressure of perfection.

However, the sooner we realise that perfection is impossible to achieve, the sooner we can take a step back, and make taking proper care of ourselves a priority.

Sources: (1) Dazed article http://www.dazeddigital.com/fashion/article/23582/1/menta l-health-in-fashion-it-s-time-to-talk (2) John Galliano interview https://www.youtube.com/watch?v=2rZtTFfFIHk Images from top of article via Pexels; Pexels; Ed Kavishe; Damian Cugley

AN EVOLUTION OF THE K-POP INDUSTRY AND ITS FASHION Malvika Padin introduces our new feature: exploring a genre of music and how it is tied into a particular fashion.

From The Backstreet Boys, to the Spice Girls, to NSYNC, S Club 7, Five, Take That and many more, the 1990s was a landmark decade for western pop bands. With their sharp choreography, matching outfits and cheesy, loveable chemistry, they rose to popularity among all ages.

Meanwhile, a similar movement was brewing in Asia. In South Korea, a few pop bands came together - after years of rigorous training - taking influence from the West. More commonly known today as K-pop, South Korean pop music- with a growing share in the global market, and with local interpretations in the musical markets of China, Japan, India and Southeast Asia - has developed into a genre in its own right.

Much like 90s western pop, the genre is well-known for its use of heavy choreography and uniform outfits. Contemporary Kpop sounds much like western pop, taking stylistic influence from western hip-hop, pop, rock, EDM and more. With lyrics that blend English with their local language, its popularity among non-native listeners is always on the rise.

What sets K-pop apart from the West is its visual element. With amiable, clean personalities - both individually and as a group it is their impeccable physical appearances that sell. With bright colours, short skirts, and a dominant cutesy-sexy narrative, all of which remained prevalent from the dawn of the industry in

the 90s, K-pop is a genre that is massively tied with its surrounding fashion industry.

With cinematic music videos that verge on over-the-top, and with both men and women in the industry dealing with the oppressive beauty standards K-pop holds, conformity to one particular image is sacred in K-pop. Everyone ends up looking and dressing the same.

Male and female artists produced by K-pop are often almost carbon copies of one another, with similar skin tones, body shapes and facial structures. With its blend of hypermasculine/ hyper-feminine fashion, the industry has sometimes led to the development of a devil-may-care attitude towards self-expression and individuality among young fashionistas.

However, things are changing. As seen at Seoul Fashion Week Spring/Summer 2018, which showcased an array of different looks ranging from the 90s boy bander looks – reminiscent of the K-pop group that started it all, H.O.T to an amalgamation of punk influences with pop, to attain a style that can only be defined as “K-punk”.

With 90s-influenced looks ranging from brightly coloured plaid button-ups, cartoonish T-shirts, and boxy bright jackets to loud sneakers, oversized sunglasses, various flamboyant hairstyles and blue-pink neon dyed tips, there seems to be a new era of style emerging.

The acceptance of piercings is a major step forward. Taking influence from punk, piercings have come to be another major accessory trend – besides coloured contacts - among K-pop stars.

In conservative, traditional South Korea, both men and women tend not to get facial or excessive ear piercings for the sake of gainful employment and to avoid prejudice.

However, recent times have seen many K-pop stars getting their ears pierced- from multiple ear piercings to loud, dangling silver earrings- and beyond the industry there have been a handful of septum piercings done among young fashion-lovers.

Another step up for the K-pop industry would be embracing androgyny. An example of this is girl group FFC-Acrush from China - who have found notoriety due to their efforts to break from the traditional mould K-pop has for girls. They have refreshingly said that they all enjoyed dressing androgynously prior to starting the band. This band, with their refusal to conform to the dominant narrative among K-pop girl groups, present some hope that K-pop may find space for greater diversity.

K-pop is catchy, creative and fun to dance to, but the issues rumoured to go on behind closed doors hang over the industry.

However, groups like FFC-Acrush show us that things may be improving and that K-pop can reclaim the glory of the golden era of the 90s.

