The Cambridge Satchel Company's Brand Evolution: S/S14 Looks Bright

Today I received some of the shiny new images from the S/S14 collection by the Cambridge Satchel Company, which has gone from strength to strength since its formation around a kitchen table back in 2008. This latest range shows just how determined the brand is to achieve longevity and not just be part of a short-term satchel trend. No wonder it's just had a cash injection of over £12 million from Index Ventures. Peach Pink and Bellflower Blue are going to be it-colours for the season, mark my words.

 [Images via Cambridge Satchel Company S/S14 launch and Google+ profile].

These longer strap options won't hang around for long this season.

 I would snap up this navy clutch in an instant.

Candy clutches (and traditional black) are sure to be successful.

Whilst I'm yet to get my hands on one of these bags, I can definitely see the appeal of their latest evolution into clutches, two-tone variants and long shoulder strap numbers. The key to keeping the brand fresh is to offer something desirable and different, as well as the same reliable models that the public knows them for. 

 Two tone works well in both of these colour ways.

Even small adjustments, such as panels made from leopard print or tartan fabric, Vivienne Westwood designed prints or iconic Harris Tweed, show that there is more than one ideal CSC customer and they will all be catered for. I've seen the Accessories Editor of Elle carrying a neon number at London Fashion Week, but I've also seen grandmas, students and mums buying into the brand as well. 

 There's nothing like a bit of punk spirit from a British brand.

Admittedly the designers could have easily become stuck in a rut of continually reinventing the wheel and trying not to shake up tradition, knowing how well the standard styles were selling, but instead they've tried new innovations and colour combinations regularly. Fluoro, double colour and metallic options have all proved popular, suggesting there's no let-up in satchel fever, and the company's products are stocked in over 100 countries. 

 These fluoro music bags would certainly brighten up a dull music lesson...

Taking a look at the latest styles, I have a feeling that Bellflower Blue is going to look great with S/S14 outfits, whilst the patent croc print clutches are real investment pieces for smarter occasions. The Cambridge Satchel Company has come a long way from its humble kitchen table beginnings, and I'll be eagerly anticipating its next move.

The fashion loop: what's so radical about A/W13's high street buys?

I bloody love Autumn/Winter clothing collections; it's no secret that I normally find them more exciting and creatively diverse than Spring/Summer, when pastels, neon and all things 'cute' come out of the woodwork with ritual predictability. But this year I've found that the bigger ritual and the feeling of being stuck on repeat has come from my first glimpses of A/W13 on the high street.

That pink coat could have been bought last year, but it's a new Zara offering.

[image via Company.co.uk].

Whilst I loved the big trends of A/W12, with the burgundy and the khaki and the navy, the continual appeal of leather trousers (which have been knocking around for a few years now), the quirky squirrel and owl motifs on jumpers, the punk nail art, the fake fur and mohair in crazy colours, the dark florals, the tartan prints, the pale pink coats, the spaghetti strap silky camisoles and slip dresses, the houndstooth and the metallics and the faux-leather midi skirts, I've found them to be coming around again with very little difference in what's being offered. 

Clearly retailers know when they're onto a good thing, and we obviously all bought up the stuff last year, but how much of it - realistically speaking - needs replacing (apart from my faux-leather trousers, which need yearly replenishment as the knees always go)? How many trends are we going to buy into for the second or third consecutive year and not even bat an eyelid, dampening the impact of the really unusual trends for this coming season, like Celine's bag lady chic and Stella McCartney's oversize pinstripes? In amongst all of the recycling, the Celine and Stella tributes aren't given the edge that they need to stand out against the repeated failsafe hits.

 Brocade for A/W12 from Marks and Spencer [image via Telegraph.co.uk].

Brocade comes back again for A/W13 [image via Telegraph.co.uk].

It just feels oddly like a huge case of deja-vu as I walk round the shops and browse the internet, seeing the same tartans, the same kooky jumpers, the same punk luxe and grunge pieces. In fact, currently in the Zara sale you can pick up a faux-leather burgundy pleated skirt, which looks remarkably like it could work for the upcoming season, so just buy it now and save it for a month or two and you'll be ahead of the game... or just wondering if it's a ploy to make you need the inevitable newer and shinier version that they're bound to bring out. 

