London Runway Issue 78 - The LFW Issue by London Runway

QUEEN ELIZABETH II . DUA LIPA . FASHION SHOW HISTORY . NEW PHOTO COMPETITION . ISSEY MIYAKE

CAN'T STOP FASHION LIVE . HOUSE OF IKONS . PAUL COSTELLOE . RUE AGTHONIS . ISABEL MANNS . KLAMBY

ISSUE 78 27TH SEPTEMBER 2022

THE LFW ISSUE

RRP £12.99

LONDON RUNWAY

CONTRIBUTORS Chief Editor: Rhiannon D'Averc - editor@londonrunway.co.uk Editorial Assistant: Candice Wu - info@londonrunway.co.uk Publishing Assistant: Amber Johnson - amber@londonrunway.co.uk Lead Photographer: Fil Mazzarino Staff Photographers: Ian Clark, Mrityunjoy 'MJ' Mitra

STAFF SPOTLIGHT

each issue, we let you meet one of our team members

Senior Graphic Designer: Lauren Rowley Staff Graphic Designers: Bruno Jorge Staff Writers: Ruth Croft, Amrit Virdi, Kwabena Gyane, Emily Poncia Advertising enquiries - amber@londonrunway.co.uk Submissions - londonrunway.co.uk/submit Contributors: Anastasia Rolland, Louise Hopkins, Not Just Pajama, Little By Little Jewellery, Grainne Morton, Khu Khu Fans, Kemi Adefolalu, Mariana Teliuchyk, Kay Jar Nue, Poe, Shane, Irina Melnichuk, Absurd Studio, Julia Kurochkina, Viktor Goldman, Lito Z Vamy, Hypatia Ivy, Valkyrie Rutledge, Lizzy Boyd, Gerold Oliver, Lauriely Taylor Makeup, Shutter Fox Photography, Paitin Powell, Jody Wainwright, Kelly Gerrard, Crescent Agency, Uroš Topić designs, Victoria Kurdyumova, Lil Safonova, Freya Davis, KayeBee, Kirsty Cox, and Hannah Whittaker

Special thanks to House of iKons, Strawberry Bra Collections, and Japanese Melody

Interested in working with us? We currently have internships available in the following positions: Staff Writers Staff Illustrator Send your CV and covering letter to info@londonrunway.co.uk

© 2022, London Runway Ltd and contributors Printed by Mixam and distributed in-house by London Runway Ltd All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in London Runway are those of the respective contributors and are not necessarily shared by the magazine or its staff. Face of London Runway 2022 ambassadors are Pippa Winn and Flinn Andreae

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My name is Bruno and I was born in Lisbon, Portugal in 1996. Studied design in the Faculty of Architecture in Lisbon. Decided to move to the UK in 2020 to invest in my design career. I always enjoyed creating things. In the last past years, I have done some drawing work for commissions although I prefer to make drawings for myself because I really like the whole creative process from beginning to end. For me sports and physical activity is also very important, and I try to be active daily because it really helps my physical and mental health, makes me feel good in general.

CONTENTS

LONDON RUNWAY

21 VISUALS House of iKons

Jungle (Cover Editorial)

New Faces

Portfolio Piece: Gerold Olivier

Colour Pop (Editorial)

Rue Agthonis

Paul Costelloe

Buerlangma

Nexusme

Style (Conscious) Guide: Couture at Home Smells Like a Spring (Editorial

65 69 73

Klamby Fringespiration (Editorial)

Sohuman

Isabel Manns

Masha Popova

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82 ‘Tæfita

101

Can’t Stop Fashion Live

107

WORDS Lens of London Runway

Her Majesty The Queen: Style Icon

How Clothing Can Change the Impression You Make

Nobody Does a Trend Like Dua Lipa

A Tribute to the ‘Material Boy’

New Business: Uroš Topić Designs

Oh Polly Girl: Feminist Insult or Empowering Slogan?

Book Club: The Master of Grief

Your Style Horoscope

103

The History of Fashion Shows

119

The Big Question

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s ' r o t i d E ter t e l Every now and then, something happens which changes everything.

happened, and the gears of succession had already turned.

I had been due to write an editor’s letter this month about our upcoming photography competition and how well the London Runway Virtual Festival live photoshoot went. I was going to wax lyrical about London Fashion Week and everything that came with it.

It’s a strange feeling. Though the royal family have attracted much controversy during my lifetime, they have also been a constant. In particular, she, our Queen, has been a constant. She was a constant, even, during the whole lives of my son’s grandparents. Her reign covered more than a generation. It’s a strange feeling, then, to know that a constant is gone – like finding out that one of the stars in the sky has gone dark forever. That star might not affect my life very much at all in a personal sense, but it had been around for so long that we all began to feel like it would always be there.

But then the 8th September happened, and I watched as everyone did while the news trickled through. First, that the Queen was unwell. Then, that all of the members of her family were flocking to her side in Balmoral – a move that prompted even more cause for concern. Finally, while sitting at my desk and finishing off the last bit of work before my husband brought our son home for dinner, the news alert chimed again. Queen Elizabeth II was dead. The immediate shift to our new monarch, King Charles III, was enough to cause a little mental whiplash. Something almost unthinkable (yet surely, of course, inevitable) had

The Queen was, of course, a fashion icon in so many ways. We’ll explore that further in a few pages, so I won’t go into too much detail here. It remains to be seen what kind of monarch King Charles III will be, although it seems almost certain now that I and others younger than my age will see at least one more King in their lifetimes. It’s a time of change, of reflection, and of national mourning.

Of course, there are those who did not care for the royals at all, even going so far as to celebrate the news. While there are many sides to each debate, perhaps those individuals can at least look forward to the days of holiday we’ll receive after these events. And while you may not have an interest in the whole story at all, I always find it truly fascinating to live through something which we know will be written about in history textbooks for generations to come. This is a moment in history, and one which will always be remembered. Her seventy-year reign means that Her Majesty’s life and passing has been recorded, documented, and seen like no other before her. What is the future of the crown? Does it have one? And if so, in what format? These questions remain to be answered. For now, we bid farewell to the constant face of our country these past seventy years, for better or for worse. And raise our glasses in a new toast – God Save the King. Enjoy -

RHIANNON D'AVERC

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LENS OF LONDON RUNWAY For the first time ever, we're inviting photographers to compete for cover glory in our Lens of London Runway competition! We're putting out a virtual casting call for the first round. This means you can enter from anywhere around the UK - and even anywhere around the world! Whether you're an established pro or undiscovered talent, we want to see YOUR fashion shots. When you enter, we'll be asking you to submit the following: a maximum of five portfolio images. These should be uploaded to a cloud service of your choice in a folder we can easily browse. a filled out form listing your name, contact details and other information that we'll need in order to consider you. After making our first round of selections and getting your forms filled out, we invite everyone we think we could work with to Zoom rounds which are fast-paced, fun, and accessible from wherever you might be. Our final selection of photographers will be invited to a challenge round, where they'll have just a couple of weeks to take a winning shot and then put it to the public vote on our social media pages. The winners will creative direct and photograph their shot on the cover of the magazine with our help and resources, a full ten-page interior spread, and priority access to submissions for a whole year! There will be no charge for entry at any stage of the casting process. Therefore, the only thing holding you back is yourself! Make sure to get your entries in before the closing date on the 20th October 2022!

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LONDON RUNWAY

HER MAJESTY THE QUEEN: STYLE ICON

via CPOA(Phot) Thomas Tam McDonald (Royal Navy) Rhiannon D'Averc explores the fashion legacy of Queen Elizabeth II following her passing. Much has been said following the death of Her Majesty Queen Elizabeth II. Analysis of her reign and her personal life, her family and legacy, the position and responsibilities. It seems there's not much to add to the conversation, but as a fashion magazine, we'd be remiss if we didn't provide coverage of the fashion legacy that our Queen left us with over her long reign. And what a legacy! One could easily imagine seeing one of Queen Elizabeth's outfits hanging in a museum and being able to identify it without reading the card. Her sense of style was incredibly clear, becoming a personal brand later in life which was never broken. The uniform of Her Majesty was strong. She would wear an outfit consisting of a coat or a jacket, a skirt, a hat, and a handbag. The clothing and hat would be matched in a colour-blocking combination, with the handbag and a pair of shoes usually in a complimentary tone.

via UK Home Office

Dressing in this way allowed the Queen to embrace bright colours and feminine styles, far removed from the solemn dark suits usually worn on formal occasions by the male royals and former Kings.

Sophie, Countess of Wessex, explained in the documentary The Queen at 90. "Don’t forget that when she turns up somewhere, the crowds are two, three, four, 10, 15 deep, and someone wants to be able to say they saw a bit of the Queen’s hat as she went past."

