Anderson and Versace may have appeared to be an unlikely creative match, however on the runway the conversation between the two created a fresh new take on brands DNA codes. Versace inspired Anderson to spin his signature oeuvre (sculptural, asymmetrical, androgynous) with flesh baring femininity that refined houses edge on cool.

Dance to the beat with this capsule collection, which will be released June 15 at Net-a-porter, Opening Ceremony, Browns of London and Saks Fifth Avenue. Opt for burnt taupe eyeshadow, crimson red lips, and teased hair to complete your rockin’ sexy look.

Last night at the 2013 Met Gala, The Costume Institute revealed PUNK: Chaos to Couture, an exhibition on view from May 9 through August 14, 2013.

Celebrity trendsetters brought their A-game to the red carpet and illustrated how haute couture and ready-to-wear have borrowed from punk’s visual symbols and anti-establishment style.

“Since its origins, punk has had an incendiary influence on fashion,” says curator Andrew Bolton. “Although punk’s democracy stands in opposition to fashion’s autocracy, designers continue to appropriate punk’s aesthetic vocabulary to capture its youthful rebelliousness and aggressive forcefulness.”

Left to right: Sid Vicious, 1977, by Dennis Morris; John Lydon, 1976, by Richard Young/Rex – Bottom: Patti Smith; David Bowie and Jordan
Inside the Exhibit: The toxic skull sweater pictured center is by Alexander McQueen

Head to Moda Operandi if you want to snag one of the coveted creations seen at the Met Gala.

Touched with crystal chandeliers and pink parlor seating, the spacious stark white Image Powerhouse studio in New York’s Midtown West proved to be an ideal venue for The House of Makeup to set up a salon.

Lashes were just the final touch of the long list of services The House of Makeup offers, and they can bring their concierge beauty treatments right to your door.

Stylist Li from The House of Makeup indulged us with lust worthy lashes, while cameras were flashing for Kim Loan, CEO of Image Powerhouse, and Crissy Rose, CEO of The House of Makeup, who were the talk of the night.

Learn how Image Powerhouse can bring your creative vision to life.

We especially loved the male scarf collection, and its use of camouflage as well as floral prints. The Yarnz brand rep held up a few of her favorite scarfs, which displayed graphically charged, almost digital prints, including one that recreates the page from a comic book. No matter how gutsy the graphics, when wrapped around our neck, every scarf proved to be completely wearable.

The brand’s loyalty to quality can be felt with the scarfs’ luxurious cashmere, and their resolve for functionality is evident in their bag designs. Sarah Jessica Parker, Scarlett Johansson, Madonna, and Blake Lively are just a few celebs who have added a Yarnz pop to their winter wear. Wrap up in your own bright Yarnz scarf and carry-all bag at top retailers, including Bergdorf Goodman, Barneys and Net-A-Porter, or visit their website.

McHugh is a Yale graduate and attorney, who risked it all to pursue her design venture, and explained her affinity for all things vintage as well as her relentless standard for quality.

She utilizes the finest leathers and exotic skins, and utilizes third generation Italian artisans, who have craftsmanship printed in their DNA. The infatuation for classics runs in McHugh’s blood too, as her mother worked as an antique dealer. “I grew up surrounded by beautiful craftsmanship and timeless appeal,” said McHugh.

The silver screen, art deco aesthetics, and period mystery novels were sourced as influences on her sharp designs. Certainly Jean Harlow would have donned any Ella McHugh handbag on her arm, and thankfully you don’t have to be a celeb to do so today.

“Most women fall between categories, which is the great part about this book, you can embrace whatever look you are in the mood for,” Dimant said, who considers herself a minimalist and classic, and sported a vintage Givenchy dress, Nicholas Kirkwood shoes, and Noritamy necklace for the party.

A style mentor in her own right, Dimant signed copies of her chic new read to an impressive sized crowd, many in which seemed like close friends of the author. Attendees mingled, enjoyed champaign, and browsed Scoop NYC for fashion items ideal for their own signature look.

If you’re looking for a great book to take to the beach or pool you can’t go wrong with this fun, fashionable page turner.

Not only are the fragrances perfect for travel, the scents themselves take you away to far away cities. Founder of Nomaterra, Agnieszka Sygnarowiez Burnett, based each fragrance on the first three locations her family traveled to after arriving in the United States from Poland in 1986: Miami, Washington D.C., and East Hampton. Our favorite is Miami, which is infused with this hot spot’s local coconut and orange blossom. Whichever scent takes you on your favorite escape, count on it being an fabulously aromatic getaway.

During our interview with Birman, he talked with us about the collection’s intricate fine details that include handcrafted accents and  exotic materials. This season, Birman used a great deal of multi-hued snakeskin, and every pair could serve as the perfect palette to incorporate into your spring wardrobe. Birman said he was inspired by the color saturated in the rainforest of his native Brazil, where his father founded the footwear retailer Arezzo&Co in the 1970s. “I was born and raised in a shoe factory — and that’s not marketing, that’s the true story of my life,” says Birman. Even if you missed the party’s cocktails and DJ, you can still sink your feet into your very own striking pair of Alexandre Birman footwear at Saks.

“Saks Fifth Avenue has been wonderful to me,” gushed Sarah Besnainou, founder and designer of elegant French jewelry line Etername, during our interview in a lavish private viewing room at apparel giants 5th Avenue store. “They wanted to recreate a Parisian atmosphere,” Besnainou beamed, scanning the room’s indigo and sage green walls, plush parlor chairs and country quaint décor.

Although Etername has become a global brand since its foundation in Paris five years ago, its partnership with Saks Fifth Avenue marks its first U.S. enterprise, a venture that Saks Fifth Avenue met with mutual enthusiasm, evident by the thoughtful details that made Etername’s viewing room so beautiful. But truthfully, with stunning Etername pieces of fine jewelry gleaming through glass display windows, the setting couldn’t be less than luxe.
For the new partnership, Etername launched an exclusive Saks Fifth Avenue collection in the center of their world class, New York City jewelry department, where Besnainou herself conducted sales with an involved, hands-on approach. Sales were going so well, that it was only a brief moment in the viewing room before Besnainou hustled us back to her spot on the floor, as her self-designed, very chic earrings swayed to and fro.

Once at the small formation of glass cases displaying Etername’s jewels, Besnainou’s secret to global success became clear like her diamonds but complex like their meticulously placed configurations. There was the obvious: dazzling gems in sleek designs, but there was also Besnainou’s very sophisticated skill at connecting with potential clients. They were clearly her main focus, and like her jewelry, even we faded when around their shining presence.

In the moments between interested onlookers, Besnainou disclosed in her charming French accent that interpersonal connections made with clients are not just about closing deals. “(The connections) inspire the very designs clients invest in!” she said with genuine enthusiasm that was becoming reoccurring. “I capture moments of inspiration with jewelry, making them last forever, which is why (I chose) the name Etername,” which translates to “make me eternal.”

For Besnainou however, inspiration for her designs is not just limited to shared connections with Etername clients. For example, the Odaya black gold earrings with black spinals were conceived on a special day with her family, “My 6 year old niece was playing with rocks in the water, and I loved the ripples,” Besnainou said. “Every piece has special meaning and there is a reason why they are here.”

Besnainou does draw inspiration from the world around her, but she also listens to what her clients want. “I try to design something specific for each client, with their soul and inspiration in mind as to express who they are. I hear their story,” Besnainou said.

Visions of the Middle East on a trip to see a friend in Dubai inspired Etername’s Noor collection, with Noor meaning “to illuminate” in Arabic. Palace window work, streaming with bright light, greatly shaped its’ pieces, seen with intricate craftsmanship on a pink gold arm cuff with brown diamonds. “It’s a traditional design from the middle east, but I treat it in modern way,” Besnainou said.

At age 30, Besnainou ’s youth lends a great advantage to Etername’s distinct fresh take on timeless materials and traditional aesthetics, which results to greater connectivity to the evolving needs and tastes of clients. Pointing to one of the glass cases that displayed charcoal black-gold jewelry, Besnainou said, “Black is very trendy and modern and for me, as a young person, I want something modern to bring to the industry.”

Perhaps her youth also provides her ceaseless energy in pursuing new inspiration and relationships with U.S. clients. With as much skill as her designing eye, she has been actively forging meaningful interchanges during this U.S. expansion.

“Yesterday I had a lunch to connect with my clients, to see what they identify with, so that I can design for them” Besnainou said, with a look of sincere excitement on her face. “And I’ve been talking to a lot of people on the Saks Fifth Avenue sales floor.” 
She went on to say she is using these U.S. client inspirations to design a future collection that will be exclusive to Saks, and offered nowhere else in the world.

Forward time a few weeks later, our paths cross again with Besnainou at The Mark Hotel. She rented a chic room for an Etername press preview, where a black chandelier draped with strands of faux pearls, and an array of lit candles set a romantic tone, which somehow seemed fitting.

A romantic occasion indeed, as a man and a woman within five minutes, enter the room and sit down at the table, as what appears to be interested clients. Just as our experience at Saks, it was very clear where Besnainou priorities are, as she greeted patrons with great warmth and zeal, and created ease with light heartened joking and chatter.

“These I designed for Kylie Monogue,” she said to the couple, pointing to her bestselling Ellipses earrings, which recreate the luminous stars in the galaxy. While thinking about Besnainou’s celebrity following, with clients including Diane Kruger and Audrey Marnay, we over hear that the earrings come in four variations, including a black gold pair encrusted with sapphires.

After a rushed interview, and a gift bag in hand, any feelings of neglect are soon dissipated when Besnainou happily reveals a shiny silver version of her Entrelacs ring, that fits both our finger and the moment perfectly. Our time with Besnainou felt complete now that we ourselves had the privilege to experience firsthand what a connection felt like between ourselves and an Etername piece, and we were equally enthused that it could now last forever.

Execs from L.R. Paris, a brand that has forged its esteemed reputation on creativity and craftsmanship, were the ones that perhaps made Q+A feel most at home at their reception. Michael Breault CEO of L.R. Paris chatted with us about the numerous opportunities NY offers while the company’s CFO, Gerard Manfredonia, told us he joined the team in faith of Breault’s upstanding reputation for elevating a company.
When it comes to luxe gifting no ones does it like L.R. Paris, who produce beautifully crafted achievements that come with a white glove product fulfillment. They produced a custom wood box for President Barack Obama, champagne glasses for Prince Albert of Monaco, and an alligator passport holder for Harry Winston.

Kork-Ease: Founded in 1953, is a Brooklyn, New York based brand credited for the original cork wedge sandal. The wedge is a stellar option if you seek comfort, but still crave glamorous height. We love the Dixie Platform Wedge for its color blocking that looks hand painted. The cushioned, luxe leather Colette heel in Petunia Purple offers a wide 4 inch heel for more support and looks sharp for the work place.

Vintage Shoe Company: Crafting footwear since 1883, this season Vintage Shoe Company tapped into their vast archive to recreate some of their footwear favorites. We loved the flat Henna Shoe, which actually dates back to as early as 1806! These leather lined, suede classics range in sumptuous spring pastel hues that look adorable with a sun dress and also feel divine on your feet.

Børn Crown: Known for its indulgent built in sole pad technology, we thought this line’s neutral toned footwear options were the epitome of functionality and comfort. Choose your fave beige between the forward shaped cork Yemena High Heel, the simple and classic Katherine Wedge, or the neutral Jill Gladiator slip-on sandal with sheen, all made from Veg Cow leather. Your feet will love you for it.

Gents sexy new website features a provocative black and white ad campaign with male models donning tuxes and black caps. The solid black cap, known as the director’s cap, is one of Gents’ biggest sellers.  The brand provides hundreds of customization options with color, threading, logo design, and signature lines for creating a truly personalized cap. No matter your preferences for customization, Reed guarantees the results to be clean and non-flashy, the epitome of gentleman chic. “The guy who wanted this cap wants something minimal to make a statement in understated way,” adds Reed.

Reed worked diligently to make the customization template on the website very user friendly, something he said is especially important to male shoppers. Gents is not limited to males, however. Female celebrities including Zoe Saldana and Shay Mitchell have been spotted sporting their own customized Gents caps, posing the question, could they also be the new look for women?

But true to the name Gents, the site just launched stylish basics for men, including solid, clean cut t-shirts and V-necks, that like the caps, are supreme in fit and comfort, but are offered at a gentlemanly price point. “To me,” says Reed. “The definition of Gents is attainable luxury.”

For the launch of Ermenegildo Zegna’s new exclusive men’s fragrance collection, Essenze, CEO Gildo Zegna and Esteé Lauder CEO Fabrizio Freda hosted a star studded soiree at the Italian brand’s Fifth Avenue boutique attended by TV hosts Matt Lauer and Dan Abrams, as well as A-list actors such as Kelly Rutherford, Ed Burns, Peter Facinelli, and Solange Knowles, who mixed tracks as the party’s DJ.

Essenze is composed of five alluring scents inspired by Ermenegildo Zegna Couture, which for over a century has stylized men to true sophistication with their luxe menswear collections. In collaboration with Esteé Lauder, the Essenze cologne collection was formulated specifically for the urbane man who, in every sense, exudes an aura of refinement.

Although each of the five scents are unique, they share a common thread of Bergamot region in Calabria, which is one of the most celebrated citrus notes known to Italy. In the same way that Ermenegildo Zegna designs clothing of the finest quality, Essenze is cultivated from the most exquisite of raw materials. Even the Bergamot utilized in its creation is planted and harvested from a single field, specifically for the line.
At the fete, the five Essenze scents were captured in miniature wooden boxes and presented on floating trays for party goers to indulge and pick their signature aroma. We loved Indonesian Oud which world renowned perfumer and collaborator in the creation of Essenze, Jacques Cavallier, said of the fragrance, “Together with precious rose and alluring amber, I wanted to create a sultry dream of a faraway land.”

With great pride, she sported one of her vivid scarfs from her holiday 2012/resort 2013 collection, which recently launched on her website, SheilaJohnsonCollection.com. The scarfs are all crafted from natural yarn, made in Prato, Italy and incorporate digital imprints of photographs Johnson has taken throughout her world travels and philanthropy work. “I’ve been shooting some very incredible pictures that really moved and inspired me, and, I asked myself, should I put them in a book? No, everybody puts them in a book. I wanted to touch others through wearing them and sharing their stories,” said Johnson. The scarfs also gain meaning as a portion of proceeds go the life changing Lady Salamanders, the first ever all women’s team to represent the US at 56 nation Homeless World Cup in Brazil. Every purchase made in the store that night received a 10% discount, and a 10% donation was made to the Lady Salamanders.

