Liverpool-born Shannon undertook a Masters course at Central Saint Martins College of Art & Design (where he was awarded a full scholarship from Professor Louise Wilson) and upon graduating in 2008 he received the Dunhill Menswear Award. Before studying at Saint Martins, Shannon had worked as design assistant to Richard James and spent two years on Kylie’s creative team where he collaborated with his teen fashion hero Judy Blame. Over the last few years, Shannon has refined his sportswear-orientated aesthetic whilst working on collaborative projects with Topman, Eastpak, Asos, and Reebok. He received Newgen Men sponsorship for his Autumn/Winter 2010 menswear collection, which allowed him to exhibit his designs at London Fashion Week for the first time.

Shannon has always been influenced by a council estate/ghetto/street wear aesthetic and his latest collection was no exception. He stated that the key references for his Autumn/Winter 2012 menswear comprised Mathieu Kassovitz’s gritty 1995 film La Haine (set in a Parisian banlieu), the 1998 photographic exhibition catalogue W’Happen by Jason Evans, and the analysis of European urban dress codes. However, the young designer allowed the influences of working class life in the 1990s to be translated into sartorial creativity and talent in the form of adroit combination of colours, fabrics, and careful choice of silhouettes.

The opening to the runway was decorated as a decadent tableau vivant conceived by artist Julie Verhoeven that celebrated an atmosphere of after-bachelorette party trash: body parts of live female models bathed in pink lights were surrounded by abandoned car tyres, clothes were draped over partitions, and heart-shaped balloons hang from the floor. To accentuate the atmosphere of 1990s social rebellion, the show opened to the sounds of police helicopters which gave way to songs by Sinéad O’Connor and The Talking Heads.

The silhouettes of men that followed during the next few minutes were casual and yet sharp, a development of shape and fit from previous seasons. They included Shannon’s menswear staples, such as jacquard knitwear, graphic sweatshirts and an emphasis on outerwear (including bomber jackets, parkas, and Harrington coats), whereas thick wool trousers incorporated the cut and details of tracksuit pants. The influence of sportswear (as appropriated by the Chav look) was evident in the trousers’ elasticated ankles, and in multi-zipped, bonded seam and laser cut pocket details normally found in high-performance wear.

The collection relied on a toned down palette, with predominant white, grey and black accentuated here and there with cream or blue. Fabric blocking abounded, with plain colour fabrics coexisting in the same garment or contrasting with checked patterns. The Christopher Shannon brand could also be found writ large in white words printed across garments, in a nod to 1990s typeface and notions of style. In addition, and in a playful way that blended street wear with old-fashioned high elegance, Shannon resorted to prints that simultaneously evoked the urban tribalism and historical workwear connotations displayed in bandanas and traditional Broderie Anglaise patterns and techniques.

In addition to the clothes, Shannon unveiled a new partnership with footwear makers Kickers, where the Kick Chunk boot was reworked in a variety of fabrics and colours. These completed the looks alongside Christopher Shannon-branded mittens and neck warmers.

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Owing to the fact that three labels are shown in succession, there is usually an instinctive tendency for the audience to pick one. At the last fashion week for Autumn/Winter 2012/13, all eyes were on young label Agi & Sam, not only because of the playful and vibrant colours paraded on the runway but also for the detailed and proficient tailoring evidenced in the garments. The collection, titled ‘Darwin’s Theory of Why the Chicken Crossed the Road’, used polyester fabrics made of recycled plastic bottles that were woven in a way that replicated natural fabrics such as cotton and jersey. Print variations of vividly coloured Linton tweeds and large-scale traditional tartans were engineered to create what the designers behind the label described as ‘brightly tribal modern menswear’. Prints also included a variety of tessellating repeats (inspired by the work of the artist M.C. Escher), and representations of chickens and ducks in either cartoon or classic watercolour versions. The tailoring was overall sharp, with strong outerwear and suits in single and double-breasted styles and slim-fit trousers. The colours chosen (bright oranges, greens, and blues against shades of cream and grey) accentuated the playfulness of the collection while highlighting its elegance.

Agape Mdumulla (who hails from Yorkshire) and Sam Cotton (from Stratford-Upon-Avon) founded Agi & Sam in January 2010, and had produced three collections (two of which were shown at Fashion East Menswear Installations during previous editions of London Fashion Week) before taking to stage at the Royal Opera House on 22 February 2012. Agi studied Fashion Design at Manchester School of Art and Sam studied Illustration at University of Lincoln. They worked for designers including Alexander McQueen, Karl Lagerfeld, J.W. Anderson, Armand Basi, Blaak Homme, and Carolyn Massey before deciding to venture into the fashion world on their own.

