SURVIVING LFW . 2000 TREES . INTERVIEW: CARMEN . EXTINCTION REBELLION . CLASSIC MAKEUP LOOKS
ALEXACHUNG . HALPERN . NATASHA ZINKO . RICHARD MALONE . MOLLY GODDARD . PAM HOGG . + MORE
ISSUE 42 27TH SEPTEMBER 2019
THE LFW ISSUE
RRP £9.99
LONDON RUNWAY
CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Staff Photographers: Ian Clark and Fil Mazzarino Music Editor: Neil Dowd - musiceditor@londonrunway.co.uk Staff Writers - Ashutosh Kukreja, Emmie Cosgrove, Madeleine Oakley, Tyffaine Akkouche Staff Illustrator - Joe Bailey Lead Graphic Designer: Alex Panek Staff Graphic Designers: Louise Monk, Lauren Rowley Advertising enquiries - Jo Regis - info@londonrunway.co.uk Submissions - info@londonrunway.co.uk Contributors: Simon Armstrong, Stasya Pavlovastani, Diana Bride, Tamara Shuklina, Tommydi, Jullia, Dasha Dashakrashu, Alexandra Chatskaya, Sany Khusyaynova, Natasha Tupas, Lisa Creton, Nastya Zakharchenko, Maricel Dionoso, Reham Salib, Karina Kavarnali, Masha Strouk, Karina Mylnikova, Marine Cessat-Begler, Fanny Scanu, Sidrah Sardar, Martina Derosa, Johnny Cheung, Shelby Howard, Poa London, Inaurem, Wisp, Lucy Parker Jewllery, Neon Hope, Ellis + Noronha, Alexyi Reneece, Monika Grzegorczyk, Katarzyna Kozlowska, Teresa Mochoka, Kamila Blaszkiewicz, Julia Ziarnik, Corri Chella,Emilia Walls/I Love Four Seasons, Lily Douse, Charli Fletcher, Justyna Sidagyte Melissa Jurado, Manana Ledzema, Daniel Jurado, Josh Cadogan, Hundred Showroom, Anastasiia Babii, Tania Volobueva, Lavin Marong, Lotta Neudecker, Katerina Nesmirnaya Special thanks to Fashion Scout, Carmen, Paul Winstone, and Dyelog PR
Interested in working with us? Send your CV and covering letter to info@londonrunway.co.uk
Š 2019, London Runway Ltd and contributors Printed by Micropress and distributed in-house by London Runway Ltd London distributors: The Model Workshops London at 40 Cumberland Road, N22 7SG All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in London Runway are those of the respective contributors and are not necessarily shared by the magazine or its staff.
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CONTENTS
LONDON RUNWAY
39 VISUALS
122 WORDS
Jamie Wei Huang; ALEXACHUNG; Natasha Zinko x Duo; Molly Goddard
6
Surviving Fashion Week
4
2000 Trees Festival 2019: Live Review
16
Fragile and Strange As Life Itself (Editorial)
19 Bicycle Shorts: The Marmite of Fashion Trends
30
Malan Breton
25
Style (Conscious) Guide
32
Introducing: Carmen
47
New Faces
Fashion Consumption: Labels or Love?
59
33
Ruislip Tribe (Cover Editorial)
39
Should We Boycott Fashion Week? 71
Pam Hogg, Halpern
49
Classic Makeup Looks That Don't Go Out of Style
85
Sculptures (Editorial)
61 Your Style Horoscope
107
In the Countryside (Editorial)
74 The Big Question
129
Hot House Flowers (Editorial)
88
Pritch London; Hundred Showroom 98 - Karol Cygan, Livia Tang, Manimekala, No Wallflower Project; Constanzia Yurashko Urban Mermaid (Editorial)
111
Rohmir, Simon Mo
122
s ' r o t i d E ter t e l That fading September sunshine must mean it’s time for another issue – and that another season has been and gone, bringing with it a whirlwind of shows and events! We have a special treat for you this month as several of our team members collaborated on a piece about their LFW experiences, giving you a real behind the scenes glimpse of what it’s like to attend shows. Although there were some serious changes this season – such as the inexplicable decision by the BFC to put us all into a basement, and for Fashion Scout to cram into a space so overheated it may as well have been a greenhouse – much of fashion week as we know it has been as it ever was. For some of you, it may well have been a season unlike any other, however. Members of the public were allowed to purchase tickets to shows for the first time, and despite a high ticket price, sales were apparently good. Threatened demonstrations from
Extinction Rebellion failed to materialise into anything truly disruptive, and we’re discussing whether or not they’ve got a point later on this issue. Meanwhile, we’ve also worked with some fantastic sustainable and conscious brands for our cover editorial as well as a few other features. You’ll no doubt recognise our cover star as one of the winners of the inaugural Face of London Runway competition. Both of them took part in the editorial this month and you will be seeing them again soon! They also walked in shows during Fashion Week and we’re proud to have seen them doing great. We have a bumper crop of editorials this issue, with some familiar faces as well as all-new brands and creatives to London Runway. We think they're something pretty spectacular, so don't skip past those. For the first time, we've also got some poetry accompanying one of those sets. We're open to creative submissions in just about any genre, so don't hold yourself back if you have
something to share. You can submit, by the by, through our website by heading to (perhaps rather blatantly) londonrunway.co.uk/submit. We are seeing a lot of fantastic work coming to us through Kavyar, and we are just about to open a new portfolio submission section that you will want to look out for. Enjoy some fabulous show coverage in this month’s pages, along with stunning editorials from talent around the world. We’re talking about a love-it-or-hate-it fashion trend as well as discovering some classic makeup looks which are always going to be go-to winners. There’s plenty more to read and feast your eyes on as well, so I’ll let you get on to the good stuff instead of waffling on any longer. Enjoy! -
RHIANNON D'AVERC
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LONDON RUNWAY
SURVIVING FASHION WEEK London Fashion Week is hectic, chaotic, confusing, thrilling, pell-mell, and exciting. Our team take you with them as they attend shows, rush across London from one venue to another, and generally figure out how to survive fashion week… Illustrations by Lauren Rowley
RHIANNON D'AVERC – CHIEF EDITOR This season, I was determined not to succumb to show clash. Every fashion week, there’s always at least one show I can’t make because I’m already somewhere else – and I’m sick of it. I sat down and carefully scheduled everything, only RSVPing to shows if I didn’t already have something booked for that time. And yet I still managed to double-book myself… at least twice a day. Thankfully I had my team with me to keep me going. These are my fashion week essentials: 1. Someone to sit with, gossip with, discuss the looks with, and share the load of carrying goody bags 2. Both a light coat and sunglasses – for long days that stretch into cool nights 3. Sensible shoes (how do the stiletto crowd do it?!) 4. A phone charger to cope with all those Instagram lives 5. A bag big enough to fit a DSLR, umbrella, and as many Lara Bars as I can grab from the free stalls This season was fun, although there was a bit of disappointment around the venues. Fashion Scout was stiflingly hot and nowhere near big enough for the crowds, while the BFC showspace was relegated down into the basement at 180 Strand. The best staging of the week for me was at Gayeon Lee, where gorgeous lights and hanging sheets creating a cinematic, secretive space where models drifted into and out of sight. Best collection? Hard to say. Nothing stood out for me this season in a lasting way. There were plenty of high points and low points, but no clear winner that I could see myself remembering for decades to come.
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MADELEINE OAKLEY – WRITER Is it bad that I enjoyed queuing for the London Fashion Week shows just as much as watching them? The outfits people wore were so out-there and experimental. Part of me wants their confidence to dress in such wacky clothes, but at the same time, I am quite happy to observe from nearby. Whilst queuing, the people I spotted in the best outfits were as follows: 1) A topless, rather rotund man with a sparkly beard, baggy trousers and a lot of rainbow body paint 2) A girl in an entirely red outfit, complete with shiny red leather bakerboy cap 3) A teenager in a long red coat, platform shoes and DIY garter. Attached to their nose was a moustache made from a pipe cleaner 4) A girl in graffiti-covered denim cutoffs, with stickers on her legs saying ‘Fuck Fast Fashion’ 5) A girl with a hat made from ring pulls 6) A woman in an orange and blue ensemble: huge sparkly sunglasses, PU ruffled sleeves, platform shoes 7) A woman with countless very heavylooking silver necklaces and space-agestyle plastic glowing glasses If only all queueing could be as fun! It was my first time at London Fashion Week, so I had no idea what to expect. I was astounded by the creativity of the collections I saw. My favourite show was A-Jane, as I loved the contrast of neutral and neon tones, and the shapes created through fabric manipulation. At the Seven Continents in Couture show, the dresses were breathtakingly ornate and must have taken so much time and imagination to create! To survive fashion week, I would encourage you to bring a bottle of water, and to accept a free fan if offered one, as it gets very hot by the catwalk! Comfy shoes are a must. I am baffled that people can bear to wear stilettos in general, let alone to fashion week.