She also loved clean-cut silhouettes and structured outfits, leading to a very clear look which could be recognised easily. Top them off with a string of pearls, matching pearl earrings, and a brooch, and voila - a recipe for royal fashion perfection.

She did change her normal routine on occasion. For example, when she was in residence in Scotland, she would wear tartan to represent her love for the people and her position as Queen of the country.

But her fashion was not just frivolity. There was often a deeper meaning to what she wore. For example, many of her brooches had been gifts or heirlooms from her family - she wore pieces that had once been owned by Queen Victoria or by her own mother. There was also a deliberate choice regarding the colours that she wore always bright enough to stand out, no matter where she was or who she was with. Her desire was that the public would always be able to see her, quite literally. "She needs to stand out for people to be able to say 'I saw the Queen,'"

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When she became the first British monarch to visit Ireland for a hundred years, back in 2011, she wore green - a very knowing choice. She sometimes went even further with the messages she sent via her clothing. When she met President Donald Trump, she wore a very special brooch: one that had been gifted to her by Barack and Michelle Obama. And she even showed solidarity with the people of her nation when she used ration vouchers to pay for the materials used in the creation of her wedding dress. Designed by Sir Norman Hartnell, it would be a match to one created by him for her coronation later on - and many other gowns that he

LONDON RUNWAY designed over forty years of a working relationship. From the year 2000, it was Stewart Parvin who made her clothes. He said, in 2012: “I see beautiful, wealthy young women looking in the mirror and all they see is their faults. The Queen looks squarely in the mirror and she likes what she sees. She has a confidence that transcends beauty – that’s the most fascinating thing with her.” Her style inspired generations of women who stepped to the forefront of politics and leadership in the years following her rise to the throne. You only have to look at the likes of Margaret Thatcher, as well as women in halls of power in the UK, US, and beyond to see that a certain uniform has proliferated - and continues today. There were even practical messages behind her choices. She preferred Launer handbags and reportedly had over 200 of them, rarely being photographed without one on her arm. Eagle-eyed viewers noticed she was even carrying one in her last official

via Joel Rouse/ Ministry of Defence photograph as she met with new Prime Minister Liz Truss - a meeting which took place inside her own home.

via Royal Navy

Some commentators saw this as a mark of some deep conspiracy - after all, why would she carry a handbag inside her own home? Well, the reason was simple: for years, her handbag had served as a way to send a message to those who attended her, while maintaining her polite facade. She habitually carried the bag on her left arm. Therefore, if she moved it to the right, it was a sign she wanted to begin wrapping things up in order to leave. Putting it down on the floor was a signal that she was uncomfortable and wanted to escape from the situation as soon as possible. As for a handbag placed on the table during a dinner event, this was a sign that she wanted to leave within the next five minutes.

via Wikimedia Commons

This messaging system wouldn't have been possible without the Queen's long

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reliance on a uniform, and it was also emblematic of her style as a monarch. Quietly understated, keeping her opinions unspoken but letting her clothes do the talking - and always seen. One final example of her usage of clothing came when she met the Archbishop of Westminster, who serves as the UK's head of the Roman Catholic Church. He was dressed in the holy red of a cardinal - and so was she, cementing a reminder that he was no more powerful than she was. The Queen's fashion is sure to have a lasting impact on the world of style and design, particularly in terms of the ever-favoured colour blocking and those boxy, powerful yet still feminine skirt suit silhouettes. One thing that can never be forgotten about our late monarch is that she achieved her goal: she was always Seen.

For more of Rhiannon's work, follow her on Twitter @rhiannondaverc

LONDON RUNWAY

HOUSE OF IKONS PART ONE

Designers: BC Munich ICHKA & Chiangrai Culture Love Collection PHOR POPES represented by the Fashion Life Tour Photography by Ian Clark @photo.by.ian

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LONDON RUNWAY

HOW CLOTHING CAN CHANGE THE IMPRESSION YOU MAKE Amrit Virdi discusses the origins of the phrase ‘dressing for the occasion’, and what your clothes can really reflect about you. We’ve all grown up knowing the norms of a ‘global’ dress code. Wearing flip flops for a job interview is ludicrous. Wearing bright colours to a funeral may be unacceptable. And wearing white if you aren’t the bride at a wedding? Distasteful to some people’s standards. Dress codes have been around since the beginning of time essentially, stemming in Europe in the seventh century with royalty and nobility using clothing to differentiate themselves from others. Ornamented garments meant that those of higher classes stood out, with plain tunics being worn by peasantry. Economist George Taylor even created the Hemline Index theory in 1926, which theorised that the length of a woman’s skirt is indicative of their financial status, and the financial market as a whole. Hemlines supposedly rise in times of economic prosperity, and get longer when the economy slows.

These give dress codes a socioeconomic origin in Europe, and these values have arguably been carried through to the 21st century. Given the ever-increasing world of high-end fashion, wealth does play a part in the style you have, and in turn the impression you give to other people. If you see someone walking down the street donning Louis Vuitton, Yves Saint Laurent, or Gucci, your brain automatically assumes that they must be wealthy. These stereotypes can be linked to the ornamentation of the clothes of royalty, as the stereotype has developed over time for just certain logos to represent different forms of ‘ornamentation’ nowadays.

LONDON RUNWAY

However, clothing itself isn’t the sole indication to someone’s status and personality, which can form the impression that they make. In the 21st century, social media, specifically performative apps such as TikTok and Instagram, has meant that clothing has grown to represent certain lifestyles. Due to this, new stereotypes have formed, mostly based on the clothes that one wears. Someone wearing Gymshark and making 5-9 routine videos is labelled as ‘that girl’. Someone wearing cargos who posts videos making songs is seen as ‘indie’. In these cases, clothing helps to play into the impression that someone makes, but it is not the sole basis for it.

With this comes a nastier side to social media and stereotyping, as those in the public eye are increasingly speaking out about the hate that they receive for what they wear. If someone dislikes one’s outfit, it can change the impression that they have of them, and lead to negative perceptions of their fashion. The reactions to the looks showcased at The Met Gala every year is an example of this. Every year, a slew of YouTubers come out with videos ranking the style of the celebrities on the red carpet. Off-hand comments often heard in the criticism, such as ‘I expected better,’ or ‘what on earth was that?’ are evidence of people being influenced to judge a person based on their fashion choices.

Morally, this leads to the question of whether the new judgemental age has made fashion less empowering or welcoming. If people are judging people’s personalities based solely on what they wear, they arguably have a false and incomplete impression of the person. Yet with many apps being photo and video driven, and our attention spans getting shorter and shorter, fashion is increasingly becoming our first and only impression of people. Instead of judging people and tearing people down based on their fashion, it is clear that many of us need to do better to make others feel empowered by their style.

LONDON RUNWAY

Yet in some areas, stereotypes are being subverted and fashion is not becoming the sole impression of a person. The workplace is an example of this. Traditionally, an extremely formal, monochrome attire with high heels was the norm at work, particularly in an office environment. Therefore, turning up in jeans would be seen as unacceptable, yet nowadays companies are more willing to ditch dress codes for comfort. Turning up in smart casual attire may no longer give the impression of laziness to an employer. It’s situations like these which indicate that clothing now forms less of an impression in certain circumstances.

But what is it that makes first impressions from clothing so powerful and relevant to our decision making? Many psychologists have studied this area, including Janine Willis and Alexander Todorov, who concluded that first impressions are made within 1/10th of a second of meeting someone. Facial impressions based on appearance play a powerful role in how you get treated according to this study, with these findings being backed up by many other psychologists.

However, certain scenarios, including interviews, still call for a more formal attire the majority of the time. The case study of Louise Ogilvy is evidence of this. Ogilvy runs a tech recruitment firm, and released a LinkedIn post saying that her company’s internal interviewers didn’t put two job applicants through to the next stage of an interview because of what they wore in a video-call interview. In the post, she wrote, ‘’Have we become too accustomed to working at home that we have forgotten that we are still 'working.' Would you have turned up to an office in a hoodie for an interview back in the days of face to face interviewing? Does it matter? Should it matter?". In this case, clothing clearly made the first impression, but this is an example of the negative impacts that this can have. For all we know, the most suitable and qualified candidates for the job could have been turned away based on one outfit, potentially resulting in a domino effect of being detrimental to the business.

