The Finnish delegation deserves a special mention. With looks that were more London than “lagom” – there was a sophisticated edge to the menswear that went above and beyond Scandinavian bread-and-butter minimalism. A particular attention to surface textures and prints as well as thoroughly developed concepts made the menswear collections stand out – the stories were felt – quite literally.

Galleri 5 Kulturhuset Stadsteatern 2016

Galleri 5 Kulturhuset Stadsteatern 2016

Galleri 5 Rolf Ekroth Kulturhuset Stadsteatern 2016

Galleri 5. Kulturhuset Stadsteatern 2016

by Elisabeth Krohn

Fashion in Seven Acts is open at Gallery 5, Kulturhuset Stadsteatern, Stockholm, from until September 4.

Photographers: Matilda Rahm/Kulturhuset Stadsteatern

The post Fashion in Seven Acts – from emerging Swedish and Finnish designers first appeared on The Glass Magazine.

Taking lessons from laid-back style of her native Los Angeles and the needs of a woman of the world, jewellery designer Siran Manoukian debuts her fashion label SIRAN for Autumn Winter 2016.

Siran Manoukian

Her background in jewellery is apparent – this is collection of subtle and seasonless separates, something you would want to wear everyday. The metallic fabrics even whisper of her penchant for shimmer. Siran confirms: “I have always been drawn to everything shiny, and fabrics and materials are essential to me – I love a distressed silk, a lamé shirt.”

A look from SIRAN AW16

A look from SIRAN AW16

Easy backless halter tops and dresses in shades of molten metal sit alongside a long-line blazer and the perfect oversized white shirt. “This is what I live in – I have designed things I wanted but never found,” Siran explains – liberal layers that can be dressed up or down, executed with careful attention to detail. A cleverly hidden seam makes a long-sleeve t-shirt a staple, a draped cardigan reveals a softly textured, reversible inside.

“How it feels on the skin, is also so important, it can be the most beautiful garment but if it doesn’t feel good on I won´t wear it.” We could not agree more.

by Elisabeth Krohn

Images courtesy of Surgery Group

The post Molten metals at SIRAN AW16 first appeared on The Glass Magazine.

Presented in the remit of Tate Britain and complete with an art gallery audio guide, the collection was visible only through rectangular slits in large white box structures, courtesy of set designer Thomas Petherick. Proving she is one for aesthetic evolution, Faustine Steinmetz’s art work left us enthused.

Look from the Faustine Steinmetz AW16 collection.

Handbag from the Faustine Steinmetz AW16 collection.

by Elisabeth Krohn

Images courtesy of Purple PR

The post LFW AW16: Faustine Steinmetz first appeared on The Glass Magazine.

Integrating nature and the cityscape in her designs, Kitty Joseph’s eponymous line echoes the skylines of London in fine crystal pleats, grid-like mesh and quilting and watercolour ombré stripes. Cleverly using 3D techniques, she plays with light and dark, adding unexpected depth and spectrum to her bright colours. This combined with clean-cut, accessible shapes, as in the quilted blue bomber from her SS16 collection, culminating in the perfect example of a staple statement.

A look from Kitty Joseph’s SS16 collection

How has your background in textiles contributed to your aesthetic as a fashion designer?
It has meant that I approach everything from a very different angle, which I suppose is refreshing in a way – that is the response I get from people. I spend such a huge amount of time each season looking at colour, putting together ideas for prints and really developing them before I come to ideas for silhouettes.

I think my work is kind of unusual in that way. I would say that being a fashion designer who is also a print designer I am not buying prints of someones else, the prints are more like a handwriting, the DNA of the brand. It is about the prints and textiles really singing, they tell you what to do, where to go.

A look from Kitty Joseph’s SS16 collection

Your last collection was inspired by London sunsets – could you tell us more about that and what inspires you as a designer?
I’m lucky enough to have a space up on a roof terrace in Bermondsey and I’ve got a really great view of the sky, the Shard, and at the end of the day I like to just escape up there with my sketchbook. I draw a lot with pastels, I’ve got this range of old Sennelier pastels, french pastels, and they come in the most beautiful colours. It’s a real treat to go to an art shop and just pick up some extra colours. I just play and draw and record the effect of light and colours changing in the sky – it is this ongoing obsession for me.

Observing colour and nature in that way is really important to me. Last season I stuck all my drawings up on the wall of London and Bermondsey and just took colours directly from the palette. The soft, pastel stripes they came from the drawings I did from these strange layers of cloud, with a subtle change of colour across the layers. The print developed from that simple idea, these bands of light.

What’s really interesting when you record the light in the city is that you have this combination of artificial light, pollution, the reflections of big buildings, the light of the sky, and all sorts of things that make this really unusual light and colour.

A look from Kitty Joseph’s SS16 collection

You are very popular in the Asian market, why do you think that is?
From my third season I had a following – it wasn’t necessarily planned, but I think it might be something to do with my bold approach to colour. In Hong Kong and mainland China, people are not afraid of colour and experiment more with it. My accessories as well are really popular, as a more playful, fun way of wearing the brand.

