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DHARMA TAYLOR AW 10-11
The London designer stays true to the city's quirkyness with her 'Knock Out' collection
All major fashon cities throughout the world have their own style identity; it’s almost like designers flock to different countries in order to fit in with what’s genreally perceived as the common aesthetic idea of either London, Paris, New York or Milan. The UK capital has always been the avant garde and forward pushing little sister to the bigger, more grown up cities, and even though the recent edition of LFW was applauded for its maturity, there are thankfully plenty of up-and-coming designers in London ready to question any widespread notion of ‘settling down’.
Dharma Taylor, for example, has since graduating from Rochester University in 2007 kept to her vision of a dark – yet surpsringly colourful – vision of the future. Through previous collections such as Purple Haze and the current AW10 Knock Out, Taylor has pushed her charecterostic style of graphic prints and loud colour schemes.
This exactly why London continues to breed the next generation of fashion super stars; a never ending ambition to pursue dreams and not giving up. If we’re lucky, they will take after Taylor and cite literary heroes – like Kafka in this case – rather than Banksy, glow sticks or Snow Patrol. With imaginative videos and breath taking head pieces, Dharma Taylor challenges our prepackaged of what a modern day fashion collection should look like. Just the way we like it in London.
Dazed Digital: What inspired Knock Out? You mention the author Franz Kafka - anything else?
Dharma Taylor: I looked at how Franz Kafka, in ‘Metamorphosis’, illuminated the state of captivity of creative artists in society was the ultimate inspiration for the Knock Out collection. Knockout goes with the times. I’ve been also been reading a lot of Carlos Castenada and have been influenced by his writings and the notion that a separate reality can be created, a brand new world, but is probably already there.
DD: You’ve talked about “Subwoofing elements of Hyperreality” - are your clothes part of those elements?
Dharma Taylor: Of course they are. They definatly play a part in trying to communicate with the nation. In communicating, a subwoofing language is creating a new and subversive one. This language can be coded and can be found in the garments themselves, but also in the supporting graphic animations and sound.
DD: There is something quite Bernhard Willhelm-esque about your collections – has he been an influence on you?
Dharma Taylor: It’s more like an admiration I have for his early work than it is an influence. My favourite was his AW 07-08 collection - it was the head pieces that did it! I havnt really looked to his stuff of late.
DD: How come you ended up designing menswear, and would you consider trying out womenswear?
Dharma Taylor: Menswear is where I feel most comfortable, I’ve always designed for the boys in mind. I think I’ve always seized that style like a bit boyish since I was little. The pieces do have a unisex quality though, girls can wear it too. I haven’t yet considered designing womenswear simply because I have a lot of respect for the aesthetics in menswear. But never say never!
DD: You use many graphic prints. Do you do them all yourself?
Dharma Taylor: Yeah, all the graphics you see associated with Dharma Taylor are designed and produced by myself. Lately I’ve been using 3D design softwares such as 3D studio max, Maya and Zbrush.
DD: When do they come to you – in dreams?
Dharma Taylor: Unfortunatly not - if they did I’d be on to an easy winner!
DD: You graduated in 2007, did you set up Dharma Taylor straight away? Would you have done it differently today?
Dharma Taylor: After graduating in July 2007 I sort of rested for six months then showed my Purple Haze AW 08 collection at London Fashion Week via SuperSuper. This led to the ilil guerilla boutique in Tokyo showing interest in my work. I can’t think of any other way I would have done it... The only thing that I keep coming back to is the idea that perhaps I could have a different name to represent the brand.
DD: What are the Pros and Cons with setting up your own label?
Dharma Taylor: Starting a label with empty pockets has been a struggle. Nevertheless that gives you a drive and determination to develop it further.
DD: What do you say to people who automatically assume you are part of a New Rave design genre?