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LONDON RUNWAY

Hill and Barton (2005) found that clothing can even influence the outcome of a sports match, with Forsythe (2006) supporting the theory that your clothes influence an interviewer's impression of your ability to perform effectively in a job position. Roberts et al (2000) also found that the colour of clothing worn by someone effects how high others rate their attractiveness. On another psychological note, your own confidence in your clothing and what you are wearing can radiate through to enhance the impression that you make upon someone. Especially in an age where fashion is a creative outlet more than it ever was before, being confident in what you are wearing is said to shine through in your energy, giving people an impression when they meet you that you are self-assured and confident.

Taking all of these points into consideration, clothing can definitely be said to make a huge impact on the impression that we make. But is this a good way to go forward? Though fashion is important as a statement of one’s identity, it is important to recognise that it is a part of a bigger picture, and stereotyping should be something we try to avoid going forward.

You can read more of Amrit’s work via her portfolio, amritvirdi.journoportfolio.com ,or by following her Instagram @thevinylwriter.

Image credits: Bearded Man in black suit jacket via Nancy Chiamaka DeStrangeImages from Pexels All others - via unsplash

JUNGLE Photography: Rhiannon D'Averc @rhiannondaverc Assistance: Bruno Jorge @brunojames23, Amber Johnson @amberjohn_ Makeup: Louise Hopkins @louisehopkinsmakup Wardrobe: Not Just Pajama @notjustpajama, Little By Little Jewellery @littlebylittlejewellery, Grainne Morton @grainnemorton, Khu Khu Fans @khukhulondon Model: Kemi Adefolalu @adekemi___ Shot live during the London Runway Virtual Festival 2022, sponsored by House of iKons @hoifashionweeklondon. Watch the shoot and makeup demonstration on Instagram @londonrunwaymag Kemi wears: French Style Silk Short Set - £209, Not Just Pajama; Wedge Fan Necklace Gold - £80, Wedge Drop Earrings Gold - £80, both Little by Little Jewellery

Kemi wears: Elegant Silk Slip Top - £119, Not Just Pajama; Fan Necklace Gold - £80, Little by Little Jewellery; Detachable Drop Earrings - £198, Grainne Morton; Winter Fan - £45, Khu Khu

Kemi wears: Striped Silk Slip Dress - £149, Not Just Pajama; Wedge Necklace Gold - £145, Wedge Ear Jackets Gold - £100, both Little by Little Jewellery; Macaw Fan £55, Khu Khu

Kemi wears: Striped Silk Slip Dress - £149, Not Just Pajama; Wedge Necklace Gold - £145, Little by Little Jewellery; Four Charm with Victorian Drop Earrings - £415, Grainne Morton

Kemi wears: Striped Silk Slip Dress - £149, Not Just Pajama; Wedge Ear Jackets Gold £100, Little by Little Jewellery; Macaw Fan - £55, Khu Khu

Kemi wears: Elegant Silk Slip Top - £119, Not Just Pajama; Fan Necklace Gold - £80, Little by Little Jewellery; Detachable Drop Earrings - £198, Grainne Morton

Kemi wears: French Style Silk Short Set - £209, Not Just Pajama; Tiger Tiger Fan - £48, Khu Khu

Kemi wears: Elegant Silk Slip Top - £119, Not Just Pajama; Wedge Necklace Gold - £145, Little by Little Jewellery; Wedge Split Earrings, Enamel £95, Little by Little Jewellery

Kemi wears: Silk Stripes Short Pajama Set - £199, Not Just Pajama; Wedge Necklace Gold - £145, Little by Little Jewellery; Five Charm with Victorian Drop Earrings - £445, Grainne Morton

Kemi wears: French Style Silk Short Set - £209, Not Just Pajama; Fan Necklace Gold - £80, Wedge Drop Earrings Gold - £80, both Little by Little Jewellery; Tiger Tiger Fan - £48, Khu Khu

Kemi wears: Silk Stripes Short Pajama Set - £199, Not Just Pajama; Wedge Fan Ring Gold - £80, Little by Little Jewellery; Five Charm with Victorian Drop Earrings - £445, Grainne Morton

NOBODY DOES A TREND LIKE DUA LIPA This week Ruth Croft focuses on the pop star Dua Lipa and the trends she’s followed that have turned her into a worldwide icon. Dua Lipa is one of the biggest pop stars in the world. Ever since she rose to international fame in 2017 with her eponymous debut album and the UK number one single ‘New Rules,’ she has been an icon in the music industry.

Born in London, Lipa was influenced from a young age to one day become a performer by her father, who was the lead singer of a Kosovan rock band called Oda. The house was always full of music, from David Bowie to The Police and Stereophonics. When she was still young, Lipa began taking singing lessons at the Sylvia Young Theatre School. This would inspire her to later upload her music to SoundCloud and YouTube, and acquire a producer and a manager.

Via Wikimedia Commons

Her very first album was certified platinum in several countries worldwide, hit number three in the UK Album Charts, and she went on to win both the British Female Solo Artist and British Breakthrough Act at the 2018 Brit Awards. Soon after, her single ‘One Kiss’ peaked and became the longest-running-number-one-single of the year by a female artist. Less than two years later, her song ‘Don’t Start Now’ was awarded the most commercially successful single by a female performer in 2020. Throughout her career so far, Lipa has been nominated for fifteen Brit Awards, eight Grammy awards, and seven NME awards. She is a woman who has consistently broken records with her music, and stands as one of the world’s favourite female artists.

In 2013, Lipa was working in a cocktail bar in London when she signed a contract with Tap Music Management. She soon began writing and recording music, including the hit ‘Hotter than Hell,’. This led her to the attention of Warner Bros. Records, who had been looking for a female pop artist for a long time. Lipa was their star, and together they signed a record deal. A lot of Lipa’s previous singles rose to commercial recognition after her debut

Via Wikimedia Commons

album was released. Songs like ‘Blow Your Mind (Mwah)’ and ‘Be the One,’ despite being broadcast months before, were suddenly getting more radio play. Her 2020 album, ‘Future Nostalgia’, enhanced her success. With singles that topped the UK and US charts, ‘Don’t Start Now,’ ‘Physical,’ and ‘Levitating,’ Lipa had created an album that redefined dance-pop and electronic music. In terms of being a pop icon, Lipa has both followed and created several trends. In this way, she has become unbelievably influential, especially regarding her female fans. Not only is Lipa a talented artist who has perfected the art of writing some of the catchiest songs ever, but there is something incredibly likeable about the star. She’s certainly a force to be reckoned with in terms of her ambition. But she’s loving when it comes to her fans, regarding them as if they’re her friends, preserving her authenticity as a professional musician whilst also

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LONDON RUNWAY reminding us all that she’s a normal girl deep down. She’s grateful for the position she’s in. She’s also incredibly outspoken when it comes to issues surrounding feminism, and fighting for better female representation in all aspects of society. She was quoted as saying, “Women for a very long time have been oppressed by the media. What’s happening now is sort of revolutionary – we stand up for what we believe in, what we feel comfortable doing, what rings true for us, and what makes us feel proud of ourselves.” Pop stars are always put on a pedestal, but it’s comforting when young people can aspire to be someone like Lipa. LIFESTYLE If you were to look at Lipa’s Instagram, you would see collections of photographs depicting an incredibly exciting life. Her millions of followers regularly see her sipping in wine bars in Europe, going on girls’ trips, and performing to audiences whose iPhones light through the dark like thousands of white stars. For a woman who’s very busy, Lipa likes to party. She’s turned the ‘work hard, play harder’ aesthetic into a trend. Now she has a lifestyle platform to take everyone with her. Service95 is a weekly newsletter founded in 2021 by the star, which is described as a ‘global style, culture, and society concierge service created to help the reader make sense of the world.’ It includes recommendations to bars, restaurants, and holiday destinations, whilst also providing readers with stories on pop culture, politics, fashion, beauty, and the arts. Each edition begins with a letter from Lipa herself, allowing readers to get to know her on a more personal level. Lipa has said that the idea came to her from her social media content, and what she was writing in her journal. It was her desire to create a platform where she could divulge the hidden gems of her lifestyle, to take the beautiful parts of her content, and put it all in one place where both writer and reader could converse. Lipa has also expressed her hope that the newsletter will have a positive effect on young people who are aware of the problems in society, but don’t know

how to break them down. She said, “that element is really important to me. The whole idea is sharing information and helping each other.” We know that social media is a rosy version of reality, but Lipa’s lifestyle has turned into a trend that many wish to emulate. If she’s not meditating by a night-lit fluorescent pool, she's in a bikini drinking cocktails at the beach, or dancing at luxurious parties and events, looking pretty in polaroid pictures. BEAUTY Lipa is a beautiful woman, but travelling for worldwide tours, walking red carpets in full glam, and attending press events on little sleep will have an effect on your skincare at the best of times. At the age of twenty-seven, Lipa has revealed the beauty trends she’s collected over the years to help take care of herself. Her essential skincare routine is remarkably simple, consisting of a cleanser, vitamin B serum, moisturiser, and SPF. She drinks a lot of water, but also liquids with electrolytes to really boost her hydration. When travelling by plane, she applies a face mask to prevent the air conditioning from drying her skin completely. She claims to keep her face bare whenever possible, instead choosing eye creams and facial oils. If she is going out to record music or meet up with friends for a coffee, she might slick on some mascara, but that’s it for a casual day. But being a worldwide superstar means that Lipa can’t always escape the heavy make-up. To perform on tour to hundreds of thousands of people means a lot of foundation, concealer, blush, and bright eyeshadow. It’s the same on the set of music videos. In the video for ‘Physical,’ Lipa took inspiration from the colour pop trend, choosing electric blue and cherry red gloss for her eyelids to match her outfits. In ‘Break My Heart,’ she went for the full-brow look, with minimal eye make-up, and clear lip gloss. Both looks perfectly synced with the mood of the songs, and took influence from current beauty trends. FASHION Since she rose to fame, Lipa has become a worldwide fashion icon. When she first arrived in the music industry, her

