LCF supports British Association for Adoption and Fostering with fashion talent

LCF Social Responsibility are currently working with the British Association for Adoption and Fostering (BAAF) on their annual Bag Ladies fundraising event, taking place on Wednesday 1st July 2015 and hosted by the Royal Bank of Scotland at their stunning Bishopsgate venue.

Illustration: Hayley McDonald, BA (Hons) Fashion Illustration. Bags created by Max Cunningham, Isabella Kerovirta, Sienne McNiven - all BA (Hons) Cordwainers Fashion Bags and Accessories.

Illustration: Hayley McDonald, BA (Hons) Fashion Illustration. Bags created by Max Cunningham, Isabella Kerovirta, Sienne McNiven – all BA (Hons) Cordwainers Fashion Bags and Accessories.

Bag Ladies 2015 will be BAAF’s ninth designer handbag auction, an annual event to raise money for the thousands of children who are in care, or looking to be fostered or adopted. Over the years, the charity has raised in excess of £145,000 through this event. Last year brands such as Alexander McQueen, Dior, Stella McCartney and Victoria Beckham donated bags, raising over £25,000.

LCF students from BA (Hons) Cordwainers Fashion Bags and Accessories have designed and produced bags that will be entered into the designer handbag auction alongside contributions from Jimmy Choo, Bally, Whistles and Ally Capellino, with all proceeds being donated to the charity. Read the rest of this entry »

Class of 2015: Designer Pattern Cutting

For our next Class of 2015 we spoke to Fi Grew and Jasmine Miao who are both about to graduate from FdA Fashion Design Technology: Designer Pattern Cutter (now BA Hons Fashion Pattern Cutting).

Whilst working on their final term collaborative projects that engage with brands to reflect industry briefs, they managed to find the time to tell us about the aesthetic they’ve each developed through the course.

Jasmine revealed that she used to want to be a palaeontologist and has done industry placements at Nicce, Judy Wu, and Sophia Webster. So how has the experience of pattern cutting compared to dreams of dinosaurs?

Jasmine Miao: I have really enjoyed the sample room lessons that were part of my course. My skills have become vastly improved since I first started. They also made me more creative – I can now see more possibilities in design as my skills and experiences have increased.

Nowadays I aspire be working full time as a pattern cutter for a design house and my industry placements taught me valuable things about how a business is run.

Fi, meanwhile, hopes to one day be running her own womenswear label and has been experimenting with denim to create garments that reflect on issues of freedom of speech and the conflict in Syria.

Fi Grew, FdA Designer Pattern Cutter

Fi Grew, FdA Designer Pattern Cutter

Fi Grew: Yes, last term I looked at the conflict in Syria and ways of communicating, especially through graffiti. I researched the battle for freedom of speech and how people feel represented. This resulted in combining defaced denim with light weight semi-transparent fabrics, creating depth and layers in the looks.

Read the rest of this entry »

Class of 2015: BA (Hons) Fashion Contour talk rodeo girls and mastectomy lingerie

As part of our Class of 2015 blog posts we spoke to Sian O’Neill and Ellen Goldie who are just about to graduate from BA (Hons) Fashion Contour.

These lingerie designers have conjured up two very different collections, one inspired by the working girls of Americana, and the other providing beautiful lingerie for women who have undergone mastectomies.

Their work will be part of the BA15 exhibition and Sian will also be showing a piece in the BA15 Runway Show.

Despite taking very different starting points, it’s clear that there is a vision that these two designers share: lingerie is about women and identity. We found out more…

LCF News: What inspires you?

Sian O’Neill: Bold women - Stevie Nicks, Lady Gaga, Donatella Versace, Amy Winehouse, Carine Roitfeld, Hilary Clinton, Anna Dello Russo, the list goes on… My ultimate muse is Cher. I can’t explain it, I just love her.

Ellen Goldie: London is such an inspirational place to live but most of all I would say errors or gaps. Where something is lacking there is room for growth and innovation and that excites me. In terms of a muse, it would be women in general.