Of course, people may have missed out on certain key purchases first time around, and I'm all for getting the items I should have put in my basket in 2012 (pale pink coat, please), but there's honestly very little at the moment that feels distinctly new or innovative to make this feel like a new season. Maybe the retailers are afraid to take a risk and they feel safer picking up the trends that have been recycled by designers again and again; maybe it's down to the trend forecasters looking to street style photographers and hipsters, who are all looking at each other, and we've just run out of ideas? Has there been a saturation point? Or can we expect a sudden injection of originality in September and October, when the real hardcore winter fashion starts to hit home?

 Shearling meets leather for A/W12 at Zara with this short jacket [image via Look.co.uk].

Here it comes again, with the 'combination cropped jacket' for A/W13 [image via Zara.com].

If you think I'm catastrophising, I'd ask you to go into any high street fashion retailer - Zara, M&S, H&M, Primark - and check out their early A/W13 drop right now. Look at the items carefully and try and picture them in light of what was on sale a year ago. Does anything feel like it's too new, design-wise, to be something you could have bought in 2012? I challenge you to find five items that are definitely from this year's Autumn/Winter collection and couldn't be mistaken for last year's, or 2011's. Let me know if you're successful. The best examples I could track down were some rather brilliant furry winklepickers and slipper shoes from M&S - pure fun, but I need more like this in order to feel confident that retailers aren't getting lazy.

Photo Essay: Selfridges' Christmas Window Displays for 2012

 Anya Hindmarch crackers and a train set kicked things off for a Selfridges-tinted Christmas.

The London windows were colourful as ever on Oxford Street.

See a time-lapse video of how they were put together by going to the official website.

 Their trademark yellow was used as wrapping paper for all kinds of objects (check out the sausage dog with the headphones).

 Even domestic set-ups have a fashionable twist.

 Christmas TV, Selfridges-style.

 More knitwear than you can shake a stick at.

 The kids are framed by a huge photobook.

 It was nice to see a Pearly King getting involved.

 Carrying on the patriotic vibes from their summer windows.

 A giant stiletto is big enough for Santa to be seen in.

 Everything gets a bit showgirl-esque with the horses and feather headdresses.

 Your presents are carried by a porter, naturally.

 A little girl is drawn to the lights.

 If you hadn't guessed yet, over-sized is the window trend of the season. Hello, giant nutcracker.

 An alternative Christmas fairy sparkles next to a photo montage tree.

 This man was not up for peeling sprouts.

 Another fairy hangs around the tree.

 One of the more corporate windows gave you ideas for those difficult-to-buy-for people.

A makeshift teepee and pizza is the perfect way to greet Boxing Day, people.

[All photos my own.]

Sketchbook Magazine Goes Online: Interview with the Editor

When I read recently that the iconic Sketchbook Magazine (staunch supporter of illustrators, fashion bloggers and creative types) was being re-launched, I was intrigued to see what the new look publication would be like. As a self-confessed magazine junkie who'd readily spend my weekly food shopping money on creative glossies, it's fair to say that anticipating the re-launch was a bit like counting down to Christmas. And the best bit? It's moved totally online, giving you unrivalled access to the best up-and-coming design talents from the creative industries - artists, fashion designers, photographers and graphic visionaries. I caught up with Editor-in-Chief Wafa AlObaidat to find out what Sketchbook 2.0 is all about, learn what the Sketchbook Design Society will do, and to seek advice for any budding illustrators out there who want to submit their portfolio. Say hello to your new favourite bookmarked website...

"We want to tap into a bigger audience, but also we have too much to share and our previous blog layout didn't do the site justice at all," explains Wafa. Fully aware of the importance of digital platforms in magazine publishing, she continues, "We also wanted to compete with other online magazines of an international standard and, in order to do so, our online presence has to be strong." 

I completely agree; working with online content on a daily basis in my full-time job, I can see how easy it is for blogs and websites to reach people and create a permanent resource for them that is indexed by Google, whereas print versions don't have the same longevity. But will there ever be a printed edition again? "Ideally we want to get Sketchbook in print and online and we are ready for that transition but it was time to upgrade the site and allow for more of a regular platform for contribution."