Dharma Taylor: People really don’t assume I’m a part of that New Rave design genre. I think their broadminded enough to know it’s not that. New rave’s been dead in the ground a long time, it died even before I’d finished my BA. But it did have a little influence on some of my early work. Right now Dharma Taylor is a part of a new void in time, a new genre. I can’t quite put my finger on what it is. It’s definatley digital though, and dark.
DD: You studied at Rochester University – was it a good or bad thing to learn fashion outside the insular London fashion world?
Dharma Taylor: I was definately a good thing - simply because all of us there knew no different and we created our own world of insulation, a good environment for bouncing ideas... some of us branched out occasionally to go see what the city was saying. Despite that I’ve just completed my Masters in Digital Fashion through the menswear pathway at the London College of Fashion. And even though the faculty was in the centre of London, I felt I lost touch with the London fashion scene. I’m back now.
CAROLYN MASSEY AW 10-11
The East London-based designer kicks off the menswear shows at LFW
Text by David Hellqvist | Published 26 February 2010
First out on London Fashion Week’s busy menswear schedule was Carolyn Massey. The East London based designer has carved out a nice niche for herself during the last few seasons as a subtle and formal tailor, often evoking army influences and monochrome shades.
This AW10 show was a successful follow-up on past achievements. Citing an anonymous donor, Massey went on to darker and moodier military elements, some dating back as far as the Second World War. Massey’s ‘Obsolete Prototype C53’ collection saw her mix staple pieces – such as her collarless shirts and flowing wool coats – with extensive use of leather. Over sized T-shirts, some with big chest pockets, come out in both black and a light pink shade, apparently inspired by “the muted hues of a Tokyo morning”.
The army influences were quite subtle though, which was refreshing in a scenario where epaulettes, bomber jackets and chunky boots often pop up. 1940s inspired stripy tops featured heavily, and generally speaking knits and shirts came either slightly over sized or very long in the body. All in all, a pukka Carolyn Massey show. As usual.
Dazed Digital: What was the main influence behind the collection?
Carolyn Massey: The initial inspiration came from the patterns. We toiled them up and fitted them, whilst editing into a more contemporary story. With this, my Tokyo travels inspired the colour pallete. It feels like cities have different colours, these were the colours of my jet lagged mornings. That and the word ‘elegance’. It’s haunting me at the moment - a desire for elegance in my work. Sometimes a feeling can be more inspiring than an image.
DD: Could you say anything about the 'donor'? Has he in the war?
Carolyn Massey: I have been asked not to - for security reasons.
DD: It isn't often we see prints in your collection - how did they come about?
Carolyn Massey: It’s about making the garments mine, developing a deeper aesthetic story with the line up, and on the rail. The prints were designed in collaboration with print designer Sam Cotton. I’d been to see the Ray Johnston exhibition at the Raven Row gallery and was inspired to create postal prints. The faded agedness of them was reflected in the silk twill.
DD: There were a lot of loose tops and tighter bottoms - did you just feel like playing around with proportions?
Carolyn Massey: The looser looks came from a military smock, I love the contrast of silhouettes, it seems somehow refreshing at the moment when collections can look so straight up and down skinny.
DD: Congratulations on being selected for the Unica On Stage project - are you coming back to London, or are you planning to show in Milan from now?
Carolyn Massey: The award is to work with Italian mills and be sponsored for next season. It involves a show in Milan during Unica. It couldn’t replace London!
DD: What was your favourite piece from the show?
Carolyn Massey: The sleeveless tailored jacket. And yes, I’m having one.
TIM SOAR AW 10-11
Tim Soar dresses for London's modern gentlemen
Text by David Hellqvist | Published 26 February 2010
London doesn’t have that many menswear designers dealing in smart luxury design. Sure, they know how to cut a suit and how to make a trainers look a million dollars, but there is something to be said for oozing qualitative luxury - and still being part of a fairly small click of British menswear designer.
