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Oh Holy Hell!
8 covers
August the 23rd-need now!

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A magazine for 'strictly male models and menswear', judging by Ftape's preview there seems to be men men and more men. 9th August (release date) can't come quickly enough!

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Love:

1. Anna Dello Russo
2. Burberry Aviator jackets
3. Christopher Kane Winter 10/11 dresses
4. Mulberry Alexa in leopard
5. Christian Louboutin Rollerball loafers
6. Dominic Jones Winter 10/11 Crocodile skull cuffs
7. Marc Jacobs 'Bang' advert
8. Mawi Rajan Crown rings
9. Any Balenciaga City bag
10. Industrie magazine

Hate:

1. Miu Miu Winter 10/11 shoes-repulsive
2. Prada Winter 10/11
3. Eveything Chloé-unfortunately
4. Clogs
5. Suppressing minimalism

For my own piece of mind.

21

Kate Moss and Balmain.

Perfect.

20

As the September schedule for London Fashion Week's Spring/Summer 2011 preview has been released I wanted to look back at some shows for Autumn/Winter 10/11 which have been a positive reminder of London talent.

In Emilio De La Morena's second showing in London, the follow-up of his first impactful show demanded a strong collection to follow. Which was certainly delivered. New projects brought about a collaboration with Loro Piana to formulate luxury cropped shaggy knits and oversized woolen cocoon parkas in bright turquoise which strengthened Emilio's development into comfortable and contemporary refinement. Chunky knit dresses in cracked metallic and dove-grey which fitted models both comfortably and provocatively improved this aesthetic. The collection reflected a strong importance of Emilio's clothing to be sexy, androgynous, modern and wearable. A perfect mix for todays market.

Artistic qualities and experimentation blossomed from 11 hand-painted prints which featured on a series of dresses. Dresses began building the blocks of a dreamy landscape at the beginnnig of the show, with minimal lines and strong pleating constructed short yet defined dresses. From a selection of earthy, mineral tones black, rich taupe, dove-grey and dark teal suggested a natural setting in Emilio's vision. Shadowy, tranquil romance was hinted through the water-coloured prints in bled cyan swirling within muted grey, black and tinted orange, to others in pearl-grey and washed lilac which dissipated through to burnished sienna. Whilst rocks and cavities where displayed in a technique using oil and wax to give earthy cracks, natural abrasion and crumbling minerals in bleeding black and rich, thick taupe and neutral orange.

Body-hugging dresses provided rippling pleats down the front-frame of some dresses, whilst others had been folded, ruched, draped and structured to reveal beneath defined structured lines, a plethora of ruffled layers. Lazer-cut mosaic print in ice-blue and grey upon layered chiffon gave a strong aesthetic and portrayed a natural, scaline figure in a sea of bliss. Emilio showed wearble looks which remain unique and youthful, plus good shoes to match.

Mary Katrantzou now becoming synonymous with young digital, sci-fi prints has, from Autumn/Winter 10/11 now developed these prints with regal opulence to counter-act the sometimes supressing minalism and everything camel. This effect embraced everything from jewels, crowns, renaissance metal-work, classical paintings and brooches to supply an ostentatious aura for those yearning to be the ravishing ruby amidst the camel, camel and more camel.

