London Runway Issue 74: The Flower Issue

NEPO BABIES . AVANT APOCALYPSE TREND EXPLAINED . COACHELLA FASHION . ERIN BROCKOVICH

ASIANA BRIDAL . LIFESTYLE 2022 . BRIDAL WEEK . EVA MIARKA . DEMOBAZA . LAN FASHION . GOLD GLAM

ISSUE 74 27TH MAY 2022

THE FLOWER ISSUE

RRP £12.99

LONDON RUNWAY

CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Publishing Assistant: Amber Johnson - amber@londonrunway.co.uk

STAFF SPOTLIGHT each issue, we let you meet one of our team members

Lead Photographer: Fil Mazzarino Staff Photographers: Ian Clark, Mrityunjoy 'MJ' Mitra Lead Graphic Designer: Alex Panek Staff Graphic Designers: Lauren Rowley Staff Writers: Ruth Croft Advertising enquiries - ads@londonrunway.co.uk Submissions - londonrunway.co.uk/submit Contributors: Tongxin Li (Diana), Julie Corion, Sofiya Lyakhova, Kylie Green, Demoo jeans, Emily Formant, Emily Poncia, Damisola Sulaiman, Moe Allan, Tom Buck, Ilyasah Ricketts, Nazze, Aizhan, Khadim Gayle, Bolli Blas, Iana Chkhan, Olyesa Bulanova, Tatiana Sharko, Willi Lacey at Mulmi, Derrick Antonio Serra, Rahab Inghalwa, TracyB, ViktorK, Jacques Lagrange, Liz Anderson, Amrit Verdi Special thanks to: Julie Corion, Virginia Mendez Interested in working with us?

We currently have internships available in the following positions: Writers Graphic Designers Illustrators Send your CV and covering letter to info@londonrunway.co.uk, or search for our open positions on LinkedIn and FashionJobs.

© 2022, London Runway Ltd and contributors Printed by Mixam and distributed in-house by London Runway Ltd All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in London Runway are those of the respective contributors and are not necessarily shared by the magazine or its staff.

Face of London Runway 2021 ambassador is Robert Keene

PAGE 1

My name is Amber Johnson and I’ve been working for London Runway for just over a year now. I came into LR through the Kickstart Scheme as I lost my job in Events Management due to Covid-19. I have been lucky enough to have been asked to stay on working as a Publishing Assistant & Personal Assistant to the Editor in Chief. I do many things outside of London Runway, such as working in hospitality and running my own business ‘Half Baked Cookie Co’ where I sell cookie dough and baked brownies through the post. I love working for London Runway. It’s such an amazing team full of rewarding challenges on a daily basis.

CONTENTS

31 VISUALS

47 WORDS

Asiana Bridal

6

Face of London Runway: Deadline Extended

4

Trapperholic

16

Gilded Age (Cover Editorial)

21

Gilded Glamour

17

New Faces

35

In Defence of Nepotism Babies

32

Portfolio Piece: Bolli Blas

39

Interview: Erin Brockovich

51

Photographer (Editorial)

41

New Business: Mulmi

65

Clara Pinto (Editorial)

45

Book Club: Childhood Unlimited: Parenting Beyond the Gender Bias

by Virginia Mendez

76

Inspiration from Nature (Editorial)

47

Lifestyle 2022 Part 1

54

Julie Corion

78

Style (Conscious) Guide: Floral Prints

64

Book Club Giveaway

81

Avant Apocalypse

89

Namibia Exhibition 2022 (Editorial)

66

Your Style Horoscope

106

Backstage Demobaza

82

The Evolution of Coachella Fashion and Its Impact on Society

119

Eva Miarka

84

The Big Question

122

Lifestyle 2022 Part 2

92

Bridal Fashion Week: Collective

110

s ' r o t i d E ter t e l Whew, what a month! There’s been a lot going on here at London Runway HQ as we prepare to take in a new draft of interns to refresh us with their unique perspectives. It’s always a great time to try to change things up and see what we can do differently, which I love. Even when you’re really getting things right, time can make them stale – it’s important to keep on moving forwards.

And moving on we are. It feels like it was winter, winter, winter – and then this sudden heatwave brought us tumbling headlong towards summer.

We’re stopping to smell the flowers in this floral issue, as demonstrated by our gorgeous cover model Amber (who you may recognise as our Publishing Assistant – what a multi-talented woman!).

Even as we move closer to London Fashion Week once more and start to feel excited about upcoming events, it’s important that we don’t ever remember one fact: while we’re enjoying the sun and looking forward to the summer months, people in the Ukraine are not so lucky. Please, however you can and in whatever way is safe for you, join us

in continuing to boycott Russian products and services. Putin must feel the pressure of the international community, and much like recycling, it’s something where every small action from each one of us builds up to a huge result.

In other parts of the world, other battles are being fought – notably, over the right to control what a woman can and can’t do with her body. It’s an old war and one that it feels like we’ve been fighting for a long time, so to see progress going backwards is so disheartening. With things like period poverty already still a problem in the Western world – not to mention how bad it can get in third world countries – it can sometimes feel like the uphill slog is never going to end. Stand shoulder to shoulder with your sisters on this.

Even if it may not affect you directly right now, something that oppresses one group of people in the world eventually oppresses all of us.

And again we’re facing battles to continue accessibility in public spaces and online ones. While the Covid restrictions have been swept away but

the number of infections remains high, there are many people out there who are now faced with the awful reality of isolating for perhaps forever – or risking getting an illness that, while mild for someone else, could result in their death. Not only that, but the online shows, Zoom webinars, and at-home work or study programs are being taken away, leaving them more isolated than ever.

Like I said at the beginning: whew, what a month. But as tiring as new motherhood is (what is sleep?

Can anyone explain the concept to me?), looking at my baby son reminds me of one thing: if we want a better future for ourselves and our children, that means fighting for a better future for everyone.

You never know what category you might one day find yourself in – and what oppression might try to crush you.

On that cheery note, please do enjoy the fashion and escapism of this month’s pages, but don’t forget there is always work to be done.

Enjoy -

RHIANNON D'AVERC

PAGE 3

FACE OF LONDON RUNWAY N2022 DED

E T X E E N I L D DEA

weivrevO

The winners get to enjoy a photoshoot with their face on the cover of the magazine and help with their modelling careers both in catwalk and photoshoot routes. We also feature the runners-up in the pages of the magazine throughout the year and beyond!

Just like last year, we’re putting out a virtual casting call for the first round. This means you can enter from anywhere around the UK – and even anywhere around the world, so long as you would be able to travel back to London for the in-person round and to claim your prize!

When you enter, we’ll be asking you to submit the following:

stnemeriuqeR

As we have every year since 2019, we’re looking for a menswear and womenswear Face of London Runway for the 12 months ahead. Our final selection of ten models will be invited to a public voting round, where their portraits taken by our photographers will be used for the final judging.

A headshot and full-body shot. If you don’t have these, get someone to take them for you on their phone – or stand in front of a mirror and do a selfie.

No makeup, plain hair, and wear simple, tight-fitting clothing (we will make an exception for those who wish to model modest fashion due to their religious beliefs) A short, landscape-oriented video in which you say the following: “Hi, London Runway. My name is ______ and I’m going to be the new Face of London Runway 2022!” (again, filming it on just a phone is fine!)

A filled-out form listing your name, physical measurements, contact details, and other information that we’ll need in order to consider you We are throwing the doors wide open once again, so absolutely anyone can enter (so long as you are over 18)— height, weight, skin colour, religious background, nationality, disability, gender identity – you get the picture! In previous years, our finalists included people from various racial backgrounds, plus-sized, androgynous, over-50s, LGBTQ+, and petite models, so don’t hold yourself back.

We will have two categories open for entry: menswear and womenswear. You can enter whichever category feels right to you, or even enter both if you wish. The category is nothing to do with your position on the gender binary, and we’ll consider all entrants equally. It simply indicates what style of clothing you’d be most comfortable modelling!

