LFW Diary AW11: The North Circular

A brand that could perhaps run the risk of being overshadowed by its celebrity supporters is knitwear specialists, The North Circular, whose canny strap-line is ‘knitted by grannies, supported by supermodels’. Unravelling their AW11 collection via a video installation piece, Metamorphosis depicts - fellow former Marylebone School girl turned supermodel and co-founder of The North Circular - Lily Cole exploring themes of regeneration, surrealism and the opportunity for change.

Wrapping and cocooning the body in oversized shapes, Metamorphosis uses the finest in hand-knitted accessories to hold and wrap the wearer’s body in a beautiful blend of sustainable wool and luxury British ethically sourced end-of-line cashmere. Utilising a fresh and natural colour palette of forest green, pink sand and red flame, chunky Fisherman’s ribs and intricate cable detailing are used to great effect, firmly establishing The North Circular as the go-to brand for the finest in sustainable knitwear.

Now in their fourth season, The North Circular started their label by making a pledge that all of their wool accessories will be hand-produced in the UK, from sheep to spinner and dyer to knitter, with the underlying aim to create a low mileage product. Continually supporting the Sheep Sanctuary, The North Circular work tirelessly endorsing plight of the endangered Wensleydale breed; campaigning for higher standards in animal welfare. With transparency being crucial to the success of a brand in the modern world, each North Circular garment comes with a kimble informing the customer of how many sheep have been rescued so far, with the current tally boasting 614.

LFW Diary AW11: Lu Flux

A designer whose charm and wit transcends the constraints of fashion design, Lu Flux has been pioneering ethical fashion on her own terms for several years, fast becoming a firm favourite of mine. If like me, fashion with heaps of character is your bag, than you’ll find the eponymous Lu Flux label to be bursting at the seams, offering quintessentially British eccentricity neatly compacted into delectable wearable delights.

Having been introduced to Flux's work through her SS10 collection; the cleverly titled Eco Life of Riley really caught my attention and imagination: featuring costume bluetit suits, eclectic patchwork detailing, jarring graphics and hand-crafted raffia goods made in conjunction with SOKO Kenya (as mentioned in my Lalesso GOTW post on Friday).

Revered for her trademark wide shapes, it was business as usual when I saw Flux and her beautiful AW11 collection, Sea and be Seen at Estethica, where she has exhibited twice previously. Inspired by the eternal, alluring mysteries of the deep blue sea, silhouettes are loose and lean, accentuated by opulent velvets in rich burgundy and aqua marine shades, purposefully designed to sit awkwardly on the body with adroit manipulation of fabric resembling giant clams and anemones – subtly bringing the murky sea to life.

Working in collaboration with artist and illustrator Dan Arnold, Flux has utilised intriguing drawings of ‘mind-boggling deep-sea beasts amid the inky waves’, which are digitally printed onto jersey, and blown up-from their microscopic habitats to be quilted onto heritage Harris Tweed and of course the sumptuous velvet, which features oh-so heavily. A thoroughly regal affair that screams “high quality”, this season Flux’s knitwear is sponsored by Jamieson + Smith of the Shetland Islands who create beautiful yarns from the wool of purebred Shetland Sheep.

Key garments include the ‘Kelp Cardigan’ in grey with oversized white polka dots reminiscent of ethereal clouds and the ‘Fin Dress’; an oversized shirt with ruffle detailing, repeated in differing variations throughout the collection. I particularly loved the shoes with their oversized buckle details and patchwork colours reminding me of swashbucklers! Partnering with Green Shoes - the ethical, hand-made shoe company based in Devon - for the third time Flux’s footwear scores a hat-trick utilising the velvet from the collection to add corresponding finishes to shoes, bags and belts.

Sea And Be Seen: Lu Flux Autumn/Winter Collection 2011 from Neil O'Driscoll on Vimeo.

To put a finer point on the beauty and detail of this collection, Flux has done fashion journalists and bloggers a great favour by teaming up with her long-term collaborative partner Neil O’Driscoll, to create a short film which brings to life the aquatic motifs of the collection in a velvet-draped den of iniquity.

LFW Diary AW11: Kirsty Ward

A designer I was really looking forward to seeing at Blow PR's Ones To Watch on the inaugural day of LFW, I was sad to have missed seeing the hotly tipped Kirsty Ward make her mark on the international fashion stage. Unluckily I queued too late and didn't get into the show, but luckily Ward also exhibited with Vauxhall Fashion Scout, where I managed to meet her and obtain a close-up of her inspired AW11 collection a couple of days later.

