SO ? WHERE FASHION GETS CREATIVE Spring/Summer 2010 £5.00
®
FOR ONE NIGHT ONLY
www.somag.co.uk
FRED BUTLER
The brightest star of accessory design
Perishable hats
EVERYDAY OBJECTS
THE SEASON’S HOTTEST TRENDS
Design your own accessories
Catwalk looks to create at home
6 D-I-Y Projects
contents
SO ?
spring/summer 2010
D-I-Y
12 Cloudy Water
A bleach printed bolero
14 Silver Linings
Make your own cloud print tee
34 Fringe Benefits
How to dazzle with a pair of shoulder pads
36 Hand Bags from Glad Rags
From cheap jacket to cool shopper
39 Bobble Knits
Add some texture to your knitting
FASHION
24 Hard Wear
17 The Art of Dressmaking
Powerful customisations. Photographs by Simon Lyle Ritchie
Q&A with performance artist, Kirstie Macleod
48 For One Night Only
Talks about modern millinery
Disposable fashion for your head. Photographs by Rebecca Coleman
58 Everyday Objects Make do and mend with everything and anything. Photographs by Elena Pirogova
INTERVIEWS
10 Laura Mackness
The Central Saint Martin’s Graduate talks all things surreal
44 Piers Atkinson
53 Best in Show
A look at SHOWstudio’s Design Downloads
56 Fred Butler
The colourful accessories designer speaks to Naomi Attwood about her work
70 The Generation Game
Sarah de Gruchy talks to her Granny Wright about passing on the crafts of knit and crochet
66 Origami Necklace
Make this statement accessory
FEATURES 4 D-I-Why?
Rebecca Coleman contemplates why we should bother to do it ourselves
20 Power Games
Focusing on the return of power dressing
22 Deconstruction of a Garment The Blazer We take a look at the inner workings of this wardrobe staple
40 Sweet Charity
Oxfam’s D-I-Y mission
REGULARS 2 Contributors
See whose been creating this season
6 SO ? What #001 - Surrealism
The feel and look of our first trend
9 Moodboard
Your surreal shopping list
16 SO ? Yours #001 18 Arts & Crafts
What’s hot right now in the world of make.
19 SO ? What #002 - Power
The thinking behind our second trend
38 SO ? Yours #002 43 SO ? What #003 - Mad Hatters
The thinking behind our third trend
52 SO ? Yours #003 54 SO ? What #004 - Origami
The feel and look of our fourth trend
68 SO ? What #004 COVER LOOK Ariana wears T-shirt, customised by stylist, vintage cropped tux and jeans. Photography by Simon Lyle Ritchie. Styling by Rebecca Coleman.
editor’s letter
“Hard Wear”: New face, Ariana, wears customised fashion in the shoot on page 24.
i
t all started with an idea back in January 2008. So many of my friends and I seemed to be making or customising our own clothes – it was almost epidemic. However, when I popped down to my local newsagents in search of a magazine to inspire my sewing, I was met with a very miserable prospect. It was a choice between a crafty one my granny might read or your everyday fashion titles. I thought why can’t we mix the two together and SO ? was born, at least in principle. Now after months of pin pricks, sweat and tears, the first issue of SO ? is here. We’re celebrating all that’s great in the world of fashion crafts, drawing inspiration for all kinds of projects from the catwalk. This season it’s all about surrealism, power, mad hatters and origami. Each ‘SO ? What’ section is designed to take you through a trend, from interviews with relevant designers to inspirational photo shoots and sewing projects. I hope that the first fashion story (“Hard Wear”, on page 24), shot by Simon Lyle Ritchie, will enthuse you to utilise safety pins, studs and shoulder pads in the name of all that is new and creative. It’s a bit of a homage to Balmain, Hannah Marshall and all those who’ve been championing a powerful look for Spring/Summer. The second shoot is a bit more creative. Inspired by my meeting with milliner, Piers Atkinson, (interview on page 42) it’s a fun piece about using whatever you have to hand to make stunning, disposable hats. And, the third, shot by Elena Pirogova, is also about using your imagination to make everyday objects, from playing cards to parcel rosettes, into something special. All the accessories are big and bold, something that designer, Fred Butler (interviewed on page 34) is a master of. All the features and shoots are designed to provide exciting and innovative ideas for your own projects. Lets face it, when the finances of the world have taken such a seismic jolt; we all need to be a little more inventive and hands-on with our sense of style.
REBECCA COLEMAN (editor-in-chief)
“Everyday Objects”: Inventive use of recycled goods provides accessorising inspiration on page 60.
Mad Hatters: Piers Atkinson talks to me about designing headwear on page 42. Our photoshoot “For One Night Only” on page 46, below left, was inspired by mental millinery.
Learn how to make this origami necklace on page 68.
VANESSA MAZZON Vanessa lives in Milan and styled the “Everyday Objects” shoot on page 60.
ELENA PIROGOVA Elena is Russian and came to London to study photography at London College of Fashion. She shot the “Everyday Objects” story on page 60.
SIMON LYLE RITCHIE Simon studied fashion photography at London College of fashion. He shot the “Hard Wear” story on page 26.
contributors spring/summer 2010
SARAH DE GRUCHY Sarah has just finished her masters in clinical psychology at the University of East Sussex. Desite being a qualified mind reader, she took the time to ask her Granny a few questions about the ‘good old days’ of knitting. Read it on page 72.
SO ? NAOMI ATTWOOD
Naomi studied Fashion Journalism at London College of Fashion and is now well on her way to becoming a pro in that field. She interviewed former employer, Fred Butler. Read the results on page 58.
-2-
SO ? INTERESTING
d-i-why?
............................................................................................
.....................................
WHY WOULD YOU RISK LOOKING LIKE A GRANNY JUST TO END UP WITH A SCARF THAT LOOKS LIKE IT’S BEEN MADE IN A DUTCH CHEESE FACTORY? SO ? EXPLORES ALL THE REASONS YOU MIGHT WANT TO GIVE IT A TRY.
-4 -
T
he thing is, it would be incredibly easy for you to bus down to the high street, nip into Zara or H&M etc. and buy yourself an outfit that appertains to the latest idea of what’s ‘in’. However, at the very same moment that
you’re handing over your well earned cash, there’ll be at least ten items in your ward-
‘With a small tweak here and a stud there, last season’s throw-outs become this season’s must-haves.’
robe that you no longer wear and that when you do finally get round to sorting through you’ll give away to the charity shop. Now, don’t for one second think I’m saying that you shouldn’t give to charity (God forbid) I mean one man’s trash and all that, but just imagine that trash becoming your treasure rather than someone else’s.
mentally friendly clothes rather well these days (Stella McCartney’s non-animal based footwear is not to be sniffed at) there are other ways we can help by taking matters into our own hands. If you are one of those odd sorts who somehow
With a small tweak here and a stud there, last
has not amassed a mountain of garments that you no
season’s throw outs become this season’s must haves. If you don’t feel confident making these alterations on your own, there are a multitude of groups, to share your creative juices with. In no time at all you’ll be a fully-fledged fashion D-I-Yer. When you’ve been complimented on your t-shirt for at least the fifth time what could be more satisfying than being able to say ‘this old thing? Knocked it up myself last week’. The prospect of making a garment from scratch may be a little overwhelming to many of you, especially those who don’t own a sewing machine. So, don’t run with scissors. Rather than battling with a vast paper pattern and reams of fabric, look at how you can improve what’s already lurking in the far reaches of your wardrobe. Not only will you be saving money, but you can also feel really good about how wholesome you are.
longer wear, then you can always pop down to your local charity shop or market to pick up something someone else has discarded. You might just snap something up for a couple of quid that with a bit of tweaking can become a piece of sartorial envy for all your friends. I managed to pick up a glorious eighties, nautical, button-through dress at Deptford market last week for a matter of pennies. With a change of buttons and a nip and tuck, I have a piece that will last me this season if not a few to come. What’s even better than the fact I’ve saved myself a few bob and supported the local market, is the fact that I have an item which is entirely unique. No one else in the world is going to have exactly the same dress as me. There’s no fear of wearing it to an important event or for that matter anywhere and seeing at least five different versions of myself.
