Fashion month has been and gone and I have plenty to say on the collections (skip to end if you want an explanation on the scant blogging) but first up, a time-sensitive call to go and discover, admire and enthuse in a gathering of fashion talent that is collectively standing for SOMETHING other than just more “stuff”.

Sarah Mower needs no introduction as an inimitable fashion writer as well but her work as a tireless champion of young fashion designers, and particularly for British talent is something that perhaps goes unnoticed in the public sphere.  Her nurturing of talent through one-to-one mentoring, studio visits and business and media introductions in addition to her work as a journalist has seen countless designers rise through the ranks to LFW’s headlining fashion fore.

Through Instagram though, Mower has found a new outlet for her passion for talent-spotting. Her hashtag #SarahsList was born out of a positive fightback against the post-Trump, post-Brexit political climate.  At a time when you might think creativity could be stifled or impeded, Mower’s discoveries demonstrate a young fashion designer landscape that has all the motivation to find alternative ways of doing things.  “I got really down about the political situation and so I thought, what could I do.  Perhaps the one thing I can personally do is to shine a light on fashion talent that are being threatened by Brexit and by Trump and to hopefully get them hired and commissioned by bigger companies.”  To captivate her audience, the accompanying captions for her #SarahsList discoveries on Instagram are lengthy, opinionated and tell a compelling story.

So much so that they caught the attention of Liberty, who then offered to make #SarahsList a shoppable reality, bringing the wares of these fashion fledglings to the 1st floor of the department store.  They’re names that I incidentally have a lot of love for too and ones that I’ve either written about myself or look forward to discovering more of.  And so in a challenging retail environment, where stores aren’t necessarily going all out to take risks and where budgets for young designers have seen shrinkages, Liberty continues its founder’s tradition of seeking out the idiosyncratic and the beautiful to present a new generation of arts and craftivists in fashion.

Looking beyond the immediate razz-ma-tazz the pieces for sale and cannily, Mower has chosen a group of designers that represent not just a an exuberant and celebratory aesthetic but something conscious (without the weight of labelling oneself as “sustainable”), something that contributes in their own little ways a ray of positivity in and industry dogged by cynical ambitions.  Richard Quinn made his LFW debut in the central atrium of Liberty with a continuation of his magnified floral prints blown up to smother the body and so appropriately a collation of special pieces are available as part of the #SarahsList pop-up.  In addition to running his label, Quinn has also just opened his RQ open-access print studio in Peckham that has already become a valuable resource for students and young designers looking to get garments printed.  It’s an ambitious venture to run on top of his own label and I’ll hopefully be checking it out soon to see the print studio at work first hand.  Craft is also apparent in the work of the Georgian jewellery designer Sopho Gongliashvili – the one non-London exception to this group who uses traditional Georgian artisans to create beautiful enamelled accessories.

Kitty Garrett at #SarahsList

Sopho Gongliashvili at #SarahsList

Marta Jakubowski at #SarahsList

Designers such as the young American Conner Ives, who is still studying for his BA at Central Saint Martins makes his retail debut with a collection of special edition shirts made up of vintage scarves and donated Liberty fabrics.. Similarly newly graduated Kitty Garratt, also from Central Saint Martins, took second hand shoes (peer into the painted shoes and you’ll find high street relics like Faith!) and painted them with Charleston-esque freehand brushstrokes.. Upcyling is nothing new of course but in the hands of Ives and Garratt, the proposition is less about a pragmatic approach towards tackling waste but more of a celebratory repurposing of the old.

#SarahsList also hosts designers that have consciousness of sourcing.  Look at Richard Malone’s beautiful AW17-8 collection that features naturally dyed fabrics woven by a community-supporting organization of women weavers in Tamil Nadu in southern India, with the proceeds earned enabling their children to go to school.  Malone’s work doesn’t need that explanatory tag to entice the eye though.  Likewise, there’s an honesty in Sam McCoach’s Le Kilt, which I’ve long been a fan of, with her collection of kilts and knitwear made by small family-run enterprises in the UK.  Fellow N15 resident, Marta Jakubowski also gets the Mower seal of approval with her leftfield approach towards deconstructed tailoring and clubwear-inspired formalwear.