As dramatic, unique and groundbreaking as I'd hoped, Ward's designs are a vision of sculptured brilliance, breathtakingly playing on the structure of the silhouette, harnessing a clear penchant for boned, textured clothing, that was also highly visible in her debut. Having graduated from an MA in womenswear at CSM a couple of years ago, Ward was instantly whisked off to Italy to join Alberta Feretti’s design team, where she stayed for a year and a half. After founding her eponymous label in 2010, Ward has gone from strength to strength designing jewellery for David Longshaw’s AW10 collection and of course debuting with her own SS11 collection last September.

Focusing on her striking and complex costume jewellery, Ward uses this as the starting point for her fashion collections, taking inspiration for AW11 from images of both funny women and chairs. A designer’s designer, Ward loves to make garments that she would want to wear herself, which for me is the benchmark of a true designer – reflecting your own taste and aesthetic being paramount. With a muted earth colour palette of black ash, snow and lava shades, I’m thoroughly impressed with Ward’s collection, emphatically proving to up-and-coming designers that unique practices are the way forward if you want to achieve this kind of maga-watt result.

LFW Diary AW11: Louise Gray

Always one to make me swoon with excitement due to her exuberant use of colour, Louise Gray is a woman who knows exactly what she likes – and incidentally what I like too! Fun, irreverent and always relevant, Gray’s work always reminds me of the best part of my primary school art and crafts class, where on the rare occasion we got to play with fabric and paper I much enjoyed creating a mulch of texture, half papier-mâché, half disaster.

Aptly described by a member of the fashion press as ‘a riot of graphic colour’, Gray’s AW11 offering played with tartan fabrics, polka-dots and layers - brought to life in three-dimensional brilliance - partly inspired by the plaids and tartans of Gray’s hometown in North-East Scotland.

Favourite garments included the pixelated prints on dresses and what I’m from here on going to refer to as the ‘jelly-wellies’ – inspired!

LFW Diary AW11: Felicity Brown

A designer whom I’d heard great things about last season through Fashion East’s talent platform; Felicity Brown is certainly ‘one to watch’. Her inaugural collection for SS11 featured a plethora of hand-dyed silks and ruffled dresses, inspired by Japanese origami, Bedouin women, Henri de Toulouse-Lautrec’s paintings of showy girls in disheveled, provoking dresses, as well as her own study of flowers – creating an overtly feminine collection with layering at its core.

Repeating her signature design aesthetic for AW11, the NEWGEN sponsored designer really caught my eye during LFW, incorporating what looked to be subtle tribal prints to great effect. First spotted during her Royal College of Art graduate show – from which the collection was selected to be exhibited at Sotheby’s of London - Brown went on to design for Alberta Ferretti, Loewe, Mulberry and Lanvin before setting up her own label based in Brick Lane. Highly influenced by tribal designs from around the world, Brown told Vogue.com: “I like looking at tribal costumes from all over the world and the way tribes mark themselves. I find that much more fascinating than minimal tailoring. I made each individual piece that forms each dress separately. At the last minute I smashed it all together and that was it.”

LFW Diary AW11: Michael Van Der Ham

A designer rather new to me is Michael Van Der Ham, whose NEWGEN sponsored AW11 collection caught my eye in the Somerset House exhibition a couple of weeks back. A Dutch designer famed for his trademark patchwork, Van Der Ham has changed direction for his third season. With the emphasis on a clean silhouette, Van Der Ham still experiments with fabrics - particularly velvet - to create a kooky home economics kind of look with aplomb. A delicious collection of pastel gelatos, this collection is good enough to eat!

LFW Diary AW11: Christopher Raeburn

A mainstay on the Esthetica exhibitor list British ethical designer Christopher Raeburn cleverly fuses innovation in fabric technology with garment re-appropriation and a passion for military heritage. Of the AW11 collection titled Blast Raeburn says; "So much of Blast has been inspired by our research into the original garments, their fabric technology and development. Each piece pays tribute to the objective of the original item - weather protection, camouflage, speed or warmth - and injects a new life and striking functionality through our complete redesign."