And there’s another point; recycling, climate
And, if all that’s not enough to get you started
change and all that jazz. If you’re anything like me, you’ll be a conscientious consumer who cares about the environment, but also cares about her appearance. As much as I
on a fresh make do and mend project, then I really don’t know what kind of a human being you are. But, you must at least be the kind who feels slightly guilty spending all
love watching the family of Blue Tits nesting outside my window, I’m not quite ready to adopt the (perhaps slightly stereotyped) image of the earth mother, all hemp shirts and vegan shoes. Although, some are doing these environ-
their free time watching telly. I won’t deny that there is some captivating programming of a Wednesday night, but how much better would you feel if you spent your time sewing and had something to show for your efforts by the end of the night. So, don’t just sit there. Pick up a needle and
‘You might just snap something up for a couple of quid that with a bit of tweaking can become a piece of sartorial envy for all your friends.’
thread. The first thing you make might not be a perfect replica of that Balmain jacket you’ve had your eye on, but you could just awaken a passion for design and make you never even knew existed. The next thing you know you’ll be showing off your talents to the world at
London Fashion Week. So, what are you waiting for? On your marks, get set.........SEW!
-5-
SO ?
WHAT
#001
SURREALISM
THE SURREALIST MANIFESTO
written by Andre Breton in 1924, was the bible for anyone involved in this world of wit and wonder. It decreed that dreams and fanciful thoughts should be harnessed in the name of creativity. These artful pioneers thought that te world was a better, or maybe simply more interesting, place when seen from upside down or in a nightmare where everything melts like time. Surrealist artists became quite intrigued by the possibilities of the sewing machine and its symbolism as a tool of femininity. They were fascinated by the concept that it might be able to produce not just women’s clothes but the woman as a whole. Perhaps they imagined they could create the perfect girl, a bit like those kids in Weird Science. -6-
SO ? WHAT L U E L L A
HOW TO WEAR IT:
H O U S E O F
A S H I S H
•
BE BRAVE - THIS LOOK MUST BE WORN WITH CONFIDENCE.
•
ACCESSORIES ARE A GOOD WAY TO ADD A SURREALIST TWIST TO A CONSERVATIVE OUTFIT.
•
SEQUINS ADD AN EXTRA DIMENSION TO THE LOOK.
H O L L A N D
G A R E T H V I K T O R
P U G H
& R O L F
#001 THE LOOK
SO ? COOL
GET LIPPY WITH THESE BUTTONS, 20p EACH FROM M&J TRIMMINGS
MODERN HISTORY Eighty years since the Surrealist movement and its effect on fashion has not gone away. Throughout recent decades the weird and the wonderful have been sent down international catwalks. Be it Karl Lagerfeld’s corset hat in the eighties or Bjork’s swan dress in the nineties, or even some misplaced lips as a handbag, the influences are all the same. And this season is no exception. Designers continue to use the Surreal and Dada to inform their collections. An exhibition at the V&A Museum back in 2006 linking fashion and Surrealism (which included these eye brooches, above) is evidence that the two are intrinsically linked in a bizarre but brilliant way. The fun you can have with creating your own surrealist garment or accessory is endless. Nothing is off limits. You can be as crazy as you like, in fact the crazier the better. Anything that is not the norm in general life is perfectly acceptable in the surreal world.
THE LEGACY OF SCHIAP
#001
Moodbo ar
The biggest name associated with the Surrealist movement on the sartorial side of things was one Elsa Schiaparelli. A bit of a rebel, she did a stint in a convent before travelling to London, New York and then Paris. She became friends with all the Surrealist illuminati and spurred on by her new acquaintances, and some collaborative work with Dali in particular. Schiaparelli soon owned a fashion empire. But, she started all this by making clothes for herself.
d
HEAVENLY HABERDASHERY Get Surreal style with some added extras in the form of buttons, like these split personality ones (below right, 20p each). Or, some trompe l’ouiel fabric like these tricky lace prints (left) £10 per metre. For Dali-esque appeal, get all creepy and crawly with these bug motifs (far left) £1 each, all from MacCulloch and Wallis.
THIS EXQUISITE RING (RIGHT) £190, VIVIENNE WESTWOOD HAS A SURREAL EDGE TO IT.
PROJECT/9 -9-
THREE TOP TIPS FROM LAURA MACKNESS: 1.
‘Research, research, research’, is Laura’s
2.
Always keep your ‘initial idea’ imind. Don’t lose the spontanaity that makes a first sketchso inspirational.
3.
Surround yourself with creative people and things. If everyone around you is chomping at the bit and you have the right environment and equipment around you, you’ll stay alert.
mantra. It’s important to figure out exactly how your going to make something garment. before you start on the final
designer Q&A
LAURA MACKNESS Times are tough for London’s bright new fashion talent. REBECCA COLEMAN talks to Central Saint Martins Graduate, LAURA MACKNESS about her magnificent final collection and her plans for the future.
RC: WHAT INSPIRED YOUR MA COLLECTION? LM: I am a bit of a collector, especially when it comes to images and so the collection draws inspiration from many different reference points. The face, eyelashes etc. came from the work of François and Jean Robert, the hands were from some drawings that I found by Saul Steinberg and the shapes were from some of Jean Paul Goude’s work with Grace Jones particularly her ‘Slave To The Rhythm’ video. The shapes in the collection were very much influenced by the first loose sketches that I did, the proportions and shapes were very awkward and this seemed to really work, as such it meant that the whole process was very much concerned with those first drawings. RC: HOW WOULD YOU DESCRIBE YOUR WORK ETHOS? LM: Organised Chaos. RC: WHY FASHION DESIGN? LM: It was more art and design that I was first interested in,
- 10 -
SO ? Q&A
my AS level Textiles nearly put me off fashion for life and it wasn’t until I was studying on my foundation that I first thought about fashion design. I don’t really know what exactly it was that first triggered it, it just seems to have happened! RC: WHAT’S YOUR FAVOURITE PART OF THE DESIGN PROCESS? LM: Research, research, research and the first initial idea and design process. RC: DO YOU EVER MAKE YOUR OWN CLOTHES?
to be with James, my boyfriend. RC: IS THERE ANY PERSON WHO PARTICULARLY INSPIRES YOU? LM: In fashion terms Martin Margiela has always been an inspiration to me; in general everyone I choose to surround myself with inspires me in some way. RC: WHERE DO YOU FEEL MOST INSPIRED?
LM: No, I never have the time.
LM: With my head in ally, or finding something
RC: IF YOU COULD SAVE ONLY ONE ITEM FROM YOUR BEDROOM WHAT WOULD IT BE?
RC: HOW DO YOU SWITCH OFF?
