Commercial and fashion photography by JULEIMAGES in Lakewood

Commercial and fashion photography by JULEIMAGES in Lakewood: It's Your Business
What your business does: My business is photography for various purposes in the advertising industry, specializing in fashion and beauty. I have many years of experience photographing both products and people and my clients consist of modeling and talent agencies, jewelry, clothing and accessory designers, hair stylists and salons, wellness businesses and more. I work a lot with the local hair, make-up and clothing stylists to create or own masterpieces. Magazine and Internet publications include VOGUE, Lucky, Allure, In-Style, Pretty Living, Role Model, Puretimes, Weddings In Cleveland, VOGUE Italia.com and FashionMingle.net.
Where I got the idea for the business: My father suggested I try photography in college, so I did. That's where it all began. With my love for modeling as a teenager it was only natural that my preferred subject would be models. Product photography took over for awhile as I grew my career in a big commercial studio, but I always knew my focus was in the the beauty industry. Now in my own studio, models rule the day!
What makes the business unique: What makes my business unique is my focus on the fashion and beauty industry that most people move to New York to be involved in. I've managed to get published in several big magazines and have also found my way into New York Fashion Week as a photographer and writer. Not too bad for a Cleveland girl who was told she has to move to New York or forget about it. And there's much more to come!
How I see the current economic conditions affecting the business: I try not to think or worry about economic conditions. I'm grateful for every client that walks in my door and I focus on delivering the best product possible. Businesses need to advertise no matter what, so providing a quality product and giving your client a positive experience will hopefully keep a steady business no matter what the economic situation.
The biggest obstacle I've had to overcome: The biggest obstacle was the transition from roaming freelancer into studio owner. I wouldn't call it an obstacle, but a challenge trying to find the needed equipment on eBay, and on sale when possible. The obstacle is affording everything I want to use in the studio.
My plans for near-future growth: My plans are always to continue to grow in the fashion and beauty industry from right here in Lakewood, Ohio. There is great talent in this community and more people than you realize working internationally in this industry.
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French whispers the style secrets of French women revealed

How do they do it? How do they look like they literally rolled out of bed looking amazing? Ah, to be born with a French woman’s chic, but oh so sensible style. This is the fervent wish of women all over the world – to have a sophisticated yet effortless style when it comes to fashion and beauty. French women practically invented the term, “I woke up like this” – they throw on their clothes without a fuss and appear as if they just stepped out of the pages of a magazine. “Je ne sais quoi” – is how it is often and commonly described: literally, “I don’t know what.”
A survey by wwd.com revealed that when looking for inspiration, 48% of French women refer to regular people, while only 20% are influenced by the Internet and 16% by TV and magazines. But more than looking for influences, 75% believe in themselves to make the right fashion choices when buying new clothes and don’t feel need to shop much, less than once a month in fact. Furthermore, they are hardly swayed by celebrities, designers or luxury brands.
We’ve distilled the style secrets of the French woman to five basic tenets, as epitomized by four high street French brands now in the Philippines: Promod, Etam France, Yves Rocher, Minelli and Jennyfer. Seen on every shopping street in Paris, these brands embody the true essence of French fashion: that indefinable French style with quality and real value of products you can keep using everyday.
A French woman owns key pieces that complement other fashion items in her closet. She doesn’t give in to trends and she develops a signature look and sticks with it- which is why they look so cool and easy. French style basics include the little black dress, skinny jeans, a blazer, jacket or a trench coat, styled in the indefinable way. In an interview, Ines de la Fressange said that on most days of the week, she can be found wearing “cotton shirts, jeans and blazers.”
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As for the LBD (little black dress), this has been attributed to the singular French fashion icon, Coco Chanel. The German-born but French-trained Karl Lagerfeld—another revered European fashion designer and reference at the helm of Chanel— has been known to have said: “One is never over-dressed or under-dressed with a Little Black Dress.”
Stylish, comfortable shoes – the French woman owns these and wears them well. French women are always on the go and walk everywhere. Living in Paris is exciting: the trains, the views, the shopping and the cafes and boulangeries. You will never see a French woman curse at grids and stones because she wore the wrong shoes. It was said that a Parisian will never wear heels as high as Lady Gaga’s and whether with heels or flats or the jaunty rubber-soled shoes, the French woman’s shoes are always comfortable with quality yet fashionably complementing her insouciant sense of style.