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‘Levitating,’ as she rises into the sky, the lights from the show reflecting off the precious stones. As a trend-setter, Lipa is doing pretty well at succeeding. Whether it’s with her lifestyle, beauty, or fashion choices, she’s a starring role in the music industry and on social media, and it doesn’t look like she’s stopping any time soon. And with the tour set to continue in November, we’re just excited to see what else she brings to the influencer culture.

To read more of Ruth’s work, you can follow her on Instagram @thewriterruth or visit her website, thewriterruth.wordpress.com. look tended to fall into an edgy vibe, with slip dresses, leather jackets, miniskirts dripping with chains, and heavy jewellery - specifically chokers. But as her debut album grew in popularity, and she was invited to more red-carpet events, we saw her step out in a more sophisticated look, with elements of haute couture. Her dress at the 2018 Brit Awards was a gorgeous pink tulle gown, with a skirt that burst from her hips like a heavy cloud. At the Grammys the following year, Lipa wore a Versace dress in white, black and gold, with a glittery bodice and metal jewellery. In recent years, Lipa has chosen styles that take us back to the early 2000s, specifically the Y2K trend. She still likes a satin slip dress and camisoles, but she is also seen wearing tank t-shirts, butterfly crop tops, ripped denim jackets, and block high heels. But it’s her costumes on the ‘Future Nostalgia’ tour that are the most beautiful and iconic. Her stylist team worked with Balenciaga and Mugler to create custom ensembles. One is a bright pink catsuit with a lace bodice, long gloves, and knee-high boots. It’s a super sexy look paired with slickstraight hair and pink lipstick. Then there is her final costume, which is possibly the most iconic look she’s ever worn. The Mugler design was created by Casey Cadwallader, and showcases a black and silver glitter bodice, revealingly cut out in places, and embellished with 120,000 crystals. It’s perfect for one of her final songs,

All other images by Ruth Croft

LONDON RUNWAY

NEW FACE: KAY Name: Ms. May Zin Moe (NRC name)/Kay Jar Nue Age: 28 Location: Myanmar Agency: Freelance How long have you been modelling for? I am working as freelance photo model for 2 years, currently working as office staff. Where are you from originally? I am from Myanmar. Do you have an unusual talent or party trick? I have a talent in acting (currently I am acting in revolution short film

Model: Kay Jar Nue @kjarnue Hair Stylist: Poe Makeup Artist: Shane

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about my country's situation). What would surprise people to know about you? I am tall, girls in my country are only 5'4'' as an average but I am 5'9'' among them however, people like me for my interpersonal skills and my professional work ethic. What are your modelling ambitions? I wanted to be a model because I can represent my personality with brands and designers couture the way that they have to be, and walking is my daily habit, which combines to make me a model. For last, I need to relocate my career to another country as soon as possible.

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NEW FACES: MARYANA Name: Maryana Teliuchyk Age: 25 Location: Lviv (Ukraine) Agency: Freelance How long have you been modelling for? In some way – from my birth! My grandfather was a videographer back in the 90s and filmed many of my moments Do you have an unusual talent or party trick? I think each of us is talented in one way or another, everyone has something that others can admire. My talent lies in the fact that I have accepted myself and live in harmony with everything that is inherent in me: flaws, virtues, tiny and big dreams. I live my life fearlessly following the call of a wild heart and soul.

What would surprise people to know about you? I love hugging trees. Maybe it will sound strange to someone, but I have a feeling that there is mutual understanding between me and nature. Probably, this is exactly what people are more likely to lose as they grow up, otherwise how can we explain the attempts to destroy and spoil what surrounds. All my new and future acquaintances should know that I often go out to the park just to clean up the garbage Unfortunately, this is a big problem in my country, but due to war, there are much more serious problems to work with. What are your modelling ambitions? To be part of art, to be part of creation. To show different sides of human nature. I want to become someone’s inspiration, want to bring more light to this world.

Photographer: Demkovych Yanina @yanina_demkovych Model: Maryana Teliuchyk @maryana_teliuchyk

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NEW FACES: YULIA Name: Yulia Kurochkina Age: 16 Location: Ukraine, Odesa Agency: Freelance How long have you been modelling for? I started modelling when I got my first Instagram page. It was about 4 years ago. Where are you from originally? I'm from Ukraine, Odesa. Do you have an unusual talent or

party trick? I eat and don't get fat, because I have a good metabolism. What would surprise people to know about you? Things I dream about often come true. What are your modelling ambitions? I want to become a world famous model that will inspire other people. The photosession was organized and carried out on a relatively safe day in Odessa (Ukraine) during the War.

Makeup Artist: Irina Melnichuk @irina_melnichuk Studio: Absurd Studio @absurd_photostudio Model: Julia Kurochkina @julie.kur Photographer/Retoucher/Creative Director: Viktor Goldman @viktor.goldman Handcraft master: Lito Z Vam @lito_z_vamy - Pendant made by shop "Lito z Vamy" specially for this photoshoot.

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PORTFOLIO

PIECE

Light Painting is a slow, and arduous process. It's hard to know just exactly what the final shot will look like before you press the shutter button, but nothing brings me more joy than finishing that 30-second round of brushing, twirling, moving, etc. and seeing a beautiful portrait of a model. It's an absolute blessing to be able to show Light Painting off to the world. Enjoy! Model: Hypatia Ivy @hypatia_ivy, Valkyrie Rutledge @valkyrierutledge, Lizzy Boyd @lyzzy_boyd02 Photographer: Gerold Oliver @geroldoliverphotography

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COLOUR POP Makeup Artist: Lauriely Taylor Makeup @laurielytaylormakeup Accessory Designer/Wardrobe Stylist/Creative Director/Retoucher/Photographer: Shutter Fox Photography @shutterfoxphotos Model: Paitin Powell @paitin_powell Hair Stylist: Jody Wainwright @hair_by_jody

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RUE AGTHONIS Photography by Kelly Gellard via Crescent Agency

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A TRIBUTE TO THE ‘MATERIAL BOY’ Em Poncia takes a look at the life and work of late design legend Issey Miyake. Adding to the list of design icon losses in 2022, Issey Miyake passed away in August of this year, leaving a unique and important design legacy in his wake. Known for his manipulation of fabric, fascination with technology, and being the designer behind Steve Jobs’ synonymous black mock turtleneck, Miyake’s designs will be iconic long into the future. EARLY LIFE Miyake Kazunaru, as he was originally named, was born in 1938 in Hiroshima in Japan, and was living there when the US atomic bomb hit in 1945. This early tragedy in his life was not something he spoke of often, first disclosing the information in 2009 following Barack Obama’s advocation for nuclear disarmament. However, it is known that the bomb caused the deaths of his mother and sister, staining Miyake’s life with disaster and loss from an early age. In various documentaries and biopics, it has been speculated that this experience informed Miyake’s design in the sense that he was forced to be inventive because of the shortages he experienced following the event. After studying graphic design at the Tama Art University in Tokyo, he went to Paris to study at the Chambre Syndicale de la Couture Parisienne. He became the apprentice of Guy Laroche, as well as working with Hubert de Givenchy and Geoffrey Beene. He established a Tokyo studio

in 1973, developing his trademark look from this space. EAST MEETS WEST A key aspect of Miyake’s rise to prominence is his blending of Eastern and Western aesthetics. Miyake came into the public eye at a similar time as other Japanese artists such as Rei Kawakubo, Yohji Yamamoto, and Kenzo Takada, all of whom took elements of the Japanese aesthetic and fused them with the European/American. Japonisme, the fascination of the West with Japanese aesthetics, had a resurgence following its popularity after the ‘discovery’ of Japanese art in the West in the 19th century. Miyake’s active participation, and even moulding, of this design phenomenon, is evident in the construction of his designs. The layering and folding techniques that became the hallmark of Miyake’s designs have been evident since the late 70s and remind us of the Japanese artistic tradition of origami. Miyake is reported to have said that paper was his favourite material to use. One of Miyake’s first commercial endeavours, a small section of US department store Bloomingdale’s, was built on this East meets West aesthetic, featuring the Japanese embroidery technique sashiko. Equally, ‘Pleats Please’, arguably Miyake’s most iconic and recognisable creative endeavour, is a collection where the Japanese influence is palpable. The garments, which feature detailed pleating, are designed never to crease, and because of their concertina-like design, are very reminiscent of Japanese paper art forms.

