Backstage beauty: A/W 11/12 London catwalks

The beauty team went backstage during London Fashion Week to talk to the hairstylists, make-up artists and manicurists who create the beauty looks for the shows. Here are our favourite looks from behind-the scenes.


Felder Felder

Backstage at Felder Felder MAC Key artist Georgina Graham produced a graphic look, inspired by cool punk girls with attitude such as Siouxsie Sioux, Blondie and Strawberry Switchblade. Eye and lips were played up to the max, while skin is fresh, natural and healthy. No powder is used on the face to give the finished look a “modern, contemporary feel”. Graham mixed black and blue MAC Lip Mix together to create a punchy pout and added Marine Ultra Pigment on the centre of the lips for extra impact. MAC Black Track Fluid Line was used on the eyes to create the tough and thick flick. For hair, session stylist Nick Irwin and the TIGI creative team pulled tresses into simple yet effortless hairdos, to compliment the tough make-up. Hair is split into two ponytails, with one at the top and one sitting low at the bottom, and are wrapped and pinned to the head. Key products used were TIGI Catwalk Root Boost and Session Series Hairspray. Finishing the look, nails were manicured by Jenny Longworth, who used Nailgirls lacquers. Longworth custom-blended three Nailgirls colours (Khaki, Matte Grey and Purple #8) to make the “grey taupe with purple undertone” colour – a follow on from last season’s greys and khaki tones. Nails are kept short with a square shape. Nailgirls Super Finish Top Coat was applied over the top for an “expensive glossy finish”.


Eun Jeong

Hairstylist (and co-founder of Lockonego) Jonathan Long created a “modern Victorian” low wispy textured bun. Inspired by Jeong’s 30-inspired vintage collection, the hairstyle merges “period glamour with a contemporary romantic edge”. Using UNITE hair products, hair was tonged, backcombed and pulled into a low ponytail before it was twisted and pinned into place at the nape of the neck. Key products used include: Boosta Spray, to enhance volume and Second Day, a matte paste to give hair a next-day finish. Lockonego hairstylist Fardi Fawaz added coloured scarves by pinning the material around the hairstyle. We love this creative look.


Louise Gray 

It was a dotty affair at Louise Gray where MAC key artist James O’Riley created a multi-coloured polka-dot face, inspired by Japanese artist Yayoi Kusama. Coloured spots were drawn onto a beautifully polished base on different areas of the face (neck, forehead and sides of the face) resulting in a fun make-up look. Lips are finished with a balm for a natural finish.



John Rocha

At John Rocha, make-up artist Sam Bryant described the make-up look as a “travellers chic on her way to Glastonbury”. It’s all about fresh, clean skin, natural blush, dark burgundy lips and feral eyebrows. Key products used include Becca Highlighter, dabbed on the cheekbones, nose and bow of the lips; MAC Face & Body in a light shade, brushed over the skin and MAC Lip Liner in Vino painted all over the lips. Cream blush is applied onto the cheeks in an upside-down triangle shape.Meanwhile. over at hair, hairstylist Sam Hillerby plaited hair into multiple braids in an assortment of shapes and sizes. Hillerby wanted to create a “grungy yet poetic” style to compliment Rochas’s romantic clothes.


Theresa Yee
Assistant Editor, Beauty

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Live From... London Fashion Week, Day 2

Jonathan Saunders 

Jonathan Saunders is on a roll, following up his successful summer collection with a winter winner. While summer had a sporty resort vibe and an almost flirtatious appeal, winter was altogether more prim, with colours inspired by photographer Paul Outerbridge. 