Richard Malone at #SarahsList

All this bigging up of young designers though made me think of a conversation strand brought up at a panel I was a part of recently, chaired by Jefferson Hack as part of Dazed and Huawei’s Secret Lectures.  Olya Kuryshchuk, founder and editor-in-chief of Granary 1 talked about the responsibility we had as media professionals, who actively promote young talent.  In an increasingly difficult fashion system that can be unforgiving for young fashion designers, how do we balance promoting and writing about their work, whilst being mindful of the precariousness of operating as a start-up business.  To that, Mower has the final say that few could argue with and also gives indication on how #SarahsList could possibly spur the fashion system in new directions.

“Does everything have to be large-scale, and everywhere to be valid? I think the opposite values – small-scale, hand-made, consciously produced and NOT everywhere are exactly the ones which people are instinctively drawn to now.  The system at large is dysfunctional, as is widely admitted. I agree it is irresponsible to stand by and wave on more and more people to face exactly the same problems – and the education system is a fault too, in not arming their students with the facts.  The people I mentally put on #SarahsList are the ones I see who have the seeds of new ways of doing things. I think they have a hell of a lot to teach the corporate world – not the other way around. That’s why I have this vision that#SarahsList could become a vehicle for discussing and magnifying the strengths which are already there – and for spreading information and exchanges which are both idealistic and concrete.”

Word.  Preach.  Hurrah.

#SarahsList on the 1st floor of Liberty in London for the forthcoming month

Obviously I couldn’t help but get in on the #SarahsList action…

Richard Quinn “toe” velvet socks from #SarahsList worn with old Jil Sander shirt and H&M’s Design Award Richard Quinn dress (the collection launched last week and pleasingly sold out immediately!)

Conner Ives shirt from #SarahsList worn with Ambush jeans and Nike trainers

On a side note, I too have to spur myself on in an announcement about the blog…

I realise blogging frequency has slowed to a trickle here because I’m in the process of a relaunch (she says with a booming voice).  Actually that word sounds too offish.  It’s more of a rejig – one which means I’ll hopefully still be rambling on about fash-un in that long super-forever-scrollin’ way I favour.  I’m loathe hauling Nico out as an excuse but if truth be told, juggling baby, with jobs that pay the bills and writing for the luff luff luff of it here has been nigh on impossible.  There’s light in sight though.  Nico will be starting nursery soon.  That’s precisely thirty hours extra in the week not spent Dettol wiping after Nico.  Here’s hoping they will be spent productively.

>> How to alleviate the tiresome feeling of waddling around town with what feels like a 3 kilo bag of rice strapped to your belly?  By doing the conga with a human sized dinosaur mascot and Bryan Boy, which got the bump jiggling along too.  And as I hit my final days of being quite uncomfortably pregnant, I thought I’d look back to more jovial times when me, bump and Rexy were havin’ it large at the Coach House flagship store opening in London’s Regent Street back in November.

As this belatedly posted set of photographs attest, touring new stores – more often than not a solemn activity, peppered with facts about marble finishings and architecture waffle – can indeed be fun.  That is the key word of course that has underpinned Stuart Vevers’ turnaround of the brand, particularly in the runway Coach 1941 collections.  But even as T-rexes and stegosauruses waggle their leather puzzle piece tails about and kitschy Brit-themed badges that peppered a special capsule collection of accessories and varsity jackets (scoured from eBay by Vevers’ team apparently), there’s heft to back up the frivolity.  At the Craftsmanship Bar, there’s a wall of emojis to choose from to monogram Coach classics, in addition to the normal initial stamping.  Downstairs, there’s now a Made-to-Order service where a bespoke Rogue bag can be created in over one million possible colour combinations.  And throughout the store, Coach’s hometown of New York is evident in black steel fixtures, mahogany wood and a central mechanised conveyor belt that actually moves – a symbol of the chugging along of Coach’s upward trajectory.  Even Bryan and I play acting with a baseball glove and ball bears some significance, as they’re pertinent reminders of the glove-tanned leather that the founder of Coach was inspired to create because of the well-worn patina and buttery feel of a pitcher’s glove.