LCF News: Sian, we hear your final collection plays on a fantasy of working girls in America – sounds like they could be the kind of bold women you’re inspired by?

Sian O'Neill, BA (Hons) Fashion Contour

Sian O’Neill, BA (Hons) Fashion Contour

SON: Yes, it’s a look back at the working girls of America. The diner mama, the rodeo queen, the Vegas showgirl, the roller waitress. I certainly pictured these women as strong characters and wanted my garments to reflect that.

After they’ve finished their day of hard work, prodding cattle or making countless jugs of coffee for customers, the rodeo queen, showgirl and roller waitress all meet up at the Pink Flamingo Bar & Diner on the highway where they smoke cigarettes, drink whiskey and talk about the men they love.

LCF News: And Ellen, meanwhile your collection addresses a very real and important topic. What’s it about and how did you get interested in creating it?

EG: For my final project I decided to create a lingerie brand specifically for women post mastectomy. The brand is called ‘Hummingbird’. The name was mainly inspired by the great Mayan legend of the hummingbird; ‘to keep balance between spirit and nature’. The idea of the brand is to bring femininity and confidence to the women whom may feel theirs has been taken away through surgery.

Ellen Goldie, BA (Hons) Fashion Contour

Ellen Goldie, BA (Hons) Fashion Contour

In the current post surgery market there are only a handful of brands that offer mastectomy bras and they definitely don’t offer “lingerie”. After in-depth research and talking to women first hand I found that they wanted was to feel feminine and pretty again, and just because they have had the mastectomy doesn’t mean they don’t want to feel sexy and wear luxurious lingerie. My collection mainly consists of soft pastel colours; ivory and blush tones, using soft lace, mesh panels and silk.

For such practical bras, you have to really consider where women’s scars and tender areas are. This has a major impact on style lines, seams and shapes. Also the placement, size, construction and shape of the pockets for the prosthesis inside the bras have to be carefully considered

Read the rest of this entry »

Class of 2015: BA (Hons) Fashion Marketing and Promotion talk vloggers and the future of print

Charlotte Lee and Ellen Lench are both about to graduate from BA (Hons) Fashion Marketing and Promotion. Having converted their FdAs into top up years, we caught up with them both now that they will graduate with BA Honours.

Chatting to these two as part of our Class of 2015 blog posts, we learnt about the cutting edge of media and brand research. Their determination to pursue their dream careers and challenge the norm when it comes to fashion marketing is inspiring…

LCF News: Charlotte, we hear that you investigated beauty vloggers as part of your final project. They seem to be a hot topic at the moment – what was it that interested you about them?

Charlotte Lee: I occasionally watch beauty tutorials on YouTube and find them quite therapeutic to listen to. When I found myself buying some make up brushes on recommendation from a vlogger I thought, “Why do I trust them enough to spend some of my student loan?”!

In the end, my dissertation is titled “I would trust them more: The relevance of vloggers in the current beauty market”. It explores the current media interest in beauty vloggers on YouTube, the benefits they offer brands and why they are so popular. I explored how relationships and trust are formed online, what virality means and how this all relates back to branding.

Charlotte Lee,

Charlotte Lee, BA (Hons) Fashion Marketing and Promotion

As there is not much research into beauty vloggers, one interesting way I developed my research was using a classification system of YouTube comments, which I applied to 450 individual posts. They told me more about this idea of trust.

LCF News: And Ellen, you looked at a different but not unrelated part of the media – print and its relationship to digital publication. What was the idea behind your dissertation?

Ellen Lench: I’m really interested in print and this project has reaffirmed my love for it. I wanted to look at the future of the print magazine industry and to investigate how digital consumption ­‐ such as blogs, social media, and live-­streaming -­ is challenging the print industry, and how publications are adapting to suit.

I focused on the Millennial generation; they’re the primary consumers driving these forms of consumption, but also the demographic these magazines need to target to ensure their longevity in the market. I investigated how magazines can be consistent across multiple platforms, interacting with customers through print, digital and social media to keep them loyal and excited by their offerings.