The look: Modern prim
Silhouette: Streamlined midi columns
Key items: A straight-up-straight-down silhouette was created by sheer column shirt dresses with pleated border hems, straight-cut sheath dresses with either thigh splits or a dropped-flare hem, or sleek shell tops and short-sleeved tees teamed with midi-length pencil skirts. Tailoring had a sombre feel, with high-breaking 2SB long-line belted blazers and skirt suits and coats buttoned to the neck. Shirts were also neatly buttoned to the neck, albeit in sexy printed sheers and paired with pencils featuring daring side splits
Colour: Wintry darks including rich Bordeaux reds, navy and black with colour-blocked injections of emerald green, cornflower blue and crimson with vivid turquoise. Also oily silver-black metallics for party looks
Fabric & knit: Stretch satin, felted wool, micro-patterned jacquards, Lycra jersey, chiffon sheers, mohair wools
Print & pattern: Diminutive geometric repeats, small-scale zigzags, Baroque florals in mixed colourways, bi-colour silhouette florals, a bird in flight set against tropical foliage, an iris border print
Details & trims: Tall collars, neat fold-over pussy bows, sequinned panels – some striped, pleated sheers, colour-blocked diamond inserts, grosgrain belt-like trims
Footwear: Peep-toe sandals with chunky platform and block heels by Christian Louboutin, offered in velvet and metallics

Jaeger London 

British heritage is at the heart of the Jaeger brand but heritage doesn’t have to mean classic as Stuart Stockdale proved with this collection. Traditional woven checks were transposed onto the lightest of sheers; classic coats were either cut up and cropped or completely overblown; and the quintessentially British autumnal palette was injected with offbeat jolts of jewel brights.

The look: Heritage redux
Silhouette: Playfully proportioned Outerwear was the key focus and played with exaggerated proportions - from cropped pea coats to floor-sweeping maxicoats, both with extra-wide revers. There were also chunky knit cardigan coats and sleeveless swing coats, a fit-and-flare trench with ponyskin cape and pockets and throw-on toppers in glossy black fur. Trousers were either flat-fronted and straight-legged or cropped and tapered, while midi-length skirts were split at the sides with high-low hems. Sheer blouses in heritage check prints completed the offer. “It is a melting pot of the British Empire, expanding ideas of British heritage to the wider world, including the colours of the Raj,” said Stuart Stockdale
Colour: Autumnal favourites - orange, marigold, scarlet red, moss and navy offset with jewel tones of fuchsia and kingfisher blue
Fabric & knit: Melton wool, heavy Ottoman, houndstooth, Prince of Wales plaid, Harris tweed, brushed mohair, cashmere knits, wool jersey, wool embroidered organza, ponyskin, shearling, sheer striped knits
Print & pattern: Houndstooth checks on chiffon and silk in a pale cream colourway
Details & trims: Extra-wide clover-leaf lapels, panelled hems, split high-low hems with curved edges, slit sleeves, minimal patch pockets
Footwear: Wide-strapped sandals featuring spats and piping trims, to-the-knee boots
Accessories: Bags featured feathered buckle straps and steamer trunk padlocks, detachable shearling collars and revers, fur-cuff gloves and long gauntlet gloves, flat clutch bags, colour-blocked hosiery 

John Rocha

While his show notes cited inspirations as varied as paintings by Pierre Soulanges and the stark landscapes of Iceland, John Rocha’s continued experimentation with texture and moulded shape was really at the heart of the collection. 

The look: Soft goth
Silhouette: Flared at the waist, oversized proportions
Key items: Signature crini-shaped dresses, moulded skirts and fit-and-flare redingotes worked an hourglass silhouette. Long, proportional layering saw sleeveless straight-cut coats paired with sheer midiskirts or long ruffled-hem tunic blouses teamed with sheer harem pants. Elsewhere a dropped-waist pea coat dress and an awkwardly proportioned tailored coat had mannish overtones 
Colour: Black, scarlet and camel
Fabric & knit: Heavily textured fabrics including signature cobweb knits, fluffy fur-like tufted yarns, knotted loop-wool fringing, bonded and pressed wools, tinselled yarns, grainy tweeds, alpaca and angora. Lighter weights of sheer silk, lace and silk georgette. Furs including lambskin, ponyskin and shearling
Details & trims: Scratch-stitching, hand appliquéd lace, smocked panels, tuck-stitch knits, hand crochet, naively appliqued lettering, patchworking and spliced fabrics, raw and frayed edges, ragged fringing, dropped sleeveheads, dipped hems with cutaway sides, cropped swing sleeves, scrolling and folded bias hems 
Footwear: Buckled biker clog boots in black and white or gold
Accessories: Elongated framed handbag