Vibrant prints presented warped metallic foil, pearls, digitalized brocade, glinting jewels with ruffled lace, chiffon sleeves and small bursts of tulle to provide an ultra-modern aesthetic to classical, historical art and architecture. Structured woolen coats in ebony and navy retained a firm, dynamic contrast to the elaborate curling prints. A streamlined short dress in rich navy gave a stunning back-drop to the heavy, curling golden gild with quilted puff sleeves the dress continued with a digital bejewled print which seemed to contain many elements of Mawi jewellery. Several rings with contrasting art-deco golden metal-work and green and violet gemstones alongside pearls showed a direct link. Not to mention a direct copy of their iconic cocktail rings. Nevertheless, sharp rose hues of crystals weaved through brocade agaisnt vivd turquoise. Romantic quilting in printed skirts with chiffon ruffled blouses followed, until dresses became more 3-dimensional with the entwining rippling of psychedelic digital silks and satins in ultra-marine, lilac and ebony which unfurled into asymmetric abstractions of ruffled lace. Material had been ruched, scrunched, layered and quilted to illuminate a progressive vision of 'nouveau riche' meets stately homes. Rose-pinks, florals, shards of metallics with lilac lace intervals and a surplus of liquid flowing ruffles draped down the female frame signalled the closing looks of the show. Grandeur was emphasized with a collage of individual architectural finishes in heavy-metal neckalces. A perfect example of the importance of difference.

Death, romance and feminine allure propelled the Felder Felder sisters into London's limelight. If they weren't already there. Inspired by the unlikely heroines of Dracula, provocative cocktail dresses in lurid leather and ruffles encircling the hips and rippling down nude sleeves produced a feminine side to vampire slayers. Military themes in structured jackets with copper chains and thick leather strapping collided agaisnt sensual stream-lined trousers and skirts. Femininty blustered through the collection, powdered with plush PVC with metal holing, trailing sequins and corsets beruffled around the hips in muted rose pink. Even the structured dresses mirroring early Christopher Kane still shone with a sense of humour as chests were covered in curling flesh-toned leather to resemble roses. For a more wearable approach, silk shift dresses in twinkling, trickling pear-drop sequins with slashed shoulders offered a casual option for evening-wear. Gargantuan goat-hair coats were a defining moment in the collection, more than capable of resisting the crippling cold. Remaining tough and dark yet feminine and seductive, the Felder sisters continue to expand their empire.

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Was not totally amazed by issue 114 'Sensation', but even so, I still want this.

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SHOWstudio is a constant reminder about the continual movement of fashion. The link between fashion and moving image is obviously becoming more and more powerful, something SHOWstudio has both reinvented and brought into the public eye. With their exhibition of 'Fashion Revolution' the title itself dictated a contemporary, strong movement in fashion. To continue this progression SHOWstudio has created a project titled, 'The Fashion Body' which comprises of a collection of moving image 'films' to build a content to produce a 'body' comprising of separate features to separate films. From industry icons such as Tim Walker, Nick Knight, Rick Owens and most recently, Ruth Hogben on buttocks, each shows a short clip leaving the reader to deduce from whatever they feel.

SHOWstudio with Gareth Pugh is always a hit with me, the collaboration between the outlandish designs, the subversive take on modern luxury from designer Gareth Pugh and iconic film-maker Ruth Hogben show that creativity knows no bounds. Known for his intoxicatingly dark designs which ellucidate a gothic touch, truly original in contemporary fashion, he has become an established creator in 'The Fashion Body'. The film enititled 'Joie de Vivre' is something one would not associated with Gareth Pugh. 'The joy of living' focusses more on Gareth Pugh's Autumn/Winter 10/11 collection as an obsession in which pieces are shown to move in vivacity agaisnt a provocative pulsation of scintillating darkness. A dramatic mutation of a sexual, noxious performance mixed with Art Deco-esque hallucinatory shots to deliver a virtuoso entertainment mirroring that of a Weimer Berlin cabaret act. Supermodel Raquel Zimmermann is pronounced the unfalsifiable emblem of eroticism capable of show-stopping seduction which erupts into a tremulous torrent of modern decadence.

17

While I am on the subject of Mcqueen, Visionaire, a publication dedicated to producing a precious amount of works surrounding the worlds of fashion and art. These limited edition issues come in a collaboration between new emerging talent, iconic personalities, fashion-designers and photographers to offer a unique bible of the fashion and art world. These differing artisans deliver their variety of interpretations of a current theme and the 'spirit' edition is soon to be released. It is a unique collection of images representing that theme and surrounds the icon, Alexander Mcqueen. Artists within the issue include Lady Gaga, Nick Knight, Mario Sorrenti, Steven Klein, Steven Meisel, Mario Testino, Sean Ellis and many more. The tribute to Mcqueen is encased in a white box with a golden metal brocade pattern which shows this particular issue is something that is not to be ignored.

http://www.visionaireworld.com/

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I am total fan of Mcqueen jewellery and my collection of one skull ring is not enough, I need this little celtic warrior!