A French woman knows that what’s under your clothes matter. French women spend 20% of their annual clothing allowance on lingerie! So, if you want to know what lies beneath that chic nonchalance, it’s what’s inside their lingerie drawer. A French woman knows that wearing beautiful lingerie gives her a special secret and she exudes an aura of confidence and that subtle sexiness. More than about pleasing a man, French girls wear nice lingerie to make themselves feel good!
A French woman knows that when it comes to beauty, less is definitely more. Foundations do not sell as much in France as they do in Asia or America- if it is obvious that a woman is wearing foundation, it looks wrong. They know that good skin is the foundation of any beauty regimen. This includes drinking a lot of water to hydrate and using good skin care products for their face before they even begin thinking of putting on make-up. As for make-up, all they do is use a gel to brush their brows, curl their lashes and put a bit of mascara, apply a little concealer and do either the eyes or the lips, never both. And of course, a French woman always has a signature scent.
“I want everyone to wear what they want and mix it in their own way. That, to me, is what is modern.” ­—Karl Lagerfeld
A French woman knows to dress for herself. At an early age, a French woman decodes her style personality—glamorous, bohemian, classic, romantic, edgy, chic or sexy—and she builds her wardrobe on this aesthetic. In the wwd.com study, 51% of French women believe that being fashionable simply means to be you. Ines de la Fressange was asked what the biggest misconception is about French women’s style: “That French women only wear luxurious and well-known brands, and they follow a lot of fashion trends. This isn’t true; they mainly buy things to feel nice, rather than to show off.” PROMOD’s wearable mix-and-match pieces reflect the modern French woman; Wear what makes you happy, wear it your own way and you are on your way to embodying true French style!
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Binghamton U. dance show gives new life to 'Orpheus'

According to the ancient Greek myth of Orpheus, the renowned musician and poet refused to accept the death of his new bride, Eurydice, and descended to the underworld to rescue her from Hades. That journey ultimately proved to be in vain.
Their tale of grief and hope has resonated through the ages, with countless artists and storytellers drawing inspiration from both the romantic mysticism and basic humanity that provide its ultimate lessons.
This weekend, four faculty choreographers and about 25 student dancers in Binghamton University's theater department will share their new twist on the old legend at the Anderson Center's Osterhout Concert Theater.
"Orpheus" blends the talents of Stephanie Surowka-Sanders (ballet), JoEllen Kuhlman (jazz and tap), Andy Horowitz (modern dance) and Samuel Elikem Nyamuame (African dance) into a seamless, wordless narrative that relocates Orpheus and Eurydice's wedding to an African village.
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James Burns wrote original music for the production, and Nyamuame and a band (which includes some members of BU's Nukporfe African Dance and Drumming Ensemble) will perform the new compositions.
Although Kuhlman helped to revive an annual dance show a few years ago, "Orpheus" marks the first time that four choreographers have collaborated on one production. (The suggestion came from within BU's theater department.)
"We [the choreographers] knew it would be a huge undertaking logistically, with our schedules, because we have lives and jobs outside of the university," Surowka-Sanders said earlier this week. "It's a difficult feat to figure out when everybody can make rehearsals or choreography time. Time was our biggest obstacle — who can do what when?"
Storyboarding sessions helped to flesh out the ideas before rehearsals began, and the choreographers have supported each other's visions for what "Orpheus" will look like this weekend.
"When it's only one choreographer, you are working within the realm of that certain choreographer's strength," Surowka-Sanders said. "Usually that's one particular style, or two if you get lucky — but when you get four of us together with very different styles, the end result will be something very visually interesting with lots of layers, tones and textures within the movement, because there are so many different ideas and backgrounds coming together."
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A night to remember

Actor and model Fawad Khan, Pakistani heartthrob with an enviable fan base in both Pakistan and India, showed why he remains the ultimate crowd puller, as he attracted one of the largest audiences generally associated with community events at the International Fashion Festival (IFF) 2015.