Divided into three capsule collections; Remade, Lightweight and British, Raeburn once again demonstrates why he is a pioneer of ethical fashion. Key pieces include trademark parachute hoodies and jackets, pop-out parkas and new pieces such as a faux-fur lined Inuit jacket made with Swedish wool from the 40’s.

Remade is the heart of Raeburn’s brand, expertly showcasing his technical attributes for reconstructing vintage military fabrics sourced throughout Europe. With an extremely limited 50 pieces available worldwide, the emphasis is on quality and luxury. Lightweight is a bold, playful capsule collection, which mainly consists of Raeburn’s exceedingly popular parachute range – updated for AW11 with the new Blast print. Lastly, British is an exciting new addition to the Raeburn brand, seeing the designer work solely with dead-stock from a new British-made fabric each season. Launching for AW11 with West Yorkshire’s Hainsworth Melton wool, British perfectly reflects Raeburn’s eponymous brand's holistic approach to design, highlighting his dedication to British provenance and production.

LFW Diary AW11: Fannie Schiavoni

A designer whom I love seeing at NEWGEN every season is Swedish designer Fannie Schiavoni, revered for her trademark chain accessories. Favouring clean lines and structure, Fannie's pieces always reflect a clear attention to detail and are handmade with passion. Looking at the AW11 collection I love how Fannie has adapted growing the business to expand into separates for the first time, to create another range of fantastic accessories, absolutely perfect for photo shoots.

LFW Diary AW11: Aminaka Wilmont

A little while ago, I was really happy to be invited to the Aminaka Wilmont show at LFW. A designer whose catwalk show I’d never had the privilege of seeing before; I was blown away by an abundance of cool signature digital prints, and a healthy dose of structured body-con.

Cutesy black and brown knee-high socks dominated, and combined with patent leather separates, the AW11 collection had a hard, rock-star edge, completed by fiercely stacked leather bound wedges. In terms of prints, my favourites included snake print and a blurred concoction of florals, all in light brown, dusty grey and mauve hues.

With the slimmest of silhouettes and a bevy of elegantly languid models, for me, the overview of the collection was all about pace, layering and length, juxtaposing short and long hemlines with causally draped fabrics resulting in directional shapes and new combinations of texture.

Whilst the collection is always the main focus of any show, at Aminaka I found myself being very distracted by the model’s hair - and subsequently taking lots of photos of this instead of the clothes - worn long and swept back with an assortment of plaits strewn across the crown, for some reason I thought of summer fields and prairies – perhaps not quite what I should have taken away from an AW11 show.

LFW Diary AW11: Thomas Tait

A designer I don't know too much about, I loved looking at these two outfits from Canadian-born Thomas Tait's AW11 collection at NEWGEN. As you know I love navy so was instantly won over by Tait's rich colour palette and I think the futuristic, abstract shapes are genius.

LFW Diary AW11: Yang Du

A delight to see each and every season, I always look forward to checking out the Topshop/ NEWGEN tents and rooms to get an early peek at Yang Du's latest collection. Undoubtedly my favourite queen of kitsch, everything she turns her hand to screams fun and I love the spirit that her eponymous brand embodies. A visceral treat of texture and colour to look forward to in AW, Yang Du makes winter not seem so dark and dreary, after all.

LFW Diary AW11: Jena.Theo

Imagery throughout courtesy of Essence Communications

Opening the internationally renowned On|Off platform for AW11, Jena Theo was the first show I attended at On|Off’s new Covent Garden show-space, Mercer Studios. Ridiculously over-subscribed - mainly due to the design duo’s extreme popularity - we all packed in to the tight space and eagerly waited for the brand’s signature dark aesthetic to captivate us - and captivate it did.

Entitled Valkyrie, the collection name is taken from Norse mythology, with the term Valkyrie,representing a band of celestial female figures who decide who will die in the field of battle. Known as lovers of heroes, Valkyrie take their chosen warriors to the Hall of the Slain. For their eagerly anticipated third on-schedule appearance at LFW, talented design duo Jenny Holmes and Dimitris Theocharidis have boldly taken their strong and somewhat dark aesthetic one step further, deftly juxtaposing elements of fantasy fiction and Norse mythology, to produce a highly covetable and wearable collection.

Expertly blending elements of 80’s Cinema with their signature bold and modern cuts and bleak colour palette, shapes were voluminous, with geometry and repeat patterns bringing the theme into the modern age. Key pieces included cute cashmere sweaters, a leather patchwork jacket, opulent silk modal jerseys and sand-wash silk satins which appeared in soft hues of black, charcoal grey and cream. Baby alpaca and wool hand-knits softened the bold lines created in the collection nicely, giving each garment an added layer of complexity.

