LCM: THE HEAVENS OPEN AT TOPMAN’S AW2014 SHOW!

Dark. Dank. Devoid of sound.

Booooom!!!

The edgy power of John Cooper Clarke cuts through the ether…His weighty words, doused in a Lancashire accent, darting rhythmically about like vocal strobes.

The spoken word hits a crescendo, his last line held in the air, embraced by nothingness.

Within seconds, action ensues, as mist-for-lighting announces the dawn in Topman’s LCM showspace. An industrial location is revealed, with a concrete catwalk, dressed, intermittently, in pools of water and as deep, electronica replaces the solo, the first model, with already-drenched hair, turns the corner into this brick-clad world of ‘Wuthering Heights’, breaking the modern-day barrenness with an opening AW14 look.

Black literally set the tone, represented by substantial, single-breasted, over-sized, overcoats, such as the duffel, with a popular toggle-fastening and their double-breasted counterparts in waist-hitting jackets. PVC bonded to ‘notch’-lapels, patch-pockets and block-hems, added textural impact to the round-shouldered silhouettes, which skulked the pass. ‘Wet-look’ variations-on-the-theme would be presented in high-shine, lacquered-leather separates, impressively accentuating apparel in shape, form and line, whilst also defining details through such simple, yet effective, techniques as piping. Within this section, the colour propostions mirrored the autumnal palettes of moss-meadow green and mushroom, with red-based plaid shirts and tassled jackets (echoing the cowboy-themed SS14 motif), acting as the flash of sunlight, breaking free upon the moorland.  Knitwear was rugged. At times, no-nonsense, with exaggerated, chin-cupping roll-necks, in open, cable and honeycomb weaves, resembling stylised fishing-nets…At others, given lozenge-beading and bouclé, to revisit pops-of-colour and to add surface characteristics.

Yet stronger spectral statements flooded onto sumptuous, full-length coats, in blazing orange, with matching, ‘jazzed-up’, ‘zoot-suit-style’ pants, voluminous and billowing against the strength-of-momentum with which the models strode through the venue. The pieces were also to be reprised in baby-blue pastel, a further homage to the tonal story, which has played a starring role in the sartorial spring/summer repertoire of many a design-house. The next seasonal trend-transition to be encapsulated, was the see-through mac, of long and short dimensions. Layered alongside these key advents into eye-catching shades, they complemented the story, with a revealing twist. Signature tailoring, for which the brand has become so higly-recognised and revered, featured in juxtaposed fashion to the drop-shouldered, full-pant ensembles, instead shown as straight-lined, straight-legged, suiting, in shipyard-slate and charcoal-greys, ever-echoing the ‘working-men’ of the past.

With the last look of black roll-neck, oversized, three-quarter length, matt, PVC coat and glistening liquid-look trousers, the Topman AW14 Collection had brought us to the end of our tour-of-the moors….or so it seemed…The last hurrah was an indoor downpour of rain, which fell upon the models as they walked the finale! It was an other-worldly end to a show which was typical of a collaboration, headed by the ebullient Gordon Richardson, and backed by an amazing design-team who know exactly who their ‘man’ is. To me, he’s a powerful, passionate, hardworking, salt-of-the-earth, modern-day Heathcliff and he wants his clothing to express that!

In the inimitable words of John Cooper Clark, ‘There’s apparel, Jim, but not as we know it!’* and when this distinctive collection hits the stores, you’ll see exactly what he means!

  http://www.londoncollections.co.uk/ ~ http://www.topman.com/

*Excerpt from ‘TOP MAN’ by John Cooper Clark

©AFROW2014-2019 ALL RIGHTS RESERVED

‘STYLE HAPPENS SOONER, ON ‘LATER’!’

We have a lot to thank Mr Jools Holland for! Not only does he bring us the most eclectic of live, global musical offerings, from established and emerging artists, alike, but with them, come a plethora of stand-out, sartorial selections, from the style-spectrum! For instance, you’re as likely to see and hear the hauntingly melodic, ‘Amadou and Mariam’, bedecked in bold, traditional Malian dress, playing in the-round, as you are the infectiously-anthemic synth-pop of ‘M.T’, in their eponymous multi-coloured, tie-dye-tees!

Case-in-point has to be a recent episode, featuring, Goldfrapp, James Blake, Franz Ferdinand and Kanye West!

 Backlit in a pure-gold aura and engulfed, full-length, in a column of black chiffon-drapery, the ever-ethereal, Alison Goldfrapp, held the audience, spell-bound with her melifluously reed-like, vocal perfomance of ‘Annabel’. The timeless gown, simultaneously, captured her effortless, idiosyncratic grace, whilst also paying homage to SS14 runways, with its pintuck-peephole bodice.