Issa 

It is no wonder Daniella Helayel is an upbeat celebratory mood this season, riding profitably high on the back of Kate Middleton mania, but the designer is also celebrating her brand’s 10th anniversary. Her collection, aptly titled Celebration, rehashed her archival prints, most notably a bold pheasant feather of which she not-so cryptically said: “I thought I should bring the pheasant feather back because I wanted something that was truly British mixed with my Brazilian colours.” Although she remained tight-lipped about her royal connections, this reference to British heritage was a clear statement she is hoping for more crowning glory. 

The look: Pretty in print
Silhouette: Short and swingy or long and columnar
Key items: Flare-skirted skater dresses were young and flirty in either printed silks and chiffons or weightier structured wools. Swishy skater miniskirts were teamed with printed silk pussybow blouses, while a full-skirted tailored redingote followed the same flared silhouette. The contrasting lines of lean column dresses had a 70s jet-set vibe - some long-sleeved with gathered details, others featuring daring plunge necklines, thigh-high splits or cutaway backs. Separates included fluid silk wide-leg pants, maxiskirts with second-skin polo-neck tops and skin-tight flat-front Capri pants topped with a cropped mink jacket. “It was a print revival - I recycled all my old prints,” said Daniella Helayel. “I went into my archive and looked at everything I’ve done over the last 10 years and created this firework print which was an explosion of all the elements.”
Colour: Saturated tones of rich petrol blue and mallard green, bright vermilion, warm russet and dark grenadine, inky navy blue, camel and black as a ground for red and cream prints
Fabric & knit: Several slinky jersey weights, printed silks and floaty chiffons, sturdy wools, mink
Print & pattern: Pheasant feathers, exploding fireworks, large chain-links in an all-over repeat, mosaic effects
Details & trims: Engineered body-contoured seaming on bodices, swingy godets, racy plunging V-necks, glittery black beading
Footwear: Super pointy courts, skinny gold strappy sandals, leather-edged red and black knee-high bootsAccessories: Feathered hats by Stephen Jones, gold jewellery featuring a happiness symbol and the evil eye, gold chain belts, opaque coloured tights, suede gloves, printed silk scarves, long grey fox tippet 

Charles Anastase 

There was a subtle subversive element teasingly hiding beneath Charles Anastase’s femininely gamine collection of butter-wouldn’t-melt tailored coats and sweetly demure dresses. 

The look: Gamine chic
Silhouette: Subtley flared with feminine princess lines
Key items: Anastase’s fit-and-flare princess coats came with neat half-belts at the back or almost military reefer styling to layer over his Sunday-best empire dresses, maybe finished with a bow or a trail of tiny covered buttons tracing the back. Decorous ruffled blouses were teamed with schoolgirl A-line skirts or skinny flared pants and that same pant shape looked coquettishly sophisticated when worn with a matching black velvet gold appliquéd shell top. Knitted tunics and flirty - never sexy - dresses hit the mark, along with languid but girly blush-pink lingerie-inspired slip dresses. The collection’s subversive touchstone came into play with a dropped-waist velvet all-in-one with a sheer peek-a-boo bodice
Colour: The season’s emerging trend for deep, rich reds surfaced here with grenadine, oxblood and raspberry worked against the toning intensity of cognac, with accents of palest blush pink, champagne, inky blues and pigeon grey, with sooty black velvets adding a grown-up touch
Fabric & knit: Shetland tweeds had a Sunday-best feel, alongside mohairs, silk velvet, organza, shot taffeta, satin, Lurex knits, alligator effects and ponyskin
Print & pattern: A singular rearing horse placement on a blood-red dress 
Details & trims: Tiny covered Sunday best buttons, velvet trims, coquettish hook-and-eye trims, bronze rectangular paillettes, gold emboidered motifs, self ruffles and jewelled velvet collars topping sheer blousesFootwear: High covered wedge Chelsea boots, over-the-knee boots
Accessories: Diamante and rhinestone hair slides, cable-knit cashmere scarves