This time around Tim Soar managed to crack that nut. He sent out a predominately beige and camel coloured collection – a colour that says wealth more than most. Add to that double-breasted jackets, formal loose pants and a pinstriped coat. This is not a city uniform, more a London dandy look. What gave away the Britishness was an umbrella and sou’wester hats. Explicit eveningwear came in the form of a sheer see-through shirt, paired up with tuxedo belt and smart pants.
Soar also showed a black biker jacket over a cashmere coat, but his strangest moment probably came when a model donned an electric blue wig. That was only made up for when he showed off a turtleneck jumper in the same excellent colour. Tim Soar not only showed away from everyone else at Somerset House in his Soho location, but also distinctively put a stamp of decadence on his show and, looking back at the menswear day, also on the entire LFW proceedings.
Dazed Digital: What was the main idea behind the show?
Tim Soar: It was a sort of Greatest Hits of Menswear idea. I used different influences, cuts and techniques from the Victorian period and onwards. I also wanted each piece to work on its own, with the context of the show and even the look.
DD: Anything else you looked at?
Tim Soar: There was definitely a 1970s Parisian vibe in there as well!
DD: There was a distinct feeling of luxury as well in the collection!
Tim Soar: Yeah, I wanted to explore that side of menswear without the clothes being about bling.
DD: Almost an understated luxurious feeling even?
Tim Soar: Well, I’m certainly not one for loading on too much detailing; I rather keep it slightly understated.
DD: There was also a clear British feeling to the collection!
Tim Soar: You mean with the umbrella and fisherman’s hat? Yeah, I looked to the fashion of the 1940s and 50s for that as a reference.
DD: Favourite piece from the show?
Tim Soar: I’m going to be wearing the flares for next season, they feel very right for me!
JAMES SMALL AW 10-11
Russian cosmonauts and military paraphernalia inspires Small's collection
Text by David Hellqvist | Published 26 February 2010
Even from the very start of the James Small show, deep down in the Somerset House catacombs (at least that’s how it felt), it was clear what the ‘Ground Control’ collection was all about. Small, a long time associate of Kim Jones, sent out model after model in refined, altered and deconstructed formal wear. Short-sleeved suit jackets and fusions between waistcoats and tailored jackets were just two examples of the 29-year-old’s obsession.
But denim wasn’t left alone; he used panelling and patchwork to make them stand out, and also basic white shirts were given the Small treatment. Often he didn’t use other colours than black and white, although a few navy, beige and grey pieces crept out. Sometimes the contrasts between his formal and casual wear took the spectators with surprise; a check shirt and a silver puffa jacket (think a futuristic version of MJ’s Thriller jacket) kept everyone on their toes.
It’s always good with new blood on the fashion circuit, and Small has quietly been around for ages. This – a collection inspired by Russian Cosmonauts, military uniforms, evening and work wear – left most people hungry for more. Starting with a re-make of eveningwear is a bold move, but James Small pulled it off, and even if it was a small step for James, it turned out to be a bigger one for London’s menswear scene.
J.W. ANDERSON AW 10-11
Sophisticated punks walked down the runway for J.W. Anderson's heavy military range
Text by David Hellqvist | Published 25 February 2010
In the early hours of Wednesday, J.W. Anderson brought out the heavy artillery to start off the last day of London Fashion week. The Irish designer started with a full frontal punk attack, billed by the man himself as “Saints or assassins with a cross-country paramilitary vibe”. But it wasn’t all about leather jackets and safety pins. Instead the focus lay on a beautiful tartan patterns – often in red or yellow shades – which screamed Highlands heritage as much as the Sex Pistols.
But no one could miss the overly loud detailing, such as the belt necklaces, studded belts and over decorated boots. Ripped jeans completed the Sid Vicious look. Luckily, J.W. Anderson had a lot more to show for himself than just your standard punk gear.
Modified Donkey jackets impressed, casual tailoring showed another Anderson side. Beige shades mixed with red, navy and green testified to an advanced AW colour palette. But all was promptly placed in the shadows by Anderson’s highly intricate and stud adorned boots – a real show stomper!