At the MAN show, Agi & Sam stood out from the other two designers in the way that they injected humour into their collections, believing that fashion should not be taken too seriously. However, this attitude (which had pervaded their previous collections) did not mean that Agi & Sam are negligent about creativity or production processes. In truth, the duo strive to create unique and yet accessible pieces with a commercial edge, and, as proof of their attention to creative detail and consumers’ needs, they are already sold in a number of stockists in the UK and Japan, not to mention online retailers. The Style Examiner believes that this is a menswear label to watch and looks forward to seeing them taking to the main runway of London Fashion Week soon.

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Originally produced in 1977 by Stan Besner, the initial Ultra Goliath’s unconventionally large frames quickly made the sunglasses popular pieces of eyewear. Amongst those that have sported the glasses over the years, one can count actors or musicians such as Darryl McDaniels of Run DMC, Michael Caine, Harry Carey and, more recently to portray film characters of the 1970s, Robert de Niro (as Sam ‘Ace’ Rothstein in ‘Casino’) and Elliott Gould (as Reuben Tishkoff in ‘Ocean’s Thirteen’).

A few months later, Vintage Frames Shop released the second limited edition of Ultra Goliath 2 under the name ‘Snowdon Deli’. This collection of see-through frames paid homage to the deli founded by the Morantz brothers in 1946 in Montreal, Canada, that Corey Shapiro, the owner of Vintage Frames Company, used to patronise from an early age.

The latest range, just released in a limited run of 50, goes under the name ‘Snow White Project’, and is produced in the same factory in Holland that produced the original Goliath 2 mould. White vintage acetate was chosen to be the base for these vintage frames that still retain their oversized frame.

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McKain-Waid studied Apparel Design at New York’s Fashion Institute of Technology and completed a BA (Hons) degree in Textiles Design at the University of Kansas. Before DAKS, she honed her skills in dealing with luxury materials and craftsmanship at Halston, Donna Karen and Oscar de la Renta. With a personal appreciation for architecture (and citing Zaha Hadid as a role model), it is no surprise that her latest collection for DAKS is heavily architectural.

The layering and pleating effects evidenced throughout the collection rely on precise geometric balances that evoke twentieth century architecture movements such as Modernism and Art Deco. The overall shapes are elegantly elongated and made stronger by manipulating contrasting shapes, fabrics and colours.

In fact, the entire collection can be understood as a study in contrasts at many levels: Fine silk crepe dresses and blouses are paired with voluminous wools tweeds; delicate linear pleats are worn under cocoon-shaped coats; traditionally crafted Scottish knits are complemented by innovative laser-cut bags; modern technical nylons are traditionally quilted; rich layers are set against the clean lines of cutaway silks; fluid drapes are paired with soli knits; and rich reds and vicunas contrast with stark black and ivory.

As a whole, this is a highly accomplished collection of garments that embody a very different tone from the playful and colourful ambiance of the previous Spring/Summer 2012 range. Appointing McKain-Waid was most certainly a wise replacement to Giles Deacon (appointed in 2006 to design the womenswear range for three seasons) to keep the 118-year-old fashion house in tune with its tradition while keeping an eye on its commercial future.

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The garments designed by London-based Hardinge for ‘Inverted’ continue to explore recurrent themes from her previous collections: the notions of strong Cubist angularity and flowing softness are contrasted and forced to cohabit in the clothes conceived to clad confident women. Thick and yet soft wool knitwear (in trousers, tops, coats, and shorts) and wool pieces contrast with long and vaporous blouses, dresses and skirts to provide a sense of depth and scale. This combination of opposites takes place in the form of opposing flowing skirts and thick wool jumpers, or by adding thick wool cuffs to delicate chiffon sleeves. The print range and colour palette reinforces the notion of duality by matching abstract organic shapes with plain monochrome fabrics, and by alternating neutral creams and off-whites with mustard, burgundy, and bright orange and blue.

Georgia Hardinge graduated from Parsons Paris School of Art and Design in 2008 with a collection that garnered the Golden Thimble award for best designer. At that moment, she was recognized for creating highly technical and structured designs, and her clothes were described by designer Jean-Charles de Castelbajac as ‘little pieces of fresh poetry’. Spotting her creativity and commercial flair, Samsung chose her to create a one-off collection for an advertisement that was aired worldwide. Since her return to London in early 2009, Hardinge has been involved in numerous projects and has delivered five collections under her own label.

In July of 2009, she was chosen to take part in ‘All Walks Beyond the Catwalk’, a project set up by Caryn Franklin and Erin O’Connor with the intention to challenge fashion expectations about women. The catwalk event, which showcased female models of different ages, shapes and sizes, also included designers Mark Fast, Hannah Marshall and David Koma. Hardinge went on to show her designs in September 2009 as part of independent fashion showcase ON|OFF, alongside London Fashion Week. The following season, she exhibited her Autumn/Winter 2010 collection as a promotional fashion film with the title ‘Cage’. Hardinge’s Autumn/Winter 2011 first stand-alone runway show at Vauxhall Fashion Scout was greeted with a great deal of success, allowing her to receive a merit award and be described as ‘one to watch’.