After our first round of selections and getting forms filled out, we invite lucky entrants to Zoom rounds, which are fastpaced, fun, and accessible from wherever you might be. We head into the semi-final with an in-person session to whittle it down to just ten of you for the finals. enildaeD

There will be no charge for entry at any stage of the casting process. Therefore, the only thing holding you back is yourself!

Face of London Runway 2021 Menswear Winner - Robert Keene

The Process:

We're pushing back the closing date to the 20th June 2022 due to increased demand!

PAGE 4

ENTER: LONDONRUNWAY.CO.UK

FACE OF LONDON RUNWAY IN ASSOCIATION WITH

WIN: COVER EDITORIAL & FEATURES IN LONDON RUNWAY CATWALK OPPORTUNITIES CAREER HELP AND ADVICE BUILD YOUR NETWORK

HEAD TO LONDONRUNWAY.CO.UK/FACE22 TO ENTER! PAGE 5

LONDON RUNWAY

ARAEYA RAI

ASIANA BRIDAL Photography by Fil Mazzarino @filmazzarino

PAGE 6

LONDON RUNWAY

DIYA

LONDON RUNWAY

FRONTIER RAAS

LONDON RUNWAY

LONDON RUNWAY

MONGA

PAGE 10

LONDON RUNWAY

LONDON RUNWAY

SACHE

LONDON RUNWAY

SEASONS

LONDON RUNWAY

SOHO WEDDING CENTRAL

PAGE 15

Photography by Ian Clark @photo. by. ian

TRAPPERHOLIC

: R U O M A L G D e m E e h D T a L l I a G et G M s ’ r a e Y is

to th n i y r o t s i A Brief H

PAGE 17

This week, Ruth Croft explores the history of fashion in the gilded age and how it was best represented at the 2022 Met Gala.

The Met Gala is the arguably one of the most fashionable nights of the year. It is a chance for designers to showcase their creativity, whilst also allowing everyone the opportunity to celebrate the annual fashion exhibit in the Metropolitan Museum of Art, where the fundraising gala is always held.

It was first founded in 1948 by Eleanor Lambert, an American fashion publicist best known for establishing New York fashion Week and the International Best Dressed List. The illustrious event is now organised by Vogue magazine and chaired by Anna Wintour. Every year has a specific theme, and those invited are expected to dress accordingly.

In May 2022, the Met Gala’s theme was “In America: An Anthology of Fashion.” The exhibition was to celebrate the development of American fashion throughout history, whilst the invitations reportedly suggested that guests intertwine these concepts with the themes of “white tie” and “gilded glamour.” Through this, it seems important to explore the history of fashion in the Gilded Age, how it was best represented throughout time, and who dressed the most accordingly at the Met Gala.

The Gilded Age received its name from Mark Twain and Charles Dudley Warner’s book, The Gilded Age: A Tale of Today in 1873. It told the story of an era of cultural and social issues disguised behind glamorous gold gilding.

Images this page and previous page via Canva

The Gilded Age was a part of American history from 1870 to 1900. It is considered to be a time of economic increase, especially for those skilled in their trade, and for industrialisation as a whole.

The average worker saw their wage rise with a gain of nearly 50%. This was mostly due to society turning their attention to important industries— railroads, mining, and factories. Resultantly, labourers had more work, and therefore, the concentration of wealth rose in visibility. However, it was also a time of great poverty and suffering.

Historians called it a period of ‘economic dislocation.’ The millions of immigrants from Europe who travelled to the US to work struggled to find places that weren’t already taken.

In terms of politics during the Gilded Age, the national elections saw cultural issues as a dominant factor, particularly surrounding education and economic wealth.

The union workers desired better working hours and the abolition of child labour. Meanwhile, those belonging to the middle classes focused on civil service reform,

the prohibition of alcoholic beverages, and the suffrage of women. This ultimately led to the following era of progression in all aspects of society.

In terms of fashion, the Gilded Age was best known for luxury. The upper-class women of society wore dresses of rich fabric, such as velvet and satin, all in beautiful jewel tones of royal blue, amethyst purple, and rose pink. These styles were often paired with corsets and jewellery. For men, the period saw expensive suits become the fashion staple.

The textile industry experienced vast technological advances and began producing materials like tulle and silk. The accessories for every gender involved feathers. It was a look of extravagance that perfectly represented the idea of gold masking the truth of society.

One of the most famous looks from this time was that of Alice Claypoole Vanderbilt, an American socialite. Upon receiving an invitation to a high-class party, she reportedly asked designer Charles Frederick Worth to create her a haute couture dress that would accurately represent electricity.

The result was a beautiful blue gown made with heavy velvet and a gold satin veneer called "Electric Light". The dress was decorated with glittering diamonds, which illuminated with the help of a battery hidden within the fabric.

The look perfectly emulated the famous glow of Thomas Edison’s recently invented light bulb.

Another famous fashion statement of the Gilded Age was the ‘princess’ look, which featured vertical lines crossing the fabric of corsets and bodices to make the wearer look slender and ‘long waisted.’ This was often paired with bustles, a padded undergarment that added fullness to a woman’s skirt. The effect was that of the desired feminine figure.

This illustrious part of fashion history should have provided those attending the Met Gala with an abundance of inspiration.

However, many have agreed that the theme wasn’t entirely represented perfectly.

Kim Kardashian had one of the most memorable looks of the night, wearing the dress Marilyn Monroe wore to John F Kennedy’s birthday.

Not only is it one of the most iconic dresses of the 20th century, it is also incredibly expensive, having been auctioned for $4.8 million.

The sheer, glittering gown was originally designed by Jean-Louis.

However, the Kardashian had a replica made to change into once she climbed the stairs at the Met Gala so as not to potentially ruin Monroe’s original dress. Despite how beautiful the dress was, it didn’t quite fit the gilded glamour theme, rather more that of the history of American fashion as a whole.

A lot of people agreed that their favourite look of the night was Blake Lively’s. Lively stepped onto the red carpet in a rose-gold and pale blue Versace dress, which paid homage to the Statue of Liberty.

The aspects of the gilded glamour theme were visible through her elbow-length gloves and extravagant jewellery.

Meanwhile Tessa Thompson shone in a light pink dress by Carolina Herrera. The design featured a corset and 200 metres of tulle, which was perfect for the theme, making her look the ultimate princess.

Similarly, SZA looked perfect in her Vivienne Westwood gown, which was a bright jewel-pink colour made of a heavy fabric with a corset bodice. She paired the look with a massive black hat, long gloves, and a statement piece of jewellery around her neck.

It was a particularly influential night for fashion, and one that will be hard to eclipse next year. The gilded glamour theme is one that will be remembered through history, just as the time period for which it was inspired from. A constellation of differences, luxury, beauty, and deep tribulations all dressed in a golden veneer.

You can read more of Ruth’s work by following her on Instagram @thewriterruth.

