21 // Graduate London Fashion Week 2012

21

celebrating twenty one years of graduate fashion week

Mary Katrantzou / WSGN / J JS Lee / Michael Van Der Ham / Hilary Alexander / Colin McDowell

SUMMER 2012

21 contents /4/ The Key to Sucess

/5/ Who’s the Daddy? /6/ Mary Katrantzou

/8/ Michael Van Der Ham /9/ Primadonna Boy / 10 / Backroom Boyz / 11 / Mentorship

/ 12 / WGSN Trends

/ 14 / 2011: Winners, Where are they now? / 16 / J JS Lee

/ 17 / The Devil Pays Nada / 18 / Be your own boss / 20 / Style Tribe

/ 22 / Fashion Into the Light

/ 34 / 21 Beauty

/ 36 / The Write Stuff / 38 / Buyer’s Eye / 40 / Top Tips

editorial team

// publisher / Carol Aquino // editor-in-chief / laura Natalie Hawkins // managing editor / Glyn Darcy Rive // editor-at-large / Madeleine Goubau // creative directors / nassia matsa + Youngeun So // fashion directors / kate white + Irene Ojo-Felix // Features Editor / Hannah Banks-Walker + Anastasia Miari // Chief Sub Editor / Francesca Bradshaw + William De Martigny Booth // Production Editor / Tia Hall-Davis // deputy publisher / Bojana Kozarevic // University Liason / Chloe Fosbrook + Tia Hall-Davis //

All MA fashion Journalism students @ london college of fashion

/ 30 / Color Me Beautiful

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Editor’s Letter This year Graduate Fashion Week (GFW) celebrates its 21st birthday, and what a growing-up process it has been. With the likes of Christopher Bailey, Stella McCartney and Giles Deacon marching through its doors, GFW celebrates the best of young talent across the whole spectrum of the fashion industry, from design to entrepreneurship, marketing to journalism. In 21 we celebrate past and present graduating talent with exclusive interviews from giants in the design and journalism industries, last year’s GFW winners and two shoots with this year’s fashion design graduates. With advice and tips from industry experts including business mentors , buyers and editors, 21 is the perfect tool not only for GFW, but for graduates as they enter the competitive world of fashion.

Laura Natalie Hawkins EDITOR-IN-CHIEF

The Key to Success

BY GLYN DARCY RIVE

Turning twenty-one famously bestows that great power of the proverbial key to the door.

It is a declaration to the world that you have come of age, that you have left your young ways behind you and that you are taking your life in a clear direction. This year, Graduate Fashion Week turns twenty-one and it’s ready to show you just how far its come…

It all began when founder Jeff Banks received a letter from Fred Spur, a student at the Brighton College of Art. ‘He wrote and said that it was unfair that London colleges had the opportunity to show to major London journalists and to the world press while regional colleges didn’t have that opportunity’, says Banks. Wanting to provide this platform, he worked closely with fashion headhunter Vanessa Denza and show producer John Walford to create Graduate Fashion Week.

GFW showcases the newest and most talented designers from colleges across Britain, presenting them to the industry and potential employers, while also introducing the graduates to their peers. ‘It gives students the opportunity to meet each other, show together and work together. Most importantly, it gives them the chance to improve their standards’, says Banks.

‘All the friends and contacts that you make at school are important’ reiterates Christopher Bailey, who won the very first GFW award in 1991 and has since gone on to become the Chief Creative Officer at Burberry.

The pedigree of the competition has been

This year, Graduate Fashion Week not only celebrates the freshest young designers but also its twenty-first birthday maintained throughout the years by winners who have now become internationally recognised; names such as Stella McCartney, Giles Deacon, Matthew Williamson and Antonio Berardi. It is impossible to imagine their level of success had they not received a GFW award. Last year’s Gold Award Winner Rory Longdon understands the significance GFW will have on his career: ‘It was so overwhelming to be awarded such a prestigious award for a collection that I put all my heart into. Winning the award has definitely opened up more doors to me for my future’.

GFW provides the winners with the key to open the door to their dream career, while the success of GFW itself is reliant on the commitment of its team and the generosity of sponsorship.

Though it is a charity, GFW receives no government funding- but this has proven to be no obstacle. Previous sponsors of the event include River Island, Topshop, BHS and Espirit, but this year, the main sponsor is George at Asda. ‘George is an appropriate bedfellow because it is a company that has both the funding and the ethics to constantly improve its offer ‘says Banks.

This attitude of improvement is one that permeates GFW. In the last twenty-one years, the event has been getting better and better, and the support and encouragement given to

the graduates is at its strongest yet.

GFW has spread its reach beyond the UK to now include colleges from Amsterdam, Berlin, Milan and Paris, while also developing the Protégé Project, which provides companies with an opportunity to help students enter the industry.

Birthdays not only call for reflection on what you have achieved but also on where you would like to go, next and in the next year, GFW is taking a new direction. ‘On its twenty-first birthday it has grown up, it has the keys to the door. It’s time to start flexing its muscles’ says Banks. Having enjoyed a successful run with former organisers Terry Mansfield and June Barker, who have dealt with the growing pains and brought GFW to where it is today, the event is now under the new instruction of chairman Robert Templeman, also Chairman of the British Retail Consortium, who is working with event director Martyn Roberts. ‘They are two catalysts who are making GFW more professional, slicker, and more acceptable to fashion companies. They want to move GFW in a new direction’, enthuses Banks. ‘This is the last year of GFW as it is and I am really looking forward to GFW as it is going to be’.

So are we, Mr Banks. So are we…

Zandra Rhodes Award winner

VB & other judges

Gala 2008

Graduate Fashion Week 2012 runs from 10th-13th of June at Earls Court 2 Exhibition Centre. // www.gfw.org.uk

Last year’s Gold Award Winner Rory Longdon 4

who’s the daddy?

Jeff Banks on his career, GFW and being a role model

BY GLYN DARCY RIVE

‘‘It’s bloody brilliant!” enthuses Jeff Banks, talking about the fashion industry in London. Sitting in his office surrounded by his latest collection, which he himself is sporting, Banks knows what he’s talking about. With a career in fashion spanning five decades, a selection of accolades and awards, and a number of successful business ventures, this man’s opinion – which has caused him a fair bit of trouble in the past – deserves to be heard.

‘There are a lot of people in the fashion industry who don’t like my outspokenness. It’s considered too forthright’.

Perhaps if it hadn’t been for Banks’s direct talk and focused attitude, he wouldn’t be where he is today – owner of his eponymous label and the Incorporatewear brand as well as being British Designer of the Year twice over in 1979 and 1981.

He must look back on his career with a great sense of pride.

‘I don’t look back. The highlight always is the next new thing, the next adventure so I don’t actually look back and think, “that was great”. Once something is done, I just look forward.

I enjoy the thrill of the chase of something new. I tend to look back more on missed opportunities, things I should have done and didn’t do; things I could have done and done better’.

What about in 2009 when he was made Commander of the British Empire for his contribution to fashion as part of Queen’s birthday honours, surely he is proud of that? ‘It’s a mark of respect for the industry, rather than being personal. It’s great that our industry gets recognised, that design gets recognised.

I don’t look on it as a personal gift; it’s more of a benchmark really’.

His frank opinions are perfectly balanced by his sense of modesty. Though he has made a successful career in fashion, Banks never intended to become the household name that he is today: ‘I just couldn’t get a job anywhere else!’ he laughs.

‘I tumbled into it by accident. I trained as a textile designer but couldn’t get a job as one so I opened a small shop and the shop took off, so I had to start designing and making clothes to fill the shop. I’m kind of an accidental tourist’.

A happy accident it may have been but Banks was well prepared for it with his training at Central Saint Martins. Again, whenever he is forced to reflect on his past, he does so with humility. ‘One didn’t actually feel it was important at all. It was very adventurous but nobody believed that what they were doing would become iconic. I wish I had taken things more seriously. Everything in the early 60s was quite flippant and you never thought the good times would come to an end. Whatever you dreamt of, you could do. I wish I had recognised the opportunities that had floated my way and treated them more seriously’.

He adds: ‘People who are at college now who really believe in themselves can see massive horizons and great opportunities because all around them they can see these planetary developments in design and organization that didn’t used to exist. Young people today are more equipped to grasp opportunities. I think many people are disenfranchised with the

difficulty of getting the opportunity but there are an awful lot that can actually see the massive opportunities that exist in a lot of areas’.

One opportunity that Banks did seize, however, was to create Graduate Fashion Week, having been approached by a student who was upset that regional colleges didn’t have a platform to display their work like those in London did. The self-depreciation appears again when asked why he thought the student chose to contact him: ‘He saw a sucker! No, I suppose since I’m quite active in extended education, he thought I would be someone who could make waves’. And indeed he did. Now celebrating its twenty-first year, GFW is a highlight in the fashion calendar. ‘It feels like we are celebrating a twenty-first birthday, you know, when you’re relieved that you got there and surprised you made it so far. It’s still the only thing of its kind in the world.

There isn’t another fashion week like it anywhere else on the planet. It’s the only one’.

Banks continues: ‘The biggest benefit of GFW has been a lot of small universities coming on board and watching the quality of their courses rise as a part of playing in the big league and watching the development of their courses to give greater opportunities to students’. And surely, only a unique event would be appropriate for the fashion that comes out of the UK. ‘British fashion is unique in its inventiveness. Really, it’s the place where fashion as we know it started. Britain is important in fashion because it was there right at the beginning, years before New York or Milan fashion week. And culturally, Britain has much more depth about where the roots of fashion have come from in terms of diversity of population, of art, of history’.

This year, as well as being involved in GFW and expanding his business internationally, Banks has also found the time to design the opening ceremony clothes for the Olympic athletes from Belize, the smallest country competing in the games this year. ‘They were struggling with a lot of issues and we have been able to help them. I just keep my fingers crossed that they will be really proud when they walk into that Olympic stadium in the kit that we’ve designed for them’. Behind every great man is great motivation. With his philanthropic endeavours such as GFW and the Olympic uniforms, what is the force driving Banks? ‘Guilt.

I suppose I feel very guilty for being lucky enough to have been reasonably successful. If there are things of a scale that I can do, I like to do them to make a difference. I just want to make my kids proud of me. I don’t want them to see me as a taker but a giver. And, quite selfishly, I get a lot of fun out of it’.

Five decades down the line and Jeff Banks is still as hard working and motivated as the day he started. What is the secret to this man’s success? ‘Most of the people in this industry grow old gracefully and they disassociate themselves from what is at the heart of fashion, they lose the plot. I’ve been lucky – as a result of things like GFW – that I’ve really stayed in the core of it’. //www.jeffbanks.co.uk

Graduating from the BA in Textile Design at Central Saint Martin’s in 2005, Fashion Week favourite Mary Katrantzou has come a long way since designing her first graduate collection. Now known for her distinct digital prints and structured dresses, Mary is one of London’s most influential young designers. However, it was just four year ago that Mary’s eponymous label took shape within her MA graduate collection. An instant success, the collection that still echoes much of what Mary does today was snapped up by 15 prestigious stockists. Awarded NEWGEN sponsorship by Topshop and the BFC to show her collections at London Fashion Week for six seasons, Mary Katrantzou is living the fashion graduate’s ultimate dream.

This designer’s success however, has not come without hard work. Taking up placements with established designers including Sophia Kokosalaki and Bill Blass, she had time to develop her signature style. A pioneer of digital print, Mary has kept this a constant feature within her collections. Her eye-popping, hyper-real visions compliment the statement shapes of her garments. An emphasis on structure proves that her success is not based on the novelty of print alone. Mary designs for the 21st Century woman. Her clothes are bold but always feminine, making a Katrantzou original a widely coveted item.

mary

It comes as no surprise then, that Mary was recently asked to design a range for Topshop this February, bringing high-end to the high street. The collection sold out almost instantly, a testament to the Greek designer’s popularity. To add to her glowing CV, she’s now been awarded a place on the judging panel for this year’s Graduate Fashion Week. As a graduate whose final collection led to her on-going success as a designer, she will now have a say in who might be next in line for a slice of the fashion pie. With this in mind, we caught up with her to get an insight into what might catch her eye in this year’s final collections.

katrantzou 6

INTERVIEW

21:How do you feel that your prints have evolved season on season?

When print is the visual language that defines your designs you have to remain at the forefront of your craft, so I try to challenge my team and myself to achieve the seemingly impossible with print season on season.