Images via Issey Miyake

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LONDON RUNWAY shapes as required by the consumer, allowing customisation and autonomy over their wardrobe. ‘MATERIAL BOY’

A LOOK AT ‘PLEATS PLEASE’ Launched in 1996 ‘Pleats Please’, my personal favourite Miyake design, was not only aesthetically stimulating but also boundarypushing in terms of fashion technology.

The fascination with materials Miyake has exhibited throughout his career can also be attributed to his early preoccupation with sustainability within the fashion industry. Miyake wanted his ‘Pleats Please’ collection to be wearable rather than wasteful, as well as versatile and easy to style.

Using a patented design of ‘garment pleating’, these items of clothing were pleated after the garment had been cut and sewed rather than before. The clothing had to be made two or three times bigger than its actual size in order to make this possible, but it means that the pleats are permanent; the garment can be washed without needing to be re-pleated. The items that came out of this collection were 100% polyester and consisted of garments of all kinds and shapes, often in block colours or patterns. The success of this particular line is perhaps down not only to its ingenuity but also its incredible wearability. Because of their engineering, these clothes do not require the same intense (and often expensive) care that other designer items do. Moreover, the shapes created by Miyake are simple and wearable, the fabric being the ingenious aspect allowing for less boldness in shape and colour. Miyake’s nickname of ‘Material Boy’ is surely down to this incredible - ongoing collection. As well as ‘Pleats Please’, Miyake’s development of A-POC (“A Piece of Cloth”), launched in 1999, shows further his fascination with the development of material. Garments from this collection were made from a single thread by a machine, and consisted of modular items of clothing that was to be cut into

In 2010, the designer launched 132.5, a new brand focused on ‘Regeneration and Re-creation’. Its principle fabric is recycled polyester (a favourite for Miyake), and focuses on modern, everyday, items.

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ISSEY MIYAKE FOR THE AGES Finally, Miyake’s most recent designs have taken the world by storm, highlighting how this designer was an innovator until the very last. Released under ‘Pleats Please’, the BaoBao bag of 2000 - later becoming its own brand in 2010 - is made up of triangles arranged in such a way that the form of the bag, its shape, is in a constant flow state. The bags come in many shapes and sizes, but all have an equally futuristic feel to them. Many come in metallic or iridescent futuristic tones. These bags are a feat of engineering, changing shape around the body and the items within. They have been a favourite amongst celebrities since their conception.

LONDON RUNWAY For Miyake’s 2015 holiday collection ‘Record’, he once again blurred the lines between fashion and technology by partnering with Sony Records. He took staff photographs in every city where he had a headquarters, extracted the colours from these images using a technique known as omoiiro to create the colour palette for his new accessory line. Each city colour palette features its own range of accessories that utilise his signature pleats. These pieces are a representation of the brand Miyake created through the medium of his own clothing in a very meta way. Issey Miyake was one of the most innovative designers of the 20th and 21st centuries, and one whose pieces still managed to be wearable and enjoyed in an everyday capacity. Over his lifetime, he revolutionised the boundaries of material and garment construction. If you would like to read more of Em’s work, you can follow her on twitter @em.poncia

via Wikimedia Commons

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PAUL COSTELLOE

Photography by Ian Clark @photo.by.ian

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BUERLANGMA Photography by Mritjunjoy Mitra @the_mj_studio

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NEXUSME

Photography by Mritjunjoy Mitra @the_mj_studio

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STYLE (CONS CIOUS) GUIDE

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SELECTED BY RHIANNON D'AVERC

SEVDA LONDON Kate Shoulder Bag Off White Butterflies £908.00

QUOD NEW YORK Bottlebrush Organza Dress Ivory £908.00

LEAP Cashmere Tight Knitted Pants Ecru £329.00

LITA COUTURE Black Tuxedo Wool and Silk Blend Dress £650.00

ESSEN The Foundation Flat - Black Shearling £189.00 AMBAR LIVING Navy Lava Swirl Throw 1/1 £90.00

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STYLE (CONS CIOUS

U.MI-1 Scarf Shirt - White £200.00

COUTURE AT HOME

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11.11/ELEVEN ELEVEN

Tapered Indigo-Dyed Organic Cotton Drawstring Sweatpants £345.00

SLOWDOWN STUDIO + Maite García Kimbie Fringed Recycled Cotton Throw £245.00

TALLER MARMO

STYLE CONS CIOUS)

+ Net Sustain Mrs. Ross fringed crepe kaftan £860.00

EMILY P. WHEELER + Net Sustain Tiered 18-karat recycled gold, enamel, sapphire and morganite necklace £2580.00

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EMILY P. WHEELER + Net Sustain Tiered Elsa 18-karat recycled gold, spinel and enamel ring £2580.00

NEW BUSINESS UROŠ TOPIĆ DESIGNS

Name of company: Uroš Topić designs Type of business: Fashion and textile design Location: Novo mesto, Slovenia How long has the company been running? I've actually just started. I applied for a business incubator programme in my hometown, which accepts only about a dozen people twice a year. They basically employ entrepreneurs who are just starting to develop their business idea and equip them with knowledge and skills on how to be a better businessperson. Where did the idea come from? Well, it was basically this or unemployment for me. I was just about to finish my master's degree in fashion and textile design and realised I had no job opportunities ahead of me, apart from work that would just serve to pay the bills (e. g. retail). Because I really love my trade, I decided to fully commit to it now, at the very beginning. Starting out is never easy and I know that there is a long way for me to go, but I decided to listen to my mother's advice, herself a successful business owner, who said that: "In order to start running a business, you first have to actually do the business." What are your company values? I strive for a future in which clothes have inherent value again. In a flood of textile products which are cheaply made, often with child labour and with unfair wages, which poison our planet, our minds, and our relationship with garments, I wish to create fashion and interior pieces that people would buy and

cherish forever. Or at least until they literally fall apart from overuse. What my main focus is now is to spread the idea that luxury clothes are actually completely sustainable. They always have been. Since I often draw aesthetic inspiration from different historical periods, I've learned a lot about garment construction in the Victorian era, baroque, renaissance… and no matter how extravagant their clothes were, the clothes were always made in a sustainable fashion. Currently, how many people work for the business? It is just me at the moment. Because high quality visual representation of our work is so important nowadays, I also double as my own photographer and (occasionally) a model. What advice would you give to someone who wants to start a business? Again – this will sound old and tired, but you just have to do it! Although social media has its dark sides, it also offers free advertisement for anyone who wishes to share their work. So, if you are looking to start your own business story – go ahead, start today. Let your next social media post be about what you can do and what you stand for. Where do you hope the company will be in 5 years' time? I hope to be in a place that feels financially safe and that allows me to hire other professionals who can help me better present my story. I wish to be able to pay myself an average monthly wage, which would allow me to keep exploring the world, looking for new ideas, meeting new people and finding new inspirations.

EXCLUSIVE INTERVIEW WITH JAPANESE MELODY, AWARDED FOR ONE-OF-A-KIND MEN’S WEDDING BANDS

We met with a Japanese Melody team in a cozy cafe in the center of London. Japanese Melody is a paradise for unique ideas for men’s rings and wedding bands. Their quality and design have been highly acclaimed at the World's Fashion Fair in London. Each piece of jewelry reflects a glimpse of that captivating sky. All are elegantly captured in geometric forms. Featuring gemstones imbued with meaning and radiance, this is a type of jewelry to inspire and empower.