Ellen Lench, BA (Hons) Fashion Marketing and Promotion - dissertation study time!

Ellen Lench, BA (Hons) Fashion Marketing and Promotion – dissertation study time!

LCF News: Whilst at LCF, have you met anyone that has inspired you? Read the rest of this entry »

BA Fashion Accessories alum reaches ITS final

BA (Hons) Cordwainers Fashion Bags and Accessories: Product Design and Innovation graduate Leo Carlton has reached the final of the prestigious International Talent Support (ITS) Accessories Award. Leo, who is currently working with iconic designer Stephen Jones, entered his amazing BA final collection of conceptual printed, kinetic headwear.

The International Talent Support was launched in 2002 and acts as a platform for young creatives to showcase their work. It also provides a growing international network of support for talented designers starting out in the industry. The awards will be judged this July in Trieste, Italy.

BA Accessories course leader  Lindsey Riley says:

Congratulations Leo, reaching the final of such a prestigious award as ITS is a fantastic achievement. We wish you the best of luck for July.

We second that. Well done Leo!

Read more:

Class of 2015: BA (Hons) Costume for Performance

In the first of our Class of 2015 blog posts we meet with BA (Hons) Costume for Performance students Jasmin Ada Knox and Bryony Hamer to hear about their intriguing final pieces and their time at LCF.

They told us about the exciting work experience they have been involved with as part of their course and what costume design means to them. What became clear is that these are two students who love what they do – it was enough to draw anyone into the wonderful world of costume!

LCF News: What do you love about designing and creating costumes?

Jasmin Ada Knox: It’s really about watching the character come to life in front of your eyes.

Bryony Hamer: Yes, I love that costume design is all about storytelling whether it be creating a story of your own that is illustrated through costume, movement, music… or as simple as making greasy finger marks on some trousers that build a character’s identity. I love thinking about every detail of a costume that can reveal clues to what their character is like. I also love that it’s about collaborating with different people: each artist brings different skills into a project, making it so much more interesting than just an item of clothing on a body.

Bryony Hamer

Bryony Hamer: The Fear Project: The Amygdala. Performed and Choreographed by Abigail Smallwood. Photography by Jon Riera Egana

LCF News: So tell us each about your final projects…

JAK: My project is based on Shakespeare’s The Taming of The Shrew, exploring the illusion of identity and the different versions of themselves that the characters play throughout the text.

The costumes I realised are Katharine and Petruchio’s costumes for their wedding. She is the unloved elder sister who is intelligent, free thinking and independent and doesn’t want to get married and he is a self-confessed money-grabbing woman tamer dressing to humiliate his wife to be. He was incredibly fun to design, and she was incredibly challenging.

As this is my final project I wanted to showcase as many skills as possible, including hand embroidery, tailoring, use of bias, working with difficult fabrics and breaking down.

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Jasmin Ada Knox: The Taming of The Shrew, Final Major Project, Photography by Elisa Lorenzi

BH: My final project has been inspired by the brain’s response to fear. I have taken some of the main stages that the brain goes through and turned them into characters mixing dance, music, photography and costume design.

Represented is the Amygdala – which processes the emotional reaction; the Sympathetic Nervous System – which stimulates the fight or flight response; and the Mind – my interpretation of what the mind might look like when confronted with fear.

LCF News: What inspires you as a Costume designer? Read the rest of this entry »

LCF students selected as winners of LDNY collaborative competition

Last month, at the WIE Awards, two LCF students were selected as winners of the LDNY project during a special fashion show. The show was the outcome of a year long collaborative competition between LCF’s womenswear and menswear students, Parson’s New York, and female artisans from across the world.

Photography: Hannah Puskarz, Designs: Nayana Kodesia, BA Fashion Design and Development

Photography: Hannah Puskarz, Designs: Nayana Kodesia, BA Fashion Design and Development

We caught up with winners Nayana Kodesia and Effie Osuji, both BA Fashion Design and Development, to find out more about their winning designs. Their collections will go on sale in Liberty in July.

LCF News: Can you tell us a bit about the LDNY project you have been involved in?