21:What were your main influences for your autumn / winter collection?

The theme was elevating the mundane to the sublime. The collection was divided in 7 colour stories that were inspired by everyday objects that you associate with these colours. The subject matter ranged from pencils, to typewriters, to spoons. I wanted to create occasion wear that elevates digital craftsmanship.

21:What is it about Topshop that makes it such a popular choice for young designers to collaborate with?

Topshop is a great partner for a young designer because it understands the need for financial support and it’s developed a very successful formula to help designers while at the same time working with them to reach a different audience and create a fun collection for the Topshop girl.

21:Are there any young designers or labels that you particularly admire at the moment?

I like what Simone Rocha and JW Anderson do from London.

21:How commercially viable is it these days for young designers to set up their own brands/labels? And what would your advice be for designers planning to do so straight out of college?

It’s always difficult to set up your own label and it is important to have a deep understanding of the industry to help you survive any difficulties that come your way. I did the opposite and went into it very naively, which is a good strategy too, but there is a lot more risk involved and you spend double the time to understand how to run your business and make it commercially viable. Your level of drive and ambition needs to be unbeatable.

21:What made you decide to become a judge at this year’s GFW? I was invited by Hilary Alexander and I felt very honoured to be part of the judging panel. It was not too long ago that I was in their shoes, so I’m very excited about looking at all the young talent graduating this year.

21:What are you going to be looking for from this year’s GFW finalists?

I will be looking for an original voice that is proposing something unique and for technical ability.

21:How did you feel when you were in the position that these graduates are in now, showing their first ever collections?

I was very excited! It’s a great opportunity to show your work and define what you want to do in the future. It’s also an open platform for the industry to see and discuss your work. a/w 12

21:What is your advice to anyone graduating from a fashion design based course this GFW? To get experience by working in the industry and to understand every aspect of it. // www.marykatrantzou.com

INTERVIEW

michael Van der ham We talk to young designer Michael Van Der Ham about his signature cut and paste style, the importance of education and his plans to expand.

BY GLYN DARCY RIVE

A/W 12 courtesy of BFC

Known for his patchwork and cut and paste cutting techniques, Michael Van Der Ham’s mix and style has placed him on the sartorial map of London eccentricity. With an AW/ 12 offering of metallics and floral glam evening wear, Van Der Ham himself is a little more relaxed- “I personally dress quite casually.”

Though he is relatively new to the industry, Van Der Ham has carved for himself a distinct style of piecing together fabrics that aren’t instantly compatible but do in fact work to create a visually arresting garment.

“All the textiles, the ideas for textiles and colours, always came naturally. It was the fitting and cutting that I really had to learn.” His natural eye for colour and texture not only secured him a win at the NEWGEN awards at London Fashion Week but has also resulted in sold-out stockists.

The danger of distinction is, of course, being perceived as a one-trick pony – something Van Der 8

Ham is not. He has only shown four collections at London Fashion Week, having shown twice on the Fashion East catwalk straight after graduation, and already his signature collage/cut-and-paste technique is evolving. “It’s more refined now. And now there aren’t just the full-on dresses. There is a whole wardrobe to choose from, including separates and accessories.”

Van Der Ham is well prepared for the demands of his expanding collection. Before studying at Central Saint Martin’s, he interned at Alexander McQueen and Sophia Kokosalaki. “I got to see how teams work together and how shows are organised.

Fundamentally, I learned how to organise myself to get the work done in time.” These skills in time keeping would prove vital as he undertook an MA at CSM. “I think it was important for me to have studied on that course. I followed MA Womenswear fashion, and Louise Wilson really helped me to see what my

strong points were and what were my weaknesses.

That was so helpful because then I could focus on the good stuff – like textiles, colours and research – and leave the things that I wasn’t very good at to other people that I had hired – like cutting and sewing. Louise also taught me how to fit a look properly, which none of the other courses I studied ever did.”

A current issue for many young designers now is facing the rocketing prices of further education, so what does Van Der Ham believe is more helpful – education or experience? “A mix of both is the best way – I think it’s a necessity, really. You learn very different skills in each place, all of which you are going to need.”

Who does Van Der Ham design for? The Van Der Ham woman is “Genuine, funny and chic” he says, which explains his playfulness with colour and print as well as the precise tailoring of his garments.

She must also be cultured since Van Der Ham finds inspiration in museums and galleries. “I do love a lot of the museums in Amsterdam and Rotterdam, like Booijmans Van Beuningen, Rijksmuseum and Stedelijk.” Thankfully, however, she doesn’t need a generous budget, since the designer collaborated with high street brand Topshop to create a mini range of blouses, skirts and trousers with the signature Van Der Ham characteristics of colour and print.

With so much success from his womenswear collections, the style-inclined men of the world can’t help but dare to dream that Van Der Ham might also develop a menswear line. “Yes, I would love to actually. Maybe next year, who knows.” With a statement such as that, next year can’t come quick enough. //www.michaelvanderham.com

INTERVIEW

primadonna boy

Ex Manchester Metropolitan fashion design graduate Hasan Hejazi tells 21 about his success upon graduating, his celebrity friendships and his [not so secret] dream to be a pop star.Photography: Neil Francis Dawson

BY ANASTASIA MIARI Living every fledgling fashion designer’s dream, Manchester born-and-bred Hasan Hejazi has dressed pop starlets Kylie Minogue, Fergie from the Black Eyed Peas, Jessie J and Paloma Faith – all within two years of graduating. Prestigious fashion photographer Rankin shot Hasan’s Spring/ Summer 2011 collection lookbook and his most recent collection was shown as part of ON|OFF’s London Fashion Week catwalk and at Paris Fashion Week. His clothes are feminine, striking and ultra sexy. Floating chiffon is juxtaposed with skin-tight neoprene for a trash/glam fusion. It’s no surprise that Hasan’s collections are coveted by celebs – these dresses are distinct and undeniably cool.

Most notable of his celebrity following is Marina Diamandis of chart-topping pop sensation Marina and the Diamonds. Not only did Marina snap up a dress from Hasan’s graduate show two years ago, she has been best friends with him ever since.

After spending just five minutes with the young designer, it’s clear to see why. As fresh, bold and captivating as his clothes, Hasan is a designer well on the way to his own path of super-stardom.

21: You completed your BA in Fashion Design at Manchester Metropolitan University and went on to study your MA at London College of Fashion – What can you remember of your final graduate fashion show in January 2010?

HASAN HEJAZI: We did the big show at the Victoria and Albert museum in this beau-

tiful space – only fifteen people get into that show and I was one of them. It was amazing. All the right people were there – Harrods buyers were there in the audience but I thought, “compared to all these artistic geniuses in here, I’m not exactly going to break any boundaries – I’m just making pretty dresses”. I was just doing sparkly gay things. But the next morning before 10 a.m.

I got an email from Harrods. I thought it’d be some shitty newsletter but it was an email from the head buyer and they wanted to carry the Hasan Hejazi brand.

21: Sounds scary - how was it meeting buyers for the very first time in the hope of placing an order?

HH: I was really intimidated at first. When I got in there I noticed a weird atmosphere – everyone was acting really strangely but it turned out that Alexander McQueen had just died. I thought, “how on earth am I going to get an order out of this?” But then they ended up buying all the sequinned pieces and the order sold out at Harrods. So from that I decided to take things seriously.

I signed to a PR agency and from that I got my first celebrity wearer – Marina from Marina and the Diamonds.

21: A celebrity following as soon as you graduated?

HH: I know – and after Marina I got Kylie and then by July my next collection came out – I met so many people from the industry so quickly and gained quite a lot of fans. Marina came to my first show at the V&A and

I didn’t even know who she was. Paloma Faith was there too. I’d never heard of either of them. But it was probably for the best because I didn’t get intimidated by it.

Marina asked her stylist to contact me and then by February she wore me on the red carpet for the NME awards and from that, she’s my best friend now. I don’t know what I’d do without her.

get excited by them. Not in a pervy way because I’m gay – but because I just imagine what they’d wear. In a dream world I’d dress Madonna ten years ago. Mind you, I’d still say yes now. I love Megan Fox as well. People say she’s trashy but I like that her edge.

21: Is that how you’d describe your clothes – trashy / slutty?

HH: If I had to choose 5 words I’d say glam21: So you kind of have one of those celeb / orous, playful, sexy, camp trashiness. It’s not designer relationships then? exactly sophisticated but I think it’s quite HH: In a weird way – we used to joke about fun, my twist on tack. being Jean Paul Gaultier and Madonna.

She’ll swan around my bedroom in new 21: I read somewhere that music is a big stuff that I’ve made and I’m always hovering part of your design process – what’s the over her like – ‘be careful, it’s very delicate.’ reason for that?

HH: Basically it’s because of my dream of 21: And in the same year that you met Mari- being a pop star. If I could have any job in na, you dressed Kylie? the world – in that dream world where HH: With Kylie, I thought, aim for the top. you click your fingers and have any talent So I went on everything from Facebook to you want, I’d be a pop star. I absolutely love Google, MySpace, twitter - everything. I fi- music. I can’t work without it. I’m listening nally found out who her stylist was, I sent to Marina’s new album at the moment and over my look book to her assistant and they Madonna, Lana Del Rey and Paloma Faith. asked for the whole collection for her to try on. It was just incredible. That moment in 21: Are you inspired by music then? time Harrods, Rankin, Cheryl Cole and Ky- HH: When I do Jessie J commissions I’ll lie Minogue were all getting back to me. It put her album on, and I put Fergie on and was just one thing after another as soon as I listened to the Black Eyed Peas all week graduated. Anyway the dress she picked, I’d for her commission. But before when I already named it the Kylie dress. was walking around listening to Marina, I thought about a video and what the clothes 21: Do you have any other muses? would look like for it. So things like that inHH: People like Kylie and Jessie J really fit the spire an idea for my designs. Then again I brand. I get really obsessed with women get inspired by lots of things. Like I’ll think and the way they look – when I see them I about a creative idea about a whole pho-

to-shoot and then I’ll come to the dress.

I think it’s important to be doing other things – not just designing. I want to be a creative – to think about the whole process – like in fashion film. I’ve done stuff with Rankin and it’s really interesting and different. The thing that excites me the most is the final image that the dress creates.

21: So you’ve managed to work with Rankin and build yourself a pretty impressive celebrity clientele. What would you say to the graduates who might want to follow a similar path to yours?

HH: Graduate Fashion Week’s done very well – it’s a great opportunity and you need to milk it for all it’s worth. Make sure you get as much press as you can and don’t under-sell yourself. It’s the little things that make it look so much better. It might not even be down to the clothes – it could be the hairstyle. It’s your chance to shine so change things if you need them to change. When you’re left in the world of what to do next, you need to just know 100% that this is what you want to do. This is the most competitive industry whether you’re a journalist or a designer. You’ve got to have the balls to go out there and sell yourself. Unless you can’t sleep at night because you can’t wait to get up in the morning and make this dress that you’re thinking about – then don’t bother. You have to know that there is nothing else that you can do in the world apart from that.// www.hasanhejazi.co.uk 9

backroom boyz

BY TIA HALL-DAVIS

Fashion is enthralled with the latest collections, consumed with the ‘must-have’ high street items and obsessed with leading designers.

Often overlooked are the less glamorous roles behind the scenes which, for all of us keep the fashion wheels turning.

The Merchandiser- George at Asda-Matt Tomeo

Fashion Merchandiser at George for Asda, Matt Tomeo took a practical route into the fashion industry -“I was looking for a way to get into fashion, after some research I came across the George degree programme and knew I wanted to work there” says Matt. His first placement as a merchandiser in ladies knitwear on the degree programme was linked together with practical training at the George house offices - “It’s great”Matt says, “George is paying for my degree and giving me a salary”. His position involves monitoring weekly trade figures, stock control organisation, trend launches and the supervision of booking and contracting from shipping to depot delivery. Matt says “My favourite part of the job is the interactions. We have a really great atmosphere as everyone takes pride in their work and everyone is really supportive of your development”. Aside from this, Matt has significant involvement in the different functions within the George house, including the buyers and quality care team, enabling him to continue broadening his skills and knowledge. “Anyone trying to get into the industry should be able to demonstrate commercial awareness with some experience. Even if you want to do designing, a good head for numbers and business always helps you to get ahead”. // www.direct.asda.com/george

The Pattern cutter- Karen Millen-Aimee Middleton

Aimee has worked as a pattern grader and marker for over 7 years. After leaving university she worked for the Grading Bureau, River Island and is now at Karen Millen.