What is the mission of your brand Japanese Melody? Japanese Melody: To make positive differences in people’s lives and hopefully put a smile on their faces along the way. While handcrafting rings we put our soul into each piece. We are always thrilled and excited to hear a new customer story. You will never be another number to us, but instead a name, face, and story that is part of our journey. The competition in the market is high, you have to be the best of the best. What principles do you follow? Japanese Melody: Firstly, it’s the quality of materials used to create one-of-a-kind ring collections. We always use the best types of wood, combining them with the same quality natural and rare materials, like a real meteorite or dinosaur bones. Each ring is special and is personally inspected by our chief jeweller. In addition, one of the main

principles in our company is the highest level of customer support. We stand behind our products, therefore every unique ring comes with a lifetime guarantee & customer support. Our friendly team is always happy to help! Some percentage of your income is transferred to charity projects? Japanese Melody: Yes, while purchasing jewelry, you automatically join us in supporting children in need around. Foundation funding helps to support various projects on social inequality. Your purchase helps to feed or educate a child. What's next for Japanese Melody? Japanese Melody: We strive for the opportunity to make more people happy so we are looking for a possibility to expand our unique products to various markets. Our rings can be found now in Japan, USA, Australia, Canada, United Kingdom and we're still counting!

Smells Like A Spring Makeup Artist/Photographer/Hair Stylist: Victoria Kurdyumova @victoriavivacom Model: Lil Safonova @lilsafonovamodel Dress: V-design

Photography by Fil Mazzarino @fil.mazzarino

KLAMBY LONDON RUNWAY

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OH POLLY GIRL: FEMINIST INSULT OR EMPOWERING SLOGAN?

Anastasia Rolland explores whether the ‘Oh Polly girl’ term is an attack on feminism from the inside – and how the brand is attempting to reclaim it. Anastasia Rolland explores whether the ‘Oh Polly girl’ term is an attack on feminism from the inside – and how the brand is attempting to reclaim it. Oh Polly girl: a term that is commonly used to describe a woman who chooses a more linear sense in fashion, a more glamourous face of make-up, and wears brands such as Pretty Little Thing or Oh Polly. TikTok first launched the phrase into society, where Gen Z popularised it as an insult towards a certain trend. The British public have propelled the phrase and immersed it within our own culture due to the hype of the brand Oh Polly in the UK. Starting from humble beginnings on eBay, the brand was first launched to raise funds for the Brannerson Foundation charity in Cambodia by the founders, Claire Henderson and Mike Branney, in 2015. Now, the brand boasts its recent expansion to the US as a huge development in their journey. As their Instagram following highlights, Americans are of a higher proportion in comparison to the original British audience.

Brands such as Missguided offer cheaper alternatives and dupes to more expensive pieces from online fashion powerhouses like I AM GIA and others. These brands are key as they allow access to expression through fashion to those of all socio-economic circumstances. Many cannot always afford to invest in trend pieces that are so fleeting in the modern fast fashion cycle which is ever-refreshing and producing landfill. Brands such as Pretty Little Thing and SHEIN offer access to trends and expression to the many rather than the few. It is all well and good these brands being cheap and widely-marketed towards people who may be looking for a cheap option. I must make clear, sustainable shopping is always the number one way to shop. As landfill is increasingly filled by clothes, it is essential we reduce this waste. The fast fashion production cycle itself has a big enough impact on the environment. The production of denim requires an extraordinary amount of water. To produce our classic Levis 501 jeans it takes 3,781 litres of water. But these same pairs of jeans also produce 33.4kg of CO2 in their lifetime. One may opt to shop down a more sustainable route, such as MUD Jeans who offer their consumers a 40% postconsumer recycled denim and Ozone technology, which is used instead of the chemically damaging and intensive stone water washing processes.

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Ask About Me Asymmetric Cut Out Mini Dress in Green £40 - ohpolly.com

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Ultimately, the best way for us all to shop sustainably, so we may nurture our planet, is to buy second-hand. We can do clothes swaps, re-wear or even upcycle our clothes. However, it would be severely ignorant of me to speak gospel on sustainable fashion without recognising that many cannot afford these sustainable options, whether that be in luxury of time or money. Oh Polly also is rightly scrutinised for their labour-intensive conditions. Workers complain about the “freezing” temperatures at their sites and the brand is yet to address this appropriately, saying that they are contacting British Gas and offering hats, fingerless gloves, and scarfs. Many workers claimed that the conditions made them ill. However, you could also look at the positives of the brand’s efforts for fairer working conditions. Oh Polly provided education programs, homes, and food for families in Asia to tackle the issue of poor working conditions for their 520 workers in Bangladesh and China, as of 2020.

However, in a society where women supporting women is so well advertised by big corporate brands, it is troublesome to not see this translate into everyday life. The term Oh Polly girl, for me, is an evolution of the ‘basic girl’ aesthetic which has been the longer-known insult to women from other women. This term grew in popularity from the early 2010s. I believe the phrase has evolved to fit the TikTok generation that often feels a need to classify people into boxes, where they categorise someone based off a brief tensecond clip or a moment’s glance. You realistically could have been termed as a basic girl if you dared to drink a Starbucks, and the Oh Polly girl is labelled just on her aesthetics. Even though basic girl has less of a classist tone, it still holds the same punch of one woman calling another out, but targets them for simply being normal or conventional in their appearance. So-called ‘Champagne socialists’ often strive to be edgy or kooky, delivering a vicious cycle of upperclass women putting down those in less fortunate circumstances, who may not have the means to alter their appearance to what they may desire. Bitchy comments among those who see themselves as better than the basic/ Oh Polly girl reinforces the chauvinistic opinion that internally attacks feminism. Yet again reducing a girl down to just their external appearance, society is allowed another loophole into judging their character externally. So, why stereotype a woman? It just aids the greater issue of sexism, where masculinity is so regularly seen to overpower femininity in society. I myself am guilty of labelling another as an Oh Polly girl, but I consider myself as a feminist, so why on earth do I do it?

Cold Heart One Shoulder Midi Dress in Green £42 - ohpolly.com

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Open Heart Keyhole Mini Dress in Emerald Green £32 - ohpolly.com

I would love to sit here and explain to you exactly why I’ve used the phrase. But I simply cannot. Maybe out of stupidity, maybe out of pure ignorance to how loaded the phrase may be to some. But overall, I believe my generation, Gen Z, are quick to judge people and make harsh comments which we may later retract or stand by. But it is out of education I have developed an understanding of how the term Oh Polly girl can be absorbed. The Oh Polly girl trend is a classic example of why we shouldn’t judge a book by its cover. It’s absurd to think a woman’s choice of clothing defines her place in society and her qualities. This appears as a replication of the countless ways our culture pits women against other women to minimise feminism internally. Thus dragging us back, in a time when female unity is paramount if we are to create a less sexist society.

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Brands like Oh Polly - founded by women - show great leaps for feminism in the fashion industry, which targets females but is dominated by male leadership. The CEOs at leading labels Topshop, Pretty Little Thing, and Urban Outfitters are all men and even your underwear from Victoria’s Secret is decided by a man. Oh Polly sticks out like a sore thumb in this marketplace. Wearing and investing in Oh Polly could itself be a statement of feminism, through supporting other women.

Oh Polly has been credited for their 70% female global senior management, again reinforcing the brand’s women-led feminist attitude. So, is being called an Oh Polly girl really a statement on modern feminism through wearing and embodying the qualities of this everdeveloping female-focused brand? However, the brand has had its own knocks and bumps in their journey to become a more feminist brand. Their Instagram created an uproar for its lack of diversity in women. It only takes a quick scroll on @ohpolly to see the lack of diversity on the page with very few non-white models and an echoing vacancy of plus-sized women or disabled models. Their solution to the outcry was to create an ‘Oh Polly Inclusive’ Instagram, a separate Instagram account, which resulted in further outrage due to poor taste and a plain lack of sensitivity. This demonstrates the journey is ongoing in the community.

So why not spin the insult and reclaim it as being proud of your appearance? The Oh Polly girl is not just your basic twentysomething, but a bastion of feminine power, the kind of woman who doesn’t care what other people have to say about the clothes she wears, let alone anything else she does. But hey, what do I know? I’m just another one of your average Oh Polly girls. Read more of Anastasia’s work at @Anastasiaroll11 on Twitter

Hopefully the brand’s slogan “For girls, by girls” upholds its strong female-focused ideals and the future Oh Polly will empower women of all different races, genders, backgrounds, sexual orientation, and so on. In turn, making the term Oh Polly girl something to be increasingly proud of, rather than another insult to feminism. Oh Polly themselves are trying to claim the trendy phrase Oh Polly girl and redefine it as a positive identity. Ambassadors, such as Millie Thompson, have become selfproclaimed Oh Polly girls in an aim to hit back at the smirky remarks. I’m a woman in her twenties, and have myself been branded as the dreaded Oh Polly girl, but should I really care?