LM: My research folders, some of the things in there are irreplaceable. RC: DO YOU LISTEN TO MUSIC WHILST YOU WORK? IF SO, WHAT ARE YOU LISTENING TO AT THE MOMENT? LM: We listened to music a lot when we were working in the studio doing the MA; this mainly consisted of anything upbeat and fast to keep us going! When I am working at home, designing etc I normally work in silence actually, I find it easier to concentrate and really think.
a book or new! I love
magazine usufinding things.
LM: Laugh! I am never fully switched off though, more on standby. RC: WHAT DID YOU WANT TO BE WHEN YOU WERE A CHILD? LM: God knows, world leader probably! RC: WHAT EXCITES YOU/TERRIFIES YOU ON A DAILY BASIS? LM: Learning something new.
RC: IF YOU COULD WORK FOR ANY FASHION HOUSE, WHICH WOULD YOU CHOOSE?
RC: IF YOU COULD CHOOSE TO COME BACK AS A PERSON OR THING, WHO OR WHAT WOULD IT BE?
LM: Schiaparelli or Chanel, I know they were arch enemies but I love them both equally for different reasons.
LM: A horse, I think they are so, so beautiful and so intelligent.
RC: WHERE WOULD YOUR IDEAL LUNCH BE AND WHO WOULD IT BE WITH?
I guess my plans for the near future are to work within the industry, hopefully at the top end, and gain as much experience as possible, after that I may want to continue working for someone else. I would never rule out starting my own company one day.
LM: I don’t know about anywhere in particular, anywhere with good food, good red wine and I am happy. Without a doubt it would have
RC:
- 11 -
WHAT ARE YOUR PLANS FOR THE FUTURE?
SO ? D-I-Y
D-I-Y
#001 Cloudy Water
SO ? HARD RATING: INTERMEDIATE (you at least need to own a sewing machine or be a good hand-stitcher)
1.
back and front the off Trace pattern pieces from this page and them out of the pattern paper. cut
2.
4.
Pin the pattern pieces to the jersey, making sure that the fabric is doubled over and the centre back line is on the fold.
6.
CUT TWO ONE SIZE
FRONT
3.
Cut out cloud shapes from plain paper, soak them in water and bleach and lay them to form a print over damp pattern pieces.
Cut around each of the pattern pieces with fabric shears,. Cut two fronts and one back on the fold.
5.
After ten minutes remove the cloud pieces from the fabric and you should be left with a beautiful cloud print.
Sew the pattern pieces together, starting with the sides (as pictured right).
CENTRE BACK CUT ONE ON FOLD
7.
Finish the bolero by sewing together the shoulders and attaching the collar to neckline.
SO ? HARD RATING: EASY
(This one’s a pretty simple paint job).
Silver Linings Cloud prints have been sneaking onto the sartorial scene for a few seasons now. From Stella McCartney to Josh Goot, from angelic to ominous, cumulonimbus seem to be gathering as if preparing to flood the fashion landscape with their presence. Because they appear determined to hang around, here’s a nifty little print to add a silver lining to any garment. What you’ll need: T-shirt, textile spray paint (£5.99, Paperchase); a piece of card big enough to cover the T-shirt; scissors and a pencil.
Create a print that fits with your idea of the perfect style cloud: •
For a more cartoon-like pop art cloud, outline each one with a fabric marker pen.
•
Stormy skies can be achieved by colouring each cloud a different shade of purple or grey.
•
Add sparkle with some sequins or beads.
STEP ONE: Trace round your T-shirt so you have the shape. STEP TWO: Draw your print inside the T-shirt shape. This is the bit where you get to be creative, so draw as many or few clouds as you fancy. You can also vary the size and shapes of clouds so it looks more like real sky. STEP THREE: Carefully cut out each cloud shape from the card so that you’re left with cloud-shaped holes. STEP FOUR: Now you have your template, lay out your T-shirt on a flat surface (you might want to do this outside or lay down some newspaper first – you don’t want to end up with T-shirt shaped graffiti on your carpet). Lay the template on top of the T-shirt, so that it lines up with the outline on the card. STEP FIVE: Stand about 18ins from the garment and spray so that each cloud shape is filled with colour. STEP SIX: Leave to dry, remove template and find somewhere exciting to wear your newly customised tee. Expect to be awash with compliments!
- 14 -
s realist piece r u S n w o r ou n to design y io t a r t s lu il gure - use this ďŹ h c t e k S R YOU
#001
SO ? YOURS s YOUR fabric
YOUR trims
notes R U O Y
SO ? Q&A
the ART of DRESSMAKING
Artist Kirstie Macleod
SO ?: What are you working on at the moment?
finds out if that’s how
KM: A few things: firstly the ongoing development of Barocco. I am sending 2 panels of the dress to be worked on in Bombay, and another 2 to The Royal School of Needlework in London. I am also preparing for my next show - a solo exhibition in Paris in May, where I will be exhibiting a collection of old and new pieces of work.
she sees herself.
SO ?: Where do you find your inspiration?
has been described as an ‘Extreme Dressmaker’.
SO ?
KM: Life, literature, music, art, film, fashion, emotions and feelings. I would say my most specific inspirations come from emotions and fairytales - of which I am completely obsessed. I am currently reading a book called ‘Little Red Riding Hood Uncloaked’ which delves into the complex moral, philosophical and psychoanalytical readings of the story - fascinating. SO ?: What made you combine clothing with art? KM: I use the dress as an expression of the self - a way of depicting an emotion, action or personality that in some way relates to the performer. I am not trying to create ‘pretty dresses’ but use the garment as a mode of expression, creating a layer of meaning that literally cloaks (and often contains) the body.
treme Dressmaker’. Is that how you’d describe yourself? How would you describe your work? KM: I’ve never heard that before! That’s a great way to describe what I do, although I would be cautious that it puts me firmly in the ‘fashion’ category whereas my aim is to create little pieces of conceptual performance. Actually, my current piece doesn’t involve a dress. Textile processes and garment construction are at the heart of what I do, but that can be articulated in many ways. I like the word ‘extreme’ though - I feel that is an accurate way of describing the emotional side of what I do which often sees both dress and performer pushed to the limits of endurance. SO ?: What’s the most interesting response you’ve had to your work? KM: The reaction to Barocco in Dubai, a piece involving a woman sewing in baroque dress, whilst sitting inside a Perspex cube (pictured top right). A number of women saw the piece as an aggressive statement of oppression towards the female sex, whereas the men’s response was extremely positive. Many asked if they could take the piece (including the performer) home with them. I was pleased with the response, my aim being to examine the complex ideas of objectivity and the male gaze. Was the performer oppressed or empowered?
SO ?: I’ve heard you referred to as ‘The Ex-
- 17 -
See more at www.dreamingdresses.com
SO ? List
SMACK MY STITCH UP This is a fab night, where stitchers get to meet up, bring along or buy materials for a specific theme and get creative together, with
PRICK YOUR FINGER
lots of drinks and good music at The
I’m not sure how to describe this one. They do everything from exhibitions to evening classes to organising flash mobs of knitters on the tube. Check out their website at http://www. prickyourfinger.com/ for their multitude of activities and info on how to get involved.
Green Man pub. Visit http://www. handembroidery.com/smack-
arts & crafts PEOPLE, PLACES AND PRODUCTS RESTYLING & REFASHIONING Fancy a bit of ‘Swishing’, a talk by a top fashion pro or masterclasses on how to customise your old clobber? Head down to the V&A for one of their ‘Restyling and Refashioning’ days for all of the above. For details of the next event go to: http://www.vam.ac.uk/.
