My London Collections Men: Spring/Summer 2017 Recap

My fashion week staple: This Urban Outfitters Panama hat, photo courtesy of Stuart Tingini

             London Collections Men (LCM) is a celebration of British menswear that takes place in January and June, spanning from June 10^th to 13^th this year. However, some designers also choose to send womenswear down the runway. I was delighted to work with WJ London, a London lifestyle website, as fashion week press for the Spring/Summer 2017 season. I provided coverage for presentations and fashion shows across three of the four days, and what an exciting and busy three days they were! As well as including links to my reviews, here’s a breakdown of my very first foray into the world of men’s fashion, reporting from the frontline (or front row in this case).
 

             180 The Strand, which is just a hop, skip, and a jump away from Temple tube station, became my home base during LCM. The official British Fashion Council (BFC) Show Space was located on the ground floor and the first floor accommodated the BFC Presentation Space and the Designer Showrooms. I did venture to other venues, such as The Waldorf Hilton and the Lancaster Rooms at Somerset House, but the beauty was that they were all within walking distance of one another.

Saturday June 11^th

QASIMI

             My first ever London Collections Men (LCM) presentation and what a one it was too. I couldn’t have asked for a better way to be broken in than with QASIMI’s Spring/Summer 2017 showcase, ‘Videogame Wars,’ hosted in Somerset House’s Lancaster Rooms. The brand is the brainchild of Emirati designer Sheikh Khalid Al Qasimi, or Khalid Qasimi to lessen the mouthful. He was born in Sharjah and raised in the United Kingdom, having graduated from Central Saint Martins. Launching his womenswear label in 2008, Qasimi made his foray into menswear in 2010.

             The QASIMI models stood atop a shiny silver mound, like some remnant of a spaceship that had beamed these beautiful alien beings down to us, blessed with out-of-this-world bone structure. They stared out at us mere earthlings from their metallic plinth, in our somewhat ethereal surroundings. Fans played with the fluttering white curtains at the windows, offering some respite from the muggy weather. The soundtrack of Jonjo Jury rang out into the space.

             Read my full review here. 

Sunday June 12^th

Christopher Raeburn 

             3…2…1…we had liftoff at Christopher Raeburn’s fashion show on Sunday, held at the British Fashion Council’s official show space, 180 The Strand. The British designer sent both men and women down the catwalk, with a vision influenced by George Lucas’ first ever film from 1971 – THX 1138. The film charts a terrestrial dystopian future, but if Raeburn’s collection is anything to go by, it’s a future that doesn’t look too entirely bleak as long as we’re dressed for the voyage.

             For Raeburn’s graduate collection at London’s Royal College of Art in 2006, he used upcycled fabrics at a time when the concept was still emerging. The method requires repurposing old products into something entirely new that often surpasses its old counterpart. This sustainable aesthetic has continued to drive Raeburn’s designs ever since he launched his brand in 2008.

             Read my full review here. 

Chester Barrie

             The Prosecco was flowing, finger sandwiches and mini scones (delicious by the way) were making their rounds, and everybody looked like somebody. There was merriment and entertainment to be had in the form of a live band with jazz singer Collette Cooper, who shimmied in sequins. It sounds like the kind of party Jay Gatsby would throw, and in some ways it was Chester Barrie’s LCM presentation on Sunday, ‘Summer in the City,’ at The Waldorf Hilton was an opulent affair. In fact, F. Scott Fitzgerald’s character was probably raising a toast in jubilation from beneath the pages of his book.

             Then, of course we can’t forget the clothes, oh the clothes, tailored with divine precision. What else would you expect from a brand with 19 Savile Row as its address? Simon Ackerman founded Chester Barrie in London in 1935. He left England for the United States, but returned to create an English look to take across the pond, and the rest is history. The ultimate in classy dressing, Chester Barrie has been worn by the likes of Sir Winston Churchill, Cary Grant, and Frank Sinatra.

             Read my full review here. 

Monday June 13^th

Katie Eary 

             Upon entering 180 The Strand on Monday for the unveiling of Katie Eary's Spring/Summer 2017 collection, my attention was already captured hook, line, and sinker. Fluorescent orange (I’m sensing a burgeoning colour trend from LCM) nets and buoys stretched across the length of the catwalk, intertwined with lobster traps. The setup was indicative of the spectacle to come, just as indicative as the excess of fish emojis Eary used on her Instagram prior to the show, and the barracuda-ridden invitation. That’s right, this season was all about the dark, murky depths of a starry sea, and I do mean dark.