Dazed Digital: What influenced you? It was sort of sophisticated punk!
J.W. Anderson: Yes of course it was quite punky, but I also wanted to make it a bit futuristic.
DD: What were the futuristic elements of the collection?
J.W. Anderson: The boots I think. If you look close it looks like they are growing from the ground, kind of manipulating it.
DD: How would you describe the collection?
J.W. Anderson: It was about breaking it apart and putting it together again. I wanted it to be a compact look!
DD: There was a nice contrast between the harshness of punk and soft details, like hearts and flowers!
J.W. Anderson: I love hearts. They're big but they mean something. At first I was scared of using them, but I'm glad I did it in the end.
DD: The boots looks like hard work!
J.W. Anderson: We bought 1,200 belts when we did them so it took a while, yes.
DD: Any favourite pieces?
J.W. Anderson: The boots and I love the last look with the simple tartan and cycling gloves!
JAMES LONG AW 10-11
Navy leathers and fur detailing kept the hardcore James Long fans happy
Text by David Hellqvist | Published 25 February 2010
James Long has a long-standing love affair with leather and their mutual affectionate relationship blossomed also this winter collection. But there was another factor – call it the third wheel, if you like - in the partnership this time around: blue - and lots of it!
As far as colour choices go, it was an effective one. Most menswear pieces tend to look good in shades of navy. Long tried it on biker jackets, trousers and cardigans. Another James Long newcomer was corduroy. It infiltrated the whole collection, but was at its strongest as a boiler suit. That specific garment very much summed up the collection as it was christened 'Boiler Room Boys'. But it seems opposites attracts. Except for denim work wear, there were the odd “promiscuous boys” outfit as well. Leather jackets with generous fur detailing kept hardcore James Long fans happy. But more than preaching to the converted, Long reached out and designed a wearable and commercial collection.
Dazed Digital: What inspired the collection?
James Long: The models were Boiler Room Boys. The heat of a boiler room influenced the main print of the show.
DD: What was the red print al about?
James Long: It’s hot and sweaty in the boiler room and the print is a zoomed-in microscope version of fever particles. And the boiler work wear inspired all the denim.
DD: Were the cardigans made out of mohair?
James Long: Yes, and that represented mould growing on the fever.
DD: It feels a bit bionic!
James Long: Yeah, also because the corduroy is treated to be shower proof
DD: A favourite piece from the show?
James Long: Well, I’m already wearing the jump suit.
MARIA FRANCESCA PEPE A/W 10-11
Maria Francesca Pepe takes us into the woods.
Text by David Hellqvist | Published 21 February 2010
Maria Francesca Pepe, a London based Italian designer, have managed to merge the best of those two worlds. Whereas her fabrics and fundamental view of fashion very much is coloured by her Italian heritage, the attitude and colours in the MFP collection are distinctively British, or at least have the characteristic of London. This was very much on show at her London Fashion Week autumn winter presentation. Housed in BFC’s Somerset House campus, the 30-year-old Central Saint Martins MA graduate impressed with a relatively small – but focused – collection, called ‘In the Woods’.
A few of MFP’s signature pieces – like tailored jackets and Tubular jewellery – had survived the trip to the forest, but emerged looking slightly different. The necklaces and some rings, for example, bore traces of blood. This was all in the name of Maria Francesca Pepe’s ambition to explore the “state of transition from human to animal and from life to death”. Even it doesn’t sounds too joyous, MFP created a beautiful but scary vision where opposites meet. Dark and light colours: black and dark purple mixed with white and cream shades. Hard and soft: a sheer georgette fabric shared the floor with leather, velvet and fur. See-through materials highlighted the evolution from human to animal, “baring the soul of its wearer”.