Nayana: The project was a competition held by the LDNY foundation, the foundation along with the United Nation encourages upcoming designers and women artisans from around the world. The project allowed us to work closely with the artisans and incorporate their intricate techniques into modern clothing.

LCF News: How did you find out about the chance to work on this project?

Effie: LDNY approached LCF as they wanted to form a partnership with a central London based design school with high prestige. They chose to work with the Fashion Design and Development course for the well-rounded nature of both freedom and commercial awareness our course comes with.

Nayana Kodesia design sketches

Nayana’s design sketches

LCF News: Tell us a bit more about your designs and the inspirations behind them…

Nayana: The collection is an amalgamation of the structured and fluid silhouettes with a focus on intricate traditional Indian embroidery and beadwork techniques, brought together to create a modern and unique style.

It has been inspired by the vibrant cities of New York and London in the 1920’s. The focus being the flamboyant New York flapper lifestyle depicted by Fitzgerald in his book ‘The Great Gatsby’ juxtaposed with the tailored London look of the famous 20s character Sherlock Homes.

Effie: I’m obsessed with subcultures and thought it would be great to combine a youth culture both cities were known for; the birth of Hip-Hop in New York and the London way of punk. I was excited by the idea that Hip-Hop and Punk youth cultures began around the same time in the 1970s. Though they aesthetically look very different, the attitude is the same. This is what excited me taking two similar opposites and creating a clash.

Photography: Hannah Puskarz, Designs: Effie Osuji, BA Fashion Design and Development

Photography: Hannah Puskarz, Designs: Effie Osuji, BA Fashion Design and Development

Read the rest of this entry »

Top tips on protecting your brand in the fashion industry

On Thursday night JWSS hosted a talk at LCF discussing intellectual property (IP) and the ways that emerging fashion brands can hope to protect themselves from copyright infringement. With huge brands including the likes of Guess, Gucci, Vivienne Westwood and Topshop having been embroiled in court cases for various intellectual property infringement claims, this is clearly something that creative professionals, especially in the fashion industry, should be taking seriously.

Image credit: 'Knuckle' Jewellery design by Sedef Isim, BA Fashion Jewellery

Image credit: ‘Knuckle’ Jewellery design by Sedef Isim, BA Fashion Jewellery

Here are our top takeaways for protecting your brand…

1. Why do you need to protect your work?

As Francesca Shepherd, solicitor at JWSS says, “It’s all about brand value.” The more your brand can be potentially ripped off, the less valuable your brand is. And looking to the future, it may be impossible to sell your brand on if your IP isn’t watertight.

2. Know what to protect

Your designs, branding, logos, photography, taglines and branded content all need protecting to ensure that it can’t be ripped off by someone else.

3. Know how to protect yourself

There are many ways to protect your brand, including Copyright, evidence documents, watermarks, Unregistered Community Design Rights, Confidentiality agreements, Unregistered trademarks, Registered Rights and more. Learn which is best for you and your brand and put them in to practice.

4. Know who the owner is

A perfect anecdote told by Philif Luff, Solicitor at JWSS, is the one about the Monkey Selfie. A monkey famously stole a photographer’s camera and took a selfie (true story), but who owns that photo, the monkey or the man? Surprisingly, under English law, the monkey now owns that image.

It is crucial to make sure that you have contracts in place to make sure you own the designs, logos, web content and photos etc. of your brand. Traditionally an employee’s work is the rights of the employer, however a self-employed creator owns the rights to their own work. A big must here is to do your research as there can be a number of variables which may affect who the owner is.

5. Why is the ownership important?

  • Future plans – Any potential investors are going to want to make sure that your IP can be enforced, and investors are extremely important if you are looking to grow your business.
  • Protecting your rights – You have to own your own rights to protect your brand. Make sure you have complete control of every aspect of your business.

6. Contracts, contracts, contracts

A sure fire way to stay protected? Put everything in writing!

Any students keen to understand more about intellectual property (IP) please register with Own It, a free service offered by UAL’s Student Enterprise and Employability (SEE) team. By registering students and recent graduates have the opportunity to meeting with lawyers and receive one on one IP advice.