The unnervingly-talented James Blake delivered an equally-classy rendition of the stunning ‘Retrograde’. With hair, windswept, in defiance of the stillness generated by his unfolding-wall-of sound, he was an example of understated style, surrendering to sonic substance. In a ‘1-800 Dinosaur’ T-shirt-and-jeans ensemble, Blake also seamlessly combined product-placement of his new record label and a pinpoint performance, with ease and flair.

In stark juxtaposition, was the riff and quiff-friendly, Franz Ferdinand. Already well-known for their unique fashion statements including the sharpest of Savile Row-silhouettes, the band showed that they had lost none of their couture-creativity, teaming the gusto of, lyrically, ‘right words’ with the ‘right action’ of donning fashion-forward Hawaiian-prints with rock-a-billy attitude! Very D-Squared-2!

Kanye West’s performance of ‘Bound To’, with the outstanding ‘Uncle’ Charlie (Gap Band) Wilson, more-than-referenced the fact that he had graduated, magna-cum-laude, from the School-of-FROW! The ‘College Drop-Out’ star stamped his artistic authority on the programme, with all of the swagger for which we have come to love him. Punctuating the pitch-black studio with dramatic spotlighting, which served to accente his choice of a laid-back, layering trend, a play-on-neutrals of black ribbed-tee and low-slung, loose-fit, trousers, was complemented by a three-quarter length, khaki parka and desert boots in a pop-of-camel-colour. The entire look was topped-off by the trademark, heavy-gold, diamond-set, belcher-link chain, de rigueur for ushering in SS14’s metallic forecast! Uncle Charlie was certainly in-the-house, with his own, distinguished, take on double-denim, accessorizing with shades, as blacked-out as the windows on a one-off, customised Bugatti! It was, undoubtedly, a fitting backdrop to the soaring, silky-smooth, vocal-runs and devastating musical prowess of such a living-legend of U.S Funk/R&B!

So, the next time you tune into ‘Later… with Jools Holland’, keep an eye out for a new class of ‘artist-interpretations’… I think you’ll find that, on closer inspection, they are, in fact, rather more original!

©AFROW2013-2019 ALL RIGHTS RESERVED

Creative Arts go OFF-the-BEAT-en track!

All roads led to ‘The Oval Space’, in Bethnal Green, last night, for one of the most anticipated of multi-media mash-ups on the Creative-Arts Calendar, namely, ‘The Shoreditch Fashion Show 2013’! You might remember that I was more-than-a-tad excited at the prospect of attending the event, which was presented by ‘öffbeat’, the Arts lifestyle brand… Well, it was, indeed, an extraordinary display of, what I happen to believe, makes the power of creative-collaboration so undeniably potent.

The moment I entered into the behemoth of this, formerly-derelict, space, pregnant with potential, I immediately sensed a synchronicity between the throbbing baseline, which was disseminating through my central nervous system and the  contractions of imminent, fashion-brand-births! I also found myself marvelling at just how perfectly-balanced a venue it was, being, at once, expansive, with enough room in which to throw and catch shapes, a-plenty, whilst also intimate enough to accommodate the collective energy of a collaborative congregation.

The vibe was rich and distinct. People from all walks-of-life rubbed shoulders, as they shook to the dynamic DJ-grooves and pressed palms with artists and designers, alike, in congratulatory exuberance. However, just like the beats, the meet-and-greets didn’t stop, for these everday-people embraced one another, as well as opportunities to form newfound fashion-friendships.

Co-existing under this banner of ’emergent ambience’ were starkly-contrasting Art-forms. In one corner was housed a formidable frieze of stylised character-outlines, created by self-confessed Narnia-resident, Dom&Ink! These especially-conceived, ebullient images were oft-surrounded by admirers, yet, things took a definite turn, when the quiff-sporting illustrator, and author of ‘Map Of My Heart’, appeared, and encouraged the observers to colour them in! Around the corner, more exceptional Art took my breath away. Wandering guests were bathed in diffused, iridescent light, emitted from the impressive installations, at floor and eye-levels, of SunYin Xiaowen and Aphra Shezma. Others stood, face-to-face, with equally-stunning, Fine Art offerings from Linda Cieniawska, Charlotte Osbourne and Gwyneth Fugard. As I passed by the intermittent onlookers, it was as if their inner energies were mirrored by the pieces, in such a way as to become ‘human glowsticks’ and ‘living wallpaper’ and I recall feeling truly priveleged, not only to witness the effect of such private moments, being experienced in public, but to also be an integral part of appreciating the exquisite talent.