Jewellery has always been a MFP staple piece, proven by her collaboration track record (Roksanda Ilincic, Amanda Wakeley, Louise Gray etc). This season saw a strong continuation on accessories, with wolves teeth inspired belts, necklaces and buckles. Also crosses featured heavily, as both accessories and applied on t-shirts. Maria Francesca Pepe toughened up for her AW1011 collection, gave herself a tighter and less fluid look compared to earlier outings, once and for all showing that she’s a high-octane player on the London Fashion Week playground. Dazed Digital quickly quizzed her after the presentation:
Dazed Digital: There were a lot of crosses - are they the antidote to the wolves and werewolf theme?
Maria Francesca Pepe: More than a symbol of fight, I see the cross as a symbol of acceptation. It's that moment between life and death when they connect - I have always been fascinated by the cross as a powerful pop image.
DD: This was a quite hard and dark collection - have you toughened up?
Maria Francesca Pepe: I guess so. There have been times in my life where I’ve had to face some hardcore stuff, and I guess it has made my bones stronger. Nevertheless, I’ve always had a quiet dark side of me evident behind the surface, but I see this as a quality to look deeper and feel stronger. And I'm not afraid of it anymore. I guess this collection it's reflecting a grown-up Maria Francesca.
DD: There were quite a few angular shoulder shapes - is that a standard MFP shape?
Maria Francesca Pepe: I love the art of reshaping the body adding volume where needed. I've been quite obsessed by geometries all my life. And beside that I've always thought you can truly adjust your figure through shoulders. My mum always used to repeat to me to stand straight!
DD: This was about the transformation from man and animal - who's the stronger one?
Maria Francesca Pepe: I believe it's the combination of the two. And the awareness that we can be one or the other through times.
DD: What's your favourite piece?
Maria Francesca Pepe: The jackets and coats, as I am a jacket freak, and the wool jersey, leather cups and wolf fur - like the velvet shoulder dress. Obviously, I will wear it opened as a coat
CHRISTOPHER SHANNON A/W 10-11
Pixelated paisley prints makes surprisingly sleek and stylish sportswear
Text by David Hellqvist | Published 25 February 2010
The King of London sportswear has far from abdicated; Christopher Shannon still rules the world of clever, functional and athletic fashion. If anything, his AW10 collection was a testament to what every one already knows: the future is all about hi tech fabrics, practical details and an eye for street wear.
We saw nylon shirt jackets, cargo shorts (always an odd one at winter shows) and loads of trackie bottoms. Shannon also expanded in denim wear and showed white jeans with contrast pockets and denim jackets. Proper running shoes shared the stage with hiking boots. Beautiful blue and grey colour combinations dominated, but what also caught our attention was the intricate paisley pattern on tops and bottoms, pierced by a subtle CS logo. As expected we saw a loose and comfortable silhouette. Why change a winning team? Christopher Shannon is still London’s best link between sportswear and luxury menswear. Nuff said.
Dazed Digital: Was there a red thread running through the collection?
Christopher Shannon: I always start with individual pieces, rather than themes.
DD: And what were those key pieces for the AW10 show?
Christopher Shannon: It began with the patchwork denim. I wanted to do a jean I had not seen around. The print was also one of the starting points.
DD: How did the print come about?
Christopher Shannon: It’s an old paisley print I found. I wanted to use it for last Spring Summer show, but it didn’t work so I used it now instead. I like working with classic prints in general – we just updated it and pixelated it!
DD: And there was a CS logo in there as well!
Christopher Shannon: Yeah, I like a bit of logo mania - as long as it’s not done in a garish way.
DD: There were a few contrast pieces as well – mesh mixed with warm winter fabrics!
Christopher Shannon: I like using fabrics on the outside that are usually on the inside, like mesh. It makes it more interesting. I don’t want to spell it out for people, I want them to read into it whatever they want to!
DD: Do you have a favourite piece from the collection?
Christopher Shannon: I love the anorak shirts with hoods!
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