She discovered grading as part of her course at university. The pattern cutting software taught her to grasp the simplicity of the skill and ultimately allowed her to realise it was what she enjoyed. Her role within Karen Millen involves creating the patterns for each size of the garment, from the base size ensuring it is proportional, whilst also achieving the specified measurements for each size of clothing. Marker making is often part of the graders role, involving laying the garment patterns into a marker to work out the cloth consumption. Aimee explains “There is no typical day and I enjoy it because there is always a new challenge. Something to keep your brain working”. She could spend one whole day grading a complicated evening dress and then the next by grading three tailored jackets. Her role allows her to grade both complex and simple garments, and is involved in the products manufacture from the first cloth to the final product on the hanger. She explains “When you have created an accurate looking graded pattern, which is also lovely and fits together beautifully as the base size, then that is definitely something to be proud of…it makes all the hard work worthwhile”.

The role involves having a logical and methodical mind with visual skills to identify good shapes and lines of garments. She says ‘‘remembering numbers is something you need to be able to do and also have an eye for lines…there is no point achieving all your specified measurements if your pattern looks like a 50 pence piece”. Aimee concludes that the less known roles in the fashion industry can be just as rewarding as the ones in the spotlight-“I am so glad I have a found a job that is interesting, challenging and is different everyday and yet still creative in every aspect”. // www.karenmillen.com

JOBS

MENTORSHIP ‘ ‘ PROJECT NOT ONLY BENEFITS GRADUTES, GFW ’S PROTEGE BUT POTENTIALLY THEIR EMPLOYERS, AS WILLIAM DE MARTIGNY BOOTH FINDS OUT AT KAREN MILLEN.

BY WILLIAM DE MARTIGNY BOOTH

From design to marketing, styling to illustration – every discipline is represented; every subject participates; proving that GFW embodies the future of British fashion. However, it wouldn’t be a truly British event without some healthy competition…

Each winner in every field has the unique opportunity to receive personalised mentoring from industry experts enabling them to get the advice and guidance for their specific career paths.

For 2012 the winners will each have a personal mentor from GFW’s Mentoring Panel; formed of leaders from across the fashion industry, representing a wide range of high profile companies and with an amazing range of skills and industry experience.

Launched in 2010, the Protégé Project is specially designed to help leading businesses work with the outstanding talent produced by our GFW universities. Providing a platform for companies to give graduates the first steps into the industry whilst harnessing their creative talents and energy, it aims to benefit all as University of Westminster Graduate Fflur Cadwalder Owen, the 2009 recipient of Karen Millen’s protege project can testify.

“The scheme is a great idea- I was given a chance to work with all the different designers at Karen Millen, everything from designing handbags to jersey wear. Though I did have to do some less exciting paperwork- most of the time I was lucky enough to get the opportunity to design and create mock-ups of various pieces for new collections.” Luckily for Fflur she wasn’t thrown in a cupboard and forgotten about, as so many fashion intern horror stories suggest, but actually included in the design process.

“Usually I was given a project to work on; sometimes this started with designing on paper; sometimes designing on a computer.

It just depended on the brief. I particularly liked designing CAD digital prints - this was something I had never done before working at Karen Millen.” Fflur’s time with Karen Millen gave her the chance to experiment and explore new areas of design whilst learning from industry experts. It also gave her a new career path to follow; “Working with all the different designers taught me valuable skills that will benefit me in the future- also it gave me the opportunity to experiment and learn exactly what I enjoy within design. It is at Karen Millen that I decided that I wanted to focus on accessories design, having enjoyed working with the accessories team so much.”

Of course, one would expect the protégée to be enthusiastic when reminiscing over this once in a lifetime experience, but it would seem this enthusiasm is reciprocated by the Mentors themselves. Gemma Metheringham, Joint Managing and Creative Director of Karen Millen confirms this, reminding us also that this is an industry in which true talent is rewarded.

“The benefit for us is that we get lots of new ideas and energy into the studio - some of our bestselling prints have been created by the graduate protégés. As a team we really enjoy mentoring and

supporting new graduates, keeping in touch and seeing their careers develop. As a brand we are incredibly reliant on the creativity, craft and commerciality of our design team.”

Here we have it, an example of fashion students actually being valued rather than viewed as a nuisance. But why not? After all, design training in the UK is the best in the world and companies like Karen Millen should value the opportunity to give new graduates an insight into the industry. This is a chance to make contacts and gain a more rounded understanding of the design process and surely this will result in stronger graduate designers all round. However, the official contract is only for a 6 month period – what happens when it comes to an end?

“Many of the graduates have seen their time at Karen Millen as a stepping stone before going on to do an MA or perhaps setting up their own business. We always try and help with their next steps, whether it is providing references, contacting sister brands to see what vacancies they may have, to being available to offer on-going advice.”

Clearly a Mentor is for life, and not just for fashion week – but it is important not to underestimate the power of having one of these under your shoulder pads. Fflur’s first contract at Karen Millen as a GFW protégé was for 6 months after graduating, “but I stayed there for nearly 2 years working as a design assistant. By that time I felt I needed to move on, to follow my plans for designing accessories.”

Thanks to Karen Millen, her portfolio was strong enough to earn a place at the Royal College of Art, studying for an MA in Fashion Accessories beginning September 2012, but in the mean time?

“After finding that many of the fashion agencies wouldn’t even meet at me as I had less than 5 years fashion experience after graduating, I decided to get back in touch with my contacts at Karen Millen, and I was very lucky to hear about a position with Lulu Guinness and I am currently working with her on creating a new shop front window for her AW12 collection”

Fflur has undoubtedly been extremely lucky whilst on route to realising her ambitions, and sadly this is not the case for all participants in GFW. That said, it does not mean the death knell for the careers of those who are not fortunate to catch the eye of a Mentor.

“My advice would be to make the most of all the opportunities that come your way!” says Gemma Metheringham, “Don’t be scared to speak up and ask lots of questions - you’re here to learn and criticism can be useful for you. Equally don’t be scared to share your ideas; we want your creativity, but listen to us too as we know our brand and our customers. Successful design is about finding the balance between creativity and commerciality.”

And with that, to all potential protégés out there, I salute you. Let battle commence.

Designs by Fflur Cadwaladr Owen 13

TREND

what’s next?

WGSN, Graduate Fashion Week’s Official Trend Partner, outlines the key catwalk trends to watch out for in A/W 2012 SOURCE: WGSN.com

Key trends for Womenswear

CARVEN AUTUMN/WINTER 2012/13

MAXMARA AUTUMN/WINTER 2012/13

Occasionally fashion likes to throw a curveball. After a summer devoted to light-hearted candy pastels and flirty 50s looks, we see a complete change of direction for autumn/ winter 2012/13 in a palette of intense colour and modest cover-up silhouettes.

There’s a sense of brooding darkness in the air, as designers flirt with historical influences drawn from the Victorian and Edwardian eras, with high necklines and a return to structured dressing in an evolution of masculine/feminine looks. This opens the door for the return of the gothic, especially for party and Holiday developments, played out in a palette of black on black, flame red and purple.

Other key influences are more colourful and offer opportunity for strong print stories, with decorative Oriental looks, a play on Slavic and Eastern European folkloric inspirations and the early 60s undergoing a gamine Frenchified feel.

The season’s palette can be neatly divided into rich autumnal colour in deep wine reds, pine greens, russet browns and navy contrasted with graphic pop brights of flame, electric blue, cobalt and yellow, as well as a small range of chalky winter pastels.

JONATHAN SAUNDERS AUTUMN/WINTER 2012/13

FELIPE OLIVEIRA AUTUMN/WINTER 2012/13

The general mood may be sombre, but this feeling is lightened by the trend for tactile fabrics. Velvet, satin, textured tweed and bouclé, silky geometric jacquards, metallic finishes and ultra-smooth leathers contrast with opulent 3D embellishment, especially jewelled trims, embroidery and decorative appliqués.

TREND Key trends for Menswear Menswear is set to play it safe for next winter if the looks on the Paris and Milan runways are to be our trend barometer, as designers opted for a return to buttoned-up formal dressing, classic colours and traditional fabrications.

Maybe it’s the uncertainties of the recession and the feeling of things being out of our control that is prompting the consumer to want a little more structure in their life, as we see the classically tailored coat and suit with their strong waist and shoulder definition replacing the laidback casual appeal of key items like the parka – a runway stalwart for the past few seasons. Even the classic Western jacket got a makeover for next winter, coming in tweed or luxe wools rather than denim.

Colour is going classic too with a core palette of camel, black, grey and navy offset with rich wine reds, cool teal blues and bottle greens; fabrics meanwhile celebrate the traditional with heritage tweeds, luxurious plush piled wools and the touch-me-feel-me appeal of lush velvets and corduroys.

That leaves print and pattern to provide the drama for the season ahead. Expect to see subtle monochrome patterns, perfect to accent the grey palette, the decadently scrolling look of baroque-inspired imagery, and revamped camouflage prints including everything from clouds to flowers.

DIOR HOMME AUTUMN/WINTER 2012/13

DOLCE & GABBANA AUTUMN/WINTER 2012/13

All those directions are colouring our Key Looks for autumn/winter 2012/13, with sartorial formality leading the way, alongside updated military looks, which bring a more casual look into play alongside subtle historical influences. There’s a nod to the future too for the more forward-thinking end of the market, with modernist tailoring and an emphasis on technical fabrications, while the perennial heritage country look gets a makeover with functional workwear influences.

trends to watch gothic oriental western print heritage opulence tactility luxury

HERMES AUTUMN/WINTER 2012/13

MIHARAYASUHIRO AUTUMN/WINTER 2012/13

Key trends for Footwear & Accessories Historical references and an eccentric heritage vibe inform the im- For material directions, the overall look is luxurious. Plush furs come The general mood for the season is sombre, yet opulent, with a portant accessory stories for autumn/winter 2012/13, with folkloric to the fore for a number of accessory product areas, with suede going number of historical references taken from the Edwardian and Victoand oriental influences generating new and exciting print directions. back to basics in cool natural shades and tactile velvets adding a hint rian eras noted in apparel and continuing in accessories with devoré, We analyse the key looks, colour, material and detail directions that of glamour to belts and clutch bags. brocades, metallic finishes, high-shine leathers and all-over embelwill drive the women’s footwear and accessories market for the new lishments used to decorate and update key items. season.

For the first time we have broken the details and trims section down After last season’s selection of sweet candy hues and neon sports into two parts to highlight the newest details specific to footwear and Print effects help to enliven the mood with paint techniques includinfluences, the autumn/winter palette is rich, dark and moody. The the overall key detail trends to give a true reflection of how the acces- ing graffiti spray, paint drips and splashes offering quirky finishes palette is broken down into three key areas, starting with warm au- sories market is being updated for the new season. New heel shapes to footwear, while digital and handpainted florals look delicate and tumnal shades of pine, burgundy, mustard and pumpkin injected and fastenings keep perennial footwear silhouettes looking fresh as feminine, adding vibrancy to the winter palette. with brights of cobalt, bright red and purple with a small input of new trends emerge for accessories that aren’t apparent in apparel. chalky white and winter pastels.

WGSN’s signature Catwalks trend analysis extends to all top and emerging international fashion weeks, from Los Angeles to Hong Kong, Mumbai to Seoul. The most thorough and detailed runway coverage available, WGSN Catwalks content includes the latest crop, zoom and save functionality on all 22,000 images, along with comprehensively improved navigation and viewing options to make absorbing, navigating and interpreting the shows easier than ever.

WGSN will present the A/W 13/14 macro trends at Graduate Fashion Week in Theatre B on Monday 11th June at 12pm.

Visit us at the show to arrange a free trial and gain access to all of our seasonal trend round up videos.

15

s r e n n i W 2011

Where are they NOW?

The Graduate Fashion Week awards celebrate individuals’ outstanding achievements in fashion all across the board, from design to media production, to business planning for success. Since last year’s awards, the winning graduates have made big strides in the world of fashion today. Some have embarked on further education, while others have plunged themselves into the working world. We speak to these talented young creatives about where they are now and how it feels to look back on a year’s worth of work experience. It’s the ultimate preview to post-graduate life.

BY LI YIN SOH

Felix Chabluk- Smith, 23

2011 WINNERS

2011 GFW AWARD: MENSWEAR

Rory longdon, 24

Alma Mater Edinburgh College of Art. Studied BA (Hons) Fashion Design.