Kinder Aggugini 

Kinder Aggugini presented a slick, beautifully judged collection based around the modernist aesthetic lived out by Peggy Guggenheim, etched with 50s glamour and a subtle sense of deconstruction. 

The look: 50s-inspired sophisticated glamour
Silhouette: Architectural and linear
Key items: Reed-thin silhouettes were accentuated with Aggugini’s beautifully executed tailoring, narrow coats showing just a hint of contrast lining, or felted cashmere kimono jackets with sculpted backs worked with flower-like geometric cut-outs to reveal a flash of print beneath. Pencil skirts emphasised the linear feel, with their deconstructed seamlines etched with contrast running stitches, and were teamed with a simple silk tee sporting the slogan “Vive l’Art”. Trouser shapes came cropped in the perfect proportions to team with the yellow dip-dyed felted parka with its high, ruched pleat neckline. For evening, sinuous jersey dresses in bold colour-blocks, limpid florals or with ruching details are decorated with sparkling sequinned harnesses
Colour: A modernist palette of black and white with pops of vermilion and sunshine yellow and a grounding of grey
Fabric & knit: Aggugini used every manifestation of luxurious cashmere along with crepe de chine, silk taffeta, cloque and jersey
Print & pattern: A delicate floral print was worked on a taffeta parka as linings, or came overdyed into a smudgy abstracted bouquet, contrasted with a simple black-and-white micro-spot used as linings
Details & trims: Sculpted backs, graphic cut-outs, pinked edges, raw deconstructed seamlines, contrast running-stitch decoration, sequin placements, glitter edging in black-on-black combinations
Footwear: Glitterflake high-block heeled ankle-straps in a medley of colours
Accessories: Diamante trimmed 50s glamour sunglasses, coloured acrylic sculptural high-crown trilbies with net veiling

Betty Jackson

Print, pattern and texture are integral to a Betty Jackson collection, never more so than for autumn/winter 2011/12, where the designer juxtaposed her effortlessly simple silhouettes with a wide array of exaggeratedly plush-touch fabrics. 

The look: Rugged cocooning
Silhouette: Elongated and weightless
Key items: Outerwear was a strong feature, providing the perfect canvas for Jackson’s preoccupation with texture this season, with easy throw-on unstructured shapes layered over long knit dresses, simple shell tops and cropped peg-top pants. Sinuously languid bias-cut dresses offered a delicate contrast to the weightless bulk of a relaxed-fit biker-style coat and there was a drop-waisted brushed wool all-in-one that mirrored a silhouette seen earlier in the day at Charles Anastase 
Colour: The emerging trend for rich reds was addressed with intense tomato, blood and brick combined with signature neutrals like putty, mist grey and the classic mix of black and winter white
Fabric & knit: Intense brushed, felted and boiled textures gave wool a weightless and ruggedly bulky feel, layered with crepe de chines, georgette, knitted rabbit, shearling, loosely structured tweed, wool lace knits, sequins and leather
Print & pattern: A soft floral print and painterly childlike diamond pattern
Details & trims: Exposed back zips traced the spine of simple dresses, self bows set at the tailbone, appliquéd plasticised flowers with sparkling tassle details
Footwear: High platform Mary Janes in winter white, blood red and black; wedged sandals
Accessories: Red flower pins and necklaces also worn as hair decorations, chain belts, tote bags, cream stockings peeping through semi-sheer dresses, chain-handle bags

Louise Gray

A kaleidoscopic whirlwind of colour and pattern brightened up a misty London day as Louise Gray took to the runway with her signature madcap irreverance full of exhuberance and club-kid fantasy. 