GUERRILLA KNITTA Knitta Please was founded by Magda Sayeg, a woman who though graffiti should be a bit more feminine and removable. To that end she and her trusty followers go around the world spreading their knits over pillars, signs, bollards, statues and the like. See their work at http://www.knittaplease.com/.
SO ?
WHAT #002 POWER THE OVERWHELMING PREVALENCE of the shoulder in Autumn/Winter 09 collections shows no sign of abating for Spring/Summer 10. The exaggerated epaulette may still be hanging on, but it is a little softer for the warmer months. You don’t have to resemble an American footballer or an eighties throwback to don this look. All you need is the confidence to carry it off. And if that’s not something that comes naturally to you then don’t panic. An elevated shoulder is the perfect way to fake Alexis Carrington-Colby bravado.
- 19 -
SO ? Focused
POWER GAMES IT SEEMS WISE TO ANTICIPATE THE CONTINUED RETURN OF THE SHOULDER PAD THROUGHOUT OUR STREETS AND OFFICES DURING THE WARMER MONTHS. REBECCA COLEMAN SHARES SOME OF HER THOUGHTS TOWARDS DRESSING FOR SUCCESS.
W
ith the reported downfall of many looking physically weaker, through exaggerating my waist to male bankers over the past year or so, hip ratio with a jaunty belt, but I am willing to assert my maybe it’s time for us ladies to emmental equality though hard work. This is something that brace that eighties sense of female might not have been quite so attainable by women, when supremacy once more. However, this power dressing was a very useful tool in establishing their time around there’s a difference. The status in a male dominated workplace, but I believe that look has evolved, managing to incorporate the feminine we are now in a position to use our femininity, rather than as well as the feminist, perhaps exemplary of how far we disguise it. Look to Michelle Obama, a successful career have come in the last twenty years. Women now feel comwoman, mother and wife – a truly modern woman – and fortable displaying a love of girly vices, allowing ruffles not in the least bit worried to bear arms and legs in an asto send a message of all things feminine whilst simultasertive shift dress that displays her silhouette unabashedly. neously boosting the shoulder, as seen at Marc Jacobs. So, why this return to authoritarian form? Us Anyone who has watched Dynasty and seen Joan mere mortals cannot hope to penetrate the genius of deCollins sashay fabulously across the screen, all shoulders and signers who have seen fit to resuscitate this commanding hair, might be more than a little reticent about reviving her guise. But, I would hasten a guess that somewhere in their somewhat austere garb. However, in this ‘new wave’ (to coin thinking there is the optimism that life will another eighties sound bite) it is not necimitate art (or in this case fashion). Not only ESS MEN ‘AFTER THE M ING OF will sharp architectural suits sell in any cliessary to resemble an effeminate American MAK footballer in order to assert dominatrix style. HAVE BEEN mate, which is undeniably important with ABOUT THINGS, IT’S WERE The look has developed since the eighties finances as they are, but there is a chance TIME WOMEN P.’ into a more figure friendly ally. In the 1988 that if we are forced to dress for success, BACK ON TO film, ‘Working Girl’, Harrison Ford refers we are more likely to succeed. Recovery to Melanie Griffiths’ sartorially empowered is all about perception and I for one am more than hapcharacter saying, ‘I’m telling you, she’s your man’. The idea py to don some commanding and might I say beautifully was to cover up the natural womanly curves in favour of a cut Marc Jacobs tailoring in order to bolster the economy. more androgynous frame. This was successfully established This is purely a matter of conscience you understand? though the inverted triangular shape created by top-heavy And, it’s not just the financial system that will be tailoring. Not a fashion era it seems entirely wise to revisit, I boosted by this style of dress; the wearer will also feel the hear you say, but the new power dressing is softer. Sheer silk uplifting effect of the shoes, which accompany this overall blouses with visible shoulder pads as seen at Hannah Marvisualisation. It’s no use accessorising your power suit with shall and the pastel tones favoured by Gucci lend a delicate an ineffectual ballet pump. Don’t get me wrong, these have edge to what could otherwise be an overtly severe aesthetic. a very real, extremely practical place in our wardrobes, but These reincarnations are not purely meretricious. to set off a magnificent two-piece, what one really needs is Feminism for me means being content to display every asan exorbitant heel. This, united with the integral enhancepect of my womanliness. In order to be an influential fement of the upper torso and voluminous hair that also male character, I do not feel it necessary to pretend to be seems to be making a comeback (á la Cheryl Cole), confia man. In fact, I am proud to be able to use any part of my dent strides will be made by women everywhere embracing body or dress to assert my identity as an individual and a their inner ball-breaker. And, after the mess men have been large part of that identity includes being female. So, I risk making of things, it’s about time women were back on top.
- 20 -
ICONS OF POWER: Anti-clockwis e from top right, Mic hael Jackson alway s championed th e shoulder. Han nah Marshall S/S10. Madon na shows her met al in the eighties. A lexander McQueen S/S10. Grace Jones (e nough said). Balmain S/S10. Eighties fashio n at its best. Roksanda Ilincic S/S10. Mel Gib son as Futuristic hero , Mad Max.
- 21 -
WHAT LIES BENEATH... An array of varied interfacings and fabrics such as canvas, soft cotton flannel, cotton twill tape, strips of cotton and lambswool go into making a jacket look sharp. The understructure is paramount to a good fit. Other materials such as melton for the collar stand, pocketing fabric and strong, lightweight lining also go towards ensuring that you look spectacular in your new suit.
YOU’VE GOT SOME FRONT... Darts in the bust and through the waist give shape and definition to the blazer. This can also be done using cleverly placed seams, which slice through the jacket to create both figure friendly curves and design details. Such seams have specific names, for example, a seam that runs through the length of the front panels is called a ‘princess line’.
BUTTON UP... Jackets can be closed using a variety of fastenings. Here, and most commonly, buttons are used. This requires a button stand to be added to the centre front of the garment and button holes to be inserted (as pictured above right). The frequency and size of button can make a significant difference to the overall aesthetic of the garment. Other fasteners, such as the military style cord ones favoured by Balmain last season, add interesting detail to a jacket.
BACK TO BASICS... Four pieces make up the back of this blazer. The seams inbetween the panels allow the garment to fit with the curvature of the spine.Ofen the centre back seam also facilitates a vent. Panels and darts, like the one in the shoulder here, allow designers to tailor the jacket as much as they like to the wearer’s figure. Many of the jackets seen on the catwalk for Spring/Summer 10 are very fitted to accentuate the big shoulders and small waist integral to the season’s most prominent silhouette.
PADDED UP... COLLARED...
Shoulder pads are added to the sleeve head of a blazer to add shape and definition to this part of the body, accentuating the anatomy underneath. Tailors and designers add as much or as little to the shoulder depending on the desired effect. Currently, designers such as Christophe Decarnin for Balmain, are piling pad upon pad to achieve a peaked ubershoulder.
Collars and lapels change regularly with fashion. It’s a simple and effective way to give a jacket some identity and pizzazz. The point at which the collar and lapel meet is called a gorge line.
ARMED FOR SUCCESS... On a traditional tailored jacket or blazer, the sleeve is made in two pieces. This ensures the best possible fit, as the sleeve curves with the arm. To insert the sleeve into the armhole, the sleeve head is gathered with a running stitch and eased into the the armhole.
POCKET POWER... There are loads of different types and shapes of pocket. This one is a simple patch pocket.
