INTERVIEW WITH SANDER GEE . THE ROYAL WEDDING . LEVI'S DEADLY SECRET . BOHO CHIC
IC FASHION . REGENT'S UNI GRADUATES . CAITLIN PRICE . MAKE IT BRITISH LIVE
ISSUE 16 MAY 24 2018
LONDON
RUNWAY
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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 Features Editor: Rachel Parker features@londonrunway.co.uk Contributors: Caz McKinnon, Laura Foster-Delaney, Ian Clark at PhotoByIan Special thanks to Sander Gee, Giulia Mio, and Liza Georgia
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
In the grand old English tradition: how about this weather, then? It's like the sun came out just for Harry and Meghan. Whatever the cause may be - and we suspect it's merely meteorological - we've been enjoying the hot and sunny London day. It's also presented us with lots of opportunities to stroll around busy events, packed with people enjoying glasses of prosecco in their sunglasses. Over the past fortnight, London has proven once again that even if it might not be Fashion Week, there's still a lot of fashion going on. Perhaps it's this unrelenting dedication to all things trend that brings many visitors to our shores, looking to make their way in the fashion industry. Since the last issue, we've spoken to four individuals who each came to London because of the opportunities it presents in this sector. Those interviews are coming up, so look out for them soon.
Well, we headed out to a few exhibitions and pop-up shops, as well as the latest IC Fashion event - always a treat. Plus, we couldn't resist a trip to Make It British Live, a fair celebrating all things made in the UK. Like all of you, we also oohed and ahhhed over the dresses and suits on show at the event everyone has been talking about: the royal wedding. We've got some highlights from the event of the year and its impact on UK culture, so don't miss out on that. Of course, we never like to rest on our laurels (or, indeed, our yannys), so we're bringing you a new feature towards the back of this issue as well. We ask a question, you give us your answers. From members of our team to fashion professionals and to our readers, we record the best and most interesting responses.
As for the future, we're looking forward to welcoming our new Arts Editor and News Editor soon - and we're also open for new graphic design and stylist internships, as well as a music intern. Apply via FashionJobs or get in touch directly. 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!
Follow us on Instagram at @londonrunwaymag to follow along we'll be asking these big questions before each issue release. We say big... we mean silly! It's all in the name of good fun.
What else have we been up to?
RHIANNON D'AVERC
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CONTENTS Photography Regent's University Graduate Show - 7 London Designer's Collective Pop-up - 18 Caitlin Price - 28 IC Fashion Event, Soho - 32
P32 Features Fashion News - 4 How Green Are Your Jeans? - 16 The Imitation Game - 22 Interview: Sander Gee - 24 The Wedding of the Year and the Statements Made - 29 The Magic of Boho Chic - 31 Make It British Live - 36
P7
The Big Question - 42
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via David Beckham/Instagram
FASHION NEWS DAVID BECKHAM BECOMES AMBASSADORIAL PRESIDENT OF THE BFC by Rachel Parker
The BFC is the UK’s main non-profit trade group for fashion designers, supporting and promoting the British fashion economy in the global market. David Beckham will contribute to encouraging links with Asia and the USA, endorsing up-and-coming British designers on the world stage, and advancing international investment in UK talent. “We are thrilled and excited to welcome David to the British Fashion Council as Ambassadorial President,’’ commented Stephanie Phair, chair of the BFC. ‘‘David has been inspired by our work with emerging talent and education and his business acumen, global reach and passion for promoting talent and education make him the perfect Ambassadorial President to propel our industry into different corners of the globe.”
The star will also support the BFCs education and outreach schemes, visiting programs aimed to engage young talent such as BCF run clubs, scholarships and apprenticeships. In a statement, David Beckham said, ‘‘Taking on this new role is an incredibly proud moment for me. I have long been passionate about British style, fashion and craftsmanship and this role gives me the chance to get under the skin of an industry I love. I am excited to be working closely with the British Fashion Council to promote and inspire young talent, from across the UK, on a global scale. The fashion industry is one of our best preforming global exports and I am looking forward to working with our future leaders and supporting the BFC in their global ambitions.”
via David Beckham/Instagram
The British Fashion Council (BFC) have announced the appointment of David Beckham in their newly created role of Ambassadorial President. The retired footballer will assist the organisation in building worldwide networks and nurturing support for the fashion industry on a global scale.
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FASHION NEWS NEW BRAND COLLABORATIONS ANNOUNCED by Rachel Parker
Nike have revealed their new partnership with Matthew Williams, founder of luxury streetwear brand Alyx. Williams uses youth culture and street aesthetics as a muse, drawing on utilitarian, subversive and underground style inspirations. Nike hopes the designer will integrate cultural relevance with functionality, giving a new edge to their popular training gear. Nike explained that: ‘‘Collaborating with Nike, Williams has produced a collection that gives a human touch to a data-driven, purpose-led series of training shirts, trousers and accessories for men and women.’’ The collection will feature a wide range of sportswear and accessories, including socks and towels, and will be released on July 12th.