With dark bands of matt black across the eyes of the models, the make-up for me typified the dark aesthetic of the Jena Theo brand, an aesthetic that has so far brought them great success, which looks set to continue into next season.

LFW Diary AW11: Bora Aksu

Imagery throughout courtesy of Essence Communications

One of the best designers to practice within the UK, Bora Aksu was a show I was particularly looking forward to this season; however I sadly missed out due to other shows on the main schedule running late. Entitled Angel + Fiend, Aksu’s AW11 offering is born out of the duel in humanity where angel and fiend each strive for mastery. Highlighting contrasts of proper and improper Angel + Fiend echoes many sentiments that can be found in the story and time of Dr Jekyll and Mr Hyde.

Taking traditional men’s tailoring reminisant of the late Victorian era (think along the lines of long capes, bow ties and tailored jackets), Aksu cleverly transforms masculine shapes with feminine pleats, texture and volume. Showcasing a plethora of elegant and ethereal cocktail dresses, interesting fabric choices were at the fore with Aksu utilising leather to great effect as piping on dresses made from individual panels, bound with cord. Imaginative use of plastics and leather were used to represent the animalistic core beneath the polished exterior of silks and gentry tweeds.

With colour inspiration coming from the dark and foggy streets of 18th Century East London, smoky greys and midnight blacks dominated with occasional flashes of brilliance visible in a pure emerald green – a rich colour sadly not seen all too often. Fully embracing the masculinity of the collection, Aksu ran with his theme creating a more diverse mixture of separates than we’ve seen in previous seasons – Short tailored jackets, shirts and trousers were expertly tailored and functional.

Of his inspiration Aksu said; “Old movie posters and book covers of Jekyll and Hyde and Sweeny Todd were good reference points. Dark motives hidden by an air of respectability was very interesting and how to incorporate both those characteristics into one look. It also allowed me to play with shapes and fabrics especially when considering the tailored pieces.”

LFW Diary AW11: Osman

Imagery throughout courtesy of Catwalking

One of my all-time favourite designers, whom I think of as the king of respectable hemlines, it was an absolute pleasure to attend Osman Yousefzada’s AW11 catwalk show last Sunday afternoon. My first to witness in person, the atmosphere was electric inside the BFC tent. On superb form as one would expect, the audience were treated to Osman’s signature architectural cuts, once again emphatically demonstrating why he is the go-to designer for the discerning modern woman.

Deriving inspiration from the 2002 Turner Prize nominated artist Catherine Yass’s recent series of light-boxes titled Decommissioned, Osman infused the deep blue slick of colour used in this series as the starting point for his AW11 collection. Taking his minimal-luxe aesthetic one step further, trademark silhouettes were present throughout the collection in a combination of textured winter fabrics such as cashmere, quilted brocade - which looked a lot like quilted seersucker from where I was sat - matelasse, nappa leather and alpaca wool.

With capes and floor-sweeping coats featuring heavily, it was the softly structured dresses that really stood out, deftly utilising the zip detailing present throughout the collection to transform the garments into multi-functional pieces – enabling them to be converted into separates of differing lengths, further enhancing this truly versatile collection. Demonstrating a mild foray into print, the rich colour palette consisted of fuchsia pinks, strong oranges, bright aquas and vivid greens blocked with cream – perfectly styled to compliment Osman’s signature shade of blue. Clean lines and fitted bodices sat atop impeccably tailored trousers and soft bell-shaped skirts, culminating in a range of sharply tailored and elegantly draped separates, chic enough to be dressed up or down depending on the occasion.

Key garments included a cute panelled calf-length A-line skirt in peach sorbet and a variety of tops which were finished with thick bands of leather in fluorescent greens and pinks to accentuate the waist, also repeated on elegant strapless dresses. With spat detail peep-toes complimenting the collection perfectly, heels were - perhaps predictably - on the chunky side, with stacked-heel loafers making an appearance in what looked to be the softest of leathers and pony skin. Adding to the drama of the occasion, models wore sharp black bobbed wigs - bearing close resemblance to Victoria Beckham’s now infamous 'Pob' - hinting that this could once again become the must-have hair cut of the season.