Riviera Strappy Embellished Midi Dress in Lime £70 - ohpolly.com

Dukine Off Shoulder Ruched Bust Mini Dress In Green £55 - ohpolly.com

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FRINGESPIRATION

Makeup Artist: Kirsty Cox @kirstycoxhmua Model: Freya Davis @freyaxdavisx Wardrobe Stylist/Photographer/Retoucher/Creative Director: KayeBee @kayebeephotography_portraits

Olivia wears: JOVONNA Red Ruffle Freya wears: Sleeve Dress - £59.99, Mango

Freya wears: CAMEOROSE

Freya wears: JOVONNA

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BOOK CLUB

The Madness of Grief by Revered Richard Coles

Each month, our resident book club reviews a new must-read volume that will help to educate, inform, entertain, and thrill you. This week, Hannah Whittaker is looking at The Madness of Grief by the Reverend Richard Coles.

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In 2019, Coles’ partner David passed away due to complications with alcoholism. In his book, The Madness of Grief, he recalls his experience with grief and the immediate aftermath of his love’s death. I have read many books that cover the topic of grief, and an important thing that I have learnt to remember is that each person’s journey is unique. Here, Coles tells his own experience from the moment of David’s death through to his funeral in early 2020. I believe that one of the things that contributed to the success of this book was Coles’ ability to be completely open and honest about how his partner’s death affected him, and how it made him act in the following months. Coles talks about the writing process of this book in a brief preface, stating that he barely remembers putting the words down. Considering what we have faced in the world in the last few years this isn’t surprising, but writing this personal story as it happened must have been an extremely difficult, yet perhaps therapeutic, experience for Coles. What drew me to this book within the first few pages was Coles’ intimate descriptions of his and David’s life together, from the details of the house that they shared to their inside jokes, favourite songs, and favoured pastimes. Coles writes in a way that brings the reader along with his journey, as if they were living through it themselves. Evidently, this particular journey was a heartbreaking one, and this makes it a tough book to read. But Coles wrote this book for a reason, to share the disorientating madness that he felt after losing his life partner.

A particular element which Coles drew upon a number of times, and one which I was particularly drawn to was the five spritely sausage dogs that he and David shared. In the wake of losing someone close to you, we often find that people focus on anything other than the death to try and take their mind off of reality. Coles found that his worries honed in on their dogs how would they cope losing such a prominent figure in their lives? How was he going to look after five dogs on his own? These worries then led to the more practical questions on how he was going to continue on with his life. How was he going to cancel all his work commitments? How was the press going to react to this sudden news? And how was the general public going to respond? These were Coles’ questions, but perhaps they were generated more in my mind as I considered how much of a prominent figure in the Church and in UK pop culture he is. Throughout the book Coles noted the amount of support that he got from his friends, family, the Church, and even from strangers that recognised him out and about. On more than one occasion people who were also widowed came to him and gave him solid advice on how to move forward, something that Coles greatly appreciated. But there was also another side to the publicity of his life, as there often is. Coles received a number of hate-filled comments on social media, and even had an individual send him a letter stating that they were glad David had passed and was now in hell, where Coles would soon join him. This event caused the police to become involved, who took the time to call at Coles’ house to check in and follow up on this hateful act. Reading this, I felt even more pain for Coles than before. The fact that someone could write those words

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and send it to a grieving individual is horrifying. But even in grief, Coles’ outlook on this issue was surprisingly positive and his ability to ignore and even feel sorry for these people who have such nasty things to say is astounding. I found it extremely admirable and powerful that he managed to brush these hateful messages off and move on from them. What was evident is that the support from those closest to him helped him focus on what needed to be done as well as putting himself, his emotions, and his feelings in front of anything else.

Revered Richard Coles is known across the UK as a radio presenter, a writer, and a Church of England priest who was the Vicar of Finedon from 2011 to 2022. He is considered to be Britain’s most famous Vicar.

As Coles is in his book, I am going to be honest and say that I hesitated when picking up this book up. I don’t consider myself religious in any sense, so due to Coles’ work and status I was unsure if I would be able to read his book with the right understanding.

In the wake of losing someone close to you, we often find that people focus on anything other than the death to try and take their mind off of reality.

Obviously, religion is a huge part of Coles’ life, and in turn played significant importance in helping him through his journey of grieving David. I found myself enjoying learning more about the process of religion and its connection to grief, and the personal role it played within Coles’ story, from prayer and song through to support from fellow members of the congregation. It doesn’t encompass every aspect of what this book is about, but it is what makes Coles’ story his own. There are many reasons to why I believe this book is a must-read, but ultimately the rawness that Coles provides alongside humour and genuineness harnesses the reader’s attention. Yes, you will find yourself laughing to crying within a matter of pages, but the best books are able to draw these emotions from their readers. Page turner: Complexity: Emotive:

You can read more of Hannah’s work by following @hw.reads on Instagram.

Strawberry Bra Collections is a new online shop shipping worldwide and providing affordable and trendy fashion wear for lingerie, swimwear, bodysuits, and bra tops.

This October they will be offering a 20% discount on all their pink items for Breast Cancer Awareness month and 10% of the purchase price will go to charity.

They provide a range of sizes, UK sizes from 6 to 28, in different styles to suit different body shapes.

Strawberry Bra Collections is also publishing a unique 2023 calendar using inspirational role models with different body shapes to model the shop's lingerie. For each month, the model also provided an uplifting motivational quote. It aims to promote mental wellbeing, confidence, and positivity. Preorder on their website.

The shop promotes charity fundraising and supporting others, and a percentage of the purchase price goes to charity and removing CO2 from the atmosphere.

You can follow Strawberry Bra Collections to keep updated with their events, upcoming discounts, competitions, and more. Subscribe to their website to get exclusive access to sales and discounts too! Instagram and TikTok: @strawberrybracollections www.strawberrybracollections.com

Photography by Mrityunjoy Mitra @the_mj_studio

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ISABEL MANNS Photography by Mritjunjoy Mitra @the_mj_studio

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LONDON RUNWAY

MASHA POPOVA

Photography by Mrityunjoy Mitra @the_mj_studio

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'TÆF ITA Photography by Mritjunjoy Mitra

@the_mj_studio

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Candice curates wearable alternatives to this season’s Fashion Week trends.

Aries March 21 - April 20

Lamoda - Slick Nicks Calf High Boots Vegan leather and knee-high with thick platforms, these chunky block heels give Aries an edge of style this fall. Marc Jacobs’s collection featured enormous platforms, and these boots are a more toned-down, wearable alternative.

Taurus April 21 - May 21

E.L.V. Denim - The Black Match Tailored Reverse Denim Trousers Tailored but also oversized for comfort, Tauruses will adore these versatile trousers. Echoing a lot of LFW designers, “The creative path for E.L.V. DENIM has always been to take what is undesirable by others and create something beautiful to be loved forever.”

Gemini May 22- June 21

Been London - MINI ESMÉ Geminis are known for their bubbly personalities. Marc Jacobs's A/W22 collection of voluminous duvet-like dresses perfectly captures that. This pleated clutch makes this trend more wearable.

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Cancer June 22- July 22 Cossac - Ecru Fleece Sweatshirt Elevated staples were the theme of Prada’s A/W22 collection, so this sweatshirt with the decorative scarf neckline detail is just that. It also beautifully accentuates the feminine and romantic natures of Cancers.

Leo July 23- August 21 Ethereal London - Aria Hot Pink Midi Shirt Dress HOT HOT PINK was the theme for Valentino’s show. “The pink-out is an experimental yet deeply human gesture that enhances individuality, capturing values and feelings.” Leos will absolutely rock this vibrant coloured shirt dress.

Virgo August 22- September 23 Elvis and Kress - Fire & Hide Compact Briefcase Made from hard-wearing fire-hose and hand-woven rescued Burberry leather, this reinvented briefcase makes Virgos stand out from the crowd! This briefcase pairs well with any of Celine’s A/W22 collection's classic pieces.

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Libra September 24- October 23 Fairy Tong London - Butterfly Dream Maxi Dress Zimmermann’s ethereal collection suits the pastel-loving Libras so well, and this maxi dress handcrafted from 3D butterfly embroidered tulle gives a more affordable option. Featuring a removable velvet waist belt and separate slip dress.

Scorpio

October 24- November 22

RAEBURN - Air Brake Trousers Made originally from Air Brake Parachutes, these trousers are not only inventive and aesthetic but also extremely durable! A glimpse of the futuristic style that Balmain showcased, Scorpios will love these.

Sagittarius November 23- December 22 Beaumont Organic - Nicola Organic Cotton Dress Louis Vuitton’s collection showcased interesting, unexpected layering that we think Sagittariuses would love. Since they tend to go for classics, the layering technique is a simple way to reinvent their usual pieces. This flowy dress would be the perfect starting or second layer.