The look: A tartan army of party people
Silhouette: Multi-layered
Key items: Every item was a canvas for Gray’s zany take on pattern - from simple shifts, blousons and boxy jackets to her swinging A-line coats, fabric-blocked panataloons and shirts teamed with deconstructed kilts and layered with decorated over-aprons and melanged, marled or Aran knits
Colour: Think a multi-coloured rainbow on acid
Fabric & knit: Plaids and tartans formed the touchstone for the collection and were overdyed, over-printed with foil polka-dots or pixellated into seemingly abstract patterns. Other key fabrics included silks, tweeds and brushed mohair
Print & pattern: Plaids, checks, tartans, tribal geometrics, foil prints, spots, pixellated patterns
Details & trims: Plastic paper chains, beading, smocking
Footwear: Heeled Wellington boots in colour-blocked spots and metallics designed by Nicholas Kirkwood and made by Pollini for Louise Gray
Accessories: Balloon headpieces by Nasir Mazhar, whistle earrings, giant clutch bags

Clements Ribeiro

This was a successful second outing on the London runways for Clements Ribeiro after their hit comeback collection last season. The design duo continued their fascination with experimental print techniques, perfectly complementing their signature luxe knits. 

The look: Elegant Victoriana with a masculine/feminine twist
Silhouette: Elongated and reed thin
Key items: Outerwear marched to a military beat, with masculine reefer styling offset by contrasting decorative jet-beaded trims that complemented the collection’s narrow mid-calf skirts, dresses worked in beautiful degrade Baroque damask and ocelot patterns, and luxe crystal-trimmed cashmere knits. The mood darkened with a passage of black-on-black dresses crafted in lacquered lace, and flannels and brocades for a Victoriana-inspired evening look
Colour: Black undercut with flashes of a vibrant and unexpected cobalt, and layers of grenadine, raspberry, bilberry, dusted amethyst and ivory
Fabric & knit: Wool flannels, cashmere, crepe, tree bark crepe, quilted silk, cloque, lacquered lace. Cashmere and bouclé knits
Print & pattern: A delicate Baroque pattern, lace prints and a Moorish motif worked as all-overs or as degrades fading into a monochrome ocelot print
Details & trims: Jet beading, jet-beaded appliqués, crystal trims on knits, grosgrain ribbon and hussar-inspired frogging, slashed backs on simple dresses
Footwear: Satin toe-caps on block-heeled platforms and satin sandals, both by Charlotte OlympiaAccessories: Lace stockings, beaded collars, jet-beaded bags

PPQ 

The look: Modern Jacobean/Elizabethan. Demure disco
Silhouette: Body-conscious eveningwear with modest necklines and exaggerated sleeves
Key items: Funnelled, tailored coats with high, scoop-neck collars and knee lengths kick-started the collection, which was heavily laden with body-conscious dresses. High necks slowly softened into off-shoulder and informal scoop neck-lines as the show proceeded, and eventually dropped down to a low scooped back, with thigh-skimming skirt hems and velvet panelling, while simple dresses were playful with subtle graphic shapes and logos worked in velvet. There was a sense of movement in the fluid pleating on a loose peplum dress and in the grey marl silhouette that appeared to layer and twist around the body in a toga wrap. Informal tailoring was present in a velvet skirt and a peplum jacket. Romanticised button-up blouses with high-neck Elizabethan ruffles and balloon sleeves gave an overall demure yet seductive feel to the collection
Colour: A predominantly black palette with accented with grey marl, soft lilac, grey-blue tones and bold flashes of purple
Fabric & knit: Wool twill tailored pieces, silk, velvet and black lace
Print & pattern: A punkish barbed-wire repeat print in regal purple, with thick splashes of orange and a gold coil motif in differing scale mixes
Details & trims: Elasticised lace trims cuffed voluminous dress sleeves and layered lace ruffles modestly surrounded the neckline. Clear Perspex appliqués adorned sleeves and were also used as embellishment on the fronts of dresses which encased brooches and other jewellery pieces. Velvet pockets, puff shoulders, dress panelling and pussy-bow-ties were other key details
Footwear: Chunky platform court shoes in black and grey suede with scalloped or lace trim edges and feather trims. Over-the-knee leather platform boots with suede details and lace trims at the knee
Accessories: Whimsical felt hats. Clear plastic bangles filled with gold chains and pearl charms, long chains with Perspex pendants and an evening bag encased in a Perspex cube with long chain detail. All finished with hair in pigtail plaits tied with velvet ribbons

