GRADUATE FASHION WEEK: A QUICK FLICK THROUGH THE WORK OF MEDIA AWARD WINNER KERRIE DONNELLY

Posted by Melanie Rickey, Fashion Editor at Large

On Tuesday I spent a hugely rewarding and inspiring eight hours with Jefferson Hack (co-founder of Dazed & Confused and editor-in-chief of AnOther Magazine) as we judged the Media Design Award for Graduate Fashion Week 2012 over at Earls Court II in London. The nomination list was 40 students strong and we met and spoke to each and every one of them as they talked us through their graduation projects and future career hopes.

The multi-disciplinary nature of modern fashion related degrees means that you can start out thinking you want to major in one area, and end up specialising in quite another. From the same Fashion Communication course at Northumbria University, for example, came a talented photographer, an inspiring illustrator and yet another who we thought could easily walk straight into a job at a top name advertising agency. This was no straight single category to judge. We met journalists, digital marketeers, creative directors, stylists, photographers and designers of fashion and printed textile. In that mix we came across a passionate young journalist researching into the frontier where luxury fashion meets science and technology, a marketing brainiac who came up with a clever 360 digital campaign idea for, ironically, Dazed & Confused magazine (Ami Collins, who went on to win the Innovation Award), and a reportage photographer with such a natural eye for male beauty he has already been tapped by Urban Outfitters and Adidas. Not to mention the student who taught herself how to create a bona fide App, and the one who created moving image clothes in a digital program to demonstrate the synergy between fashion and music.

What were we looking for in the winner? We didn't know exactly, but figured it would become apparent as we went through our search; and it did. Our short list consisted of eight people, all of whom showed a dexterity in their ability to communicate fashion through multi-media channels. As always with these things, natural talent, creativity, flair and genuine editorial originality always shines through and when we sat with Kerrie Donnelly of UCA Epsom we knew she was our winner. Kerrie, from Dundalk in Co. Louth Ireland, who turned 20 on Monday, described her project as a "magazine that explores the symbolism and transience of flowers in art, fashion and culture."

It was the professional and visionary way Kerrie took on the role of both editor-in-chief and creative director of her magazine that clinched her the Media Award. She imaginatively researched her subject resulting in spot on artist/photography commissions including from Jane Valena Paludanus and Anna Schuleit. Kerrie created a sophisticated, clever and really rather beautiful magazine, while demonstrating her own journalistic flair. I wanted to whip Thorn magazine from her and take it home. I've chosen a few of my favourite pages to share below, but scroll to the bottom you'll find a link to the full magazine for your flicking pleasure. 

Thorn cover by Bethan Amy Sands

Jane Valena Paludanus

To enjoy the magazine in full go here

RESORT 2013 COLLECTIONS: THE BEST LOOKS

Posted by Melanie Rickey, Fashion Editor at Large

I've been at Graduate Fashion Week in London on and off all week, and most inspiring and fascinating it is too, but I took some time out this afternoon to indulge in the hobby du jour for all professional fashion editors this week - namely viewing the Resort 2013 collections and deciding on the best new looks. With all the 'trashion' (my new favourite word) doing the rounds on pop stars, tacky TV folk and young girls about town, a jolt of real honest-to-goodness fashion refreshes my senses and restores my faith in style for style's sake. Here they are.

Stella McCartney

Nina Ricci

Valentino

Givenchy 

Givenchy

Cedric Charlier

Carven

Celine 

Acne

CAN GRADUATES MAKE FASHION DIVERSE AGAIN?

Posted by Bethan Holt, Fashion Junior at Large

Fashion has long been the haven of some of society's most diverse and original figures. Its reputation for welcoming the weird, the wonderful and the avant-garde goes way back. It's how fashion stays new. So in many ways it's strange that we even need All Walks Beyond the Catwalk, the initiative run by Caryn Franklin, Debra Bourne and Erin O'Connor. But the reality is now that fashion mostly demands models who are very tall, very young, very thin and very white- a narrow ideal of beauty which is just one of the many troubling issues our society as a whole has with body image.

This morning, I went along to All Walks' forum at Graduate Fashion Week where tutors from fashion schools across the country gathered together to tell each other how they're engaging their students in looking at bodies and beauty in a different way. Mal Burkinshaw from Edinburgh College of Art told us about his project 'Body Talk 2012' where he explored the kind of words his students used to describe different bodies represented in art. At Ravensbourne, students have created a site where anyone can upload unretouched images of themselves which they love while in Bournemouth, glamorous older model Valerie Pain has been used in a photo shoot and in the catwalk show of some of the design graduates.

Valerie Pain wearing a design by Johanna Wulf from the Arts College, University of Bournemouth (

This is all fantastic-if sometimes a bit tokenistic- and at least it is positive to see design schools engaging with the concept that the current favourite catwalk model ideal might not be the only option. All Walks is also expanding on the work already done by tutors by launching a competition called Diversity NOW which will enlist students to create campaigns for a wider range of body and beauty ideals. However, for students who need to get a job out of university it's not very practical for them to use a model who's not the norm to show their pieces because they simply won't get a job- if they show their final collection on a size 16 model then they are effectively only applying for a job at Evans. Nobody else will take them seriously. And I'm not making this up- the course leaders at this morning's forum all agreed on that point.

What I'm finding hard to get my head round is apparent gap between the academic research on this subject and what's actually happening. After the forum, I spoke to Dr Phillippa Diedrichs who contributed to the recent government report on body image. She says that an increase in diversity does make commercial sense. "When W magazine did a plus size issue, it sold out immediately" she pointed out. Much has been made of research by Ben Barry whose survey of 3,000 women found that they "significantly increase purchase intentions when they see a model that reflects their age, size and race". A quick google search shows that Barry is the founder of a Canadian modelling agency which represents "diverse" models. He's also written a bestselling book on the subject so has considerable commercial interest himself in making these claims.  Nevertheless, the research makes a strong case for the financial rewards of using models of different ages, sizes and races.