Images via Wikimedia Commons, @kimkardashian on Instagram, @vancityreynolds on Instagram, @tessamaethompson on Instagram

Gilded Age Photographer: Rhiannon D'Averc @rhiannondaverc Model: Amber Johnson @amberjohn_ Makeup Artist: Kylie Green @kyliemakeuphair

Amber wears: Satin Dad Suit Blazer in Gold - £60 and Satin Wide Leg Suit Trouser in Gold - £38, both ASOS DESIGN; Water Bottle Holder with Cross Body Strap in White and Gold Chain - £15, My Accessories London

Amber wears: Satin Dad Suit Blazer in Gold - £60, Satin Wide Leg Suit Trouser in Gold - £38, and Strappy Neck Cami with Square Embellishment Detail in Gold - £38, all ASOS DESIGN

Amber wears: Embellished Cami Mini Dress in Copper Oversized Disc Sequin - £90, ASOS DESIGN

Amber wears: Embellished Mini Dress with Scallop Detail in Gold - £275, A Star is Born; Headband - Demoo Jeans; Earrings - Model's own

Amber wears: Satin Dad Suit Blazer in Gold - £60 and Satin Wide Leg Suit Trouser in Gold - £38, both ASOS DESIGN; Trainers, Earrings - Models' own

Amber wears: Embellished Cami Mini Dress in Copper Oversized Disc Sequin - £90, ASOS DESIGN

Amber wears: Embellished Mini Dress with Scallop Detail in Gold - £275, A Star is Born; Headband - Demoo Jeans; Earrings - Model's own

Amber wears: Satin Dad Suit Blazer in Gold - £60 and Satin Wide Leg Suit Trouser in Gold - £38, both ASOS DESIGN; Headband (worn as belt) - Demoo Jeans

Amber wears: Satin Wide Leg Suit Trouser in Gold - £38, and Strappy Neck Cami with Square Embellishment Detail in Gold - £38, both ASOS DESIGN

Amber wears: Embellished Mini Dress with Scallop Detail in Gold - £275, A Star is Born

Amber wears: Embellished Mini Dress with Scallop Detail in Gold - £275, A Star is Born; Headband - Demoo Jeans; Earrings and rings - Model's own

IN DEFENCE OF NEPOTISM BABIES Emily Fromant explores the love-hate relationship she has with nepotism babies, and how she secretly, kind of, wants to be them.

Every day I wake up wondering why my middle-aged dad couldn’t have been a three-time BAFTA millionaire that set me up for life.

Oh, don’t you ever wish you could’ve just been born a nepotism baby?

Chances are, you’ve recently heard of ‘nepotism babies’ (or ‘nepo baby’ for short). These inescapable young men and women are some of Hollywood’s newest influential teens, their influence partly crafted by their parents’ success. Nepotism babies are characterised by the widespread belief

that due to their famous families; they have received preferential treatment in the entertainment industry. Whilst many of these celebrities refuse this claim, citing their hard work, it is hard to imagine having wealthy, connected families isn’t at least a little helpful.

The term nepotism dates back to the 17th century. Originally it referred to the preferential treatment given to a pope’s ‘nephew’, a common euphemism for his biological son. It has since grown to include all genders and professions. It isn’t only the Hollywood world that is guilty of it politics, art, and religion have all demonstrated examples of nepotism over the centuries.

Whilst the idea has been around for years, the title of nepotism babies is a recent phenomenon focused primarily on the glamorous children of the Hollywood elite. It’s no surprise that beautiful charismatic people birth other

PAGE 32

beautiful charismatic people, but there has been a long debate about how worthy these actors are of their success.

Lila Moss, daughter of supermodel Kate Moss, is one such nepo baby who has recently come under scrutiny. After walking for Coperni’s fall 2022 ready-to-wear collection, it is clear the young model has a bright future ahead of her.

Yet, when her success was shared on social media culminating in a British Vogue interview and cover, commenters on Instagram were not pleased. The video was flooded with comments of “Lila looks NOTHING like a model” and that she was “only highlighted because she’s Kate Moss’ daughter”. But Lila Moss is not alone, nor is she a stand-out case. Lily-Rose Depp, Zoë Kravitz, Brooklyn Beckham, Maude Apatow, and Margaret Qualley are just some of the best-known celebrities that have very famous parents.

However, many of these models and actresses have come under fire for denying their privilege. Kendall Jenner touched on her possible nepo baby status in one notorious Keeping Up with The Kardashians interview. When asked about the discourse surrounding her privilege in helping her in the modelling industry, the young model explained: “I had a platform, I never took that for granted. I always knew that was there, but that almost made my job a little bit harder only because people probably didn’t want to hire me because I was on a reality TV show. I worked my way to where I am now.”

Lily-Rose Depp, the famous daughter of Johnny Depp, similarly rejected her assumed nepotism, claiming she had to work “twice as hard” due to assumptions her name made it easier for her.

So why act like nepotism is a dirty word?

Time and time again, claimed nepotism babies reject their status. The fear of their hard work not being respected is something we can sympathise with.

Whilst Kendall Jenner was born into privilege, she still must suffer the same long-hour days many models face.

There is a hard line between understanding a celebrity’s privilege and completely ignoring their accomplishments.

Whilst Zoë Kravitz’s famous mother.

Lisa Bonet, most likely helped her

successful acting career, we can’t ignore her talent in her recent Catwoman role. Therefore, nepotism can be a bad word because it causes us to dismiss any hard work of these celebs. But. should we go all the way in the other direction and just ignore their platforms or social empires that they were born into?

A platform itself can be more of a curse than a gift. These nepotism babies are born into success as well as scrutiny.

When many of them grow into teenhood, they are already being compared to their famous parents. The moment these celebrities are old enough they are shoved into the spotlight to be judged under the harsh online eye.

Kendall Jenner, the Hadid sisters, and Lila Moss have continuously been criticised for their modelling skills, fashion sense, and appearance. Whilst many of us will claim this is a price of fame, these young men and women have little say in their private lives being public domain. Unknown emerging actors are rarely held to such high standards compared to those with famous parents. Nepotism may feel like a blessing, but the hate and judgment of an online audience can feel more like a curse.

Besides, talent is not something that can be bought. Some celebrity kids haven’t even begun to achieve the success of their parents. With many trying and failing many careers.

PAGE 33

Perhaps nepo babies aren’t all made equal. Brooklyn Beckham, son of football star David Beckham, is one such nepo baby who has unfortunately been branded talentless. This has been made clear by his efforts to publish his failed photography book What I See, which was criticised by professionals everywhere, to his recent cooking show disappointment. It seems that no matter how successful your parents are, talent doesn’t necessarily pass down the gene pool.

Nevertheless, whilst we may consider Brooklyn Beckham to be a prime example of the idea that money can’t buy you everything, he may also be our biggest instance of nepotism at work.

Despite his supposed lack of talent, on paper Brooklyn has achieved some things that some of us would only dream of. He had his own published book, own cooking show, landed a $1 million dollar modelling deal and a gig as a professional photographer for Burberry BRIT fragrance. Whilst he can’t buy talent, his famous name seems to be getting him at least halfway there.

So, will Hollywood ever be nepotism free? The consensus seems otherwise.

Recent stars like Maude Apatow (daughter of actress Leslie Mann and director Judd Apatow) and Margaret Qualley (daughter of actress Andie MacDowell) show that nepotism is still very much alive and well.

We will continue to see famous last names grace the credits of movies as young new talent get help from mum and dad. But can we blame them? As unfair as nepotism may seem, can we truly say if we didn’t have the same chances, we wouldn’t take them?

It makes sense that parents would want to help their children achieve their dreams. We can all sit on our phones and complain about the unfairness of nepotism, but I think we’d all jump at the opportunity to get a leg up if we could.

You can read more of Emily's work on Instagram by following @emily._jf.

Images via Unsplash

PAGE 34

NEW FACE: MOE Name: Moe Allam Age: 25 Location: London Agency: Mother Agency Boss Models (South Africa), (MOT London), BodyAndSoul (Hamburg), and What Else Agency (Paris)

How long have you been modelling?

My first modelling gig was for a charity Fashion show at university in 2015. Little did I know I was taking a career path that would be with me seven years later. What blows my mind still is that favour has set my path for the future.

Where are you from originally?

I am born in South Africa. This is my home. My father is from Egypt, and my mother's parents have found refuge in South Africa, the land of many cultures and flavours.

Photographer: Tom Buck @tbuck9 Model: Moe Allam @moe.allam

PAGE 36

Do you have an unusual talent or party trick?

Simple but goes a long way, opening bottles with a lighter makes me feel capable of saving the party. Either that or I will beatbox if the music cuts to keep the vibe going! I might not be the party starter but the party won’t stop if I am in the crowd.

What would surprise people to know about you?

I write quite a bit to clear my mind and structure my thoughts to keep a stoic mind in our industry.

What are your modelling ambitions?

Fashion week London, Paris, Milan.

It’s my dream to hit the runway in the UK and the rest of Europe. I started on the runway, and I’d love to show my strut to the world! I would have loved to work closely with Virgil Abloh, Rest in Power.