DECONSTRUCTION
OF A GARMENT -
THE BLAZER
SOMETIMES YOU HAVE TO TAKE THINGS APART TO UNDERSTAND HOW THEY WERE PUT TOGETHER. MANY DESIGNERS SEE DECONSTRUCTION AS CENTRAL TO THEIR AESTHETIC. THE EVER-ALLUSIVE MARTIN MARGIELA IS A MASSIVE FAN OF PULLING CLOTHES APART JUST TO PUT THEM BACK TOGETHER IN A NEW AND INNOVATIVE WAY.
- 23 -
Hard Wear
HARD WEAR is all about toughening up your clothes with shoulder pads and adornments or metal studs and safety pins. This shoot is all about inspiring you to customise clothes you already have in your wardrobe with quick D-I-Y projects, which will add glamour to even the most outdated items. Get down to your nearest haberdashers and get padded, fringed and studded up.
PHOTOGRAPHY by SIMON LYLE RITCHIE STYLING by REBECCA COLEMAN
Ariana wears vintage Vivienne Westwood top, customised by stylist with patterned shoulderpads and spray painted leggings.
Ariana wears Zara jacket, customised by stylist with two kinds of white curtain fringing and a corsage made from a zip and beads. Next page: Ariana wears vintage jacket customised using safety pins on shoulders and lapel.
Previous page: Ariana wears top customised with metal studs and acid-washed denim shorts. Opposite page: Ariana wears Vero Moda blouse with embellished and fringed shoulder-pads. Learn how to make these for yourself on page 36..
This page: Ariana wears bolero from D-I-Y project #001 with vintage harem pants and cuff made by stylist from a scrap of jersey. Opposite page: Ariana wears vintage jeans and jacket with T-shirt customised using safety pins.
D-I-Y #002 SO ? D-I-Y
Fringe Benefits
t O O h S e h T M o r f KE
Ma
SO ? HARD RATING: EASY
(All you need is a bit of gluing expertise)
Here’s how to make these wonderful razzle-dazzle shoulder pads from our “Hard Wear” shoot. Once you’ve created them to your own
style
and
tastes, attach
them
to
a
favourite
garment
and
revel in the fact that you have a one-off piece of sartorial envy. WHAT Fringing
Sc issors
YOU'LL
METHO
NEED:
(you c hoo se the le ngth a nd colour)
All purpo se glue Needle a n d thread Ragla n s hould er p ad s (usual ly black o Jewe ls, s r white) equins a n d mirror bead s
D OF M A KE:
Step on e: Sew or g lue your d ecorative to your s bead s, jew hould er p e ls, mirr ad s. ors a nd sequins Step two : Once y ou have a bea utifully layer of encrusted glue all a r should er ound the pad, spre edge of t ad a thin he pad s. Step thre e: Ca refu lly attac h the fringin Simple as g to the that! You edge of t 've got yo he should urse lf a pad s. er pad s. pair of b e jewe lled a nd fring ed should Step four er : A ttac h the should er pad s to a jacke whate ver t, blouse, you like. T-shirt or Step five: Wea r you r n ew cr eation to a fabulous be d azz pa rty a nd led by yo ur n ew g watc h onlo a rm ent. okers Other id eas: + For a n extra bit of d e sign er fla in a d eep ir, d ip d y er shad e. e som e p ale colour + Ad ed fringin d bead ed g fringing o r layer u + Lay p d er up you if ferent le r should e ngths of r pad s fo fringing. r a more dra matic look .
- 34 -
- 57 -
- 36 -
SO ? D-I-Y
SO ? HARD RATING: INTERMEDIATE (There’s quite a lot of cutting and stitching to do here)
es n power piec w o r u o y n desig stration to lu il e r u g ďŹ h - use this YOUR Sketc
#002
SO ? YOURS
s YOUR fabric
YOUR trims
notes YOUR
how ?
SO ? KNIT
Hubble, BOBBLE, toil and trouble SO ? HARD RATING: ADVANCED (you
need to be a pretty good knitter before you try this stitch!)
Method for working a small bobble; knit five times into one stitch.
B
obbles big and small add textural interest to any knitting project. For even more stitch stimulation mix your textures up by adding some bobbles with anAran stitch. Bobble, bobble, bobble, bobble, bobble – such a great word. Here’s how to achieve the perfect bobble stitch.
Then slip the stitch off the left-hand needle.
SMALL BOBBLE Cast on number of stitches divisible by 6, plus 5 stitches. For example, 36(ie 6 x 6) + 5 = 41 sts. Beginning with a knitting row, work two rows stocking stitch. 1st row. K2 sts, work a bobble by K times into next st, first into the front then into the back alternately and leaving last st on right-hand needle. Slip st off left hand needle leaving 5 sts on left-hand needle. Pass 2nd, 3rd, 4th and 5th sts over 1st st and off right hand needle to complete bobble, *K5 sts, make a bobble in 6th st as before, rep from * to last 2 sts, K2. 2nd row. P to end. 3rd row. *K5 sts, make a bobble in next st as before, rep from * to last 5 sts, K5. 4th row. P to end. These four rows form pattern and are repeated throughout.
Slip four stitches over the first stitch.
- 39 -
SWEET CHARITY
OXFAM have been cleverly rebranding themselves and appealing to the new ‘make do and mend’ GENERATION. Running WORKSHOPS at Glastonbury and REVAMPING there Camden store have been smart moves in making them stand apart from other CHARITIES in the eyes of the VINTAGE fashion crowd.
WORDS BY REBECCA COLEMAN
O
xfam in Camden became the destination for any self-respecting vintage re-styler in 2009. It was transformed by stylist Fee Doran, aka Mrs. Brown, from standard charity shop into flagship store for the pioneering Oxfam D-IY project. This was followed with workshops over the Summer at music festivals such as Glastonbury and Bestival. These allowed revellers to customise their ‘thrown together’ (after weeks of planning) outfits, wellies and all. I paid many a visit to the Camden store and although very prettily decorated with white-washed furniture and vintage wallpaper, the clothes on offer were not much more impressive than the standard charity shop offerings. However, more exciting for me, as a fashion fiddler, are the ‘how to’ features on the Oxfam website, the workshops and the fact that they’re pushing the idea of not just being happy with our secondhand clothes as they are. This in turn must be a good thing for the charity shop sector as a whole. If customers are more willing to entertain the idea of adapting a garment to suit, then they will be
- 40 -
Jamie Winstone shot by Rankin for the Oxfam ‘Sustain Me’ project.
installations in Oxfam shops nationwide. Oxfam are re-branding themselves in a sharp way. Although reports indicate that charity shop sales have increased during the credit crunch, the market is saturated with such shops, which seem to believe that because they’re selling wares for a good cause, they are exempt from the brand competition that goes on in the rest of the retail sector. Oxfam seem to have recognized that the best way to aid poverty in third world countries is through profiteering. In the world of buying and selling this surely happens with good PR, marketing and branding. Charity shops should not be excused from the way the rest of the sector works, and if they think they should then they need to expect losses. They have so much to trade on – saving the world and cheap vintage finds – what could be more marketable? “Sales have gone up,” Farquhar tells me, “one of the reasons is that people are mending and making do but they are also looking for value for money from trusted brands. We were a little bit ahead of the curve when we launched Sustain Me in the new year and then when Oxfam DIY followed on from this we felt we were beginning to change people’s perceptions about Oxfam. What I learnt with Sustain Me and Oxfam DIY is the public responds well to our being on trend, the next challenge is to think of what is going to continue to excite the public and keep donations and sales up for Oxfam.” Oxfam have realized the potential of appealing to an affluent market sector and gone for it. In turn this is good news for the make-do-and-mender out there, who gets some inspiration alongside their second-hand purchase.