In sum, a timeless and classically beautiful collection from Osman that will once again see his stock rise further on the trajectory to fashion infamy.

LFW Diary AW11: Anya Hindmarch House of Intrigue

In between fashion shows on Sunday afternoon I popped down to the aptly named Hindmarch House of Intrigue, a grand maisonette situated just round the corner from The Strand on Craven Street.

Three stories of delight, there was so much to see and do besides examining the beautiful new Anya Hindmarch AW11 accessories collection, which incidentally was outstanding. Brimming with water snake, snakeskin and sting ray (finishes pictured above) - with which I was very impressed - offering a bag for every eventuality and occasion.

Starting on the ground floor, the first room - the Parlour - hosted an array of culinary delights mixed in with the most exquisite of evening accessories, lovingly displayed on silver platters, a hostess trolley of sorts and cake stands mixed in with an assortment of wobbly jellies and blancmanges. I was also rather excited by the tuck shop on the main staircase, offering visitors a variety of bon bons and boiled sweets to enjoy whilst mulling over the collection.

In the parlour and the adjacent Newman room I found a whole host of period accessories all branded with the signature Hindmarch bow. I spied a grammar phone, and old spinning radio, vintage television sets and stacks of vintage luggage – all things I would own given half the chance, in a heartbeat. There was also a beautiful vintage rocking horse, adorned with Hindmarch’s softest leather bags, which a few days later the only words I can think of to describe how tactile they were are ‘soft and buttery’ .

Also in the Newman room was a huge imposing display of Anya Hindmarch interior accessories, lovingly displayed in the form of a bed scene reminiscent of The Princess and the Pea fairytale, due to the sheer volume of bedding stacked to the ceiling. In chic white and navy stripes, this summed up the Hindmarch aesthetic to a tee – effortless and classy.

In the Alban Library books played a key part in the set, used as tables to display handbags, and to block fireplaces, which I thought was an inspired idea! Adding to my amazement I discovered a beautifully branded black piano in a room, which had been programmed to play a fantastic array of songs vaguely recognisable from great scores of old, making me stop to pause in wonder for ages at how it worked.

In the first room on the first floor, the Huxley room; I was greeted by a great model of a white Tim Burton style tree which cleverly doubled up as a delightful place to hang the bulk of the AW11 handbags. An unusual display, it worked wonders as it enabled myself and I’m guessing other press, to get a 360 degree angle of each bag, which was made for some great photographs. In this room I also loved the vintage sofas in soft pastel pinks.

Probably my favourite part of the whole house, I loved the room at the top back of the House of Intrigue called the Dressing Room. I was most drawn to the beautiful vintage oak wardrobe, not taking it on anything more than face value. After flicking through the capsule collection of Hindmarch garments contained within, the lovely man showing me around enlightened me and moved the clothes to one side, revealing a cute installation of a mouse and a Hindmarch sewing kit hidden in the corner. Also in the back panel of the wardrobe was a peep-hole which led backwards to a screen projection of a Burton esque animation which was yet another mark of brilliance.

Having been told about the Wonky room in the basement as I was being shown round I was expectedly intrigued, so at the very end of my tour I popped down to see what exactly it was. Essentially it was a room that works in the same way as a hall of mirrors that you might find at a fair, distorting your image through perspective. Opting to be the small person - a rare opportunity afforded to a tall person - you can see me posing below with a nice bit of Hindmarch arm candy, while a lovely member of the Hindmarch team played the giant coming to steal my handbag!

Fearing that the photographs may not quite do the enigmatic Hindmarch House of Intrigue justice, I cannot stress enough what a wondrous world it was to step into and just how much effort and man hours went into such a beautifully themed presentation with such extreme attention to detail, the scale of which was simply unthinkable. Everything was laid out to thoroughly intrigue visitors and it was the really kooky touches such as the mice and animation in the wardrobe, the garden filled knee-high with leaves with Hindmarch branding evident in a wall made from tree logs, and the Wonky room in the basement that truly made me want to give up all my worldly possessions to move in. On a professional level it was an amazing display that I could not fault for love nor money, and on a personal level it left me feeling so inspired that I can’t stop dreaming of my dream home; The Hindmarch House of Intrigue!