NEW FACE: ILYASAH Name: Ilyasah Ricketts Age: 24 Location: London Agency: Freelance How long have you been modelling?

4 years Where are you from originally?

I'm super mixed. My mum is Nigerian, Russian, and Coolie and my Dad is Jamaican, Chinese, and Irish Do you have an unusual talent or party trick?

I can belly roll and make shapes with my tongue

What would surprise people to know about you?

I was a support worker for 5 years and have helped loads of young people go from homelessness to independent living. I also got an award from Prince William for all my work.

What are your modelling ambitions?

I'd love to be on the runway as a curvy girl and shoot for high end beauty products, also to be on a few billboards would be a dream come true

Photographer: Aizhan @aizhan.photographer Hair: Khadim Gayle @apricity_hair_beauty, Nazze @hairbynazze

PAGE 38

portfolio piece Bolli Blas is a Polish-born, British contemporary artist. Her paintings are best known for the wide-eyed characters known as ‘Bollis’, which are widely considered to be metaphorical mirrors of modern society looking directly back at the viewer. Her work conveys abstract ideas in a simple manner. She is interested in emotional impact and wants to put across her values and beliefs while forcing others to question their own.

Bolli’s work predominantly reflects her childhood art and frequently makes use of bright, vibrant colours in oil.

Bollis looks right back at the viewer, representing eyes as windows of the soul and holding a mirror to modern society. The philosophical concepts combined with simple representation aim to create a very personal universe searching for emotional reaction in the viewer.

She draws inspiration from a range of artists, from Munch to Modigliani and Banksy to Basquiat. Her art is also inspired by street art, crafts, and small galleries she sees on travels from Guatemala to Zambia.

Bolli is currently working on exhibitions in New York and outside the US in European museums and galleries. Her art is featured on established fine art platforms such as Artsy, Kooness, Artsper, and Artland, where she is represented by multiple art galleries.

Bolli Blas @bolliblas www.bolliblas.com

PAGE 39

Bolli

Blas

PHOTO GRA PHER Fashion Designer: Olesya Bulanova @designer_olesya_bulanova Retoucher/Model/Accessory Designer: Iana Chkhan @iana_chkhan

PAGE 41

LONDON RUNWAY

CLARA PINTO Photography by Fil Mazzarino @filmazzarino

PAGE 45

LONDON RUNWAY

PAGE 46

Inspiration from nature Photographer: TATIANA SHARKO @tati.sha.7

LONDON RUNWAY

FASHION, FEMININITY AND FIERCE CONFIDENCE: OUTFITS IN ‘ERIN BROCKOVICH’ Em Poncia takes us through the classic film Erin Brockovich and what the wardrobe department told us through their styling choices for Julia Roberts.

What a woman wears is taken as an indicator of who she is.

In the 2000 film Erin Brockovich, director Steven Soderbergh and writer Susannah Grant explored the dynamic between clothing and perception through a character who cannot be easily typified. Played by Julia Roberts, Erin Brockovich fulfils the traditionally opposed roles of the working woman, mother, and object of sensuality, oscillating between them and undermining perceptions of femininity as immutable.

This true story – fair warning for spoilers here – is one that deals with the problem of expectations of femininity, couched within Erin’s immediate task of securing justice for the inhabitants of Hinkley, California.

Clothing and its effect on perception are set up as themes relatively close to the beginning of this film. At around twenty minutes in, Erin is told by her boss that her revealing clothing makes the other women in the office uncomfortable; she wears a cream mini dress showing her décolletage and arms.

As her boss poses the idea that she should wear something else, she defends her corner, asserting that she wears what she feels nice in.

PAGE 51

A problematic addition to this determinedly feminist display is Erin’s profession that she will wear what she wants “As long as I have one ass instead of two”, insinuating that only slim women should wear revealing outfits.

Here, the dynamic of female competition surrounding looks is set up.

Erin is viewed as ‘other’ by the women in her workplace because she is younger and dresses more revealingly.

There are perhaps two elements at play here: firstly the competitive, where her colleagues feel pushed out of their own environment by a younger model.

Equally, there is the possibility that they feel as though she challenges their respectability: they have established themselves as professional women and moulded their aesthetic to suit this.

Perhaps Erin challenges their narrow perception of female professionalism, and thus presents a trial to their identities.

Equally, Erin’s sizeist response, while wrong, could perhaps be read as the internalisation of the alternative feminine aesthetic: that of the young, slim, sexy, woman. Although Erin is presented by Soderbergh as professionally capable and determined, it feels as though she is taking this job out of necessity to look after her family rather than with a desire to break down female stereotypes. The characters do not allow the two conceptions of

feminine parameters to merge.

The outfits in the scene not only set up a visual difference but also allow for the exploration of female identity politics.

A second example where Erin is characterised by her outfit occurs about thirty-two minutes into the film. Her green top paired with an orange belt and orange skirt throw her into contrast against the neutral tones worn by the scientist she is talking to, as well as the people crossing the background. The effect of this could be argued in two ways: she is at once made distinct from the scientist and thus made to appear less intelligent, and yet the bright colours invite the viewer to assume her sharp wit and boldness.

Her persistent questioning and clear concern for the safety of the Hinkley inhabitants once she learns about the dangers of hexavalent chromium causes the viewer to lean towards that second interpretation. Soderbergh is perhaps trying to show that clothing choices do not articulate a woman’s capabilities.

However, by using colour to make Erin stand out, there is also an argument to suggest her distance from the academic world that she enters in this scene.

Although the breaking down of female stereotypes is positive, there is still a visual binary created, similarly to how Erin is aesthetically separated from the women in her office.

Images via Universal Pictures

Furthermore, although Erin’s questions demonstrate her concern, there is also an information power dynamic that is clear which, although not exploited by the scientist, is a theme that carries through Erin’s interaction with most men in the film. A dynamic that she, more often than not, is able to overcome, but which is nevertheless apparent.

Another example of this power dynamic occurs around the forty-seven minute mark. Erin is wearing a red and white top with a corset back with denim shorts. The look is similar to one she wore earlier in the film, and both are used in the same way: to gain entry into the public water records so that Erin can confirm the levels of water toxicity.

Both outfits feature red, a famously sexual colour, and in both scenarios, Erin either visibly uses, or says she is going to use, her looks to convince the proprietor to allow her into the backroom. Here, Erin’s femininity as shown through her outfits prioritises her sexuality, which, although embracing taboo portrayals of the female body, is perhaps slightly unfeminist.

However, I would argue that Erin’s use of her body to get what she wants speaks to her disenfranchised view of herself.

At the beginning of the film, she is asked for her number, and in reply, she lists the ages of her young children, assuming that no one will want her because of them. This pertains to the common trope that women are undesirable after having babies, and further that Erin is perceived as less worthy of attention because each of her children has a different father.

Her looks are also revealed to have been a mainstay of her youth, as she reveals that she was once a prizewinning beauty queen. Thus, although unfeminist in its objectification, Erin’s use of her body here shown through the clothes she wears can be seen as a result of her past experiences, rather than a demonstration of anti-feminist sentiment.

Finally, by the end of the film, Erin’s outfits have not changed, sending the message that her victory over PG&E in the legal case has nothing to do with the way she dresses. The outfit she wears when she gets paid for her work is

reminiscent of a corset, tight-fitting and with sheer sleeves.

Her $2 million payout here functions as a stark reminder of her professionalism, competence, and ability that has nothing to do with her fashion sense.

In much the same way as in Pretty Woman, Julia Roberts’ character proves that outward appearance has nothing to do with circumstance or personality, and that to think so would be a big mistake. Huge!

According to interviews, the real Erin Brockovich had a similarly judgemental experience to the Erin in film. She says that her nontraditionalist, non-conformist attitude to workplace clothing is down to a refusal to compromise herself for the sake of others. Within the context of the 1990s when she was working, this attitude is progressive, and even in the 2020s, we haven’t entirely accepted that clothes are no indicator of inward character. The film encourages us to be less judgemental of clothing choices, speaking particularly to the female experience of workplace hostility relating to style.

