To kick off 2012 I’m doing a series of Studio Visits, meeting established and up-and-coming designers. Starting things off in style, I met up with with London duo Teatum Jones who were recently picked up by Liberty and will be coming into their fourth season.

Catherine Teatum and Rob Jones take a wonderfully meticulous approach to [...]]]>

To kick off 2012 I’m doing a series of Studio Visits, meeting established and up-and-coming designers. Starting things off in style, I met up with with London duo Teatum Jones who were recently picked up by Liberty and will be coming into their fourth season.

Catherine Teatum and Rob Jones take a wonderfully meticulous approach to their work, everything from the drinks served at their presentations to detailing on clothes is infused with their conceptual vision and it was a real treat to be given some insight into their creative world.

To help you get into the Teatum Jones world I’ve pasted the beautiful podcast from their SS12 presentation, just press play and we can begin…

How do you approach each season’s theme?
Catherine: Rob will start to develop the playlist, it’s the score to the film, the show, the story we tell. It’s a very filmic approach. I’ll write a treatment and do a semi-script of who the woman is, that is the concept.
Rob: We have a conversation, we start talking about, like last season was about 1950s women and being repressed. That was a turning point which led us to Revolutionary Road, the Richard Yates’ book and then we obviously watched the film. That was the initial starting point, then I started to find all this doo-wop music that had this rock n roll, uplifting feel to it but when I started looking at the lyrics of the songs they were really melancholy. Because they were sung in a very 50s candyfloss kind of way when we played it to friends they said ‘oh it reminds me of jukeboxes and diners’ then when we showed them the lyrics they would say ‘that’s really heartwrenching’.
C: I think that’s something that’s almost a signature to what we do. Our signature approach to design to the collection and to the brand, we often deal with subjects that may on face value be uncomfortable and it may look dark but we always represent it in a polished way.

C: The criteria is that it has to be chic, it has to be grab-able, desireable, it has to be wonderful, but if you want to buy into the story there’s so much concept behind it. We can go on for days talking to people about the Revolutionary Road and that side of it, but what we’re also understanding is that that woman wants a stunning dress, she wants that dress to be on it’s own credits.
R: We try to start with this concept and story but in the fittings and toile-ing stage things really move on. You can have these ideas and you go there, but once it’s in 3D we start to pull back and refine things.
C: Everything has to filtrate into every piece, that’s daywear, show pieces, the more selling pieces.
R: For us it’s a subtlety thing, we quite like to be cryptic. The Autumn Winter print from last year was kind of like a floral, a powerful print but it was warheads. If you want to see it from a distance and you want to buy it because you like the colour, that’s great for us. If you’re interested in the story it’s there as well. What we’ve found is that so many people do ask…
C: People have said ‘I really love it, but there’s something there’, they didn’t know and it’s great for them to get that sense of something else.
R: When someone questions something, like ‘why is that pocket just out of reach of my hand?’ There’s two sides to it, when the fitting girl her fingers were in it and she was playing with it but then also the reason was that it’s a mens’ style jacket and things being just out of reach.

What sort of work goes into your presentations?
C: We spent half a day deciding the gels and the lighting, to get the right atmosphere. It had to be a hazy afternoon, it couldn’t be a cold morning light, we had to source the correct gel colour, and things like that are equally important.
R: Even thought the collection was ready a month before, we spent a month with our music guy and getting the cocktail right. It wasn’t just a cocktail, we searched and got Justin Bowles a top mixologist, we were thinking ‘how do we go about recreating that period?’
C: It was strong!
R: To blur out what they were going through you could be a socially acceptable alcoholic, not drunk, but this I’m not happy in this lifestyle.
C: That being such a glamourised thing but it was really sad, they were really depressed. It is still glamourised, there is something twisted in that how we still do that. We very much love the idea that that woman, whatever she was going through at that time, if she was having an argument with her husband, if she was baking, she would kind of look in the mirror and coif herself. It suited the print and the whole feel of the presentation. We wanted everything to have this serene, glazed feeling.