2011 GFW AWARD: George gold

What He’s Been Up To Felix has just finished his first year in the MA course at the Royal College of Art, specializing in Menswear.

Alma Mater Nottingham Trent University.

Studied BA (Hons) Fashion Knitwear Design and Knitted Textiles.

Why a Masters? ‘It kind of sets you apart from other graduates doing a Masters, from those who have just a Bachelor’s Degree. For me, the Royal College is the best course in the country, if not in Europe, to do menswear and it was recommended by my tutor at my BA course. I just applied and haven’t looked back really’.

What He’s Been Up To On graduating Rory began working with George on a placement, creating an affordable range of Rory Longdon Knitwear designs. He then worked at Pringle in the archiving department and has since moved to Reggio Emilia, in Italy, and is now working for Max Mara as a knitwear designer.

Career Highlights: Awarded a 3-month Burberry internship and the Stewart Parvin Award for Best Fashion Graduate 2011.

Why Italy? ‘I thought the best way for me to further my practice would be to learn some hands-on experience within the industry. Italy was a place I had always dreamed of working in, so it seemed right to move there and begin to learn about the real industry’.

FYI: Felix didn’t think he wanted to be in fashion at first, going up to Edinburgh to originally do illustration or graphic design. He was, however, gradually drawn in to the fashion department, mainly by his girlfriend

Top Graduate Advice ‘Stay positive and be persistent.’

Biggest Career Challenge ‘I’ve had to make some pretty tough decisions about certain paths to follow, as GFW opened up numerous paths’.

Hsin YEE WANG, 22 2011 GFW AWARD: Business idea Alma Mater UCA Epsom. Studied BA (Hons) Fashion Management and Marketing.

Future Plans ‘Perhaps in the near future there might be another Rory Longdon knitwear collection.’

Molly Ratcliff, 23

What I’ve Been Up To: Hsin Yee was offered a job after winning her Barclays New Business Idea and currently works full-time in corporate workwear.

2011 GFW AWARD: Mulberry Accessories

Career Highlights: ‘Having a major supermarket (Asda) and grooming brand (Lynx) both taking a strong interest in my new business idea is very exciting. Never did I think when doing my final major project that something more could come of it’.

Alma Mater Northumbria University, BA (Hons) Fashion Design.

Top Graduate Advice: ‘My advice would be to definitely get some good experience and internships on your CV but I’d say don’t give up looking because although it is hard to find a job now, there’s always something out there and you’ll gradually find something. I wouldn’t put yourself down because you’ve been declined numerous times’.

What I’ve Been Up To ‘I have been working as a designer at Abercrombie and Fitch in Ohio USA. I moved out here at the end of September 2011 and have been working for the company for around 7 months. Whilst living in America I have also started to work on my own bags which I hope to be able to start selling in the near future.

Fingers crossed’.

Top Graduate Advice ‘Have faith in yourself and your work; with this you can do anything you set your mind to!’.

KYLE GRAHAM SPIRES, 23

2011 GFW AWARD: KAREN MILLEN FASHION PORTFOLIO Alma Mater Edinburgh College of Art. Studied BA (Hons) Textile Design.

What He’s Been Up To Currently doing an MA at the Royal College of Art in Menswear.

Why a Masters? ‘It was cheaper to do it this year because of the rise in tuition fees, and then I got a scholarship from the Royal College of Art by Laura Ashley Foundation. It just depends on the person. I think your year’s what you make of it. For me, I wanted to do a Masters, I felt like it was the right step for me’.

Previous Work Experience Peter Pilotto and Stella McCartney.

Top Graduate Advice ‘Graduates should just stay confident and to have a plan of action afterwards would be good too. Everything changes so quickly, so if you’re slow then you kind of get left behind I suppose’.

Future Plans: Paris to do work experience at Yves Saint Laurent or Dior upcoming summer.

MARIssA OWEN, 25

2011 GFW AWARD: WOMENSWEAR

Alma Mater University of Central Lancashire. Studied BA (Hons) Fashion Design.

What I’ve Been Up To: ‘I got accepted to do freelance work for Marks & Spencer’s and I wanted to get some work experience so I now assist the M&S women’s casualwear department. I’ve been here since September 2011’.

Reasons for Masters opt-out ‘I got advised to get some industry experience before doing the Masters and I sat down and thought going into industrial experience would be a lot better. So far that is definitely true.’

Most Rewarding Fashion Experience ‘It was an amazing experience to be a part of Graduate Fashion Week. Admittedly, there was a lot of hard work and a few sleepless nights involved but of course, it was completely worth it. To see your work on display and to be acknowledged by both the public and those in the fashion industry is just an incredible feeling. Equally, to be given the opportunity to send my collection down the runway was something that I will remember for the rest of my life. It really is what you aspire to do when you make that decision to study fashion’.

Sarika pancholi, 23

2011 GFW AWARD: David band textiles Alma Mater De Montfort University. Studied BA (Hons) Fashion Design.

What I’ve Been Up To ‘I’m currently freelancing as a knitwear designer. After graduating, I went to River Island and did 2 months there as a knitwear assistant. They have their design forum ranges that you can actually be experimental in and there were a lot of textiles coming out this season so I was working on that. Then I went to Vivienne Westwood for 3 months and Paris to do Paris Fashion Week- it was a good experience, a lot of running around! I have a project called ‘Indian Summer’ which I am going to submit soon. ‘Indian Summer’ is a community project with a lot of artists and music, and it’s happening on the 16th and 17th June 2012. I’m in Leicester at the moment - I came back about a month ago from Vivienne Westwood - now I’m just doing freelance work and building contacts. Leicester’s a big knitwear place so whoever can help me, I can help them!’.

Career Aims ‘I’m trying to experience everything right now, doing commercial, doing high street- it’s just I want to see different paths before I decide what I want to do. I’ve got a vision in my mind but it’s not going to be able to fulfill itself if I don’t experience everything else. There’s a lot to learn and I can’t just jump into something without knowing anything. I’ve got the time now so I can run around and I’ll do what I need to’.

Our designers have all said that they’re coming back again this year. Be sure to spot them when they do!

INTERVIEW

Minimalism’s Maximum Impact

a/w 12

Driven by her affection for classic tailoring, Jackie Lee has taken London Fashion Week by storm with her pared-down minimalistic dresses and separates.

BY LILY MARPAUNG Spending five years in her hometown of South Korea as a pattern cutter after she received her BA from Chungnam National University, this Seoul-born designer took a different Four Things To Know About path onto the fashion field. Yet in spite Jackie of her extensive experience as a pattern cutter she held onto her dream of 1. She won Harrods Award becoming a fashion designer. for her graduate collection in After a holiday in London in 2004, 2010 she fell in love with the city and its unique lifestyle, deciding to pursue 2. Her trademark is embossed her further study there. “I felt that details on solid fabricS people in London seemed to take their time to go to the next step whilst 3. She goes to the Serpentine keeping their originality and goals.

Gallery for artistic inspiration I admire that.” Finishing a shortcourse in advanced pattern cutting at 4. Her favourite decades in Central Saint Martins (CSM), Jackie Lee fashion are the 1920s and finally made the leap to fashion de1940s. sign when she was accepted onto the Master’s program. Lee says that the prestigious college plays an integral 16

role in her work. “If I was not trained at CSM I would not have been able to find my own identity. I learned how to create a strong aesthetic with my own style, to manage garment quality and most importantly to handle myself in the fashion industry.”

Lee’s signature designs, that focus on soft hues and elegant shapes, were well chosen for the market as luxury department store Harrods bought nearly the entire line from her graduation show. Jackie Lee’s label J. JS Lee then got picked up by tastemaking boutique Dover Street Market, which effectively put her on the global fashion radar. “I guess they were looking for some new minimal style,” Lee adds.

For her Fall/Winter 2012 collection, Lee has drawn inspiration from the innocence and purity of clouds and shadows seen through an aeroplane

window. Employing a simple and clean silhouette paired with dynamic layering, she gives minimalistic androgynous style a new edge. Her well-constructed clothes show an ability to blend luxury and effortlessness. Using a basic palette of white, cream, dove grey and black with a hint of pale yellow, she creates a fresh look for a modern woman’s wardrobe. Key looks to watch out for from this designer are pencil skirts with hidden pleats, bib-like seams on collared tops, asymmetric blazers that are short at the front but lengthened to the knees at the back; not forgetting the chunky knit jumpers with intricate details that give masculine shapes a feminine edge. “I can say that my women is a modern woman who is concerned with looking sharp in a uniquely feminine way’’.

As a young and upcoming designer,

Jackie Lee understands all too well the difficulty of breaking into the fashion industry. A winner of Topshop NEWGEN sponsorship for two consecutive seasons, Lee says, “NewGen gives me opportunities. It’s hard to run my own label without any help - I can hop into London’s fashion industry because it opens the door to me.”

Describing her brand’s signature look as minimalism combined with modern tailoring, she admits, “I feel that I’m a stranger in the London fashion scene. People define it to be more colourful and witty but my work has come from my personality. It doesn’t look like London style, in the cliched sense, but you can see eclectic styling in the clean silhouette –that’s what this city means to me.” // www.jsleelondon.com

INTERVIEW

THE DEVIL PAYS NADA?

Is the fashion industry exploiting its future stars or are interns simply deluded by their generation’s sense of entitlement? Five of this year’s fashion graduates give us an insight into what it’s really like working for the ‘devil’.

BY ANASTASIA MIARI Charlotte Arcedeckner - Butler Graduation is here and the sunny (read unpredictable) days of summer are once again upon us. Typically a time for picnicking in parks, jetting off to warmer climes and general slobbery, the summer months offer a much-needed respite from all of that hard work. However, with youth unemployment at it’s highest since 1992 and the UK dipping back into recession, for many graduates, this summer will mean business. Eager to get ahead of the game and into employment, many of you are taking up internships.

Notorious for its use of unpaid work, the fashion industry will once again play host to out of work graduates, queuing X-Factor style for their big break.

In recent months the fashion industry has been bashed for overworking and underpaying interns.

HM Revenue and Customs announced it was planning raids on fashion companies in breach of minimum wage laws in November 2011, and the fashion industry was ‘exposed’ Devil Wears Prada style as cruel and exploitative. In spite of this, many of you will put yourselves forward for unpaid jobs at fashion houses and magazines. The fashion industry may have a reputation for ‘using and abusing’ but maybe it’s our attitude towards internships that needs to change?

In a recent interview, creative director for American Vogue Grace Coddington commented, “I think there are a lot of interns that feel very entitled. They think we owe them something. Good ones come through though. You really notice them.” If a job is what you’re hoping for, then you may well be disappointed when the next bright-eyed intern takes your place. Is the fashion industry exploiting its young ‘rising stars’ or are fashion interns getting a bit too big for their Louboutins? Contrary to speculation, a work experience placement within the fashion industry can indeed be rewarding and beneficial depending on what you put in and what you (realistically) want out of it. The following success stories are just a few of the many that were sent to us after our call out for internships gone-right. The interns interviewed for 21 prove that there is no one path into the career of your choice. They have found and fallen into placements, valuing the time given to them for what it is – an experience.

Charlotte Arcedeckner–Butler, a fashion student at Manchester Metropolitan University was the first to email us. It’s no surprise that she was accepted as an intern at James Dawber – a tailor’s in Manchester.

Enthusiastic and confident, Charlotte indicates that it was her zeal that persuaded James Dawber himself to take her on as an assistant; “He made it clear that he doesn’t have time for students if they don’t know what to do. I kind of forced him to see me - I was in town with some garments I’d made and took them in to show him.” Despite working an entire summer for no pay, Charlotte doesn’t have a bad word to say about her placement; “I didn’t expect paying because

the experience was payment enough for me. I’m a very hands on learner and at this point of the course I was feeling very creatively drained, by working for James I realized that this is what I want to do with my life.” Having experienced working in Manchester, she insists that London doesn’t have to be the final destination. “I never really wanted to go to London for a placement. There’s a lot of pressure to move down south to get anywhere in the ‘fashion game’ but I have a lot of faith in Manchester. It’s got soul that can’t be bought and this shows in James’ pieces.”

Charlotte’s found her true calling in life after just a few months at a small, bespoke tailor’s in Manchester –far from the typical high-pressured, big-smoke location.

“I think there are a lot of interns that feel very entitled. They think we owe them something.

Good ones come through though.