The presence of the mega-star among top fashion designers from Pakistan, India and Qatar brought certain radiance to the event. As news of his arrival to Doha reached people before weekend, hundreds of fans started registering with Designer Fashion Lounge (DFL), the organiser of the fashion extravaganza, to get a chance to see their favourite star up close.
As the glamorous night arrived, there was a run at the red carpet to be photographed with Fawad. He was definitely the most sought-after and most talked-about star in Doha Thursday night.
As the show began and the actor took his seat amongst the crème de la crème of Pakistani fashion industry, a loud cheer rented the packed Al-Majlis Ballroom at Sheraton Doha. Top models from Pakistan, including Cybil Chowdhry, Fouzia Aman and Rizwan Ali, walked the ramp, displaying designer wear from Pakistan and India besides the locals.
After much swooning over his recent Bollywood debut Khoobsurat (Beautiful), fans went ecstatic when Fawad walked the ramp in an ensemble from the film.
“I am overwhelmed by the love I have received from you (the people of Doha) and I absolutely love it here. Thank you so much for giving me this honour to meet you all and to witness such a beautiful show,” Fawad told the audience.
Fawad recently won the Filmfare Award for Best Actor (Debut) for Khoobsurat. He is one of the few Pakistani artistes who enjoy a large fan base on both sides of the border in Pakistan and India.
Fawad was a lead vocalist for a Pakistani music band EP before rising to spectacular fame with his performance in HUM TV’s drama serial Humsafar, which was recently broadcast in India by a satellite channel to much acclaim.
Speaking to journalists here, Fawad said he has enjoyed working in Bollywood and was looking forward to doing more exciting projects. He however, pointed out that it would be unfair to brand him a “Bollywood actor” because he had just made his debut in that mega film industry.
“The people of India are very welcoming and loving and I would definitely like to work there in future as well,” said Fawad. He intends to divide his work between Pakistan and India equally.
Anoushay Ashraf, top VJ and actress from Pakistan, wearing an elegant Adnan Pardesy outfit, conducted the fashion show while Cybil Chowdhry continuously drew applause from the audience every time she made an appearance, in different designs.
“The attendance was way above our expectations. We had to increase the sitting capacity in the hall right at the beginning of the show,” Sana Salman, the CEO of DFL, told Community.
The quality of designers was unquestionably high. Cameras from the audience were out flashing even as designer Hamna Amir also made a statement with her articles. The fashion show was followed by an exhibition of the labels by all participating designers at Sheraton the next day.
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“By the evening, the entire collection was sold out. There was a huge crowd of genuine buyers who placed multiple orders with the designers,” Sana told Community. She said the buyers showed particular interest in the bridal wear with plenty of orders.
“In fact, the response was so overwhelming that the designers suggested we should hold a separate fashion show for bridal wear only, sometime in the future. It was great to see this happening here in Doha,” Sana added.
She felt it was a one of its kind experience for DFL and their first major show in Doha.
“We have taken all positives and negatives from the event and would make it even bigger and better in the future. The response from people of Doha was more than just encouraging,” a beaming Sana said.
A multicultural audience comprising members of Pakistani, Indian, Qatari and other communities witnessed the fashion show and the exhibition.
The IFF showcased designs from Pakistani and Indian designers such as Asim Jofa, Umar Sayeed, Fozia Aman, Rana Noman, Hamna Amir, Rani Emaan, Sadaf Amir, Adnan Pardesy, Shazia’s bridal gallery, Umsha, Brahtti and Waseem Noor.
Enthusiasts also appreciated the designs displayed by local fashion houses from Qatar such as Rivaage, Jo lamode, Sara Buhindi, Nora Alahajri, Noblesse Couture, Me lamode, Al dabi, Labra Boutique, Jovrn and Kjay.
“Our main objective is to promote Asian fashion industry in the Qatari market and help designers to explore it, and to do this, by merging the talent of both Arabs and Asians to give the finest products to the buyers,” emphasised the DFL CEO.
DFL, she said, understands the importance of Asian fashion in Qatar market and the demands of local communities.