I’m sure it’s been quite a journey from your graduating collection till now. Would you have any advice to young designers breaking through?
I trained in textiles so I had to learn a lot of things, not only how to set up a business, but also how to design clothing as well as prints. I would say, being at college is a really important time to work out who you are and distill that down to create your personality as a designer. That’s really important – this industry is saturated with graduates starting out.

When you start a brand you do have to listen to your buyers to refine your product – you start by creating things and then you just have to see what sells and let that inform you while staying true to your vision. It’s essential that you enjoy what you do – you can see it in the work that you love it!

Collaborations are a great way to get into the industry, I did a collaboration with Absolut Vodka, it was a real colour project and a good way to bring revenue in, when starting a new brand. Consultancy and teaching are also good ways to expand your network and horizon, to keep growing your business.

Having mentors, friends and a support network is so important – getting advice from other people helped me avoid their mistakes. You are not going to know everything at the beginning, so try to surround yourself with good people help you along. London is competitive, but it is quite a unique place in the way that there is a community if people wanting to help each other.

A look from Kitty Joseph’s SS16 collection

by Elisabeth Krohn

Images courtesy of Kitty Joseph for SS16.

The post Contemplating the cityscape – Kitty Joseph explores light and colour in her SS16 collection first appeared on The Glass Magazine.

There was a rigidity to the shapes as well, ‘80s power-suits reinterpreted as blazer-dresses and determined square lines only interrupted by a cool slouch, slashed splits and the occasional flame. Always on fashionable point, we look forward to Acne’s spring of rock stars.

by Elisabeth Krohn
Images courtesy of Acne Studios / TCS UK

The post PFW SS16: Acne Studios first appeared on The Glass Magazine.

The post PFW SS16: Rochas first appeared on The Glass Magazine.

Slim belts cinched the waist of light shirt dresses and high-waisted shorts and trousers while a sprinkling of small neck scarves, cropped cardigans and a sun-ray skirt added to the seductively crisp mid-century vibe.

by Elisabeth Krohn
Images courtesy of Catwalking.com

The post LFW SS16: Margaret Howell first appeared on The Glass Magazine.

Moving away from the heavier denim explorations of previous seasons, for this presentation Faustine Steinmetz moves into new exciting territory – retaining her sophisticated yet streetwise approach to laid-back simplicity.

by Elisabeth Krohn

Images courtesy of Purple PR

The post LFW SS16: Faustine Steinmetz first appeared on The Glass Magazine.

Two later looks featuring patchwork college sweaters and ruched skirt and shorts were a bit to clunky to be a hit. However, the ankle-length dresses were a favourite – styled as they were with chunky pony skin books, the result of a collaboration with British footwear brand Penelope Chilvers.

Playing with familiar shapes and elements from an historical notion of girlhood, Molly Goddard continues to prove herself as one to watch, leaving us excited for the next adventure of her very modern, mind-of-her-own muse.

by Elisabeth Krohn

Images courtsey of Jamie Stoker

The post LFW SS16: Molly Goddard first appeared on The Glass Magazine.

Featuring tan and white sleeveless tunic and flares combos, the 70s infused opening looks had a safari-nomad touch, accentuated by belted waists and cross-body python bags worn at an archer-like diagonal. These silhouettes remained, yet grew more detailed, and progressively warmer, layered with skintight polo-necks in rust, burgundy, teal and sage green, and distorted by great fur sleeves and placement patches in muted ombré hues, adding an almost sculptural element.

Furthering the African vibe, kaftan dresses and coats introduced naïve palm leafs, hand-drawn stripes and abstracted prints to the mix – the navy, brown and crisp white combination one of our favourites.

A sweet powder pink coat entered the catwalk towards the end of the collection, challenging and confusing the narrative. The looks to follow, with the exception of further printed success stories, felt heavy, like a bit of an afterthought.

by Elisabeth Krohn
Images courtesy of Style.com

The post MFW AW15: Marni first appeared on The Glass Magazine.

Empire-line dresses featured supersized embellishment and prim bows or came adorned with floral Perspex brooches. Exotic gardening gloves in brightly hued crocodile made for a suitably quirky accessory, while the leather opera length variety found a match with nearly every look. The hides found their way into the garments as well – a strappy mini dress made from bright green faux-ostrich was layered with a duck-egg knitted tee, a soft pink shirt collar making the textural composition complete. Sharply tailored herringbone tweed similarly contributed to this tactile mix.

Prim, sugary and more Prada than Prada has been for some time, this was a strong collection that refuses to be made a wallflower.

by Elisabeth Krohn
Images courtesy of Style.com

The post MFW AW15: Prada first appeared on The Glass Magazine.

Complimenting the monochrome and graphic elements of the collection, deep claret and midnight sky blue were mixed with bright orange, purple and citrus green, clashing in a challenging way. Great floor-grazing velvet coats and wide-legged trousers paired with sheer pussy-bow blouses or intarsia python bikers added warmth, tactility and texture and brought the looks down to earth.

This AW show is rumoured to be the Norwegian designer´s last for the brand, his reasons for leaving yet unknown. Dundas´ Pucci legacy is sexy, groovy glam, yet with a vein of shameless romance – he will be dearly missed.

by Elisabeth Krohn
Images courtesy of Style.com

The post MFW AW15: Emilio Pucci first appeared on The Glass Magazine.