             ‘Begbacuda,’ a mash up of Francis ‘Franco’ Begbie’s name (you know, the psycho one from Irvine Welsh’s novel Trainspotting) and the vicious-looking barracuda, summed up Eary’s inspiration. Welsh’s new book for 2016, The Blade Artist, revisits Begbie who, although not for lack of trying, can’t seem to put his violent past behind him. Although the combination might sound kind of ridiculous, it actually really worked. Eary reveals, ‘All the subjects I’m inspired by are a reminder of reality, even if they originate in classic fiction as the kind of inspirational characters we normally dare not admit relating to.’

             Read my full review here. 

Tourne de Transmission 

             Tourne de Transmission cryptically urged, ‘CHOOSE YOUR ESCAPE ROUTE ->>>,’ at the first floor presentation space at 180 The Strand on Monday. I was led into a bare, dimly-lit room, all but for a wall lined with black and white photographs. Some of the faces were instantly discernible, such as McFly band member and LCM regular Dougie Poynter, while others were not. The palpable tension began to build and I fervently looked for an escape route, in case I might actually need one.

             Tourne de Transmission translates directly to ‘rotating transmission’ and stems from the desire to marry visuals with the written word. For the SS17 collection, Creative Director Graeme Gaughan liaised with New York City-based contemporary artist Chris Dorland. Although they did not collaborate on this project, an idea manifested, as is often the way after two creatives interact. The result? Sliced and diced billboard imagery from the 90s-00s, a bombardment of visuals, and then the comedown.

             Read my full review here. 

SONGZIO  

            My last show of the season was rounded off with a very exciting one indeed, and I managed to watch it all unfold from the front row! Founded by South Korean designer Zio Song in 1993, SONGZIO is a contemporary menswear brand that made its LCM debut on Monday. While this is impressive enough in itself, it was also the first time in 10 years that Song has displayed his work outside of Paris Men’s Fashion Week. The brand is based in Paris, where Song graduated from the acclaimed ESMOD, and Seoul. Proving that SONGZIO is one to watch, this season’s collection, ‘Ocean,’ started just like all of Song’s previous ones – by taking paintbrush to canvas.

             The designer first conceptualises his ideas by using oil paints to create soft brushstrokes. These are then transmuted into printed textiles to produce ‘wearable art.’ There is no denying that fashion is an art form, and indeed, that art can be fashionable. The prints on the catwalk at 180 The Strand were paired with sharply tailored cotton, linen, and vinyl silhouettes.

             Read my full review here. 

Behind the Scenes

Getting street style snapped, photo courtesy of Getty Images/Kirstin Sinclair

             Various branches of Garfunkel’s restaurant became my second home during LCM. There was a lot, and I mean a lot, of time spent eating (and writing) there in between shows. I also can’t forget all of the tea breaks – a necessity! Since the shows that I attended were relatively spaced out across the day, it didn’t make sense to go home, and the down time allowed me to jot down my thoughts about each show.

Starting LCM off right with a bacon and pancakes breakfast at Garfunkel's

             My first experience of LCM ran all the smoother because I had a friend along for the ride with me! Sunna Naseer also works as fashion week press for WJ London and is a full-time blogger. Find her at Inspired in the City, a lovely space for all things lifestyle and fashion. She gave me lots of helpful tips and tricks, including the advice to take photos during the fashion shows rather than spend time writing notes, as it’s a lot easier to write a piece when you can look back on the visuals. She was right! The phrase, “A picture is worth a thousand words,” could not be truer when it comes to the sartorially inclined. Besides, time spent writing is time spent not actually watching the show.

 With my friend and fellow blogger, Sunna, photo courtesy of Amie Caswell

Prosecco made a great accessory at the Chester Barrie presentation, photo courtesy of Amie Caswell

             Overall, I would say LCM reflected the continuation of the casual movement that has been so on-trend recently. Athleisure, sports luxe, or however you want to label it, looks as though it’s here to stay, and it’s no wonder why. I’m usually a heel devotee, much to the protestation of my poor feet, so I have embraced this new trend enthusiastically, sacrificing the old adage that “one must suffer to be beautiful.” Who says that you can’t have something that’s pretty and practical (without the pain)? I lived in my new Kurt Geiger flatform trainers during LCM. I’m obsessed with them, because they give me height, but they are equally incredibly comfortable – the best of both worlds! They certainly helped when it came to all of the running around that goes with fashion week territory.