For Vevers, London is a chance to come home and officiate Regent Street with a proper retail incarnation of what he has achieved at Coach.  It’s a concept that has rolled out in New York and is likely to do so in the future in other cities.  The word “House” as opposed to “Maison” is fitting for a store that sits on what a street that straddles between contemporary, high street and designer.

A giant Rexy near the entrance is there to invite gawkers in for a gander and a feel of what are in essence, comparatively accessible products.  Incidentally, did you know Rexy’s a “she”?  According to Vevers, “she’s” not strictly speaking part of Coach’s 75 year history but has become an apt character and mascot, representing the sort of japes that now goes down in Coach design team.  Nope it’s not that dignified or necessarily “luxurious” to be hugging a lycra-clad female dressed up as a T-Rex.  But it is a laugh – and nestled in amongst all that leather and shearling – it’s providing a formula that’s working for Coach’s newfound customer base.

 

This post is part of an on-going social media partnership with Coach

I joked to a friend that London is burying its head in luxurious looking baubles and fairy lights this year as a privileged rebuff to Brexit, Trump and what has generally been a year that I’m personally fine to see the back of.  Because the last time I was in town, wandering the streets of Oxford, Regent, Carnaby and Bond, London DID look particularly seductive.  It’s that warm glow of beckoning merchandise, whiffs of spice and all things nice and the sort of curated-to-the-hilt tasteful Christmas that have spawned about a bajillion books on the values of Danish hygge.

Except, I’ve not been able to enjoy any of this much.  This holiday period where my birthday bleeds into that Christmas lull, hasn’t been that merry.  Those of you who follow me on Instagram and Twitter might have sniffed out the reasons why.  I’ve not even thought about what wrapping paper I might use this year, which will surprise those who know me as an obsessive consummate papier freak, hellbent on matching up GSM to folding techniques, and ribbon texture to patterns.

Christmas pop-up shops are even further from my mind.  Pop-up.  Pop-off.  Whereas normally I’ll do a quick blitz weekend of pooting from one crafty affair to the next, this year will see the penultimate days to Christmas spent… well, not doing much to be honest.  I did however find some time to go and see Birdsong’s first physical temporary presence in Shoreditch.  Their feminist pop-up concept store is also another way of combatting the “heart breaking shiftiness of 2016” in Slater’s words.

I’m hesitant to add the loaded word “ethical” to what Birdsong do.  Their tagline “No Sweatshops, No Photoshop” is perhaps a more comprehensible way of describing what Sarah Beckett, Ruba Huleihel and Sophie Slater have collectively created.  I can crow “social enterprise”, “fair fashion” and “ethical sourcing” at you from dusk till dawn.  Those phrases can daunt a shopper.  The crux of Birdsong is, that they’re selling lovely things, made in partnership with lovely women’s organisations and charities and you feel lovely as a result.  You can delve deeper and look at the incredible women’s knitting groups or impoverished migrant women’s circles that create these things.  Or you can stop and admire aesthetics alone and just count on  the fact that by shopping at Birdsong, something good is coming out of that credit/debit card swipe.

They have bought their feminist-focused wares to physical fruition at their pop-up on 46 Charlotte Road, alas only on until Monday 19th.  No matter.  You have this penultimate Christmas weekend to head on down and pick up a selection of what I think are pretty ace gifts for a lot of people I know.

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Avocado/egg/pomegranate boob sweatshirts and tees?  They’re not just there for emoji lolz.  They’re a result of designer Clio Peppiatt working with the women’s migrant group Mohila in Tower Hamlets to hand paint these fun motifs, that means they can earn a living wage whilst their children go to school, which subsequently goes into a collective pot for the group.  There are also a few pieces from Clio’s AW16 at the pop-up too.