One of the magazine's strengths is its collaborative style: the idea that you could add your own work to the living, breathing showcase that is the website seems incredibly tempting: "We want to get them to collaborate with other creatives within our network," she says. They receive over 50 portfolios a day and "pagefuls of invites to events" which are then distributed to correspondents around the world. Obviously the beauty of taking things online means that these events will now be reported as they happen, with daily updates and a fast turnover of editorial content. Alongside all of this is the brand new initiative that Wafa is championing, known as the Sketchbook Design Society, found as a tab on the website:

"It's a member-based organization of design professionals, educators, administrators, students and associates in communications, marketing, media and design-related fields. Our goal is to raise the general standard of design in Bahrain [where she's based] and the Middle East, and we hope to inspire local designers and engage the public."

It all sounds promising, but I can't help wondering if there's any time left for pop-up projects - something the publication became famous for with its 3 week series of live events in London's Carnaby Street back in 2010, which included Issue 1 cover star Susie Bubble as a speaker. "Once we establish a society of creatives, we may then continue to pop up and do spontaneous events,"Wafa reassures me. 

So what do you need to know if you're looking to submit something to the site, either as a feature or a creative contribution? If you're fresh out of uni then don't panic - "A big slice of our audience are emerging and young creative designers and illustrators and recent graduates of art school." Here are Wafa's top tips for getting involved with the site and on launching your career:

• Get your CV done in a creative way and check out the fan mail section on our site for inspiration. Creatives who email us with interactive portfolios are the ones that get a call back. 
• Get as much PR coverage as possible, and also continue to contribute to get your name out there, and build your name in the industry. This will allow clients to email you for services.
• Define who you target audience is and start emailing them requesting to work with them. 
• Be active online, social media wise, and do as much work as you can!  

Basically, if you're sitting at home wondering whether to submit something, then the world's your oyster as far as I can see. The new look website is a springboard for you to carve out a name for yourself and it's a great way to see what your peers are producing as well. Even if you're an observer rather than a creator, it's just as fascinating to see what graduates are coming up with and find out about industry news.

When asked for three words to describe the all-new Sketchbook, Wafa has a think and then picks five: "Clean, modern, minimal, user friendly, smooth." Just another example of how the publication goes beyond expectations. 

To join the Sketchbook Design Society, head to the dedicated tab (next to the Magazine tab) on the homepage.

[All images courtesy of Sketchbook]. 

Say It With Flowers: Quince, Brighton

 [All images my own - click to enlarge. Please ask before reproducing]. 

You can't beat the smell of a florist's shop.

As per usual, spring has brought us the trend of florals - no surprises there, then. But whilst I was dreaming of clashing my flower-strewn pastels and brights on a sunny Saturday with friends, we came across this gorgeous shop in Brighton's Lanes. If you think that being a florist involves putting a few daffodils in a vase, you'd be very much mistaken. This is a lesson in how to do florals, from the people that sell them.

 The shopfront, in a muted tobacco/sage green.

Quince has only recently opened, and it offers a mixture of flowers, antiques and upcycled objects that have taken on a new purpose. Whereas many antique shops can be stuffy or intimidating, this was a really welcoming place and the owner was genuinely sweet.

 The flowers speak for themselves.

 Inside we were met by a riot of colours and shapes.

 If we were to take anything fashionable from this, it's that you can definitely mix the size of your florals - in this case they're real, but in an outfit you could combine corsages with Liberty print shoes by Clarks, or some sunflower print pieces by Rodarte.

 I love pieces that tell a story.

Forget faux-vintage - when you see this 18th Century trunk, dating back to approximately 1760, you'll be hankering for objects with a genuine history. I'd love to know what was kept in here - clothes, documents or the equivalent of a man's tool shed? It was made by Arabella Brown, whose husband was a chest and box maker and an undertaker, and she carried on the family trade when he died. One of my ancestors was a box maker in the 1800s so it was pretty special to see what other people in the same profession were doing, albeit some years earlier.

 Find an interesting vessel for your flowers and you're onto a winner.

The range of containers on offer was really interesting - as I approached the desk to buy a Mother's Day present (I went for a blue and white china pot with some indigo flowers) there was even an old sugar bowl about to be an important component of the next arrangement. Everything from glass to terracotta was on offer.

Look out for the lamps - they're also pretty unique.