LONDON RUNWAY
JO REGIS ADVERTISING REPRESENTATIVE If you have ever been to Paris Fashion Week, you will know that it is a thing of beauty to behold. Even without the luxury brands on show, the sheer decadence of the city’s architecture commands this. If you stake London and Paris side by side there is no comparison, as London really does have its own specific brand of Fashion Week. Of course there are the main, high fashion catwalk shows, but alongside these could be found plenty of AvantGarde and experimental live exhibitionstyle presentations and shows by smaller independent brands. Designers like Roberts|Wood creatively combined their fashion craft with dance and theatrical atmosphere to deliver a sense of performance art. Alice Archer opted for a choreographed movement of models around a set that embodied a live magazine shoot. It was refreshing, fun, interesting and enjoyable. London is the place for the independent and we are proud to host them. They deserve a space, but I am left wondering if and how London Fashion Week will continue to sit on the world fashion stage. That is presuming that the stage remains as it currently stands, which is unlikely. 6 Tips for surviving the next Fashion Week 1. You’ll do right to keep your essentials light As women, we know what the essentials consist of… don’t we? After all, our bags are always overflowing with just the essentials. Fashion week is most definitely a time when you’ll do right to really keep it light. Even the lightest bag will feel a lead weight after 6 hours! So, may we humbly suggest that your essentials consist of… - One lip and powder touch up product - Perfume & hand cream for a post 3hour freshen up. (Now would be the time to use those Jo Malone or Byredo samples stashed in the bottom of the drawer)
- Braving the heels? Then stash the flats. Unless you have toes of steel or shoes custom-made for delicate feet, you’ll need them! - H20 is a must! San Pellegrino sparkling natural mineral water, my personal favourite, is also really good for you. Calcium, chloride, fluorine, lithium, magnesium, nitrogen, potassium, silicon, sodium and strontium are just a few of the dominant natural minerals that make up its great taste. And to top it off, it is an icon of Italian style - Lastly, a packet of tissues is the solution to almost any emergency. The loo roll is bound to come to the end just as it’s your turn. 2. A bag with style, form, and function You can’t beat a stylish and functional bag for traversing Fashion Week. Think somewhere to hold your essentials, to collect those show freebies and brand publications, hold your water and store yet more freebies. Whether you choose something on wheels or for your back, make it count, by making it stylish! 3. Charging Pack So you set out with your phone 100% charged, but if you think this will get you through the day, think again! Regardless of your poison, that iPhone X or Samsung S10 will be in constant use all day, live streaming shows, snapping collections, checking schedules, displaying invites, recording interviews, voice notes and more. The last thing you want is for navigation to wipe out the battery on route to the next important show. Bring your battery pack. Problem solved! Preferably one like my stylish 10,000Mah pack by Knomo that will charge your device at least twice, leaving you with enough juice for some de-stressing meditative music on your way home. And don’t forget the much-needed charging cable. 3. Choose your navigation software wisely & plan ahead In my humble opinion, Waves and Google Maps are the only true contenders for navigation app top spot. The jury is still out on City Mapper and iPhone Maps doesn’t even get a look in, but whatever your app of choice, it’s a good idea to make sure it’s set up for peak navigation performance and download an offline copy of the area
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your shows are in, for easy reference on the Tube where there is no GPS and in case of any data dead spots. You are bound to get lost or walk past the venue three times, even though it’s right under your nose, so leave yourself plenty of time to get to each location and if you’re really ahead, reward yourself with your coffee tipple of choice. Hot or ice cold, Latte or Macchiato, or with a shot of vodka, coffee is still the hottest accessory of the season. 4. Do your butt a favour If there’s any way of fitting a seat pad in your bag, you should definitely do it! Get one of the folded varieties or just be creative, your butt will thank you for it. Even a 10-minute show can seem like a lifetime when your nether region has to endure those firm wooden benches for the fourth time in one day. LFW feedback: please include seat pads in the VIP experience. 5. Observe and mingle. So, everyone is there to view the fashion on the catwalk, as well as the showstopping outfits worn by guests and VIPs that commandeer a much deserved second or third look. But don’t just be a spectator, mingle and network. You never know who you might meet, or where a simple conversation might lead.
LONDON RUNWAY
JAMIE WEI HUANG Photography by Simon Armstrong
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LONDON RUNWAY
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LONDON RUNWAY
ALEXACHUNG Photography by Fil Mazzarino
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LONDON RUNWAY
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LONDON RUNWAY
NATASHA ZINKO X DUO
Photography by Fil Mazzarino
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LONDON RUNWAY
MOLLY GODDARD
Photography by Fil Mazzarino
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2000 TREES FESTIVAL 2019: LIVE REVIEW LONDON RUNWAY
DEAF HAVANA © Joe Singh
Neil Dowd looks back on his visit to Upcote Farm, for a festival renowned by many in the British Rock community as being the nicest midsize festival of our time… 2000 Trees!
It’s true what they say: there is no other festival quite like 2000 Trees. No other festival can make a bill compiled with some of the biggest acts in the modern rock scene feel so intimate and communal. Where even folk-punk headliner and avid enthusiast of 2000 Trees Frank Turner can be seen, with an acoustic guitar in hand, having a singalong with the attendees, just steps away from their tents. There are even fewer places where you can see a mosh-pit, orchestrated by a generation spectrum of rock lovers and the sight of children freely and safely playing in the ‘fun area’ in the space of a few short glances. Whatever your age, gender or demographic, the effort from the organisers to provide something for everyone did not go unnoticed and the end result created a diverse community of people, all bound together by their passions of alternative music.
It matters little if you are a first-time attendee or a seasoned veteran at 2000 Trees, as the close proximity between each of the stages allows you to seamlessly wander from stage to stage, without missing any of the incredible bands the weekend had to offer. The easily accessible nature of each of the stages led to the discovery of a vast range of bands that it would’ve been quite easy to have missed, given other circumstances. The stab-driven, rhythmically bouncy opening riff of ‘Reasons’ drew me into the Neu stage for The Bottom Line, whose captivating, hook-driven choruses and electrifying stage presence played a pivotal part in diversifying the weekend in terms of musical genre. Pengshui’s unique concoction of rap, grime and thrash-punk made for a sonic experience unlike anything else out there right now, and Orchards’ blend of alt-pop and math rock made for some remarkable moments especially in the wake of their last song, wherein the cheers from the audience saved them from being prematurely kicked off the stage.
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The festival headliners allowed us to bask in the ever-changing sounds and styles of some of British Rocks finest bands of the 21st century. You Me At Six used their set to celebrate their fifteenth anniversary of being a band in style, with a set that perfectly intertwined their youthful, pop-rock beginnings with ‘Save It For The Bedroom’, playing it immediately after the groove-driven, 80’s inspired behemoth that is ‘3AM’. As always, the dynamic journey their set provided was unparalleled, with ‘Take On The World’ and ‘No One Does It Better’ providing the stripped back,
“I THINK OUT OF ALL THE FESTIVALS I’VE EVER BEEN TO, TREES IS ONE OF MY FAVOURITES. IT JUST FEELS LIKE A LITTLE FAMILY.” - LUCY EVERS (ORCHARDS)
LONDON RUNWAY
nostalgia-inducing singalongs that every headlining set needs. This was contrasted with tracks like the iconic set closer ‘Room To Breathe’, which harpooned back to the high-intensity, gritty, roaring guitar-driven sound found in the rockier era of the band’s existence. Like them or not, it was easy to see that they were able to celebrate their impressive anniversary in style, with a set that oozed with the feel-good vibes that every headlining set needs Saturday night headliner Deaf Havana showcased their development, delving straight into the new with more than half of their set being taken from their two most recent albums – ‘Rituals’ and ‘All These Countless Nights’. Whilst tracks like the heavily Springsteeninspired ‘Boston Square’ and folk-rock singalongs ‘Hunstanton Pier’ and ‘These Past Six Years’ paved the road down memory lane, the majority of their set was tailored towards the new, with the use of backing tracks taking their performance to heights unseen from this band before. The happiness and confidence which radiated from frontman James Veck Gilodi on newer songs such as ‘Worship’ and ‘Ritual’ was completely contagious. His departure from performing solely with a mic stand and guitar was executed with a sense of poise and ease which would have been unimaginable only a year or two prior. ‘Sinner’ was the obvious and only choice when it came to closing this set, with the gospelinspired backing vocals and unforgettable chorus of this track offering an uplifting send-off. With all of this said, 2000 Trees has more to offer than just the music, with The Word tent offering a programme of debates, comedy sets, yoga, and poetry. To loosely quote the lead guitarist of Deaf Havana, Matthew Veck Gilodi, 2000 Trees is a festival that “gives a shit” and the highly prominent presence of organisations such as Safe Gigs For Women and Heads Above The Waves
DREAM STATE © Gareth Bull
(an amazing non-profit aiming to raise awareness of depression and self-harm in young people) only proves the validity of Matthew’s statement. Additionally, the festival’s focus on ecofriendliness is certainly worth remark, with the £2 plastic cup initiative at the bars and array of recycling facilities at disposal resulting in very minimal littering across the entire site. Lead Booker for the festival James Scarlett stated, “Anyone that has seen our Forest Sessions stage will tell you that it is a unique and wonderful place to watch music”, and I honestly couldn't agree more. Hidden through an alley of trees, the intimate, hut-like stage hosts a vast range of acoustic performances, even from the festival headliners, with the audience members being encouraged to sit on the floor and watch the acts from within the trees lit with candles and fairy lights.