Your clothes aren’t completely concept-driven though, there’s also obvious craftsmanship
C: We make with the same people who make for Victoria Beckham and Roland Mouret, our tailoring is made by the same people as Hardy Amies, it’s old school Savile Row. We’ve got such a passion that finishing and detailing and it’s the luxury level inside of garments, little details.
R: When we were doing menswear for so long, we said to her our tailored pieces are quite masculine, with menswear you always get such amazing finishing details, you have this tiny stitch that protects a vent, you wouldn’t even notice but it’s those things that men notice.
C: They give us as much knowledge as we give them, it’s a joy to go and sit with them. Last week we brought them all the new stuff and took them through everything and within that meeting we came up with different ways of finishing things because they’re coming to you with god knows how many decades of doing traditional Savile Row tailoring, it’s brilliant. It gives us that balance of telling a story but respecting the craft and having the vision to want to create collections that will be able to hang on a hanger and be stunning pieces of clothing.

Do you get drawn into these worlds you’ve created each season?
C: We would be really good method actors! For AW11 we were looking at the WWI era, there were these two women in particular and their experiences of working on the frotnline and the only clothing that was available to them was menswear because they didn’t really produce military wear for women. They had to wear the mens’ military clothes, the oversized coats, wearing them with long leather belts. I was wearing at that time something similar and Kate our stylist said ‘you’re doing the look, without even realising it you’re picking it up’.

Would you say that you are both daydreamers or like to inhabit an imaginary world?
C: I would say so but we are also realists, we’re practical people. If we were too much that [daydreamers] we would get lost in it. We’re very organised, we keep everything on time, because you can have all these dreams and stories but if you’re not organised with it, it’s not going to happen. The only shame, the only thing I feel is frustrating — and I may as well get over it because it’s only going to get worse — is the time. If we could have, just even an extra 3-4 weeks to…
R: finish one thing and go on to the next
C: almost remove yourself, just remove yourself from situation, gain perspective of what you’ve achieved that season and think about the next one. You feel a anticlimax after you’ve presented the collection and I’m sure every designer would say that. You need just to shake up and move on to next one but you’re still dealing with the last one because you have to produce the orders.
R: You can’t actually let it go, it is like an ex thing you can’t say goodbye to it, even though it’s not part of your world anymore it’s still there hanging around. When you let go of it, you let go of the creativity but you are managing and keeping control of it.

You met at John Richmond in Italy, what brought you together?
R: I think sometimes in those companies where there a lot of people working, the pressure comes down and everyone’s running around and completely stressed. We always laughed through it, sometimes we would annoy people! I think they were sometimes like ‘why aren’t you stressed?’ and they would even throw more stuff at us.

Why London?
R: We both tried the menswear thing, but there was that desire to get back to womenswear properly and to the level and detail that we wanted it to be.
C: Staying very true to our own aesthetic and we either go — and really we’d have to move to Paris — or we do our own thing.
R: We both have quite big families with kids, and it’s amazing what you miss in a year and also because we love London.
C: London’s where we’re both from, I’m from West London and Rob is from South London.
R: We took lots of work on and we just saved, for about a year and a half. Lived off nothing, saved everything, enough to get a studio.

Teatum Jones are showing at London Fashion Week in February

While all around have been mining the ’70s for all it’s worth, Margaret Howell does retro with a lightness of touch and a masculinity that takes it out of the museum and into the street.

Having seen the show I definitely feel like I need a hat. A proper man’s hat, not an indie Chelsea-Dagger [...]]]>

While all around have been mining the ’70s for all it’s worth, Margaret Howell does retro with a lightness of touch and a masculinity that takes it out of the museum and into the street.

Having seen the show I definitely feel like I need a hat. A proper man’s hat, not an indie Chelsea-Dagger poerkpie but a MAN’s hat. I’m a particular fan of the sheer midi skirts, so demure and racy at the same time, oo-er. ‘Sexy But Not’ seems to be a recurring theme at LFW, maybe it’s thanks to Alexa the queen of Sexy But Not.