 

Light My Fire: Prof. Helen Storey in conversation with Caryn Franklin

On Tuesday the normally formal surroundings of London College of Fashion’s main lecture theatre, the Rootstein Hopkins Space,  was transformed into a multi-sensory space which set the stage for an a rare opportunity to hear Professor Helen Storey MBE RDI in conversation with Fashion Commentator and Agent of Change, Caryn Franklin MBE.

Image credit: John Haynes 1959

Image credit: Helen at her window, John Haynes 1959

As guests arrived they were offered a virgin cocktail with ingredients such as mint to awaken the senses. The space was filled with the sound of birdsong and scent by Givaudan as guests were encouraged to kick off their shoes and walk along the real path of grass leading to Helen’s beautiful dress of Glass and Flame.   A sun hung beautifully behind the two large chairs which enveloped Helen and Caryn and as the talk started the Dress of Glass and flame was lit – the talk lasted as long as the fire burned.

Image credit: Ash Taylor

Image credit: Ash Taylor

After introducing Helen, Caryn began with asking Helen about her childhood and growing up in a creative household, with a writer father whose work ethic was instilled in him by his father who worked as a coal miner.  He wrote for 8 hours a day. Helen talked of discovering her own creativity later on in her life.

Helen said:”Without a doubt, my years at Kingston and, in particular, the push, belief and nurture I received from Richard Nott, defined the designer I am today. Perhaps even more than this – at a time when I had no idea if I was good at anything, he saw something in me that I had long felt was a rampant over-sensitivity towards the world. He transformed that into something that still feeds me today. Gratitude doesn’t come close.”

On graduation Helen followed in the footsteps of previous Kingston graduates to join Valentino.  Working with Valentino was an extraordinary experience – learning and helping them produce 69 collections a year from high couture to ready to wear. Although she grew as a designer she also felt stifled and increasingly uncomfortable with the way women were being depicted – hips and busts were banished and models were objectified.  She was drawn back to London where she felt fashion was changing and she started her own label which ran for 10 years – dressing some of the world’s most iconic stars including Prince and Madonna.

"Rubbish bag ball skirt" 1990 - shot by Platon

“Rubbish bag ball skirt” 1990 – shot by Platon

Helen’s interest in the avant-guard and our relationship with material things and our world quickly came out through her collections. Caryn described how challenging it was for the audience when Helen presented her London Fashion Week collection of ballgowns made of bin bags.  Long before the word upcycling had even been invented, Helen was exploring the use of waste materials and making them into objects of beauty.

After the pain associated with closing her label Helen talked about her first foray into the world of science with her sister.  Together they designed Primitive Streak – which elucidated the first 1000 hours of human life. It became clear to Helen that fashion could be used as a Trojan horse to smuggle in complex scientific ideas, that by using fashion and art she could secure funding for projects which brought together people from diametrically opposed worlds to solve some of the world’s most challenging problems.

"Helen & Luke - catwalk" 1993 shot c/o Helen Storey foundation.

“Helen & Luke – catwalk” 1993 shot c/o Helen Storey foundation.

She produced a collection of Disappearing Dresses in her project Wonderland which took 3 years to develop and just seconds to dissolve – creating a powerful metaphor for the fragility of our world and our rapidly depleting resources. By using beauty, awe, wonder and humour her work was reaching millions of people worldwide and fusing the worlds of fashion and science in a way not attempted before.  Helen talked about the “Democracy of knowledge” – the importance of talking about the ‘difficult stuff’ – like Climate Change (Dress for our Time) and using the power of fashion to communicate complicated issues. She also talked about her ongoing partnership with Professor Tony Ryan and their project Catalytic Clothing. She explained the inspiration was to make the point that as humans we don’t need to keep starting from scratch.  Catalytic Clothing uses existing technology in a new way –together they developed a concept which delivers air pollution busting technology to the surface of our clothing using the laundry process – imbuing our clothes with the ability to remove pollution from our choked towns and cities.  The point of the project was to say look what can be achieved NOW with wisdom that is already in existence.  We just have to make it happen.