There is little doubt that, since its foundation, the Georgia Hardinge brand has been growing at a very swift pace. As other recent examples of success, Hardinge was commissioned by L’Oreal to make six dresses for their Colour Trophy Grand Final Show, received sponsorship from Swarovski to work with Charlotte Stockdale on a project that took place in late 2011, and has seen her designs worn by a number of celebrities (including Beyoncé and Lady Gaga). Georgia Hardinge’s clothes can be found in retailers in Australia, Canada, Japan, Latvia, UAE, UK, and the USA.

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Born in the USA to a mother who was a dress maker, Nielsen developed an interest in fashion from an early age. She grew up in Florida and Washington DC but always felt drawn to her British heritage: most of her family is English, although her great-great-great-grandfather John S. Burns was a Scotsman. The Scottish family roots are present throughout Nielsen’s Autumn/Winter 2012 collection, which is titled ‘Vestiarium Scoticum’ after the apocryphal 1842 volume that purported to be a reproduction, with colour illustrations, of an ancient manuscript on the clan tartans of Scottish families.

Despite its controversial status, and now confirmed lack of authenticity, the ‘Vestiarium Scoticum’ acquired tremendous importance after its publication, with many of the designs and patterns it contained becoming official clan tartans. It is interesting, therefore, that many decades later, the Scottish imagery and tartan patterns influenced by the Vestiarium become once again freely reinterpreted by an American fashion designer as approximate materializations of couture.

Corrie Nielsen moved to London in 2000 to study Fashion at Central Saint Martins College of Art & Design. Between 2000 and 2006 she worked for Vivienne Westwood, a designer whose influence is also very evident in Nielsen’s collections. In 2010, the fashion establishment started paying attention to her, when she received the Fashion Fringe award from John Galliano. Since then, Nielsen has established her studio in the vaults of Somerset House in central London, the building that also houses the British Fashion Council and hosts London Fashion Week twice yearly.

For Autumn/Winter 2012, Corrie Nielsen’s collection of sculptural forms for evening and daywear includes jackets with voluminous peplums, pencil skirts with side slits, wool trousers tapered below the knee, high-neck blouses in chiffon or silk grosgrain with lace overlay, and an abundance of tartans covered in plain or dotted overlays. Most pieces rely on expertly positioned pleats (quite often on the back of skirts and dresses, allowing for a swish effect) that contribute to effective illusions of depth and movement. Simultaneously, the garments evoke traditional Scottish garb in elements such as traditional sashes layered across the chest, large pins, or the beautiful Emma Yeo hats inspired by Scottish bonnets adorned with pheasant feathers. Key pieces of the collection include the Le Cigale oversized skirt in black and white tartan, and a stunning floor-sweeping cape in vivid dark blue Duchess Satin. United Nude provided remarkable footwear in the form of flats and woven leather high-heeled shoes.

With such an ambitious collection where volume, layering and pleating played such important parts, Corrie Nielsen’s Autumn/Winter 2012 collection confirms that her professional plans may lay elsewhere. If London and British ancestry have served as sources of sartorial influence, Nielsen’s Vestiarium Scoticum range confirms what she has claimed more than once: that her ambition is to concentrate on producing couture, ideally from a studio in Paris.

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Born in Turkey into a family of doctors, Aksu started being inspired by art and illustration as a young child. After realising that he could ally drawing to fabric, he moved to London to study at Central Saint Martins College of Art and Design, where he completed a BA course. After a year away, Aksu returned to Saint Martins to undertake postgraduate studies. Upon finishing his MA in 2002, his graduation collection made him the star of the show by a number of publications (including The Daily Telegraph, The Guardian and The Independent newspapers), and allowed him to secure sponsorship by the ARG group to produce his debut off-schedule runway show at London Fashion Week in February 2003. It was at this stage that Bora Aksu founded his eponymous label that went on to receive the NEWGEN sponsorship for four consecutive seasons. In 2005, singer Tori Amos famously bought his entire Spring/Summer 2005 ‘Living Waters’ collection for her Bee Keeper world tour, and over the years he has seen his clothes being worn by a number of celebrities including Keira Knightley and Sienna Miller.