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Live From... London Fashion Week - Day 2

John Rocha 

            

A change of silhouette at John Rocha, as the designer introduced a seductive element into his customary feminine romance.
The look: Bohemian Edwardian romance 
Silhouette: A new silhouette from this designer, with elongated and languid shapes contrasted with short, sculpted modernity 
Key items: Boudoir-inspired corsetry brought a new form-fitting silhouette into play for corseted tops and structured dresses. Long, fluid, bias=cut skirts with fantail hems offered an elongated look, teamed with easy cardigan-style tweed jackets. Pants came lean and cropped or as soft, languid bloomer shorts, while outerwear took on a structured modernist slant with tulip shaping or soft carapace backs, while a long boudoir-pink ruched columnar gown had the front row’s phone cameras buzzing 
Colour: As ever from this designer, it was an understated palette of black and ivory with accents of boudoir-nude shades and soft rose pink 
Fabric & knit: Seductive crepe de chines and semi-sheer georgettes worked alongside the denser structures of neoprene, stretch cotton and dimensional tufted lace. Raw-edged tweeds looked new from this designer and were beautifully crafted into Edwardiana-styled suits 
Details & trims: Ruching, raw-edged hems on tweed 
Footwear: Ankle-tie wedged sandals, laced Edwardiana-style boots with a wedge heel 
Accessories: Carapace-shaped rucksacks brought a modern sportswear look into play when teamed with oversized petal-trimmed picture hats 

House of Holland

            

It was a new decade of choice for Henry Holland this season, as he channelled the ritz and glitz of 70s disco into his youthful and poppy looks. With some strong tailoring and a wider selection of pieces, this was perhaps his most successful collection to date.
The look: 70s disco down at South Beach 
Silhouette: Tailored with flare 
Key items: Safari-style shirtdresses and playsuit, accordion-pleat skater skirts and plissé dresses, cropped T-shirts and cape-backed tank tops, leather hotpants, tailored Capri pants, bell-sleeved cropped blouse, cropped leather biker jacket, slinky chainmail halterneck dresses and fringed minishifts. Denimwear including a jean jacket with accordion-pleat sleeves, shirt-and-short playsuit, skin-tight flared jeans, A-line shift dress, and a brass-buttoned tabard dress 
Colour: Signature brights - turquoise, violet, fuchsia and Kelly green, gold and coloured metallics, pale denim blue 
Fabric & knit: Metallic banana-leaf jacquard, laser-cut and pleated leather, light blue denim, chiffon, gold chainmail, printed silks, space-dyed knit yarns 
Print & pattern: Bi-colour banana-leaf prints on white ground 
Details & trims: Long silk fringing, leather star appliqués, accordion pleats and plissé, cowl drapes, handkerchief hems, heat-pressed crystals 
Footwear: Strappy lace-up suede heels with shrunken fore-part platforms 
Accessories: Doughnut-shaped pompom earrings with large paste jewel studs, fluffy towelling and tan leather belts and bags. Jewellery and bags by Katie Hillier for House of Holland, sunglasses from Linda Farrow 

Unique

            

