LFWM: SS18 BELSTAFF REVIEW

Strongly influenced by the 70’s, 80’s and the adventurous riders of the Paris Dakar Rally, Belstaff’s SS18 collection was a mirage of luxurious fabrics, bold prints and functional designs. Inspired by the romantic landscape of North Africa, the colour palette resembled sun bleached pastels, bold coppers and burnt oranges. These tones were complimented by 70’s sage greens and 80’s contrasting yellows and blues. The models stood and sat soaked in Belstaff’s heritage denim. Tailored jeans and denim shirts were presented with patchwork details, while a strong sportswear element shone through with oversized Moto jackets. Leather, made for the summer, came burnished in texture and in the form of bombers and biker jackets, refreshed with embroidered Phoenix logos and perforated details, adding a vintage feel. Graphic prints also adorned skirts and knitwear tops, a mix of mosaic and python designs and motorcycle racing stripes resembled the sportswear sponsorships from heyday advertising. Models held suede rucksacks and looked out through structured eyewear, epitomising accessories for urban living. The collection in its entirety focused on lightweight and technical designs such a laser cutting and waterproof nylons to create outerwear suitable for ranging climates and terrains- cleverly fusing decoration and technicality, all through a sepia coloured filter.

Words: Sarah Barnes 

LFWM: SS18 CHRISTOPHER RAEBURN REVIEW

Obsessed with finding the uses of new fabrics and materials, the sustainable conscious Christopher Raeburn catwalk showcased a collection of functionally minded clothes. The show was inspired by Slavomir Rawicz’s “The Long Walk’ – an epic 4000 mile story of adventure and survival across the Gobi desert and the rocky extremes of the Himalayas. Therefore it was only natural to use of techy fabrics, performance materials, e.g. cotton that cools you down and comfy boots made in collaboration with Palladium.

 

Using a colour palette of neon orange and almost 50-shades of grey, there were also hints of camouflage that fed in nicely to the sportswear-inspired shapes. Tulle was fashioned into sheer sportswear panels and macs, anoraks and parkas were made of cooling cotton protecting the wearer from the sun. With sustainability running through the seams, Christopher Raeburn worked with Exkite making pre-flown kites into authentic, re-made garments, and hanging ribbons read ‘re-made’, ‘reduced’ and ‘recycled’ – an unmistakable environmentally-friendly message. The dessert, the mountains, the urban jungle (a.k.a. any big city) – you could wear this collection anywhere.

 

Words: Lizzie Griffin

LFWM: SS18 MATTHEW MILLER REVIEW

Reflecting on the political state of today, the Matthew Miller show was based on degenerates. “the process of degenerating, the condition or state of being a degenerate.” The location was at St. Sepulchre church in Farringdon – a stark contrast to the grungy models that stormed down the runway. The diverse cast had smudged black lipstick painted slightly askew on their lips and were clad in asymmetric silhouettes and a dark colour palette.

 

Collaborating with Hancock, a British company specialising in vulcanised rubber garments, the models had hard, structured outer layers including macs and trenches using this fabric. Whilst the exterior was hard, the interior had sportswear influences, like fabrics and flowed with the likes of the Japanese silk scarves. Not one to shy away from political opinion, perhaps the theme of degenerates stemmed from the issue of young voter’s voices not being heard – a timely execution in line with the recent election.

Words: Lizzie Griffin

LFWM: SS18 QASIMI REVIEW

The shadows of the cast walking behind the translucent sheet on set offered an ominous presence, which set the tone for the Qasimi SS18 presentation. With looks of intent explorers, models stormed onto the stage in a dusty colour palette wearing loose silhouettes, making us feel as if we were in a desert of nylon. “Yearning for simpler times in response to today’s bombardment of information and technology” Qasimi’s ‘FREEFALL’ collection was inspired by the Boudin tribes of the Middle East. The desert dwellers were clad in sun-baked hues of dusty pinks, yellows, oranges and khaki.

Using modern military parachute fabrics, the collection was a comfortable uniform that fused together traditional craftsmanship with modern tech. There were ruched detailing, drawstrings, two-way zips and pockets with an abundance of space. Cargo pants, lightweight bomber jackets and drawstring sacks were the accessory, which make us think that this is just as practical for the average London commuter as well as the nomadic tribes recalled in this presentation.

Words: Lizzie Griffin

LFWM: SS18 PHOEBE ENGLISH MAN REVIEW

Laboured construction was the vibe at the Phoebe English Man presentation, where the collection seemed to naturally re-invent the meaning of casual menswear. Functionality overtook decoration as the concept was based upon the development of textiles and finishes and being mindful with fabrics. Using natural fibres, the collection featured canvas linens, lightweight cottons and comfy denim. The clothing evoked a utilitarian feel, shirt dresses, loose joggers and button shirts were displayed in sky blues and grassy greens and worn in boxy layers. Outerwear that looked durable to the eye came in the form of loose fitting trench coats and collarless long bomber jackets. The clothes almost looked clinical, yet were toughened up with oversized seams, externally visible on the minimal striped jumpers and sandy cropped shorts. The models were accessorised with slouching backpacks, workman boots and thick sock and stood moulding pottery from lumps of clay to truly show the refreshing practically and ease of the collection- even if it looked like a solo scene from Ghost.

Words: Sarah Barnes

LFWM: LIAM HODGES SS18 REVIEW

British born Liam Hodges showcased a collection of signature wide tailoring, patchwork layering and sculpted faces. This seasons show depicted a expressive masculinity, keeping the label a must for the mad and bad. With the concept and inspiration being taken from the constant noise we are exposed to in society, the collection mirrored back with models storming the catwalk with a stylist aggression- not a glimmer of weakness to be seen. Sportswear, street wear and punk references moulded a collection of tracksuits in shades of blue, pink and khaki. Oversized jumpers disregarded ‘normal’ proportions and yellow camouflage jackets hung of models with a sense of purpose. Quilted jackets and caramel trench coats were harshly decorated with black markings, reminiscent of military uniforms. The show was accessorised with accents of orange and slogan black bags that hung cross body, only to be toped off with leather aviator hats. Screaming mouths were painted over the models own to symbolise the one big emotion Hodges needed to express. While a mascot of a bear with a grimacing face made its way down the runway, a parting reminder that bears are not always cute and cuddly and that this collection was for the generation who will not be silenced.

Words: Sarah Barnes

Cannes Designer Watch 2017: Stars Stun In Saint Laurent Winter Collection

Amanda Steele – FAULT Magazine’s Future Face Of Fashion

Despite being only seventeen Amanda Steele has already created quite the storm within the fashion industry. Despite her young age, Steele epitomises everything it means to be a model in the current industry. With a strong fan base within and outside of the industry it’s clear that Amanda has all the tools and business know how to become not only a great model but a brand within herself. FAULT Issue 25 features Amanda as our Future Face Of Fashion FAULT with a special FAULT Focus Cover Shoot. Please enjoy the preview below featuring  Alexander Wang, Balmain, Christian Louboutin and much more.

See the full shoot in print & digital editions of FAULT Magazine issue 25!

Byline: Miles Holder

Photography by Nelson Blanton | Styling by Sammy K Makeup by Anthony Merante | Hairstyling by Kristin Heitkotter Thanks to Apex Photo Studios for use of their location