The British Fashion Awards 2012 Winners
1. EMERGING TALENT AWARD – READY-TO-WEAR
‘An innovative and directional designer who is emerging as an influential force in British fashion in the ready-to-wear category.’
Winner: J.W. Anderson
Nominees: Michael van der Ham and Simone Rocha

2. EMERGING TALENT AWARD – ACCESSORIES
‘An innovative and directional accessories designer who is emerging as an influential force in British fashion in the Accessories category.’
Winner: Sophie Hulme
Nominees: Dominic Jones and Jordan Askill

3. EMERGING TALENT AWARD – MENSWEAR
‘An innovative and directional designer who is emerging as an influential force in British menswear ready-to-wear design.’
Winner: Jonathan Saunders
Nominees: Agi & Sam and Lou Dalton

4. MODEL
‘A British model who has contributed most to the international fashion scene in the past year.’
Winner: Cara Delevingne
Nominees: David Gandy and Jourdan Dunn

5. DESIGNER BRAND
‘A leading British based designer brand that has excelled and made an impact on the international stage over the past year.’
Winner: Stella McCartney
Nominees: Alexander McQueen, Burberry and Mulberry

6. MENSWEAR DESIGNER
‘A leading British designer of ready-to-wear and bespoke tailoring who has been instrumental in enhancing men’s fashion in the past year.’
Winner: Kim Jones for Louis Vuitton
Nominees: Oliver Spencer and Richard James

7. ISABELLA BLOW AWARD FOR FASHION CREATOR
‘A British creative, stylist, make-up artist, photographer, art director or producer whose creativity has been a major inspiration and influence in the past year.’
Winner: Professor Louise Wilson OBE
Nominees: Edward Enninful and Katie Grand

8. RED CARPET AWARD
‘Gives recognition to a British designer who is creating global awareness of their designs through Red Carpet dressing and the resulting media coverage.’
Winner: Roksanda Ilincic
Nominees: Alessandra Rich, Stella McCartney and Victoria Beckham

9. ACCESSORY DESIGNER
‘The leading British designer of shoes, jewellery, millinery or accessories within the past year.’
Winner: Nicholas Kirkwood
Nominees: Katie Hillier and Philip Treacy

10. NEW ESTABLISHMENT AWARD
‘The New Establishment Award recognises a particular movement in British fashion that is taking the industry by storm.’
Winner: Erdem
Nominees: Jonathan Saunders and Meadham Kirchhoff

11. DESIGNER OF THE YEAR
‘The ultimate accolade, which recognises an internationally acclaimed, leading British designer of couture, ready-to-wear, knitwear or accessories who has directed the shape of fashion in the past year both in the UK and internationally.’
Winner: Stella McCartney
Nominees: Christopher Kane and Mary Katrantzou

Alexa Chung took home the coveted Vadafone sponsored British Style Award for the third year running.

The British Fashion Award for Outstanding Achievement in Fashion, was awarded to Manolo Blahnik CBE.

The British Fashion Awards celebrate the breadth and depth of talent in the British fashion industry from the emerging stars to the designer brands, models and style icons, from creatives through to awarding the ultimate accolade, Designer of the Year.

Scanning through Omen PR’s lookbooks, we discovered another trend, pants paired with an ankle strap stiletto that created the ideal opportunity to showcase sexy footwear and your skinnies at the same time.

The event not surprisingly drew a crowd of men in sleek suits, including Sarar’s current worldwide model, Sean O’Pry. If he wasn’t enough for the eyes, Miss New York 2012, Mallory Hagan, who looked stunning in a red Sarar evening gown, hosted the night’s event. Although, Sarar only offers men’s clothing in the US, their international markets, which extends to stores in 49 countries, are buzzing with Sarar’s elegant womenswear. Hagan, who partnered with Sarar for her year as Miss New York, raved that their clothing is a beautiful mix of business and femininity that provides a great fit. “I couldn’t ask for more. I need to be professional but also fashion forward,” Hagan said. “Sarar is the best of all of the worlds combined.”

As it turns out, a diamond is not a girl’s best friend, rather, it is just one of many, especially when that girl is surrounded by exquisite rubies, emeralds, sapphires and more! Every piece was outstanding in its own unique right, but one trend that earned our vote was the presence of vintage inspired pieces, such as a Gregory Crawford art deco pendent necklace in citrine, sapphire, and tourmaline. If you’re seek something less trendy and more classic, we suggest opals as a gorgeous alternative. Our vote went to a statement John W. Ford ring accented with sleek and simple diamonds which created a stunning contrast. What really stole our heart was pair of quirky, Anil Maloo earrings that made pearls seem edgy. We didn’t think pearls had so much gusto! It was clear though that the AGTA Media Day was full of gleaming possibilities.

For day there is a masculine suit with easy, feminine lines, enhanced by matt opaque silk: the trousers are straight and soft and tight at the bottom; jackets have regular shoulders and a barely marked waist, and there are matching light skirts, shorts and tops in the same fabrics and colors.

The knitwear is fluid and creates a youthful and fresh line in neutral pastel hues that are bright and cold. A new, light, extra-large foulard that enhances the sense of movement is held to the neck by a metal half moon accessory.

As with evening make-up, for this time of day natural shades such as bronze, gold and platinum become iridescent. The design becomes bolder and more linear, and arms and legs are revealed: all-in-ones and dresses become shorter, and tops are dramatically strapless.

The ethos of the moment is enhanced by natural leather or cognac-hued accessories with a saddlery feel: from the visor with raw edges, to driving gloves, to large hoop earrings.

The London Fashion Week live stream runway show schedule is listed below. All times are local London GMT.

Friday 14th September
09.00 – Antoni & Alison
11.00 – Caroline Charles
13.00 – Maria Grachvogel
14.00 – Corrie Nielson
15.15 – Bora Aksu
17.00 – Jean-Pierre Braganza
19.00 – Felder Felder
20.30 – KTZ

Saturday 15th September
09.00 – DAKS
10.00 – Kinder Aggugini
13.00 – Jasper Conran
15.00 – Todd Lynn
17.00 – John Rocha
19.00 – Issa London

Sunday 16th September
12.00 – Marios Schwab

Monday 17th September
12.00 – David Koma
17.00 – Mark Fast
20.00 – Osman

Tuesday 18th September
12.00 – Simone Rocha
15.00 – Ashish
17.00 – Aminaka Wilmont
18.30 – Fashion Fringe

Q+A UK: What is the key to being a successful male model? What is the biggest reward of the job?
ALEX GEERMAN: Determination, dedication and staying fit at all times, so you are always prepared to take any job that comes along. The biggest reward is having the ability to travel the world!

Q+A UK: Tell us, how do you keep in shape? What is your diet and fitness routine like?
ALEX: I put in a lot of hard work in the gym! I am a personal trainer as well so when I am training a client I will also train alongside them. My diet consists of lean protein and fresh vegetables. I also make a great shake! One of my favourite concoctions contains banana, almond milk, vanilla protein powder, a scoop of all natural peanut butter a little wheat germ, ground flax seed, cinnamon, honey and lots of ice. It is great in the summer or if you want something sweet and very filling.

Q+A UK: How much pressure do you feel to stay in peak condition?
ALEX: When I first started modelling, all my friends were eating pizza and fast food, all the food I  could not eat, and let me tell you the temptation was certainly there. I am quite seasoned in the industry now, so I have learned how to maintain a balanced diet, unless a jar of Nutella is in the house then that is a different story!

Q+A UK: What products do you use to keep your skin and hair looking camera ready?
ALEX: I have good skin, but occasionally I will raid my little sister’s bathroom as she is always experimenting with new products. Proactive is great for preventing the occasional breakout. I am wearing my hair shorter now, so I do not really need to do too much in terms of styling, but I like Got 2b Glued products.

Q+A UK: We hear you recently got married, congrats! This news may break a few of your fans hearts. Tell us, what characteristics do you look for in a woman? Describe your dream girl?
ALEX: Yes, I got married this summer and I was lucky enough to find my dream girl very young! In terms of what I was looking for in a partner, the list is long: beautiful inside and out, fit, smart, secure, happy, loving, sweet, funny, organized, loves animals, great cook, no smoking, likes to travel, has great family values and understands how much I love my family. Lucky for me that my wife is all of these things and more!

Q+A UK: As the end of summer approaches, what were your big summer travel plans?
ALEX: My wife and I went on an amazing honeymoon that started in St. Martin then went to St. Barts and finally to my hometown of Aruba, where I was born and raised! We have a vacation house there and a lot of my family lives on the island including my father.

Q+A UK: How does your style differ from the high-fashion spreads you are photographed for? What designers do you have in your closet?
ALEX: My style is definitely relaxed. I like to wear long board shorts if I am running around. When I am at the beach I wear swimwear by Charlie by Matthew Zink as he has many great suits and styles. I also have H&M, Calvin Klein and of course Ralph Lauren in my closet!

Q+A UK: What photographers do you love to shoot with and who are you dreaming of working with?
ALEX: Marc Spielberg, Rick Day and Tarrice Love  are some of my favourites. I really want to work with Arnaldo Anaya-Lucca he is an amazing photographer and that would really be a dream come true!

Q+A UK: What magazines do you read? And, what fashion websites/blogs do you have bookmarked?
ALEX: I read Men’s Health, Men’s Fitness and Islands and Yachts.

Q+A UK: What does it mean to you to be Q+A’s first male cover model?
ALEX: I am truly honoured to be the first male model to make the cover of Q+A. Thank you for choosing me!

Technology used to create prescription contact lenses is now much more sophisticated. Companies like Acuvue, offer blink stabilized design, ultraviolet absorbing lenses and disposable soft toric contact lens for individuals with astigmatism.

When you need to switch up on the contact lens, prescription eyeglasses are a welcomed alternative for those, who fancy fierce frames. Geek chic, retro-rad and Jackie O sleek styles have never been more popular. From thick frames to jewelled accents, to contours and colour, designer brands like Giorgio Armani, Gucci, Prada and Bulgari are incorporating high-craftsmanship in their eyewear that is also synonymous with their brand.

Last, but not least, no lifestyle is complete without sunglasses that protect the eyes from UV rays on bright sunny days. “For those who need vision correction, a significant measure of UV protection can be achieved with a combination of UV-absorbing sunglasses, a wide-brimmed hat, and UV-blocking contact lenses,” says Karl M. Citek, OD, Ph.D., Chair of the Commission on Ophthalmic Standards. No matter what your age or style getting regular eye exams, ensuring contact lens compliance and wearing a hat whenever possible are also important things to consider in maintaining eye health and wellness.

Photo Credit: Mert Alas & Marcus Piggott for Giorgio Armani, featuring model Milou Van Groesen

More Topshop…

At first, there seemed to be a palpable restraint to the outerwear, a highlight in any Marni show. Not that it was completely lacking in elevation. No beaver fur here, but there was an undeniable gravitas to a light blue technical taffeta cropped jacket with gold studs adorning the collar. There was also plenty of the house’s noted femininity, which played well in the Western-motif construct, most notably in those dropped hem circle skirts, made to be worn in the most polished of proverbial saloons. And still, it was Castiglioni’s venturing into menswear that made certain ensembles stand out for all the right reasons, namely speaking of those relaxed, slouchy pants that matched cinched at the waist cowgirl tops. Delicate, but masterful.

The embroidery on the plackets of coats and the impressive beadwork on the final linen dresses aside, it was the use of raffia that really drove Marni’s textural story. Three-piece looks were imbued entirely in a crosshatch pattern of raffia that gave the garments an inviting three-dimensional effect. The best of these came in a sheer raffia circle skirt below a soft citron waistcoat. Finished off with sheer thigh-high socks under gold-plated strappy platform heels, the result was more carnal than Cowgirl, and pleasantly so.

Check out author Alexander Patino’s site, the Patino Blog, for insightful fashion quips and stylish commentary.

As a Berliner who is always dashing about through the city, I tend to dress up my own looks with accessories, keeping my style sleek and comfortable for my on-the-go lifestyle. Berlin fashion is certainly influenced by the many different ethno-culturals and by the tourists that trek to into the city each year.

Berlin street style is often very casual and crazy, like the city itself. I snapped a few street style looks in between my busy show schedule, and what you immediately notice in each photo are impressively large statement accessories. The fashion you will find on the streets of Berlin has a urban point of view, and jewelry makes this urban edge come to life.

Discover what Berlin fashion has to offer, check out my blog, My Berlin Fashion, My-berlin-fashion.com, and be sure to follow me on Twitter, @myberlinfashion.

In an exclusive interview with Q+A UK on location at her May Spring Delights issue cover shoot photographed by Renato Moretti, Vianna opens up about her spring wardrobe essentials, getting bikini ready and where she’ll be travelling for her birthday.

Q+A UK: What does it mean to you to be a Q+A cover girl?
MARIA HELENA VIANNA: I love Fashion Q+A, so it is an honour. I am very happy to be a part of a new and growing player in the industry, and I love how the cover came out. I am very happy with this job.

Q+A UK: Tell us, what was the most memorable moment shooting with Renato Moretti?
MARIA HELENA: Like any good photographer, Renato had to make me suffer (she smiles), such as during the final shot with the water backdrop. The rocks were very slippery, but I was able to walk away from this one without any scratch, which is not always the case.

Q+A UK: What are your spring wardrobe essentials?
MARIA HELENA: Mini-skirts! They are timeless, essential, and when chosen right, always a hit. I love when the temperature becomes warm enough for a mini because it means spring is here! It is one of the things I love about living in Brazil, I get to wear a mini for 10 months out of the year. In New York, it is maybe 6 months out of the year. I also love any Hermes silk scarf for the colder spring nights.

Q+A UK: When laying out at the beach, what products do you use to protect your skin from sun damage?
MARIA HELENA: Sun protection is so important. I never leave the house without putting on sun block. I use no less than an SPF 30, and for a long day at the beach or pool, I go for an SPF 100.

Q+A UK: What swimwear brands do you love?
MARIA HELENA: My favourites are CIA Maritima, Rosa Cha and Morena Rosa, in no particular order. I think the Brazilian bikini cut is so much sexier than anywhere else in the world. Most of my bikinis are Brazilian. I do have a few from Ralph Lauren in my drawer, as he is my favourite in the US.

Q+A UK: Can you share your secrets for looking great in a bikini?
MARIA HELENA: First, choose a bikini that`s right for your body type, then it’s all about diet and working out!! Exercise and healthy eating are the only way to maintain form for the long term! I love my gym in Sao Paulo, it`s called Competition, and the name says is it all. The competition in my industry is fierce, so that`s where you`ll find me at least 4 days a week, either taking Pilates or yoga classes, or training with my amazing trainer, Ana Paula Gomes – she is the best at getting me ready for a swimwear campaign.

Q+A UK: What is your ultimate spring break destination?
MARIA HELENA: St. John in the US Virgin Islands! I spent one New Year’s there, it was absolutely the most beautiful place on Earth! I also love relaxing on the beaches of my hometown, Maceio. It is a gorgeous beach town in the North of Brazil.

Q+A UK: In terms of photo shoots, what is the most exotic location you have travelled to? 
MARIA HELENA: I have to give the prize to St. John again. Their clear blue water is just so amazing, and because it is a National Park, only 20% of the land is developed, so the beaches are untouched by resorts, and the landscape is just breathtaking.

Q+A UK: What’s your favourite vacation spot in Brazil?
MARIA HELENA: I enjoy going to Ilha Bela, near Sao Paulo, they have a resort called DPNY Beach Hotel, which is the best beach resort in Brazil! I could spend an entire day in their spa getting body treatments and massages. There is so much to do at DPNY including water activities, a beach club, and their restaurant Troia is to die for. This question just made me want to take a 3-day weekend there again!