15

Even though I have been writing about fashion, I have never really asked what is happening to fashion now? Or, how do people react to fashion today?

Unfortunately, to me, fashion seems to be developing into something which is far more corporate and is tipping the balance to counter the importance of creativity and individual style. The media is constantly projecting ideals through vessels like 'trends' or 'buy this and look like her' and these implicit meanings leave me feeling disheartened about how the tight fist of the media can prevent more abstract and interesting ideas from penetrating it's barriers. ‘Trends’ are a very powerful communicator to women, the idea that everything it stylistically judged in order for women to become credible, relevant and contemporary delivers a great deal of insecurity. Granted, trend reports and shopping guides are key to unlock the information needed to stay ahead in fashion and remain recognized as a 'style icon'. Understandably the dictatorship of the media allows lost individuals to find a respectable path to follow in order to prevail in any constant changes in fashion.

Fashion as a concept is forever changing and pushes the limits in every season which means you are left in a time where everything reacts in a domino effect. Every new collection, new designer, new model, new publication all aid to fight off the opposing past which soon disintegrates. As fashion is always changing, new ideas are allowed to flourish which is incredibly important, there is more choice than ever before but this does leave little longevity for original designs in fashion to stand against time. Withstanding time and remaining classic yet relevant seems to be a designer’s ultimate goal, it seems a shame that amazing, original pieces are soon glossed over. I would love to go into flagship stores and see so many different items from that one designer over many seasons, but there we would have to change the whole idea of fashion and its foundations.

This strict uniformity is applicable to the modeling industry (a detailed topic I won’t go into too much), the opinions of beauty have changed considerably. I know I don’t want to see a ‘larger lady’ on a magazine, but having said that a size zero is also unrealistic. Fashion has an influential view upon the way beauty should be presented; models are portrayed as subtle canvases, with only the iconic women being able to express their individuality. Again, this uniformity in beauty heightens the insecurities in women in which scrutiny prevails. However, it seems that recently fashion could be turning a corner with Crystal Renn. Perhaps the most important ‘plus-size’ model around, her influence upon designers such as Jean Paul Gaultier could suggest a faint movement in fashion. However, for Gaultier’s latest campaign, she appeared to have slimmed down but this scrutiny of weight loss/gain grates on me so I won't divulge into more arguments on that.

In an extreme way, so many magazines attract the mass market, all delivering the same trends etc, high street brands do the same, so in a way many people end up looking the same. Yet I thought fashion was about being individual, not following the crowd, doing something new, something original. Accepting the fact that there is so much choice, personal style seems to be plummeting down beneath the arguably, 'common' aesthetic. Fashion as it stands today seems to be contradictory, it wants individuals to blossom, yet it dictates to those who are passive and incapable of finding their own way without giving them the time to decide for themselves.

Looking back at the broad scope of fashion and freedom in the 80s, there was always the intense need to be individual, mixing high glamour with the introduction to the supermodel clan with the gritty grunge style of punks. Not to mention of course, Vivienne Westwood. Issues of i-D showing Boy George in elaborate make-up and more than eccentric clothing, the eighties was a time when anyone could look like anything!-(yet still taking into account the probability of getting abuse from those who disapproved...sigh). Today, however, there is no way I would ever consider applying amateur attempts at Pat McGrath's techniques and get on any form of public transport. It just doesn't happen. Perhaps, the worst part is is that I would be utterly ridiculed if I did. Fashion was all about creating something, building something and giving people the freedom to look however they wished. But why isn't it the same today? Perhaps it's the development of the industry, the growth of brands. I was told by my mother that there never was so many designers or brands as there are today, or an 'it bag' (excluding Chanel) or 'the latest...’ you simply found what you liked and bought it regardless. The grand-scale of leading labels which were once seen as out-dated such as Dior, Lanvin or Burberry have now flourished in fashion. Such choice and variety can be daunting, there seems to be a simmering hysteria of paranoia with the average buyer. Something which I hope will change.

