>> I'm not sure where home exactly is for Jordan Askill, the incredible jeweller, sculptor and all round visionary but it's somewhere where horses run wild, petals fly into beautiful formations and tigers arch into impossible structures.  This collection intriguingly entitled "There's No Place Like Home" marks a proper circle-complete collection where Askill's sculptural work ties into his wearable jewellery as well as providing an actual storage unit for the jewellery.  Though let's ask ourselves, really, who IS this magical person that can afford a hollowed out horse-wave resin sculpture that can also store her rings and necklaces inside it on the purpose built shelves.  I'd like to imagine that one day I'll be touring some stately home (that's clearly ALL I'll be doing in old age…) and a guide will point out "And this is a Jordan Askill sculpture that also acts as a jewellery showcase object…" 


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The second sculptural piece is a head and neck armour piece, in a similar vein to the fleet of spiky birds that surrounded Jack Barnett's head in These New Puritans' video for We Want War, except this time the tone is softened up with a deceptive smattering of petals that also have wildcats intertwined with them…



The last of this magnificent trio is a wave of leaping tigers formed into a piece that is shaped to go on a back…


Further to these pieces which make you go 'Oooh' and 'Aaah' though, Askill takes those motifs and applies them to his burgeoning fine jewellery collection with swallows, panters, tigers and horses leaping in motion over rings, cuffs and necklaces in silver or 9ct gold.  Animalia in jewellery, especially with reference to bugs and animal anatomy have been a strong focus in the past few years so it's interesting to see a designer working with the pure beauty of animals, showing elegance and strength as opposed to internal dissection.  Yup, it's ok to go "Wow that's a beautiful horse" and not wonder whether its ribcage might make a great pendant…

Bird Cuff





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(All photography by Alastair Strong)

>> I was feeling like I had fallen to a whole new level of poo when by day four of LFW, I had a fifteen minute nose bleed outside the BFC tents and looking like I had massacred someone for their shoes because of the blood on my hands.  Then on day five a friend came to perk me up.  I don't want to categorise it and give her names that don't apply.  She's probably best known as bunny.  But seeing as she's a creation spawned from the mini studio that Christopher Raeburn set up in his NEWGen huts (SO much good stuff to come out of here…) installation, I think it's really up to Raeburn to give her a species name.  I've only bestown it a sex.  Because to me, she is Moo Face – cross-eyed, a bit confused but bedecked with the prettiest ears known to bunnykind.  A little like the Moo Face that I was by the end of LFW!

(Moo Face and Me – photographed by Phil Oh – I'm wearing sleevless cut-off trench, Clare Tough trench and See by Chloe bag via Beso)

It's funny how far Christopher Raeburn has come since my interest in him was piqued by my anger that he got kicked off FAR too early off Project Catwalk (remember that…?  I'm sure he and all the other contestants on it would want to forget about that unfortunate episode too…).  A quick peruse on his website and blog and ye shall see how far he has come with installations in Barney's and Browns Focus, key stockists and all on the strength of his belief in the idea of things being 'Remade in England'.  Military isn't a fleeting trend for Raeburn but one where materials and aesthetics can be drawn upon to make intelligent outerwear and accessories made from the off-cuts. 

Actually this is where Moo Face was born out of… off-cuts from Raeburn's A/W 10-11 collection which had his minions sewing furiously to get these bunny creatures out and about…






Raeburn has made a name for himself by using redeployed parachute material that he has applied his vivid take on camoflage seen in these triple dot patterns in the brightest of hues seen on windcheaters, hoodies and shorter parkas that basically has all grounds covered in terms of rainwear that goes beyond the call of function.  In addition Raeburn has used dead-stock British milled cottons to create sleeker and plainer pieces that are constructed with grosgrain taping.  Original 60s militiary wear, patchwork bombers and Swedish snow parkas also have been deconstrcuted and remade into pieces to make a collection that seems to get as much as possible out of the parka domain whilst having fun with something that could be all too heavy-handed (see video above for light relief where Raeburn's remade bunny pops up)…







>> I had no idea a wee project that Tommy and I did in my backyard would spawn into Sanrio themed cupcakes and tarts half way across the world but here you have it in food-porn-photographic proof.  In the Dr. Martens Singapore store, they did a small competition where people would style up the Dr. Martens x Sanrio 50th Anniversary shoes in their own way and I would pick a winner to announce on the blog here.  I wish I could have picked a couple of winners and the fact that there's no runner up prize is a travesty… hell, I was one of THOSE girls that preyed on runners up and consolation prizes all my life… afterall, what's a mediocrity to do without them…?

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There was only to be one winner this time and it went to Samantha Kong here who wore my favourite style of the shoe and tempered them with a lot of dulled colours but also worked in a few textures through the knitted top, the pom-poms and tutu skirt.  A wack of pink had to shine through the colour of her hair as well as her Balenciaga bag and hairbow so all is not dulled at all…


I said it was a witchy 70s trip on Twitter when I came out of the Topshop Unique show and I wasn't far off even after much thinking and picture browsing.  At that point, the 70s tract that is slowly emerging from the season hadn't been totally set in yet and whilst Marc Jacobs took a very definitive point of view with their 70s romp of a show, I feel that Topshop Unique struck out on their own onto a fairy dusted path that may take them away from what people 'expected' from Topshop Unique and instead, went some distance to adding their own dialogue to their 70s trip. 

Paris hasn't come yet but it seems so many different nuances are being teased out of this decade already that it doesn't seem any less strange that little groups of pixie chicks in the forests wafting around in fabrics that have been misted and smoked with autumnal colours in vaguely 70s silhouettes should be one of these them.  I guess I never expected Topshop Unique to go and concoct this dreamworld of theirs.  They could have riffed off of 90s stark minimalism or 70s YSL-colour combos or something that is more solid as a base reference such as last season's woodland creatures and outdoors wear which was was felt unanimously in fashion.  Instead they went down a road which is a braver one – one where they're trusting instincts on their own and banking on girls up and down the country falling for autumnal colours blasted at slinky flares, thigh-high split dresses, caftan/capes and dusted with smatterings of crystals – pieces that may not necessarily have other high fashion labels backing them up on the trend train.  Tamer dresses in the nudes or Pegasus-printed cream or the distressed faded denims would still require an some less-than-straightforward thinking to get them working on a mainstream level. 

I guess this is the Topshop design team giving their consumers more credit and that Topshop Unique, rather than being "a more expensive version of Topshop" stands out on its own as something challenging in its own right, a momentum they've been building up and one at which my eyes have been growing like saucers at the audacity of some of their designs.  For now, I can't seem to get the Sarah Moon Pirelli 1972 calendar images out of my head when thinking of this collection – something about the otherworldly sensuality that can't be pinpointed by decade in the pictures that is definitely prevalent in the collection that will have a hard time falling into a particular category other than the one the design team has carved out…somewhere in a magical forest…

Tsuniquess11 (All backstage photography by Morgan O'Donovan for Dazed Digital, Sarah Moon 1972 Pirelli Calendar images from TFS)