Q+A UK: In terms of music, tell us, what would be on your beach playlist?
MARIA HELENA: I love to relax when I`m at the beach, so definitely something soothing, like Enigma or something more romantic at night like Luther Vandross or Marvin Gaye.

Q+A UK: What beauty products would we find in your beach bag?
MARIA HELENA: Definitely my SPF 100 sunscreen, sunglasses, camera, my iPod and blackberry, yes I`m still in love with my blackberry!

Q+A UK: What are your plans for summer, i.e. travel, work, etc?
MARIA HELENA: Well, in Brazil we`re approaching winter, but the beach is still great some days. This weekend, I am celebrating my birthday at DPNY Beach Resort and I am so excited for a weekend of sun and fun. I would definitely like to get to New York during their summer season and spend a little time with friends and family. I would love to visit Connecticut or the Hamptons. As for work, it never stops. I’m between modelling and acting jobs. I am taking acting classes at Macunaima as well as working with Delphis Fonseca to hone in on my television hosting skills.

Check out Maria Helena Vianna in Q+A’s ‘Spring Break Brazil‘ photo spread, here.

This year’s gala celebrates The Costume Institute of The MET’s spring 2012 exhibition, Schiaparelli and Prada: Impossible Conversations. The exhibition, on view to the public from May 10 through August 19, ‘explores the striking affinities between Italian designers Elsa Schiaparelli and Miuccia Prada’. Curators Harold Koda and Andrew Bolton orchestrated conversations between these iconic women to facilitate an opportunity to expose both of their most innovative work. On display are approximately 100 designs and 40 accessories by Schiaparelli (1890–1973) from the late 1920s to the early 1950s. The conversation then turns to Prada, from the late 1980s to the present, drawn from The Costume Institute’s collection and the Prada Archives.

“Juxtaposing the work of Elsa Schiaparelli and Miuccia Prada allows us to explore how the past enlightens the present and how the present enlivens the past,” said Koda, who has been the curator in charge of the Costume Institute at the MET since 2000.

The Metropolitan Museum of Art’s renowned Costume Institute Benefit was streamed live for the first time. If you missed the incredible fête of fashion, watch highlights from the telecast here.

Recognizing a need for a real-time dialogue on key fashion topics and what they mean to some of the most dynamic and authoritative creative minds in the industry, British Vogue and  luxury mobile manufacturer Vertu present ‘The Vogue Festival 2012’. This two-day debate (April 20-21), held at The Royal Geographic Society in London, seeks to engage and spark conversation among international designers, models, photographers and journalists.

The programme includes discussions on age limits in fashion, secrets to running a successful business and brand customization in the market place — with Christopher Bailey, David Bailey, Laura Bailey, Edie Campbell, Lucinda Chambers, Lily Cole, Jourdan Dunn, Domenico Dolce, Stefano Gabbana, David Downton, Tom Ford, Holly Fulton, Pixie Geldof, Eve Herzigova, Henry Holland, Kate Hudson, Roksanda Ilincic, Christopher Kane, Mary Katrantzou, Nicholas Kirkwood, Nigella Lawson, Natalie Massenet, Stella McCartney, Marigay McKee, Erdem Moralioglu, Mary Portas, Anne Robinson, Alexandra Shulman, Natalia Vodianova, Diane von Furstenberg, Tim Walker, Matthew Williamson, Kirsty Young, Richard Young, and Rachel Zoe.

Last night played host to an exclusive cocktail party and private debate chaired by British Vogue Editor-in-chief Alexandra Shulman with panellist Perry Oosting, President of Vertu, illustrator David Downton, Net-a-Porter founder Natalie Massenet and designer Erdem Moralioglu, who discussed whether technology shapes desire or desire shapes technology. “Vertu is immensely excited about its involvement with the first ever Vogue Festival, this unique event will allow the public to see and hear some of the biggest names in fashion today, as well as engage with interesting issues and topics around the fashion and luxury industries” said Oosting.

Are you eager to join the conversation? Individual tickets are available for both morning and afternoon sessions. Each half-day ticket (£75 per session) grants access to the main talks and panel discussions. Guest will also be able to enjoy a wide range of activities including mini hairstyling sessions with colourist Josh Wood, makeovers with Armani beauty experts, touch-ups with Chanel beauty guru Mary Greenwell, Vogue photo shoots, t-shirt customisation, trend talks, fashion films, and a Vogue pop up shop.

For further information please visit: Voguefestival.co.uk

Photos by Nick Harvey

The concert will feature a star-studded evening with former American President Bill Clinton making a special appearance as well as performances by John Legend and Natasha Bedingfield.

“I am very excited to be celebrating the fifth anniversary of FEED as we have accomplished so much in the past few years. We have sold more than 550,000 bags, providing nearly 60 million meals for underprivileged children in 62 countries,” says Chief FEEDer and Co-founder of FEED, Lauren Bush Lauren (pictured above), who is married to designer Ralph Lauren’s son David. “I am also grateful to have Clarins as our partner for this event and look forward to an entertaining night that people will remember.”

In addition to the concert, Clarins partnership with FEED has the lofty goal of providing one million meals to children around the world. In the first six months, the beauty brand has already reached 425,000 meals. “We are proud to share in this milestone with Lauren and FEED, as Clarins has always been committed to improving the lives of women and children,” says Christian Courtin-Clarins, Chairman of the Supervisory Board, Clarins Group.

For more information regarding the concert and to purchase tickets please visit, Lincolncenter.org

Related Post: Lauren Bush’s FEED Project Teams Up with Clarins for Nordstrom

The custom Giorgio Armani wardrobe created for the pop-star is characterized by extreme forms and futuristic materials – latex, metal, studs, PVC – crafted with couture savoir faire. Each outfit is completed with detailed, other-worldly accessories. “Collaborating with Lady Gaga is always an exciting experience for me. I admire the way she uses fashion as a scenic element and as a means to build a character,” says Armani, 77. “She is an artist of many talents and great intelligence. Creating stage costumes for her is a stimulating and creative exercise.”

BEHIND THE SEAMS (Left to right)

Look One (pictured at top): Begins with black bodice, transparent Plexiglas, black crystals and luminous studs that create a Cubist composition of abstract guitars. The matching headpiece follows in the shape of a keyboard and the boots are black vinyl.

Look Two: A long tunic with leg-o-mutton sleeves made of skin-toned latex. Luminous PVC elements create flashes of synthetic light inside the garment. The same avant-garde lighting is featured on the triangle decorating the chest, on the headpiece, and on the platform of the matching latex ankle boots.

Look Three: A shiny black grid-patterned PVC bodice with matching headpiece and embroidered ankle boots. Highlights include shoulders outlined by a play of sharp spikes, black Swarovski jet crystals and flowing fringe, creating a moving architecture

Look Four: A black bodice made of tubular PVC elements connected with metal studs, with mirrored metal inserts to define a curvaceous design. The ensemble is highlighted by a matching headpiece, robotic thigh-high boots, and exaggerated gloves ending in mirrored nails.

Giorgio Armani began his collaboration with Lady Gaga in 2010. The famed Italian designer teamed up with Gaga for the Grammy Awards ceremony as well as looks for her Monster Ball tour and the fashionable partnership continues. 

She may be sophisticated but this ‘Lady’ knows how to be sexy. It’s all about the short suit to keep us cool during the spring/summer months. Carven, Loewe and Givenchy turned heads with their sleek variations on femininity — High waist short-shorts paired with collared shirts, and finished off with tailored jackets. Opt for a monotone palette, or mix it up like Carven with a two toned bright shirt for a little quirkiness. Proenza Schouler took a leap into the bold world of suit dressing adding leather patches to their shorts for a harder edge. Be sure to pair your shorts with fine heels for that extra long look.

When to wear: ‘Lady Like’ dressing can take you from the office to a cocktail bar. For a bolder evening look, try leather and metal detailing to show off your ‘Lady Like’ stylish credentials.

More 3.1 Phillip Lim…

The films were screened for the first time at the Independent Ideas headquarters in Milan, and hosted by Lapo Elkann. A special 500 by Gucci drive-in was installed in the venue where attendees viewed the screening while comfortably being seated in the Fiat 500C by Gucci.

Unveiled in February 2011 the Fiat 500 by Gucci is a special edition of the iconic Fiat 500 customized by Gucci Creative Director Frida Giannini in partnership with Fiat’s Centro Stile.

—THE FILMS—

Purple presents “Papillon Polaroid” a film by Olivier Zahm, co-founder of the French fashion and culture magazine Purple.
“Papillon Polaroid”, featuring Betony Vernon, is set at the Museo Casa Mollino, Torino, former home and now museum dedicated to Italian designer and architect, Carlo Mollino. This film would create a poetic combination of three pillars of Italian design: Fiat, Gucci, and Mollino.

Dazed & Confused presents “The Race” a film by Will Davidson, a NY-based photographer and director.
The Fiat 500 by Gucci, an exhilarating embodiment of Italian spirit stars in The Race – a short film exclusive to Dazed directed by fashion photographer Will Davidson.

NOWNESS presents “Assembly line” a film by hot, new British director Chris Sweeney.
Chris Sweeney’s film for the 500 by Gucci fuses two power houses of Italian design with a playful twist that brings the 500 to life in a completely unexpected way.

Vogue presents “Reverse to Perfection” a film by photographer Francesco Carrozzini.
Luxury restores order with the Fiat 500 by Gucci.

“Divergence” a film by “new generation” Chinese director Alexi Tan.
Two lovers are having a secret affair. They long to be together and at the same time they know they shouldn’t be. Just like their passionate encounters, their one of a kind cars, two Fiat 500 By Gucci also reflect the state of their relationship, moving fast apart but always finding a way to come back. She decides to leave once and for all, he makes the chase… will they return to one another one more time?

Watch the complete movies, 500bygucci.com/shortvideos

“Time,” a concept that is often ignored in the modern pursuit for efficiency, is a value that still lives on with the making things of the Tohoku region. The people toil steadily as they wait for the long hard winters to pass. They live humble lives, close to nature harvesting and preparing their materials with the changing seasons. The process of “TEMA (effort)” and “HIMA (time)” is one worthy of attention particularly in the context of design for the future. How can we learn from the distinctive character, charm, and above all, philosophy shaped by Tohoku’s “TEMA HIMA” of making things and use this as a stepping stone for tomorrow?

To prepare for the exhibition, a team of designers, a food director, a journalist, film artists, and a photographer are delving into the rich tradition in the “foods and living spaces” of the six Tohoku prefectures. Farmers who pass on their unique traditions; craftsmen, who breathe life back into handcrafts; workshops with young talents to examine new possibilities for making things… Our encounters with the determined and positive people of Tohoku bore fruit as a single exhibition. The exhibition will introduce the Tohoku region’s unique version of making things, “TEMA HIMA foods and living spaces” through approximately 80 items of actual products as well as all-new footage and photographs. It will feature graphics designed by Satoh and a space designed by Fukasawa. The goal will be to identify keys to the future of design by looking into the wealth of wisdom and creative ingenuity within the collective culture and spirit of the people of Tohoku.

IN JAPAN?
Date April 27 – August 26, 2012 Closed on Tuesdays (Except May 1); Time 11:00-20:00 (Entrance until 19:30);
Admission General ¥1,000 /University Student ¥800 /High and Junior High School Student ¥500;
Venue 21_21 DESIGN SIGHT (Tokyo Midtown Garden)
9-7-6 Akasaka Minato-ku, Tokyo JAPAN / Tel. +81(0) 3-3475-2121
www.2121designsight.jp
Twitter: Twitter.com/TEMAHIMA
Facebook: Facebook.com/temahima

Moving away from his native Australia in 1990 to London and then on to Paris, it would seem that Grant has taken on the quintessential Parisian style. Like the women of Paris, his creations are understated and dignified, but there is an abundance of class and quality that shines through the luxurious materials, simplicity of lines, elongated silhouettes and feminine functionality.

His low profile approach to the fashion industry may be unusual, but it has nurtured a respect from key players and followers who will faithfully attend each show to observe his skill and knowledge about how to make simplicity stylish. From the moment he set up his first boutique in Paris in 1992, Grant has purposefully presented his collections to a small selected audience, enhancing the elite and sophisticated quality that surrounds his designs. This method has allowed him to maintain a strong and steady position within the industry, providing a somewhat refreshing approach to dress through his decision to create timeless designs that will remain current season after season, and offering a direct contrast to those collections whose radicalism provides an instantaneous rush for critics that will quickly fade when another designer goes one step further. Although Grant may have received criticism for his lack of adventure, perhaps it is more distinctive to see a designer remaining faithful to his philosophy and nurturing a style that he knows will consistently speak to his audience.

Working in the industry for over twenty years now, Grant has established a Parisian signature that evokes a careful handiwork appealing to his elegant clientele season after season. His style has attracted women like Cate Blanchett and Lauren Hutton, both of whom embrace Grant’s love for quality materials, craftsmanship, and feminine shapes. High quality coats that come in suede, cashmere, leather and angora wool, are sold worldwide in major stores from New York to Tokyo.

You only have to type Martin Grant into Google to discover his widely respected design philosophy and an absolute dedication to his clientele. While he keeps a very low profile, we wanted to get a little more personal with the designer. Q+A UK got an insight into his life in Paris, his classic style, and an unexpected passion for landscape design.

Fashion Q+A UK: Martin, you began your training in Australia, where you’re from, spent a brief year in London in 1991, then swiftly relocated to Paris in 1992 where you set up your own atelier. You’ve been based in Paris ever since. Would you consider yourself a Parisian and what do you miss about Melbourne?
MARTIN GRANT: I guess to a certain extend I am now a Parisian after 20 years of living here, however I still feel quintessentially Australian and miss the more relaxed atmosphere in Melbourne.

Q+A UK: When you’re off duty, where in Paris would we find you relaxing or enjoying a great meal?
GRANT: Probably at home! After years of restaurants and hotel food, I prefer home cooking.

Q+A UK: You were once quoted as saying ‘I’ve got that Australian thing of going in boots and all, trying things out and not being afraid of anything’ – everyone is afraid of something! Let us in on a secret, what are you afraid of and how do you dispel your fears and worries when they try to creep up on you?
GRANT: I am afraid of giving up smoking! And if I need to dispel this fear, I smoke a cigarette

Q+A UK: Your designs are celebrated for being elegant, sleek and wearable. What do you think has informed the chic aesthetic that is so typical of your work, do you have a particular woman or muse in mind and how do you continue to be able to reinvigorate a look that is so classic?
GRANT: My preferences when I started being interested in fashion were predominantly from the 50’s and 60’s Dior, Balenciaga, YSL. I think it’s this that has informed my classic aesthetic. As for muse, I prefer not to limit my designs to one type of woman. To reinvigorate is always a fine line that comes down in proportions and colour.

Q+A UK: Lee Radziwill, the sister of fashion icon Jackie O is a huge fan of yours. If you were to choose any another celebrity (deceased or alive) to pioneer your designs, who would this be and why?
GRANT: I find that, in this period in time, the are very few celebrities with their own sense of style. One who stands out for me and who already wears my clothing is Tilda Swinton. She has a strong personality and her own style.