2000 Trees has managed to achieve the impossible and has managed to grow on a yearly basis whilst still maintaining that intimacy as a small festival. It has acquired a high number of loyal attendees throughout the years and continues to add to those numbers with the unique fine details which makes it such an amazing experience. It was a thoroughly refreshing experience to attend a festival with such a strong heart and I encourage anyone who is on the fence about attending 2020 to buy their tickets now!
YOU’VE GOT THE OLDER CROWD. YOU’VE GOT THE YOUNG KIDS ROCKING. YOU'VE GOT MOSH PITTERS AND SIXTY YEAR OLDS. YOU’VE GOT A LITTLE BIT OF EVERYTHING!” - Chris LoPorto (Can’t Swim) PAGE 17
“Even though it grows from year to year, it still feels small, in a good way.” - Jamie Lenman.
ORCHARDS © Ben Morse
JAMIE LENMAN © Dom Meason
“Trees feels like one massive family, everyone looks out for each other and it's so easy to find/make friends. Best weekend of the year for me” Laura Hill (Ill-Informed)
PHOTOGRAPHER HANDLES JOE SINGH @SNAPROCKANDPOP @SNAPROCKANDPOP
DOM MEASON @DOMMEASON @MEASONS
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GARETH BULL @GARETHBULLPHOTO @GARETHBULLPHOTO
BEN MORSE @BENMORSE @BENMORSE
FRAGILE AND STRANGE AS LIFE ITSELF
Photographer: Stasya Pavlovastani @pavlovastani Hair Stylist: Diana Bride @diana.bride Fashion Designer: Tamara Shuklina @tamara.shuklina Brand: TOMMYDI @tommydi.ru Makeup Artist: Jullia @byjullia Models: Alexandra Chatskaya @chatskaya_ Sany Khusyaynova @khusyaynova.s Makeup Artist: Dasha Dashakrashu @dashakrashu
Alexandra wears: Skirt - £70.00; Top - £70.00; Belt - £30.00; Half Coat - £100.00; Shoes - £100.00, all TOMMYDI by Tamara Shuklina
Alexandra wears: Skirt - £100.00; Top - £70.00; Belt - £30.00; Shoes - £100.00, all TOMMYDI by Tamara Shuklina
Alexandra wears: Skirt - £70.00; Top - £70.00; Belt - £30.00; Half Coat - £100.00; Shoes - £100.00, all TOMMYDI by Tamara Shuklina
Alexandra wears: Skirt - £100.00; Top - £70.00; Belt - £30.00; Earrings - £50.00; Shoes - £100.00, all TOMMYDI by Tamara Shuklina
Alexandra wears: Skirt - £100.00; Belt - £100.00; Top - £70.00; Shoes - £100.00, all TOMMYDI by Tamara Shuklina
Alexandra wears: Skirt - £100.00; Belt - £70.00; T-shirt - £100.00; Shoes - £100.00, all TOMMYDI by Tamara Shuklina
LONDON RUNWAY
MALAN BRETON
Photography by Fil Mazzarino
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BICYCLE SHORTS: THE MARMITE OF FASHION TRENDS Tyffaine Akkouche looks at bicycle shorts, a love them or hate them trend that keeps hanging around.
A lot like marmite, this Tour de France necessity turned night-out-must-have either leaves a bad taste in your mouth, or makes you eager to take another dip into the jar. Years ago, the mention of bicycle shorts would have conjured images of mums in the 80s doing a home workout with Cindy Crawford on the TV. Fluorescent headband in place to hold back their perms. Times have changed since the 80s, and apparently so have our tastes in good fashion. With the likes of Kim Kardashian and Bella Hadid rocking bicycle shorts like their lives depended on it, it seems like most of the world has followed suit. And perhaps for Kim Kardashian, her livelihood does depend on it: with husband Kanye West (who may be equally as controversial as these shorts) including this trend in his 2017 Yeezys season 6 collection, it can only do good things to her bank account if they suddenly became the next big thing.
This page: image via I Saw It First (shorts £12) Next page: images via Pixabay, I Saw It First (shorts £18), and H&M (shorts £12.99)
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LONDON RUNWAY Currently, high street brands such as TopShop, River Island and H&M can be found selling them at prices ranging from £8 to £30, deeply contrasting OffWhite’s £400 price tag. Although they are comfy and can be cute, you need to have a certain body confidence to wear such a figure hugging item. This brings us to the dark side of this trend. Although celebrities endorse it, many people avoid bicycle shorts like the plague for many reasons. As stated above, some strongly believe sportswear should never cross over to the realm of high fashion. However, Alex Lyles, founder of fashion wholesale distributor Claret Showrooms, explains how athleisure is slowly becoming a trend in its own right. She says that it is especially popular with mums picking up the kids from school, looking effortlessly stylish and put together a major element of a woman’s day
The modern rebirth of this trend occurred during Karl Lagerfeld’s 2014 Chanel catwalk, hosted in the eternally glamorous venue of The Grand Palais. Although at the time Vogue described them as ‘pantaloons’, any modern fashion forward person (or anyone who has seen a cyclist before) would now identify them as bicycle shorts. From then on brands such as Alexander Wang and Dolce and Gabbana also styled their runway models with this glorified sportswear, turning it into the perfect accessory to a glam but effortless look. The most notable and perhaps iconic use of cycling shorts was in Off-White’s 2018 Spring/Summer inspired by Princess Diana. Model and contributing editor to Vogue Naomi Campbell closed the show in a ruffled blazer with the shorts layered underneath. This homage to one of Diana’s outfits as she headed to the gym shows the exact evolution of cycling shorts and how their importance in the fashion world has trebled.
If I were to brave the trend, I would take inspiration from Princess Diana herself, styling them with a baggy, vintage jumper and sneakers - the only
flattering way people with shapeless bodies can wear them. If you are blessed enough to have a shapely body, wearing bicycle shorts with a simple tee and heeled boots brings a hint of glam to the outfit. Versatility is definitely a strong point for this trend. For instance, by simply switching out a few pieces - trainers for pointed heels, a cross body bag for a leather plaid bum bag and light jewelry for layered chains and statement hoop earrings - you can bring it from a casual, comfy day look to a stylish and bold night look. In the end the only resolution to debates like this is to agree to disagree. Nobody’s opinion is 100% correct and always viable to change. If Karl Lagerfeld can change his opinion on sweatpants, which he called “a sign of defeat” before later releasing a line of his own, then maybe one day cycling shorts will become the nutella of trends instead of marmite.
STYLE (CONSCIOUS) GUIDE ethical and sustainable style guide selected by Rhiannon D'Averc
H&M Checked Jacket Skinny Fit £69.99
Wisp Venus Neck in Silver £532
Poa London The Donna Bag £295
ASOS DESIGN Tall stretch slim smart shirt in mustard with grandad collar £20
Edward Mongzar Hand Marbled Gather Dress in Yellow £289
Ganor Dominic Tyche slides £340
Introvert Juliana Off-theShoulder Velvet Dress £120.00
H&M Suit Trousers Skinny Fit £34.99
H&M Velour Loafers £44.99
FRONT ROW FASHION PAGE 32
LONDON RUNWAY
NEW FACE Name: Nastasha Tupas Age: Forever 21 ;) Location: Sydney, Australia Agency: Bella Management, Sydney Australia How long have you been modelling for? Six years.
What would surprise people to know about you? I'm actually an introvert masquerading as an extrovert. What are your modelling ambitions? To land a magazine cover, or be the face of a beauty campaign one day.
Where are you from originally? I've been a Sydney girl for most of my life, but, my ancestry originated from the Philippines. Do you have an unusual talent or party trick? I've got double-jointed elbows, does that count as a party trick?
