Words & Photography by Akeela Bhattay

Ever since I first discovered Lako Bukia’s collection on the catwalk, two seasons ago, I have been a keen follower of her work and have tremendously enjoyed the presentations of her distinct designs. So, I was very eager to see the unveiling of her Autumn/Winter 2012 collection at London Fashion Week.

Before the show began, I decided to take a peak backstage and see the production being put together, where already a crowd of journalists and photographers had descended, snapping away with their cameras and tapping their pencils on their notebooks. An overcrowded room doesn’t half make for a clammy atmosphere, so the arrival of jugs of water and glasses, was a welcome offering.

Rehydrated, I meandered through the crush of press, seizing some shots of the models being plucked and primed, ready to take on the catwalk. Hair was firmly swept up into a rigid high ponytail, secured with a metallic barrel accessory, and together with the fierce fabricated eyebrows, resulted in an explicit space age-y like or sci-fi-ey manifestation. With time being an unforgiving adversary, make-up artists and hair stylists often have to work together, on one model, at the same time. It was no different here, and I admired how organized and calm they appeared to be. Even the designer herself appeared to be content with the process thus far, though when I mentioned to Lako that she looked relaxed, she laughed and said, ‘I’m really not, I’m very nervous!’ I wished her luck and she told me to expect something different – a surprise on the catwalk. I was intrigued, to say the least!

A buzz of animated chatter filled the show space as we took our seats, and I overheard several guests enthuse about the designer’s past collections. Anticipation for the show to commence was clear. But just when I thought the time had come, at least a dozen extra guests rushed in and we were asked to ‘budge up’ and make space. Suffice to say, there was no room to move and my view was partly obscured by the tall folk I was most inconveniently sandwiched between. Of course, they had lengthy branches and top-notch professional dSLR cameras too, so my camera and I were instantly made redundant. Still, I braced myself for a shiny show and hoped to grab a few decent shots.

The audience shushed as the house lights dimmed and the flood lights breathed their shocking bright light. On to the black and argent backdrop and runway, gently traipsed along a fierce looking model, sheathed in a silver gown with a flowing train – a sight that summoned a union of captivated reconnaissance from the audience and thus began a song of clicking and flashing and oohing and aahing. Next, emerged a striking model adorning a long silvery pencil skirt, paired with a long sleeved chiffon blouse, baring triangular shards of leather. Immediately I was taken back to Lako Bukia’s Autumn/Winter 2011 show, where the use of those opposing fabrics was characteristic of that collection. Had Lako reverted back to her original inspirations, I wondered excitedly.

Like her Autumn/Winter 2011 collection, Lako Bukia’s 2012 collection has been inspired by a common Georgian belief, that misfortune awaits one that looks into a broken mirror, together with her experiences within the fashion industry; a cut-throat menacing world, which she has honed the strength to survive and succeed.

These qualities translated to the use of juxtaposing fabrics; sheer, delicate and strong, complex construction techniques and signature silhouettes. The broken glass motif featured on many a piece in the collection, on jacket sleeves, midi pencil skirts and skinny trousers. The advent of the skater skirt matched with the long-sleeved chiffon blouse, with the silver insert and structured collar, brought with it the stamp of Bukia’s signature style and one of my favourite outfits in the collection. This was followed by a variant of skater dresses in chiffon, shirts in leather and shirts and jackets in what appeared to be lambs wool (or a similar looking fabric). As always, the collection was accompanied by the designer’s very own bespoke shoe selection. The heels especially, deserved the mutual admiration of the crowd; a stack of acicular shapes created a mesmerizing display as the models strutted over the catwalk.

With elongated appendages reaching out in front of me, I was almost robbed of the sight of the finale approaching. Lako Bukia consistently impresses with her ultimate offerings on the catwalk, so missing it would be a damn shame. This time, we were rewarded with the presentation of a stunning chiffon gown, long-sleeved with a sheer top, embellished with silver shards resembling a shattered mirror and a lavishly layered skirt which, swept elegantly over the catwalk as the model proudly sauntered across towards the photographers’ pit.

Then, Bang! And my heart leapt to safety. But alas, we were all quite safe I realised, as with it, the startling sound serendipitously released a shower of confetti and it suddenly occurred to me that, that was the surprise. I must confess, I loved it; it brought with it, a real fun element to the show and suggested the same for the collection.

With her Autumn/Winter collection Broken Mirrors, Lako Bukia delivers a wardrobe for strong women, women who aren’t afraid to face their fears or the challenges that come their way. They are aware of life’s complexities and know they must and will conquer harsh situations and overcome bleak times. This is intrinsically reflective (excuse the pun) in Lako Bukia’s latest designs and the designer herself. What her Autumn/Winter collection conveys, is that she is far more confident about her ideas and in her exceptional abilities as a designer. I believe Lako Bukia is fast on her way to triumphing within the commercial market, and without compromising her edgy, Georgian inspired and avant garde foundations.