“We have already planned two more fashion shows and exhibitions for the year before opening an Asian multi-brand store (DFL) in Doha,” Sana told Community. She thanked the Qatari Business Women Association and Jawaher al-Kuwari, Executive Member of the Business Women Forum under the umbrella of Qatar chambers, the founder and managing director of Jo La Mode Boutique for being their strategic partners.
Sana also thanked Commercial Bank of Qatar for agreeing to become the Diamond Sponsor of the event, Royal Plaza as Platinum Sponsor and Inter Group Shipping and Logistics as the Gold Sponsor for IFF.
She said the DFL has already started working on their next big project. Without disclosing the details, she said it would be a mega music event with a mega star from Pakistan and her team was already in talks with the manager of the singer.
Sana said the IFF is going to be a patented event in Qatar as the DFL intends to get it registered with Qatar Tourism Authority (QTA). The people from the authority personally witnessed the show and met the Pakistani celebrities as they appreciated the impressive turnout.
She hoped the fashion festival would become a major community event in Qatar in future.
Sana appreciated the works of her partners from Pakistan, the S&S event designers, Production 021 backstage team, savvy events PR partners, Naeemul Haq (Choreographer), Trinity Modeling Agency Qatar and Pakistan’s top entertainment channel HUM TV in making the show a success.
She also acknowledged her partners from Qatar, including Sixth Rent a Car, Ahlan magazine, Diva Lounge Spa and Habib’s Hair and Beauty besides the Team Apex, who provided on ground support to the event.
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Why We'll Never Bake Your Fake 'Wedding' Cake

We are your fellow sinners and no better than you. We know this. We are saved from eternal torment, self-wrought, by the grace of Christ alone. If you are an unrepentant, "out and proud" homosexual practitioner, then you are not. It is our deepest prayer that you too will accept the free gift of eternal salvation, repent, and "go and sin no more."
The alternative is a living hell.
Let us be direct. According to the unequivocal moral precepts of biblical Christianity, explicit throughout both the Old and New Testaments, your homosexual behavior is sin. Sin is evil. Homosexual behavior is the central, defining characteristic of your counterfeit "gay marriage." Therefore, "gay marriage" is evil. Christians are obligated to avoid sin—to "do no evil." "Or do you not know that the unrighteous will not inherit the kingdom of God? Do not be deceived: neither the sexually immoral, nor idolaters, nor adulterers, nor men who practice homosexuality ... ." (1 Cor. 6:9).
It really is that simple. This is why, as faithful Christians (apostate "Christians" notwithstanding), we will never have anything whatsoever to do with your pagan, sin-based "same-sex wedding" rituals.
We will not bake your fake wedding cake.
We will not arrange your fake wedding flowers.
We will not take your fake wedding pictures.
We will not host your fake wedding reception.
We will not do these things because to do these things is to disobey God. It is to aid you in your sin, to cause you to stumble, which, in and of itself, is to layer sin upon sin. "It would be better for him if a millstone were hung around his neck and he were thrown into the sea, than that he would cause one of these little ones to stumble" (Luke 17:2).
While we all fall short of His glory, the history of God's people has shown that no unjust law presuming to force us to do otherwise, will ever make us disobey God in this or any other regard. We realize that forcing others to affirm that which offends God makes you feel better about your sin for a time. We also realize that it infuriates you when we refuse to join in as you attempt, ineffectively, to justify your wickedness by calling it "marriage."
This is nothing new. We Christians have been infuriating pagans by refusing to bend on truth for over 2,000 years.
And we will continue to do so until Christ returns.
Children don't like to be told "no." They sometimes throw a fit when we don't give them what they want. Still, when we know that some desire they may have is both wrong and harmful to them, we must tell them no.
They get over it.
You'll get over it.
We're telling you no because we love you with the love of Christ. But understand this: As we are so commanded, we must, and do, hate the evil conduct by which you define your identity. Sexual immorality—in this case self-destructive and disease-spreading sodomy, which violates the laws of nature and nature's God—is a grave sin that will destroy you in both body and soul. You are deceived. It is not "who you are." It is what you do.
And what you do is wrong. Period. Full stop.
If we as parents were to condone, support and even assist our children in the commission of a grave sin, of a wrong, what kind of parents would we be?