Q+A UK: You have moved from showing your collections to small handfuls of guests in an old barbershop to regularly presenting collections at Paris Fashion Week. How important do you think location and audience are to the showing of your garments on a moving body and how does the location inform the perception of a collection?
GRANT: It’s always important to see clothes worn, especially when they are as simple as mine and are concentrated on cut. The models are chosen to add their personality or “look”. As for the location this often comes down to practicality. There are so many shows in a day that the primary concern is location and relation to the other shows.

Q+A UK: After soaring to success in the eighties, you chose to take time out to pursue an education in sculpture. You were becoming so successful and chose to diverge from fashion. After travelling, studying in different disciplines and becoming a successful figure in the fashion industry over the last twenty years, do you feel that there might be another path you may want to stroll down career-wise? If you weren’t designing clothes, what would your ‘plan B’ be?
GRANT: My dream is to work in landscape design, and I hope to be able to so this one day.

Q+A UK: It has been a steady, progressional climb to the top for you. Is this an approach you take in all aspects of your life and how has this informed your design process?
GRANT: It’s very important for me to take one step at a time in every aspect; I need to know that I am able to cope with situations in a solid grounded fashion.

Drawing on her education in the History of Art at Waseda University, Sugawara injects her designs with an informed touch. Fascinated with Andy Warhol, she comments that while studying she “loved wearing pop art”, a theme that was prevalent in her autumn/winter 2012 collection showcased at London Fashion Week this past Febuaury. The daughter of an artist, Sugawara was influenced to study art from an early age. Becoming vehemently absorbed by her studies, to the point that her love of art began influencing the way she dressed, she chose to then “go forward into print design” in order to nurture her new found love of patterns and pop culture. This then led to work at a French atelier and the flowering of her label, Dans La Vie.

Though print has become increasingly popular with designers in the last ten years, but Sugawara has been able to retain a sense of originality. “My prints are inspired and created through my own intellectual, emotional and real experiences” says the designer, explaining that simple scenes in city streets that she passes, going about her daily routine, can cause the flickering of an image and the subsequent melange of motifs on fabric. Dans La Vie translates to, ‘In life’. Influenced by the infamous sayings of Coco Chanel, Sugawara tells us “I value daily inspiration,” and affirms that fashion is indeed in every aspect of our lives.

Well travelled, it is no surprise that this designer’s eclectic collections are a mesh of international inspiration. Taking us through places she has seen, Sugawara details the direct correlation between her designs and influential cities she visited. From Paris, she takes “inspiration from various elements that coexist in the daily life and in the streets”, and from Milan, her “artisan techniques”. The people of London prove to be worthy muses, while subculture and street fashion in Tokyo has provoked her raw and edgier approach to design. Add to the above a dash of New York City style luxury, et voila, the DNA of Dans La Vie is revealed.

Noticeable in her collections is the unification of unlikely elements. Tulle meets print while glossy textures collide with sheer fabrics. Sugawara is a fan of Comme des Garcons’ Rei Kawakubo, a designer who also utilises and combines contrasting materials in a similar way. “I love her refined and definitive judgement”, says Sugawara, revealing another of her many creative influences alongside Prada, Balenciaga, Christopher Bailey and Vivienne Westwood. Her ‘Clash Beauty’ spring/summer 2012 collection  perfectly captures the essence of the Dans La Vie label, but rather surprisingly, the influence Sugawara cites for the collision of Madonna motifs, asphalt streets, buildings and floral prints is the devastating earthquake that hit Japan earlier this year.

Creating a beautiful and eye catching collection is no easy feat for any designer, but Sugawara has managed to transform the “pains, sorrows and fears” of the Japanese in the aftermath of the earthquake into stunning garments that are both feminine and fierce. Explaining that the word “Recover” reverberated in her during the events following the disaster, Sugawara has quite literally recovered the effects of a tragedy and sewn them together to form a vision of informed artistry, a tapestry of experiences, a Dans La Vie dress. A devout optimist, she wants to become a designer “who can share pleasure with people world-wide”.

The images we are shown on a daily basis are that of a world in turmoil, but this designer takes the dark cloud, prints it on a voluminous skirt and spins a garment from the silver lining. We await September’s London Fashion Week with baited breath.

Assuming the creative reins of a famed fashion house that has a clear and identifiable market signature is never an easy task — Think the House of Emanuel Ungaro, who has seen six designers come and go in six years. Nurturing and promoting from within, however, seems be a winning formula at Issey Miyake.

During the spring/summer 2012 (SS12) ready-to-wear season in Paris, we watched Yoshiyuki Miyamae ‘bloom’ into the role of head womenswear designer at the Japanese house, with a collection inspired by “Georgia O’Keeffe: One Hundred Flowers”. Miyamae worked alongside his predecessor, Dai Fujiwara, for five years before being appointed into his new role.

From precision tailoring to architectural silhouettes, Miyamae’s debut collection was exciting both conceptually and technically. Miyamae shed a unique light on Japanese artisanship by incorporating advanced weaving and tradition printing techniques into his SS12 designs. The Tokyo-native proved he had the ingenuity to excite the cult-like following of the Issey Miyake brand, while renewing the intrigue of fashions realized only by made-in-Japan technology.

With such a strong debut collection, industry insiders are eager to see what Miyamae will bring to the catwalk for autumn/winter 2012. Q+A UK learned that Miyamae’s second collection will be titled ‘Mineral Miracle’, taking inspiration from minerals and their secrets within.

In the midst of castings and final fittings, Miyamae manages to spare Q+A UK five minutes to talk about his core design values and collaborative creative process. Yet, he keeps us guessing as to what to expect from the show taking place at the famed Grand Palais this Sunday (March 4 at 3PM CET).

Q+A UK: Do you feel any pressure to top your highly acclaimed debut collection?
YOSHIYUKI MIYAMAE: Of course, there is always pressure to be as good as, if not better than the season before. We are continuing to experiment with new techniques, so we have some interesting ideas that you will see incorporated in the new autumn/winter 2012 collection.

Q+A UK: How would you describe your design signature for Issey Miyake?
MIYAMAE: It is too early to describe my signature style, as this is only my second mainline collection, but I would say that my desire, as designer of the Issey Miyake women’s collection, would be to capture the DNA of Issey Miyake whilst cultivating my own vision and moving it ever forward with fresh ideas and techniques, old and new. In this way, I would like to make clothes that bring excitement and delight to the wearers.

Q+A UK: What are your core values behind the meaning, ‘Made in Japan’ fashion?
MIYAMAE: My core values have always been to do great work at Issey Miyake, and that includes the opportunity to work with some of the most amazing craftspeople and talents we are lucky to have here in Japan. It is not only a joy, but also very inspiring to see how these artisans, old and new, work with techniques that are handed down generation after generation. If these talents are not developed and nurtured, they may become lost or forgotten. Made in Japan is something that makes me very proud.

Q+A UK: Choreography and lights added to the ‘wow-factor’ of your SS12 runway show. How much production are you planning for AW12?
MIYAMAE: The only thing I can reveal now is that we are preparing a special presentation on the runway. Look forward to the experience!

Q+A UK: Describe the complexity of your creative process when designing for a new season. Are you the type of designer, driven by a particular theme? Or do you find cohesiveness via fabric, construction and cut?
MIYAMAE: Of course, we set a particular theme for each season, and examine cut or form according to that. However, the most important process in making clothes is the research; we bypass superficial design because materials themselves are so much more essential to us. Through researching, an idea or source for the collection theme becomes a greater one, growing and growing until we have images and fabrics that translate the original thought process into a reality. We discuss this original idea with our technicians and pattern makers so that we can come together and work on a collection that integrates all of the elements cohesively. We all learn something new when we work together like this; it is energising and motivates us further.

Following the huge commercial success of Georgian export David Koma, a new Georgian player has emerged on the international scene: Meet Keti Chkhikvadze. A busy mother of two, Chkhikvadze, 33, was educated in Georgia’s capital at the Tbilisi State Academy of Arts, and sees her success as a product of her 2010 catwalk show presented at Georgia Fashion Week. “It was due to the Fashion Week in 2010 that I got an offer from TRANOI to open a showroom in Paris,” says Chkhikvadze, who will be showing her autumn/winter 2012 collection during Paris Fashion Week at the TRANOI exhibition on Avenue Montaigne. “As a result, I received clothing orders from clients from many countries including Saudi Arabia, Kuwait and Italy.”

Afro-Eurasia’s “Silk Road,” an ancient trading network exporting silk and jewels has been reopened in Georgia. Under the leadership of President Mikheil Saakashvili, the independent state is seeing greater upward mobility and economic progress after more than a decade of civil strife. Recognizing Georgia’s market potential in the area of fashion, Maka Saakashvili, wife of Georgia’s president, is leading a textiles revolution. A member of the official Fashion Week committee, Mrs. Saakashvili hopes to establish a sustainable fashion platform for the region by attracting international press and buyers to the event. Since the establishment of Georgian Fashion Week in 2010, the event has hosted over 70 runway shows featuring 43 designers from various countries from Caucasus and Europe. Chkhikvadze describes Mrs. Saakashvili as “a close friend and supporter” and commends her efforts. Chkhikvadze tells Q+A UK, “It was due to her contacts that Mrs. Saakashvili was able to attract sponsors and funding for the event for the past three seasons.” Championing the aim of the platform, Chkhikvadze believes that “the participation of international media and fashion experts puts Georgian fashion in the spotlight of international players.”

Chkhikvadze’s design aesthetic “pays tribute to the female form.” The fluid and almost ethereal lines in her Spring/Summer 12 (SS 12) collection reflect her belief in the “flexibility hidden in a female silhouette.” Rippling lengths of fabric and extended hemlines elongate the body. In a bid to differentiate her SS 12 from her previous collections, Chkhikvadze explains that she used “fabrics of different colours and styles.” Her collection featured neutral nautical stripes, militaristic metallic buttons, sporty elasticised waists, fetishistic belts and Scottish tartans. Halter neck dresses were created using different coloured vertical panels. However, Chkhikvadze explains to Q+A UK that her use of patchwork does not reflect the DIY aesthetic of Georgia, “although Georgia has long-standing traditions and characteristics such as the costumes of the Georgian National Ballet dancers and theatre costumes, my SS 12 collection does not bear ethnic features.”

Chkhikvadze’s creation of high end investment pieces reflects the goals of Georgia Fashion Week to foster a sustainable fashion platform. “Timeless pieces may be more costly, but I do believe they are worth investing in whenever possible as fast fashion comes and goes too rapidly,” says Chkhikvadze, who prefers to incorporate luxe materials such as fur into her designs. “Although fur can be a controversial element, it still adds style and a personal touch to the collection.”

From a postmodernist perspective, Chkhikvadze believes that contemporary fashion recontextualizes past trends. With Rick Owens, Christian Dior and Prada as her favourite designers, it’s no wonder her designs “come under the influence of the past by finding inspiration from it.” Chkhikvadze’s use of velvet puffa jackets and oversized blazers were a tribute to Owens’s male silhouette. Her recent fur creations paralleled the 70’s glamour of Dior’s AW 11 collection, while her floral fabric embellishments reflect the playfulness of Prada. “Rose embellishments have become quite a signature of my recent collections. I do enjoy recreating and replicating them on some of the models. Sometimes my clothes become easily identified due to such embellishments,” says Chkhikvadze.

Designing the interiors of her most treasured hangout, The Bed Lounge in Tbilisi, and working on her AW 12 presentation for TRANOI’S Paris showrooms in March, Chkhikvadze hopes her “circle of clients will further increase in the future.” Boasting a ready-to-wear, wedding dress and shoe collection, Chkhikvadze’s future, like Georgia’s, looks bright. As a country on the Silk Road to recovery, Chkhikvadze is fast becoming Georgia’s most treasured export.

Titled “Revolutionnaire Situation de la Forme,” Gardiva took inspiration from different movements of the 1930s. The military shapes and detailing made a reference to the architectural philosophy of the Russian Constructivism, an artistic movement prominent in the Revolution. Many of the looks also displayed Gardiva’s determination to echo the spirit of 30’s actress and style icon, Marlene Dietrich. The sophisticated and strong designs merged the classic grandeur of this bygone era with modern functionality.

The collection celebrated luxury fabrics as the looks were constructed out of satin, cashmere and suede, and tailored in sharp, geometric lines. Double-breasted coats, dresses clinched in at the waist and wide swinging skirts were the focus of the collection. Moving away from his signature colour driven palette, this season Gardiva focused on muted tones of beige, olive, black and royal blue. Suggestive golden details in the form of eye-catching buttons and pompous chains created a utilitarian silhouette. While capturing the essence of the contemporary woman, this collection was a real homage to 30s trends.

Gardiva had a strong vision of his contemporary Dietrich girl: confident, and in command. With such a classic reference point, Gardiva’s AW design’s successfully transferred the luxury and grandeur associated with 30’s style into the modern limelight.

Photos by Alejandro Cavallo

This season, Koma added a more masculine edge to his feminine designs, with tailored trousers and shirts with strict high collars recalling 1920s menswear. There were more minimal looks with straight, structured jackets paired with sleek trousers. However, the Casati inspired hardware and graphic detailing steered the looks into more dramatic territory. The female body is the muse behind each of Koma’s collections. Eyes were drawn to the waist, as the female silhouette was enhanced with skirts that flared at the hips.

The first looks were made up of a dark, industrial palette with a statement fur coat that spoke of the slender elegance of twenties decadence. As the show progressed, we moved into multi-coloured territory, with dresses embellished with sequin metallic and rainbow coloured fabric cascading from the waist. The exclusive footwear detailing was not to be missed. Designed in collaboration with Alain Quilici, unique heels imbued the looks with a fierce modernity.

For autumn/winter 2012, Koma added historical depth to his designs, clearly displaying his inspirations but with a futuristic undertone. The Georgian-born designer must always be admired for his ability to empower the female form, delivering dress with attitude and sculptural maturity.

Photos by Alejandro Cavallo

The Central Saint Martin’s grad knows what he does well, and his autumn/winter 12 collection was a further exploration of his signature sportswear aesthetic. Showcasing his expertise in this field, he brought us a modern functional wardrobe. The cohesiveness within the collection transcended smoothly from daywear to eveningwear with an underlying tone of sleek luxury. A sharp tailored suit in charcoal grey for the female androgen, leather trousers paired with a loose fitting, white cropped-jacket for the rock-in-roll girl. Incredibly streetwise, Blanken covers every kind of look for the urban girl who is always on the-go.

Eveningwear ‒ straight down dresses in red and ivory to Grecian draping on asymmetric dresses ‒ is approached with refined simplicity, and lends an air of understated glamour and elegance to the collection. The addition of military inspired belts gives a tougher and urban edge to the glamorous looks. Simplicity became a statement with an elegant combination of a t-shirt with silver harem pants for greater visual impact. This is unpretentious dress for the woman whose style is not determined by trends. With a classic and timeless colour palette of graphic black, ivory, and a range of greys, there is also a warmer dose of oranges and reds. With fabrics like cashmere, alpaca, leather and shearling, Blanken continues his narrative of high quality, timeless pieces.