You can read more of Em’s work on her Twitter @emponcia

Photography by Mrityunjoy Mitra @the_mj_studio

LIFESTYLE 2022 LONDON RUNWAY

A-MEENAH

PART ONE

PAGE 54

LONDON RUNWAY

AMIRA PRESTIGA

LONDON RUNWAY

PAGE 56

LONDON RUNWAY

ARSALAN IQBAL

LONDON RUNWAY

ASPIRE FITNESS

PAGE 58

LONDON RUNWAY

LONDON RUNWAY

BASIT SIPRA

LONDON RUNWAY

HALINA KHAN COUTURE

PAGE 61

MD'S COLLECTION

LONDON RUNWAY

Sevda London British rose garden orange £120

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

Sarvin Sophia - Floral scoop neckline stretchy midi dress £280

Quillattire Green meadow floral printed retro shirt £225 ASOS Reclaimed Vintage inspired organic cotton t-shirt with graphic back print £13.25

CHITÉ LINGERIE Flora Bralette £74

ASOS DESIGN Recycled slim tie with ditsy floral design in sage green £10.00

Aggi Dulce Paradise top £100

Cocoove CoCo floral shift dress with vintage cuff-links £60

COLLUSION Unisex oversized tie-dye shirt with skull print in pique fabric £13.75

Aggi Jasmine Bridal Blush Skirt £225

COLLUSION Unisex socks with flower logo in white £4.99 Sisoan Lei Day candle £25 Susana Madrid Flora Bootie in floral print £385

FLORAL PRINTS PAGE 64

Walk London Joey snaffle loafers in floral multi print £75

NEW BUSINESS MULMI

Creative Director: Willi Lacey @lovemulmi

Name of company: Mulmi Ltd Type of business: unique, contemporary designed Lingerie Location: Southsea with our production and sewing studio in Plumpton, East Sussex

What are your company values?

I want to enjoy my passion and produce unique lingerie— my piece of "Look what I have done!"

I want everyone that has worked with me to be valued and appreciated, and if we can be green, then "Let's be Green".

How long has the company been running?

The company started in February 2020 but we only started trading in February 2022.

Currently, how many people work for the business?

I have one part time seamstress working with me.

Where did the idea come from?

The idea of Mulmi started from scratch in the first week of lockdown as a tiny idea. I have a healthy obsession with patterns, so I always noticed when patterns do not match. I noticed that patterned lingerie never matched, so I wanted to design integrated patterns that not only matched but flowed between top and bottoms. We also wanted to use 3 different colour ways which we hoped would complement different skin tones with each design. I had just returned from Japan, so I chose Japan as the first collection.

PAGE 65

What advice would you give to someone who wants to start a business?

Learn to listen... be genuine and pleasant. Research research research! You need space and time to solve problems. I used to cycle around the island where I live. I would often solve a problem or look at an issue in a different light on that journey.

Where do you hope the company will be in 5 years' time?

In 5 years time..., I would like to be still amazed by the creative process.

NAMIBIA EXPEDITION 2022

Photography - Derek Antonio Serra Model: Rahab Inghalwa @rahabinghalwa Designers: TracyB; VictorK; Jacques Lagrange Locations: NamibRand Nature Reserve Namibia; sossusvlei Namibia; Kolmanskop; Luderitz; Spitzkoppe

Rahab Inghalwa wears VictorK

Wardrobe Credits: VictorK

Wardrobe Credits: Jacques Lagrange

Wardrobe Credits: Jacques Lagrange

Wardrobe Credits: TracyB

Wardrobe Credits: TracyB

Wardrobe Credits: TracyB

LONDON RUNWAY

BOOK CLUB

Childhood Unlimited: Parenting Beyond the Gender Bias

By Virginia Mendez

Each month, our resident book club reviews a new must-read volume that will help to educate, inform, entertain, and thrill you.

This issue, Rhiannon D’Averc reads Childhood Unlimited: Parenting Beyond the Gender Bias by Virginia Mendez.

PAGE 76

LONDON RUNWAY

When I heard Virginia was launching a book aimed at the parents of young children, I knew immediately it was something I wanted to pick up. As a customer of thefeministshop.com I had already come across her work, and by some kismet I just happened to have a five-month-old baby son when I first saw the news about the book.

Naturally, I was extremely interested. As part of our ongoing work in diversity, something which has always been a driving force behind the magazine and the content we choose to feature, I’ve already had many of my own conceptions about people challenged. And when we challenge stereotypes and assumptions, wonderful things can happen. For one huge example from my own life, I learned to stop seeing the word ‘disabled’ as dirty or shameful. When I stopped thinking that it would make me less-than or weak and embraced the fact I have a disability, it was freeing and actually empowering.

So, I knew the power that could come from unlearning those harmful stereotypes around gender – I just didn’t really know where to start when it comes to my child, except beyond the basic thing of not forcing him to wear blue every single day out of fear someone might think he is (gasp!) a girl.

The fantastic thing about Childhood Unlimited is that it starts from that basic position of not really knowing where to begin and gives you all the tools you need, from the ground up.

And when I say tools, I mean every kind of tool you could imagine.

Exercises to start recognising stereotypes around you. Things you can say and do with your children in order to start challenging stereotypes. Books to read. Videos to watch. Toys to buy (and those to avoid). Charities and organisations to interact with. This and much more, with so many recommendations in every chapter that my own copy is now marred with plenty of foldedover pages marking spots I know I need to come back to time and time again.

The format of the book is quite easy to digest, even though we have to tackle some parts of this subject which are quite scientific and sometimes difficult to understand from a layman’s perspective. By the end of each chapter, you feel like you’ve managed to find your way through it.

Each one starts with a premise, something that we need to learn or take action on when it comes to gender bias. Then we have lots of endnotes which tell us all about the data and studies behind the statements being made, which is incredibly useful for following up and checking the information – a key step for someone who wants to really be sure they are looking at statements of truth and not opinion.

After this introductory part of the chapter, we’ll have an expert interview with someone who is uniquely positioned to speak on this particular part of the subject, with their recommendations and calls to action included in each case.

Each chapter ends with a summary of the key points made within it, and then a section headed ‘What to do next’ – giving actionable and insightful tips on what you can do as a parent, caregiver, or family member to a young child. There are specific sections for boys, for girls, and for trans children, allowing parents to explore all parts of the spectrum and see how their own child might experience the world in a biased vs a non-biased society.

The book is aimed at children who are between conception and the age of five years old – and as it explores in great depth, it’s alarming just how much stereotyping children as young as this are subjected to.

PAGE 77

From the differences in clothing which may actually be harmful to development, to the messaging in books and children’s shows which limits their view of their place in the world… as a parent, I felt my heart rate rising when I read these passages. How could I not feel dismay about the idea of my child or children growing up in a world that tells them, from day one, what they can or cannot be?

It's very interesting to read this book as the mother of a boy, because you do almost wonder how you can have much to do with feminism in terms of raising him, beyond just telling him that women should be treated equally and setting a good example. But as this book outlines, there is so much more that we as parents can be doing.

And though we don’t think about it often, the crushingly fixed stereotypes of masculinity and femininity do limit boys a great deal as well as limiting girls.

I found myself having to put the book down at times – not because it was boring or too heavy, but because I really needed to digest and process what I had read. In one chapter, Virginia talks about the way that clothing is coded right from day one for children – and how none of it makes sense.

None of it makes sense!

LONDON RUNWAY

I was so inspired reading this chapter – thinking, yes, if Harry Styles can wear a skirt and I think that’s cool, then why can’t my son? – that I immediately went online and started wishlisting pink jumpers and onesies for the next time I need to buy him some new clothes. Because there’s no reasoning behind pink being for girls and blue being for boys. Even though I had already tried to go for gender neutral colours in my son’s wardrobe, reading this book opened my eyes to a reality I had been ignoring:

It's thrilling to think that we live in a time when there is a market for this book. When parents are actually starting to push back against these stereotypes and harmful limitations. I think about my son being able to wear a dress on non-uniform day at school some ten days in the future, if he wants to. I’d like to think he won’t get bullied for it. If more parents follow the tenets outlined in this book, it could actually become a reality, because we’re raising the generation that are going to be the next wave of this change.