A 70s psychedelic romp full of vivid colour, clouds of candy-cotton crimped hair and a rainbow of acid-trip prints made for a joyful summer showing at Unique. 
The look: Lucy in the sky with diamonds 
Silhouette: Pure 70s on acid 
Key items: Wide-legged flares, floaty all-in-ones, swingy A-line tunics and flowing dresses were all stamped with the 70s look, which is set to hit the high street next summer. Watch too for bandeau tops, long sheer skirts, printed blazers, fringed Western jackets and cape-sleeved tees 
Colour: The strong and fulsome palette spanned rich oranges through to a sunset of reds, pinky-purples and watermelon pinks, offset with hot amber and tan, ochre and ivory 
Fabric & knit: A mad-cap medley of macramé, washed silk, laser-cut eyelet suede, floaty georgettes and sheer tulle, metallic jersey, cracked jersey, satin, Lurex and rhinestones, overdyed denim and cobweb knits. The message was in the mix 
Print & pattern: Splatter and smoke patterns added an otherworldy, floaty feel; abstracted florals, foil prints and a sunburst motif 
Details & trims: Flowing panels, tattered and ravaged details, fringing, caped sleeves, angel-wing appliqués on white tailoring, piping 
Footwear: Perspex wedges, multiple-strapped sandals, woven sandals, tasselled boots and sandals 
Accessories: Macramé leather necklaces, long-fringed and tasselled shoulder bags 

Betty Jackson

            

A more utilitarian look from Betty Jackson, who combined her usual verve for print and pattern with some strong sportswear silhouettes.
The look: Easy sportswear
Silhouette: Relaxed and elongated layers
Key items: Long belted jackets over soft skirts, elastic cased shorts and cropped pants teamed with cape-sleeve ruffled blouses or simple tunic tops. Knitwear came as a fringed belted coat or easy sweater shapes, with a frisson of ostrich feathers adding texture to the look. The utility dress was a strong key item, contrasting with the softer appeal of a cape-sleeve floaty smock. Bra tops and swimwear pieces were a new addition to the collection
Colour: Apple green, watermelon pink, bright turquoise and espresso, offset with warm taupe
Fabric & knit: Treebark jacquards and high-shine waxy cottons offered a play on texture alongside softer georgettes and washed cottons. Speckled tweedy knits in robust cottons and fine-gauge knits
Print & pattern: Abstracted digital imagery in pinks and greens drawing on foliage and birds for inspiration, alongside simpler stencil florals
Details & trims: Cut-out shoulderlines, fringed trims on chunky tweed knits, simple blanket stitching, ruching, exposed zips and utility drawstrings
Footwear: High mesh sandal boots, 40s wedges in silver or cream
Accessories: Socks, rucksacks and jewellery by Alexis Bittar comprising lucite and ostrich-feather bangles and collars

Emilio de la Morena

            

For spring/summer 2011, Emilio de la Morena was inspired by the work of Argentine painter and sculptor Lucio Fontana, as well as the oppositions of day and night, and the way light travels through translucent fabrics.
The look: Graphic girls 
Silhouette: Short-lengths with either bell-shaped or A-line skirts 
Key items: De la Morena's signature body-con dresses were more shapely this season, with curvy hip emphasis created by soft, bell-shaped overlays of silk organza, crinoline panniers or frilled peplums at the waist. Other key pieces included collarless cropped and tailored boxy jackets, A-line skater skirts or short pleat-waisted dirndls, and high-waisted leather minis. Sheer long-sleeved blouses buttoned at the back, and graphic tailored shifts came with asymmetric panels 
Colour: The palette was inspired by the spectral colours of a prism – yellow, soft pink, light blue, mint, washed coral and mustard, set against black, white and pale vapour grey 
Fabric & knit: Leather, suede, silk, satin organza 
Print & pattern: A slash print on silk inspired by Fontana's series of sliced painted canvases 
Details & trims: Hand-punched holes on leather or sheer, slashes, ruffled peplums, spliced leather and handkerchief panels 
Footwear: A collaboration with Charlotte Olympia - gold-zipped, multi-strapped platform high heels in four colourways of mint, black, yellow and nude suede 
Accessories: A debut collaboration with jeweller Scott Wilson - statement neckpieces and cuffs made from polished geometric metal plates, some perforated to match details from the apparel collection