What kind of friend would we be to you if we condoned, supported or assisted you in the commission of your grave "gay marriage" sin?
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Maybe this will help you to understand. Whereas, and while you may be in denial of this fact, sexual immorality is the central defining characteristic of your temptation-driven "gay" identity, Christ's righteousness and our obedience to Him are, at least in part, central aspects of our Holy Spirit-gifted Christian identity.
You can financially ruin us, sue us, throw us in jail or even feed us to the lions, but we will never, under any circumstances, while empowered by the Holy Spirit, deliberately disobey God to please you or anyone else. "Do not be afraid of those who kill the body but cannot kill the soul. Rather, be afraid of the One who can destroy both soul and body in hell" (Matt. 10:28).
Of late, we Christians are especially inspired by one of our Christian sisters (and others who face similar trials). She is leading by example in her obedience to Christ.
"If Rob walked in the store today, I would hug him and catch up on his life. The same faith that tells me that I can't be a part of Rob's wedding is the same faith that tells me to love him as Christ does."
And with this graceful, compassionate and very truthful statement, Barronelle Stutzman, the elderly grandmother and floral artist who faces financial ruin at the hands of both homosexual activists and the state of Washington, has at once mirrored the love of Christ and exhibited the heart of a lion.
Ms. Stutzman is the victim of anti-Christian persecution and discrimination. Her case has garnered national attention and represents a microcosm of the cultural Marxist effort in America to silence Christian dissent and compel us to join in sin. Barronelle is being sued by homosexual practitioner and longtime customer Rob Ingersoll for politely declining to create the floral arrangements for his mock "gay wedding." She has been charged by Washington Attorney General Bob Ferguson.
Because of the tremendous negative publicity Ferguson's and Ingersoll's persecution of Ms. Stutzman has generated, Ferguson recently offered, via press release, to quickly settle the case for $2,000—as long as Ms. Stutzman would surrender her Christian freedom and right of conscience and promise, going forward, to sin. That is, to take part in sodomy-based "marriages."
Again, and with characteristic grace and courage, she flatly declined.
"[This conflict] is about freedom, not money," wrote Ms. Stutzman in reply to the offer. "I certainly don't relish the idea of losing my business, my home and everything else that your lawsuit threatens to take from my family, but my freedom to honor God in doing what I do best is more important. Washington's constitution guarantees us 'freedom of conscience in all matters of religious sentiment.' I cannot sell that precious freedom. You are asking me to walk in the way of a well-known betrayer, one who sold something of infinite worth for 30 pieces of silver. That is something I will not do."
Truth, in love.
Dear "gay" friend, you will one day realize, hopefully before it becomes too late, that you are not only on the wrong side of history, you are on the wrong side of eternity.
It breaks our hearts to see you there.
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Salman Khan's Ex-Girlfriends Lulia Vantur, Sangeeta Bijlani Party Together

Salman Khan is known to be a fuss-free individual, and lets people be on their own. And this probably explains why and how he manages cordial relationships with his exes, barring Aishwarya Rai Bachchan, ofcourse.
Salman Khan has a reputation of generally letting people lead their own lives. And this probably explains why he manages cordial relationships with his exes, barring Aishwarya Rai Bachchan.
A recently-taken picture doing the rounds on social media shows the superstar's ex-girlfriends Sangeeta Bijlani and Lulia Vantur partying with a bunch of other friends. Now, while some speculate that the Romanian beauty is still Salman's ladylove, a Filmfare report suggests that the two have split amicably.
The superstar's equation with Lulia has often been under the scanner, but has never been acknowledged by the actor. So, the breakup and patch-up news are mere speculations.
However, both Sangeeta and Lulia are often invited to the actor's private parties and dinners. At Salman's sister Arpita Khan's wedding with Ayush Sharma in Hyderabad, the "Kick" star reportedly introduced Lulia as his girlfriend.
"Salman and Lulia were always together. There have been rumours linking him to Jacqueline Fernandez and Daisy Shah, but the fact is that Salman is in love with Lulia. She is very comfortable with his family too," Mumbai Mirror quoted an insider from the lavish wedding.