Post-baby Kate Moss shot by Mert and Marcus in 2003 (image from www.i-donline.com)

So, is it just too soon for the big changes to have filtered through? In high fashion, the rise of the Asian model has coincided with growing importance of Asian economies as consumers of designer clothes. The brilliant Tricia Jones, publisher of i-D magazine, told this morning's forum that we need to demand realistic images- she cited an exclusive which i-D had of Kate Moss' first shoot after giving birth. She looked amazing- obviously- but was still retouched to erase the evidence of her recent pregnancy, much to Jones' annoyance. "We need real pictures and not the crap they (magazines, ads) are trying to feed us"she argued. I guess the million dollar question is, do we WANT to buy a magazine with a shoot where Kate Moss looks anything less than utterly, unrealistically perfect? I wouldn't mind actually and it'd bridge the gap between retouched shoots and horrid paparazzi caught-looking-a-bit-fat-or-spotty pictures.

We know that plenty of students out there are reading and would love to know if you've had to address body image and diversity in your course and what you think about it being taught.

GRADUATE TALENT: FEAL'S PICK OF RCA'S CLASS OF 2012

Posted by Bethan Holt, Fashion Junior at Large

The week before last, the FashEd went along to the Royal College of Art's fashion show where she saw the work of this year's crop of graduates. Like any keen-eyed fashion editor, Melanie had her favourites and we wanted to share some of their work with you today. This week is Graduate Fashion Week so the blog is going to be very 'graduate' orientated as we scout out our favourite graduates from the UK's best design courses and see what they actually get from the four-day event at Earl's Court. We can't wait to get out there and see what's on offer. In the meantime, the RCA grads have come up trumps with some gorgeous imagery and notes, explaining what inspires them and how they have come to their final pieces.

CLAIRE ZENG

'The main colour inspiration came from my photography, which I used as print in my collection. My shapes follow the casualness of oversized shirts, and the cut is also influenced by traditional Chinese flat garments. I’m interested in using unusual materials and finding new ways of garment making. I’m drawn to traditional Chinese ink painting, with the ink and water penetrates through the paper. That has given me the idea of using silicone to penetrate fabric to join fabrics instead of sewing. The application of silicone became a main feature of my design which allowed minimalist designs.'

 ALEXANDER JAMES

Devil-may-care (the name of my collection) was inspired by the juxtaposition between innocence and the unspoken assumptions and persuasions of everyday life. The collection finds parallels in the ritualisms that surround quintessential English horror, with particular reference to the stereotypical virgin sacrifice and the motif work of Irish crochet. Parallels mirrored in the melancholia and strictness of Victoriana through an imposing and imperial pagoda shoulder juxtaposed against a corseted, willowy, lissome and sensual waist. An awkward wide and flaring leg, emphasising an elongated silhouette and ghostly, ethereal/otherworldly quality captured through delicate layering of fine guage devore knits and silks (discharge and devore printed) and fluid cashmere, silk, and traditional wool suiting. Colours are drawn from the the overcast grey-lavender of a forest mist shrouding that which cannot be seen, the black-purple of the night and the reddened umber of the sodden earth. The green hues of moss and fern to the slate greys and damp purple of the heathland heather with subtle/pale and washed out highlights. Reference to eveningwear worn in a nonchalant way emphasising the louche brooding and deeply dark/sexy of a rock star sensibility and the fetishisms of the night.

I studied (BA) Fashion at Kingston University graduating in 2009. After Graduate Fashion Week I pursued my own label after interest from various stockists, including Digitaria, later to become Machine-A, on Berwick St. At this point, I applied to the Royal College of Art (MA) Fashion Menswear course. During my time at the College I was awarded the prestigious Brioni Award.

TOM CRISP

The Tom Crisp man celebrates a raw and powerful youth aesthetic. Inspired by the graffiti artist Delta, Jose Perla and Gus Van Sant body of work, the 2012 menswear collection includes modern tailoring through to a distressed and deconstructed casual look. A make do attitude resonates throughout the collection; especially in pieces that are deconstructed from the original garment and remade into modern silhouettes. This appropriation method surfaces with denim tees from denim jackets, a remade nylon parka and an Airforce jacket made into trousers. A layered silhouette evokes a 90s grunge attitude while the slim cuts of the suits add a rock edge. Throughout the collection angular planes of fabric disintegrate into distressed surfaces. Raw edges create a dishevelled look helped by texture play with ripped leather and denim hand painted to look like a wall of graffiti. The cotton and denim base is enhanced by silk, linen and mohair jacquard weaves in suits and a luxe parka. Industrial shine is provided by cropped nylon parkas and knitted nylon jumpers. Colours are murky, taking their cues from rusty metal. Ranging from deep purples, inky blues and military green through to rusty oranges and bright turquoise provided by glossed, verdigris copper powder. Rusted iron is used on a deconstructed suit to continue a raw feel and to add a new texture dimension.

DANIEL POLLITT

I was born and raised in Manchester where I studied Fashion Design at the Manchester Metropolitan University. Whist studying in Manchester, I completed an internship with Roland Mouret. After graduating, I moved to London to pursue a career in outerwear design working for a high street supply company, which taught me much about the business side of fashion. I then went on to study my Masters in Womenswear Fashion Design at the Royal College of Art in 2010. Whist studying at the Royal College I also got the opportunity to help out in Richard Nicoll's studio. I enjoy bringing out the dark side of women, my designs are lead by an obsession with the female form and architecture.

  COLETTE VERMEULEN