All colours are gender neutral.

And it’s not an ever-advancing wave of progress, either, as the book points out.

There have been times in the past which were actually more accepting of fluidity in gender norms than the one we live in now. That’s quite a shocking thing to think, isn’t it? But it does highlight how important it is that we keep doing the work and showing up as examples for the children in our lives, as much as we can. Every change we make in them could be a change which continues on, passes down to their children too.

Wow. It’s incredible how deeply ingrained some of the stereotypes we hold about gender are. Even for myself, a person who considers themselves reasonably well-educated and very open-minded about the fluidity of gender, there were doors that had not yet been opened. Of course, I knew men could wear pink. I know men who wear pink. I’ve approved and published many photographs of male models wearing pink in the pages of this very magazine.

So, why didn’t it occur to me that I could dress my boy in pink – my favourite colour?!

The great thing about Childhood Unlimited is that it’s very careful to give you space to have these realisations without feeling guilty about them. Parenting is a learning process, just like everything else in life. As the author tells us, it’s okay to have made mistakes in the past and it’s okay to make mistakes in the future. The point is that we always try our best. With this book in hand, I now feel much betterinformed and better-armed about what doing my best can look like.

Ultimately, we all want the best for our children. Childhood Unlimited shows us that gender stereotypes are not at all the best for them – even for our boys, who appear to be getting the best of the situation but are actually being forced into boxes that can be incredibly harmful for their mental health and emotional development. And if our children can’t be happy when they’ve been raised with gender stereotypes, well, then we’d better start smashing those stereotypes down.

Finishing the book, I feel empowered and ready to make serious changes.

I felt like I actually had the tools in my arsenal to bring out whenever anyone

PAGE 78

in the future might question my parenting – why my boy is wearing a pink skirt, why my (potential future) daughter might wear blue clothes with dinosaurs or tractors on, why they use inclusive person-based language instead of assuming gender when they meet someone new.

I actually know what to say in those circumstances. How incredible is that?

To be given not just the way to make changes, but also the way to push back against those who might suggest the changes are wrong.

I can’t rave about this book enough, but I’ll leave it there in order to allow you to find out the rest by reading it yourself.

You might just get the opportunity to do that for free by entering our giveaway, the details of which are on the next few pages!

On the other hand, please consider purchasing a copy of this book yourself – so we can show publishers and retailers that the future we want is one in which our girls don’t feel they must quit their jobs to raise a family, our boys don’t feel they must hide their feelings no matter the cost, and our trans children don’t grow up feeling there must be something shamefully wrong with them.

Digestibility – ⭐️⭐️⭐️⭐️⭐️ Actionability –⭐️⭐️⭐️⭐️⭐️ Empowerment – ⭐️⭐️⭐️⭐️⭐️

Childhood Unlimited – Parenting Beyond the Gender Bias: published by Sheldon Press, RRP £12.99, on sale now.

Julie Corion Fashion designer Julie Corion designs everything from bags, coats, clothes— you name it! It’s a lot of work, but she loves it! Seeing her natural gift and creativity, Julie’s mother purchased a sewing machine for her at the age of 13.

From making clothes for herself, mother, and sister to designing a whole clothing line suitable for every woman, she has come a long way.

Julie Corion’s collection The Camouflaged Project represents the state of the nation and the crisis it’s still in— Covid-19, BLM, the loss of loved ones, such as Julie’s own beloved father, etc. There are no words to describe the pain and there are a lot of people who are hurting.

With this collection, Julie adds a little bit of colour and gold, representing hope. There’s a light at the end of the tunnel, and we can still find something to be thankful for.

See the collection on Instagram @julie.corion.

by Julie Corion

“As humans, when we see each other at different events, whether it’s at church, work or a function, we automatically ask each other ‘how you are?’ We will reply back with a smile on our face, ‘I am fine...’, but deep down we are not. We tend to camouflage our feelings and the pain we are going through”.

WIN! A copy of Childhood Unlimited: Parenting Beyond The Gender Bias

by Virginia Mendez Head to our Instagram to take part in this giveaway in partnership with @thefeministshopdotcom!

You could get your hands on your very own copy of this game-changing book.

RRP £12.99

Enter at @londonrunwaymag NOW! Terms and conditions: No purchase necessary. Winners will not be required to pay to enter the competition. Entrants must be over 18 years old on the date of their entry. Employees of The Promoter are not eligible to enter. Instagram or Facebook are not in any way affiliated or involved in the competition. Prizes are non-negotiable, non-transferable and non- refundable. No cash alternative is available. Where a Prize becomes unavailable for any reason, the promoter reserves the right to substitute that prize for a prize of equal or higher value. The name, address, email address and phone number of the winner must be provided to The Promoter if requested and will be shared to enable fulfilment of the Prize.

BACKSTAGE AT DEMOBAZA LAFW 22 Photography by Liz Anderson @ladydazecreative

PAGE 82

LONDON RUNWAY

EVA MIARKA Photography by Fil Mazzarino @filmazzarino

PAGE 84

LONDON RUNWAY

PAGE 88

LONDON RUNWAY

AVANT APOCALYPSE In this article, Damisola Sulaiman explores the rising fashion trend and its use of various elements to comment on social issues.

Avant apocalypse is a fashion trend which has trickled down from the runways of designers such as Rick Owens and Maison Margiela to the bedrooms of TikTokers. In doing so, it has secured its place in the mainstream. For centuries, fashion has found unique ways to externalise the conditions of the time and this trend follows suit.

types and social classes. Avant Apocalypse is built on the subversive basics trend which takes everyday items and transforms them to the point where they are entirely different from what they once were - it is classic upcycling.

Tiktokers have taken average tights and turned them into dramatic sleeves, basic camisole tops have been transformed into statement pieces, and knitwear has been turned into outfit-finishing drapes and nets. Avant apocalypse is ideal for thrifting or DIY projects, both of which are known ways to be more ecoconscious with our fashion.

Despite the individual pieces being unique and seemingly difficult to rewear, the element of layering and utilising the same pieces in different ways every time creates that rewearability and prevents wastefulness.

This trend provides a solution to the problems that have been discovered effortlessly.

The Covid-19 pandemic felt for many like a possible end of the world. All of a sudden things came to a dramatic halt and it suddenly seemed like we were living in the dystopian universes we had seen in fiction for so many years.

Avant apocalypse was conceived by the TikToker Mandy Lee (@oldloserinbrooklyn). It is characterised by its deconstruction of everyday pieces. It incorporates asymmetry, cutouts and layering to wear clothes the ‘wrong way’. It has been described as neutral maximalism which is basically ‘put-together messy’, as it involves clashing fabrics and unusual shapes but puts them in a neutral colour palette.

The trend takes inspiration from postapocalyptic aesthetics and dystopian science fiction such as Mad Max or Dune. Designers such as Ottolinger and Ai Mei Li continue to represent this trend in their pieces and propel it even further.

The characteristics of this trend are fascinating and revolutionary, but it sets itself apart through the way its individual elements address issues of climate change, the Covid-19 pandemic, and recent political instability.

In recent times, the climate crisis has brought several revelations relating to fashion. The true harm of fast fashion and overconsumption has been brought to light. This has led to lots of confusion for consumers in how to participate in trends, or shop ethically and sustainably in a way that is inclusive to all body Tom Hardy in “Mad Max: Fury Road.” Photo Credit: Warner Bros. Pictures

PAGE 89

Image via Ottolinger: Knit Strappy Bikini Top in Black, €338

LONDON RUNWAY

Avant apocalypse includes punk elements that can be seen instantly, but another similarity it holds is the political significance. The punk era was characterised by rebellion and challenging the establishment.