Model: Nastasha Tupas @Bella Management, Sydney: @nastasha_tupas Makeup Artist/Hair Stylist: Maricel Dionisio: @glamitupbycelle Photographer/Retoucher: Reham Salib: @rehamsalibphotography / @sydney_digital_retoucher
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LONDON RUNWAY
NEW FACE Name: Lisa Creton Age: 15 years old Location: France Agency: EnjoyModelsAgency
What would surprise people to know about you? You don't know but I'm a young writer: I also like writing stories.
How long have you been modelling for? I’ve been modelling for one year with the Enjoy Models agency.
What are your modelling ambitions? I would like this to remain a hobby and not a job. I want to study, I don’t put everything on modeling. And I think it’s important to cultivate as much as possible!
Where are you from originally? I’m of Mongolian and German origin but I was born in France! Do you have an unusual talent or party trick? I love art in general! I paint and draw regularly. I use mostly watercolor but also a lot of paint, pastels and pencils.
Makeup Artist: Fanny Scanu @maquillageartistry06 Photographer: Marine CESSAT-BEGLER @mcbphotographie Model: Lisa Creton @Enjoymodels
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LONDON RUNWAY
NEW FACE Name: Anastasia Zakharchenko Age: 18 Location: Moscow Agency: Freelance How long have you been modelling for? About 4 years
What would surprise people to know about you? People are surprised by my jokes What are your modelling ambitions? I would like to work with various world-famous photographers and for me modeling will be the best way to discover the world
Where are you from originally? From Russia, Moscow Do you have an unusual talent or party trick? I don’t have one
Photographer/Retoucher: Karina Kavarnali @kariere Wardrobe Stylist: Masha Strouk @mashastrouk Creative Director/Makeup Artist/Hair Stylist: Karina Mylnikova @vizazhiha
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Photography: Rhiannon D'Averc Assistant: Candice Wu Hair and Makeup: Sidrah Sardar and Martine Derosa Models: Johnny Cheung and Shelby Howard Wardrobe: Poa London, Neon Hope, Lucy Parker Jewellery, Inaurem, Ellis + Noronha, Alexyi Reneece (Designs by Alexyi)
RUISLIP TRIBE
Johnny wears: Lip jewellery, ear jewellery - both Inaurem; necklace Designs by Alexyi; rings - Lucy Parker Jewellery; trousers and belt - model's own Shelby wears: Headpiece - Designs by Alexyi; nose jewellery - Inaurem; earrings - Lucy Parker Jewellery; glasses - Neon Hope; jumper and leggings - model's own
Johnny wears: Nose jewellery Inaurem; trousers and belt - model's own Shelby wears: Nose jewellery Inaurem; earrings - Lucy Parker Jewellery; Dress - Ellis + Noronha
"We found them wandering in the woods: a
hidden tribe that had never yet known outside contact."
Johnny wears: Nose jewellery, lip jewellery - both Inaurem; sunglasses Neon Hope; neck piece - Designs by Alexyi; trousers and belt - model's own Shelby wears: Earrings - Lucy Parker Jewellery; neck piece - Designs by Alexyi; Handbag - Poa London; top and leggings - model's own
fig 1: ritual markings and piercings demote status in tribe
Johnny wears: Nose jewellery, lip jewellery - both Inaurem; sunglasses Neon Hope; neck piece - Designs by Alexyi Inset: Johnny wears: Lip jewellery, ear jewellery - both Inaurem; necklace Designs by Alexyi; rings - Lucy Parker Jewellery; trousers and belt - model's own
"They are a strange, WARLIKE people who did not seem pleased by our incursion into their
territory"
fig 2: sheltered domiciles seem to grow from the forest floor Johnny wears: Lip jewellery, ear jewellery - both Inaurem; necklace - Designs by Alexyi; rings - Lucy Parker Jewellery; trousers and belt - model's own Shelby wears: Headpiece - Designs by Alexyi; nose jewellery - Inaurem; earrings - Lucy Parker Jewellery; glasses - Neon Hope; jumper and leggings model's own
fig 3: the high priestess holds supreme sway over the tribe's decisions and customs
Shelby wears: Nose jewellery Inaurem; earrings - Lucy Parker Jewellery; ring, necklace - both Wisp; dress - Ellis + Noronha Inset: Shelby wears: Nose jewellery Inaurem; earrings - Lucy Parker Jewellery; dress - Ellis + Noronha
"Over time, their
high priestess seemed to welcome us. With her persuasion, their
chief warrior allowed some inspection of their dwellings and customs, some of which seemed surprisingly
like our own"
fig 4: sack for transportation of berries and nuts
Shelby wears: Headpiece - Designs by Alexyi; nose jewellery - Inaurem; earrings - Lucy Parker Jewellery; sunglasses - Neon Hope; jumper model's own Inset: Shelby wears: Handbag - Poa London
Shelby wears: Nose jewellery Inaurem; earrings - Lucy Parker Jewellery; ring, necklace - both Wisp; dress - Ellis + Noronha
"We left
in peace,
with hopes to return for further study. She watched us go, sentinel of her people"
INTRODUCING: CARMEN Neil Dowd sits down with an up and coming star to introduce their music to our readers. This issue, Carmen is in the spotlight.
Firstly, could describe your music to us? What genres does your sound incorporate? Genre-wise I think it’s like a fusion between jazz, soul and urban hip-hop. I call it urban jazz, because I use a lot of jazzy chords and old school sampled beats. Are there any artists that you would cite as your main influences? The first one is kind of a strange one. I’d say Nai Palm, she’s the singer of a band called Hiatus Kaiyote. She writes the most beautiful, jazzy melodies and her voice has so much movement, so I think that’s why I love to write such jazzy melodies. And of course, Winehouse, her work with Salaam Remi, her first album is amazing, definitely a big influence. In terms of modern artists, I’d say Jordan Rakei. He makes really nice, soulful poppy stuff. So yeah, I think they’re the main artists I draw from. Have these influences been the biggest factor in you shaping your sound into what it is today? Yeah, I would say so. Just because when
I was younger I would listen to them over and over again. Then as I got older and started to write, it started to come out in my writing. Yeah, I’d agree with that. I find with my writing that I find myself subconsciously drawing influence from bands I listened to growing up, especially with vocal melodies. I very much believe that listening is learning, and I think that’s how I learnt to write, by listening over and over to certain things. Of course with music, you’re drawn to what you like anyways, so if you can write in a similar way to the artists you like, you know that you’ll have an end product that you’ll enjoy Talk to us about your song-writing process as a solo artist. How involved are your band (if at all) in your songwriting? Sort of. I have a lot of different songwriting techniques. I’m not really one of those writers that waits for something to hit them because then I wouldn’t write anything. I very much believe in sitting down and being like ‘okay I’m going to write something’ and it’s
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always been like that. I think I’ve just trained myself to sit down and write something. I’ll always start with a different thing, sometimes it’s chords or a lyric. But in terms of the influence of the band, I write all of the lyrics, chords and melodies andthen I kind of take to the band and describe the vibe that I want the track to have andgive them different song references to work off of. So they have a massive input in coming up with ideas for live gigs. But I work back home with a producer and we choose everything. So there's a lot of different layers to the process and people’s involvement comes in at different stages. So you create the backbone and you’ll then collaborate with others to bring the whole thing together? Yeah, so the songs already there. I’ll take a song that’s fully written in terms of its composition and then it’s just more of a case of building a sound around it. Speaking of song-writing, you have an EP which is set to be released at the beginning of 2020? Yeah, in February, hopefully.
How far along in the process of making the EP are you? Well, everything is written. It’s kind of more piecing everything together and coming up with cool instrumentation stuff. It varies because there’s going to be about seven to ten songs. There’s going to be an intro and interlude, we’re also doing a remix of one of my old songs. Half of it is all written fully and the other three to four songs are still being fully developed.
something little this summer that’s separate to the EP. It has the same vibe as the EP. I don’t want to pry too much, but when you say something little... [laughs] Yeah, I’m gonna do a little cover and make it completely different from the original. I think it’s going to be in the exact same style as my EP. So I’ll release that this Summer whilst working on the EP.
I really love it when EPs and albums have interluding tracks!
Do you know what track you’re covering yet?
Yeah, me too. I think it helps to create more of a story.
That’s a surprise [laughs].
You recently released a single back in May entitled ‘Fake’. Talk to us about the lyrical themes of the track? This is a hard one [chuckles]. Honestly, I wrote the track how it sounds, you know? I wrote the track about people who would perceive themselves as to be something that they’re not. It was written directly about the issues of bullying and bitchiness that occurs within young women that I have definitely experienced. I’ve never really written about it before. But yeah, a lot of people write about love and stuff like that but I wanted to explore writing about something different. Would you say a lot of your lyrical content stems from your own personal experiences? Yeah definitely, 100%. I never make anything that’s just ‘fitting for a song’. I never just try to find a rhyme that fits. I’m quite particular about my lyrics, I want them to be quite clever, I want them to have something to say. I don’t want them to just be there [laughs]. Like some pop songs just have repetitive lyrics that go over and over again and I don’t want that. I think I overwrite sometimes. Will ‘Fake’ be a part of the EP?