To really set off the bouquets, there were also some amazing lamps at Quince, where upcycling had given forgotten objects a new lease of life. This clarinet caught my eye, as did a champagne bottle light. 

The key thing to take from Quince is to expect the unexpected. Whether you're planning an outfit or decorating a room, don't go for the easy option if there's a way you can inject a little personality instead. English eccentricity is worth embracing, especially when you say it with flowers (or clarinets).

Quince, Brighton

2 Nile Street

BN1 1HW

Fashion As It Happens

[Fashion in an instant... Illustrative image collaged by me, with original images in the public domain].

It's often said that we live in a society of instant gratification, and the fashion industry is certainly not exempt from this statement. A designer may have spent months realising the dream for their latest collection, but once it's out in the public domain then it can often have a very short shelf life (luckily things are pretty cyclical, so you can be sure that most major trends will resurface within the decade, but still - us fashion lovers aren't known to hang about). Today we really do live on the cutting edge in terms of coverage, with so many ways to connect to the wider world, allowing a final year fashion student to gain a global audience in a matter of hours if their graduate show offering catches the right attention. So how do you stay ahead and keep your finger on the pulse of style when things are so hectic? Here's my guide to being in the know.

 

SHOWstudio: The Fashion Revolution

 

Since 2000 there's been an amazing broadcast tool that's on the lips of every fashion lover worth their salt: SHOWstudio. Established by the photographer Nick Knight, this is a digital platform for fashion film and its related technologies (illustration and photography) which has involved collaborating with some of the industry's most powerful names, including Alexander McQueen, Gareth Pugh and Lady Gaga. Often content is streamed live, which really democratises the audience and means that a teenage girl in her house gets to see the latest content at the same time as a fashion writer at her desk. 

 

If, like me, you were lucky enough to visit the SHOWstudio exhibition at Somerset House in 2009, you'll have seen in the flesh just how exciting it is to learn about this huge leap forward in fashion communication.  Not only do you see the glossy finished product with a SHOWstudio piece, but you get to see the inner workings and the development of the idea. Of course, the exhibition had plenty of interactive elements to inspire you, and in 2012 the website is still continuing to reach out to its viewers, with current projects including a photo montage to be installed in the Parisian shopping mecca, Printemps, which will be streamed live from tomorrow. Knight was correct in calling the exhibition 'Fashion Revolution', because those words seem so very apt.

 

Social Networking: The Hashtag Hype

 

The great thing about Twitter and fashion is that you can find out the gossip from the catwalk before the last model has even walked. Want a backstage glimpse of the make-up? It'll be on there. Want to see the first few looks, hot off the press? Search for the designer's hashtag. Other shows were broadcast live via the designer's website or streamed on Youtube, with Twitter users quick to spread the word. Of course, the fashion event of the year in 2011 was Kate Middleton's wedding, and Twitter was ablaze with McQueen fever once we'd seen the bride's choice of dress. Facebook, meanwhile, was the go-to domain for bridesmaid Pippa Middleton supporters, as there were multiple appreciation societies set up in honour of her bum/ass/rear (take your pick) even before many of us had finished toasting to Kate and Wills.

Street Style and Blogging: Strike a Pose

 

The fashion blogosphere, as far as I see it, has two main areas: photo blogs and personal blogs. Of course, the two can overlap, but essentially the photographer tends to stay behind the camera and the personal blogger primarily uses themselves as the model. In both cases -  by analysing what people on the street are wearing, or what they're blogging about wearing - we can look at things from a grassroots level and see where micro-trends begin.

The fresh and exciting opinions of bloggers who aren't necessarily trained as journalists or photographers have, unfortunately, ruffled some feathers amongst what we might call the Fashion House of Lords - those people who have been going to the shows for years and rightly feel they've earned their seat. Obviously there's no need to call these established show attendees and photographers irrelevant, but what the blogosphere has done is added to the mix of backgrounds and viewpoints, and that should be seen as a positive thing. Bloggers do not herald the end of the fashion press, by any means; they're just making them more accountable to the public.