Activewear isn’t the only sector to be revitalised by a fresh collaboration. House of Hackney have announced they have been working with high-street brand & Other Stories, bringing their sumptuous prints to Scandi simplicity. The luxury interiors, fashion and lifestyle brand, founded by wife and husband Frieda Gormley and Javvy M Royle in 2011, is known for reworking tradition through their use of elaborate print and audacious colour. Meanwhile, the Swedish retailer & Other Stories focus on producing high quality clothing and accessories for women to build their own personal style stories. The collaboration promises to marry the best of both brands, with the & Other Stories Website advertising ‘‘a collection of summer must-haves that encourage a style filled with playfulness and extravagance.’’ The designs will also foreground sustainability, with the clothes predominantly made from organic cottons and naturally derived fabrics. Items from the collaboration will be available in selected stores and online from May 24th - time to start saving up.
via Nike
Attention, fashion fans: two exciting new collaborations have been announced. Brand collaborations are a perfect opportunity to combine luxury design sensibilities with high-street trends and affordability, and in turn to reinvigorate our wardrobes.
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FASHION NEWS ASOS FASHION DISCOVERY WINNERS ANNOUNCED by Rhiannon D'Averc ASOS have announced the winners of their Fashion Discovery competition, in which brands competed for the chance to be stocked by the online retailer. Votes from members of the public added up to give Desree Akorahson the People’s Pick award, while Lyph and Wesley Harriott were selected by a panel of judges. With opinions from Lazy Oaf’s founder Gemma Shief and style influencer Susanna Lau, the CEO and head of womenswear buying at ASOS – Nick Beighton and Jo Hunt – were in good company. Between them, they settled on two brands to receive the grand prize of one-to-one mentoring, at least two seasons of sales on ASOS, and a £50,000 investment. Desree Akorahson will also be stocked on ASOS for at least one season.
functionality into the mix to create clothes that can be worn by anyone. Meanwhile, East London’s Wesley Harriot are all about multifunctional fashion. They produce and source their neutral colours and unique silhouettes in the city, incorporating design details like cargo pockets to ensure that their clothes are useful as well as wearable. It was the bold and vibrant 60’s style of Desree Akorahson that caught the eye of the public. Floral embellishments, oversized details, and exaggerated shapes are combined with striking patterns and bright colours to make an impact.
Lyph’s designs are characterised by unisex cuts, offering a genderless feel which rejects convention. They incorporate elements from both menswear and womenswear, bringing
via ASOS
L-R: Desree Akorahson, Wesley Harriott, Lyph
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REGENT'S UNIVERSITY LONDON GRADUATE SHOW Regent's 2018 Graduate Fashion show, held at the Truman Brewery, showcased the work of some up and coming designers whose work may just be coming to a Fashion Week near you. Hailing from all around the world, these young designers brought their visions to life for their graduate collections. Each has its own style and charm, and each speaks of a fresh new talent that we are excited to see grow and develop. Designers include: Takwa Dalbani Alison De Meirsman Laura Gadža Čermak Rojia Hatami Srimah Khan Celine Klein Kripali Rajwani Unnati Shah Ilyes Ouali Ziyu Wu Photography by Ian Clark
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HOW GREEN ARE YOUR JEANS? THE FASHION INDUSTRY’S IMPACT ON CLIMATE CHANGE Laura Foster-Devaney reveals the environmental implications behind your wardrobe. Usually when one thinks about climate change induced by air pollution, images of huge power plants spewing out gargantuan clouds of polluting smoke and lone polar bears leaping from sparse iceberg to sparse iceberg spring to mind; situations that are far removed from our daily lives. What doesn’t occur to us is that an integral part of our everyday appearance impacts the future of the environment on a monumental scale. As noted by Professor Dilys Williams from the Centre for Sustainable Fashion at London College of Fashion: “Fashion holds up a mirror to society, showing what’s going on in economic, cultural, social and environmental terms.” A recent report on the environmental effect of Levi’s clothing brand proved shocking, revealing a pattern of negligence towards climate change awareness throughout the fashion industry, and comprehensive policies to prevent it. The report made by Stand.earth claims that the internationally renowned denim company has “dragged its feet” on making any changes to clothing production within the supply chain, resulting in a factory pollution output equalling that of 1.1 million cars. Such laxity from a leading figure in the world of fashion reflects an issue which is troubling industry-wide. The fashion industry in general is responsible for approximately