All hail the flatform!, photo courtesy of Getty Images/Kirstin Sinclair 

             My highlight of LCM was meeting some of its model (literally) veterans...

Model David Gandy

McFly band member Dougie Poynter

  Model Johannes Huebl (Olivia Palermo's husband)

Made in Chelsea star and founder of clothing brand Serge DeNimes, Oliver Proudlock

             Other notable names in attendance included: television and radio presenter Dermot O’Leary, JLS band member Oritsé Williams, models Toby Huntington-Whiteley, Oliver Cheshire, Diego Barrueco, Hu Bing, and Ombra, television presenter Darren Kennedy, YouTuber Jim Chapman, blogger Joey London, actress Naomie Harris, British GQ’s Editor-in-Chief Dylan Jones, and Associate Style Editor Nick Carvell.

             It’s hard to imagine people like David Gandy existing outside of Marks & Spencer billboards and advertisements, but there he was in the flesh, and he was really friendly and obliging to have his photograph taken with me. In fact, they all were. After the Katie Eary show, which was super slick, I chatted with Proudlock about it. He complimented my outfit – high praise indeed from such a stylish man – and I believe “badass” was the actual word he used. It doesn’t get more surreal than that! 

             This post’s aim was to recap my personal experience of LCM, to give you a feel for the event as a whole. I’ll catch you all next season, where I'll truly be re-“capping” – hitting the shows in my trusty black Panama hat once again.

Me, Myself & G-Eazy

The G-Eazy starter pack – all black, baby

             Concerts and the kindness of strangeness – these two things tend to be mutually exclusive in my experience. I had come to the conclusion that I, at the ripe old age of 22, am too old for concerts. I don’t like the fangirls who drown out the actual music with their warbled screams (ages 14 and up says it all), the pushing and shoving in the throes of mosh pit pandemonium, or the inevitable spillage of drinks – on me. Yet, there I found myself in Electric Brixton attending the best concert I have ever been to (I make no exaggeration) and the crowd was accommodatingly nice, which consequently put me in the best seat (well, standing position) in the house to watch G-Eazy perform. Allow me to explain.

             I arrived at Electric Brixton in an electric car (it’s a long story), just in time to catch the tail end of ILOVEMAKONNEN’s opening act. Marc E. Bassy, who is featured on the song “Some Kind of Drug” from G-Eazy’s new album When It’s Dark Out, had been the first to perform. I thought securing a good spot would be futile. I had succumbed to the notion that this concert would be like all others, with me merely trying to survive the experience, let alone enjoy it. My friend and I were standing behind the sound booth near the back, almost pushed up against the bar, that place where all the “old” people hang out.

             Suddenly, two really tall guys (another thing that ruins concerts for my small, even in heels, self) stepped up on the elevated ledge in front of us, which I thought must be a no-go zone due to its proximity to the staff. I was this close to getting in touch with my ugly American side and tapping them on the shoulder, when suddenly, they turned around, took pity on us, and offered us their spots! Thus, we procured the best possible place to watch the concert (as the photos reveal), our own little dance platform with no one blocking our view, looking directly at the center of the stage.

             Born under the name Gerald Earl Gillum, G-Eazy has been in the rap game for a while now, but he’s recently garnered even more fame with his single “Me, Myself & I,” in collaboration with Bebe Rexha. He’s previously released several mixtapes and albums Must Be Nice and These Things Happen. The “When It’s Dark Out” tour is his second world tour after his “From the Bay to the Universe” tour in 2014, referring to his hometown of Oakland in the Bay Area of California.  

Bebe Rexha made a surprise appearance for "Me, Myself & I"

             I’m being a bit of a tease here, because I am describing a concert that has been and gone. G-Eazy spent three nights performing in London in May and he is currently continuing his tour in the United States. However, it was honestly too good not to write about. Surprise guests shared the stage in the form of Danny Seth, Marc E. Bassy, ILOVEMAKONNEN, and Bebe Rexha. With an impressive 22-track set list (which is now in my possession as seen in the above photo) and the man himself possessing sex appeal so raw that those 14-year-olds probably had some sort of awakening (much to their “parental guardian’s” horror), G-Eazy made a fangirl out of me that night.