Magazine Installations: Grazia, Sketchbook and The Paper Eaters

 

Being an absolute magazine hoarder and clothes horse, the idea of a publication coming to life within a shopping centre or store is basically a dream come true for me. This really is the perfect example of fashion as it happens; the creation of a magazine using real people and opening up the staff's expertise for everyone to see. Grazia did this way back in 2008 with a pop-up magazine office inside a perspex box in Westfield (how they got any work done surrounded by all those shops, I'll never know), whilst Sketchbook Magazine did it in 2010 in trendy Carnaby, along with Amelia's Magazine in the same year. What's more, the Sketchbook pop-up shop was pitched to the editor by a fashion student - talk about bringing it back to the people. 

I took part in a new and bold magazine installation in Selfridges during April 2010, which was the brainchild of artist duo The Girls, a.k.a. Andrea Blood and Zoe Sinclair. They produced several issues of The Paper Eaters Magazine, which combined a love of 80s teen publications like Jackie with a love of vintage fashion, beauty and craft. As a voluntary contributor I really got stuck in and was able to interview illustrators and fashion students whilst the installation surrounding me was being explored by the public, with a video area, a dressing up section and free make-overs by Illamasqua. It was an amazingly creative experience, and something that really opened my eyes to fashion as a collaborative, live project.

 

Fashion, as it happens, is pulse-quick and intriguing to watch, but it's even better to get involved. Whether you're tweeting your views on the latest pieces from Vivienne Westwood Anglomania, helping to create a SHOWstudio masterpiece or finding your niche as a street style photographer, there's a way for you to make it happen. Jump in and join the fashion revolution.

New Designer O'Clock - LCF College Shop

[Images taken from the LCF website and collaged by me].

If you like your designers new or previously undiscovered, and you're willing to invest a bit of cash, look no further than the London College of Fashion's 'College Shop' venture, which opens on the evening of 8th September in the city centre's Carnaby Street area (head to Kingly Court, which is well sign-posted). Combining up-and-coming alumni such as William Tempest and Hasan Hejazi with the more recent graduates who are just off the starting blocks of their careers, this is a crucial event for discovering what Britain's future stars are producing. Of course, most of it will be beyond the budget of fellow students, but prices start from £20 and you have three weeks to explore all it has to offer.

[Image taken from BeatriceBoyle.com].

Illustrator Beatrice Boyle (LCF-trained, and with work featured prominently in the pages of Elle magazine and emblazoned on vests worn by fashion lovers) is also taking part. She has created an Oyster Card holder and postcards for the College Shop, which are available for a more pocket-money-friendly £5. I think it's great that cheaper items are available, so as not to alienate the customer who cannot stretch to buying a whole outfit but who wants a piece of the action.

[Image taken from AdaZanditon.com]

Ada Zanditon is another of the talented designers being showcased here. Zanditon is well known in ethical fashion circles as one of the names to champion for her sustainability considerations, but she's also no stranger to the mainstream style press. Her use of draping, sculptural forms and exciting prints mean that there are many reasons to keep an eye on her progress.

The College Shop is evidently a good example of pop-up commercialism which is bringing the consumer and the creatives together under one roof, whilst taking advantage of the run-up to our period of precious madness that is Fashion Week.

And, lastly, a cheeky plug. LCF's own magazine, Pigeons and Peacocks, is also available to buy at the College Shop. The current issue includes two of my articles - one being experiential and the other being a longer feature piece on anti-ageing and our obsession with staying young. The rest of the magazine is equally diverse, focusing on style, society, culture and what the future holds for us.

Three Celebrity 'Creatives' = Three Braincells

[Image via shesomajor.com] Geri Halliwell has blessed the British high street (well, Next) with her talent for stitching pieces of satin together and adding some very 90s spaghetti straps in strategic places. Okay, I do like the shade of the navy one, but otherwise this is essentially a lesson in how celebrity 'designers' can rip people off. There is nothing memorable or unique about these dresses and, as you can see from the lanky models, only short people such as Geri will be able to get a gown that skims the floor.

[Image via BruceJuice]. Every time I read a gossip magazine article about young popstars such as the highly banal Pixie Lott being hailed as 'style icons', a little part of me dies inside. The girl has a stylist who chooses her clothes and guides her towards each trend, making it somewhat laughable that Lott now professes to be a fashion designer with her regular capsule collections for Lipsy. Her style drops include numerous 'reinventing the wheel' moments, such as the shift dress available in both black and white (oh Pixie, you spoil us with your innovation), floral dresses, playsuits and more floppy hats than you can shake a stick at. Similar pieces can be found at every single fashion outlet on the planet, for considerably less cash.