Fashion is a complex notion which is exciting, always changing and experimental but has become more restrictive over eras. The development of brands and the celebrity mind-set has allowed for greater choice, but can govern a stagnant hold upon the passive who act like sheep. All I know is, making an original, independent contribution in any form is something one should recognize as having invaluable qualities which should not be changed. In spite of what the September issue may say.

14

After many lengthy posts, a nice short one seemed needed.

Max Krieger! he makes me want to have white hair all over again!

13

Dior Joaillerie.

There is something about jewellery which has an effect on me like nothing else, unlike clothes or shoes or bags, jewellery produces a mesmeric and truly fascinating influence which remains autonomous to any other item within fashion. Collections, trends and accessories are constantly being re-made, re-interpreted and re-invented to produce fashion concepts which are pushing the boundaries which as consequence, are constantly changing. The security a stunning piece of jewellery can provide enables a focus point to be established which remains modern and unqiue yet offers a distinct reliability which individuals within the world of fashion can attain, irrespective of the continual change time brings.

Dior dissolves time and eliminates trends with the inspiring designs from Victoire de Castellane, she mixes the formula of jewellery construction with the artisan vision required in couture to develop jewellery as something unique and limitless. The one-of-a-kind items in the impeccable 'Coffret de Victoire' collection, Castellane gives a phenomenal spectacle of the classically beautiful interlaced with a lavish flair necessary to cultivate an artisan's creation. One ring cloaked in 18K white gold contained a prodigious purple sapphire in the centre, delicately emblazoned by coiling, rippling blends of flaming rubellite woven within gleaming streaks of icy Paraiba tourmalines, warmed against fiery, golden mandarin garnets. All of which were intricately twined and threaded to convey a gleaming circuitous course, rippling like the waters of the ocean-bed, diamonds were scattered sparingly to resemble bubbles. Striking plumes of vibrancy were encircled together to show the encasement of a miniature fish. This radiated a kaleidoscopic contortion of a stunning hues, highlighted defiantley by a surplus of lustruous sapphires in pink, purple and yellow as well as, of course, diamonds.

The collection continued to bring about the importance of opulence and true beauty, in a day where this idea which should flourish, can sometimes be stunted. Castellane proves otherwise. Another ring set in 18K yellow gold is the main component supporting a glowing, opalescent, mother of pearl skull with two, blushing rose spinels as eyes, the pearl modestly reflects light to give floating, smooth dimensions to what some may consider a ghastly object. This almost ethereal ring is adorned with a golden bejeweled crown consisting of dazzling virescent tsavorite garnets which is opposed by three gleaming streaks of spinels which are crowned above a row of sharp, yet deep, sumptuous sapphires. There are a series of skull rings which are a playful mix between the elaborate, concise and perfect embellishments which are mixed with the youthful and humourous touches which make these rings a luxuriant potion of the opulent and the eccentric .

A skull pendant in particular which plays with these two themes accordingly is an 18K yellow gold piece which has an exotic coral skull and embedded within the cavities are glistening diamonds within the eyes and teeth. This pendant brings the rich jewels and blends it with a tribal almost wild concept, 'he' seems as though he ought to be some tribal leader or warrior within the tropics. The headdress is extremely elaborate and is fruitfully garnished with an exotic concoction of barbed, sparkling aquamarines which perfectly contrast the sharp coral. Acid toned peridots explode at alternating angles with a layered assortment of dark violet iolites again enhancing the layered, serrated shape to the diadem. This character is made more powerful by the trio of dark coral skulls each imposing upon differing angles with glinting diamonds within the eye-sockets. The tribal-esque, quixotic charm is indicated with the trickling pink tourmalines which dangle from the skull, these hanging jewels are separated with the subtle use of diamonds to add another detailed dimension to this playful piece.