You really notice them.”

Grace Coddington

Jessica Piper Of course, there are some internships that are specifically London based. Fashion bible Vogue takes on new interns every three weeks, giving those brave enough to apply ample opportunity to see what goes on behind the scenes. Jessica Piper, a fashion design student at Kingston University worked at Vogue UK for one month and says the experience wasn’t as daunting as you might expect; “the environment instantly felt right. Everyone just works extremely hard, looks great and is really polite. It was really inspiring to be in such a female dominated environment, run by a team of powerful women.” Like Charlotte, Jess found that the internship confirmed her career aspirations – “working in an environment of like minded and highly creative people was not only a massive inspiration, but a reaffirmation that this is the industry I want to be a part of.” Vogue isn’t likely to offer you a job but an insight into its workings could be enough to seal your fate. Inspiration is a powerful motivator and where better to be inspired than at the very top?

Kate Falcus A further testament to the benefits that come from aiming high, Kate Falcus, also studying fashion design at Kingston University, won an all expenses paid ten-week internship at Gap Inc – Old Navy brand in San Francisco last summer. To win the competition, entrants were required to research the brand and design two capsule collections for two different departments, provide research files, mood boards, a CV and cover letter and attend an interview with the creative director and head recruiter of Old Navy – quite a feat.

Having proved her worth, Kate was awarded the ful-

ly paid internship but when recalling the best parts of her experience, she doesn’t mention the money.

Instead, she equates her happiness in the role to the amount of input and influence she was given within the company – “one of the main highlights was having my opinions taken on board, and followed through - actually coming to life in Old Navy stores.

On one occasion the men’s team were discussing an applique design on a t-shirt and I suggested using tonal colours on the applique to create a more subtle and sellable look. Everyone agreed and my manager said ‘You do realize you probably just made us a million dollars’. It was only a small design suggestion but it was taken on board and the shirts are in Old Navy stores now.”

Kate was one of four other students to be awarded the internship in the same year by Gap Inc – a sure sign that fashion internships are widely available. Kate suggests that looking abroad for work placements could actually be more beneficial; “I learned how to adapt to completely new situations, surroundings and people. Being abroad taught me to keep open-minded and absorb absolutely everything I could, to enrich my experience and my outlook. San Francisco itself really broadened my horizons, removed me from the London bubble and taught me to appreciate how vast and diverse the world is and to think of how many opportunities are available.” Interns need not limit themselves to one locale then – fashion, after all, has no boundaries.

Terri Finnigan Terri Finnigan who is studying fashion design and marketing at the University of East London is a firm believer in ‘its not what you know its who you know’.

After working as a Sales Assistant in All Saints Spitalfields, Terri was invited to intern as a pattern cutter, making friends with head cutter Alan. “After long conversations with him, he told me about his friend Timothy Everest. I went home and researched him and was amazed by his beautiful bespoke tailoring.

Alan put in a good word for me and got me an interview with their design team. Within that month, I was interviewed by Head Designer, Stacey Cotter who offered me an internship.” The contacts Terri made through her initial internships have since led to placements at independent label Bunmi Koko and leading fashion PR company Modus Publicity. These contacts may have helped find her more work but it’s her attitude towards internships that has led them to do so; “I worked for Modus whilst a TV programme was aired about how they treat interns- it was offensive and silly. The TV programme said the only way people can take up internships is if they’re rich. I’m definitely not rich and I’ve had five internships in four years. I was never paid for any of these but had two jobs to fund my living. It’s been intense but I’ve already made a handful of contacts, and a good name for myself in the industry.” Gaining valuable experience before graduation, Terri is now able to look for paid positions upon graduating this summer.

Jessica Tara Staddon Another student who may soon be benefitting from a placement abroad is Jessica Tara Staddon, studying fashion textiles at Ravensbourne College. After being selected by her tutors for the MittelModa international competition, Jessica insists “My university and internships have been nothing but beneficial towards my career. Whether your internship is good or bad it’s still an experience that you can learn from.

I’ve definitely had my fair share of bad ones, as I’m sure ALL fashion students have. But I’ve also built up some really good contacts and learned a lot about the industry and how to get noticed.” After finding work experience placements at print studio Tom Cody and at Marks and Spencer’s via social networking site LinkedIn, Jess demonstrated a drive and work ethic that her tutors haven’t failed to notice. Jess is now a finalist in the MittelModa competition and will be presenting her collection in Milan this June. If she wins, she’ll be awarded three thousand Euros and a placement. As the old adage goes, work begets work.

Working in a sweaty basement office making cups of ten may not be glamorous, but those extra additions to a CV could help bag you a really amazing opportunity.

dents if they don’t know what to do.”

“good or bad it’s still an “He made it clear that he experience that you can learn doesn’t have time for stufrom.” jessica Tara Staddon Charlotte Arcedeckner Butler

Like a rite of passage, an unpaid internship has become the stepping-stone to a career in the fashion industry. Be it running to Pret a Manger to place an order for 47 sandwiches, filling out excel spreadsheets or babysitting the fashion director’s kids, it all has to be carried out with a smile. The intern is at the bottom of the fashion food chain but acknowledging this means inching your way closer towards the top.

One thing that the students we interviewed for 21 have in common is their ability to see past the menial jobs to the benefits of the overall experience. The three-week placement in a stuffy fashion PR office may teach you only one thing – that this is definitely not the career for you – but even this is one step closer to your ideal role in the industry. As Grace Coddington points out it’s time that interns stop playing the fashion victim and realize that instant success in this industry is rare. Hard work, determination and being the first to volunteer to do the tea round are what it’s going to take.

19

ENTREPRENEURS

be your own boss

We all know the routine: get a degree, do every internship going, and hold your breath until hopefully a, shock-horror, PAID job appears from the mist of graduate schemes and entry-level jobs.

Sometimes horribly depressing, but we all know the deal and knowingly take part. So what if you were just to opt out, back yourself and your ideas, and appoint yourself as boss?

Controversial option…well, no actually. There are an increasing number of students and graduates looking for a career-path, which envelops all their interests and skills without conforming to the average job description.

Here 21 chats to three delightfully different young entrepreneurs as they share their experiences of being their on boss so far.

BY FRANCESCA BRADSHAW

Jules Quinn

Founder of The *TeaShed 1. How would you define your brand and the niche it fills?

The *TeaShed is a design led tea and tea ware company, born and brewed in Britain. We only use quality whole leaf tea in silky pyramid teabags, giving you the rich taste of loose leaf tea, in the convenience of a teabag. People want a healthy, affordable treat that makes them smile.

2. When was your ‘light bulb’ moment?

The *TeaShed began as part of my final year project at Northumbria University; where I studied Fashion Marketing. The moment when I knew this had a future was when Fenwick began stocking our products and the amount of press we received from the start. It is very hard to switch from an academic project to real life retail and what works at university does not always work in real life and vice versa.

3. What piece of advice has proved most valuable?

Do what makes you happy. As soon as you don’t love what you do then you won’t be as successful. You need to love every second (even when doing your accounts!). And advice I would give, would be to listen to other people’s ideas and opinions and be open to criticism. Be able to continuously adapt your business due to feedback/research.

4. What next?

I ensure that The *TeaShed is here to stay through constant new product development and keeping an eye on the market and future trends. 2013 will see The *TeaShed grow internationally, through a series of trade shows in Dubai, USA and Germany. We will also be working closely with our current international stockists. // www.thetea-shed.co.uk 20

ENTREPRENEURS

Loren Platt

Founder of WORK IT Agency and parties and The W Project 1. How would you define your brand and the niche it fills?

WORK IT is a club night brand that celebrates everything 90s, from music, fashion, films and lifestyle. We have recently expanded into clothing with a T-shirt and Sweatshirt line, “The Lyric Series”.

2. When was your ‘light bulb’ moment?

There wasn’t really a light bulb moment in terms of creating a business. WORK IT was created for purely selfish reasons, (we wanted somewhere to dance to 90s RnB) and was initially started for fun. We both had full time jobs when we started the party and it was more of a fun side line project, we never dreamed that it would become our business. It grew organically and slowly but surely the operation expanded and we now are based at our own studio space and it has become our day job.

3. What piece of advice has proved most valuable?

If you have an idea just go for it and make it happen. Like us, you might be surprised where it can take you!

4. What next?

As long as there is a demand for WORK IT we will continue. We will try and give our partygoers what they want, stay dynamic, try new things and always put in maximum effort to create a good fun atmosphere at all our events. We really love the Fashion side of the brand, our T-shirt range has been really popular so we will keep growing that side of things with lots more designs coming soon! // www.youworkit.co.uk

Tida and Lisa Finch Founders of Finchittida Finch

1. How would you define your brand and the niche it fills?

We design statement pieces for fashion forward individuals who are bored of kitsch and want something that makes you stop & stare, with that high end appeal but still affordable. All our pieces are intricately designed by hand, so you know you’re wearing something unique.

Our jewellery line has the ability to transform a simple outfit, from something simple to super-chic, especially with the oversized pieces, which have been worn by the like of Ashanti and Lianne La Havas.

2. When was your ‘light bulb’ moment?

Tida: At my degree show last summer, I was overwhelmed by the strong interest I received for my final collection from industry professionals and the general public. We could see there was a demand for my pieces, and from our research found that there was nothing like it out there.

So my twin sister Lisa (a graphic designer) & I decided to start our own label, we launched our online boutique on ASOS marketplace where we sell our jewellery line.

3. What piece of advice has proved most valuable?

Go out of your way to meet new people and help others, not just in the creative field. And rather than sitting at home waiting for something to magically happen, you have to get out there and make things happen!

4. What next?

Lisa and I work closely together; it’s a unique bond that strengthens what we do. We’re always bouncing ideas off each other and pushing one another to better ourselves, this keeps our work fresh and us excited. Lisa’s just graduated so we can’t wait to go full steam ahead with our treasure trove of ideas and it doesn’t stop at jewellery. //www.finchittidafinch.com

Check out these schemes which all help young entrepreneurs develop their businesses 1. The Princes’ Trust Enterprise Fellowship /www.princes-trust.org.uk/about_the_ trust/the_enterprise_fellowship.aspx 2. British Fashion Council’s NEWGEN //www.britishfashioncouncil.com/content. aspx?CategoryID=1144 3. Vauxhall Fashion Scout // www.vauxhallfashionscout.com 4. Youth Enterprise Loan Scheme by the Government 5. NESTA //www.nesta.org.uk

Plus, there is often business support available in your local area. Try the: 1. Local Council via the Business Support Unit //www.direct.gov.uk/en/dl1/directories/localcouncils/index.htm 2. Local Chamber of Commerce //www.britishchambers.org.uk/contact-the-bcc/interactive-chamber-map 3. Skills Funding Agency //skillsfundingagency.bis.gov.uk/ 4. Local Enterprise Partnerships via your Local Authority //www.bis.gov.uk/policies/economic-development/leps 21

style tribe what kind of fashion student are you?

BY WILLIAM DE MARTIGNY BOOTH ILLUSTRATION TARA HESELTINE

The Skinny Queen The harsh light of dawn signals the beginning of Bingley’s morning routine. This unerringly involves either peeling himself out of someone else’s bed or kicking something else out of his. Another night, another notch for the liberated skinny queen. With his second fag of the day and morning coffee (non-fat, triple grande, sugar free vanilla caramel macchiato, extra hot and extra foamy please babe… ooh and a double choc muffin – girls gotta have her chocolate!) Bingley is ready to face one more morning.

And so he shimmies off to a new day of Uni, and yet another day of clothes from the night before. With his skinny jeans and cut-away singlet revealing the body of an anaemic 8 year old boy, Bingley knows he looks good. So when the only other guy on his course, well ok, not the only guy but the only one worth looking at, didn’t even try to come on to him, well now, total social suicide.

Bingley and his girls sit at the back, cackling, bitching and re-applying foundation until lunch. Everyone knows that’s where they sit – life would soon become nasty like it did for that fat cow and her friends if Bingley’s seat was taken. He never bothers with afternoon seminars; instead he heads to Primark to pick up something glittery for that night, then Boots for a face-full of free slap. Another day done and another night awaits for the skinny queen.

DESPERATE DANIELLE Danielle tries so hard doesn’t she? She’ll spend weeks on a project and then hours trying to convince everyone she’s done nothing. She’ll wake up in the early hours trying to piece together the outfit that says she’s not tried too hard, but it just never quite works. She is the try hard who tries so hard not to be; it’s all a bit desperate really isn’t it?