When I was a child I used to hang out in Woolworths trying to buy lottery cards and watching the films on the screens, which played against a backdrop of whatever was in the Top 40. I remember the scene at the end of 101 Dalamtians (where they’re crowded round a piano) going hilariously well [...]]]>

When I was a child I used to hang out in Woolworths trying to buy lottery cards and watching the films on the screens, which played against a backdrop of whatever was in the Top 40. I remember the scene at the end of 101 Dalamtians (where they’re crowded round a piano) going hilariously well with whatever house track was in the charts. Me and my BFF with our Pick’n'Mix were transfixed in laughter. THAT IS WHAT FUN WAS BEFORE THE INTERNET!

TS have ditched the kaftans and the boho and gone for ’40s Disney drama, the invite was a sleek beribboned hound which set the mind rubix-cubing the possibilities but I didn’t expect Disney! Cruella de Ville provided inspiration from the cartoonish faux furs right down to the dalmatian nails. With Katie Grand’s styling it looked playful rather than ominous, totally loving the double buns, that’s work appropriate, right?

I especially like the Disney sweatshirt layered under serious garms, Katie herself was sporting a vintage Disney tee over a sweat with jeans and the brilliant Prada stack brogues backstage at Giles, so you know we’ll all be doing it in six months. The girl just below might well be my personal mascot for the season, punky, retro and with a hint of Luella (RIP) she’s a clear winner.

Pictures: Inside Out, Angie Smith Stylist

Topshop Unique’s LFW show was held at the old Eurostar terminal which gave it a Bum Bum Train surrealness, I was half expecting to be wheeled out of the show and into some other random scene, like a boxing ring or tea room. Loved all the ‘don’t wear heels’ tweets, it was a mere minutes [...]]]>

Topshop Unique’s LFW show was held at the old Eurostar terminal which gave it a Bum Bum Train surrealness, I was half expecting to be wheeled out of the show and into some other random scene, like a boxing ring or tea room. Loved all the ‘don’t wear heels’ tweets, it was a mere minutes walk!

As much as I love ‘Edge of Seventeen’ and did a mini fist-pump when it came on the the speakers, I’m not really so down with the Stevie Nicks style. I know a lot of people who are, and they’re in for a treat with Unique’s flamboyant take on ’70s glamour. It was glam, with a hippy prettiness that ran through it, with a few looks taking Liberty to a psychedelic extreme. Btw, if I ever describe something as ‘xxx on acid’ kill me. I also had felt some real Ibiza vibrations, I think this will be a big success for glammed-up partygirls.

Flamboyant prints and sky high perspex platforms are never going to appeal to everybody but you can pick out pieces that are guaranteed to be a commercial success. Sheer printed maxi skirts are mouth-wateringly vivid and pretty lasercut leather tops provide a ventilated version of fashion’s newest BFF fabric. @susiedraff alerted me to the resemblance between the hair at the show and a certain Vogue stylist, and the nails were chunky, encrusted pink and glittery talons of fabulousness created by Sophy Robson.

While this latest collection will be de trop for a lot of people, it shows that just because Unique is part of a high street brand doesn’t mean they can’t totally do their own thing.

Margaret Howell show, whatatreat! One of the few shows I felt comfortable in my post-wisdom teeth comfy outfit of Grensons, jeans and jumper. I mentioned that all of the UK press were there, it was a bit of a fashion royalty fest, with Lorraine Candy, Imogen Fox and Anna Dello Russo. We all squished into [...]]]>

Margaret Howell show, whatatreat! One of the few shows I felt comfortable in my post-wisdom teeth comfy outfit of Grensons, jeans and jumper. I mentioned that all of the UK press were there, it was a bit of a fashion royalty fest, with Lorraine Candy, Imogen Fox and Anna Dello Russo. We all squished into the Wigmore st shop to see what the label had in store for us.

I can look at the Margaret Howell show and be instantly transported to the summer holiday of my dreams. Lizards, homemade lemonade, hot cracked paving stones and bubbles of ashphalt, daily trips to the marché. If you haven’t already guessed it was crisp Englishwoman on holiday in Provence. I’m a big fan of the jumper, sunhat & swimming cossie look on the beach and seeing it on the catwalk pleased me very much. It was a very simple collection, which added to that holiday feeling, when the bag you packed lays largely untouched, save for a pair of shorts and your bikini.