Do you have any upcoming shows planned? At the moment, we’re just confirming shows. But I think that we may have some dates soon. They’ll probably be more central London area. Would you say you’re going to base most of your shows in the London area? Yeah, for sure. Like I’m based in London and I feel like my music is very ‘London’ so I kind of want to stay there, for now. I think in terms of creative arts, there’s nowhere better to build your foundations than London. I totally agree. It’s such a creative city as well. What are your plans for your future? What would you like to have achieved in five years’ time? I still want to be enjoying writing and to be working with the amount of amazing and creative people that I work with and that I’m able to meet. I’m hoping to work with some of them future and just continue what I’m doing further. I’d definitely want to develop this into my full-time career, that’s my goal. Finally, is there anything you’d like to say to our readers?
No, I think it’s going to be all fresh material. There are some videos on my Instagram of snippets of different songs that are going to be on my EP. But the last two Spotify releases won’t be on the EP.
I never know what to say when somebody asks this! I’m gonna do a couple of one-minute videos for the songs on the EP, so that’s something to look out for! [laughs].
Do you have a timeline for when you’re going to begin releasing singles from the EP?
Images via Carmen
Yeah, I think I’m gonna drop the lead single in January. I’m also gonna release
PAM HOGG Photography by Fil Mazzarino
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HA LPE RN. Photography by Fil Mazzarino
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RICHARD MALONE Photography by Fil Mazzarino
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FASHION CONSUMPTION: A CASE OF LABELS OR LOVE? DREAM STATE © Gareth Bull
What drives the modern high-fashion market after all? Is it just people’s obsession with labels or something more than that? Read on to find out, with Ashutosh Kukreja...
FACT: The fashion business of the modern era is driven by the sales of its handbags. For an industry often associated with glamorous runway shots and editorials of extravagant dresses and intricate couture, it’s rather hard to believe that fashion, as a matter of fact, does not earn an awful lot of revenue from its garments. The very concept of the fashion industry has always been intrinsically linked with clothing to the point of synonymity – not only in context of its portrayal in the general media, but for all intents and purposes in the present day: fashion has always been clothing with an extension to accessories. The archetype persists, but the sales don’t. Although titled as ‘accessories’, this genre of fashion merchandise is anything but an accessory when it comes to actual sales. The evolving consumption patterns over recent years reveal that it’s the shoes, accessories,
leather goods, fragrances and branded t-shirts that increasingly bring big money to the table, while many of the ready-to-wear outfits displayed on designer runways do not even see the light of production. Take for instance Kering, the luxury conglomerate heading well-known design houses such as Gucci, YSL, Balenciaga and others: accessories and leather goods made up for about 50% of the total revenue of its luxury division while ready to wear composed only 16% of the same as of 2015. Clearly, the scales have tipped in favor of the more-poundbearing, long considered ‘et cetera’ of the fashion world vis-à-vis the former ‘hero’ of the business (pun intended!). Tracing the roots of this interesting pattern generated by fashion consumers, the accessories segment of the fashion market owes its popularity to its cheaper price: cheaper, that is to say, than the ready-to-wear or couture pieces; though far more expensive compared to generic versions of the
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same products. And the fact that these products also happen to be the ones that are the most heavily branded and hallmarked, doesn’t hurt. While some may argue, “it’s the quality that drives the price tag!”, it would probably sit better if the product’s price was double or even triple its generic counterpart (an amount more than reasonable to ensure better materials, finer trimmings, fair wages, sustainable production and stronger quality controls) rather than the ten-fold price spike that is usually observed. Given such a scenario, one can’t help but wonder if the customer buys a pure cotton t-shirt for £190 from Versace over one from Zara that costs £19, simply because of the ‘V-E-R-S-A-C-E’ emblazoned across the chest. It is the human obsession with branding. And to understand it, is to question the core concept of designer labels in the fashion industry. Simply put, a brand is an identity, and the very
LONDON RUNWAY purpose of one for a designer is to have a unique character to distinguish themselves from their competitors in the business. That being said, designer labels or brands acquire new dimensions with changing times and contexts; they become symbolic of entities beyond themselves. Brands may transform into symbols of nations or notions. Take for instance, Burberry: born in the trenches of the World War, a brand identifiable instantly for its trench coats and checks, which is now perhaps as symbolic of British culture and heritage as Big Ben. Or Chanel: a constant emblem of the empowered woman and the celebration of her femininity, loyal to the spirit in which the design house was first established by its founder, and recognized through its signature quilted bags and its two-toned shoes, not to mention the iconic ‘CC’ logo. Moreover, brands also assume extra characters by means of representation in popular media – movies, music videos, TV series et cetera – by either actively being central components of the production, or through passive (but effective) product placement. There’s perhaps no better example of the former than the globally famous Sex and the City franchise, a show just as much about the protagonists’ relationship with Manolo Blahniks, as with men; whereas to quote cases of the latter, look no further than any popstarof-the-moment’s music videos (generally found loaded with labels!). Case in point: the famous Jennifer Lopez music videos, with Swarovski earrings being featured in 'On The Floor', and Gucci glasses in 'I’m Into You', among other examples by other artists. Away from the screens, celebrity endorsements of branded products lend a whole new set of characteristics to those brands. In simpler words, when popular figures lend their face to a label, they essentially lend their personality to it, as the label now shines in the same celebrity light of the said popular figures. Therefore, a brand label isn’t merely a unique marker of a designer’s work, but quintessentially, a potent symbol brimming with meaning and connotations in a historic/modern cultural context beyond its initial intended purposes. Values are projected
on to these brands that they didn’t originally possess, as the customers see them in a different framework, considering the same context. And that’s what affects the saleability of big-name brands. But the main ethos behind buying shoes and accessories over garments extends a tad bit further into the consumer’s pocket and perspective. It’s no secret that the price tag attached to high fashion merchandise is well beyond the usual budget of the average customer. To put it in other words, the high-fashion heavy price tag, by hindering accessibility to the majority, gives off a vibe of ‘exclusive luxury’ (read: elitism?). And it is that very exclusivity that fuels the desirability of high fashion, because everyone wants to be exclusive. Going back to the ‘cheapER but still pretty fucking expensive!’ price point attached to many of these fashion accessories, it still sits at the sweet spot of being somewhat affordable for a treat-yourself-kind-of-expenditure for many people, who view it as a splurge enabling them a peek into an out-ofbounds luxurious lifestyle. And even though it may be the least expensive item in the store, it still acts as a symbol of the brand and all the connotations and ideas associated with it in the bigger perspective of things; it weirdly gives the customer a sense of belonging to all the ideas and idolised people attached to the brand in some way or the other.
necessarily apply to ready-to-wear, which tends to change more evidently with every new collection. Also, most accessories aren’t prone to being seasonal in nature, which lends them the quality of being wearable nearly any time of the year (“A fair return on an expensive investment!” as some people might see it). In addition, with a very prominent and dominant industry of fast fashion in the market, especially known for duplicating designer clothing collections, consumers can practically get the same pieces (or similar ones at best), for nearly one-twentieth of the price offered by their designer counterparts. Modern fashion consumption, therefore, doesn’t quite present a ‘Labels or Love’ situation, as much it displays a ‘Labels and Love’ phenomenon. The love for labels is originally inspired by the products bearing them, and consequently in an interesting manner, the products partly owe their cost to the labels attached to them (especially in the contemporary context). And it is this dynamicity and interdependence that drives the market forward. However, in an age where conscious consumption is soon becoming the need of the hour, it’s probably best to exercise our power as consumers responsibly, or as Luke Brandon puts it, “Cost and worth are very different things” [Confessions of a Shopaholic, 2009] – and it’s time we as a society realise that.
Again, with the high set prices and the loud branding that tends to adorn most accessories, these fashion items are treated just as much (if not more) as status symbols, working on more levels than one. Besides the financial standpoint, fashion accessories serve as status symbols of the wearer’s taste (significant of good taste in culture, art and design), their social status (significant of their sense of belonging and social standing in their respective circles) and as personal status symbols of motivation and self-validation. Apart from the retail amount factor, what contributes to the accessory popularity over garments is the fact that most of the designer shoes and accessories have a longer life, stylistically speaking, and are less prone to being trend-shamed away within six months or so – something that may not
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You can read more of Ashutosh’s work in the coming issues of London Runway. Images and illustrations via Canva
sculptures
Photographer/Retoucher: Paul Winstone @paulwinstonephotos Designer: Emilia Walls of I Love Four Seasons (ilovefourseasons.co.uk) Models: Lily Douse and Charli Fletcher HMUA: Jurga Sidagyte
All models throughout wear I Love Four Seasons
SHOULD WE BOYCOTT FASHION WEEK? This week, Madeleine Oakley explores the environmental issues and subsequent human reactions to London Fashion Week.