8% of air pollution, which in itself does not seem representative of a huge percentage, yet when compared to the 9% produced by the entire continent of Europe, it is particularly shocking. Not only that, but countries where the textile industry is at its most prolific – with large fashion companies typically situating their factories in Asia - are also the countries that suffer most from the effects of toxic levels of air pollution and are directly impacted by climate change. In this way, a melee of environmental issues produced by the fashion industry results in approximately 38,000 deaths per year. Such fatal repercussions from the energy usage of just one popular industry puts a significant death toll on each item of clothing that is bought, bringing this rapidly worsening issue into shocking relevance. The textile industry in China is the largest in the world, and is therefore the main contributor to emissions within the fashion industry’s polluting output. As the location of 150 Levi’s factories, it is worrying that 70% of the country’s electrical grid is powered by coal, the combustion of which, according to Tsinghua University and Health Effects Institute, is “the single largest source of air pollutionrelated health impact”. Within China alone, 1.6 million people die per year from air pollution; this, paired with other climate change-induced factors creates dangerous surroundings for fashion’s most prolific contributors. Air pollution and change in weather and sea conditions are not the only noticeable impacts from the fashion industry’s environmental negligence. The production of cotton, as perhaps the most widely used natural fabric, involves a surprisingly wasteful farming process, where a yield of 1kg of cotton requires 20,000 litres of water. Furthermore, the increasingly disposable nature of garments made from synthetic materials such as nylon and viscose pose a threat to the biodegradability of clothing when disposed of. A prevalent example of clothing pollution is the world’s most popular summer footwear: flip-flops. Huge swathes of rubber sandals end up in oceans worldwide, contributing to shoreline waste, which is detrimental to wildlife and seaside ecosystems. A solution to this problem has been postulated by Algenesis Materials, a start-up that has managed to create a foam-like material derived from algae. It is perfect for making flip-flops and will biodegrade far more rapidly than the traditional rubber formation.
HOW GREEN ARE YOUR JEANS? Though the largest fashion brands are, according to standfashion, “dragging [their] feet” concerning environmental sustainability, smaller labels are picking up the slack. Lines such as Raven & Lily’s create hand-loomed cotton clothes made in Africa’s only carbon-neutral fair trade factory, meaning their pollution output is at an absolute minimum. Nae is a Portugese footwear brand that uses sustainable materials for the linings of shoes, where the manufacturing system is carbon neutral, again reducing the brand’s carbon footprint significantly. These are just two small examples of an increasingly widening market which hopes to counteract the heavily detrimental effects of the popular fashion industry, which, if it continues to neglect its environmental responsibilities, could be a key player in the rapidly approaching climate catastrophe.
All statistics via “Levi’s Too Deadly To Wear” report by Fashion Stand Earth Laura's Twitter handle: @DevaneyFoster Images via Pexels
The London Designers Collective Meet the Maker pop-up store launched to great success, if the tight squeeze trying to get in was anything to go by. Guests spilled out into the street, wielding vodka sodas and cans of Karma Cola. The store was open from the 17th until the 24th of May, and offered a delightful array of clothing, accessories, and more for customers to browse.
LDC POP-UP LAUNCH PARTY
We enjoyed seeing statement handmade jewellery from Linnie Mclarty, which was made from Fairtrade silver and gold. House Thirteen presented jewellery handmade by craftsmen from Bali, and we were enthralled by the delicate and intricate shapes of Ware London’s earrings. Gung Ho Design showcased organic clothing made in London with connections to social and environmental issues in their designs. REIN created laser cut satin dresses made in London. MAARÏ Porto Cervo showed us her swimsuits, made from reclaimed fishing nets which would otherwise be polluting the oceans. Mayamiko is all about making women feel great wearing their clothing – and ensuring that the women who make the clothing have a great life too. Cossac’s clothing is sustainably made too, with a real focus on branding and marketing from the label’s founder. Figure of A presented some interesting shibari-inspired rope pieces: the designer told us she’s all about bringing this trend out of the world of kink and into the world of fashion.
We were also treated to items from WWAN 1, Jennifer Hamley, Black and Brown London, House of Khadi, Afina London, Wax + Wick Workshop, Bourgeois Boheme, and Pala Eyewear. Standout piece? It had to be the bright orange bag from vegan brand Fabrikk – which is made from cork leather.