The house of Dior also looks at the beauty of rings without adding youthul, humourous accents like the 'Incroyables & Merveilleuses' which focusses on subtle detail to offer designs which are feminine, detailed and no less decadent. The 'Cerise' ring set in 18K white gold supports a collosal amethyst, so finely cut that the stone appears so deep and cannot help but intoxicate eyes into another enchanting design. Flaming citrine jewels coil around the corners of the stone, illuminating the tremendous splendour and intricacy of the ring. Accompanied by large, luscious, spherical droplets of peridots and tsavorite garnets, the glinting hues of acidic-green contrasting against stunning deep viridescent makes the ring seem as though it had flourished within the depths of an Eden, richly-hued like a tropical rainforest. Crystalline clear diamonds weave within the mysterious collection of gems to make the ring something far more ornamental. Following a similar formula the collection of rings burst into a vivid assortment of colour all of which are wrapped and delicately tangled between eachother to lay in a labyrinthe of radiant jewels and appear like vibrant snakes amid a jewelled treasure. Rings named 'Vendanges', 'Voluptuesuse' and 'Gracieuse' are some of my favourites.

Jewellery like this delivers unfathomable detail and no compromise on grandeur which is imperative when few pieces in fashion can both withstand time and remain relevant and stunning. Victoire de Castellane provides links within fashion which highlight the need for designs which are outrageously glamourous and do not need to be bought, but need to be recognized. Recognized as an eternal star in the ever evolving galaxy of fashion.

12

Givenchy Couture.

Contrary to previous seasons, Riccardo Tisci decided to showcase his collection as a look book consisting of ten images. Exhibiting the looks in this way demanded a refreshing, observant perspective in which the exclusive editors could see the extensive detail necessary within this astonishing collection. I feel this presentation, to my surprise, delivered a firmer and more dramatic appearance to which the delicate components could be observed properly, rather than an informal and short catwalk show. The intimate presentation was revealed in the classical Parisian interior of the Hotel D’Evreux.

Riccardo Tisci explained that the collection was centred around the figure Frida Kahlo and her three, unique passions: sensulaity, religion and anatomy. This was perfectly reflected in Riccardo's vision and in garments which were flawlessly created. This enthralling collection delivered a magnetic fascination and alluring charm which provides subtle potential for the Givenchy house to adapt and modify to stunning proportions in couture and perhaps become as influential and inconic as Cristobal Balenciaga or Charles James.

Painstakingly created and delicately crafted garments included the beautiful intricacy of a sheer sleeved dress encrusted in perfectly symmetrical embellishments in opalescent beads, delicate white lace and dipped in finely cut clear crystals with lashings of dégradé ostrich feathers in a tender flesh-coloured hue. The crystalline pattern precisely veiled the female figure of Natasha Poly, whilst silver zips embracing the shoulders gave a contemporary edge. These obsessively dense clusters of crystals upon layered lace beautifully rendered the dimensional structure of the skeleton.

Oppositional to what many may have expected, there was very little black. Riccardo masked his muses in flesh tones, white, gold, or deep maroon to provide a basis that black was not necessary to imply the traditional gothic connotations. Baboon fur was bleached to give a softer essence, rather than a dark and sinister implication. Layered fringing was exposed agaisint stronger but still sensual brocade. An ominious yet romantic gold lace dress shimmered with incandescence between the light metallic lace, the flickering paillettes and the misty opaline beads all unlocked the arcane connection between romance and death. The romantic lace seemed to reveal a mutated ideal of the labyrinthine nervous-system or veins. The zips resembled small bones, outlined brocade upon sheer silk mirrored a rib-cage, and the back of an utterly astonishing embellished golden jacket had a cross upon the spine. Expert detail continued with a jacket in double silk duchesse satin which presented a network of beaded embroidery with taught, layered frills. This embroidery encased by rippling frilly lace framed the beaded pattern evoking a paradisical, celestial yet slightly inauspicious sense to the collection. The jacket included detailed prisitine cermaic crosses and in the centre, an indistinct skull with ethereal wings sprouting from it, the pattern in the ornamentation itself seemed to mirror the audascity and gothic grandeur of a church, which would reference to religion, used as a key theme.