" red fake fur neurulation dress" from primitive streak collection 1997. Shot by Justine.

” red fake fur neurulation dress” from primitive streak collection 1997. Shot by Justine.

Caryn who is currently studying at LCF on MSc Applied Psychology in Fashion brought in some psychology related questions asking Helen about happiness and creativity.  Helen mentioned that it was sometimes easy to mistake creativity for depression.  She described being in the ‘flow’ of creativity and being in a place where it feels like the ‘piece designs itself’.  She also described the more fleeting happiness that she experienced when she sent out a collection down the catwalk that connected with people and when people really ‘got it’.

With the flame burning low Caryn brought the conversation to the present day and asked Helen about her current work ‘Dress for Our Time’.  Helen explained that 2 years ago she sat down with people from Unilever, psychologists from Exeter University and experts from the Met Office to talk about climate change and discuss why as a species we find it so hard to face what is the most urgent of all world issues and the biggest threat to our existence.  ‘Why we can’t plan for the future and why are the lives of those not yet born not seen as important’ – the meeting was a turning point – it suddenly became very clear to Helen that climate change was the only thing that she should be working on.

The audience left feeling energised and invigorated.  It was certainly not your average lecture. But what should we have expected from a maverick intent on ripping up the rule book and helping us see how we can claim back our future.

Curator Claire Wilcox talks all things McQueen with LCF students

LCF’s Claire Wilcox, part of the Centre for Fashion Curation, curated the stand-out V&A exhibition Savage Beauty. She recently gave LCF students an exclusive insight into her experience and vision of curating the show and her thoughts on McQueen and his archive.

IMAGE: Title: Installation view of 'Romantic Exoticism' gallery  Artist:  Alexander McQueen Savage Beauty at the V&A  Date: 2015  Credit line: Victoria and Albert Museum, London

IMAGE: Title: Installation view of ‘Romantic Exoticism’ gallery
Artist: Alexander McQueen Savage Beauty at the V&A
Date: 2015
Credit: Victoria and Albert Museum, London

To start the talk, Claire discussed why she felt the Savage Beauty exhibition should come to London, expressing that:

“His radical and fearless vision changed the way we looked at fashion.”

Seeing Savage Beauty in New York convinced her that the exhibition should come to the United Kingdom. The V&A was the ideal place - starting with Fashion in Motion in 1999 McQueen had a long standing relationship with the gallery.

IMAGE: Title: Installation view of 'Romantic Primitivism' gallery   Artist:  Alexander McQueen Savage Beauty at the V&A  Date: 2015  Credit line: Victoria and Albert Museum, London

IMAGE: Title: Installation view of ‘Romantic Primitivism’ gallery
Artist: Alexander McQueen Savage Beauty at the V&A
Date: 2015
Credit: Victoria and Albert Museum, London

Claire went on to talk about McQueen’s connection with the V&A, explaining that he had been very inspired by the collections on display, something she saw when they worked on Radical Fashion together in 2001. She added that McQueen once told her, in reference to the V&A:

“I’d like to be shut in here overnight.”

Wilcox had the amazing opportunity to look at his library whilst creating the exhibition and this informed her understanding of him as, “very sensitive, very informed, well read.” Claire explained that McQueen pushed extreme boundaries and had the power and skill to translate research into fashion moments, referencing his highly controversial Highland Rape collection.

This is the first time Wilcox has curated such a large show. Claire said:

“The intention was for it to be immersive, to capture the excitement of a McQueen show.”

IMAGE: Title: Installation view of 'Romantic Gothic' gallery  Artist:  Alexander McQueen Savage Beauty at the V&A  Date: 2015  Credit line: Victoria and Albert Museum, London

IMAGE: Title: Installation view of ‘Romantic Gothic’ gallery
Artist: Alexander McQueen Savage Beauty at the V&A
Date: 2015
Credit: Victoria and Albert Museum, London

The exhibition itself is laid out in different rooms with different themes, Savage Mind focuses on tailoring, Romantic Gothic celebrates the more dramatic and theatrical of McQueen’s work, and Romantic Primitivism sees a small room filled with bones and memento mori come to life with a film screened on the ceiling.