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THE IMITATION GAME Following legal disputes by Adidas and Burberry over copycat designs, Rachel Parker considers the issue of counterfeit fashion and its impact on small businesses. They say imitation is the sincerest form of flattery, but when it comes to copying clothing designs, few brands take the compliment gladly. The past few weeks have seen two cases of legal disputes between high profile brands, each claiming that their trademark designs have been stolen by rival companies. At the beginning of May, fashion house Burberry filed a lawsuit against US high-street retailer Target for producing ‘‘unauthorized copies’’ of their iconic check print on a number of their products. Burberry assert that Target’s reputation for collaborating with luxury brands may lead to ‘‘consumer confusion’’, adding that ‘‘although Target’s copycat scarves are of inferior quality, they are superficially indistinguishable from genuine Burberry scarves’’. Meanwhile there have been further developments in an ongoing dispute between Adidas and Skechers. Adidas filed a case against the rival activewear brand back in September 2015, alleging that Skechers had copied their trademark Stan Smith tennis shoe. Earlier this month, a US court of appeals upheld an injunction preventing Skechers from selling the similar design, which Adidas claim may damage their brand reputation. Designer rip-offs are nothing new, with fake Louis Vuitton handbags and counterfeit Gucci T-Shirts on seemingly every market stall and street corner. With the advent of social media, it is becoming increasingly difficult for high fashion brands to police imitations of their designs, with runway shows immediately available to view online and copies produced almost instantly. For those who can only dream of owning a luxury label, these
reproductions represent fashion democratisation: giving consumers an opportunity to purchase a designer item, albeit a knock-off. But brands such as Adidas and Burberry claim that these cheaper alternatives are confusing and damaging, undercutting their reputation for premium quality. It’s not just big name brands who have been affected by imitations of their designs. Smaller businesses and artists are also feeling demoralised by creative copycatting, particularly when their work is replicated by more established companies. Earlier this year, George at Asda were slated across social media after independent children’s clothing brand Scamp & Dude posted a complaint on their Instagram feed, claiming that the supermarket giant had used their trademark slogan without permission. ‘‘Please note that this top by @georgeatasda is in no way associated with Scamp & Dude’’ wrote founder and designer Jo Tutchener-Sharp. ‘‘It does sadly feature our slogan 'a Superhero has my back' (even though we own the Trademark) but it is in no way associated with our brand. It’s so upsetting when this happens.’’ The designer went on to explain the story behind their logo, writing that she was inspired to create a brand to help children feel secure when apart from their carers after she was forced to leave her own children during a hospital stay. For Jo, the Asda imitation was upsetting on an emotional as well as a professional level. Luckily, the backlash against George at Asda from members of the public and other independent businesses led to the supermarket agreeing to remove their garment from sale. Scamp & Dude wrote on their Instagram that ‘‘we have now agreed full terms of compromise, including compensation. We are happy with the way this has been resolved.’’ In fact, the exposure resulting from the internet storm has only served to raise the profile of the brand. As Fanny Barlow of makeup brand Mermaid Salon explained when we caught up with her at the London Edge trade show earlier this year, design imitation can be a double-edged sword. The Australian company saw their now cult range of Chubby Mermaid Multipurpose Brushes sell out in just six minutes after the brand went viral, but the exposure spawned a wave of copycat designs. A factory even contacted Fanny to ask if Mermaid Salon would like to purchase the imitation brushes. ‘‘I said no- well, I said something worse than that!'’ says Fanny. ‘‘They flooded the market about three days after we went viral. They popped up really quick. It was a little bit heart-breaking, but at the same time, I can’t complain because that brush put us in Vogue.’’
THE IMITATION GAME This is a sentiment echoed by Melbournebased milliner Liza Georgia. Each of her hats are unique and created to suit the individual client. Although she has never personally had designs taken by other brands, she tells me that ‘‘it sure would be devastating if this ever happened.’’ As she points out, the costs of developing ideas and the skills to bring them to fruition are much higher for smaller designers than big-name brands. ‘‘I design and make hats because I love and enjoy making them. I also enrolled and paid to develop my art at college and then for your work to be copied, it would be heart-breaking. An artist always has lots of ideas developing in their head and thinking outside the box and spends so much time creating and perfecting techniques with materials for their next collection.’’
Fanny Barlow is more pragmatic in her approach: ‘‘I think I'm desensitised at this stage to copies. You just have to take it in your stride, it's not worth the heartache. Just make something else.’’ "There is not much I can do to protect my designs. Like everyone else, I massively use social media for my promotion, so everything is out, available to everyone to see," says milliner Giulia Mio. "There is copying and copying. Everyone looks at the big masters of their craft for inspirations… blunt copy, to me, is theft. I mean, if you use the same fabric, the same shape and the same trims on a hat and then you sell it half price, you are not being "inspired" by my designs, you are just stealing my ideas to sell them for a cheaper price. Shame on you! "
Find Rachel on social media with @rachelfrances_
While independent fashion brands speak of the emotional impact of seeing their designs copied, most are unable to face getting embroiled in a legal dispute. Despite cases of Instagram artists having their work used on garments in several well-known high-street stores in recent years, the costs of challenging a multinational corporation are impossible for most to take on.