“GOOD NEWS for the make-doand-mender out there, who gets some INSPIRATION alongside their second-hand PURCHASE.”
encouraged to buy that dress that doesn’t quite fit properly or those trousers that would make a much more fashion forward skirt. “The feedback from the public has been really positive, both online and at our physical workshops,” Sarah Farquhar, head of Retail Operations at Oxfam said, “DIY is very of the moment and we do feel that Oxfam has been one of the pioneer’s in this field. During a recession people want to make do and mend, tapping in to people’s creativity was a big fashion statement of the summer.” The DIY project followed on from ‘Sustain Me’, which involved stylist Katie Shillingford reworking items from Oxfam’s Wastesaver recycling plant. She then styled them on celebrities of Heidi Klum and Natalie Imbruglia ilk to be shot by photographer, Rankin. The recruitment of Mrs. Brown for Oxfam DIY was a shrewd one. A stylist, who has dressed the likes of Kylie, The Killers, Scissor Sisters and Goldfrapp, is sure to pull in the festival-going punters. She headed up the workshops at Glastonbury, as well as the one held to launch the flagship store back in June. Farquhar commented, “Working with Mrs Jones was a really great experience, she is accessible as a person and interacted brilliantly with the project. She also has a very well placed history and an excellent knowledge of charity shops so was a perfect fit for the project. We hope that it can be an on-going collaboration.” The plans to keep the project “on-going” are to include launching sister stores in cities, which have a more “retro fashion offering,” such as Liverpool and Nottingham. As well as this there are plans to hold events in clubs and stage pop-up
Take a look at http://www.oxfam.org.uk/shop/content/diy/oxfamdiy.html for more information.
“CHARITY shops have so much to trade on – saving the WORLD and cheap VINTAGE finds – what could be more MARKETABLE?”
- 42 -
OUTLANDISH HATS SEEM TO BE HAVING something of a revival of late, with pop stars like Lady GaGa and Cheryl Cole leading the way. Headwear can make a simple outfit seem chic, outrageous or at the very least memorable. The thing about hats is they have to be worn with an air of confidence – the hat cannot wear you. Sometimes to get ahead it seems you do have to get a hat; what would Napoleon be without his bicorn? A short French man with an attitude problem. Abraham Lincoln minus the top hat might not have received such gentlemanly respect. And, Captain Jack Sparrow with no pirate hat is perhaps less of a pirate.
SO ?
WHAT #003
MaD haTtERs
SO ? INTERVIEW
Interview
PIERS ATKINSON Text by Rebecca Coleman & Photography by Simon Lyle Ritchie
Thoroughly modern Milliner and all round creative buff, Piers Atkinson, is a man with his fingers in many pies. As well as making decidedly avante-garde hats, he’s been editor of London Fashion Week paper, The Daily Rubbish, judged Alternative Miss World and once lived with Zandra Rhodes. Rebecca Coleman caught up with him at his East London home to talk about his inspirations and getting his hats in Vogue.
Arriving at Piers Atkinson’s East London residence, a typical Victorian terrace on a peaceful, tree-lined street in Hackney, I have no idea what to expect on the inside. I’ve seen the hats created by the tenant and I wonder if life imitates art. On entering the house I’m not disappointed. It’s the wonderfully eclectic mix of styles I’d hoped for. Atkinson is talking through some designs he’s working on for the artist Seb Patane, with one of his ‘girls’, Crystal. “The girls really saved my bacon this season,” he tells me. He has three girls who come in to help him with making collections. “I like to work with a sense of humour,” Atkinson explains, “I want it to be fun and celebratory, so that could be anything from being very fabulous to absurd. That’s why I love making my sample hats, but then when you have to make twenty of something...that’s when these girls come in, Crystal, Yoshika and Louise, they’re brilliant.” It’s the apparent sense of humour that goes into his hats that make them so appealing. From pompom Mickey Mouse ears to Barbie dolls clamouring for space on an Alice band, there’s an obvious lack of pretension in Atkinson’s work. His latest collection is called ‘Sex on the Brain’. No prizes for guessing what this one’s inspired by. But, the starting point, the method behind the madness if you will, is an interesting one, “I read somewhere a story that Victorian gentlemen had erotic paintings on the silk linings of their top hats,”Atkinson tells me, “and it just made me think of the term ‘sex on the brain’ and I quite liked the idea that if you make a sexy hat that’s literally sex on the brain.” Piers Atkinson in his eclectic living room
- 45 -
However, unlike their Dickensian counterparts, those who sport Piers Atkinson headgear have to have a bit more pluck. Enough to confidently sport a pearl encrusted ejaculation on their bonse – which could be quite a tricky thing to pull off. Atkinson assures me that he has a certain kind of woman in mind when he comes up with such creations. “When I’m imagining who’s going to wear a hat, I think of strong, powerful, eccentric, wilful women. No compromise kind of girls. Generally Virgos.” When I subsequently inform him that I’m a Virgo, he enigmatically comments, “Look out!” The strong characters he’s referring to include women like Zandra Rhodes. Shortly after moving to London to work on Alternative Miss World with Andrew Logan, Atkinson’s landlord sold the flat he was renting and gave him a couple of weeks to move out, “I was just nattering to Andrew about my predicament because we would chat a lot and he said, ‘well what about talking to Zandra?’ who I’d met a couple of times at his parties. So I called her up and she was like, ‘Oh yes’”. And so, just like that, in about 1995 Atkinson moved in with Rhodes, “I was thinking, oh God this is going to be intense and crazy and it was. But I also thought this is surely a once a lifetime opportunity to live with a legend.” You can certainly see her influence on his work, “Zandra completely changed the way I felt about colour. By the time I’d been through the Zandra machine and spat out the other end I was happy to play with my paints.” However, Rhodes wasn’t the first strong female influence on Atkinson’s creative drive. His mother was a milliner and his Grandmother the artist and writer, Lesley Gordon, “I had these three very inspirational
women – my Grandma, who was a very creative thinker; my Mum, who was great with her hands and a brilliant maker; and my sister, who’s a wit and a beauty. I think as a family we all bounced of each other.” With an upbringing like that, you can see why his hats appeal to women who like to dress creatively; they’ve been worn by sartorially assertive celebrities like Lady GaGa, Lily Allen and VV Brown. “I’m not very good with celebrities,” Atkinson admits, but he was extremely excited at being featured in British Vogue. As well as the famous picture of Cate Blanchett sporting some Mickey Mouse ears back in 2008, a piece he created with neon tubes, photographed by Nick Knight on Jourdan Dunn secured him his first Vogue spread. “I couldn’t believe this fabulous picture with Jourdan wearing a Galliano couture gown, styled by Kate Phelan. It was all fabulous.” He tells me that he picked up his copy in Dalston Sainsbury’s, “I got a bit overwhelmed in the Matalan car park out back.” At this point, he did what any good English boy would do and called his mother, who informed him that she’d once had a hat photographed by David Bailey on the cover of Vogue, “I found a copy online and gave it to her for Christmas,” he tells me, “so that’s inspired me as much as anything to get a hat on the cover of Vogue. We’ll see.” I’m eager to know if he now sees it as a competition, “Mum’s always slightly disparaging about my hats. ‘Has a needle been anywhere near this collection?’ That’s always her comment.” It seems a Vogue cover would be both a professional and personal triumph. Atkinson’s mother took a much more traditional approach to millinery. He explains the amazing dexterity that goes into blocking and covering, “I’m completely
Piers’ house is filled with his creations and inspirational objet d’art.