Let’s be blunt. The fashion industry is damaging the environment. London Fashion Week is not helping. The biannual event showcases hundreds of elaborate garments, made from globally sourced materials. A wealth of fossil fuels is used for fabric production, countless celebrities fly in on private jets, and a huge amount coffee is drunk from take-away cups. The list goes on! However, it is specifically the luxurious aspect of the catwalk shows and experience that separates the world of fashion from the everyday. Is it possible to make Fashion Week sustainable, whilst simultaneously retaining its extravagant charm? Can protests be beneficial in making this change? Arguably, the lack of change in the structure and lavishness of Fashion Week over the years demonstrates it to be archaic, and its organisers to be in denial of environmental issues. The United Nations Framework Convention on Climate Change states that the textiles sector currently contributes to 10% of carbon emissions worldwide; a number expected to rise by more than 60% by 2030. It therefore seems odd to be celebrating the production of new clothing, when we are in the midst of an environmental crisis. Recently, The Swedish Fashion Council proved that it is possible to make significant change, when they cancelled the 28th Stockholm Fashion Week, due to take place in August 2019. Jennie Rosen, CEO of the Swedish Fashion Council admitted: “Stepping away from the conventional Fashion Week model has been a difficult, but much considered decision.”
The council have pledged to rethink the format of the event, and to not stage it again until it is sustainable. They plan to set new green credentials, and to support brands who value environmental conservation in design. By publicly acknowledging that it is necessary to adapt fashion week to the current state of the world, it means that they must put strategies in place to prepare for the future. It seems that many designers and key players in London Fashion Week are scared of acknowledging environmental problems, as then they will have to work on changing their normal way of doing things.
In this digital age, it is questionable whether the norm of a catwalk show is necessary for brands to present their collections. In recent years, designers like Burberry and Tom Ford have abandoned traditional methods, with their clothing ranges being on offer to purchase immediately. Social media can also be an effective tool in promoting new fashion offerings. Throughout February 2018’s London Fashion Week, the official London Fashion Week account received 871,648 views of its stories, according to the British Fashion Council. Information can be circulated worldwide far quicker than catwalk show images are published, showing that social media is certainly a tool which designers could benefit hugely from. It could even rival the traditional fashion show. A group in favour of the cancellation of Fashion Week is Extinction Rebellion. Founded in 2018, they advocate environmental and social change by staging non-violent protests. The term “civil disobedience” is used by them to describe the public demonstrations they implement, in order to create the biggest public statement possible. An ongoing mission is their fashion boycott, where participants are pledging to not buy new clothing for a year. Key member, Sarah Arnold, commented that this does not mean going without, but instead, requires us to question and change our relationship with clothes consumption. She explained: “We can swap clothes between one another, we can customise clothes, we can upcycle them.
At past Fashion Weeks, Extinction Rebellion has carried out numerous public protests to raise awareness of the environmental issues. At February 2019’s London Fashion Week, they created a human road block to stop traffic. The aim was to cause disruption and highlight the large carbon footprint of the occasion, as opposed to them being violent or invading the catwalks. During the recent September 2019 London Fashion Week, the movement staged a funeral along The Strand entitled ‘Fashion Week: RIP’. Protesters dressed in black, wore veils and held white roses. Two coffins were carried, emblazoned with the words “RIP LFW 1983-2019” and “Our Future”. Safia Minney, the founder of fair-trade clothing company People Tree. made a moving speech: “I’m calling on London fashion week to have the courage and the strength to change everything it does.” Activists also swarmed Victoria Beckham’s well-renowned show, appealing to the fashion industry for acknowledgement. The movement’s demand is for London Fashion Week to be replaced with a bi-annual summit, which will discuss fashion’s role in the environment crisis.
Extinction Rebellion also organised the infamous environmental demonstrations in London in April 2019. The group managed to shut down many of the city’s main roads by playing live music, marching with banners, and also at one point turning the crossing at Waterloo Bridge into an impromptu garden. There were around 50 arrests at the bridge, but these were not violent, and according to a spokesperson, were celebrated with cheers. Evidently, the group’s members are serious about their cause; agreeing with Arnold that “this is a time for boldness”. The April demonstrations caused a huge amount of disruption for commuters, and others working and living in the capital. Met Police Commissioner Cressida Dick said that the protests cost the police an extra £7.5 million. The marches affected the public greatly, but did not seem to produce a lasting effect in helping the environment. It is interesting to consider who is hurt most during these and similar protests. In regards to Fashion Week, the demonstrations may be detrimental to young designers, who simply cannot afford to alter their collections in response to concerns. They also need the publicity and help of London FashionWeek’s NewGen platform to boost their careers. The larger, established fashion houses are more able to ignore the protests. Disruptions to show timings are not significant enough to prompt them to abandon their successful catwalk show traditions.
London Fashion Week is important for boosting our economy. It requires global media coverage, brings in more than £100m worth of clothing orders (according to the British Fashion Council), and supplies countless jobs for fashion, travel and hospitality sectors. The cancellation of the event could damage smaller businesses that rely on the shows for a large proportion of their income. Extinction Rebellion assures us that they do not want revenge, but just want to help the planet. If changes are made to London Fashion Week, then it would be important to consider who is being affected the most, and how these people can be supported. Perhaps, in order for no one to suffer, there is a requirement for everyone to be more aware and economical with their clothing choices. In the past, this has been possible. Following World War Two, the shortage of raw materials led to the continuation of clothes rationing for a further two years, until 1949. The population was encouraged to ‘Make Do and Mend’, creating a thrifty society, who were at the opposite end of the spectrum to the fast-fashion-obsessed one of today. Our current environmental concerns should be taken as seriously as the material shortages of the war, and it is baffling that the Government does not put laws in place to combat the issue. People were imaginative and experimental with their use of fabrics in the forties, proving that it is doable to have fun with fashion regardless of the newness of the garment.
Protesting does have its place though. It raises awareness of environmental issues and makes us question our role in the matter. It shows politicians that we want change. However, alone we cannot make the bigger fashion houses listen. We are unable to enforce beneficial regulations. It is up to larger organisations such as the BFC and politicians to implement the rules to make a real difference. Climate change is the defining issue of our era, and the fashion frontrunners and major politicians need to stop taking the comfortable route by simply ignoring the issue.
Stay up to date with Madeleine on Instagram @madeleineoakleytextiles All images via Unsplash
What’s your take? Let us know @londonrunwaymag and send us your ideas on how we can create a more sustainable fashion industry in the UK – even if only one step at a time.
In The CoUnTrYsiDE
Wardrobe Stylist: Monika Grzegorczyk @m.grzegorczyk_fashionstylist Hair Stylist: Katarzyna Kozłowska @kozlowska.hair_makeup Makeup Artist: Teresa Mochocka @tmochocka_makeup Photographer: Kamila Błaszkiewicz @kamilablaszkiewicz_photo Model: Julia Ziarnik Julia wears: Blouse - Zara
Julia wears: Blouse - Zara
Julia wears: Blouse, Trousers, Shoes - Zara
Julia wears: Blouse, Trousers - Zara; Jacket - H&M; Shoes - vintage
Julia wears: Turtleneck - Reserved; Boots, skirt - Zara; Belt - Bershka
Julia wears: Skirt - vintage; Sweater - Reserved; Headband - H&M
Julia wears: Skirt - vintage; Sweater - Reserved; Headband - H&M
Julia wears: Blouse - Zara
Julia wears: Skirt - vintage; Sweater - Reserved; Headband - H&M; Shoes - Zara
Julia wears: Blouse, Trousers, Shoes - Zara
Julia wears: Blouse, Trousers - Zara; Jacket - H&M; Shoes - vintage
CLASSIC MAKEUP LOOKS THAT DON'T GO OUT OF STYLE In this article Emmie Cosgrove will be exploring the history of the top four makeup looks and why these classic looks never go out of style. With illustrations by Joe Bailey.
Throughout the 2000s there have been changes to how people view, think about and use makeup. With shows such as Ru-Paul’s Drag race becoming far more mainstream, makeup has now become a crucial part of self-expression and identity. Makeup brushes have become paint brushes; eyeshadow pallets are paints and your face is a blank canvas, ready for decoration. There are numerous Instagram accounts dedicated to showcasing how creative you can be with makeup. Many people are now experimenting with bold, drag-inspired makeup looks and using makeup as an avant-garde art form. You can completely transform yourself. Blu Hydrangea, a drag queen from the UK and contestant on UK’s new season of Drag Race, is a perfect example of how transformative makeup can be. Her makeup skills are outstanding and prove that makeup is an art form.