It is no surprise that some of these creations took 6 months to manufacture, if the detail is this breath-taking in 2 dimensional images, seeing these garments in real life must have dominated a numbing, awe-inspiring intensity to which these pieces rightfully deserve. This impressive collection secures Riccardo as a designer who has a unique ability to provide a strong difference between ready-to-wear and haute couture both remaining wearable, modern and decadent beyond recognition. A truly regenerative, alluring and opulent collection which demands an admiration of the vision and originality of Riccardo Tisci.

11

Seeing as there have been a plethora of couture shows recently, most have been a pleasure to admire, however others, have left me dismayed. Unfortunately, this feeling is evoked by a fashion heavyweight, Valentino. I can admire the craftsmanship and the expertise required for these outfits. However, the appearance of some of these dresses seems both bland and completely unwearable for the younger woman. Granted, the house of Valentino has had a difficult time with the retirement of Valentino himself and this show does successfully provide a broader appeal, giving feminine, romantic looks which can be translated into a modern-day Valentino aesthetic, enough for a younger generation.

In contrast to this, Chiuri and Piccioli have created a small series of floor-length strapless dresses in robust coral and metallic silver which appear to be only appropriate to the models wearing them. Many silhouettes I find unattractive and would not flatter anyone other than a model. Admittadly 'The Dark Side of First Love' as the show was entitled suggested a stronger and more defined collection, with looks including, feathers, lace and an unscrupulous amount of bows which awkwardly attempted this profound idea. I find some of these pieces to be too fragile and a cage dress in particular just seems either out of place or an attempt at a Jean-Paul Gaultier-esque 'wow' factor. One puff-ball dress seemed frankly unoriginal and rather childish with the embellishment consisting of flower sequins.

I fully respect the artisan qualities evoked in the production of the collection regarding the materials, the skill and the theme of the collection. However, there still seems to be something missing, I still can't see that Valentino flair.

10

Christian Dior Couture.

John Galliano let couture blossom again with a Dior show staged in a perspex tent in the gardens of the Musée Rodin. From the background flourished monumental plastic structures of parrot tulips mirrored by the plethora of tropical flowers blooming outside and acted as a hypnotic and sedative backdrop to the astonishing dresses.

The show was clearly dominated by the beautiful aesthetic of flowers, the wonderful colours and pairings of colour explained this. Mellow, feathered mohair flowered into tulip-shaped skirts in rich purple and nip-waisted jackets also in mohair were collared in cushiony pastel powder-blue. Multi-layered skirts rippled down the frame in chiffon and tulle to form a variety of skirts which were ruffled, feathered and ruched in efflorescent cerulean, flaming scarlet with washed, blushing rose and ink-black with flourishing gold, azure and lilac flowers. More mohair was constructed in waisted jackets, statement coats and tulip-skirted dresses, some of which were accompanied with embellished metallic skirts or black feathery bodices. Layers of ink-bled silk dissipated from ultramarine to pristine white in folded, waisted dresses. This dissolved ink pattern was taken further with an opaque black dress, with finely cut silk liquefying between washed black, muted rose and hues flickering between tropical viridescent and misty lilac.

Ruffled and plucked floor-length and petaled bubble dresses were moulded into staggering creations which flowed around the body like live, tropical coral. The finale of ball-gown organza dresses with warped aqueous tones of floral yellow, ice-blue and mesmeric violet ovlerlay a dramatic black underskirt of extortionate amounts of organza. Ruffled bodices in watery candy-pink with bleached white were ruffled at the hips mirroring soft, layered petals of roses, which again burst into paradise with more vivid lilac organza as the skirt.