Piers likes to work on the kitchen table, where his mother often did her work when he was a child.
impatient. I could never do that. I do kind of like little niggly bits but you’ve just got to be so neat and so careful.” Atkinson obviously learnt some invaluable skills from his mother and he now feels that it’s incredibly important to pass crafts down through generations. He teaches fashion illustration at London College of Fashion, “I very much enjoy the response I get from my students when we chat about ideas,” he explains. But, the main reason Atkinson wants to pass on his skills is more to do with ensuring that people stay productive in our increasingly vapid lives of celebrity and YouTube. “You have to absorb stuff, but also produce stuff. Otherwise, presumably you just become more and more passive.” Given Atkinson’s background, he also feels that it’s a priceless commodity to be able to learn from friends and family and surround yourself with creative people. Indeed, Atkinson is very fond of collaborations. He has recently worked with fashion designer Ashish, designer and hair aficionado Charlie le Mindu and performance artist Ryan Styles. Of his collaboration with Styles in particular, he says, “I was totally inspired by Ryan to do pom-poms and I could have just rocked ahead and done it, but he’s a friend of mine so I wanted to say, ‘let’s do this together’ and I think it’s worked well for both of us.” He’s also got the thumbs-up from fellow milliner Stephen Jones, who chose some Piers Atkinson hats to feature in his exhibition at the V&A museum last year. He recounts this as one of his most pivotal fashion moments so far. “It was fantastic to see my hats in the V&A and to have that support from Stephen Jones, who is just a fantastic man and a fantastic milliner.” Atkinson’s apparent enthusiasm to share his creativity, spurs me to consider what he might advise
some young upstart, who wants to have a bash at millinery. “Should I tell them not to?” he jokes, “So they don’t become business competitors”. Amongst many pearls of wisdom, he asserts that the great thing about hats is, “they don’t need to fit in the same way that a shoe or jacket has to. They’re little sculptures that sit on top, so they’re kind of frivolous, which is why I quite like them.” Atkinson suggests fascinators and Alice bands as good starting points for the budding designer, “You don’t have to worry too much,” he explains, “and it can just be a dinky little thing, so that might be a good starting point.” Taking inspiration from Atkinson’s conglomerate constructions, found objects seem a good place to start for those needing a revelation in what to adorn a hat base with. He also suggests that putting together a look book once you’ve made a selection of creative pieces is a worthwhile and stimulating venture; “it’s an object, it’s got all the hats in it, it’s got the photography, the model, the make-up and the words as well.” This might well be Atkinson’s favourite part of the creative process. So, what’s next on his to do list? “I’m working on my new collection,” he explains, “It’s all about murder next season, very Autumn/Winter. I have the idea to shoot it on my sister, Lucy.” I for one can’t wait to see how my new favourite milliner interprets a bit of homicidal mystery. One thing you can be sure of, is it won’t be your run of the mill take on the subject and you probably won’t see the Queen in one of his designs. But, for anyone with a tongue-in-cheek attitude to dressing up, Piers Atkinson creations should be on your must-have list. Go to, www.piersatkinson.com for more information & stockists.
- 47 -
For One Night Only....
Don these epicurean wearables for one night only. This really is ‘disposable fashion’ at its best.
#003
s YOUR fabric
SYOURS O?
r own hat u o y n ig s e d n to ad illustratio e h is h t e s h - u YOUR Sketc
YOUR trims
P
BEST IN SHOW
SHOWstudio Design Downloads provide a unique opportunity to make a designer garment from scratch with patterns direct from top designers.
- 53 -
hotographer, Nick Knight’s eponymous online venture, SHOWstudio has seen a lot of publicity of late. With its move to glamorous Mayfair – in a building, which used to house the Martin Margiela shop – they have now opened their own retail venture. Add to this an exhibition, which held its star-studded opening party to coincide, and share the venue, with London Fashion Week and you have a veritable PR dream. SHOWstudio has many strings to its bow. It is a leading force in the promotion and creation of fashion film. Ruth Hogben’s film, which substituted the traditional catwalk show for Gareth Pugh’s Autumn/Winter 09 is indicative of this position. The film was aired simultaneously to buyers and press in Paris and online to fashion lovers everywhere. They also like to champion all that is technological and interactive. One of their most successful interactive features is ‘Design Download’. This innovative element allows the viewing public to try their hand with a designer pattern. SHOWstudio’s Fashion Features Editor , Laura Bradley commented, ‘It’s virtually unheard of that a designer would make public a pattern of one of their garments. SHOWstudio are incredibly lucky to have patterns courtesy of seven high-profile designers including Alexander McQueen and Junya Watanabe ‘. As you can see this is a rare and privileged view into the inner sanctum of high-end design. The first pattern to go public was for a John Galliano Jacket. This was a pattern that I mistakenly thought it was wise to try making during my art foundation course. Having downloaded the pattern in its entirety, it sat on my computer desktop for a matter of months before I got around to printing it off and ‘blowing it up’ on a photocopier. I then proceeded to trace, cut and sew until I had what can only be fairly described as a mess. These patterns are not for the faint-hearted. I might well do better with it now I have a fashion degree under my belt, but the fact is I don’t really have the stamina. However, I would encourage anyone out their with an interest in sewing to have a go. ‘It’s a fantastic exercise for those interested in a career in fashion design and gives everyone the opportunity to own a ‘designer garment’!’ says Bradley, ‘My favourite is the half-pattern courtesy of Maison Martin Margiela which encourages its maker to make crucial decisions about the final garment.’ Whether or not you achieve a looky-likey version of the original, it is incredibly interesting (and invaluable for any fashion students) to see the masterly skill that goes into just the paper stage of a John Galliano jacket or a Yohji Yamamoto dress. The most exciting thing about this feature is that the patterns available are all yours to play around with. Yes, the Margiela jacket is left open for you to sew in your own unique ending, but you have free reign with all the patterns. You can interpret them in your own unique way and even adapt them to make something with more of your personal style. In conjunction with SHOWstudio Fashion Revolution all the patterns are available to download now.
A L E X A N D E R
F R E D B U T L E R
M C Q U E E N
M A N I S H A R O R A
HOW TO WEAR IT: •
ADD SMALL BITS OF ORIGAMI TO OUTFITS AND ACCESSORIES.
•
WEAR FOLDS AND PLEATS AROUND THE PART OF YOUR BODY YOU WANT TO EMPHASISE. FOR EXAMPLE, IF YOU
J I L
WANT TO DRAW ATTENTION AWAY FROM YOUR LOWER HALF, WEAR SOME PLEATS UP TOP.
L E C R E A T I V E S W E A T S H O P
S A N D E R M A R C H E S A
#004 THE LOOK
R M
SO ? WHAT
FROM JOHN GALLIANO’S SPRING 2007 creations for Dior Haute Couture to Karl Lagerfeld’s headgear for Chanel’s Spring/Summer 2009 show, origami has been hanging around our catwalks for some time now. This season is no exception, with pleats and folds featuring prominently in the collections of Alexander McQueen, Manish Arora, Marchesa, Rick Owens and RM to mention a few. The queen of the origami accessory, Fred Butler, talks to Naomi Attwood (page 34) and we’ll show you how to make your very own piece of origami couture on page 64.
SOWHA?T
#004 ORigami
- 55 -
I can’t believe it’s not Butler! Words by Naomi Attwood
Above right: Fred at London Fashion Week. Below: Fred shows off her colourful sense of style.