LFW Diary AW11: Jazzkatze

A designer whom I didn't know too much about beforehand, I was delighted to be back at the resplendent Freemasons' Hall last Sunday afternoon, taking a front row seat at Jazzkatze's AW11 catwalk show. With a collection called The Name of the Rose and an invitation depicting what looked to be a red rose covered in snow, I wasn't too sure what to expect from the collection, but am pleased to say I absolutely loved it! Founded in Japan, the intriguingly named Jazzkatze is the label of Central Saint Martin’s graduate Ayumi Sufu, who takes inspiration from her personal experiences of Japan’s economic growth and fall, paying particular attention to the cultural mix of traditional and western values, somehow unified as one identity.

Inspired by The Name of the Rose novel written by Italian medievalist Umberto Eco in the early 80's, the story is an intellectual mystery, reflecting the paradoxical relationship of existence that is made by individuals and their memories. As the title of Eco's novel suggests Jazzkatze playfully experiments with images of a rose, subtly exploring the beauty and femininity of the petals, in stark contrast to the masculinity of the thorny stalk. As the lights dimmed and the show began, models strode out confidently to less well-known songs from The Smiths/ Morrisey back catalogue. Displaying a rich colour palette from the offset, royal navy, dark grey, nude beige and wine burgundy featured heavily throughout, however it was the variety of textures on display that were the real feat of ingenuity; melton wool, mohair, silk, embellishment and embroidery galore.

Stand out garments included silk pussy-bow shirts in blood red, cute wool floral hot-pants and the quirky medieval inspired hooded coat. Simple yet chic dresses dominated, with the majority featuring Jazzkatze’s signature AW11 print – a snow covered ground with blood slash roses, artfully symbolising birth. I particularly loved the pearl encrusted tights - which bore clusters around the knees and ankles – adding an unusual level of glamour and sophistication to the collection. Hair was beautifully stacked in buns and layered like wedding cake, decorated with an assortment of blue extensions and ribbons, which for me typified the collection as being good enough to eat!

LFW Diary AW11: Eun Jeong

In the heart of the famed Covent Garden Piazza for the second season in a row, the 2008 Fashion Fringe Award winner, Eun Jeong held her AW11 showcase with breathtaking results. As we waited for the second showing to start late on Friday afternoon, guests were more than happy to examine our Kipling and Cosmetic á la Carte goody bags whilst absent-mindedly tapping our feet to a variety of delightful speakeasy tunes which really set the scene and gave me instant visions of the latter years of the hot new HBO drama Boardwalk Empire. It was a pleasure to see the talented and serenely beautiful Iraina Mancini (of former pop group Mancini fame), manning the decks, and as we went to school together it was lovely to catch up after the show and hear all about her hot new band and plans for 2011 – all I can say is watch this space!

As the lights dimmed and the show began, we were treated to an artful collision of Jeong's modern and timeless aesthetic, emphatically displaying the designer's love of her craft – evident in her intuitive fabric choices and refusal to stray from her signature draping. Taking 30's tailoring and embellishment as her inspiration, Jeong deftly discovered ways of resurrecting the classic minimal silhouette, which originally came to international prominence with stars of the silver screen such as Marlene Dietrich and Joan Crawford wearing minimalist fashion in Hollywood.

Iraina Mancini

With an emphasis on neck lines and sexy structured bodices, Jeong's garments embodied a sense of empowerment rarely seen in a designer so young. Beautifully crafted intricate airy pleating combined with an unexpected injection of colour in the form of striking Art Deco prints created a look just as relevant in the 30's as it is today, some 80 years later. Simply blocked base colours of nude, beige and black were cleverly mixed with vintage gold and cold grey shades to create an air of elegant and youthful femininity. Offering a variety of textures and an assortment of skirt lengths to rival any high spec prêt-a-porter collection, Jeong perfectly encapsulates the spirit of 30's tailoring with this bankruptcy inducing collection, appealing to the modern working woman.

A genuinely great show and an amazing collection, I loved the little details such as lace and embroidered underskirts, hip bustles and who could forget the beautiful linear print that featured on the invitation and heavily throughout the collection – most noticeably on printed colour pop silk scarves worn in the models’ hair. Accessorizing with super-skinny belts and an assortment of black knee-high boots from Dune, it was little touches such as vintage inspired leather driving gloves by Sermoneta that really offset Jeong's period designs. Soft curls by Lock On Ego added to the drama as did seductive and smoky eyes by Cosmetic á La Carte. All in all, an incredible display of staggering attention to detail and genuine raw talent making this one of my top three shows of the season.