In the last few months Blanken has been undertaking research on the ‘Decades of Sportswear’. The knowledge and expertise he has already gained form this was clearly documented in his AW collection. With a historical understanding of functional dress, Christian has created looks that any modern and stylish woman will want to add to her wardrobe.

CO|te
Tomaso Anfossi and Francesco Ferrari already have a firm foothold in the English market with their brand ‘Co|te,’ already housed in the 4th floor of contemporary fashion mecca Harvey Nichols. Graduates of the prestigious Institute Marrangoni, this design duo caught success as 2011 finalists of ‘Who is on Next’, an Italian equivalent of the UK’s Fashion East, focusing on unveiling hot homegrown design genius. Their aesthetic is simplistic and geometric, experimenting with graphic cutouts and quirky, often pastel based, colour combinations — imagine Marni minus the print. The focus this season is on the collar, manifested in a variety of textures from the simplistic staple of starched cotton, to brown leather and wonderfully eccentric pink feathers. Digital print makes an appearance this autumn expressed as balloons dancing across a number of simplistic dresses and designs. These guys may not be breaking any design boundaries, but when it comes to simplistic and sophisticated with a hint of quirk, these guys are ones to watch.

Caterina Gatta
Caterina Gatta is the daring Roman designer who has already created her fair share of hype. Utilizing designer vintage in a whole new light, Gatta discards the designs and uses the fabric alone, creating modern looks with vintage roots. Relying solely on vintage designer fabrics, we’re talking Versace, Valentino, YSL, Givenchy and more, Gatta has an interesting visual aesthetic which “draws from the past but looks to the future”. Through reinterpretation the fabrics are released upon the world with a whole new lease on life. A re-proposing of originality, Gatta uses the history of the fabrics, almost all in loud 80’s and 90’s prints, to reinterpret their meaning for a modern aesthetic; simple lines and clean cuts with the occasional structural masterpiece. This season, the peplum is in, with sharp cuts breathing new life into loud fabrics. Simple yet striking structure allows the fabrics to shine as historical design references disappear. Now this really is ‘new vintage’.

Salar
Francesca Monaco and Salar Bicheranloo launched their label in 2010, providing a unique twist to the luxury accessories market. With a style that is sleek and sophisticated, this pair favors fun as well as function, providing multiple ways to wear each bag. Utilizing ties, zippers and hidden handles you can change your look at a moment’s notice. From clutch to over the shoulder, and from briefcase to progressive, with one item you can travel in multiple directions. Fascinated by new beginnings, this hot design duo want you to have fun with their bags, and with the high quality materials and impeccable execution you’d expect from a Milanese brand, there’s no doubt you will.

Nicholas Julitta
An experimental designer with a fascination with unusual fabrics and materials, Nicholas Julitta is the most avant-garde and innovative designer of the group. Julitta bypasses traditional fabrics in favor of unexplored terrain. Chemical treatments, iron and copper threads, raw yarn and even the occasional blowtorch are everyday items in this designer’s studio, and surprisingly, the results really are quite beautiful. Loosely sewn iron thread creates a stunningly simple vest top, whilst thick brown yarn in large interlocking stitches envelopes the model in an embracing cocoon. Similar to Salar, Julitta is fascinated with the possibility of instant change, with many of his garments sporting hidden zippers for an instant transformation, hiding unexpected details. Volume is another focus for Julitta, with jackets and vests interlaced with wire to allow the wearer to rework garments as they see fit. Even digital print makes an appearance this season, but as expected it is heavily distorted. With a penchant for the unusual in terms of fabric choice, what began as necessity for a burgeoning designer with limited funds has developed into a full forced design aesthetic that continues to set Julietta apart from the rest and well on his way for the world’s stage.

This is the first project that the British Council and the British Fashion Council have collaborated on, this new showcase is part of the Fashion 2012 Cultural Programme and was developed to celebrate the year of the Olympics and Paralympics and honour its values of international respect, excellence, equality and friendship. Countries that participated in the showcase included Australia, Belgium, Botswana, Caribbean, China, Croatia, Estonia, Italy, Japan, Korea, Netherlands, Nigeria, Philippines, Poland, Romania, Sierra Leone, United States and Uzbekistan.

Each country was asked to present a selection of emerging designers whom they felt most represented the future of fashion in their region.

Photos by Alejandro Cavallo

The venue for her London Fashion Week presentation matched the mood of the collection perfectly. At the hidden and exclusive LOW members club, the presentation channeled Edward’s post-apocalyptic vision seamlessly. Concealed beneath two basements on the quiet and incredibly genteel Jermyn Street, the club housed contrasting bunker-esc vibe, where lights were dim and dark, and drumming music permeated through the sound system.

During the event, a chilling surrealist fashion film was screened, which helped to disseminate Edward’s visual concept and highlighted some of the garments from the collection. Circles were again a dominant feature with golden fur hinting at the myth of the Golden Fleece, whilst digital prints of magma and other destructive forces were present on a variety of garments.

In a literal representation of creation through destruction, crystals were the focus of the extensive jewelry collection. These naturally formed crystals are transformed and reinterpreted as they become encased and reborn within Swarovski Crystal Resin. Key pieces feature Swarovski crystals as inclusions, further developing multiple levels of both physical texture as well as conceptual understanding. The natural becomes reborn by external, manmade forces.

Intricate metalwork in natural ore of gold and silver work to ground the collection, bringing manmade synthetics quite literally back to earth. The brand’s logo of interlocking circles and squares features heavily, and whilst the design may be technically simple, the effect of the interlocking shapes is quite striking. The natural rawness of the crystals is highlighted as they protrude from thick leather straps on necklaces and bracelets. Thick resin cuffs of yellow boast large crystal embellishments that quite literally jump out at you. The accessories standout is definitely the resin boots, created with crystallized heels and teamed with Springbok fur encasing the calf. The extended base of the shoe is a continuation of the graphic heels of last season and results in a visual elongation of the foot.

Edwards’ world is a post-apocalyptic dreamland where ancient mythology and urban grime are reborn in precious jewels and protective armour. Whilst quirky and indeed ‘out-there,’ each item is itself both beautifully crafted as well as perfectly in line with her vision. Through a combination of natural and synthetic forms, Edwards creates a collection that blurs the line between real and fake, creation and destruction. The end result is a lightweight, transparent and strangely wearable creation that entirely embodies the aesthetic she is trying to convey. When the end of the world comes, there’s no doubt you’ll want to be wearing Tessa Edwards.

Dominated by LBD’s, floor sweeping chiffon dresses gave a romantic edge to the collection. Paired with fur gilets and heavy leather jackets, the eveningwear took on a tougher edge, all the while maintaining its sensuality. The heady smokiness within the collection was brightened by a startling red mini dress with plunging neckline. The dresses seem to have been created with the intention of taking on the night with an intensity that was interrupted only by luscious detail. As the latest protégé of Donatella Versace, the decadent atmosphere clearly displayed what he has already learnt form the maverick designer.

Aadnevik showcased his technological skill bringing us dresses that adorn the body in the most flattering manner. Both Gothic and romantic, his work is sexual but maintains a real element of luxury. With praise from Hilary Alexander and Colin McDowell the designer has already established a strong platform here in London. Aadnevik is one to keep an eye on.

Photos by Alejandro Cavallo

Hogg then propelled the bodysuit to a new height, giving us an array of risqué and very sensual looks. With panels of red and black, the sheerness of the suits gradually increased with one model wearing only a tiny patch of black PVC to cover her modesty. Amidst the nudity, one stand out piece was an elaborate, soft pink, sequined floor length dress. The intricate detailing of the floral jewels on the dress assured us that Hogg is genuinely skilled as a craftsman.

This show was signature Hogg: skin-tight, daring, and overtly sexual. She knows how to draw in a crowd, and this season has certainly safeguarded her notoriety for putting on a performance.

Photos by Alejandro Cavallo

Following this, Garner revealed a rich narrative of courtly love. Influenced by Princess Grace who was courted by a noble gentleman, this collection was as light as its story. Soft peach, shades of pink and red took us to a distant era where ladies wore ball gowns. The romance of this collection came through reworked antique quilts. Prophetik’s final dress was crafted from peace silk, a vintage pocket watch, and black ostrich feathers (naturally shed of course).

Garner lost himself to a romance of a by-gone era. The dresses maintained an ethereal beauty, but it was hard not to feel that such costumes belong on the set of a period drama. However, Garner did remain faithful to a signature style that has become associated with a Victorian sensibility. High collars, floor-sweeping hemlines and a preference for modest dress. Garner’s collection was perhaps refreshing amidst the bold, brash and eccentric designs common amongst London designers.

The woman who has a penchant for romantic Renaissance dress will be seduced by Prophetik’s AW collection. With sharp tailored coats and shorter hemlines, this season Garner gives a modern interpretation of courtly dress. While Garner may offer us an escapist fantasy with his romantic designs, his philanthropic concerns bring a very serious reality to his work.

Shao opted to present his fall collection as an installation rather than on a conventional catwalk. It was buzzing with excitement as ‘fashionologists’ of all kinds were offered a more personalised experience. Viewers could inspect garments from up close and at their own pace as models posed on slightly raised podiums moving in a slow rotation. Simultaneously, the place was over equipped with aggressive lighting, temporarily blinding anyone who dared to raise their sight. This presentation proved to be a popular one, and browsing the collection was far from effortless. With people tripping on cables and security guards protecting the oddly placed cellist from the crowd, Yen’s showing was both full of excitement and distractions at the same time.

Yen is known for using unconventional fabrics and shapes. His trademark style was beautifully carried forward to his autumn/winter 2012 collection, this time making materials more accessible and wearable than before. A new take on British style resulted in a playful merge of formal and street inspired sportswear. Coats in traditional fabrics like tweed and pinstripe wool were given a unique twist by combining eye popping orange fur detail and a relaxed cut. Other looks included crossover shirts and floaty trousers, deconstructed polo necks and trapeze capes accessorized with youthful baseball caps and Mongolian sheep arm warmers.

Even though the base colour was yet again black as in his last collection ‘Sseddog’, this season it was lifted with big splashes of orange and smaller injections of turquoise, white, nude and brown. The playful colour palette continued in the beauty concept where models donned tangerine lips, subtle eyes and wind inspired hairdos.

Born in Yilan, Taiwan, Shao Yen Chen made the move to London back in 2003 where he began his journey with fashion knitwear at Central Saint Martin’s College. During this time there he began to intern with industry icons including the late Alexander McQueen, Hussein Chalayan and Claire Tough. He later started his own label after graduating in 2010.

Continuously pushing boundaries of fashion design, pattern cutting and fabric creation, Chandran presented a range of clean and edgy silhouettes that were gracefully adorned with intricate embellishments, combinations of foil prints, plastic trimmings and lace embroideries.

The autumn collection differed from spring with the incorporation of structured shapes and fabrics. The attention was focused on shoulders, necklines and futuristic silhouettes that embodied this idea of ‘uniforms of tomorrow’. Sheer close fitted 40s style dresses looked ultra modern next to fierce leather coats. Clear PVC insertions on the seams of pointy shoulders and sculptural removable necklines yet again were the striking details of the range. Accessories included encrusted lip necklaces, while flower and rose belts accompanied almost every garment and were sitting high on the neck or nipping in at the waist.

This eclectic collection in shades of midnight blue with gold, bronze and silver highlights on black was not created for a faint woman. Chandran’s woman is one that knows her heritage well and is looking boldly in to the eyes of tomorrow.

Street wear was the foundation of this collection, looking to London’s stylish young creatives and the wonky outfits of local eccentrics. The result was sportswear with a seriously high-fashion edge. The luxury of the fabrics, silk, wool, paper thin leather, and mohair tees were melded together throughout the show. An elongating pencil skirt was paired with a plastic bomber, under which was a soft tee of ‘Local bird’ print. Finch commissioned London taxidermy artist Reid Peppard to create a special print using two local ex-pigeons (who died of natural causes).

The rich narrative of this collection, connected to the street and the natural world saw the inclusion of rabbit fur and ‘faux’ silver fox. Lining the jackets, and acting as neck warmers, the fur added a real element of luxe to this urban collection. Slick simplicity through the monochrome looks showed how to make an all white outfit work in the winter. The prints and high quality details were up-lifting assets to  Finch’s street wear designs. Antipodium finally found its natural habitat in East London. He returned to high fashion this season confident, slick but with a few rough edges to show their true dedication to the street.

The Dutch twin designers contrasted fine silk dresses against dramatic fur coats for a real 20s feel. Designing for the modern woman who is confident and active, the dresses with graphic detailing merged glamour with comfort. Spijkers en Spijkers designed looks for the workingwoman who understands style and likes quirky details. There was nothing outrageous about this collection, but it did offer the warmth nostalgic of 1920s style through luxury silks and bird feather trimmings.

For her second runway in London, Sugawara brought us an “exciting encounter” between 60s American pop art and the spiritual Japanese high priest, “Kukai”. A modern take on ‘Popism’, Sugawara featured varying collage prints on jackets, dresses and leggings. There were clashing swirls of orange and purple, against pop art backdrops, leopard print faux-fur on collars of long luxe coats. Sugawara also focused on the trend for animal print, clashing reptile with leopard in one look.

This collection was an artistic experiment, playful and equivocal with the ‘anything goes’ ethos of pop art. With the models’ hair dyed in parts with electric colours, Sugawara really captured the eccentric style that is so current in London. In one look, a pair of pop art capris were paired with a minimal black woollen jacket, showing how something so brash might be toned down for everyday wear. Those who are daring might choose to make a winter statement in one of Sugawara’s complete looks, while others might simply mix her print trousers with a minimalist top. Dans La Vie for AW12/13 was most definitely a daring encounter with the mad world of pop art. Yet, the fine cuts of the jackets and streamlined effect brought about by skin-tight leggings showed how pop art still has a very current appeal on the runway.

Influenced by London in the 1960s, the voyeur explored a murky Londontown scene. In the film, three muses moved through a smoky and shadowy landscape, creating a moody and mysterious backdrop to the collection. With 60’s dresses still dominating fashion, Twenty8Twelve brought us baby-doll shapes and loose fittings equivocal with the hedonism movement. A vibrant colour palette of fuchsia, electric blue, soft pastels, shades of grey and inky blue dominated the collection. There was also a whimsy twist of electric blue leopard print.

Standouts in this collection were the pastel pink and powder blue Aran style knits, and the very English tailored garments. The delicate, clean lined coats and fitted trousers were a real homage to London’s famed tailoring houses in the 60s. Twenty8Twelve transposed the mood and style of the 60s, and created looks that will suit the femme fatale as well as the modish androgen.

The collection’s inspiration came from a quote: “For months and months I was with [her] all the time, except between four in the morning and four in the afternoon, when she slept. She very much liked to have a shadow…” – Ed van der Elsken, ‘Love on the Left Bank’.

The collection was a departure from the print driven, streamlined and mature designs of previous seasons. For winter, the designers wanted to try something different. It was certainly a lot younger and funkier as they worked around a ‘Folky’ concept. Through exotic colour, graphics and eclecticism, the designs documented a new kind of bohemia. Clements and Ribeiro maintained their signature severity but with a fierce beauty. The influx of leather throughout the collection, from leggings to waist belts added a more sinister edge to the elegance of the finely cut dresses and coats.

