Ashish Show Report + A Short Rant

So, for three days I have been trying to win the Grazia blogging competition and have failed, the winner today even reviewed Ashish, am now feeling very sorry for myself :(

It also got me thinking about show reviews and bloggers, surely my review is surplus to requirements? Grazia now has two Ashish reviews online and I have since read countless others (in order to compare and contrast my own) Does the fashion world really need a lot of people watching the same thing and then writing very similar response with varying degrees of success/ skill. Funny stories and opinions are a different kettle of fish and one that bloggers excel at, but really I think show reviews should be left to the pros.

For what it's worth, heres mine:

Best known for his sequins and sense of humour Ashish did not disappoint showing what looked to be a blue and white striped pajama set and some sequin spot trousers with a cute dog print. His humour often hides some serious commercial clout, the current high street trend for all things Paris was present (in sequins of course) at his Spring/ Summer 10 collection as was the much-copied sunset print dress. Ashish has also done a recent collaboration with Topshop that includes grey sportswear and killer gold wedges.

The models looked to me as if they were on a gap year break in South America, slouchy hats covering a disheveled plait with a flash of hair dye weaved through. Chunky cream knits and brown woolen trousers were brought alive by the bright shimmering ikat print that ran through the collection. The sportswear element was also apparent with a grey marl crop top and maxi skirt combo.

This collection felt rather more grown up than his previous efforts, even when compared to the most recent spring/ summer collection. The theme of world travel has been dealt with in a far more subtle and sophisticated manner.

Ashish has already proved that he can do low key sequins and high-octane sportswear but now also proves he can do serious tailored tweed jackets and trousers and very wearable knitwear, even if it does have sequins on.

Images from Grazia Daily

Vintage Academe at Topshop

After a minor tube hiccup and a member of Topshop staff that had no idea what I was on about I found the Vintage Academe talk at Topshop Oxford Circus at 18:15, a mere 15 minutes after it started.

There were people standing and two small rows of seats, one on the end near me totally empty, I wondered why no-one was sat there, tired from work and frustrated from the tube I decided everyone was probably just being polite so plonked myself down to marvel at the clothes and listen to Curator Judith Watt give a thoroughly entertaining and very interesting talk through the clothes on display, when she finished she made her way back to her seat…which I was sat in. oops.

Having just finished a Fashion Curation MA I was so inspired by the idea and accessibility of the garments. Vintage Academe is a great mix between museum and shop. On the course we questioned whether you could have a fashion ‘gallery’ in the same way art has galleries (where works are on display to the public but also available to buy) and Vintage Academe is about as close as you can get.

Unlike a museum the clothes were on a rack to be rifled through, touched and held. My favourites were a characteristically garish Versace pink and black jacket with the signature lion head gold buttons and a royal blue evening dress by Issey Miyake that appeared to be made entirely from loops of ribbon.

Photo of Versace Jacket courtesy of http://www.vintageacademe.com/

They also run a lovely blog at http://vintageacademe.blogspot.com

Belated MA Show Pics and Congratulations

Homemade Couture: 111 Years of Vogue Patterns by Sophie Wood (me!)

Styling and Absence by Tory Turk

An Oral History of Marit Allen by Shonagh Marshall who is also taking part in the V&A's Oral History seminar in the summer.

An exploration of the 5 senses in fashion exhibitions by Michelle Carpenter

Satirical Sartorial Jenna Rossi-Casmus, author of blog http://shatteredsilkblog.blogspot.com and winner of an LCF prize *claps*

She Wears Her Pain by Amy Bluett.Fashion and feminism meet in Amy's hand drawn version of 'The Gallery of English Costume'

It’s all over! The display at the Mall Galleries was a total success and I even got to speak to Sarah Harris, the features writer at Vogue about my work on Vogue Patterns. I am still obsessed with Vogue Patterns and dressmaking and need to decide where to take it next.

Special thankyous go to Nilgin Yusuf for introducing me to Sarah, course tutors and super curators Amy de la Haye and Judith Clarke and everyone on the course for creating such a beautiful exhibition. And CONGRATULATIONS on their results to all the MA graduates at LCF this year.

Bora Aksu A/W 2010 Catwalk Report

Born in Turkey and educated at Central Saint Martins, Bora Aksu moved on from S/S 10 with pale icy blues, cool greys, peachy nudes and flashes of bronze and gold. Silk and chiffon were draped and ruched then strapped down with knitted piping to create a fitted yet floaty shape. Black textured leggings with mesh panel inserts hardened the look for winter.

The collection focused on one dress shape, sleeveless, high neck with darts and tucks creating volume at the hip, a pared down version of last season’s popular lampshade look. Hair was worn in a simple up do and make up was pared down which only served to accentuate the clothes.

Aksu’s keen attention to detail and construction is evident, the mesh inserts, sheer fabrics and a strong silhouette only confirm it. Standing out against the pale dresses was a pair of bright gold trousers teamed with a khaki jacket and ice blue shirt.

The end of the show saw the models walk down the runway in a fierce/ pretty gang, a la the Dolce and Gabbana Menswear show, allowing the garments to complement and conflict like the roses and leather that inspired them.

LONDON, ENGLAND - FEBRUARY 19: A model walks down the catwalk during the Bora Aksu fashion show during London Fashion Week at the BFC Show Space at Somerset House on February 19, 2010 in London, England. (Photo by Ian Gavan/Getty Images) Copyright 2010 Getty Images