Twenty8Twelve

            

A highly commercial collection of easy summer separates and girl-friendly dresses from celebrity label Twenty8Twelve.
The look: The all-American 50s eclectic traveller
Silhouette: 50s with a modern twist
Key items: Denim shirtdresses, Western shirts, short full dirndls and frilled petticoats brought the 50s mood into play, teamed with rolled-sleeve tees, bib-front striped shirts and striped knits. The emerging trend for dungarees was addressed, along with an easy swingy A-line dress shape and a soft short all-in-one. And for after six, sexy little tank dresses or a short ruched body-con look
Colour: Denim blues offset with zingy brights such as lime and watermelon - a recurring theme here this week - with warm ochre, desert neutrals and graphic black and white
Fabric & knit: Denim was a strong fabric statement, contrasting nicely with vintage-style lace and embroidery, washed linen and lightweight cotton voiles, toughened up with shearling, suede and cotton knits
Print & pattern: A medley of offbeat print mixes, from abstract florals to a novelty face print on richly coloured grounds for a true vintage feel
Details & trims: Halter necklines, cutouts, pintucks, plaited trims, ruching and ruffles
Footwear: Sparkly bows rimmed denim flats and high courts by Gina
Accessories: Bow-tied belts added a feminine feel, along with stacked bangles from the Katie Hillier archive

Fashion Fringe - Corrie Nielsen

            

Corrie Nielsen's collection of deconstructed and exaggerated historical costume found favour with new honorary chairman John Galliano, who crowned the American designer winner of Fashion Fringe 2010. Her experience working for Vivienne Westwood was evident in her draped and swagged silhouettes.

The look: The collection was titled Georgian Satires, inspired by the comical illustrations of James Gillray and George Cruikshank

Silhouette: An exaggerated take on historical Georgian costume - nipped waists and padded volume at hips and shoulders

Key items: Bustier corsets, stiff draped shirts, tailored pencil skirts hitting below the knee and shaped with contrast panels at the hips, puff-collared tailleur, tapered dhoti pants, super-wide-cut knee-length shorts

Colour: Shell pink, mint, peach sorbet, slate grey and black

Fabric &  knit: Satin, flannel, cotton, woven stripes

Details & trims: Puffed shoulders/sleeve heads, bustles and hip panniers, ruffles, fold-down waists

Footwear: Ballet shoes

Charles Anastase

            

French designer Charles Anastase's signature is subversive sweetness and Lolita-like girlishness. For summer 2011, his not-so-innocent girls wore shirtdresses prudishly buttoned up to the neck with such towering platforms, they toppled a couple of the delicate Lolitas on to the catwalks crash mat.

The look: A day in the Tuileries

Silhouette: Neatly boxy midi-lengths, loose-fit dropped waists

Key items: Button-up shirt dresses with loose-fitting dropped waists and full or pleated skirts, minimal short-sleeved T-shirt dresses, Peter Pan-collared princess coats, ruffle-collared blouses, slim-cut Capri pants and tailored T-shirts, tailored pencil skirts, knitted tube dresses

Colour: White, periwinkle blue, mint, peach, lilac, dusted mauve, black and silver

Fabric & knit: Swiss voile, organza sheers, seersucker, washed silk, metallic jacquard

Print & pattern: A painterly cubist pattern built up of overlapping pastel-coloured squares

Details & trims: Jewelled buttons, gold zips, 3D floral appliqués, knitted sleeves, ruffled necklines, off-the-shoulder necklines

Footwear: Super platform wedges with X-strap by Natacha Marro

Accessories: Heavy-framed geek-chic opticals, straw sunhats by Prudence Millinery, squashy suede clutch bags, ribbon belts, cat-face brooches

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