This mesmeric collection was emphasized further with models supporting undulating, concave beehives which were tipped with curling quiffs. Beneath cellophane headdresses (produced by Stephen Jones) in sheets of glowing orange, pearlescent pink, sparkling ice-blue, flashing teal and scintillating yellow lay bright, lightning flashes of contrasting colours in eye-shadow, with exaggerated eyebrows and deep, dark matt lips. Finely strappy healed shoes came in similar tones of colour which heightened the delicate detail of the romantic floral printed day dresses.

Galliano stated that part of his research involved studying the light change on various brightly petaled flowers. Which, only partly explains the magnificence of the intoxicating, soporific paradise which Galliano allows us to dream of.

09

Previously, I have looked at Riccardo Tisci's menswear show for next summer and looking on AnOther magazine's website, in 'Menswear Confidential' Tisci describes breifly his own visual references and narrative beneath the collection. This I found interesting, to see knowledge and opinions first hand from the designer, rather than an audiences interpretation. Riccardo draws strongly on the Circus which 'portrays the freedom to express oneself, to be who you are'. This search for identity is prominent as Tisci continues that 'the collection is based on eccentricity, such as a circus symbolizes'. Givenchy's tailoring and 'lace for romanticism' and 'leopard print for sensuality' present the characteristics of the Givenchy world.

http://www.anothermag.com/

08

With many other designers including, Alexander Wang, Dior, Chanel and Gucci unveiling their accessories, below are some more pieces that caught my eye.

Alexander Wang

Gucci

Louis Vuitton

Nicholas Kirkwood

Balmain

Roger Vivier

Hermes

07

As new accesories for Autumn/Winter 2010 have begun to infiltrate into the minds of the mortal from the empires of Balenciaga, Alexander Mcqueen, Mulberry and more. I have chosen a fair few which I feel unveil the sheer lustre, splendour and enchantment which the coming season will undoubtedly offer.

Alexander Mcqueen

Synonymous with the creation of elaborate, mystifying and intoxicating footwear, Mcqueen has become capable of adapting trends and styles to hatch a heady mixture of the alluring and the inauspicious. Designs include an opaque black shoe-boot in a trio of leather, crocodile and ostrich (mirroring a biker jacket in the collection). The shoe is set upon a large platform and heel, constructed in dull gold with carvings of knotty, ravelled and labyrinthine flowers, leaves and ivy. Another shoe is composed of a patent nude structure which is affixed onto another gold platform and heel, this time intrinsically linked by rippling gold to portray a lustrous mélange of ethereal wings which flow to formulate an angel which is the heel of the shoe. The Mcqueen mark is truly made by the grandeur of the embellishments which cloak the ankle in emerald, ruby and yellow crystals with trickling gold beads. Whether these are later 'archive' sketches from Mcqueen himself, or designs from Sarah and her team, Mcqueen still captures the importance of extravagance.

However, not all are unwearable (excluding the style of Daphne Guinness among others). The now iconic 'biker' boot has made a come-back and has been reformed to fit with the gold gilt seen in many collections. As again, seraphic wings accompany the design, this among many box clutches with tigers-eye emblems and crocodile skin provide strong evidence that Mcqueen's style remains as influential as ever.

Balenciaga
Ghesquière as we all know, has a strong ability to shape fashion to today's market, producing avant-garde and cutting-edge designs which co-incide with the label which mixes Parisian glamour with elegant tailoring, yet still juxtaposed with wild, incogurent and architectural accessories. Balenciaga for Autumn/Winter has sculpted architectural manifestations using bold block heels, and materials such as leather, wood, plasitc, metal and other high-tech fabrics and materials. This creates a stunning, modern aesthetic which seems to hint at later art deco designs, the collage of materials are reminiscent of Memphis Design. Classic forms such as the brogue and loafer are re-constructed with square heels and formulated in diverse hues such as burnt orange, teal, cream, mint and mahogany. Again, like so many seasons before, Balenciaga has triumphed in contributing footwear of the most exciting and intricate designs.