During the pandemic, we saw the rise of aesthetics like cottagecore or fairy grunge which provided a whimsical escape from our reality and gave us an opportunity to romanticise our situations.

Thus, it makes perfect sense that as the world finds a way to recover from the pandemic, an aesthetic like avant apocalypse would come to the forefront. Rather than disappearing to dreamy cottages, it channels us taking this new world by storm through its daring nature, similar to the heroes in the science-fiction movies that influence it.

Over the past few years, we have seen an increasing amount of political instability all over the world and uproar from the public about decisions regarding the economy, the climate, and human rights.

Fashion has always looked to the past for inspiration, so it makes perfect sense that in our difficult political climate we would recreate elements of the punk era, when people used fashion as a tool to fight against their own political situations.

Immortan Joe, played by Hugh Keays-Byrne Photo Credit: Warner Bros. Pictures

Image via Rick Owens: SS22 FOGACHINE RUNWAY SPIDER PONCHO IN NET KNIT, $1045

In Mad Max, there are outfits with leather belts sewn together to create a corset look. In Dune, there are clashing fabrics of soft scarves contrasted with the hard exterior of their body armour. These films utilise repurposing as well as layering, both of which are key elements of avant apocalypse.

LONDON RUNWAY

The most classic way that fashion has reflected circumstances is through colour. Colours have always been linked to certain experiences and emotions, for example wearing yellow when you are happy and black when you are sad. This trend uses a neutral, earthy colour palette. Considering the overall maximalism of this trend, bright colours would have made sense, but the colour palette serves as an embracing of the darkness.

The past two years have brought misfortune in a variety of ways and rather than escaping to florals and pastels, it acknowledges these difficulties and equips the wearers to face them. It serves as a layer, or rather multiple layers, of protection in a world plagued with unpredictability.

Images via shown TikToks

The deconstructed nature of the pieces and creativity required to pull them off has also made it so that gender norms are not seen here.

Similar to the post-apocalyptic universes that inspired it, fashion in this aesthetic is largely gender neutral. In those films and television shows, it was more about practicality, but here it is driven by the aesthetic’s reliance on the wearer’s creativity to make the pieces work.

It shoves tradition out the window and makes it so that the only rules that exist here are formed by each person’s ability to innovate. This trend represents the general shift, in fashion and life itself, from drawing clear lines and being exclusionary to letting the individuals wear their clothes and live their lives on their terms.

The trend cycle in recent times can feel repetitive but avant apocalypse subverts this by making waves through its originality. It somehow takes elements of things we have seen for years and still crafts something completely new. Every element seems to somehow be completely intentional, like the fashion gods took a variety of things that were needed and tucked them neatly into this. But the larger meanings and implications of this trend make it even more aweinspiring.

I, for one, am beyond excited to join in (if I can pull it off).

You can read more of Damisola’s work on Medium by following @damisulaiman26

Images via Legendary Entertainment; "Dune" by Chia Bella James

PAGE 91

LIFESTYLE 2022 PART TWO Photography by Mrityunjoy Mitra @the_mj_studio

MOAZZAM ABBASI

PAGE 92

LONDON RUNWAY

LONDON RUNWAY

NAIKA OF LONDON

LONDON RUNWAY

LONDON RUNWAY

REIGN

ULRIC ENGLER

PAGE 96

LONDON RUNWAY

LONDON RUNWAY

LAN OF FASHION

Photography by Mrityunjoy Mitra @the_mj_studio

M-Collection-St Tropez

PAGE 98

Eve Collection

PAGE 100

Lisa L. Jack

Asti Art Boots

Beaute Sauvage

LONDON RUNWAY

Look Customized by Tiana

Trimingham

PAGE 105

LONDON RUNWAY

With their enticing aromas and eye-catching colours, flowers instantly draw you in. For this issue’s YSH, Candice curates floral scents that will enhance the alluring nature of these unique signs.

Aries March 21 - April 20

Blue Heart Extrait de Parfum - Thameen With the infamous saffron spice being a frontal scent, Aries will pair well with this perfume. “The perfumer calls on rich, lustrous notes like saffron, vanilla and tonka bean to create an ambery aroma…”

Taurus April 21 - May 21

Pure Essence Eau de Parfum No.2 Rose Neal’s Yard Remedies Tauruses will feel a familial connection with their birth flower, the Rose, so it is only fitting to pair the two together in one organic and natural essential oil that lasts!

Gemini May 22- June 21

Celestial Patchouli Eau De Parfum Sana Jardin Paris With the duality of a muskier scent and a floral scent, Geminis will be enchanted by this “bewitching bouquet [that] marries smoky patchouli with sparkling Turkish rose…”.

PAGE 106

LONDON RUNWAY

Cancer June 22- July 22 Aromatic Spices + Jasmine Alcohol-free Perfume - Brûmée Perfume Representing love, sensuality and purity, Jasmine flowers symbolise the best aspects of these caring signs. The comforting floral scent paired with the added spiced aromatics will leave Cancers striding with confidence.

Leo July 23- August 21 Paula’s Ibiza Eclectic eau de toilette - LOEWE This cologne has top notes of Madagascan mandarin and orange blossom absolute. With the orange blossom absolute making an impact even with the smallest of drops, it mirrors the intensity and presence of a Leo.

Virgo August 22- September 23 'Live The Life' - Walden Natural Perfume “... reminiscent of a magical midsummer stroll through a wild flower meadow.” This perfume is perfect for these hardworking Virgos wanting to be momentarily whisked away for the day through scent.

PAGE 107

LONDON RUNWAY

Libra September 24- October 23 Lazy Sage - Elementary Scents Lazy by no means, Libras will appreciate the geranium and lavender notes in this vegan and cruelty-free perfume. A perfect harmony of “fresh green foliage”, “smooth florally spice”, and “a hint of fresh citrus.”

Scorpio

October 24- November 22

Black Orchid Eau De Parfum - TOM FORD With key notes of patchouli, incense, sandalwood and orchid, this perfume provides a “warm floral vibe and is a delightful blend of both timelessness and modernity.” Scorpios match this perfectly with their effortless sophistication.

Sagittarius November 23- December 22 Revolution de la Fleur Eau de Parfum Sana Jardin Paris This perfume will quickly become a staple for these starry-eyed travellers. “Wanderlust in a bottle.”, can be used interchangeably for both Sagittariuses and this scent!

PAGE 108

Capricorn December 23- January 20 Golden Gardenia A Fragrance - JO LOVES This gardenia fragrance is spiced up with notes of cardamom and ​incense. The added woody and spicy scents to this classic flower truly represent the multi-faceted capabilities of Capricorns.

Aquarius January 21 - February 19 Sunflower Pop Eau de Parfum Floral Street In collaboration with the Van Gogh Museum, “Sunflower Pop is a vibrant, sumptuous citrus blend to bring to life the beauty and optimism of Van Gogh’s ‘Sunflowers'.” Non-conformists and freespirited Aquarians will bask in this “Joybringing and sun-soaked.” fragrance.

Pisces February 20 - March 20 Soir De Lune - Sisley-Paris This celestial sign will be transported to an ethereal and feminine scent scape with this long-lasting perfume. Being the last sign, the floral notes of rose, jasmine and lily of the valley mirror Pisceans in the way that they’re also a combination of the previous signs.

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

Zodiac illustrations by Lauren Rowley All images via respective retailers.

PAGE 109

LONDON RUNWAY

BRIDAL FASHION WEEK: COLLECTIVE Photography by Fil Mazzarino @filmazzarino

BABIANA CABELLO

PAGE 96 PAGE 110

DANDO LONDON

ELLIS BRIDAL

EVIE YOUNG

Postcode Fashion

IT WAS ALL A DREAM

KATE FEARMLEY

PAGE 115

LILY LONDON

MADI LANE

SERE MODA

LONDON RUNWAY

THE EVOLUTION OF COACHELLA FASHION AND ITS IMPACT ON SOCIETY With the UK festival season looming, Amrit Virdi looks at the fashion evolution of renowned- Californiabased festival Coachella, and the implications of how its style varies from festival-goer, to performer, to celebrity attendee.