The eclecticism within the show was a new feature for AW. From tartans to plaids, to metallic and colour blocking, the show became a melting pot for every trend. The high quality of the knitwear was certainly a statement. A few standout looks included geometric colour blocking on cashmere turtlenecks, and oversized cardigans for a more masculine edge. For Clements and Ribeiro, this collection was more “undone’” as they explored clashing colours, prints, and layering. However, the styling of the looks maintained their signature elegance. The design duo took their inspiration of ‘folk’ to a new level, giving their signature prints a new fierce edge. The burst of neon pink against warm cashmere knits was a bold move for winter wear. With so many different looks, Clements and Ribeiro’s vision of fierce beauty successfully brought the show together.

Photos by Panos Damaskinidis

Saturday Feb 18 Live Stream Show Schedule
09:00 Daks
11:00 Jasper Conran
12:00 J. JS Lee
12:00 Simone Rocha
15:00 John Rocha
16:00 Kinder Aggugini
17:00 Todd Lynn
17:30; 18:30 Antipodium
19:00 Issa London

Sunday Feb 19 Live Stream Show Schedule
11:30 Twenty8Twelve
12:00 Marios Schwab
15:00 Unique
18:00 Louise Gray

Monday Feb 20 Live Stream Show Schedule
09:00 Peter Pilotto
13:00 Michael van der Ham
15:00 Mark Fast
17:00 Fashion East
19:00 Osman
19:00; 19:30 Christian Blanken

Tuesday Feb 21 Live Stream Show Schedule
09:00 Mary Katrantzou
10:00 David Koma
12:00 Holly Fulton
13:00 Emilio de la Morena
15:00 Ashish
16:30 Aminaka Wilmont
18:15 KTZ

Follow Q+A UK on Twitter for real time catwalk coverage.
Twitter.com/fashionqanda

Featuring leather, wool, cashmere and silks predominantly in black, the demure looks became statements of power and strength. The bold splashing of opulent red, blue and phosphorescent yellow, were statements of courage to Sicicilian women in mourning. Featuring sharp and fiercely cut accessories by Milko Boyarov, the demure fabrics were given a tougher edge. Always stressing high quality and fine lines, a voluminous red puffball skirt and red lace cape were bold and exciting features within the collection. The final floor length lace gown might be likened to some of the work of fellow Italian designers Dolce and Gabanna. Coherence and concision brought this sensual collection together. With occasional flashes of colour and sharp accessories, Marotta installed contrast to entwine high fashion with high emotion.

Photos by Panos Damaskinidis

Often described as a ‘modern couturier’, Nielsen applied her key aesthetic of deep historicism through costume designs. The dramatics within the show were emphasised by the accessories, such as peacock feathers emerging out of hats, lace veils, and leather beaded clutches. With her AW collection, the 2010 Fashion Fringe winner showed that costume is indicative of something deeper than forecasting trends. This season, Nielsen invited us to reflect on the history of Scottish and medieval dress. Exposed under bright lights the looks were historic documentations of style. Yet the Florida-native’s key skill in this collection was her ability to make something traditional completely new, perhaps providing an insight into the future of cultural dress.

Marketing and communications director of Kipling, Isabel Van Den Broek, who is the brains behind the ‘new face’ of Kipling spoke to us about the process of collaborations. “We approached eight artists we admired for their interesting work from countries with our biggest markets”, the group included Rankin, Li Wei and Vincent Gapaillard. Van Den Broek  continued ‘The only brief we gave them was to have fun; we wanted them to have complete freedom to do what they wanted.” The classic bags were then cut, sewn, twisted and moulded into works of art; the results were a real celebration of the creativity that is now the driving force behind Kipling.

“We wanted to give something back to our audience with bags that combine fashion and art with the functionality required of a classic bag,” said Van Den Broek about the energy behind the Kipling team. “Something that was new and fresh but still very close to what we were doing 25 years ago.” The Fundamental backpack, which is the best seller today and was 25 years ago, holds its place as a mark of the Kipling customer; trendsetter, traveller, hard worker and creative. Attracting a young crowd, the event on Thursday night showed the energy, fun and vitality that exists within the Kipling brand. With so many exciting projects under their wing and many more to come, it looks like the buzz around Kipling will continue to grow as they travel the globe pioneering cool practicality.

Hairdresser Orlando Pita added to the Mary Poppins look and feel with platted hair and fringes, while makeup extraordinaire Pat McGrath stayed true to the romantic Hollywood elements of the collection by using washed eye shadow tones and a nude lip.

The Galliano SS12 beauty look is fresh, dewy with gorgeous skin. It’s all about being a beautiful, feminine woman. You can achieve this look in five easy steps.

Step 1 ~ Foundation
For healthy glowing skin, apply your foundation on a clean, moisturized face. Moisturizer will automatically give your skin the healthy glow you want. This season try Embryolisse moisturizer; it is super moisturizing for dry/flaky skin in the fall. Apply concealer to cover the necessary spots and under-eye circles.
Product Pick: Emryolisse- Lait-Crème Concentre (embryolisseusa.com)

Step 2 ~ Cheeks
Contour your cheeks with a taupe colour by applying the Taupe colour just under the cheekbone, starting from the hairline and blending inward. To add that fresh healthy look to your complexion, use a blush that has a peach undertone.
Product Picks: MAC cosmetics Cheek Colour  in Peaches and Taupe (only available at the MAC Pro store) and Chanel Joues Contraste- 96 Caprice or Rose Petale (chanel.com)

Step 3 ~ Eyebrows
Contour your eyebrows by brushing them in an upward motion. Fill in your eyebrows as necessary with an eyebrow powder. I prefer powder to a pencil for this look because the powder gives a more natural look than the hard lines of a pencil. Product Picks: Laura Mercier Brow Powder Duo (lauramercier.com) and Smashbox Brow Tech Trio (smashbox.com)

Step 4 ~ Eye shadow
Apply a base colour to the lid. Then, starting on the ball of the eye, apply a taupe colour and blend it into the crease and don’t forget to apply a little bit under the eye as well. To contour the eye a little bit, use a darker bronzy tone starting from the outside of the eyelid and blending it inward in the crease, top and bottom lash line. This will create a washed smoky effect. Intensify it to your own liking, but try not to use too much. We then finish off with a dusty pinky-brown plum colour wash over the eyes – remember a little goes a long way. Don’t forget the mascara!
Product Picks: MAC cosmetics Eyeshadow  (maccosmetics.com)
Brule (base colour)
Kid (taupe colour)
Bronze (bronzy colour)
Star violet (dusty pinky brown plum colour)

Step 5 ~ Lips
Apply a matte nude lipstick by dabbing the colour on your lips creating a washed look. You don’t want to create a definitive lip line; it should look like a wash of colour on the lip.
Product Pick: MAC cosmetics ‘Honeylove’ Matte Lipstick (maccosmetics.com)

The overall feel of this look should be effortless. As if you just woke up looking gorgeous with a touch of colour. Now wouldn’t that be nice in reality. ‘Like’ Liz Olivier Makeup on Facebook, facebook.com/liz.olivier.makeup, and shoot me a beauty question any time!

The one-off collection will be available through the designer’s retail stores, stellamccartney.com and select wholesale accounts worldwide in May 2012. The designer’s Fall/Winter 2012 collection, will be shown as scheduled on 5 March 5 in Paris.

In addition to the designer’s previously announced role as Creative Director for adidas Team GB for the Summer 2012 Olympics, McCartney will also be celebrating the “World of Stella” at Selfridges on Oxford Street beginning 26 January until 14 February, which will include a new fragrance launch, ready-to-wear, accessories, kids, lingerie, sunglasses and adidas by Stella McCartney collections.

Also in 2012, McCartney will open a second London store location in addition to her already existing Bruton Street store which will include the first ever Stella McCartney Kids freestanding store reflecting ‘Stella’s World’ in Brompton Cross on the 2nd week of February.

The new address will be: Stella McCartney, Brompton Cross, 91-97 Fulham Road, SW3 6RH

Koolhass’ fairytale entry into fashion began with the Möbius shoe, his first and favourite design, created while heartbroken over a breakup. A self proclaimed ‘true romantic,’ Koolhass sized the Möbius to a 38 and set out to find the woman that could fit it! What he found was a marketplace ready to embrace and buy into his technological theories on design and construction. Q+A UK received a guide tour of United Nude’s spring/summer 2012 from Koolhass. While drooling over looks dubbed The Geshia, 90 Degrees and Abstract Rome, we discovered a nude model shoe show may be in the works, Miuccia Prada is a fan and his wife is his perfect size 38.

Q+A UK: In terms of trend forecasting and technological innovation, how does the future of footwear look to you? Describe your footwear design philosophy?
REM D KOOLHAAS: If you look at what’s happening in the world of manufacturing, in particular women’s shoes, the whole technological aspect of shoe making, it is becoming more difficult to make shoes in a traditional way for an affordable price. Nike for example, in the athletic footwear industry basically reinvented the way shoes are made with all the components, with new materials. The fact of the matter is, wages of any manufacturing country are going up, and so the prices of traditional footwear will go up. A lot of shoe designers will have to rethink the way shoes are made and designed. Athletic footwear companies are already doing it, they have something called PPH (Product per Hour), which means how much time it takes to make a particular shoe. So if labour goes up, that’s going to be really important because it will impact the allotted time produce a shoe. We are looking for ways to be smarter in design, construction and manufacturing.

Q+A UK: A lot of shoe connoisseurs shop for handmade and one of kind craftsmanship. Will shoe quality now become an issue?
REM: The concept of ‘handmade’ is already being diluted with mid-range and high street brands, who offer affordable prices by compensating on labour. High material specs are being dumb down. Instead of using leather-lining, some companies are using faux leather-lining. You still have a handmade product but it doesn’t age that nicely, because faux leather doesn’t age nicely. Yet there are material revolutions, like at Nike, who is inventing completely new materials. We are doing it a little bit, by dividing our offering for United Nude into different levels. For example, our high-end shoes may get a little more expensive, but in the meantime we are developing a new breed of shoes which are now constructed in a different way so that the PPH is better. Technology is one of United Nude’s biggest strengths. We are not trained as shoemakers. I was trained as an architect, so we are frontrunners in re-inventing shoe making.

Q+A UK: In terms of design construction, United Nude shoes are very conceptual. What are your most unique concepts as a line?
REM: I think we are unique, like our first shoe the Möbius, it was designed as an object. The Möbius had nothing to do with traditional shoe making. It was a true industrial/architectural design. We are a true architectural design shoe company, if not the architectural shoe brand. At the same time, we are a designer brand, but we are not selling for designer prices. We sell exclusively by design and not by price. You’re going to always pay more for something that takes more time to design, but if you compare us to other luxury brands, we look affordable ‒ an affordable luxury lifestyle brand. We started with shoes but we’re also making furniture and we probably will enter other segments other than shoes in the future.

Q+A UK: Your shoe designs are very conceptual and often resemble small structures. How do you balance function, complexity and wear ability?
REM: The higher the heel, the more attractive or the more attention a shoe or a woman will get. Our clientele demographic is between 25 to 35-years old. It’s an educated clientele, and thus does not want to wear high heels all the time. We are trying new concepts, wear ability and comfort is very important for shoes. If you look at our sales figures, the high heels get all the press, but it’s the mid-heels that sell the most. You have to listen to the market.

Q+A UK: What type of shoe embodies sexy for you?
REM: My favourite shoe is the Möbius or the ultra Möbius. The Möbius changed my life, if it wasn’t for this shoe, I would not be here.

Q+A UK: Sounds like a Cinderella story, one shoe can change your life!
REM: It really is a Cinderella story. Before I even knew to design a shoe, I made a cardboard model of the Möbius shoe and I stuck aluminium foil on it, or aluminium tape, and it looked like a jewel. I was heartbroken over a breakup with a girl, so I had this aluminium foil cardboard model in my back pack and I would go out at night, and if I would see a nice a girl with a size 38 shoe ‒ my Cinderella size ‒ I would make conversation and say ‘I have designed this nice shoe. Would like to try it on?’ And it would be like a Cinderella moment. If the girl would fit the shoe, my heart would beat at double speed. It was cute, but I was so desperate. Ironically my wife wears a 38!

Q+A UK: It appears you are a true romantic.
REM: I am a true romantic. I am a very passionate person, a lot of designers are. Design comes from emotion. I am pretty romantic in that sense.

Q+A UK: The term romantic hero rejects established convention, an arc type in the literary sense. Do you consider yourself a romantic hero?
REM: Yes, we like to break the rules. United Nude is definitely a brand that breaks all the rules of conventional shoe design. Nobody else had done the Möbius design. There are a lot of copies of United Nude, fake/counterfeit out there. You’re nobody till somebody copies you.

Q+A UK: Your uncle Rem Koolhaas has designed some of the world’s most iconic buildings and has even ventured into the world of fashion, designing concept stores for brands like Prada. Architectural ingenuity definitely runs in the family. Have any of your shoe designs been inspired by the landmark buildings designed by your uncle?
REM: I am inspired and intrigued by his designs, but not for my shoes. I actually worked on the concept for the Prada New York store. Working on that store was an eye opener for me, because I never worked on a store before. I was a student at the time. The idea for that store was to rethink the whole shopping experience in a retail environment. We have done that for the United Nude stores. We have been inventive and clever in our stores; they are painted black and dark with arousing elements of lights.

Q+A UK: What does your uncle say about your shoe designs?
REM: He is actually a huge fan of United Nude and a good friend of Miuccia Prada. He has presented Miuccia several pairs of United Shoes and she has been spotted wearing them.

Q+A UK: Now for a fun question. Tell us, what would people never guess about you?
REM: I have two sides, designer and businessman, and father and husband. My kids are 2 and 4. I like to take them to the beach. There is nothing better than playing with your kids on the beach and forgetting about your silly business. I am sure people would never guess that United Nude comes from the Delorean car, I’m a big fan. Even our logo takes inspiration from the Delorean logo. I read John DeLorean’s bio, and he was someone who just stood out.

Q+A UK: Do you see yourself doing a runway show ‒ exclusive, conceptual and just about the shoe?
REM: We would like to coordinate with Vanessa Beecroft and do a nude model shoe show. Maybe one day we will create our own clothing line or work with Iris Van Herpen, who is an incredible designer.

Q+A UK: What’s your New Year’s resolution?
REM: Quit smoking.

Q+A UK: Good luck with that!

Úna’s first collection, Re.Treat, addressed the sensitive subject of human trauma, where the pieces drew on prosthetics for inspiration and told a story of protecting and encasing the body, allowing it to heal. For Úna, one of the important parts of the design process was being able to talk to customers. “The three-hour presentation that I did to exhibit my first collection was an opportunity for me to talk about the sensitive subject I was dealing with, to ensure that people would understand what the pieces meant.” A chance to hear about the design process and the meaning behind a collection is a rare treat in the fashion industry, where often you are only aided by a simple three-line press statement to go hand in hand with a half-hour show. This very intimate form of presenting her work further qualifies Úna’s role as one of the most unique designers working in fashion.