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cliopClio Peppiatt AW 16

Or how about a hand knitted jumper, lovingly made by elderly female knitting circles Knit and Natter in Enfield and The Bradbury Centre in Kingston.  Each tag tells you who made your cosy piece.

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I expect the printed tees, swimsuits and hand painted denim by public artist Ibiye Camp to fly off the rails.  As part of an ongoing series ‘Such a Fan’, Ibiye uses denim as her canvas for black pop cultural icons like Lil’ Kim, Beyonce and TLC as well as more historical figures such as Rosa Parks and Josephine Baker.  In addition to paying homage to these brilliant women, they also happen to be awesome to look at/wear.

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Perhaps one of the most poignant stories to emerge from Birdsong is that of label Two Neighbors, a collaborative enterprise created by an Israeli and a Palestinian, putting their differences aside and meeting in a border town between Israel and the Palestinian Territories to find a co-existing common ground by employing both Palestinian and Israeli seamstresses to give a modern spin on traditional Palestinian embroidery that has been passed from generation to generation by women in the south Hebron hills.  In grid formation, traditional motifs and symbols of Palestinian culture are cross stitched and Two Neighbors becomes the linking conduit to take that tradition and filter it through contemporary designs such as the tencel jackets that are being sold at Birdsong’s pop-up.

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Tonight, Birdsong’s pop-up will be doing a launch event in collaboration with the first period-proof underwear brand Thinx, who caused a stir last  year when their supposedly provocative ad campaign was initially banned on the NYC subway.  Thinx is the brainchild of Miki Agrawa, who spent three years designing these wonder knickers that are able to absorb up to two tampons worth of blood.  Having done a NCT class on postpartum bleeding and the joys of Tena Lady Pants (!), I’m somewhat intrigued by Thinx so will definitely have to get some for trialling.  TMI?  Well, that’s the nature of being a woman isn’t it and thankfully, Thinx don’t shirk from those biological truths.

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1200 grid for designers and developers

Being a sucker for African prints, I was also drawn to Khama, a group of designers and makers in London who work with a workship in Kasungu in Malawi to create clothes and accessories from that distinctive West African printed chitenge fabric, that has been ethically sourced and often produced in limited print runs.

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More underwear as Birdsong also gives substantial space to Pico, a London-based brand, that are entirely traceable from organic cotton farms to a fairtrade workshop in the South of India.

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Jewellery wise, the selection is again geared towards organisations that help women around the world better their lives.  Birdsong founder Sophia Slater makes an important point in this interview where she points out the pitfalls of feminism that is overtly focused on the issues of middle class white women and so the more global feminist stance becomes a unique USP at Birdsong.  “It can’t just be ‘Feminism Lite’ for middle-class white women,” she says.  “For us, worker’s rights, funding cuts and a lack of diversity are all top priorities.”  Jewellery designer Kirsty Kirkpatrick for instance works with the Fountain of Life Women’s Centre in Pattaya in Thailand to create her Jit-Win-Yan jewellery made out of semi-precious and regional gems, with all funds from sales going back to the organisation.  London-based jewellery label Finchittida, created by Lao-British twin sisters Tida and Lisa Finch focus their efforts on clearing the residual bombs in their mother’s home country Laos, left behind from the Vietnam war.  And Quazi Design‘s workshop in Sidwashini, Swaziland give full time employment to female artisans, in need of a living wage to support on average seven dependents per woman.

 

 

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fichittidaFinchittida jewellery

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More familiar names are also available at Birdsong’s pop-up in the form of Auria swimwear, made out of recycled fishnets as well as Alex Noble’s… well, noble EMG Initiative salvage t-shirts.

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It none of the clothing floats your boat, these brilliant drawings or surly girls in sassy clothes by Clio Isadora surely will, coupled with some lovely heartfelt bouquets by Bread and Roses, new florist venture that works with refugee women in Hackney.

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I’m guilty of making Christmas about ‘stuff’ and ‘frivolity’ as much as the next person but a visit to Birdsong is a pertinent reminder of what this time of year can really mean.