Whether or not there truly is no such thing as a new idea, it’s clear that when it comes to creative copycatting larger designers have the financial upper-hand. But cases such as the clash between Scamp & Dude and George at Asda show how smaller brands can harness the power of social media to speak out. Meanwhile, the advantages of going viral like Mermaid Salon can outweigh the issue of imitators. But seeing hours of creative development For Liza Georgia, the imitation game and carefully honed skill ripped-off by a comes down to a question of ethics. ‘‘If rival company can be devastating for any people can’t come up with their own ideas artist. From big names like Burberry and then maybe they should rethink Adidas to smaller designers such as Liza a different area to go into. It’s just not fair and Fanny, the question of fashion for big companies to go off-shore and have counterfeits is not just business: it’s your product copied for a cheaper version personal. and mass produce it.’’
Images from top of article: Instagram/Sneakerflanks; Instagram/Scamp and Dude; Instagram/Scamp and Dude; London Runway
SANDER GEE INTERVIEW
We spoke to 28-year-old creative Sander about his work with Burberry, Ozwald Boateng, and other exciting brands. Hi! Let’s start with who you are and what you do. I’m Sander. I’m from Belgium – from Antwerp. They call me Sander Gee because it’s easier to say than my full surname! I’m a graphic designer and art director. I didn’t study fashion, but a lot of my jobs are in fashion. I have my own studio.
"IF IT’S YOUR PASSION, YOU JUST WANT TO KEEP GOING" What brought you to London? I came in 2012 to Ozwald Boateng. I had a job offer in Saville Row as a graphic designer. I stayed there for one year. It’s a very small company, so you have a variety of stuff to do – the design team is very small, so you have to be very flexible. It’s not just making a poster – it’s social media content, magazine content, making sure that everything has the right line. So, that’s where the art direction comes in – making sure that the communication is always clear and to the brand throughout. After one year, I decided I wasn’t really learning anymore, I needed more challenges. I started my own company officially. I was already doing some stuff in the evenings – if it’s your passion, you just want to keep going, you know? Within that year, I made a lot of new contacts, then I started to work for Burberry freelance. They hired me for a try-out for three weeks. They extended it to three months, and eventually, I’m still doing freelance work for them! They offered me a job a few times, but because I like the variety, I like to work with a lot of different people, I like to have my own thing. Once you get into a big company, you’re always going to do the same thing, it’s very hard to grow. What’s your philosophy now you’re more established? Once you’ve proven yourself, people like you. There’s a lot of people that want to be in your shoes, so deadlines are super important. Make sure that the client is happy. Even if you have to sleep three hours a night, whatever.
If you make that client happy, you’re making a long relationship. It seems like you fit well in London. I’m still in London, I moved out for a bit because I had a girlfriend in Montreal. That didn’t work out. I was figuring out what to do. I travelled the world a bit while I was still working, to maintain my clients. I didn’t want to disappoint anyone. I was a bit of a nomad for a year. London had always treated me well, so I decided to go back. I had my friends and connections, I didn’t want to lose them. How’s your work-life balance? After my travels I realised, the first few years when I was in London, I had to prove myself, so it was work, work, work. You forget about your friends and your family. After being in
the jungle for a few weeks, I learned from the locals that family is really important. I came back with that. So now, I still have my own studio, I still work for big companies, but I also work for start-ups because I know where I come from. If they don’t have the money, fine, we’ll figure something out. I know it’s very hard. So now, I’ve been here for six years, I’m getting that balance with work and family and friends. That’s where I’m at now. Where do you look for inspiration when you’re working with a client? When you work with a client, you have to understand the client. A very big project that I’ve been working on for two years is in Florida, in Miami. Everything was by phone. I hadn’t met him until we’d been doing the project for six, seven months. That was the first time he flew me over. Once I was there, my goal was really to understand the audience of the brand. I asked Miguel to show me to the places where the potential client goes – if it’s hotels, restaurants, leisure, whatever – so I can really go into the world of this client. That’s where I get the inspiration on – really understand the brand before you can create something. What is your proudest moment? I just really like building something from scratch and seeing it come to life. Seeing that the client is really happy with it, and the communication was well-executed. Let’s hope the client from Florida really works, because that is a major project – I really hope that is something that will succeed in the long run. I just got promoted to the creative director, because I’m literally doing almost everything visual. He’s the mastermind behind the company, and we still discuss things together. I did the whole branding, I gave them contacts for designers in Italy, for