The Spring/Summer 12 collection Bastet, named after the Egyptian goddess, signifies the powerful, confident and unique woman Úna is designing for. She described the process of bringing this collection to life in a way that really is reminiscent of Alexander McQueen’s approach to design. Úna’s own interest in human behaviour provides the foundation behind the story of each collection. “I was focusing on ancient cultures for SS 12, and became fascinated with Egyptian burial rituals and the need to protect the body in the after life. I then focused on creating pieces that, like armour, would protect the body.” One of Úna’s most interesting pieces from this collection is the handbag shaped like the human heart, and not the commercial romantic heart we’ve come to know, but rather the real organ. This creative process is testament to Úna’s experimentalism. “There are more important things than just fashion,” she said. And it’s a belief that’s reflected in her evocative designs.

Over the last two and a half years, Úna has attracted the attention of editors, notably Sarah Maino, Vogue Italia’s editor, who asked Úna to present her work during Milan Fashion Week. From features in magazines to exhibitions, Úna’s work has won more than eight awards, whilst continually addressing a growing demand from personalities like Daphne Guinness, Lady Gaga, and Rihanna.

Úna described her most recent collaboration with designer Philip Stephens for Unconditional Spring/Summer 12 as “a lot of fun because Philip was really able to understand what I was doing with my work.” The collaboration allowed Úna’s striking structural accessories to adorn flowing silk dresses, adding a strong dimension to the Unconditional collection. Úna said the catwalk as a platform for her accessories “allowed my work to come to life,” contrasting with her usual method of showing the pieces alone on the naked body where the dramatic impact can often make the accessories look unrealistic, but when teamed with Philip’s collection, her pieces became suddenly more “wearable and realistic.”

Does Úna hope of one day having her own show? “I am at crossroads as to which direction to take my work, but I will definitely continue to develop the body pieces alongside belts, bags, and traditional styles of jewellery,” she said. When asked about designing for a more commercial audience, she said, “within each collection there will always be more toned-down pieces. However, I have been surprised to find an incredibly positive reaction to the strongest pieces of the collection, the most experimental pieces are the best sellers.” With Lady Gaga and Rihanna as public personas transforming her work from that of “contemplative artefact” to striking fashion statement, it is no wonder Úna has garnered mass interest from the trend hunters and key thinkers of the fashion industry.

Úna’s dedication to wearable art is a product of her determination to create pieces that cannot be defined in the normal fashion sense. She sees “individuality as a wonderful thing” and encourages people through her own work to use fashion as a celebration of experimentalism. While Úna’s personal style might be understated, she will wear her own pieces with pride. “I love wearing the double-layered belt with the lime elephant colour combination,” she said. We can imagine how this one piece transforms something quite simple into a look that invokes drama and glamour. We hope that the Irish designer continues to produce awe-inspiring accessories that not only make us feel and look incredible, but inspire us to think more about the artistic quality of great craftsmanship.

Photo credit: Andreas Waldschuetz and James RJ Dwyer

Destined for a career in fashion, de Carle has wanted to be a designer as far back as she can remember. Her specialization in lingerie was carefully crafted during her time at De Montford University. Studying contour design with a focus on lingerie, corsetry, swimwear and bridal wear “really ignited my creativity and love for contour design,” says de Carle. After leaving University, de Carle worked for Donna Karan and Alexander McQueen. De Carle is motivated by the goal of developing a label of her own from her work experience with these A-list designers. “It was the passion they had for their craft and the ability to translate a vision through the medium of fashion that inspired me to pursue my own unique vision,” said de Carle.

Heavily influenced by architecture, art and literature, this artiste “could sit for hours sketching lingerie and couture designs from a building source.” Best exemplified in her Onyx and Opal collections, the designer’s love of architecture as an “inspirational tipping point” results in a strong and distinct aesthetic, exuding a sultry, powerful yet feminine edge. Straps and cutout shapes scream “bondage-bound beauty” while elegant lace and soft silks hint at a more virginal idyll. Designing a look that is so distinct yet all encompassing which “brings out [a woman’s] natural, feminine and seductive beauty,” the London-based designer imagines the Nichole De Carle customer as “confident, sophisticated and empowered.” Indeed, confidence is what you will need if you decide to take de Carle’s fearless style tip: “One of the best bits of advice I can give is, for everyone to throw out the notion that lingerie is something to be kept behind a closed bedroom door. There are so many fantastic styles and designs to choose from these days, it seems a shame for them to remain hidden under clothes.”

There is indeed room in all of our top drawers for the stalwart woman de Carle describes. Nichole De Carle lingerie is now stocked at Net-a-Porter, Selfridges, Rigby and Peller and ASOS. This label has evolved commercially without neglecting the signature aesthetic that has made it so popular. Creating “everyday luxury for women,” de Carle explains the process the brand has adopted in its efforts to reach a wider market. “Our core collections ONYX and OPAL have evolved from a one-off avant-garde couture creation to a more commercial approach to luxury,” she said. “A strong directorial designer adopts a signature that is visibly distinctive.” De Carle has managed to retain a feel of the bespoke by refusing to compromise on quality and artistic license.

A perfect example of the sheer opulence encumbered in this label is the Nichole De Carle contribution to Selfridge’s white themed Christmas collection, a pair of ivory silk knickers decorated with a detachable diamond charm worth over £200. “A diamond is forever,” said de Carle, “And during these economic hardships, an undeniable worthwhile investment.” Revealing plans to design a bracelet, which will be the perfect way to both display and keep safe the exquisite Coster Diamond when it is detached from the knickers, de Carle proves that she is always thinking of ways to mark her label as distinct. While this forward-thinking businesswoman is focussed on providing only the best for her clientele, she acknowledges that “being ethically aware has become more of a hot topic for debate.” By working with the “fantastic” non-profit organisation MADE-BY UK, de Carle ensures that her entire line is manufactured locally, using only the best silks and materials. A business-savvy designer, she believes “promoting a more sustainable fashion industry is instrumental in its overall success” – a commendable attitude to have when so many brands continue to be scrutinised for their unethical production practices.

A designer on a mission to produce ethically sourced, beautiful garments for both a bespoke tailoring practice and several more commercial stockists, De Carle is a busy woman. Realising that “balance is key,” de Carle chooses not to lose herself in her work but instead maintains friendships, travels and takes part in regular competitive exercise. Sketching buildings and drawing on their influence, de Carle is armed with an inspirational attitude, an artistic flair and an exquisite craftsmanship, perfect for building an alternative perspective on how to wear lingerie and feel fabulous about it…brick by brick.

The uniform, to be worn by the palace’s front of house team (around 50 ‘Explainers’, Welcome and Retail staff), will be unveiled on 26 March 2012, when the newly-presented palace will open to the public for the first time, revealing exciting new exhibitions, public gardens, a £1 million Clore Learning Centre, shop, café and improved visitor accessibility.

Created by Jaeger’s Design Director Stuart Stockdale, the uniform is informed by the palace architecture, surrounding landscape, and the lavish interiors of the State Apartments, whilst also incorporating elements from historic royal and court dress.

With the help and expertise of Curator Deirdre Murphy, Stockdale sought inspiration from Kensington Palace’s Royal Ceremonial Dress Collection – an internationally important archive of around 10,000 items of clothing worn by royalty and courtiers from the 17th century to the present day. Amongst the most influential items were examples from the archive’s unparalleled collection of tailoring – in particular, men’s court uniforms from the 19th and 20th centuries, produced by London’s top tailors at a time when British tailoring was at its peak.

“Jaeger’s modern take on tradition suited our desire to create a new uniform inspired by the history and stories of Kensington Palace and its unique collections,” says Murphy. “Working with Stuart on this exciting design project has been a very rewarding experience. It has been fascinating to see how he has used the palace’s historic architectural and interior design details, as well as elements of the Royal Ceremonial Dress Collection to create completely new uniforms which are both contemporary and stylish.”

Items from the wardrobe of Edward VIII (later The Duke of Windsor), who was renowned for his great sense of style, also provided Stockdale with excellent source material.

“It’s a great honour to have had access to the Royal Ceremonial Dress Collection at Kensington Palace. I have been inspired by centuries of royal and court style and married this with modernity to offer the Palace staff a bespoke uniform that they can feel proud of and enjoy wearing,” says Stockdale.  “The new uniform really tells a story and reflects Jaeger’s reputation for timeless and iconic designs that transcend time.”

The uniforms are being manufactured by Jermyn Street Design, based in Hammersmith, London.

Pastel shades made for a candy collection of floor sweeping evening gowns and statement-making mini dresses. The Lebanese designer opened the show with ivory looks embellished with intricate bead detail. Elegant shapes were constructed out of long sleeves, clinched waists and low necklines. As the collection progressed, the skirts developed in volume. The lightest details complemented each of the dresses in a delicate way, which created a soft feminine effect.

Lady-like lace was a key feature within the collection, appearing sheer on a number of the dresses its presence accentuated the elegance and grace of each look. Saab distinguished each of the candy coloured dresses through varying necklines, sleeves, and trains. The embellishment and clever embroidery ensured that each of the gowns appeared weightless as they sashayed down the runway.

It was refreshing to see shorter dresses amidst the prolific array of eveningwear. Sweet and feminine, in parts the looks became seductive and suggestive with leggy dresses, the occasional plunging neckline and sheer fabrics. Saab is consistent in his POV and never over-sexualises his dresses. The softness of shades, the elegant shapes and the clever embroidery ensured elegance was maintained throughout the collection. The closing wedding dress sealed the show with Saab’s signature gracious touch but with a little twist, a white gown with a pink flowers and veil. Overtly feminine, this dress belongs to the girl who has always dreamed of a fairytale wedding.

With such sympathetic reference points, Piccioli and Chiuri created a dreamy, romantic and light collection. The program given at the beginning of the show revealed that over 1000 hours of labour went into constructing the opening dress. The smocked floor length organza was the feminine ideal of demurity. High ruffled necklines with long sleeves in light hues were strong characteristics within the collection.

The gowns were deeply rooted to the turn of the twentieth century, as the soft flowing shapes covered the silhouette in the most polite and elegant manner. The elegiac inspirations could be felt in the floral prints on taffeta, and the four leaf clovers and violets printed on organza. Lace and tulle embellished with silver embroidery exaggerated the luxury, and highlighted the phenomenal craftsmanship of the Valentino ateliers who help bring to life the vision of Piccioli and Chiuri. The pastel colours created a hauntingly romantic effect on the sheer chiffon dresses, which complemented the soft details of ruffled shoulders and long sleeves that developed into lace gloves.

Picciolo and Chiuri contrasted the smocks with strong tailoring, creating a monotone ivory look out of smart, straight legged trousers with an elaborately detailed cape. Not as prim and dainty as the archaic frocks, the tailored looks showed the modernized vision of Valentino’s predecessors. Creating dresses to be admired for their stylish historical references with a faithful continuation of Valentino’s iconic style, Picciolo and Chirui also put their own modern stamp on the collection. Their skill this season was to take a dainty and highly romanticized vision and transform them into glamorous interpretations of modern feminine beauty. Three words, job well done.

André’s favoured hues of black and white appeared on tailored jackets and were the focus of this spring/summer 2012 collection. Straight trench-like jackets with little structure were loosely tied at the waist or left casually to show their natural shape. Each design exuded André’s POV of casual elegance. Without the ostentation that we usually see at the couture shows this was simplicity perfected for the sleek Parisian woman. Simple monotone dresses stripped fashion back to its most basic form. Minimalism was the driving force behind the collection, creating pieces that might be worn today and into the future. Small details came in the form of black lined pockets on a white A-lined jacket modestly exposing a purple dress below. André was clearly demonstrating her desired taste for classic style. The burst of orange on a crepe dress was the loudest piece within the collection, yet paired with white tights it retained the simplicity of the spring couture offering.

The distinctive range of models used to exhibit the collection demonstrated André’s insistence on doing things a little differently from other couturiers. The high-necks, long sleeves, knee scraping coats and dresses in one toned looks was a sign of André’s desire to bring couture back to its most basic form. Essentially a blank canvas, this collection lacked excitement yet its intelligence shone through the minimalism and simplicity ideal for the woman who has a non-fuss approach to fashion. Taking the stylish symbols of the Parisian mode, André was faithful to the sophisticated Parisian elite with her distinctive ‘non-fashionable’ approach to design.

The glittering dresses, seen at the fall/winter 2011-12 runway shows of Salvatore Ferragamo, Brioni, Gucci, and Dolce and Gabbana take the form of knee grazing long-sleeve simple shift dresses. Showing just hint of skin in the winter is alluring, yet practical. Check out the looks we love inspired by our favourite masters of Italian style.

PICK ME
Sonia by Sonia Rykiel Sequin Shift Dress, £299, farfetch.com
Great Plains Lilliput Print Drape Dress, £29, houseoffraser.co.uk

Tisci’s obscure touches – giant nose rings and chandelier length earrings — gave the collection a distinctive streetwise edge and created a modern vision of highly entrancing couture. This Taranto, Italy-native is skilled at creating timeless pieces and the Gothic romance he has mastered is now the essence of Givenchy.

The basketballs that appeared beside the models, the giant zips, chains holding up trousers and the tank top gave the glitzy twenties inspired couture pieces a strong edge. Tisci, once again shows off his vision of the ideal powerful, tough yet beautiful woman.

Statement pieces within the collection were the dramatic floor length dresses in green toned reptile print. The sculpted shapes were folded in places to give the impression of movement, and revealed black textured corsets enhancing the sensual aspect of the collection. Armani presented couture at its wildest, using jungle like colours he embellished looks with mirrored shards, crystals and swirls of fabric. These were dresses for the extravagant woman and demonstrated ‘an exercise in workmanship and millimetric accuracy in design and execution’. One of the most breathtaking looks was a lime green long sequined ball gown that was embellished at the bust with Swarovski micro crystals and paired with a sharp metallic tailored jacket. The Italian fashion house did not hold black on the opulence, as each look was dramatized with a horizontal Philip Treacy headpieces partly covering the face.

Armani’s reptilian woman is sure to be seen with her sculpted silhouette, and with fabrics such as silk and satin, the luxurious element was heightened. The collection incorporated a modern spin on tailored trouser suits, skirts and full-length dresses. The dramatic sense of movement through the twists and folds of fabric connected this collection to the ever-changing rainforest. The looks may not have been suitable for a trek into the jungle, yet they were clearly inspired by the metaphorical metamorphosis of the reptile that lies within. Armani’s careful attention to delicate detail and sculpture had all the intense heat of the rainforest, yet he also remained faithful to his craft for creating slender and elegant sartorial hits.

Alexandre Vauthier is the connoisseur of making fashion into a story of incurable romance. With dresses that will linger in your mind and pervade your dreams, Vauthier’s couture collections are a lesson in whimsical dressing. To the backdrop of futuristic sounds, the designer delved into his romantic French roots. The spring/summer 2012 (SS 12) collection was built upon contrasts dedicated to showing that the power of beauty can be found in its softness . Each look was paired with gold tone choker neckpieces lending a rigidity and straightness to the feminine collection. The first looks to glide along the runway were black A-line dresses with plunging backs and necklines. Simplicity in soft fabrics with strong cutaways and slits at the sides created a loose effect and easy movement. The black hues lent a dramatic mystic to the collection, as the empowered woman became dominatrix in attention grabbing PVC leggings.