She tries to be relaxed, to not care, she really does – but something in her genetic make-up is so intensely anal, so perfectly law-abiding that she is compelled to try, to achieve, to excel. But something inside tries to fight this; somewhere deep within this fashion mule is a desperate desire to run with the thoroughbreds – that exciting breed of students, who don’t try, who don’t care – the students who just are.

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So Danielle keeps on trying, trying to keep up with the thoroughbreds, always a furlong behind; tweeting and blogging and LOL-ing away. She moves to Shoreditch and pierces and tattoos her body to the point at which she begins to resemble a studded Chinese takeaway menu. She gives up red meat and caffeine and dairy; she eschews the high-street and wanders around looking as though she has been spat out by a charity shop.

Poor old Danielle, it’s all a bit desperate really.

But don’t despair, the thoroughbred’s career, though fabulous, is short lived. Bide your time Danielle and you’ll be walking through the doors of Vogue in no time.

The Eastern Block

The Label Whore

The grey light of Dalston filters through the frayed curtains into the dank box-room; Sebastian stirs – oh the irony of another grey day in London. Heaving his body upright he sifts through the damp, dirty clothes on the floor. The irony of being a fashion student without any clean clothes briefly amused him and a smile flittered across his sardonic face, before he stopped himself.

Smiling was over in the east. How could he forget?

Sebastian dressed quickly. Putting his oversized overcoat around his oversized T-shirt, he searched for his oversized glasses. Stuffing his iPod, iPhone, iPad and Mac into his battered satchel he began his commute to Uni, pausing in the corridor to exchange morning grunts with the ex-Etonian heroin addict living in the stairwell. Stopping along the way at the independent coffee house where they served the single estate Nicaraguan blend he liked, he sat on the floor outside chatting to the tramp and lit a roll-up cigarette for them to share – the irony of catching a disease from a tramp did not pass him by.

Ambling to his bicycle, he noticed the front wheel had been stolen again. The chill wind of Dalston cut him to the bone. Pulling his phone out of the bag, the strap broke and the contents crashed to the floor. Sebastian stood for some time observing the technological carnage in front of him, before realising - wasn’t it ironic he hadn’t backed up any of his files?

You know the one? The one with the accessories which make you weep with envy and frustration? The one who uses seminars as opportunities for furious online shopping? The one who shies away from your dirty paw as you reach to pay homage to their most recent designer purchase? Yes, welcome to the world of the label whore and what’s worse? It’s a boy.

At least with girls they are happy, smug even, to show off the latest addition to their couture stable – with the label whore it’s a different ball game. He guards his purchases with an animalistic jealousy, like a dog with a bitch in heat, stalking inflated price-tags as though they are 3 for 2 in the condiments aisle at Tesco.

The bag’s Celine, the jacket YSL, the trousers Armani, excuse me are you touching? Of course I don’t care what it looks like, don’t you know who it’s by? No touching! Do you know what this cost me?

But does the label whore really look any better for it?

Despite our knowing that he has spent the nation’s national debt several times over does it make him an interesting person? He is defined through his purchases, unable to accept a compliment without responding with its price and pedigree. And thus the label whore remains as faceless and two-dimensional as his limitless credit card.

The Eco-Avenger Phyllis moves in time with the zealous march of a one-woman army. Determined to prove that she can make a difference, she’ll try her damnedest to ensure that she drags everything and everyone along with her on her miserable quest to a ‘happier world’.

Built like a carthorse and, thanks to the abundance of recycled hessian, smelling like one too, Phyllis represents the antitheses of fashionable beauty. Anti-fur, anti-leather, anti-Starbucks - anti-fun Phyllis is a perpetual source of 100% organic, ethically traded and environmentally sustainable ‘pain-in-the-arse’ to all she encounters.

Nothing clears a room faster than the judgemental squeak of her recycled rubber soles announcing her approach – lumbering around the corner laden with leaflets; a demonic glee embodies her person as she impales innocent 1st years with horrifying facts proving the end of the world is nigh should they continue to use hairspray. Wide-eyed and terrified, her prey reel from the stench of Phyllis’s home-made deodorant, the sight of her hairy ankles and the glistening of her sweaty upper lip.

Her essays have the same fundamentalist tone of a minor terrorist organisation; her waistband expands righteously thanks to virtuous helpings of organic vegetarian pasta; her hair begins to resemble the inside of a vacuum cleaner. No one listens, and no one has the heart to tell her that on her only night out with her course-mates at the beginning of the year, she got steaming drunk, fell asleep on a girl’s fur coat and ate a Big Mac.

Daddy’s Little Princess Gabriella loves fashion. It’s all she has ever wanted to do, aside from those embarrassing few months doing sociology at that other Uni, but the less said about that the better. She just didn’t get it ok? Anyhow, she loves fashion so much she decided to take this love in a whole new educational direction by ‘studying’ it at university.

She’s always loved designers; Chanel, Louis Vuitton, Christian Dior to name but a few, though secretly these are the only names she knows. But that’s ok, those are the only designers you need to know right?

She loves Audrey Hepburn. She was such a style icon you know? In fact, Gabriella is researching the relationship between Hepburn and, oh you know? That designer? The one who did ‘Breakfast at Tiffany’s’? Anyway, that’s her next essay. She loves that film. It’s so classy.

Of course her parents were disappointed she didn’t stick with sociology, but then again their little Gabby had always been so stylish hadn’t she? After all, it was understandable that Gabriella should find it difficult to concentrate on work, whilst struggling at that other Uni with people who were so different from her. Yes, it makes so much more sense for her to live at home in Hyde Park with all her old school friends around.

Funnily enough, quite a few of Gabby’s friends have ended up on the same course as her now, and it is so nice that they have each other – fashion students can be so strange can’t they?

Fashion Directors: Kate White, Irene Ojo-Felix Photographer: Anna Feneberg Make up: Gemma Whitbread Hair: Yura Do Styling Assistants: Li Yin Soh, Laura Natalie Hawkins models: Martine Lervik /ELITe, Kitty /SELECT, Jelis /NEVS

Jessica Walsh University of Westminster

INTO THE LIGHT Unanimous in their desire for hard hitting, alternative design, this year’s graduates have found creative solace in sportswear. We transported some of our favourite looks to the shadowy enclaves of the London streets to which they brought the light and the life.

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Justine allen College Sir Gar

Stephanie Dewis Birmingham City University

Aiden Weaver University of westminster

Christopher Jayd0n Winney Colchester School of Art

Sarah Stokes Kingston University

Georgia Kennedy University of Salford

PHOTOGRAPHER: Ben Weller @ CLM Digital op: Mikael Bigun Photo Assistants: Iain Anderson / Adam Goodison Digital: c/o/ thanks to Pixi Pixel.

STYLIST: Charlotte Stockdale HAIR: Eamonn Hughes @ Premier Hair & Makeup / assistant: Mia Parker MAKEUP: Hiromi @ Julian Watson / assistant: Katy Nicon MANICURE: Kim Treacy @ Naked Lara Mullen @ Premier Moa @ IMG Harry Goodwins @ Models 1

Aimee Ward university of East London

colour me beautiful

Get a shot of pastel power at gfw

Hannah Duckworth university of Westminster

Katie Tomlinson Northumbria university

Abai Coulson Stevens Ravensbourne university

21 BEAUTY Jump into summer with our pick of sizzling beauty tips and trends. Here, we bring you the best beauty looks inspired by the Spring/Summer 2012 collections. From runway to everyday, here are the key GFW catwalk trends to keep you kissing sweet.

Skin

The best way to start the makeup process is with a fresh, clean face. For dewy skin in the summer, use primer to help keep makeup from melting into a puddle especially under catwalk lighting. Primer sets the perfect base for foundation to stick so it lasts longer and can help fill in pores for a flawless finish.

A contoured face will bring high-definition whether you’re sun bathing or stargazing. Use highlighter on the brow bone, a bit of bronzer on the cheeks, and a matte powder on your t-zone to eliminate the wrong kind of shine.

Eyes

Deep-sea colours will set you apart this summer. From navy to watery metallic make your statement with darker tones. A dalliance with aquatics can be pretty daunting but when set against a natural skin palette this is no Olympic challenge.

Lips

Dramatic lip colour was a big trend at the Summer 2012 shows. Dark wintry shades of deep purples, rich reds and matte chocolate made the biggest statement set against a naked face.

We loved the stained crimson mouths at Giles’ Spring/Summer show, complemented with a hint of blush and loose tousled locks, this was stripped back beauty at its finest.

Eyebrows

Eyebrows essentially frame the face and an over-plucked eyebrow can make you appear angry and unapproachable. To avoid looking like an angry bird, let a wax or threading professional create a natural shape then just maintain with a sharp pair of tweezers between appointments. Sparse brows? Use a dark brown brow pencil or powder to lightly make strokes that mimic hairs. Never use a black pencil or draw in eyebrows, as it looks unnatural,

Hair

This summer, play with your hair and don’t be afraid to change your look. From natural waves to sleek and sheer pony tails we suggest you get adventurous intertwining plaits as seen at Valentino,. Seek out professionals for the best hair care regimes to ensure soft locks keep their bounce with warmer temperatures.

Or for maximum impact buy a wig!

Nails

Creative nail looks can definitely set you apart from the majority.

Designers flirted with neons, metallics and pastels for the Spring/Summer season and it’s easy to translate the runway looks. Grab a nail pen, your favourite colours, and try fun patterns like zigzags, polka dots, or for the ultra-lux design a half moon design with contrasting tones.

rimmel

Flying the British flag, Rimmel London has come to represent all that is cool and glamorous about London Beauty. From Kate Moss to Georgia Jagger, the Rimmel girl takes us by storm with her rock and roll attitude. We spoke to acclaimed Rimmel make up artist, Kristin Piggot to get the low-down on this summer’s must-have beauty buys.

Can you give us any hints or tips on how to get the best fashion show make up?

You may need to tone down the looks you have seen at fashion shows to make them more wearable, but I would encourage everyone to take inspiration from any make-up you like on the catwalks - don’t be afraid to experiment with make-up looks at home. Re-create the look for yourself by making sure the colours you pick are suited to your skin tone.

Five must have products from the Rimmel collection to get us through the summer?

Rimmel Lasting Finish 1000 Kisses Lip Tint is perfect to take you from day to night, with gorgeous shades that give your lips an intense pop of colour that last for hours and a fantastic balm that keeps your lips well moisturised in the sun.

Rimmel Natural Bronzer with SPF8 is perfect for giving you a healthy tanned look whatever the weather! This light & natural looking bronzer is perfect for sculpting your cheekbones giving you that sexy holiday glow.

Eyes are our most important feature and we always want them to look gorgeous and sexy, Rimmel ScandalEyes Waterproof Mascara is an absolute essential on holiday whether you’re in or out of the water, there’s no need to worry about unsightly smudges!

We all love gorgeous holiday sun-kissed skin, Rimmel’s Sun Shimmer Instant Tan Bronzing Spray is a fantastic way to achieve a healthy radiant glow without over exposing your skin to sun damage, and instantly turning you into a bronzed goddess.

Rimmel’s Match Perfection Foundation with SP15 is great for warmer days, it has a long lasting formula that allows your skin to breathe and the SPF provides essential protection on hot summer days.

Any top secret, insider tips on how to get a fresh longer lasting look?

For gorgeous glowing skin it’s essential to prep the skin before applying your make- up, lightly apply Rimmel Fix & Perfect Pro Primer to clean moisturized skin, not only will your make up stay in place for longer but it also smoothes away fine lines, gives the skin a radiant glow and controls excessive shine.

How should we make a statement with our make up without going over-board?

A strong lip colour is a great way to make a statement with your make-up. Vibrant reds are a key trend this season, we’ve seen it go from the catwalk to celebrities, and they’re all sporting the statement lip. It’s important to select the correct lip colour to suit your skin tone, you should choose blue/red lip colours if you have more pink undertones in your skin, such as cherry or pinkie reds. And you should wear orange/red lip colours if you have more olive/yellow undertones in your skin, such as fire engine or brick reds. If a bright lip is too daunting you can always start by wearing a lip tint as this is much more subtle look, but will make an impact if you don’t usually wear a lip colour.

What are the biggest make-up trends to watch out for?

Exaggerated eyeliner will be a big trend for next season, Rimmel ‘s Gel Eyeliner is perfect for recreating this winged eyeliner look. Another key trend will also be statement red lips in rich shades.