Faded deckchair stripes gave a shot of colour, which reminds me I have some ve-ery similar stuff in my fabric pile, must dig it out and see what I can do with it. Thumbs up the the massive sunhats, further proof we’re out of the fedora indie hell hat-rut, Howell’s hats are far more chic. The slight nod to city living included tailored trenches, sitting solidly against the easy summer separates and a sheer-ish pleated black skirt which is further amping up my pleats fervour. Better get me some pleats before I splode.

Lest we forget the hair let me mention the chignons: moving on from the fashion topknot, -my favourite dirty hair updo; the tresemmé Français style sits a little lower, at the nape of the neck and looks so decontracté (French for being a posh slob). The make up was minimal too, with a slick of facial oil and a tiny dab of eyebrow pencil. Perhaps Margaret Howell can make a summer holiday app to help you pack the perfect minimal suitcase for your relaxashe?

I am currently sitting in bed singing ‘Giles, oh Giles, oh Gi-iiiles!’ to the tune of Des’ree’s lyrically dubious song. If all around you are reviving the ’70s, and you’re coming back to your stomping ground what do you do? Throw a massive fashion party that melds ’90s post-rave and Studio 54 high glam, with [...]]]>

I am currently sitting in bed singing ‘Giles, oh Giles, oh Gi-iiiles!’ to the tune of Des’ree’s lyrically dubious song. If all around you are reviving the ’70s, and you’re coming back to your stomping ground what do you do? Throw a massive fashion party that melds ’90s post-rave and Studio 54 high glam, with a big ladle of the chic couture dresses Giles does so well. Watching it come together backstage for the ol’ day job, by the time it appeared on the catwalk I nearly had a little tear in my eye (not saying much, I cried at Don’t Tell The Bride t’other day).

Pukesome (in a good way) ’90s knits courtesy of Sibling mixed with a French Fancy yellow floral and ruffled trainers. Pumping out the speakers was Bjork’s ‘There’s More To Life Than This’ with the ‘jjetto blaster bit’, which reminded me of the good old days when Bjork went out with Goldie and everyone wore trainers, maxi skirts, organza tops and mohair knits.

Tank tops and ultra wide pants ticked the ’70s box, but light fabrics gave it a little joie de vivre and lightness. The couture section was made up of dresses in soft Elastoplast pink and chocomilk brown. I can’t help looking at the pleated column frock and imagining an a-lister’s PR requesting it to be made up without the eyeball.

It’s a testament to Giles’ skill as a designer that he can sort of put together these mini collections of a handful of different ideas and they become a cohesive whole. The celebfest added to the party atmosphere, Abigail Clancy modelled, as did Kelly Brook and the front row seated some prize celebs like Kerry Katona and Janice Dickinson. It might seem a little incongruous, but it was a bit like Giles was humming the Cage aux Folles ‘I Am What I Am’ and unleashing his inner fashion moron. I love that song, and I love morons. Also, Verushka finale, srslement.

Margaret Howell was my first show on Sunday, and my first ever time ever at her show. I was jam-packed, with every possible UK fashion editor cramming the first row. The only exception was Grazia’s Jane Bruton, who was biding her time at Mulberry. Anna Dello Russo turned up adding to the excitement factor.

Unfortunately it [...]]]>

Margaret Howell was my first show on Sunday, and my first ever time ever at her show. I was jam-packed, with every possible UK fashion editor cramming the first row. The only exception was Grazia’s Jane Bruton, who was biding her time at Mulberry. Anna Dello Russo turned up adding to the excitement factor.

Unfortunately it was a ll a bit much as I had to go straight home to bed to rest up the old wisdom cavities, but that one show was magical enough to last me all day. I spent the rest of the afternoon scouring iplayer for something new, reading the XXXtra large Sunday Times Style, eating salmiakki and reading Will Self’s new book.

London Fashion Week started today for me, as I had a full-on few days back at work after getting my wisdom teeth removed. I say full-on, I mean I went in doing my best impression of Casper the friendly ghost and left early to collapse into bed.