             He rocked up on stage wearing sunglasses, his trademark leather jacket, and all black everything, like the suave, well-dressed man that he is. He never had a hair out of place, a modern-day Greaser, even when he tried to mess up his slicked back look by rumpling it. The man was smooth. He told us that it had recently been his birthday (May 24^th), three days prior to the night I saw him live. The crowd erupted into singing “Happy Birthday” and I felt like I was part of one big ongoing celebration for him, and he was grateful for it, honored to be spending it with us, as we were with him.

"Because me, myself & I are worth it"

             G-Eazy didn’t just rap the night away, but he also engaged with his fans and talked to us, exuding charisma and a humble nature. Each time he spoke, he always tied it into the title, or lyrics, of his next song. Right before “For This,” he earnestly looked at us and said it before rapping it: “I waited all my life for this.” He continued to tell us that London always makes him feel welcome and that it’s home to some of the most beautiful girls in the world. He probably says this in every city that he performs in, but in that moment, it didn’t matter. We believed him.

             Cue the girls in attendance batting their eyelashes and wiggling their fingers at him, and who could blame them (or me). It’s all part of his act, of his appealing stage persona. Just like the lyrics in “Random,” he raps, “Got it all, yeah I’m young, rich, and handsome.” Yes, yes, and yes. Or, tall, dark, and handsome – take your pick.

             I almost lost it when I heard the beat of my favorite rap, “Loaded” (from Must Be Nice), lining up. I screamed the lyrics, “She kept saying, ‘G-Eazy is her favorite rapper’” with all the conviction in the world, because of course, it’s true. If I was jumping, dancing, and swinging my hands in the air the whole time, I don't know how G-Eazy managed it. I was there rapping along with the best of them and if I was tired, he certainly was. Just like the lyrics from “I Like Tuh” with ILOVEMAKONNEN suggested, “I got the white girl twerkin’,” and oh boy, did I. Or, I at least tried.

             As the concert neared its end, we went through the usual charade of wondering whether another song would be played after G-Eazy made his exit, but of course one was (several in fact), because of course we wanted more. Nothing can quite compare to the buzzing, pulsating beats at a live rap concert. It has made headphone listening an utter disappointment from here on out. 

             Confetti rained down on us like it was "rack, rack city," and after previously stripping down to his wife beater, G-Eazy was suddenly there without his shirt on. On the car ride home, my friend and I were bouncing off each other, twittering, “I’m sorry, am I fangirling? I’m fangirling. I’ll stop – or not.” Somewhere in the midst of the evening (and through the faint circling aroma of weed), I gained clarity. Perhaps I’m not too old for concerts after all. Thanks, Gerald.

             Listen to G-Eazy for free on SoundCloud.

I spy...an errant piece of confetti

Vogue 100: A Century of Style Celebrated in Style at the National Portrait Gallery

Getting my Vogue on

             Whenever I tell people that I am pursuing fashion journalism, I am usually met with responses such as, “Working at Vogue would be your dream job then, right?” Right. Vogue’s prestigious reputation precedes its namesake, even for those less fashionably inclined.

             I’m sitting here drinking tea from my Vogue 100: A Century of Style mug, which I purchased with the precise intention of being inspired. It’s hard not to be motivated when drinking tea that’s tinged with the fantasy of Vogue, so close that I can almost taste it through my English Breakfast blend.

"The Varnished Truth: Jean Patchett" (1951) by Clifford Coffin, photo courtesy of British Vogue

             To celebrate British Vogue’s centennial, the National Portrait Gallery is showcasing 100 years of photography commissioned by the magazine since its conception in 1916. It was born from the rubble of World War I, when the U.S. version of Vogue was unobtainable. The exhibition brings together over 280 prints from the Condé Nast archive and international collections for the very first time.

"Kate Moss at the Master Shipwright's House, Deptford" (2008) by Mario Testino, photo courtesy of The Guardian

             Starting in 2016, we weave through the rooms and are transported all the way back to the Roaring Twenties, where the art deco covers are truly a sight to be seen. Vogue 100 is a visceral, visual delight. Fashion fans need not bother to read the images’ accompanying placards. The exhibition’s rapturous audience will no doubt be familiar with the photograph’s subjects and the photographers themselves, easily identifiable by their unique styles.

How fabulous is this cover from May 1926?, photo courtesy of British Vogue

             Photographs by Mario Testino, Patrick Demarchelier, Bruce Weber, Steve Meisel, Lee Miller, David Bailey, Irving Penn, Lord Snowdon, and Cecil Beaton have graced the hallowed pages of Vogue throughout the years. Now their accumulated wealth of talent proudly lines the National Portrait Gallery. Models include modern-day muses Edie Campbell and Cara Delevingne, as well as throwback stars Grace Coddington, Jean Shrimpton, and Twiggy.