Written & Illustrated by Emma Block

This year everyone at London Fashion Week seemed to be getting in touch with their inner child; or maybe it was just the high cost of child care that lead to so many under-fives on the front row. There were a lot of shows where the presence of these youngsters felt inappropriate, due partly to that fact they’re taking up a lot of front row space and also that a lot of shows include some highly revealing (completely see through) outfits, but at Fam Irvoll’s show it made perfect sense.

This was Norwegian-born Fam Irvoll’s very first time showing a London Fashion Week, although her quirky outfits have already been big a hit with the likes of Katy Perry, Marina Diamandis and Lady Gaga. As the lights flashed on and off like lightening, I had no idea what to expect, and I certainly wasn’t expecting the Ghostbusters theme tune. The catwalk is invaded by, admittedly non-threatening, monsters; prim skirts grow scales and boggle eyes and jumpers sprout feelers. Floaty dresses are teamed with bright tights and monster print creepers. Both the clothes and the model’s make up were a riot of colour; pale green, purple, yellow and pink. As if the model’s own brightly painted features didn’t make enough of an impact; they wore sunglasses with fluttering eyelashes and huge flake lips clasped between their teeth. The models were having a great time; blowing kisses and swishing their knitted tentacles about. Two blond models with white and pink dip dyed dresses walked the catwalk together holding hands. The outfits were accessorised with the kind of big squidgy character backpacks that you dream of having as a kid.

Most designers save their most show stopping design for last, but Fam Irvoll saved a surprise for last. Out came the most adorable little girl modelling a pink and green Fam Irvoll creation. As she retreated down the runway, and another little girl emerged: their pure joy was infectious and it was grins all round from the audience. They wore onesies, wellies, yellow lipstick and the kind of bunches and twisted buns that that I was obsessed with at that age. They look completely at ease, like this a sleep over and they’ve just found Mum’s makeup drawer. A girl in pink leggings and a grey coat featuring an elephant ‘s head came out and all three of them danced, giggled and bounced with excitement, as the rest of the models paraded down the runway.  As Fam popped out at the end to applause, I feel like we are thanking her for inviting us into her cute and kooky cartoon dream world.

I couldn’t tell you why I don’t like the font, Helvetica. I just don’t. I also dislike the word ‘vat’, escalators, revolving doors and also, I need time alone in my life. Really alone. I love it, always have, always will (I imagine that would be said in a Texan accent- True Romance?). Ever since the ‘wildness’ of youth, sitting behind diamond detailed, suburban windows, I’ve deemed alone time, my most precious. For this enforced solitary time, there can be a soundtrack. Many times it has, and continues to be, the mellow, comforting tones of Martha Tilston.

Martha Tilston dislikes banks, offices and anything that takes her away from what she loves. She loves music, her family – including her rounded bellied, pregnant new member; peaceful and cocooned in the notes she plays. It’s her heart. That’s where she plays everything from. Strike a light! A cliche! Mai oui! But it’s as true as my dinner is quiche with purple sprouting broccoli. From the garden, no less.

Last night, we sat on the floor in silence, with the sounds of Martha Tilston wrapping us up with lullabies, stories and truths we already knew. In our hearts of hearts. She was so happy, it radiated from her and was catching, as if the joy of spring’s early blossom was being blown upon us. Love.

Song after song, we were treated to the thinkings of the girl from suburbia. Now nestled in the rotundly gorgeous world of Cornwall, Martha is concentrating on the things that make her tick, contented, but conscientious. Between songs, she was chatty, relaxed and friendly. Her cover of Portishead’s Glory Box was a delight – the strings replicated with vocals from her and the participating audience. Artificial – running from the world of offices, was as refreshing as its sentiment is and Seagull was and is, a beauty.

For those that share a love of music, life and celebrating that spark inside us all. That thing that makes each of us unique. Glowing, wonderful and beautiful – are those powerful little words that go with Martha’s live show. A wide open space, with flowers and the ocean as its border.

Illustration by Emma Block

Written by Emma Block. Photography by Akeela Bhattay.

Corrie Nielsen was a show that held a great deal excitement for me; it was my first show of the new season and my first ever in the BFC main show space.

I got papped in the queue to get in, which is always a good start, and once I was inside I discovered Akeela and Hels already seated (I’m not sure how they managed that one). I took my second row seat.

The lights dimmed and the show began. My expectations of this show were that it would be Scottish and beautiful, and it was both. Nielsen looked to her family’s Scottish family heritage for inspiration, and this shone through in not only the use of tartan, but in the palpable sense of history and power. The garments were highly structured and beautifully tailored; predominately in black white and red, and in some cases styled with knee high socks and loafers.

The models had pale skin and strong red lips, with a tartan pattern painted across their faces like a delicate veil shading their eyes. Their hair was pulled back off their faces and fashioned into a minimalist and regal knot. Crisp white shirts and tailored heavy tartans contrasted with voluminous black tulle. The headpieces were particularly striking and exquisitely crafted; my favourites were those featuring long, swishy, partridge feathers.

The sense of history, culture and craft culminated in not one but two show stopping dresses. One black and one white, both elaborately constructed and fit for a queen. Seeing one pass in front of the other was as mesmerizing as watching a total eclipse.