factories. I’m the middleman between Miami and Italy. I needed to check out that the client was happy. The Italian designers came to London, so I organised a shoot, so at that point I was a producer. Fixing models, fixing a studio, fixing a photographer. Lookbook done! Next stage, bringing the clothes to Miami, showing them to the client with the lookbook. Next step is the website, the online platform. So, if that comes together, if that comes into a store, I’m happy for sure! What is your personal style? I like timeless pieces. Pretty plain, I’m not too loud, although you need to have some key pieces in your wardrobe to stand out. Even if you go full black, with pink shoes or yellow shoes, that’s a statement. Fashion… I like how it is changing, because I don’t like fast fashion. That’s probably because I didn’t study at a fashion school, I studied graphics. I like things that you can wear for a longer time. So that’s where my fashion vision lies. Do you have any unwritten rules? No! Go with the flow, be open to new ideas. I might say ‘no’ in the beginning. But then let me think for 5 minutes and I might say, “Wait a second, I’m really sorry I reacted that quickly, but this could be a cool idea”, and then we can create something. When I work with a creative, or someone who’s out of their mind – which happens a lot in this world! - I’m that guy that might balance it again, so it’s cool to work with a super creative person. We can take a few steps back and bring it to life. Is there anyone you aspire to be like? There are a few people that I follow,
Images, from top of article: Sander in Soho; Playground design for JW Anderson at Dover Street Market; Liberty London window display; Band of Outsiders website; Ozwald Boateng window display; St Beex branding; St Beex creative direction; Raw Taste campaign shoot. Except Sander in Soho, all images provided by Sander Gee
their mentality or their vision – I can’t say any person in particular. I think it’s important to do your own thing at the same time. Get all your inspiration from others, take the best parts, and just build on that. What’s coming for you up that’s exciting? The big Miami project, we’re doing a launch in September, so we’re working on the launch party now. It’s not just going to be clothing, it’s more like lifestyle, so we’re going to invite in a chef, get a few people to talk about health and food and moving. Just create a world that customer really values, that is a very big project. There is a handbag and accessories company, Amal Fashanu – she’s the daughter of the famous footballer - we’re working together now to lift that brand up a bit more. There’s a company in Antwerp that just reached out to me, they want to start a new label as well inspired by motorbikes. I’m going to do their branding and their vision, of course using their moodboards. There’s a guy I had a call with this morning as well, he’s an African designer. He wants to be kind of like Ozwald Boateng, so he said “I need you because you’ve been there, let’s work together”. I’m working on his branding.
Find Sander online: www.sandergee.com
"WHEN YOU WORK WITH A CLIENT, YOU HAVE TO UNDERSTAND THE CLIENT"
CAITLIN PRICE POP-UP Sports-luxe womenswear brand Caitlin Price held an exhibition and pop-up shop at the SWIM XYZ concept store from the 17th to the 20th May. Caitlin Price was born in South East London. She graduated from the Central Saint Martins MA Fashion Womenswear course, and launched her eponymous brand in February 2015 as part of Lulu Kennedy's Fashion East initiative. Her brand was shortlisted as a semi-finalist for the LVMH prize for young fashion designers in Paris 2016. The brand has been worn by numerous high-profile celebrities and artists including Bella Hadid, Ariana Grande, Rita Ora, Camila Cabello, Jorja Smith, Katy B, Little Mix and Ray Blk. The event offered a chance to shop the new collection, as well as pick up some archive pieces. When we dropped by, models were gleefully trying on various items and hopping out into the street for some quick shots with a photographer!
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THE WEDDING OF THE YEAR AND THE STATEMENTS MADE If you missed the wedding of the year, Candice shares a little recap and her thoughts on this momentous day and its social and economic influences on Britain. It’s almost wedding season, and what better way to start it off than with a Royal Wedding? Prince Harry and Meghan Markle, now the Duke and Duchess of Sussex, tied the knot on the 19th of May inside the beautifully decorated St. George’s Chapel in Windsor Castle. Over 100,000 people lined the streets around the castle to catch a glimpse of this magical, fairytale-like moment and congratulate the love birds. Many traveled from all over the world to be a part of the ceremony, but this wasn’t your typical royal wedding. With minor yet praiseworthy tweaks made to fit the more modern times, this is one wedding for the history books. The Issues Let’s start with one of the most controversial and major “issues.” Meghan is a divorced, biracial actress from America, but she owns it! With a Caucasian father and African-American mother, many criticised Meghan for her race and even went as far as to say that her addition to the royal family would “taint” it. A woman of colour has been a taboo for such a long time dating back to the slave era. Deemed as undesirable and impure, divorced women were also not considered ideal wedding partners because of their seemingly tumultuous past. But Meghan essentially broke all of these outdated social stereotypes in one sweep. During the ceremony itself, Meghan confidently went through half of the processional on her own. Although this was because of her father, Thomas Markle, being unable to attend the wedding due to health reasons, it left a
resonating impression and statement. When she later joined up with Prince Charles during the latter half of the processional, he stepped behind her instead of “giving her away” to Prince Harry. She also didn’t vow to “obey” Prince Harry, which was of no surprise as the new Duchess is an avid supporter of gender equality and a UN women’s advocate. These might seem like minor details, but it leaves a lasting positive influence on girls of younger generations. Born in Los Angeles, California, she’s also the first American since 1937 to be married into the royal family, which I think is awesome as an American and a Californian myself. My childhood dreams of being a badass princess aren’t completely out of the window. "I'm really just proud of who I am and where I come from,” said the Duchess of Sussex. She’s different, and she’s also outspoken and proud of it, which is what we and the infatuated prince love about her! The Looks Let’s move onto the aesthetics of the wedding. Simplicity is the perfect word to describe the wedding but in the best possible way. With her prominent freckles on full display and her simple, sophisticated Givenchy dress designed by Clare Waight Keller, who was appointed the first female