Attempting to replicate any of Fred Butler’s intricate accessories at home would be rather ambitious, but she shares her handy hints with NAOMI ATTWOOD nevertheless . . .
P
erched on a chair in her pre- her own label, which she exhibits at dictably colourful, though London Fashion Week, supported by perfectly orderly and neat the TOPSHOP New Gen initiative. Looking at her designs, like the studio Fred Butler ponders each question before an- multi coloured dodecahedron necklacswering with her soft voice and su- es worn by electro pop star Elly Jackson per expressive manicured hands. of La Roux in the video for Bulletproof When it comes to craft, Fred or her ‘heliocentric’ flying saucer like Butler certainly knows her onions, head pieces, they seem intricate and from studying fashion design at Brigh- beautiful, but don’t really have a handton University, to becoming a props made aesthetic. There are no wobbly stylist’s assistant (to Shona Heath, one lines or cute imperfections, they are of the most impor‘Fred Butler PONDERS each futuristic, sleek and tant set designers question before answering with flawless. “I once had to ask an assistant to in the business) to her SOFT VOICE and super redo some circles [to commisgetting sions as a props expressive MANICURED hands.’ make into an accesstylist in her own right (for magazines sory] because I don’t like things to look like DAZED and commercial jobs like like they are made by anyone, they have the window displays for Selfridges) to look as if they have just ‘appeared’”.To to making the odd bespoke accessory glance at the finished article, it is often for shoots which then turned into a difficult to believe just how much work, full time enterprise and the birth of and how many processes have gone into
- 56 -
SO ? INTERVIEW each one. Like a magician who’ll never of people now wear second hand reveal his secrets, Fred puts in hours of things, whereas before it was much handiwork into perfecting 3D designs odder, something that only students then crafting each component by hand. and artists would do. Most of the Although Fred might seem clothes that I have made myself are like a prime candidate to contribute really second hand items that I have to a publication on dressmaking and altered. For example a dress I found customising, she openly admits that and converted the skirt into trousers she doesn’t have time to make her own for a jumpsuit, or a huge jumper I took clothes although does wear her own ac- in and turned back to front”. cessories and prototypes. Fred’s style When asked for any tips for is a mixture of avant-garde designers would be seamstresses and makers, like As Four and Scott Ramsay Kyle, she advises “I’d say buy craft books, vintage finds, and each outfit always because they are much easier to follow composed from a single colour. “A lot than normal sewing patterns, also do of my friends make their own clothes – some research into the best places to although for them ‘Most of the CLOTHES that I have buy fabric, othit’s more a case MADE myself are really SECOND erwise it’ll cost of wearing their you a fortune. HAND items that I have ALTERED’ Look out for own designs as most of my friends work in fashion”. remnants stores, markets, places off She agrees that handicraft is the beaten track. I like Dalston Mills becoming more popular these days, in London and also Brighton Market”. but sees it as related to the resurgence Considering how closely good designin popularity of vintage and second ers, like magicians, - guard their trade hand clothes. “I think due to Kate secrets, that must surely class as an Moss and her vintage wardrobe; loads exclusive. Thanks Fred!
Bottom right: A picture from Fred’s A/W 08 lookbook for the collection, ‘Dodecahedron Collision’.
Above: Fred models one of her own designs. Right: a headpiece from Fred’s S/S 09 collection ‘Dahlia Fantasia’.
- 57 -
Above: A headpiece from Fred’s S/S 09 lookbook for the collection, ‘Dahlia Fantasia’.
D-i-Y #004 ORigami necklace
GATHER
YOUR
GOODS:
Lightweight fabric such as cotton or linen; needle and thread; iron; scissors; measuring tape; thin ribbon; glue.
SO ? HARD RATING: INTERMEDIATE (This necklace is quite intricate)
- 58 -
STEP #001: Cut out ten squares (18cm x 18cm). Fold in half and press. Fold in half again and press. Fold each corner into the centre and tack down.
STEP #002: Turn the square over and again fold each corner into the centre to form a smaller square. Tack each point into place.
STEP #003: Turn the square over again and repeat step #002. Once you have all your squares complete, arrange them to form a decorative pattern. Hand stitch the squares in place by tacking at the corners.
STEP #004: Attach some thin ribbon to the back of the highest sqares either with glue or hand-stitching. You have a unique necklace that’s ready-to-wear.
- 59 -
Everday objects Every OBJECT in your househas the potential to become a BEAUTIFUL avant-garde accessory. Whether it’s a deck of CARDS, parcel bows or PLAIN old paper, make something exciting from the EVERYDAY.
Photography by ELENA PIROGOVA Styling by VANESSA MAZZON and REBECCA COLEMAN
This Page: Frank wears dress from Love Sex Money by Lorella Signorino Opposite: Frank wears dress from Jean Paul Gaultier Soleil
This page: Frank wears dress from Krizia Opposite: Frank wears swimsuit from Elizabeth the First
This page: Frank wears blouse from Francesco Scognamiglio; skirt from Gianfranco Ferre
gure - use this ďŹ h c t e k S R YOU
ces n origami pie w o r u o y n ig to des illustration
#004
SYOURS O? s YOUR fabric
YOUR trims
YOUR
notes
SO ? Q&A
the generation game Sarah de Gruchy was taught to knit by her Granny Wright. She wasn’t very good, but here she finds out who taught her Granny and just why she used to knit so much.
A
s a child, I always remember my Granny Wright knitting. My sister and I had many a cardigan or jumper made by her. She tried to teach me to knit just as her Aunt had taught her, but I wasn’t the best student. SdG: Who
taught
you
to
knit?
GW: My aunt down on the beach at West Park Avenue in Jersey. I was about 8 years old. My aunt gave my sister Aimee and me needles and wool and made us cast on and we had to knit one row, pearl the other. I remember making myself a couple of jumpers when I was working (before I met Grandpa) so I must have been fifteen or sixteen. On one of them the body was mauve and the top was white (I think I must have run out of wool). I did it in a moss stitch – I wore it a lot. SdG: I remember you trying to teach me to knit and Jane (my sis-
ter) she was much better than me. You taught Mum as well didn’t you?
cheaper in those days to buy wool, but now it’s cheaper just to buy jumpers.
GW: I taught your mother to knit and crochet, although she didn’t do a lot of knitting; she was more interested in sewing. I helped Jane to start knitting a few years ago. Do you remember you tried to knit ballet shoes for your ballet teacher’s dog when you were about four. There were so many holes in them – you weren’t a very good knitter.
SdG: What’s the thing you’ve knitted that you’re most proud of?
SdG: Why do you knit? What is it you enjoy about knitting? GW: I don’t knit anymore, but when I did it was mostly for economy – when your mother and uncle were small money was scarce. It was cheaper to buy wool and make your own (I made your Uncle Steven’s jumpers for school). I play the piano for the girls at ballet dancing and I used to knit the ballet cardis – your sister had one. Do you remember? It was much
- 70 -
GW: A cover for one of the prams that your Mother used for you girls. I got a pattern from a friend. It was knitted sections and I sewed up all the sections afterwards. . SdG: Is knitting something that everyone of your generation learnt to do when they were young? GW: I think they did, actually, yes – there was nothing else to do. No computers, no TV, you had to make your own entertainment. Knitting was always something that we enjoyed. My friends and relatives knitted well. SdG:Why do you think knitting has had a revival with young people in recent years? GW: I don’t know, but it’s great to see.