[Image from Fashion Fame, depicting Katy Perry's Purr promo]. The prerequisite for becoming a 21st century female celeb is to release your own perfume. It doesn't matter if you have any olfactory interests, or if you even know what olfactory means, because you will suddenly wake up one day dreaming of fragrance topnotes and a burning desire to make everyone smell your talent. In recent months we've been encouraged to buy into Jennifer Aniston (l'eau du permanently single female), Rihanna (l'eau du skimpy outfits and S&M videos) and Katy Perry (l'eau du awkward high-profile marriage). Perry perhaps tops the list for me, as she promoted her scent whilst dressed in a catsuit with a giant ball of twine. Catnip not included.

My plea to celebrities who want to cash in on their fifteen minutes of fame with a clothing or perfume range? GET BACK TO YOUR DAY JOB. Ditto Justin Bieber and his nail varnish for tweens, which is undeniably odd and desperate. Other viable alternatives for less random self-promotion are the ghost-written autobiography and the calendar; both of these are accepted as the norm and are much easier to stomach as a moneyspinner, because they make sense and they involve little effort. I require a celebrity to dress me about as much as I need a banker doing my hair, or a laywer cooking my dinner. Let's hope that we're not soon to be graced with L'eau du Ryan Giggs or the clothing range from Chipmunk. Fingers most definitely crossed.

N.B. Thanks to Holly Lowe for alerting me to the Geri Halliwell collection.

Masters of Style (Somerset House) Part 1: Strong Female Figures

Prada, AW/1991-2, by Peter Lindbergh. This dress is like an enveloping dress coat, but also like a comforting duvet. Elements of both mean, for me, that the model is straddling the public/home image of herself as a woman.

Prada, SS/1994, by Peter Lindbergh. White clothing in summer is a no-brainer, but here it's got that Picnic at Hanging Rock feeling. The model (Christy Turlington) is mysterious and has a severe and potentially Gothic edge - school shoes and tights in the wrong season, and that edgy haircut, make for an unsettling but captivating vibe. She's off on an adventure and she's taking you with her.

Dolce & Gabbana, AW/1987-8, by Ferdinando Scianna. The everywoman of the Italian village suddenly becomes a star in her own right. She exudes grace, even in her dusty and bare surroundings.

Dolce & Gabbana, SS/1988, by Ferdinando Scianna. Is this woman in her own grand house, or is she exploring a palatial setting and pretending she rules it all? There's a definite fairytale feeling to this, and I love it.

Dolce & Gabbana, SS/1988 (cropped), by Ferdinando Scianna. Whilst one man pretends not to be looking, the other two are unashamedly staring at her. She can feel they're watching but she doesn't care - she's out of their league.

[All images taken from the Masters of Style booklet, complimentary with entry to the exhibition at Somerset House, London. I have reproduced these images to describe them fully, as you can't take photographs in the exhibition space itself].

Somerset House chose to produce a tribute to some of the biggest Italian fashion houses with this new display of their official photographs and adverts throughout the years. Curated by the fantastic Colin McDowell and created with the vision of Carmody Groarke, it's full of sumptuous imagery that will remind you just why these brands have stood the test of time. You can now even buy shares in Prada, though a single one will cost you nearly as much as a piece from their latest collection, because it's all about the whole Prada experience. With loyal customers around the world, and a creative vision that will draw you in, it's hard to argue with them. Seeing this exhibition has proved beyond doubt, in my opinion, that fashion is art.

One thing that blew me away in this exhibition was the way that the gaze was used in an empowering, and not exploitative way, to make the fashion models project a positive message: it's okay to want to look good. It's also okay to want to dress up, to make an effort and really push the boat out. It doesn't matter if nobody's watching, or if your onlookers do not approve. You can flaunt what you've got, and don't let anybody tell you otherwise.

I loved this show and I will be blogging about it again soon. The staff were really friendly and helpful, especially as my cousin (who visited with me) had lost her wallet. I would thoroughly recommend seeing this exhibition as it's a great insight into Italian fashion and the power of advertising.