Daks was the refreshing morning hit my senses needed [...]]]>

London Fashion Week started today for me, as I had a full-on few days back at work after getting my wisdom teeth removed. I say full-on, I mean I went in doing my best impression of Casper the friendly ghost and left early to collapse into bed.

Daks was the refreshing morning hit my senses needed and fit in perfectly with the sunshine. I jumped into a cab with an old school friend & Disneyrollergirl to Louise Gray, streamer filled plastic dress omg. I then grabbed some breakfast and downed some painkillers and chatted with Seb and Laura. I had just about enough stamina for Topshop Unique, which is handy because the queue was long and I was swaying in the breeze. I eventually made it in and just about nabbed a little corner from where I could observe the space age Stevie Nicks shenanigans and Grace Coddington hair. Then I must confess I went straight to bed and got some much-needed sleep! I’m kind of enjoying the truncated LFW, it means I’m getting snippets without any danger of getting the bi-annual LFW cold.

Hot trend: both Lorraine Candy and Jane Bruton turned up with their children in tow, they might take up space on the front row but boy they were cute!

Lavazza’s Selection at London Fashion Week from Lavazza UK on Vimeo.

I know this is a backtrack, but it’s just gone up so I wanted to share the last Lavazza LFW vid with you. It was awesome that I basically had my pick of designers to chat to at the Topshop New Gen stalls which was [...]]]>

Lavazza’s Selection at London Fashion Week from Lavazza UK on Vimeo.

I know this is a backtrack, but it’s just gone up so I wanted to share the last Lavazza LFW vid with you. It was awesome that I basically had my pick of designers to chat to at the Topshop New Gen stalls which was such a treat. I would have liked to speak to Louise Gray, but we couldn’t fit her in, wah!

Can I just tell you all that I asked Mark Fast about his plus size models, he was so nice about it I immediately felt like a dick for asking, esp cause y’know, it’s Mark Fast guys! You can see it on his face “oh god another person who’s not going to talk to me about my clothes”. We did eventually talk about his clothes, Fast’s collection was based around the metal sculptures of Demetre Chiparus, an Art Deco sculptor who made bronze figurines. On a weight level you could see the influence as the clothes were heea-avy! There was also a gorgeous floor length frock which is a first for Fast and featured a flowing hemline reminiscent of a Chiparus design. Love the enclosed Swarovski crystals, especially on the flapper-like dress.

Michael Van Der Ham was also really sweet, he totally didn’t want to be on camera but I bugged him because his clothes are really beautiful. His collection featured a mish-mash of fabrics and textures, but they came together expertly. As a thrifty magpie I loved it.

I also spoke to blogger fave Fannie Schiavoni, love her chainmail harnesses, they remind me of a cuff my friend Michael Warren made me at uni.

Christopher Raeburn’s sheer macs are on my lustlist, I heart them HARD. No wonder they’ve been snapped up by Browns. He uses reclaimed military fabrics and is joining the ranks of ecochic (sorry for the lazy vocab, I’m on my lunch break) designers. He also told us a funny story about being semi-forced by his brothers in that sibling way to eat a jar of coffee as a child and can’t even think about coffee now without feeling ill. Err so no Lavazza for him then, moving on!

Tara Scarlet do a fine line of ’40s and ’50s repro all made in the UK, for an ex-nostalgia freak like me it was a pure trip down memory lane. By the way, have you ever tried to suggest WWII as a theme for a Brownie parade? It ain’t pretty. (Mad props to Rachael who has heard that story a 100 times).

Last but not least, LPBG, the line started in collaboartion with Ben Grimes (fellow ex-Lycee Francais student… how random?) and Lily Parker ex-Richard Nicholl staff. It was great to see their mod-ette collection in the flesh, I’ve heard a lot of hype about the label and wasn’t sure whether it would be a Frostfrench-esque affair, but no it’s really proper and their adjutable playsuit which converts into shorts is the tits.

There you have it, another fine piece of lunchtime journalism from me. I shall be covering these designers in more depth as they all deserve it, ta-ra! *chomp*