What is special to you and Rimmel about British style?

I really love the way British people interpret catwalk looks and trends into their own individual style and personality.

Rimmel is a great brand because they always have a fantastic selection of colours and products to match everyone’s individual style at affordable prices. // www.rimmellondon.com

cLOCKWISE: 1. Mythic oil box 2. HR LIPS 3.

Match perfect foundation 4. texture tonic 5. spray golden 6.scandal eyes 7. Fix and Perfect Primer 8. lr gel pot linet 9. mythic oil center: natural bronzer

‘ Professionnel L’Oreal The L’Oréal Professionnel team allows dream hair to become a reality. Like any great fashion accessory the experts at L’Oréal Professionnel continue to excel in their own dream of making hair a beautiful catwalk statement. We spoke to L’Oréal Professionnel expert Catherine McMahon who gave as a run down on the must have products and trends right now.

Best tips for fashion show hair?

“Make sure the hair complements and does not compete with the designs. Don’t over complicate it, especially if the show has more than one designers work, keep it streamlined.”

What is your favourite hair trend right now?

“Volume and texture.”

The L’Oréal Professionnel team’s favourite product for great hair?

“Playball Texture Tonic.”

Best product to keep our hair healthy and in shape this summer?

“Mythic Oil by L’Oréal Professionnel.” (Only available in salons) What do you think epitomizes British style and hair?

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THE WRI THE MASTERFUL MCDOWELL Journalism is a tricky business, and Fashion Journalism is the trickiest of all as renowned writer Colin McDowell would know after more than 20 years at the fashion frontline. Here he reveals what it takes to stay on trend and on top... trying to break into the industry?

CM: Never preach. No matter how strongly you believe in something you must lead people to your point of view. However, you should have opinions strong enough to excite or infuriate them but the more controversial you wish to be the more certain you must be of your facts. You can never drag your readers with you. One of the reasons why fashion journalism is so dire at this moment is that so few writers have any personality at all. Suzy Menkes scores because she has a long and detailed history as a journalist and that is what gives her pieces a personality. Her personality. Trust yourself and never take another person’s point of view as your own just because it is the current opinion.

Colin McDowell 21 :What do you look for in a great journalist?

Colin McDowell: The essence of all good writing is an individual eye, a confident tone and an ability to keep the readers with you by making them curious to see where you will end. Little of this can be taught. It is either in you or it is not and it is my opinion that only you can bring it out. I look for a certain flair and je ne sais quoi that is actually instantly recognisable as the real deal - usually after no more than a couple of paragraphs.

21: Can you offer any advice to Fashion Journalism graduates

21: What can make the difference between a good journalist and a great one?

CM: Great is a very big word and great journalists are very rare.

As the standards of newspapers fall almost by the week the chances of there being any great writers in the future decrease by the year. The future of commentary clearly lies not with words but with the image. Image-makers have a long way to go yet to achieve the maturity to change the face of reporting and they will need wordsmiths to help them articulate their skills. But the results will be exciting. It could be the much-needed new era in communication. But, before that happens, editors, writers and commentators must break out

Alexander the Great

of their comfort zone and start using their imaginations to begin shaping the future.

21: What are your feelings about online media such as blogging and twitter as a medium for writing fashion journalism?

CM: As I see it they have little to do with writing at all. Twitter is shorthand and rarely comes up with a coherent sentence. I consider it a child’s game with no value at all for adults, except to massage their egos and help them to feel that they ‘belong’.

Twitters are a harmless self-indulgence of those who are in love with themselves but they give no useful information apart from exposing the weaknesses of the writer. Blogging suffers from the fact that far too many bloggers write with no knowledge at all. In other words they are fun and narcissistic but far too often valueless.

21: What has been your most memorable moment from Graduate Fashion Week since your involvement?

CM: There have been good Graduate Fashion Weeks and bad.

GFW is not the sort of occasion that has memorable moments but its value as a showcase is clear and the experience and exposure that it gives colleges and individuals is, I would imagine, very worthwhile. I wish more top journalists, stylists and photographers could find the time to attend.

See Colin in conversation at GFW with designers Henry Holland, Roksanda Ilincic, Jean Pierre Braganze and Marcus Wilmont.

‘Colin’s Clinics’ take place on: Sun June 10th 16:45 Tues June 12 14:45 Wed June 13th, 14:45 and 16:45 For the chance to ask designers your questions tweet @OfficialGFW #GFW2012.

Renowned fashion journalist, and Graduate Fashion Week devotee and trustee, talks to 21 about what makes a winner talent all gathered under one roof’ she has spent the last six months recruiting prestigious judges to assess the ‘extraordinary phenomena’ of Graduate Fashion Week. With a judging panel including Mary Katrantzou, Mark Fast and Jefferson Hack, Hilary tells me ‘it is exciting persuading people who have had a connection as a graduate to give something back. It is very inspiring for students, to see that those who have been a success still have time to invest.’

Hilary Alexander Renowned fashion journalist Hilary Alexander sat at the fashion director’s helm of the Telegraph for twenty six years before retiring in 2011. CFDA (Council of Fashion Designers of America) award winning journalist and television style critic, Alexander’s dedication to fashion is marked by her celebration of up and coming talent. Following Graduate Fashion Week since its very beginning twenty-one years ago, Alexander has climbed its ranks from judge to trustee in her quest to nurture young talent. Praising the ‘tremendous amount of

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Passing on her judging criteria, Hilary tells me fashion design collections must be ranked according to their ‘creativity, catwalk appeal, wear-ability, workmanship, originality and use of fabric’. Seeking ‘something which really stands out’ she champions the creative over the commercial, telling me that a ‘final year collection is not specifically designed to be commercial and sold. It is designed to show talents in every sphere...pattern cutting, texture, yarn technique, stitch technique...Talent scouts are looking at sense of colour and original design techniques’. Alexander is pragmatic and realistic about fashion design graduates entering the industry.

She tells me it is ‘very short sighted just to think you’re going to start your own label, particularly now we’re in a recession.

Well known companies like Peacocks and Aquascutum having problems proves that even major brands can’t survive’. Alexander advocates ‘getting as much experience in as many areas as

possible... even manufacturing, pattern cutting and weaving.

Fashion is a huge business. It is not just about clothes with a label. ’Not merely a champion of fashion design, Alexander praises the extraordinary spectrum of talent found at Graduate Fashion Week- ‘the way students design the actual stands is very inventive. The things they do with fabric, texture and colour. One of the most intriguing stands is that of Northumbria University’s Marketing Department, they design shops and press releases and there are portfolios worth publishing.

It really shows the entire scope of what a fashion education can lead you to do...head hunters must be overwhelmed at the talent.’ Commenting on employment opportunities after graduation, Alexander tells me ‘it is important for students to seize any opportunity presented to them’. Aware of a wide range of employment opportunities, some less publicised and glamorous than others, she states ‘not everyone can be a stylist, photographer or model. There are hundreds of areas in the business of fashion in which you can work’. Echoing the career path of Graduate Fashion Week winner Giles Deacon, who began his design journey at Debenhams, she says ‘it doesn’t matter if you are a huge end designer brand or mass market... you’ll still learn a lot about the business of fashion.’

TE STUFF GOOD COMPANY Company Magazine editor-in-chief Victoria White talks to 21 about how to get your fashionable foot in the door... writers.’ Supporting the graduate cause, White believes that success in the fashion industry is based on ‘having a creative brain and then applying it to a business idea. Rather than just thinking you like fashion, you have to apply that interest to the next level.’

VicTORIA WHITE Involved with Graduate Fashion Week for the last five years, Company Magazine are championing the 2012 graduate cause in its recruitment of eight fashion students to guest edit Company’s October issue. The first brainstorming session is due to take place with twenty hopefuls at Graduate Fashion Week, before a final eight are chosen to spend time at the Company offices. Editor-in-chief Victoria White tells me they are looking for ‘creative minds to offer over arching assistance, people with big ideas rather than specific stylists, photographers and

She tells me ‘we all like clothes, but the fashion industry is centred on if you can make a living out of it’. Commenting on her own field, she tells me her successful seven year editorin- chief role is not just about liking shoes- ‘everyone likes to shop, but not everyone can be a good journalist. Journalism is about selling things, being inquisitive and creative and seeing a story in things...it doesn’t matter if that is in print, online, on a blog, or in a tweet.’ Embracing the explosion of fashion blogging, White believes when attempting to break into fashion journalism ‘a blog is essential’. She says ‘it is a great way to get your name out there. If you can do a really good blog that’s a really valuable commodity to a magazine’. Encouraging the importance of finding a niche subject area and a gap in the online market, she believes success is marked by ‘being an expert in something quite small and finding a space to own it’.

my attention, and be memorable and exciting’. For White, interning is essential and was the key to her own career. With previous work experience at TV Hits Magazine and Inside Soap, White believes that on a magazine ‘the boring stuff really isn’t that boring...I just always loved and appreciated being in the office. The bottom is always going to be basic, but if you find four weeks being in a windowless airless fashion cupboard exciting then you know it is the job for you.’

Offering a final piece of advice she tells me aspiring fashion journalists ‘must keep in touch with people and drop past work experience placements a line every now and again.’ Speaking of talented work experience students who have been offered full time employment, she says ‘recruits will always keep turning up, but good interns will always be asked to come back’.

Commenting on successful job applications, White tells me ‘CV’s must stand out in a good way...we get hundreds and hundreds of applications, so you really have to stand out. We don’t want you to be horribly wacky or loud, you just have to catch

Drapers Divulge Drapers Editor-In-Chief Caroline Nodder discusses advice, rejection and the business of fashion with 21...

21: How are Drapers involved with GFW this year?

CN:We have supported GFW for a number of years – I believe one of the key reasons for Drapers to exist is to help promote and encourage new talent in the business and that is exactly what GFW does too. We obviously report from the event itself but this year we have set up a Drapers Jobs (DrapersJobs.com is our recruitment website) stand where we will be offering advice for first jobbers and putting them in touch with potential employers. We will also be publishing a special issue of Drapers after the event with full coverage of the final shows.

caroline nodder 21: Where did you work prior to your role as the editor of Drapers?

CN: I arrived at Drapers in March last year as a total newcomer to the fashion sector! I previously edited a magazine called The Publican for people running pubs and bars so it’s been quite a steep learning curve – but one of the most enjoyable experiences of my career so far, and everyone has been very kind and allowed me to pick their brains on what’s what in fashion.

21: Why do you think GFW is so important?

CN:Graduates these days face a much tougher time than I ever did finding a job. It is not easy in such a competitive industry, particularly at a time when the financial crisis is squeezing a lot of consumers and businesses. So GFW is an essential part of helping the new generation ease into work. College can be quite an isolated bubble – it’s a great place to nurture talent but can leave graduates quite naïve when it comes to commercial pressures. To emerge with a good grounding in how to make your talent pay is important, so the knowledge GFW can impart and the exposure it can give to new talent is crucial.

21: What do you think are the biggest challenges facing young fashion graduates at the moment?

CN:There is enormous pressure. From the competition from all the other graduates out there, to shrinking opportunities within commercially pressured companies, and of course business pressures associated with setting up your own fashion brand if that is the route you choose. It’s

about as tough as it has been in my lifetime, but then some of the talent coming through is the best it’s ever been in the UK too so there is a positive side too!

21: What do you think makes a successful fashion brand?

CN:Creative and unique design handwriting, quality product and commercial acumen.

21: What advice would you give to young graduates applying for jobs?

CN:Don’t give up! I had about 50 straight rejections before I got my first job in journalism, including being turned down by Concrete Monthly. Keep going, and don’t let it dent your confidence.

21: What’s your favourite part of your job as editor-in-chief?

CN:That’s a really hard one – I enjoy pretty much all of it! But if I had to pick one thing it would be seeing people in my team move up – and one day take over! Someone once told me: ‘Always employ people who are better than you.’

21: Is there anything you wish you had known when you were embarking on your own career?

CN:Yes – no-one else knows what they’re doing either! Don’t be afraid to look stupid, and never be afraid to make mistakes.

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Buyer’s Eye Knowing the answer to this question could be they key to your success as a designer. By getting your fashion designs in stores it gives you credibility, exposure and prestige. Stores have a large customer base, a vast amount of foot traffic, and well-marketed online sites that can really help to launch your brand.

21 gets the inside scoop on what four fashion buyers are looking for when reviewing lines from new designers, where they go to find them and how to stand out in the crowd.