For Autumn/Winter 2012, Aksu continues to explore the contrasting worlds of delicate and feminine existence and the resolute and masculine way of life by delving into Darger’s ornate illustrations for inspiration. The contrasts between innocence and perversion were masterfully resolved in Aksu’s collection at all levels, from the choice of fabrics to the combination of colours. With William Morris’s wallpapers and 1950s tapestries serving as tonal sources of motivation, Aksu resorted to dual oppositions to portray the Vivian girls’ world of dreams and nightmares. As such, greys and blacks provided classic wintery and dark tones that were softened by feminine dusty pinks and creams. To add a visual shock to this combination, and to mirror the horror of slavery, Aksu added unexpected explosions of fuchsia, burnt orange and ruby reds.

The duality continued in the fabrics and cuts used throughout the collection. Soft, feminine and fluid silk jules and georgettes (used in tops and shirts) contrasted with layered coats, jackets and capes in heavy cottons and wools. Cashmere prism knits reminiscent of 1950s spinning tops, and crocheted trims on skirts and dresses were used to evoke comforting childhood memories, a notion also present in the shapes chosen for parts of the collection: shorter-length dresses and skirts were infused with girlish charm in the shape of pleats, drapes and pussy bows. However, such manifestations of infant innocence clashed with the emotional and physical growth imposed on the Vivian princesses in order to overcome their domination. To stress this transition, Aksu resorted to tailored waistcoats, jackets, capes, and pencil skirts. The growing maturity of the girls is also embodied in the leather clutches produced by accessories brand Bracher Emden for the collection.

After having produced 16 collections, and selling in retailers in China, France, Greece, Hong Kong, Ireland, Italy, Japan, Turkey, UAE, Ukraine, and the USA, Bora Aksu has undoubtedly established his name in the British and international fashion scenes. Despite the uncomfortable and dark representations of femininity based on the opposition between innocence and subjugation, Aksu’s designs and ornate garments will most certainly keep the fashion community on its toes for many collections to come.

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Antoni & Alison seem happy to remain outsiders to the multi-million pound fashion industry: despite their appreciation of high fashion, they give equal importance to photography, design, and art; and their dresses (which focus on the concept of print as an elusive creative medium that enables tromp l’oeil dimensions and textures) do not sell for thousands but just for a few hundred. As such, it was highly refreshing that the inaugural show of one the most relevant fashion weeks remained true to the designers’ intent: the Antoni & Alison logo was stuck upside down on the runway wall, a cavernous repetitive tone accompanied the audience while waiting for the room to be full, and a recording of a voice could be heard reading from a text to introduce the designers and explain the collection. Most importantly, the collection was exactly what its title intended to portray: ‘Models Walking Up and Down in Dresses’.

Antoni & Alison’s unusually long runway show comprised 36 dresses of printed 100% Silk Crepe de Chine in shapes that did not vary much: the dresses had plain fronts and backs, there were three different sleeve lengths, and the height varied between mini, above the knee, or full-length. Occasionally, a cropped jacket could be spotted even though it was just a layer of fabric used to create the effect of another garment.

What made the show appealing was the fact that the models wore the elaborate prints (with layers of images at variable scales, from abstract and geometric designs to photographs of fabrics and objects) to create a veritable minimalist tableaux vivant that paid tribute to the process of making fashion: prints of tweed, houndstooth checks, thick knitted wool, feathers, and sequins were juxtaposed with photos of buttons, pins, staples, brown paper, twigs, and bin bags. On one occasion, the word ‘dress’ was printed on the front of the dress, in a playful process of self-referentiality.

When Antoni & Alison took to the stage to greet their audience at the end of the show, one could not but feel that, in a year when London is celebrating British excellence (whether through the Olympic Games or the Queen’s Diamond Jubilee celebrations), the work of these two outsiders ultimately embodies the qualities that have put Londonon the creative map: a celebration of art and its media, an eccentric flair towards ingenuity, and a daring attitude that favours individuality and originality over the establishment.

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At a party in a Los Angeles residence on 17 February 2012, Drew Barrymore, Winona Ryder, Bruce Weber, Jessica Chastain, Freida Pinto, Andrea Riseborough, and Milla Jovovich were among the 200 guests (many of whom wearing garments and accessories from the collection) who gathered to celebrate the launch of Marni at H&M. The event was hosted by Marni‘s Founder and Creative Director, Consuelo Castiglioni; the Director of the Marni at H&M campaign, Sofia Coppola; and Margareta van den Bosch, H&M‘s Creative Advisor.

Marni‘s collection for H&M, which will include Marni‘s signature print and colour, will be available from 8 March in around 260 stores worldwide, as well as on-line, just in time for Spring. It was developed to be about freedom and experimentation, with Marni prints and colours intended to be mixed and matched together in a playful way: African prints accompany Bauhaus modernity, and sporty silhouettes contrast with more feminine shapes. The womenswear collection also includes a full range of shoes, bags and accessories. For men, Marni offers menswear staples with a subtler use of print and a softened use of colour.

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