The Cat-Eye Though we’re living in an era where makeup is now becoming known as a type of art, it is still the social norm to use makeup as an everyday tool to cover up imperfections and enhance our appearances. So, despite the rise of avant-garde and surrealist makeup looks that many Instagrammers create, there are some more simple makeup looks that, amongst all the bold colours and exaggerated lip lines, will always remain iconic within the world of makeup. The cat-eye, also known as winged eyeliner, can be one of the most frustrating makeup looks to try and create. Are my wings even? Why is one eye perfect and the other eye panda-esque? Attempting to apply the cat-eye usually results in running out of makeup wipes because it’s so hard to get right. Despite all the struggles that come with the cat-eye look, we continue to practice it until we get those wings even. But why? The answer is that the cat-eye is one of the most alluring makeup looks. The cat-eye can bring a lot of attention to your eyes and highlight their colour and shape. It makes our eyes look bigger, adds drama and can be a little bit flirty. The cat-eye is a perfect makeup look for a date as it demands eye-contact. It was Cleopatra who was the original trend setter for this iconic makeup look.
Blu Hydrangea via Instagram
The Ancient-Egyptians were the overall masterminds behind makeup. They invented kohl eyeliner which was believed to help protect eyes from the sun and dirt. Cleopatra painted her eyes with kohl eyeliner using precise lines and adding a strong flick. This flick helped protect her from the ‘evil eye’, which was a strong superstition in Ancient Egypt. More recently, in the West, it was during the 40s that the cat-eye gained popularity. The famous movie star Elizabeth Taylor sported the cat-eye look in the movie Cleopatra. The West was also undergoing ‘Egyptian-mania’ and became heavily influenced by Ancient-Egyptian culture, including their makeup looks. During this time the cat-eye look became a staple makeup look, especially with pinup culture during the 40s. As the 50s rolled around, liquid eyeliner had been invented, which made it easier to get a far more precise and thick-winged eye look. From the 50s onwards as makeup trends changed, the cat-eye managed to adapt to whatever those changes were. In the 40s the cat-eye would be worn with another classic makeup trend, red lipstick, and in the 60s you’d wear your cat-eyes with a bold lower lash line.
Red Lips Whenever the cat-eye faded into the background of makeup trends, someone would always bring it back. In the 2000s, music icon Amy Winehouse added a more masculine edge to the cat-eye. Instead of elegant feminine wings, hers were bold and over-drawn showing that the cat-eye could be worn in a multitude of ways and didn’t have to always be even or perfect. With the number of influential women ranging from Cleopatra to Amy Winehouse who have championed this look, it is no wonder it has always stood the test of time. Red lipstick is considered one of the most empowering makeup looks of all time. Red is loud, bold, and impossible to ignore. According to colour psychology and research done about the colour red, apply this bold statement colour to your lips and people are going to be drawn to your lips. However, it’s not just your lips they’re going to be drawn to, but also what you say. Paint your lips red and people will hear you. It is the perfect makeup look to create a statement, no matter how casual or fancy your outfit is. It works with everything. However, though red lipstick has been worn and adored by women throughout history, in 1650 the British Parliament attempted to ban red lipstick as it was making men feverish.
Parliament were convinced that women only wore red lipstick to seduce men into matrimony using unnatural forces. Seducing men through cosmetic means was seen as a type of witchcraft. It gave women far too much power, but the bill to ban lipstick did not pass. Even though red lipstick was legal to wear, throughout the 1700s and 1800s the public fell out of love with it. The Victorian era was all about pale pink lips and rosy cheeks. Women almost looked like porcelain dolls, but that was the trend. It did manage to make a reappearance in 1912 when the suffragettes marched through the streets of New York wearing bright red lipstick. As time went on and motion pictures became the new big thing, film stars like Clara Bow bought red lipstick out of the shadows and into the spotlight, with her cupid bow lips. Then in 1933, Vogue declared lipstick ‘the most important cosmetic for women’. World War One was also a massive turning point for red lipstick and the meaning behind it. Red is also a symbol of victory and women wore red lipstick to show respect for their country during the war. Despite the changes that red lipstick has undergone in terms of its meaning and peoples’ attitudes towards it, today red lipstick is one of the chicest makeup looks. With multiple shades of reds available and the ability to easily carry a lipstick with you, you can never go wrong with some red lipstick. This is a makeup look that will never lose its power and will always be the go-to statement lip look.
Smokey Eyes The smokey eye look is another that originated in Ancient Egypt. Cleopatra may have used her kohl eyeliner to create a cat-eye look, but many Egyptians would wear a heavy amount of kohl eyeliner smudged around their eyes for extra protection from the sun and dirt. The precision or beauty of their eye makeup wasn’t the main focus when applying kohl eyeliner. Using kohl eyeliner to protect one’s eyes from the sun and dirt became a popular safety precaution throughout the East. People across the Middle East, Asia and various parts of Africa would also smudge kohl eyeliner around their eyes for protection. In the Western world, it took a while for the smokey eye trend to come to the forefront. Pale skin with rosy lips and cheeks was the main makeup trend for many years. However, just like with red lipstick, it was thanks to motion pictures that smokey eyes became a more recognised makeup trend. Before motion pictures existed, stage actors would create a smokey eye look using greasepaint. This would emphasise their features and help the performers appear more visible to the audience at the back of the theatre. This then transferred over to motion pictures. During the silent film era, many women began to recreate the makeup looks they saw on the silver screen, and the smokey eye was one of those looks. The French actress Brigitte Bardot wore smokey eyes with a pale lip and a light pink blush. Many women wanted to look like the stars they saw on screen and therefore would also wear the smokey eye look with pale lips and a light pink blush.
Photo via Unsplash
When colour eyeshadow was invented it gave women the chance to experiment and mix colours to create a unique and individual smokey eye makeup look. When the 90s grunge scene became big, many people ditched the colourful eye palettes and went back to wearing dark smudged eye makeup. This was usually worn with a dark lipstick for added edge. Due to how many shades the smokey eye look can be created with, it is the perfect eye look to get creative with. In its classic noir form, a black smokey eye can make any look feel far more rock ‘n’ roll.
The Natural Makeup Look A small bit of mascara, some concealer here and there, add some blusher and a nude shade lipstick – you’ve got the perfect natural makeup look. A lot of people believe that makeup’s true purpose is to cover their flaws. However, makeup is meant to enhance your features rather than hide them. There are many makeup artists out there who promote the natural makeup look to try and get people to understand that enhancement is what makeup is truly about, not hiding.
At times, it can seem a little pointless to apply makeup if you’re not going to look like you’re wearing any but that’s not the point of the natural makeup look. This look suits everyone and can give you a subtle glow that makes you feel fresh and good within yourself. During the 70s many women stopped wearing makeup altogether. This was the time of the hippie movement and second wave feminism. Embracing your natural self was a big thing in the 70s. Women had also grown tired of constantly having to conform to the beauty standards that men had set for them. Makeup had been viewed as a product to make women more beautiful, and the more beautiful she was, the more men would want her. Makeup brands created products that were far more natural with toned down shades. Mineral foundations were created that weren’t there to make you more beautiful, but to just cover up a few blemishes here and there. It was also during the 70s that foundations in darker shades were produced. Women of colour finally had foundations they could wear. Applying a small amount of natural makeup products has been an ongoing trend since the 70s. It is one of the most-worn makeup looks today. There are numerous beauty articles on how to achieve the perfect natural makeup look. At times, you just want to feel a bit more made up without having to go all out. The natural makeup look promotes natural beauty and is there to give us the right amount of glow. For an everyday, casual yet classy look, the natural makeup look is the ultimate go-to. You can read more of Emmie’s work over on Twitter at @styles_emmie
Photo via unsplash
Hot House Flowers Models: Melissa Jurado, Mariana Ledezma, and Daniela Jurado from Utopia Management Photographer: Corri Chella @corri.chella.5 Hair & Make-up: Models Own Poetry: Corri Chella @corri.chella.5
My Shadow
'My shadow lied, too distrustful to believe in such dreams, those secrets forged with intent melded from the stuff of steel.. May it rain once again, for Earth needed wet tears like yours to regenerate the seed of hope.’
Daniela wears: Nightdress - Love Of Dame
Melissa wears: Nightdress - Love Of Dame
Mariana wears: Nightdress - Primark
Just About 'Just about, all that remained was the discarded and bereft soul of another...The songs reminded me, the letters clung to me like sheets, and the time passed with no grace nor forgiveness for what had occurred in stanzas like breaths, escaped, captured, and abandoned just about...’