Whilst showing images of the beautiful exhibition, Claire discussed the many influences behind McQueen’s work. National Geographic magazine was clearly one of them, as Claire explained:

“He took nature and made it McQueen… horror, beauty, craft & skill.”

And of course not forgetting McQueen’s Scottish heritage, clearly referenced through the abundance of tartan in his collections. In her Q&A at the end of the talk, Claire made the point that:

“It’s important not to focus on the current fashion house when talking about this exhibition, as it is about Lee Alexander McQueen’s work.” adding that she, “desperately wanted to get it right, for Lee’s sake.”

Well we definitely think she got it right!

LCF students bring a splash of McQueen to V&A Lates

As part of Friday Late, an ever-changing, curated programme of events run on a monthly basis by the V&A, BA (Hons) Hair, Make-Up and Prosthetics and BA (Hons) Hair and Make-Up for Fashion students from LCF were involved in a series of workshops presented by the Fashion Space Gallery, to launch their exhibition Warpaint: Alexander McQueen and Make-Up.

Image: Courtesy of the V&A

Image: Courtesy of the V&A

The students devised a set of workshops which aimed to give attendees the chance to learn basic techniques with prosthetics and make-up, and get an iconic McQueen makeup makeover. The workshops followed four distinct themes of birds, bones, underwater and plant-life, taking inspiration from particular McQueen looks that were based on natural phenomena.

Image: Courtesy of the V&A

Image: Courtesy of the V&A

Simone Kidd, a student from the BA (Hons) Hair and Make-Up for Fashion course said:

“I was focused on skin, prepping the skin and applying colour correction, foundation, blush and contour. My personal highlight was my first client who was the daughter of make-up legend Allan Whitey Synder, make-up artist to Marilyn Monroe. Even more so when she was elated by my work. Although all my clients were beautiful and inspiring.”

Image: Courtesy of the V&A

Image: Courtesy of the V&A

Billie Pingault, BA Hair, Make-up and Prosthetics for Performance added:

“Being asked to be part of a V&A event was really exciting, particularly as we were given so much creative freedom with how we designed the workshop, and as there is such a buzz around the Savage Beauty show. Our ‘Skin Deep’ workshop was hectic, fun and seemed to really engage everyone. All participants really threw themselves into the workshop, really embracing the McQueen energy and producing some very beautiful and original pieces.”

LCF students celebrate the beautiful Art of Dress

London College of Fashion continues to celebrate the Art of Dress in a project that reflects centuries of ‘dress’ evolution in all its various guises.

The project has been shown in London, New York, Dubai and Shanghai with students from across a range of courses working on it in order to bring together all the elements that make a dress so unique, and so magnificent.

Designed by: Andrew Biscarra & Giverney Volrath

Designed by: Andrew Biscarra & Giverney Volrath

The Art of Dress world tour suitably makes its final appearance in the artistic city of Florence, as part of the IFFTI 2015 Conference.

The students’ dresses, displayed within 10 installations, devised by Creative Director Rob Phillips, are displayed in the magnificent setting of the Santa Croce. The installations are interactive and IFFTI attendees along with hosting institution, Polimoda’s students and a public audience are invited to do whatever they want to the dresses as long as they record their process on social media. The exhibition is open until Saturday 16th May 2015.

Rob Phillips,  Creative Director of the School of Design and Technology says:

‘This is more a social experiment than it is a fashion display’. If the dresses hang in situ with no interaction, can the work be deemed as fashion or is it art?

The interactive process is representative of peoples’ feelings about clothing, their identity and their relationship with fashion. Many questions arise from this installation. There is always much discourse around fashion as art or fashion as clothing. The wearer and their identity make clothing a more vibrant reality and this is where it all becomes fashion. I’m very excited to see the public reaction and the results. I can’t think of a better place than the home of art, Florence to celebrate the dress and its art’