             In amongst the fashion pack, you will also spy the likes of Boris Johnson, The Beatles, Jude Law, David and Victoria Beckham, Francis Bacon, Damien Hirst, Princess Diana, and Aldous Huxley, who used to work as a sub-editor and then an essayist at Vogue.

Aldous Huxley (1926) photographed by Charles Sheeler, photo courtesy of British Vogue

             Personally, I gravitate towards anything by photographers Nick Knight or Tim Walker. I practically floated in the direction of the massive Lee Alexander McQueen portrait by Walker, which occupies its own alcove. If you know me well, you know how much of a fan I am of the late, great designer (read my review of the V&A’s Alexander McQueen: Savage Beauty exhibition from 2015 here).

"Alexander McQueen with Skull and Cigarettes" (2009) by Tim Walker, photo courtesy of FashionUnited

             As I looked up in awe, almost moved to kneel at the altar of my fashion idol, the clearly gleeful expression on my face was apparent, while McQueen’s remained nonchalant in his presiding position – forever my king. My twitching finger had to be restrained from clicking my camera shutter, as photography was not permitted in the exhibition – unbearable as it was for me.

             Speaking of Knight, Vogue 100 features an ethereal print of model Lily Donaldson wearing John Galliano, surrounded by cotton candy pink Diwali dust. It took two years for Knight to arrive at the finished product. Now that’s dedication from a true master of his craft.

This print (2008) of model Lily Donaldson took photographer Nick Knight two years to finalize, photo courtesy of British Vogue

             The exhibition is the culmination of five years of hard work and research by curator and contributing editor to British Vogue, Robin Muir. Muir painstakingly analyzed 1,800 issues of the magazine. Whether you think fashion is frivolous or not, there is no denying the plethora of talent on display at Vogue 100. Copies of the magazine from each year are laid out next to one another, making me envy the rightful owners of these rare, and practically pristine, covers.

The first issue of British Vogue is dated September 15, 1916, photo courtesy of The Guardian

             Vogue 100 is full of smaller parts that help to bring the bigger picture of a magazine in focus, like the cutting room. It flicks through slides from the ‘40s to the ‘90s and shows which final images were chosen, while the others received the chop. Anna Wintour, the editor-in-chief of American Vogue, is said to make split-second decisions, indicating her picture choices with a simple wave of her hand. This type of skill takes a certain ruthlessness and a keen eye that only experience and time can provide.

             This is a task I face with my style blog, A Stitch in Time. It is incredibly difficult to decide what photographs to use when confronted with hundreds, or sometimes thousands of them. The money shot is in amongst all of those pictures like a needle waiting to be found in a haystack. It could be the difference between a smirk and a Mona Lisa smile, or a natural lighting alteration that only lasts for a fraction of a second.

So many choices, so little time, photo courtesy of FashionUnited

             While journalists write the words, the photographers capture the images to accompany them. We agonize over different types of continuity to ultimately illuminate the stories in a fantastical partnership. For without one, there could not exist the other, which is just another reason why I love fashion journalism so much. Vogue 100 only further solidified that for me.

             In the February 2016 issue of British Vogue, Muir comments, “The magazine's editor-in-chief, Alexandra Shulman, knew exactly what Vogue 100 was not going to be: black-framed pictures hung on the gallery wall in rows.” The exhibition is, in fact, quite the opposite. It’s engaging and captivating, so much so that I was still perusing when I heard the loud speaker announcing 10 minutes until closing time. I had to rush to the shop so that I could immortalize Walker’s McQueen print on my pin board and pick up my new writing companion – the aforementioned Vogue mug of course. It looks like it’s time for another cup of tea…

"Claudia Schiffer in Paris" (1989) by Herb Ritts, photo courtesy of CNN

             As I caress the glossy pages of my March issue with Edie Campbell on the front, I whisper, “Happy Birthday” to the influential magazine. Not only has it celebrated its 100^th in total style, but it has also ostentatiously blown its own trumpet in a way that only Vogue could – with its own exhibition.

             Vogue 100: A Century of Style is at the National Portrait Gallery until May 22^nd. The exhibition has proven to be very popular, so book your tickets in advance online here to avoid disappointment. I additionally recommend choosing a later time slot so that you don’t get caught up in the crowds.

"Limelight Nights" (1973) by Helmut Newton, photo courtesy of The Guardian