Coachella has been on a three-year hiatus, and it’s safe to say that the fashion scene has changed massively within that space of time, and even more since the mid 2010’s. With 2015’s boho-chic evolving into this year’s glam yet casual Y2K approach, Coachella is becoming less and less of a playground for the weirdest and wackiest fashion in some respects, as multicolour hairstyles are swapped out for trainers and sunglasses.

However, an interesting observation was that the trends changed depending on the individual’s status.

Image via Instagram @dojacat

Let’s start at the top. I myself was excited for this year’s Coachella lineup, and I wasn’t even attending the festival. Looking at the scheduled performers, the likes of Doja Cat, Harry Styles, and Caroline Polacheck were tipped to take their fashion to the next level, and they certainly did.

A prominent theme amongst the performers seemed to be bright, vibrant colours. Conan Gray’s hot pink attire and Harry Styles’ and Shania Twain’s sequin-adorned numbers were hard to miss. Doja Cat’s sexy, intergalacticlike bold choices were also top of the best-dressed performers list for me, as she turned the Coachella stage into her own runway. Festivals are a chance for performers and their stylists to up the effort to 110%, to mirror the vibrant and eclectic crowds.

Image via Instagram @kyliejenner

Even The Weeknd’s military style fashion and Billie Eilish’s graffiti-esque, Yeezy-like couture seemed to deviate from both of their usual styles, evidencing the importance of Coachella as a fashion statement.

It’s a well-known fact that Coachella doubles as a gathering place for the world’s most-followed influencers.

With the likes of NastyGal sending some of social media’s most followed people there, on the premise that they will post photos in their clothing, the majority of the trends spotted from the festival are the ones put forward by Instagrammers, TikTokers and YouTubers.

A few recurring themes cropped up.

Colourful Y2K prints worn by the likes of James Charles in a revealing number, and Kate Elisabeth in a NastyGal pink and orange crotchet woven top paired with a neon orange skirt, captured the fun and whimsical nature of the festival. Fringe also seemed to be prominent, with Paris Hilton and Abby Wetherington donning cream and white fringe-based staples.

Juxtaposing the abundance of colour that was present, neutrals and more subtle tones were seen in equal measure. After all, with the festival lasting three days, the more outfit changes, the better, right?

Image via Instagram @alexcentomo

PAGE 119

Image via Instagram @tanamongeau

Image via Instagram @harrystyles What wasn’t seen much were the bohochic flower crowns, facial gems, layered necklaces, and wide hats that defined Coachella in 2015. I first got exposed to images from Coachella when these themes dictated its fashion, with YouTuber Alex Centomo’s Coachella looks even inspiring my fashion when going to UK festivals.

As the general style across the everyday world of fashion has shifted towards low-key glam with an emphasis on prints, and less being more, this has inevitably played into Coachella’s fashion evolution.

The likes of Tana Mongeau have been known for exhibiting a more ‘out there’ fashion at the festival, but many of her looks this year involved simple statement jeans with a crop top.

One of my favourite looks of hers was a sequin-adorned double denim pairing with a denim bucket hat.

Especially with festivals, understated can often be better... and more practical and comfortable!

On that note, high-status celebrity attendees seemed to ditch the trends demonstrated by performers and go for an even lower-status look.

Celebrity BFFs Hailey Bieber and Kylie Jenner were matching in their understated denim jeans, white crop tops and leather blazers.

Understandably they don’t want to bring attention to themselves, but the Jenner clan have been known, amongst other regular celebrity-Coachellagoers, for setting festival trends with their eccentric looks. Then again, I would not be surprised if next year’s Coachella-goers follow their lead, and turn up in casual attire as a fashion statement.

Writing this out revealed to me that there does seem to be a dress hierarchy at the world’s most famous festivals.

Coachella is at the forefront, given that in recent years it seems to have become a breeding ground for influencers to promote fashion, with the focus on the music itself being lost at times. The more famous a celebrity attendee of a festival is, in the case of Coachella, the more low-key they dress, which in turn impacts trends after the event due to their influence.

A lot of my own fashion choices are inspired by the style of those in the

PAGE 120

Image via Instagram @conangray

As discussed above, there was an array of trends this year, albeit more low-key in some senses. A lot of people had differing opinions on some of the looks, and it makes me consider why celebrity fashion is scrutinised so much. Especially with a festival, people attend to have fun and enjoy the music, so some of the incredibly harsh hate that people got for their looks at Coachella seems needless.

This all links to the glamourisation of the celebrity and culture of idolisation.

With fashion being such an integral part of everyday life, and celebrities being in the public eye, their cultural implications on society via their style shape the trends of today. With their levels of influence, their cultural effect can even be subconscious at times. For example, the societal shift from skinny to baggy jeans, arguably aided by the rise of ‘indie’ fashion, was something which I cannot even pinpoint happening – it seemed to just appear in

Image via Instagram @parishilton

Image via Instagram @jamescharles

Image via Instagram @kateelisabethxo public eye, but I have never thought to stop and think why we care so much about celebrity fashion, and why it is so impactful. Within the two Coachella weekends, I saw an abundance of YouTube videos and articles analysing who was best dressed at Coachella, as if it was a fashion show.

my wardrobe!

and is not hard to do!

High street shops such as Urban Outfitters and Zara cater well to the latest trends, and are some of the go-to shops amongst a lot of my friends.

Colourful prints, block colours, and leather blazers, all found worn at Coachella 2022, are staples in their stores. Specifically with the rise of fast fashion, retailers and brands can mirror trends pretty quickly. Pretty Little Thing has a dedicated ‘festival’ tab on its website, consisting of the block colours, animal prints, and Y2K fashion found at Coachella.

The Coachella effect is real, and if anything it should be called a fashion festival as well as a music festival. With the pattern of low-key glam increasing more and more every year, who knows what next year will bring.

While festivals attract the fast fashions brands of the world, the ethical implications of this do need to be highlighted.

Pretty Little Thing and NastyGal are known for not being sustainable, exploiting their workers in harsh conditions, and not using ethically sourced materials. In reality, most ‘trendy’ buys are worn once, and go to waste. Wanting to achieve festival fashion can be done in much more sustainable ways, especially as it is becoming a lot simpler. Turning an old scarf or bandana into a colourful crop top, or adding sequins to forgotten denim staples, is a fun time-passer,

PAGE 121

You can read more of Amrit’s work via her portfolio at amritvirdi.journoportfolio.com, or by following her Instagram @thevinylwriter.

Q A THE BIG QUESTION We asked, you answered

What has been your most embarrassing fashion malfunction?

"I had a pair of pink heels and a pair of beige heels that were really similar - looked down at my sister's graduation and realised I'd picked up odd shoes in my rush!"

– Amber Johnson, Publishing Assistant

&

"Turning up to a fancy dress day in normal uniform I'd completely forgotten!"

- Joel Benjamin, Customer Service Executive

"SPLITTING MY LEGGINGS AT THE GYM!" – Charlotte Brain

"BOOBS KEPT POPPING OUT THE SIDES OF THE DRESS" - Stephanie Nevitt

"Getting home and realising I never took the tag off the back of my brand new dress!"

– Rhiannon D'Averc, Chief Editor

"Looking back at the photos from a night out the next morning and realising my bra had been hanging out ALL NIGHT and no one said anything!"

– Olga Petrauskaite, Dancer

“I was walking in a fashion show and my heels were too big. By the time I got to the end of the show one of my heels flipped off my feet, I acted like nothing happened and slayed the show whilst dying inside!”

- Ilyasah Ricketts, model

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

NEXT: THE SUMMER ISSUE THE FLOWER ISSUE

FIND LONDON RUNWAY: LONDONRUNWAY.CO.UK @LONDONRUNWAYMAG INFO@LONDONRUNWAY.CO.UK

BACK COVER: BACKSTAGE AT ON|OFF BY FIL MAZZARINO