As time grew nearer to the presentation of fashion, which was so on-edge, it felt as if someone were scraping their fingernails down a blackboard, excitement was fuelled by singing sensation, Vince Kidd. All but prowling-the-platform, he delivered Otis-Redding-raw vocals, with a similarly-seasoned prowess, speaking-to-the-deeps with his soul-inspired spin, on life, love and all that lies between. After taking the audience upon a heartfelt journey, Kidd made his exit, stage left, to whoops of delight and enthusiastic applause, leaving the see-through screen to became the backdrop behind which each model would wait, before taking to the runway.

In a bid to further immerse myself into the experience, yours truly took to her second home (for which I didn’t need to find five percent!), the Frow! Suddenly, silhouettes of each collection were backlit-to-perfection, establishing the effect of a ‘fashion-fourth-wall’, as well as indicating that, tonight, something was coming, which was better than good! However, this separation was soon to be aurally removed by bespoke, live collaborations with up-and-coming musicians who, from the stature of their performances, are bound to make increasingly influential impacts in each of their respective genres. First-up, was the amazing singer, Lydia Baylis, who tore-away-the-veil, with a unique set of beautifully-accompanied, sultry, acoustic-folk. Hot-on-her-heels, and before anyone had time to settle into the still, harmonic haze, ‘Kill It Kid’ stepped up and totally smashed the divide, juxtaposing the, previously, gentle mood, with an awesome repertoire of sonic explosions! Both styles brilliantly served to complement the essence of each designer-aesthetic and we were treated to a creative-clash which would put the SS14 ‘print-clash’ trend of any well-known fashion-house to shame!

Models with raked-back, ‘just-got-out-of-bed’ Batiste-hair and fashion-forward, metallic make-up were bedecked in sublime, sheer pieces from the avant-garde world of Marcelo Yarussi, the deftest of twists on masterful, digitally-printed garments, designed by Nicolas Wirth and the cool creations of blank-canvas-white, high-end futurism of London College of Fashion Graduate, Isabell Yalda Hellysaz. The fêted, power-house-of-a design institution was also showcased via the stand-out, all-black, structural apparel from Maria Zhminko, the intriguing, open-weave, cage-like, riffs on body-con from design-duo, Rebecca Morter and Gemma Vanson and the decadent columns-of-kaftans, with concentrated print-formations, from the joint-genius-pairing of Christina Tiran and Victoria Rowley.

As the showlights faded, such superstar-DJ names as the irrepressible ‘Bill & Will’, ‘Shivas Regal’, the A&R-astute founder of Tigermilk Recordings, and idiosyncratic rhythm-maker, ‘Mculo’, were heralded to take-to-the-decks and storm-the soundsystem! With a two-step, here, and a head-nod, there, (but, sadly, before the anticipated arrival of the superb Rufio Summers), I was ready to bow-out gracefully and wind my way through a London-town which, once again, felt like a haven for burgeoning, undiscovered artistry. In fact, I can’t remember a night where so many apparent-strangers were apt-for-sharing, participating and co-creating such a ‘moment’ in time.. It just goes to show that there is a real fashion-fellowship, of sorts, doing-away with the out-dated image of an industry which is, supposedly, replete with back-biting, where only the strong survive, and is re–defining it, as one filled with opportunities to go beyond disciplines or regions and traverse brand new terrain! Of course, no industry is perfect, but the ethos behind such events as ‘The Shoreditch Fashion Show’, promotes the commercial as a facilitative route and support–system to creativity, whilst maintaining, without compromise, the core integrity of the energy-source from which successful collaboration grows.

So, my deepest gratitude goes out to öffbeat, for providing me with with the chance to be part of such a unique vibe. Further congratulations go out to all other sponsors/ affiliates, both front and back-of-house, involved in delivering this fantastic gathering. Last night was everything it promised to be, an interactive celebration of multi-media expression, par excellence, filled with extraordinary and inspiring examples of Creative-Arts-at-their-best and I cannot recommend ‘The Shoreditch Fashion Show’ to you, highly enough! Neither can I wait to see how öffbeat and partners focus-pull their combined-skills to shine new lights on rising-stars of parallel creative-platforms in 2014!

©AFROW2013-2019 ALL RIGHTS RESERVED

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TWITTER-TESTIMONIALS FROM ‘VIVID FASHION GROUP’ (@VIVIDFashionGrp)

‘One of the most descriptive and all together best blogs we have read!! @A_F_R_O_W please review all our events!’