Birdsong concept store open until Monday 19th a December at 46 Charlotte Road, Shoreditch, London

There’s something grossly uncomfortable about this interview that Ed Meadham did with Anders Christian Madsen for i-D.  Over tea, Meadham opens up about the demise of the almost-cult label Meadham Kirchhoff, one of the saddest and in my mind, completely preventable losses of the fashion world.  The interview touches on the label’s insolvency, Meadham winding up in a coma, an unsanctioned sample sale of the brand’s precious archive as a result of a cruel case of profiteering and a personal isolation that left Meadham practically jobless for two years.  It makes for a tortured and bittersweet read because it brought up the waves of anger that I’ve touched upon time and time again about the fit-in-or-die mentality of the most cut throat parts of the fashion industry.  How genuine talent isn’t always necessarily rewarded.  How waves of press hype often malign the designers that deserve it.  How retailers are often restrained in their financial and sales-driven ability to buy as creatively as one might hope.

Certainly in the case of Meadham Kirchhoff, it was never the case that the public didn’t want what they were serving (which is the stark and plain truth behind many labels’ downfall).  The love was strong.  It was a rainbow outpouring of unicorn, heart and sparkle emojis from all over the world, reblogged and liked on Tumblr and championed by maverick-minded figures such as Tavi Gevinson and Ione Gable of Polyester Zine.  The mainstream press of course chimed in and celebrated the label’s high points as well when it suited them, but as Meadham recalls being blanked by certain people in the industry at a recent RCA show, it exposes the cruel fickleness of the industry.  Meadham ponders this volte-face: “It was like, ‘Are you not allowed to speak to failures?'”

There is of course no point in praising talent to the high hills if there’s no work to show for it.  So in an act of cathartic defiance and to trial a new way of channelling Meadham’s ideas, energy and yes, talent, Ronnie Newhouse of fashion agency House + Holme and Adrian Joffe of Dover Street Market invited Meadham to create a new brand for the store.  That warms the heart.  Two people with means, power and influence creating alternative paths for a designer that was always destined for alternative ways of working.

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br2The Blue Roses space at Dover Street Market replete with Meadham’s collages and scribblings

And so on Thursday on the ground floor of Dover Street Market London, a heart-shaped chocolate box opens up to the debut of Blue Roses, named in reference to the famous line in Tennessee Williams’ play The Glass Menagerie.  With the support of DSM, Meadham has created a line of affordable tees, hoods, stockings and pretty pieces of frippery such as a Victorian velvet collar and matching sleeves.  Glitter encrusted sweatshirts are perhaps the only direct flashbacks to Meadham Kirchhoff’s early past but it’s an idea that still stands solid (literally) today.  The texture makes for a nice onomatopoeia and leaves its sparkly fairy dust all over my coffee table when I try it on at home.  It’s not really a regurgitation of greatest hits but rather essences of Meadham’s oeuvre and aesthetic that come with pleasingly and comparatively purse-friendly prices (starting at £58 for a tee and rising up to the £200s for the velvet and glitter stuff).  Former MK-heads were already enthusiastically rifling through the rails when I popped in to delve into the Blue Roses corner on Friday morning.  Some of the pieces are available on the DSM site but the best selection remains in-store.

Where does this leave Meadham then today?  It’s not quite a full on resurrection, nor would you expect a shouty comeback from Meadham.  The i-D interview ends with “I always wanted to put some beauty into the world. I tried very hard.”  The past tense tinged with sadness, in that last sentence seemingly comes with a hardened sigh of despondency over his output and achievements.  No, Ed.  You DID create beauty and it DID spread far and wide in the world.  With Blue Roses, there are signs of a beginning that could indeed flourish with the correct modifications that such a floral genus requires.  I, along with countless others will be sitting here willing it to happen.

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img_3033Blue Roses velvet frilly collar and sleeves worn with vintage dress

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img_3075Blue Roses long-sleeved tee worn with Sacai shirt, navy tulle skirt and Marques Almeida furry trainers

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img_3082Blue Roses pink glitter top worn with Minki Cheng skirt

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