Givenchy

As mentioned before, I am a fan of Givenchy. The Autumn/Winter accessories combine elegant embellishment with the typically recognisable gothic touch. A white nappa leather 'Pandora' clutch is understatedly embroidered with sequins and crystals. Another, ultra glamourous and gothic clutch interlaces a glove with a clutch, both of which are seemingly bound by inky-black nappa leather with a lace overlay and embroidered by beads. This noxious combination of the glittering embellishments and the strong structure delivers a flourishing attraction. Givenchy never fails to deliver striking and lurid designs in the form of, gloves. There is no doubt that, if I had the money I would have built a collection of Givenchy gloves by now, they seem to be one of very few brands who actually create stunning designs for winter gloves. The Autumn/Winter 2010 gloves consist of flaming colour schemes including, vivid scarlet, glowing virescent, glittering ebony black and scintillating white. Both of which are submereged in sequins and crystals, or soft leather bedecked in beaded embroidery. Either way, every single pair is beautiful, and the best part? You can buy a matching 'Pandora' clutch!

Mulberry

I adore Mulberry and after the brand got placed in the hands of ultra-talented Emma Hill, the company has gone from strength to strength. Introducing new styles such as the Mitzy Hobo, the Shimmy and of course, the Alexa, the brand has an ability to provide for the ever-demanding world of fashion. As well as bags, Hill has been exploring the clothing line of the company and has propelled the label into a company not just known for their iconic bags. Being a bayswater fan, I was grieving over my inability to purchase a moc-crocodile metallic silver Bayswater. However, all hope is not lost as the classic Bayswater has been re-defined once more by evolving into pyhton skin, which has had a cosmic, kaleidoscopic treatment which reveals a spectrum of azure, sapphire, dull chrome, violet and ultramarine. Another glittering example of the brands ability to modernise iconic, classic bags.

Yves Saint Laurent

A brand which always intrigues me, whether it be their bold jewelry, the sleek, understated and almost masculine-like sculpted shoes or the ultra bespoke and classy tailoring, Yves Saint Laurent can always deliver something robustly stunning. From the iconic Tribtoo pump to the cage shoes, YSL can provide a demure, sophisticated look in an understated yet captivating way. The 'Palace 105' pump has a firm shape tethered in ashen suede with hair unfurling along the length of the heel. Granted, hair is not for everyone, but these in some way, are quite attractive. Along with shoes which will no doubt become very popular, YSL produced an evening clutch (although looks incredibly small), which is basically a ball of mink with a brass knuckleduster. I like mink, I love knuckledusters, yes it probably is not very wearable but its still cute.

06

Nowadays, there seems to be a distinct lack in home-grown talent concerning new, innovative and truly original menswear designers. However, this may well change from the collection from one of my favourtie menswear designers who recently joined LCF to study Design and Technology. Steve Corcoran graduated from NCAD in Dublin and took his expertise along with his original and opulent designs to London to produce a collection which both inspired and delved into a new design methodology based upon rank.

The collection entitled 'Regalia' explores the relationship between scoiety and branding, he develops on the idea that super brands metaphorically develop military emblems to reflect the 'importance' of position. The sense of insignia and hierarchy is reflected through the crsytal embellishment . Dusty peach and pink satins where developed in opulence with the cream crocodile leathers to enhance the theme of glamour referencing to the higher rank of our youth.

Corcoran succesfully provides audiences with a fresh new take on menswear, which remains original, wearable and individual. I applaud his determination not to become ensared by various 'super-brands' to which his work may go un-recognised, but instead to rely on his faith in his aesthetic which will no doubt push the boundaries further within menswear. Which, I have to say is something I have long awaited.