BY CHLOE FOSBROOK

Louise Bailey

Senior Branded Buyer of House of Fraser 21: What do you look for in a new collection?

Louise Bailey: London is a fantastic city of emerging talent. Design graduates convey a huge amount of creativity, which is brilliant, but it’s important to combine this with a keen sense of commerciality that ultimately works for the consumer. I look for new, inspiring and creative designers that truly understand the commercial aspect to the industry.

21: What should a young designer do to stand out and grab the attention ofw buyers?

LB: It is essential that young designers under-

stand their market. Once they have a good understanding of the marketplace it’s all about having the passion to back their ideas and stay true to their positioning.

21: Where do you go to find new designers?

LB: I scour markets both locally and internationally on buying trips and often get sent look books from both graduates and established designers showcasing their work. Work experience goes a long way to building important links with designers that can flourish into future opportunities. //www.houseoffraser.co.uk

Aalish Maddrell

21: What should a young designer do to stand out and grab the attention of buyers?

AM: I am sent hundreds of e-mails a week from designers trying to get their products into our store. Many of these e-mails just don’t cut it because they are not produced professionally.

Buying & Merchandising Director of my-wardrobe.com 21: What do you look for in a new collection?

Luisa De Paula: A new collection needs to have new ideas that would appeal to our customer base. Print and colour always stand out online so collections, which feature either or both, could be winners.

21: What should a young designer do to stand out and grab the attention of buyers?

LDP: Visually stand-out collections that are wearable coupled with sound business acumen. They need to understand their adjacencies with other brands and have their collec-

tion priced accordingly. They also need to have their manufacturing organised to deliver on time, as this is key for retailers.

21: Where do you go to find new designers?

LDP: New designers can be found in exhibitions, showrooms or sometimes people email us their look book to review.

// www.my-wardrobe.com

RUTH CHAPMAN

Head of retail buyer for Austique 21: What do you look for in a new collection?

Aalish Maddrell: We are always looking for something fresh that can’t be found on the high street. We like to offer our customers special pieces that will make them feel like they look their absolute best; that comes down to beautiful fabrics, feminine prints and a great cut. It’s all in the detail.

Luisa De Paula

CEO and Co-founder of Matches Producing a high quality look book, with fabulous styling is a great way to grab the attention of buyers. Videos are an exciting and underused medium in this context – I would love to see more collections in motion. It’s the best way to showcase a beautiful piece.

21: What do you look for in a new collection?

Ruth Chapman: A gut instinct, a buzz, a point of difference from everything else on the market.

Also a very high level of quality, and a commitment to deliver and work with a retailer from the designers.

21: Where do you go to find new designers?

AM: I am always looking for new designers.

Wherever I travel I scour stores for inspiration, look at blogs, magazines and of course the red carpet. Getting a piece from your collection on the right celebrity at the right event is a sure fire way to get great coverage. It was the Oscars that launched Jimmy Choo into the big time! //ww.austique.co.uk

21: What should a young designer do to stand out and grab the attention of buyers?

RC: They should network and try to meet and talk to as many people as possible within the industry, don’t be shy, get their personality seen

Advice for graduate designers Louise Bailey: Learn from set backs and use the knowledge you gain to better improve yourself. Stay true to

in the market place. Get contact details and send their look books over to people to view.

Pull all the stops out to create a look book that you can e-mail to people.

21: Where do you go to find new designers?

RC: London is the best place to find new designers and London Fashion Week provides the perfect opportunity for picking up new labels, however we do also pick up new labels from New York, London and Paris and sometimes even as far afield as Brazil or Australia. // www.matchesfashion.com

Luisa De Paula: Be organised, understand the market and deliver polished collections on time.

your inspiration and be passionate about what you do, and most of all know your market.

Aalish Maddrell: Always be original and true to your personality and taste when it comes to your collections, but make sure to keep an eye on commerciality. A beautiful piece will only be successful if it is comfortable and affordable. And pay attention to detail.

40

Ruth Chapman: Make sure your quality is exceptional, make sure you are convinced about your factories – the worst thing you can do is let people down when they are committed to your stock. Create some key press pieces within your collection. Engage with social media. Keep your costs down and talk to someone to get financial advice. Take it easy, go slowly and steady, don’t run before you can walk.

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Christopher Bailey , Creative Director of Burberry :‘‘At Burberry, we assume that people have talent. Therefore, we are looking for people with culture. We want to see passion. We want people who love people and who want to learn. So stay curious and come with a smile. Energy is the key thing.” Lucinda Chambers, Fashion Director at Vogue UK:“It is only hard work and talent that will bring you through the right doors.” Domenico Dolce ,Co-Design-

Stefano Gabbana, Co-Designer of Dolce & Gabbana : “Be strong and never stop.”

er of Dolce & Gabbana: “You have to believe in your work. It has to be a religion. You have to think: in life there is fashion, and basta!”

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Nicholas Kirkwood, Designer: “ The most important thing is to have a voice. There is a lot of competition out there. You have to stand out from the crowd. Before launching your own brand, you need to feel that you are ready and you need some experience. Some

Tom Ford, Designer: “ Try as hard as possible to make a capsule collection and show it to people who can help you.” Polly Vernon, Fashion Journalist: “I think the best you can possibly do is to write all the

people want to get out of college and start their own line. I think internships with established designers can teach you a lot.”

time. E-mails, letters, articles… you’ve got to find a voice. You have to be fluent. It has to come easily. You have to be interested by people and to be aware all the time. “

Jeff Banks , Fashion Designer and Founder of GFW “Be re-

ally conscious of the fragility of our planet. Whatever you do, bear in mind what you are doing and do something that contributes to the fruitfulness of our planet. You reap what you sow. Don’t be greedy. Don’t expect everything on a plate. Don’t do anything detrimental to your environment and the people in your environment. If you do that, you’ll be

Angela Quaintrell , Ex- Senior Fashion Buyer at Liberty, Fashion Consultant: “Plot your path, give a reason to buy, be a bulldog.” hugely successfully. Success doesn’t have to be judged in monetary terms.”

Jackie JS Lee Designer “Enjoy what you do and don’t waste the time you have now. Learn as much as you can even though it’s not always about fashion.”

42

Louise Roe , Fashion Journalist:“Don’t ever give up, even when you’re not being paid and making tea/photocopying everyday on an internship. It will be worth it in the end! And be proactive: start a blog, review the shows from pics on Style.com, do a shoot in your back garden...

Stella McCartney, Designer: “Stay true to yourself. Don’t try to be something you are not, it never lasts very long.” all those extras look very impressive to prospective employers.”

TIPS

Percy Gilbert , Senior Menswear Designer at Ben Sherman: “I’d say take opportunities very seriously, I heard that McQueen had been around at Graduate Fashion Week so I went and found him and loads happened, amongst other things a work placement and even some paid work.

My first full-time fashion job was also just approaching a company at an exhibition, I hadn’t even heard of them. I have many more stories like that, but yes take opportunities seriously, you’ll gain experience and you never know where it will lead.”

Gemma Mether-

ingham, Joint Managing and Creative Director of Karen Millen: “Be open to every opportunity, network, meet lots of people and be prepared to be flexible about what you’re prepared to do. Once you’ve got a start in the industry you can make your mark and grow your career.”

Col-

in McDowell Senior Fashion Commentator & Fashion Journalist): “Trust yourself. And if others do not trust what you write - or are indifferent to it - find another

Hasan Hejazi, Designer: “You have to know that it’s 100% what you want to do.

It’s not just about talent - you’ve got to have the balls to sell yourself.”Paul Smith , Designer: “ Keep your dream, but subsidise your dream with somejob. There are far too many time-serving hacks around already, thank you very much!”

thing else. Work in a shop, do internships. Life and work is about balance between your aspiration and what helps you to pay the bills. Do things which are right, not which are easy. Never assume, always double check.”

43

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THE LEADING INTERNATIONAL EVENT FOR FASHION GRADUATES 10 - 13 JUNE 2012 | EARLS COURT 2 GRADUATE FASHION WEEK FEATURES GRADUATES FROM 53 DIFFERENT COURSES FROM 40 UNIVERSITIES

SUNDAY 10 JUNE 13.00 14.30 16.00 17.30 19.00

UNIVERSITY OF EAST LONDON UNIVERSITY OF CENTRAL LANCASHIRE EDINBURGH COLLEGE OF ART NORTHUMBRIA UNIVERSITY UNIVERSITY OF SALFORD

MONDAY 11 JUNE 14.30 16.00 17.30 20.00

DE MONTFORT UNIVERSITY ARTS UNIVERSITY COLLEGE AT BOURNEMOUTH & NORTHBROOK COLLEGE SUSSEX NOTTINGHAM TRENT UNIVERSITY UCA ROCHESTER

TUESDAY 12 JUNE 12.00 13.00 14.30 16.00 17.30 20.00

INTERNATIONAL SHOW: AMSTERDAM FASHION INSTITUTE, ESMOD BERLIN, ISTITUTO MARANGONI MILAN & PARIS BATH SPA UNIVERSITY & WILTSHIRE COLLEGE SALISBURY UCA EPSOM BIRMINGHAM CITY UNIVERSITY MANCHESTER METROPOLITAN UNIVERSITY KINGSTON UNIVERSITY

WEDNESDAY 13 JUNE 15.30 20.00

GALA SHOW 1 GALA SHOW 2

WWW.GFW.ORG.UK

TWITTER.COM/OFFICIALGFW #GFW2012

To celebrate Graduate Fashion Week 2012 Karen Millen has teamed up with leading Blogger, Five Five Fabulous, to create inspiring looks for you for a budget of under £250 from a statement graduation outfit to polished workwear for your first step on the career ladder.

Reem Kanj FIVE FIVE FABULOUS Reem Kanj founded Five Five Fabulous in 2009 after graduated with a BA in Surface Textiles from London College of Fashion. Graduating during the peak of the economic crisis, Reem focused on putting her efforts into creating her own role in the industry.

Since the launch of Five Five Fabulous, Reem has found her self juggling her role as Editor of her own website as well as being a brand ambassador between London and

Dubai. You can also find Reem revisiting the prestigious University of the Arts London, where she graduated from three years ago as a ‘Special Lecturer’. Gaining so much experience in her industry, Reem also works as a Fashion and New Media consultant for brands ranging from start ups to high end luxury names.

Website – fivefivefabulous.com

LUXE FOR LESS 3 LOOKS FOR UNDER £250

GRADUATION: ‘For graduation I recommend you avoid black so I’ve edited a white jersey dress with an impeccable Karen Millen signature flattering fit and then add in a colour pop in the form of these fabulous peep toe shoes.’

OFF DUTY: ‘Floral prints are huge for summer and there’s no better way to wear them then in a beautifully structured pair of trousers.’

POLISHED WORK WEAR: ‘I believe you should always wear something in the workplace that can take you effortlessly from day to night. This body-con skirt and tribal print top do just that.’

One of the great success stories of British Fashion, Karen Millen is internationally renowned for offering versatile investment pieces that provide attainable luxury and effortless polished glamour for women worldwide. The collections encompass all the essential components of a modern wardrobe and are designed

to become cherished staples. Each item is crafted from luxury fabrics with impeccable attention to detail and feature the brands signature flattering fit ensuring that Karen Millen is the go-to destination for distinctive investment pieces around the world, whether it is for perfectly tailored work-wear, a

distinctive LBD or a sumptuous leather jacket.

Karen Millen now has flag-ship stores in prestigious fashion cities around the world including London, Madrid, New York, Moscow, Berlin, Sydney, L.A, Hong Kong and Paris.

EXCLUSIVE GFW 20% DISCOUNT* *TERMS & CONDITIONS: This page entitles the holder to an additional 10% off the existing 10% NUS student discount available at Karen Millen, accumulating to a total of 20% off the Spring Summer 2012 collection available from 10th June to 16th June 2012. For in store redemption present this page accompanied with your valid NUS card at the time of purchase, photocopies are not acceptable. Discount must be applied for at the time of purchase and cannot be applied for at a later date or after 16th June 2012. This offer is redeemable in Karen Millen UK standalone stores only. This offer is not redeemable in Karen Millen concessions, outlets or online at karenmillen.com. Offer is not available in conjunction with any other offer. Discount available on full-price items only. Excludes gift card purchases. Offer not available to staff of Karen Millen or associated companies. Go to karenmillen.com for full store listing.