Melissa wears: Blouse - Zara; Skirt - Rebellious; Shoes - Alexander McQueen
Mariana wears: Top - Urban Outfitters; Skirt - H&M; Shoes - Gloria's Shop
By The Wayside ‘By the wayside found you, as lost as the afterthought we lingered over cold coffee, and as misplaced in times that saw you sheltered from the streets, littered, like empty shells you revived with just a word.....’
Melissa wears: Corset - Primark; Skirt - Rebellious
Melissa wears: Dress - Zara
Someone ‘Someone, the one who was there, present to the point of perfection, essence of it all, and decided way before I ever knew, and did you not say it mattered not, in the grand design of such things...?’
Melissa wears: Blouse - Zara; Skirt - Rebellious
Insomnia ‘Insomnia, paced in wakeful tenses, past never was featured, as long as it counted in the present. Touched by the vapors left in your wake, small but deadly trails of memory lingered in dark crevices to find, to cherish.....’
Melissa wears: Corset - Primark; Skirt - Rebellious
Daniela wears: Corset - Pretty Little Thing; Skirt - TopShop; Shoes - Primark
Interrupted skies ‘Interrupted skies, overcast, forecast for heat striking at lower altitudes, and the horizon looms with dark pressures rising, from the low lands came I with a vision, to breach that temperate and lasting climate of change, each impact that rose from within, and the ripples spread like lies from the epicenter of where it all began....deep in me’
Melissa wears: Corset - Primark; Skirt - Rebellious
Pritch London by Fil Mazzarino
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Hundred Showroom: Karol Cygan Photography throughout by Josh Cadogan
Hundred Showroom: Livia Tang
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Hundred Showroom: Manimekala
Hundred Showroom: No Wallflower Project
CONSTANZIA YURASHKO
Photography via Fashion Scout
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LONDON RUNWAY
YOUR STYLE HOROSCOPE Candice brings you Zodiac moods represented in this year’s LFW collections. With LFW coming and going like a whirlwind, here’s a glimpse back at the collections that embodied moods for the signs.
Aries March 21 - April 20
FELDER FELDER Knit flared trousers and powerful feminity exuded in Felder Felder’s SS20 collection. Aries signs will stun in this collection!
Taurus April 21 - May 21
EFTYCHIA Neutral chic was the forefront of the EFTYCHIA show at LFW. With comfortable, timeless workwear, the practical designs perfectly match the capable Taurus
Gemini May 22- June 21
ALISA RUZAVINA COLOUR COLOUR COLOUR! Alisa Ruzavina’s SS20 collection “Love Bomb” and collaborative collection "Stories from the Faraway Land: Armila", gave us major Gemini vibes with the playful embroideries and layered textiles. Drawing attention to social and environmental concerns, it’s both fashion and activism!
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LONDON RUNWAY
Cancer June 22- July 22
EMILIA WICKSTEAD “Modern Feminity” is the perfect description for any of Emilia’s collections at LFW. Her SS20 collection definitely epitomized the classy Cancer with the distinctive tailoring and modern pops of patterns and colours.
Leo July 23- August 21
JULIEN MACDONALD Glamour and standout fashion! Julien Mcdonald never fails to bring the two together in his collections with fringes, tassels, sparkle, and everything in between on display at his SS20 show at LFW this season. With all eyes on them, a Leo would glow from head to toe, literally, donning this collection.
Virgo August 22- September 23
EDELINE LEE Always multi-tasking and on the go, a Virgo will fall in love with Edeline Lee’s SS20 collection. Bold blues, yellows, and orange with moveable yet tailored designs will make any of the pieces their go-to!
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LONDON RUNWAY
Libra September 24- October 23
MOLLY GODDARD Airy, light tulle and pops of colourful smocked and shirred fabric, Molly Goddard’s SS20 collection on a playful Libra is the perfect pairing!
Scorpio October 24- November 22
PREEN BY THORNTON BREGAZZI Juxtaposing feminity and masculinity, Preen by Thronton Bregazzi perfectly suits no one better than a Scorpio. Described as an “effortless rock n’ ‘roll contemporary line” by the BFC, there’s nothing a Scorpio won’t like from the collection.
Sagittarius November 23- December 22
ASHISH Activist Ashish Gupta’s handembellished designs and SS20 collection will speak to a travelling Sagittarius. With the variety of designs and mix of colours, they’ll be exploring in style!
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LONDON RUNWAY
Capricorn December 23- January 20
GAYEON LEE Simplistic designs with delicate colours and timeless shapes, Gayeon Lee’s SS20 collection will bring a sense of calm and comfort for the constant Capricorn.
Aquarius January 21 - February 19
ON|OFF Always up for new trends and experimentation, an Aquarius will relive their childhood dreams with Lee Lapthorne's choice of On|Off SS20 designers (Colin Horgan, Daniel Pascal Tanner, JimmyPaul, Rose Danford-Phillips, Yan Dengyu). Massive plays on patterns and even taking inspiration from the globally loved cat, Hello Kitty, there’s many elements to play around with!.
Pisces February 20 - March 20
ROBERTS | WOOD Katie Roberts-Wood’s SS20 collection and brand Roberts|Wood featured tulle and mesh ruching laid in a feathering design with a gown-like silhouette for most pieces. Perfectly representing a Pisces, “The brand represents a determined femininity that blends tactile poetry and dreamlike curiosity with structure, strength and form” (LFW)
You can see more of Candice's work on Instagram by following @Candice_x9. Illustrations by Joe Bailey Images via Instagram, except: Edeline Lee and Molly Goddard by Fil Mazzarino, Gayeon Lee via Dyelog PR, Roberts|Wood and On|Off by London Runway
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URBAN MERMAID Makeup Artist: Anastasiia Babii @nastia.mua Male Model: Lamin Marong @mixologiapormlamin Female Model: Lotta Neudecker at Trend Model Management BCN @lottaneudecker Photographer: Tania Volobueva @tania.volobueva.photographer Wardrobe Stylist: Katerina Nesmirnaya @katerina.smi.fashion Lamin wears: Suit - Max&Co
Lotta wears: Hat - MANGO; Necklace - Stradivarius
Above: Lotta wears: Body - YAMAMAY; Dress Fabrizio Célleri; Accessories - Uterqüe & Intimissimi Right: Lotta wears: Body - YAMAMAY; Dress - Fabrizio Célleri
Lamin wears: Shirt and Shorts - Decathlon; Sunglasses - Bershka
Lotta wears: Body - TOPSHOP; Jacket - Fabrizio Célleri
Above: Lotta wears: Dress - Fabrizio Célleri; Shoes - ZARA
Right: Lotta wears: Earrings - H&M; Body YAMAMAY; Dress - Fabrizio Célleri
Lotta wears: Dress - Miro Misljen
Lotta wears: Hat - MANGO; Necklace - Stradivarius
Lotta wears: Dress - Miro Misljen
Lotta wears: Earrings H&M; Body YAMAMAY; Dress Fabrizio Célleri
Lotta wears: Earrings - H&M; Necklace - Stradivarius
Lamin wears: Accessories - UterqĂźe
LONDON RUNWAY
ROHMIR
Photography by Ian Clark
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LONDON RUNWAY
SIMON MO
Photography by Fil Mazzarino
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Q A THE BIG QUESTION We asked, you answered
What's your favourite place to eat in London?
&
“Oh God, I love Nandos!”
– Leyre Gomez, model and stewardess
“I love Flat Iron or Masala Zone.”
“Blues Kitchen”
- Suzanne Clayton, nail tech at Souz and Co
– Jared Rehal, retail manager
“COVENT GARDEN” – Meryem Adhami Balkhi
“TAI BUFFET NEAR SHEPHERD’S BUSH” - Rhiannon D’Averc, Chief Editor
“Café Laville! Perched right over the canal in the heart of Little Venice, this contemporary café offers superb views, yummy chews, and the friendliest service. Viva Café Laville!”
"Ethos" - Christine Elizabeth, fashion textiles designer
- Carla Boss, designer, lawyer, and creative
“Mildred’s”
“Lazeez Tapas”
- Ajiana Castro Lopes, fashion model
- Saima Malik, makeup artist
“Box Park in Shoreditch” ” – Taz, Fashion Design student
Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question
LONDON RUNWAY
A MISSING PERSON’S CASE… … A MURDER INVESTIGATION? Enter the minds of troubled yet brilliant detectives as they take on a mysterious killer, out of their depth in an unfamiliar place Book 2 of the Serial Investigations series
Available on Amazon in eBook and paperback now!
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NEXT: THE AUTUMN ISSUE THE LFW ISSUE FIND LONDON RUNWAY: LONDONRUNWAY.CO.UK @LONDONRUNWAYMAG INFO@LONDONRUNWAY.CO.UK
BACK COVER: JAMIE WEI HUANG BY EMMI HYYPPA