Although a noir series kicked-off the couture collection, we soon witnessed looks of white and pastel tones take to the catwalk in a hazy vision of floor sweeping gowns. These more romantic designs showed off the softer Vauthier, with models donning seductive dresses that graced the curves of their body. The heroin of Vauthier’s collection wore a white silk gown, with feathers lining the hem of the dress. Thigh skimming gowns paired with fur stoles sashayed down the runway leaving us all alight in a glamorous trance. Not afraid to play with his romantic tone, the choker neckpieces were a mainstay throughout the collection. The accessories pushed the couture collection into a futuristic world where the plunging ball gown became controlled. The strong accessories set against the soft flowing gowns showcased a glamorous trip on power dressing. Couture is so often about the dress but for SS 12, Vauthier showed that sensual glamour is not always devoted to the endlessly flowing gown. His last look showed the glamorous beauty of haute couture in the guise of a sequined tuxedo. This power hungry look was a statement in how to do couture a little differently, and we loved it.

Inspired by the architectural work of artist Michel Deverne, Rolland brought us geometric sculptures for spring/summer 2012 (SS 12) on a palette of white, black, lime green, orange and red. Taking Deverne’s emphasis on twisting structures, Rolland further explored fashions connection between architecture and art. Exaggerated proportions came through daring details such as a protruding fan of material on the neckline of a dress.

Working predominantly with the dress, Rolland accentuates the female silhouette with metallic gold waist belts that made a bold statement against white and black gowns. Flowing trains amped up the glam-factor, as seen in a skin-tight white demure dress that merged into a bright red feather train creating a fiery effect as the model walked the runway. Rolland contrasted some of the more decadent looks with simple structured one-tone suits, which strongly reflected the architectural influence on the collection. Emphasis was placed on strong shoulders and high waists with the fabric cut away in places to give a dramatic shape.

Each look was accented with driving gloves that exposed the thumb, which added an edgy, yet playful dimension to the collection. Continuing the architectural theme, gold plated accessories were used to enhance the shape of the silhouette and added a unique flavor to each of the gowns. Undoubtedly, the statement of this show was the final red dress worn by timeless beauty Yasmin le Bon, who was escorted by two beautiful male models that ensured the train of the dress maintained its artistic statement. They may have been protecting this 100 lb dress but we think they were the perfect accessories to this decadent look.

Rolland’s SS 12 couture collection provided a futuristic spin on the ideal red carpet dress. Fit for a queen, the looks were commanding through their sculptural and structured tone. The monochromatic colours paired with statement metallic accessories were a sure attempt at show-stopping opulence. This was everything we expect from a Parisian couturier, satisfying all our needs for glamorous, sensual and artistically splendid gowns.

bright coats

Wear Now: Glow in the snow with a bright colour coat. Trench coats and cover-ups with large black fasteners carried the radiating hues at Burberry Prorsum, Michael Kors offered a fire-engine red, boxy fur coat, and Prada went collarless with large silver buttons and a matching wide belt. All that’s left for you to do is pick your favourite shining hue.

Wear With: Opaque black tights, black and white add-ons, pleated peek-out skirts, or blocks of other bright colours with an open coat.

Wear When: Whenever you are cold!  The bright coat keeps you stylish for a wide range of winter outings, dressed up or down, with options to keep on indoors.

Wear Especially If: You yearn for brilliance in the gray of winter, and want to stand out in the crowd.

Van Herpen enjoys contradictions and her designs are a continuous exploration of merging nature with technology. She is a designer who is always willing to experiment with technology and this season combined graphic design with metal work and model making. Unafraid to present the obscure, raw materials came in a range of hues from white and beige, to grey and copper, to metallic aubergine. The profound visual impact was induced with a range of cropped dresses that took us to another world. Alien-like in structure and print, fine handwork was set against a futuristic digital backdrop. Van Herpen remains faithful to her ethos of fashion as art, and certainly the metallic cape that had a mirrored effect was an expressive statement to be admired rather than worn.

The microscopic world that occupies the terrain beneath our feet was quite literally brought to life on the runway. Escorting the models were shoes designed in collaboration with United Nude. The shape of the wedge is so complex that each one consists of fiberglass and carbon fiber, made in a slow molding process. Named Fang, the shoes echoed the movements of underground creatures and with ten sharp teeth to each foot that was a dramatic dalliance for imaginative dressing. Bodices of metal armour, sculpted wood dresses, spiked hems and shoulder pieces gave us an insight into a new kind of feminine shape and structure. It is no surprise then that Van Herpen has been likened to Alexander McQueen. The other worldly essence of the Dutch designer’s collections was most likely inspired by her time working alongside the late great visionary.

This collection was about using innovative techniques and materials to explore unfamiliar fashion territory. The designs may not be to everyone’s liking, but by daring to mould technology to suit her creative desires, Van Herpen’s approach to couture merges fashion and art to create transcendental ethos of fashion.

Gaytten sculpted each of the looks to ensure emphasis on the feminine silhouette, using pleats in the fabrics and deep necklines to give body and allure to each dress. White floral designs, checks, stamped leather and classic chiffon came predominantly in the form of full-skirted frocks or streamlined dresses. Swells of tulle made a nostalgic statement in grey and black hues, maintaining the signatory appeal of Dior.

This collection was full of mystery not only through the revealing, unfinished nature of the dresses, but also through the uncertain position of Gaytten. He has all the skill of a great couturier, but the industry continues to speculate upon the safety of his position. With his spring couture offering, Gaytten appeared to be stripping the Dior house back to its glamorous, femme and charming origin. Playing with construction and teasing us with flashes of the silhouette, Gaytten showed how the skilled artisanship at Dior remains as strong and as captivating as ever.

Jarrar has established a fashion following through her breathtaking tailored collections, with many comparing her aesthetic to Celine’s Phoebe Philo. Honing in on this concept of wearable couture, Jarrar displayed her ability to create grand statements by focusing on small details. Showing at the stunning Musée Bourdelle, the sharp and clean looks were given a dramatic boost with trousers that were pulled in at the waist, yet loose fitted around the leg. The suit jackets were also a defining statement. Bold shoulders and fitted waists paired with gold military buttons were the epitome of chic. Jarrar showed how a simple A-line coat in teal paired with a fur snood is the ultimate way to communicate refined elegance. The luxury within the collection was no splashy affair, but rather subtly implied through the fabrics.

Amidst the display of masculine suits, Jarrar also played with more feminine looks. Silk dresses with light floral prints in pastel shades, were draped in such a way to gently accentuate the silhouette. Exploring prints, Jarrar gave us light dresses and blouses for lazy summer days. A powerful tone of refined simplicity drew the looks together, from sharp tailored suits in subdued tones to light and breezy chiffon dresses. Jarrar showed why Parisian’s are the masters of simple chic.

SQUARE FACE
Bangs complement a square face because the eye-grazing cut is tapered on the sides and soften a square face shape. Ask your stylist to cut the bangs just below the brows, leaving the heaviest pieces on the sides so they don’t cover your eyes. The centre strands can be feathery; a little forehead peeking through is perfect. “The key to success is… It’s not what you take off, it’s what you leave on,” says celebrity hairstylist Trey Gillen.

To Style: When hair is wet, apply a small amount of John Frieda Frizz – Ease Original Hair Serum 50ml (£5.99, boots.com) and blow-dry hair in a side-to-side motion.

ROUND FACE
Gently arching bangs complements a round face’s feminine features. Bangs on a round face shape can give your face a fuller look, so the right cut is very important. Thick bangs are very flattering to a circular face, wispy versions won’t have the same impact. If your stylist does this right, your bangs can instantly mould the cheekbones and help them pop out.

To Style: To get a polished look, work a dab of Paul Mitchell’s Super Skinny Serum (£15, paulmitchell.com) throughout hair from root to tip. Blow dry hair then flat iron small pieces roughly 3/4 inches to create an ‘I’m not trying to look this hot’ statement. “If you take a few minutes to style your bangs, you can get away with a much messier overall vibe but still look chic,” says famed stylist Ted Gibson.

HEART-SHAPED FACE
A heart-shaped face is fuller on the top and angular on the bottom. A side-swept bang will balance out your features and draw attention to the eyes. Layered, feathered bangs will look best. The shortest pieces should hit the arch of your eyebrows and the longest should meet the outer corners of your eyes.

To Style: Blow-dry the hair with a round brush, starting at the root to control any waviness. Then, flat iron- gently tucking the hair under at the ends to create fullness. Finish off the look with a light shine spray.

OVAL FACE
Airy/pin-straight bangs accentuate the features of an oval face the best, but nearly any type of bang cut works with an oval-shaped face.

To Style: Apply a heat protecting spray, like Dove Advanced Care Intense Damage Therapy Heat Shield Styling Spray (£8.99, amazon.co.uk) and blow dry then flat iron your hair. For a more rocker feel apply a bit of pomade, like Aveda Light Elements Defining Whip (£17, amazon.co.uk) to the top of your bangs and go.

Get Sexy Sleek Hair

If you always wear your hair down then the look from the House of Holland is a quick and easy style update. To achieve a sleek down style with texture, pull the hair back in a ponytail using a tail comb instead of a round brush.

So Cheeky

Christopher Kane, Issa and Jaeger changed the glamour look by adding a certain young and fresh element to their shows with peachy cheeks and ponytails, but still kept that beautiful glowing skin we love.  Try Rimmel – Multi- tonal Blush in Spring flower (£5.19, rimmellondon.com). This product is inexpensive and works on most skin tones for a young fresh glow.

Singing the Blues

Let’s not forget: London is never London without a certain “street element” to it. It was definitely visible in some of the shows when they added splashes of blue to the eyes in shows like Pringle of Scotland, Michael van deer Ham and Louis Gray. It had a certain roughness to it, but still held true to the old Hollywood feel that was so prominent throughout all of the SS12 shows around the world.

There are a few easy steps to achieve a gorgeous blue eye:
STEP 1
Choose a blue colour palette that you would like to work with and start by priming your eyelid with a light nude base colour. We love Yves Saint Laurent Trésor d’Afrique 5 Colour Pallette for the Eyes (£37, boots.com).
STEP 2
Using a medium tone colour, start on the ball of the eye and blend into the crease of the eye. Use the same colour and also apply it just under your bottom lash line starting from the outer corner and working your way inward.
STEP 3
Use the darkest tone in your palette to add the intensity you want. Apply it from the outer corner of the eyelid and blend it inward. Intensify your look even more by adding more of the same colour into the crease of the eye and your bottom lash line.
STEP 4
Finish of your eye off by highlighting your brow bone with the lightest colour from your palette and blend. For extra effect, add just the tiniest bit of your highlighting color inside the corner of the eye. It will open up the eye nicely.

STEP 1. First, prep the damp hair with Aussie “Take The Heat” Leave-in Spray (aussiehair.com). Comb the product through to make sure the hair is protected before applying heat.

STEP 2. Next add Aussie “Aussome Volume” Conditioning Mousse (aussiehair.com), to ensure you get the volume you need without a lot of teasing.

STEP 3. Rough dry the hair with a warm blow dryer to create volume. “By doing this, you create volume but also to keep some of the natural texture.”

STEP 4. “Because I wanted a modern twist on the early 70′s up do; I crimped sections throughout the hair to look almost undone.” Spray a few pumps of Aussie “Aussome Texturising” Conditioning Gel Spray (aussiehair.com) to further enhance the texture.

STEP 5. Once the texture is achieved, shape the hair into mod updo with a side sweep fringe and fullness in the crown. To finish off the look, so it will hold for a night of festivities, try L’oréal Paris Studio Line Volume Spray Silk & Gloss Extra Volume (lorealparis.ca) to give that added sparkle.

Image credits:
Photographs by Vincent Cui
Styling by Qianna Smith
Model: Abella Duncan @ NEVS
Hairstylist: Eugene Davis
Makeup Artistry: Laura Dexter
Manicurist: Pebbles Aiken

BLUE BELLE STYLE

blue dress

Bright colours have been huge for the last few seasons and designers Muiccia Prada, Clare Waight Keller for Chloe and Nicolas Ghesquiere for Balenciaga, kept the trend alive with colour blocking. While others opted to show furs in bright hues from chubby jackets to trappers and tailored coats with rich fur accents.

One note, or should we say decade, was consistent throughout, the modernity of the sixties. Floor-length smock dresses ranging from dark floral to geometric shapes, boxy coats and suit jackets and flowy mini dresses done in luxe fabrics were all reminiscent of the past while still remaining fresh.

All Brands…

The natural look is a coordination of neutral shimmers and shades of peach and pink on the eyes, cheeks and lips. The glamorous look focuses on sultry browns to dark smoky eyes with a splash of colour to accentuate the eyes. Deep purple, blues and greens are the trend for eyes, and red-stained lips have not left us this season. Here are the best products to help achieve these fabulous wintery looks.

EYES
Buying a palette of four or five colours is the best way to get great value for your money. A palette will help you transition from your natural daytime look to a sexy, smoky eye for the evening by simply adding a darker eye shadow from your palette.

When buying a palette with natural tones, stick to browns, beige, taupe and champagne colours. These colours are perfect for creating that natural look. If the occasion calls for a smoky eyes, don’t just think of gray and black eyes. The trend is to add colours like purple, blue and green to your natural brown smoky eyes.

Tip: For a sultry, smoky eye, use a soft black pencil to create your look. After applying your eye shadow, line your eyes top and bottom with a soft eye pencil and blend with a small eye brush, creating beautiful smoky eyes.

TRY:

Create everything from a natural feminine look to a brown smoky eye using Guerlain Ecrin 6 Couleurs Eyeshadow Pallet in Nude, (£ 53.50, houseoffraser.co.uk). Dior 5 Couleurs Designer All-in-one artistry Palette in Pink Design 808, (£ 40, houseoffraser.co.uk) has a great silky smooth texture and it’s high in pigmentation. For the day you can create a beautiful natural purple eye and at night just add the darker tones for a smoky eye.

BLUSH
Natural pink and peach hues are great to complement your natural look, and when going glam, opt for a slightly darker natural hue.

TRY:
No makeup artist leaves the house without NARS Orgasm Blush (£ 20.50, narscosmetics.co.uk). It has an amazing natural shimmer and a perfect blend of pink and peach. We also love Chanel Joues Contraste ROSE PÉTALE 99 (£43, chanel.com), a perfect pink blush for your everyday natural look.

LIPS
Red lips are definitely back again and we’re loving the Dolce & Gabbana Passion Duo Gloss Fusion Lipstick in Incognito (£24.00, harrods.com)! Reds always look classical and glamorous at the same time just take look at the powerful ruby pouts seen at Jil Sanders, Giles and Miu Miu FW11-12 runway shows. If you feel that a solid red lip is too harsh for you, you can stain your lips by dabbing the colour on your lips with your fingers. Do this in stages until you’ve created your desired effect.