London fashion week AW 14/15 PART 1.

I’ve just returned from my trip to LFW and will be sharing this season’s experiences with you in diary style posts. I have decided to present our adventures in 3 parts to keep them short, sweet and interesting.

The night before we left was stormy and there was a brief moment when it seemed like we weren’t going to be able to make it down, but by the morning trains were running again and we arrived in London with just 20 minutes behind schedule.

Our first stop was Lucinda Sinclair’s studio where the Vauhaus girls shot for Sanctus on a windy roof top.

bts1Left to right: Amber, myself, Lucinda, Toria and Hazel.

I shot for one of their previous lines about a year ago and you can see the shoot here but it was nice to get the opportunity to meet Lucinda in person and hang out.

The next morning we headed to our first show all together. It was raining. I found myself wishing I’d brought a selection of outerwear so my street-style photos didn’t all end up looking the same but alas, my suitcase was heavy enough already.

My outfit:

wall1wall3wall2Hat: Asos, Shirt: H&M, lace blazer: Ebay, pleated maxi skirt: Jane Norman, quartz necklace: handmade, feather necklace: Richard Ayres, body jewellery:

Thanks to Amber for the pics.

Our first show of the season was Jaime Wei Huang. The young designer presented a modern collection with many contrasting elements but a sleek, consistent feel. She was inspired by the film “the Pianist” and specifically the characters behind the refugees.

jaime wei huangOpposites really inspire me in general so I’m always happy to see a collection with juxtaposing features. Huang mixed heavy and light fabrics, utilitarian features with classic silhouettes and masculine shapes on the female form.

The mood of the show was quite sombre and the models walked quietly and spaced out, allowing viewers to take a good look at the garments but maybe also the character beneath, perhaps a glimmer of the of the refugee’s pre-war identity .

Key features such as the trapper hats, oversized funnel collars and thick buckled straps recreate the resourcefulness of war and show how necessity can form fashion statements.

P1010186-1024x902A lot of the pieces in this collection are highly wearable and would make practical but eye-catching wardrobe staples. My personal favourites are the textured leather gillette and the black jacket.

After the show, I also got the chance to briefly meet Pandemonia Panacea and snowy.

1780799_589915891085833_1269690304_nHere’s the whole team and what we wore.


Winter wonderland show

I don’t always have time to update as often as I’d like but I do try to keep things more or less in chronological order, this sometimes causes me to fall even further behind because I find it hard to publish a particular post. This is one of those posts, I have thought about what I wanted it to be like for ages because I was searching for a more refined and straightforward way to present my personal personal projects but I guess I’m not quite there yet.

As I have mentioned previously, this winter I was very inspired by wintery imagery, white animals and snowy settings. I really enjoyed gathering inspiration for the Eustratia winter wonderland shoot so when a show slot came up at the Manchester Alternative and burlesque fair, I jumped at the opportunity. I never usually plan seasonal seasonal stuff in time but my general love of animal-inspired headwear and white latex came in useful here.

winterboardThis was my main inspiration board.

I wanted to tell a story and I left it would come across best if the setting was right so the props were important. The main part of the story takes place in an enchanted forest so trees were essential, I’ve wanted to have something like this on set for ages so I ordered some foam board and thanks to the efforts of the multi-talented Richard Ayres, it was made possible. I think he will aslo need a prop portfolio soon.

I also purchased a snow machine, which I think made all the difference, a large mirror, some small animals and hanging stars to complete the scene.


With the event being so close to Christmas I wanted to add some traditional elements into the story, unrecognisable as they may be. I stumbled upon the story of Befana, the Italian, gift giving witch. I loved the fact that as well as putting sweets into the boots of “good” children she also took time to sweep the floor while she was there, utilising her witch broom to show she was a good housekeeper. I decided to put her in the show but I totally changed her appearance to fit in with my aesthetic.

witch 3My decision to add this traditional element along with the girls starting of in the real world and journeying, in a dream, to the enchanted forest made the execution slightly more complicated. I was determined to make it work because it was the most unique part of the show and I left it gave more depth to the story.

The final narrative was as follows:

It is the night before Christmas. 2 girls go to bed in their room, excited for what the next day might bring. They have just fallen asleep when they hear a tinkling sounds coming from the mirror. The one nearest gets up and notices she can go through!

Once through the mirror the two girls find themselves in a winter wonderland, they are wondering around in awe when they meet a witch. She is gathering flowers in a basket and the girls decide to help her. To thank them for their kindness the witch gives them a magic coin that they can use to call upon her whenever they need help.

Next the girls come across winter woodland animals, dancing between the trees, they are transfixed and watch the graceful dance until their attention is drawn away by a loud noise. The snow queen and her extravagant pet unicorns approach the animals and circle menacingly. The queen decides to turn the animals into ice statues so she can admire their beauty whenever she likes, then they leave.

The girls come out from hiding behind the trees and are sad to see the animals cold and motionless, then they remember the coin and decide to use it to help the animals, they throw the coin into the air and surely enough shortly after the witch appears, she gently touches each animal and breathes life back into it. The animals have been turned back to normal and it starts to snow, everyone frolics happily.

The witch then leads the girls back through the mirror and into their own room. She puts them to bed, leaves glitter in their boots and sweeps the floor before leaving. The girls awake on Christmas day to find the glitter in their boots, a magical reminder of their journey to the winter wonderland, they are happy.

-The End-

Video by latexgirls HD

The staff and broom were made for the show by Madame Dee’s creations.

Some stills from the show:

483520_10151305066329491_1387478830_n 385028_10151305062614491_333148465_n  68604_10151305064784491_100107513_n 67627_10151305064454491_1866644225_n 60898_10151305062644491_1597263301_n 30375_3962107458627_1838900844_n 18885_10151305063134491_1457445687_n 18828_10151305063899491_1376147886_nYou can view more images from the show and info about the models on the Eustratia facebook page.

I’m quite happy with the way the show turned out despite the technical difficulties we had on the day. I’m grateful to everyone who contributed/took part and I think the models did an especially good job considering we didn’t get to rehearse with the props in place. Visually, I wish there was a white or generally light coloured backdrop, I think it would have really added to the set. It isn’t majorly important but I think it’s helpful for myself to make a note of such things because it isn’t something I would normally think about before planning a show.

Though it was a latex fashion show, I mostly enjoyed experimenting with different textures and making the non latex items. I had lots of fun with the fake fur, a material I’ve never used before. Of course I had to try on all the silly animal headwear!