artistic director of the French fashion house, Meghan went with the less is more approach. Some criticised her simplicity as a lack of effort, but it worked for her. A wedding dress, in my humble opinion, is supposed to accentuate and enhance the bride and not take the spotlight away. The boat-neckline, off-shoulder, and ¾ sleeved dress did just that with a modern and elegant look, which truly reflected Meghan’s own character and values. She also wore a beautifully-made bespoke lily-white and high-neck Stella McCartney dress for the evening reception at Frogmore house. Her veil had the flowers of the 53 commonwealth countries, as well as the California Poppy, hand-embroidered in with the beautiful lace adding that touch of delicacy, and her almost no-makeup look accentuated her natural beauty. The wedding bouquet with hand-picked flowers from Prince Harry also paid homage the late Princess Diana and the Queen herself. Every detail was intentional, and the intention was to support and reflect Meghan Markle’s charm and beauty.
THE WEDDING OF THE YEAR The Budget Now, onto the finicky and most stressful aspect of any wedding: the financials. This was definitely not a cheap affair. Almost all of the royal weddings were expensive, but this wedding’s price point was high for a different reason. Meghan’s dress and ring are estimated at £640,000, and the flowers used were around £110,000. With the high threat of recent terrorism in the past year, over 3,000 police officers were deployed among the crowds to protect the couple, which was worth another £30 million on its own. This all adds up to around £30,750,000, which is around £7 million more than Prince William and Princess Kate’s wedding. They only spent around £22 million on security. Although the royal family is paying for parts of the wedding, taxpayer’s money is also going into this enormous bill, which many are not ecstatic about. The flip side to this is that the wedding is expected to generate around £500 million for the British economy. This is due to tourism and the free marketing provided by the wedding. People travelled from all parts of the world to celebrate this momentous day, which meant spending money on hotels, travel costs, parties, and British goods. As Meghan is also an established and notable actress from America, her presence and influence reaches across the Atlantic Ocean, bringing fans over to congratulate her while increasing Britain’s revenue.
As the non-stereotypical British royal, Meghan Markle is definitely millions of girls’ ideal princess.
Making marks in history, her wedding with Prince Harry was well-received and celebrated by all, with the few exceptions of those who just aren’t caught up with the modern times. What did you think of the wedding? Did your heart feel as warmed as mine did? Leave us your thoughts by commenting or messaging us on our social media platforms listed on the last page of the issue.
You can see more of Candice’s work on Instagram by following @Candice_x9. Images from top of article: Northern Ireland Office; Instagram/Serena Williams; Eva Rinaldi; Instagram/Kensington Palace/Alexi Lubomirski
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THE MAGIC OF BOHO CHIC Caz McKinnon continues our semi-regular feature, exploring the relationship between music and a particular fashion trend. The year is 1976. A British American folk rock band are about to perform their single 'Rhiannon' to a live crowd at a taped performance. The front woman approaches the microphone and emphatically mutters that the song they're about to perform "is about an old Welsh witch". She is wearing a black, floor-length dress with a crocheted lace finish; her arms are covered by chiffon bell sleeves so sheer that the chunky silver bangles she wears underneath flicker in the dim light. Her mane of sunkissed blonde hair is shaggy and untamed and her eyes have a striking outline of black kohl around them as she belts out the lyrics to the song in a voice that is simultaneously girly and rough. The band are Fleetwood Mac. The front woman is Stevie Nicks. 'Rhiannon' charted at 11 in the UK and would be remembered as a song indicative of Fleetwood Macs' 1970's sound: simplistic guitar riffs, a stripped-back rhythm section and contrasting folk
lead vocals by Lindsay Buckingham and Stevie Nicks. That being said, it was arguably Stevie Nicks' witchy fashion sense paired with her emblematic performance that gave the band their iconic status. When music stopped being purely for entertainment and became about creative individualism in the late 1950's, an overlapping connection between music and fashion was born. What's really amazing about this relationship is when the artist's image goes on not to just define a trend but a timeless style that will encounter countless fashion cycles over long periods of time. Grace Jones' high-top hairstyle, David Bowie's colour-blocking suits or, in this case, Stevie Nicks' boho chic. Boho chic is typically an aesthetic comprised of loose-fitting blouses, oversized hats, torn denim, lace stitching and feminine floor-length skirts. It's a style made for long sunny days and tends to make an appearance each summer. Contemporary fashion figures like Sienna Miller, Cara Delevigne and Mary-Kate Olsen don the same casual, effortlessly chic style that Stevie Nicks introduced to the mainstream forty years ago. What ultimately gives Stevie Nick's boho chic look icon status is how the music she creates compliments the artistry she puts into her image. The character that Stevie Nicks calls on often in her music from 1972 until now is a character who is often pensive, introspective, looking towards the future; her clothes evoke the same poetic connotations, the wisps of her tulle skirt grazing the stage that she stomps on with her platform boots in a feminine paradox between fanciful flower girl and angsty rock witch. She manages to encapsulate the sense of wonder and wistfulness that boho chic explores. As with any fashion trend there needs to be room for experimentation, mystery and possibility. The imagined magic of Stevie Nicks' inspired boho chic has these factors in abundance. This, I believe, is the reason for its longevity as a style and certainly one of the reasons Nick holds the credit for bringing it to the mainstream.