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Capricorn December 23- January 20 Birdsong - Linen Worker Jacket Jacquemus’s show was all about white linens. Stylish and sophisticated, this trend is made for Capricorns, and this jacket made of reclaimed Irish linen makes them feel and look good!

Aquarius January 21 - February 19 Fanfare - Ethically Made Blue Linen Suit Riding on the linens of Jacquemus’s show, this blue linen suit also fits into Nanushka’s ‘Industrial Craft’ collection, which echoed the summarised message that a welldesigned, functional garment will inherently be beautiful. Made from locally sourced, sustainable UK fabric.

Pisces February 20 - March 20 Culthread - LADBROKE This vegan leather duster coat at first glance may not seem suitable for the dreamy Pisces, but the versatile and morphable nature of this jacket exactly reflects this final zodiac sign. Coach’s collection was full of leather pieces and mismatched pairings.

You can see more of Candice's work on Instagram by following @Candice_x9. Zodiac illustrations by Lauren Rowley All images via respective retailers

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CAN'T STOP FASHION LIVE Designers: Prospect Living @prospectlivingclothing Crazy Cool Sexy @nicnak1 Three Thousand @threethousand.clo Diane Goldie @dianegoldie Ewa London @ewalondon Alexander Louvre @alexandarlouvre Kiannara @kiannara.h Taiino @taiino._ FPM London Eyewear @fpm_london_eyewear

Photography by Fil Mazzarino @filmazzarino

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THE HISTORY OF FASHION SHOWS Image via Wikimedia Commons

In this article, Amrit Virdi takes a step back in time to look at the history of fashion shows, and how they have evolved to what we know them to be today. Fashion – this word alone triggers your brain to imagine glamorous models walking down a runway, accompanied by hundreds of paparazzi flashes. The concept of a ‘fashion show’ is one which the world has become familiar with, particularly as the media has played on the trope and presented its interpretation of it through film and TV. Runway shows are the one opportunity a designer has to make a documented stamp on the fashion world and assert their presence. They can be make or break for an up-and-coming designer, or a chance for the big names to showcase a shift in style to keep up with evolving trends.

The exact date of the first fashion show has been debated, but clothes began being presented on live models in the 1860s. Fittingly in one of the world’s fashion capitals, Paris, Charles Fredrick Worth showcased his collections at Longchamp Racecourse. Worth was important in founding haute couture and was one of the first to recognise the importance of focusing on one collection and showcasing garments based around this. Others soon followed suit.

as journalists.

As the industry evolved, so did the way in which fashion was presented to the world. Along with the 1900s came ‘fashion parades’, pioneered in London, Paris, and New York. These started off by being aimed to small and private audiences with little camera coverage, especially given the limited technology in the 1800s and early 1900s. Buyers and clients were given priority access as well

The development of the fashion show to how we know it today was the result of a slow and steady process. By the 1920s, America’s fashion shows were still centred around retail wholesale, brought to life with theatrical shows staged around cultural themes along with a narrative commentary.

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The first ‘proper’ fashion show has been credited to the American department store, yet it is likely that American retailers were inspired by Parisian ‘fashion parades’. In 1903, New York store Ehric Brothers held a display of their clothes to attract middle-class female consumers, with other American stores, such as Wanamaker’s in Philadelphia, following suit by 1910.

Yet back in Paris, haute couture was thriving with the likes of Coco

LONDON RUNWAY importance to fashion brands at runway shows to capture the essence of a whole collection in just one click of a camera. The spectacle of a collection of fashion shows, accessible to more and more people each year, was born in 1943 by Eleanor Lambert. She created a model for a fashion calendar to allow designers to have equal opportunity to showcase their pieces, and specifically the chance to wow VIP clients in 15 minutes. This model has remained in place today, along with the basic rules of a runway show, including the consistency of a model’s walk and the inclusion of a catwalk.

via Wikimedia Commons

Chanel at their peak. The shows here were still intimate like their American counterparts, but began to showcase fashion targeted towards upper class consumers. Despite the Great Depression, haute couture grew and grew, with Elsa Schiaparelli travelling to New York in 1931 to showcase her collection at a catwalk show at Saks. Photographers were banned to avoid plagiarism of designs, and artists had to sketch the collections.

Lambert’s interpretation of a fashion week was labelled as ‘Press Week’, in 1943. This became what we now know as New York Fashion Week, and was held at the Pierre Hotel and the Plaza. This is where US talent had a chance to shine in the European dominated fashion scene, and the tradition has carried on till today, birthing the fame of Oscar de la Renta and Ralph Lauren. 1947 introduced the year that afore-mentioned photographers were allowed inside fashion show spectacles, as Christian Dior allowed there to be coverage of his first collection. However, up until the 1970s, these events were still

At this point, being a model was not seen as an established career to many, so business innovations took place in the first steps to make fashion shows a way of life. The first modelling agency was established in New York in 1923 by John Robert Powers, yet it wasn’t until 20 years later that many models got their big break. Fashion Weeks are a staple event – not just in the calendars of designers, retailers, and models, but for photographers, and even for the public. Fashion photography has become a niche of its own, with its earliest beginnings dating to the 1850s. It wasn’t until the 1900s that photography was used as an advertising tool, making the role of fashion photographers of upmost

via Unsplash

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closed to the general public. Paris Fashion Week and London Fashion Week emerged to rival ‘Press Week’. This led to fashion fuelled competition emerging across the world, as each country strove to make themselves a fashion capital, and each designer aimed to present their creativity in wacky ways. Slowly but surely, conventions began being broken, with Martin Margiela ignoring location expectations in 1989 by showcasing his collection in a rundown Parisian children’s playground. Since then, fashion shows have followed suit and left the conventional runway setting, with a recent example being Ganni closing Copenhagen Fashion Week 2022 with a sundown show on the waterfront. As designers grew to adapt to locations, they simultaneously adjusted to changing societal climates. At the beginning of the digital age, Alexander McQueen took the opportunity to reach a wider audience by livestreaming his Plato’s Atlantis show in 2010. 12 years later, many shows are now available to watch through Instagram Live, making geographical boundaries less of an issue for journalists and fashion fans.

via Unsplash

New York Fashion Week took this a step further in 2022, by creating a live editorial fashion show specifically for those online, titled VOGUE World: New York. Created with the aim to show fashion’s global influences, it represents the growing accessibility of fashion shows to those in different parts of the world, and those not involved in the industry. Inclusivity has also begun to occur on the catwalk as well as in the audience. Plus size models have been included in runway shows to differentiate from the often unattainable body types seen on catwalks, and make audience members feel represented. Victoria’s Secret recently abandoned its runway show and the inclusion of supermodel ‘Angels’ in its branding, as they recognised the culturally outdated stance they portrayed. People of colour are also being more accepted as models, which was a rarity in the 1900s.

Having said this, the ‘exclusivity’ surrounding fashion shows will arguably never cease to exist. The majority of models in the public eye represent extremely skinny and unblemished body types to this day, and more diversity is needed. Additionally, to reach the coveted front row, you certainly have to have some level of acclaim, as you will find that royals, A-list actors, chart-topping singers, and milliondollar sportspeople occupy the best seats in the house. Fashion shows still have a long way to go to increase inclusivity and accessibility, but their concept of bringing styles to life to showcase creativity has not vanished and is still at its roots.

You can read more of Amrit’s work via her portfolio, amritvirdi.journoportfolio.com ,or by following her Instagram @thevinylwriter.

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Q A LONDON RUNWAY

THE BIG QUESTION We asked, you answered

What's your favourite fabric to wear?

"Probably satin because it’s really smooth and nice on the skin."

-Ella Carey, Senior Account Executive

"Cotton because of the variety which it is used for in the sense of styles, and it’s just easy to wash and doesn’t have the agg of it needing specific looking after (especially with my line of work)."

"cashmere because it’s lovely and soft"

-Jess J, Art Director

- Izzy Dry, Account Executive

"cotton because it’s comfy and breathable" -George Brown, financial advisor

"Denim because it makes me feel confident and it’s very in at the minute." – Daniella Wright, Event Executive

“LINEN, IT'S A TIMELESS CLASSIC.” - Sam Bird, Shop Assistant

“Silk because it's sexy and flattering.” – Amber Johnson, Publishing Assistant

“I love clothes that are embroidered.”

"I would say leather because it’s heavy and can be a casual statement." – Amalia strand, Model and Actress

- Livvie Sedgemore, Junior Interior Designer

Get in on the action - follow @londonrunwaymag on Instagram to spot next issue's question

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BACKSTAGE AT AADNEVIK BY FIL MAZZARINO