Thanks to his friendly and carefree nature, Salman has often been linked to his co-stars. Jacqueline Fernandez, Elli Avram, Sneha Ullal and Daisy Shah are some such examples. Katrina Kaif and Somy Ali are two of his confirmed former girlfriends.
Interestingly, although his bitter breakup with Aishwarya projected him as a jealous lover, he is pretty sorted about his relationships now.
"If a person wants to go you cannot stop her from leaving. I've tried everything, from anger to emotional blackmail, from fights to tears, from possessiveness to gyaanbaazi. If they'd liked me enough, they would not have moved on. But if they'd stayed on it and been unhappy it would've filled me with guilt," Salman told The Times of India in an interview early last year.
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Bank pulls line of credit from bridal store forced to shut down over Ebola

Bank pulls line of credit from bridal store forced to shut down over Ebola
The stigmatized Ohio bridal shop where Ebola nurse Amber Joy Vinson‘s bridesmaids tried on dresses was forced to shut down due to lack of business — and its longtime owner is feeling jilted by her bank.
The Coming Attractions Bridal and Formal store in Akron where Vinson shopped in October was put up for sale last week after owner Anna Younker said First Merit Bank pulled its line of credit.
“We have NEVER missed a payment nor are we behind. They feel this is ‘to THEIR best interest,’” Younker wrote on the shop’s Facebook page about First Merit, its bank of 22 years.
Younker blasted First Merit for “taking control” of her bank account.
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“To freeze our funds was wrong,” she told The Post on Tuesday. “We have enough money in there to do everything we need to do. I’m so disappointed (the bank) is adding more pressure. Our checks are now bouncing.”
First Merit did not immediately respond to a call seeking comment.
Beautiful building for SALE! We are in a position of urgent need to sell! Our bank of over 22 years, FIRST MERIT, has made the decision to DEMAND our business credit line to be paid in full immediately. We have NEVER missed a payment nor are we behind. They feel this is "to THEIR best interest". We felt we had everything under control. Please share. Thank you
Younker said a 21-day closure — the disease’s incubation period — and decontamination after Vinson’s visit, in addition to the stigma of customers calling the place “the Ebola store,” devastated her business.
She blamed rampant misconceptions for her store’s demise.
“People thought Amber was trying on dresses and that she was sweaty,” said the incredulous Younker, noting that the nurse was only there for bridesmaid dresses. “Brides no longer tell people they bought their gowns here. People think my dresses are covered with Ebola.”
Vinson, 30, a nurse at Texas Presbyterian Hospital in Dallas, was diagnosed with the deadly virus days after visiting the store, where Younker said she had shown no symptoms.
The three-week closure and canceled orders cost the store at least $100,000. That wasn’t covered by her insurance because it excludes viral illnesses.
The nurse, who has recovered, later asked Younker to refund the $480 paid for the dresses — a request Younker has called a “slap in the face.”
Younker, who is refinancing her home for equity, said she’s not sure what she’ll do after her business closes at the end of May.
“My son told me I should work in a nursing home because I like talking to old people,” she said, chuckling.
The 4,000-square-foot building, which was built in 1996, is listed for $338,000 on Cutler Homes’ website.
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How a gridlocked London fashion scene can make the next move

Growing pains: How a gridlocked London fashion scene can make the next move
There are big changes going on in London fashion. It’s reached a tipping-point. The capital’s fashion week began with a memorial for Professor Louise Wilson, former head of Central Saint Martins’ MA course, whose graduates shore up the schedule. It closed with an award ceremony thrown by Elle magazine, which hurrahed various talents but saved special mention for the British contingent: Erdem Moralioglu won designer of the year; the British-born (but New York showing) Stuart Vevers of Coach, and Katie Hillier and Luella Bartley of Marc by Marc Jacobs, received awards for accessories and contemporary brand respectively.
And in between? Well, there were some fashion shows. A few were memorable. Most were not.
That’s the issue. London seems to be in the middle of an identity crisis. Once the runt of the quadrilateral, bi-continental fashion circuit – with plenty of creativity but zero financial clout – London now has the pull of a clutch of advertisers, as well as young(ish) designer names who’ve sold big to multinational luxury conglomerates. Add to that the independent success stories of designers such as Mary Katrantzou and Erdem, whose businesses make a tidy turnover (the latter is opening his first boutique this year, the former does swift online retail via her e-commerce site), and London has lost its ill-gotten repute as a fashion hub where, alas, it was impossible to build a commercially viable company.