Image by Ueli Frey
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IC FASHION NETWORK AT 100 WARDOUR STREET Izabela Calik once again presented her IC Fashion event, this time in Soho. The sumptuous expanses of 100 Wardour Street were soon filled with fashion professionals and fans, all crowding in to enjoy an evening of networking, pop-up shops, and a catwalk show. The pop-up area was home to brands such as Adam and Alice London, Mashizan, DEA Akwa Girl, and Lifestyle With Friends by Pauline Wong – whose designs you can see on page 35. As for the fashion show, this was a collection of looks from Audrey Ashley Couture. Models also stepped out in accompanying jewellery from Exclusive by Lini. We had a fantastic time chatting with some interesting people, as well as admiring the looks from the runway. Look out for some collaborations with brands from the event over our next few issues.
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MAKE IT BRITISH LIVE!
This two-day, 100% British sourcing event occurred at The Old Truman Brewery in London on the 23rd and 24th of May. From skincare, textiles, and designer goods to manufacturers, printmakers, and label makers, this event was filled with all of the British goodness that you would ever need and then some. Patternmaking and sewing classes were also being offered. There were a plethora of people in attendance networking and trading away. It was almost like an adult playground for enthusiastic fashion designers, brands, and manufacturers. There were people from all parts of the United Kingdom with unique and different products and services to provide. With a diverse trade show, multiple symposium talks throughout, and the UK Fashion and Textile Association’s Made It exhibition, it was a fun-filled and educational event. Check back on our next issue for exclusive interviews.
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This page: Quirky and colourful Roy's Boys; Neobotanic's all-natural garments inspired by botanical elements
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This page, clockwise from top: Team Tots; Mustard; The Natural Fibre Company; SL Black Label's custom hats
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This page: Elite Labels; Euro-Rose Knitwear; Natalie Slater, from the Made It project by the UKFT; Isabella Queen
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This page: Suzanne Smith of Tripster and Smith displayed these beautifully hand-painted, abstract handkerchiefs. Â
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This page, clockwise from top: Love Grove Essentials, Oxford Blue, Gill Design Studio, Rock Stone Silk
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THE BIG QUESTION We asked, you answered
"Health!" - Anna Gilder, Milliner, and @rubyrosepearlsinc "Money, because without money how will you survive? Money is the root to all things" - @quxxnbrii_, nursing student
"All kinds of makeup" - Bam, Model
"TEA" - RANA FADAVI, SET DESIGNER
"Sparterie - a Japanese fabric originally made from willow but now by paper. It's exquisite to work with!" - Chris Garner, Milliner and Headwear Designer for Julian Garder Headwear
"PHOTO CAMERA EQUIPMENT" - @PRESSIMAGEUK "Money, because with it you can do anything you want" -Monika Dolna, designer
"Laughter" - Lisa, personal banker
Travel tickets to explore more cultures. - Sander Gee, graphic desginer and art director
"Everyone has these really sensible answers and I'm here thinking "ice cream"." - Andrea McLeod, photographer
"CONTENTMENT" - ANTHONY MCGOWAN, RETIRED
"Hats! Glorious hats!!" -Monica Feher, milliner
"Notebooks. No matter how many I fill, there are still more ideas and notes to put down." - Rhiannon D'Averc, Chief Editor Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question
LONDON RUNWAY Find London Runway: londonrunway.co.uk instagram.com/londonrunwaymag twitter.com/londonrunwaymag facebook.com/londonrunwaymag pinterest.com/londonrunwaymag/ info@londonrunway.co.uk
A/W 18
Front cover: Regent's University Graduate Show, Ian Clark Back cover: IC Fashion Event, Soho