THE EVOLUTION OF K-POP

Images from top of article by: Ellin Y; SJ; bonobono; acrofan.com

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FRANCESCO LO IACONO Francesco Lo Iacono's illustrations provide a fresh perspective on London Fashion Week talent. Currently based in London, the Italian is a Cass Art Professional Watercolour Ambassador and tutor of a Fashion Life Drawing Class at the Cass Art flagship store in Islington. Follow him on Twitter @franloiacono for amazing new illustrations on the daily, and a constant look into the fashion trends happening around the world.

The work in this showcase includes designs from Christopher Kane, Wales Bonner, Christopher Raeburn, JW Anderson, Lou Dalton, Matthew Miller, Tata Naka, Cottweiler, Richard Malone, Teatum Jones, Bora Aksu, Craig Green, and Mary Katrantzou. Want to play along? Test yourself by matching up the illustration to the designer.

Check if you got the answers right at https://www.francescoloiacono.com/

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FASHIONED FROM NATURE: WHAT FASHION TRULY GIVES Nadine Gan attended the V&A's Fashioned From Nature exhibition, to explore the connection between fashion and the natural world.

The V&A’s latest exhibition, Fashioned from Nature, showcases the relationship between fashion and our planet Earth. Dating back to the 1800s, the exhibition is divided into twomfloors and brings us through a timeline of the evolution in fashion manufacturing and production that correlates closely to nature.

Supported by European Confederation of Linen and Hemp, the exhibition raises two questions; 1. How can we design a more sustainable fashion industry? and 2. What can we learn from the past?

From the embroidered patterns of flowers and leaves on 19th century dresses and vests for men, it can be seen that couturiers were making use of nature as a source of inspiration and even social classification in some cases. Alongside plant life, animals and insects also had a great influence in fashion. The features of birds such as the beak, feather and claws were mimicked and incorporated into fashion garments. One of the popular styles was capes or coats that gave a silhouette like bird wings.

However, the exhibition also brings to light the ugly truth of how fashion kills. Due to the fact that in the past it was harder to mimic animal features into a fashion garment, couturiers used real animals for their fur and feathers, and even beatles for their iridescent shells. The tails of stoats, a kind of weasel, were commonly sewn onto laces on dresses. One of the largest birds

, albatrosses, were slaughtered for their breast feathers.

They were used for luxurious fashion pieces including ladies’ muffs. Plants were also affected by the production of fashion since the 19th century. Over time, the industry changed its methods of producing the various kinds of textiles, from cutting down rubber trees for elastic garments to manufacturing glass fibre for yarn. The process of dyeing and bleaching also gave out harmful effects to the planet. In the past, dyeing had to be done with natural resources as they did not have the technology to use synthetic materials, which led to the cutting down of millions of redwood trees for their natural coloring. Then, as time changed, the industry figured out a different method and made use of man-made dye, however the process caused pollution and left a huge carbon footprint. This is despite the fact that the awareness of fashion as a polluting industry was already raised back in the 1800s.

On the second floor, case studies on the unequal relationship between fashion and nature were on display. They explained the contemporary issues the industry faces which include climate change, waste, modern day slavery, land use and biodiversity loss. The impact of these issues was also shown.

One of them was the major size reduction in the South Aral Sea. Parts of the sea were diverted to irrigate cotton plantation in the area.

Alongside the harmful effects fashion has produced, today’s designers and brands showcased their innovative solutions to fashion sustainability, including Vivienne Westwood, Nike and G-Star. Independent and upcoming designers also displayed their eco-friendly recycled textiles alongside statements showing a step-by-step of their manufacturing process, explaining how they’ve produced a smaller carbon footprint compared to the current fashion production process.

Overall, Fashioned From Nature was an eye-opening exhibition. The truth behind the fashion industry has never been exposed in a more clear-cut, concise manner. Not only did it raise awareness of the importance and urgency of fashion sustainability but it also raised questions as to whether or not it is worth it to give into the consumerist culture after knowing all of the consequences it brings to our planet Earth.

Image via the Victoria and Albert Museum, London

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A/W 18

Front cover: Francesco Lo Iacono Back cover: GM Events