Alternative Fashion Week Day 4

Alex Seroge Ignatian

Alex Seroge Ignatian

George Strood

George Strood

Nicole Gill

Nicole Gill

Alice Barcham

Alice Barcham

Gemma Maher

Gemma Maher

Tower Hamlets A Team Arts

Tower Hamlets A Team Arts

The University of Derby

The University of Derby

Barnet College

Barnet College

Renata Suchanova

Renata Suchanova

Lua Sarcy Ltd

Lua Sarcy Ltd

Elif Muzaffer

Elif Muzaffer

Tijana & Mila Popovic

Tijana & Mila Popovic

UCreative at Rochester

UCreative at Rochester

Emma McCarthy encounters magnetism, eclecticism and pragmatism on the catwalk at Day 4 of Alternative Fashion Week 2010.

Let’s hear it for the boys
There was an profusion of exceptional male design talent at the foreground of today’s show, including Thomas Lovegrove, George Strood and Alex Seroge Ignatian. Alex, designing for his label Seroge, presented a mature and cultured autumn/winter collection influenced by the Middle East and ancient Persia. Fiery, sun-scorched and richly earthen colours provide a traditional interpretation, whilst subtle heritage design is introduced in Tartan, Paisley and Damask prints. Harem trousers and structured sleeves are bound by wraps of excess fabric at the ankles and wrists, while waists are cinched with wide leather belts. Outfits were styled and hooded with a selection of wrap-around scarves in skinny, tasselled knits and long, sweeping hessian. A striking, ready-to-wear collection, with generous layering, ideal for our Great British climate and its colder months.

George Strood’s experimental knitwear collection encapsulates all the refinery, luxury and opulence of the 1920’s, which he considers to be the ‘decade of elegance’. Creating an all-white collection, George adapts the structuring, under-wiring and contouring of underwear into a series of dresses, playsuits and separates with charm and charisma. George’s creative skill and expertise is undeniable: he produces depth and texture, not only from layering, knotting, looping and embossing, but also from the various thicknesses of wool he uses to sculpt his designs. Fine, tight machine knit and delicate crocheting meets chunky cable knit, and every last quirky flourish is spongy soft - from bracelets, bags, pockets and cuffs. Oversized wooden knitting needles are the only omission, which he uses to pierce neck scarves and yarn fascinators. All in all, a stimulating contradition of the girlie and the womanly.

Thomas Lovegrove’s strong and unified series of men’s sportswear transfers street chic for those who wear their gym gear for more than just exercise. With vivid, 80’s colour blocking and bold geometric mismatching, this promising designer ought to have a bright future ahead of him, as well as a large fan base. Rivalling international brands, such as Reebok, Adidas and Puma, who supply the demand for retro, revival aesthetic and relaunch of classic design, Thomas holds his own, turning jersey and polyester into a form of art. I would have snapped up the entire collection pronto if I were a Topman buyer....or a guy.

Intercontinental Relations
Nicole Gill found inspiration from the Balinese Barong song for her collection of sexy and feminine lingerie. In a palette of black satin, grey polka dot and peachy ivory, Nicole gave us theatrical glamour with her high cut briefs, shapely corsets and balconette bras. Gathered white silk softens straps and edges and tiny grey bows finish off a delicate and well-rounded boudoir range.
Australia’s most culturally enriching monument met a cinematic and international fashion icon today in Alice Barcham’s collection of simple and sophisticated basics. The stylish sensibilities of Audrey Hepburn dictated an assortment of fitted shift dresses, cropped, double-breasted jackets and classic trench coats, all with dainty little lace gloves. The rolling, asymmetrical architecture of the Sydney Opera House was mirrored by the folded, creased and pleated designs and the concept was given depth and accuracy as panels of off-white diffused the pure. In its entirety, the line coalesced into effortless and wholesome practicality and would make for ideal resort wear.
Gemma Maher’s Firebird collection cites Diaghilev’s Ballet as its primary source of inspiration, as she looks towards the set design, Russian costume and the nostalgia of the stage. The cutesy eclecticism also reminded me of The Borrowers, as the outfits were scattered with buttons, bows and tiny tassels. Ruddy brown and tea-stained beige complemented pastel knits, panelled with busy floral embroidery and cotton espadrilles replaced the requisite stack heels.

Single and Mingle
Tower Hamlets A Team Arts contributed a portrayal of Heritage Exploration and Fashion Anatomy. The designers were free to exercise full creative licence and they constructed, fashioned and experimented their way into a collection of bizarre and beautiful fantasy creations. In manipulating an array of alternative fabric and fibre, each design cultivates an original and personal creative dimension. Sculptural art and form is a consistent theme, with circular, triangular and square shape featuring in both print and accessory. The University of Derby collaborated on a metallic silver collection, from muted and steely through to bright and burnished, producing futuristic and sporty adaptations. Cage dresses, rigid corsets and stiff tailoring appeared alongside soft blouses, lightweight skirts and gentle contours. Barnet College’s latest collection, ‘Zero Waste’, vamped up tired, old denim and gave it a new lease of life. A dark denim, waterfall pleat skirt and a little stonewash bra top and hotpant ensemble, complete with coin purse bumbag, were among the best.
A Future Romance was the title of Renata Suchanova’s eveningwear collection, based on architectural form and 18th Century dress. The soft leather and satin lustre of deep indigo, midnight blue and jet black gives a seductive and vampiric appeal and cast a strong, lean silhouette on the catwalk. Lua Sarcy encouraged us all to ‘Live A Little’ with a sumptuous range of deep purple, pistachio green and creamy white eveningwear. Fluid, floor-length gowns and pretty prom dresses feature double layered handkerchief hems, floral appliqué and elegant draping.

Chopping and changing
Elif Muzaffer’s enigmatic collection entitled ‘The Struggle Within’, applied the study of creativity coupled with depression, exploring the impact this emotion has on the mind, body and soul and evoking the idea of the ‘Tortured Artist’. Sweeping trench coats, floor-length gowns and short, sharp cocktail dresses aare host to a garish multitude of colour and a mass of printed roses, offset by undertones, depths and expanses of black. The harsh extravagance and gaudy over-compensation staged a strong statement about appearance versus emotion. The Serbian design duo Tijana & Mila Popovic and their conscientious and environmental movement, Cash for Trash, produced a recycled, reused and renewed collection entitled ‘Flowers of Romance’, featuring converted garden implements, fishing equipment and household surplus into new constructions. With a focus on needlework and embroidery and a range of remarkable hairpieces and fascinators portraying miniature garden scenes and floral arrangements, the collection is as pretty as it was political.
UCreative at Rochester exhibited a large collection encompassing the themes of metamorphosis and transformation. With literal interpretations featuring ripped, frayed and tattered layers, unfinished edges and unravelling knits, through to the more metaphorical analysis, such as one young designer who crafted a playsuit out of secondhand Baby Grow’s, the show displayed a resourceful collection of imaginative and inventive new talent.

Photos: Emma McCarthy

Video: MB Films www.mbfilms.co.uk