‘…just re-read your blog on the show, it’s such an honour that what we created came across to you. Thank you for your words x’

DSQUARED2: IN CELEBRATION OF THE MOVIE-STAR SIREN!

As a designer, you know that a show has gone down a storm when howling whoops of delight are audible from both back and  front-of-house!! After today’s Dsquared2 show, the identical-twin design-team of Dean and Dan Caten must surely be shouting the loudest!

Forget that the event was running half-an-hour behind the scheduled time, the buzz of anticipation from an audience, the size of which was comparable to the Burberry attendance, was palpable!

With a brassy blast of Mambo Kings announcing the imminent arrival of some spectacular style, we knew that we were being set up to depart upon the fashion-ride of our lives!!

First up, was a splash of showroom footage, in which models were either being fitted and dressed in the collection, or were dancing with the designers, themselves, in a tiki-hut!! The brief glimpse served as a tantalising teaser to what was to follow….which was a pitch black auditorium and a pinched, female voice, with an American accent, regaling the finer points of elegance, as if delivering a Public Service Announcement!!!

Then BANG! With the camera done, it was lights and action, accompanied by Elvis Presley entering the building, as ‘Bossa Nova’ was siphoned through the super-speakers!! The scene was set with an elongated tiki-bar, complete with bow-tied bartender, a stretch of runway which extended like a record-breaking length of taffy and models, ready in their first looks, to powerwalk the pass!

Oh and what looks they were! The Dsquared2 woman positively oozed Sophia Loren-allure, with lashings of Brigitte Bardot-boldness and Diahann Carroll- decadence! The story started with bustier/ corset- bikinis, harking back to the moulded shapes of lingerie and beachwear of yesteryear, thus illustrated by a blonde bombshell-of-a-model, sauntering along the runway in the opening stark, white two-piece. Variations of the ‘new-vintage’ look were presented in darling degradé blush-pink-on-white and burning-yellow ochre colour combinations, with maximum impact being achieved through a punch of pop-art-turquoise stilletoes and the additional back-combed hair and wing-tipped make-up, courtesy of Sam McKnight and Charlotte Tilbury, respectively!

As the audience surrendered to subsequent models owning the catwalk, the retro theme was developed by the introduction of more traditional two-piece bathing suit ensembles comprised of bra-tops and full-briefs. One such example was in (virtually flourescent) purple/orange print, teamed with a jauntily-sported, single-breasted jacket, the fabric of which would be reprised in a natty black-belted jumpsuit. Animal print was also popular and featured on both string and bustier-bikinis and as a, wonderfully worked, mélange of patchwork-print.

Dsquared2-daywear encouraged the play-on-white, by incorporating capri pants, cotton blouses and a sartorially-stunning, single-breasted jacket. Texture was developed by way of toffee-toned leather shorts and an adorable three-quarter length, over-sized coat in coffee-brown. Black-and-white bouclé appeared in jacket and bustier-bikini form, with sequins denoting their take on the knee-length skirt.

When it came to dresses, we were in for absolute treats, with a selected off-the-shoulder gowns of the multi-print, kneelength, puffball variety, in a red/black/white palette and in a devastating midnight-black, fit-and-flare silhouette. Each piece was laden with acres of tulle underskirting, floating like flotsam on the ocean and, of course, had handbags to match! Of particular note, was the quirky usage of fabric paillettes in yellow/ taupe-tones, which caused the garment to look somewhat feather-like, yet distinctly attractive and extremely fun to wear!

For the sunset hours, composed relaxation was in order, with black silk blousons and bell-sleeved tunics paired with classic white, high-legged shorts. Notwithstanding, the chance to incorporate colour was never missed and the reprise of the blouson, a dream in tangerine, was confidently  off-set by highly mirror-embellished shorts. The journey continued with an ivory collarless jacket, scattered with gold beads from top-to-tail and the metallic trend evolved into a shimmering silver adaptation of the three-quarter coat, styled with a matching, Doris Day-èsque ‘pill-box’ hat!

It was left to the bikini-story to bring the show to a dynamic close, with a Barbarella-worthy black, cut-away, criss-cross swimsuit, building to a climax of a black-on-white bustier-bikini, which was the only example to have a ‘creeping-vine’ motif.

The finale vignette of the entire model line-up, topped-off a show which would, quite frankly, give the Punchdrunk site-specific theatre company a run for their money!!! Once Dean and Dan had, themselves, walked the measure of the catwalk to rapturous applause, the ride-of-a-show was over..

No matter what the start-time, this triumphant collection was above-and–beyond worth the wait!

©AFROW2013-2019 ALL RIGHTS RESERVED