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The danger, however, is that London may lose its reputation for design innovation. Because, although some shows were good in London, none were great. Certainly, it’s difficult to identify shows of a world-class standard, shows that felt as if they were setting the fashion agenda – there are, admittedly, remarkably few of those globally – but we expect London to throw up something. Perhaps it’s an issue of context: London has been leading the pack for so long, we simply expect more from it. On the other hand, when you’re heaped with laurels, there’s the overwhelming urge to rest on them.
There’s also the need to sell. Which can frequently be an insidious influence on designers’ visions. The natural urge then is to look at what has shifted in volume in the past and to rehash rather than innovate.
That doesn’t mean copying – although plenty of that went on, mostly from the back catalogues of Miuccia Prada and Nicolas Ghesquière for Balenciaga – but it does mean reproducing that which we have already seen. Changing the colour or the fabric really isn’t enough to keep the press interested, although perhaps buyers will rebuy a bestseller in a different colour and weight. Those would seem like sure-fire hits – though it remains to be seen if consumers are quite so easily pleased.
That all sounds very negative. The overwhelming experience of London wasn’t negative – but it was a little deflating, designers seemingly thrashing in an ungainly fashion, trying to pinpoint how to move forward. Accessories designer Anya Hindmarch devoted her show to the M25 – and it felt fitting. London traffic throughout the week was gridlocked. The fashion seemed to be, too.
A small selection of designers marched ahead bravely – possibly blindly. JW Anderson’s show was an example. It seemed almost antithetical to his previous output, focusing quite so precisely on a single moment in history – namely, the early 1980s, resurrected in all their gory glory: wonky of peplum, garish of lurex, lumpy and bumpy, set to a Human League soundtrack. It was, at least, something different for Anderson; loved and hated in equal measure.
In the sequence of his work, you wonder if it marks a true departure for new pastures, or an entertaining but ultimately futile cul-de-sac. Because what Anderson has to say is interesting, in the landscape of London fashion. He’s one of those designers who a major conglomerate has seen fit to invest in – LVMH, who not only own a minority share of his brand but have also handed him the reins of Loewe – so even if you don’t admire his clothing, there is a stamp of validation that demands attention.
The Eighties were a point of reference for an odd number of collections: Christopher Kane’s thesis on seduction borrowed its colours from the assertive, sexualised power-dressing of the era. Marques’Almeida ran the brocade bustiers and puffballs of Christian Lacroix through the rinse, warping and fraying them until they felt fresh and punched with a new power.
Mary Katrantzou had a feel of Lacroix too, with her weighty embroideries and overload of visual stimuli – but she and Lacroix share a mind, rather than one using the other as a reference point. Her collection this season was inspired by horror vacui – a fear of empty space. She faced her fear, and it gave her collection a jolt.
Like Anderson, Thomas Tait – a breathtakingly young Canadian with a hubristic bent – has an LVMH stamp of approval. He won the organisation’s inaugural “Young Fashion Designer Prize” last year, which may sound a bit like a Post Office contest for schoolchildren but comes with a €300,000 (approximately £220,000) cash prize and a year of mentorship from the industry’s finest. It’s also judged by designers Raf Simons, Phoebe Philo and Nicolas Ghesquière among others. It’s a big deal.
Tait delivers on his promises. His clothes were excellent, exciting in their arciform shapes, luxurious in their textiles. They had a real sense of original design. One of Tait’s influences was director Dario Argento: it was, possibly, in emulation of his lighting effects that Tait blacked-out his venue and illuminated pale, mean strips for his models to walk down. That blind marching ahead – it made it impossible to see the clothes. At least you couldn’t accuse him of being overly commercial.
Is commercialism a problem, or a solution? It can be both. It has been a solution in cementing London’s prominence as a fashion capital, and the relevance of its designers’ clothes in the saturated global marketplace. (If they don’t sell, who will buy?) On the other hand, as the best talents prove, selling isn’t the same as selling out.
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