6 posts tagged "Hannah Marshall"
Michael Cera’s new romantic comedy, Scott Pilgrim vs. the World, had its European premiere in London last night, and though most of the film’s leading ladies (from Anna Kendrick to newcomers Ellen Wong and Mary Elizabeth Winstead) made an appearance, all eyes were on Florence Welch, the fiery front woman of the rising pop act Florence and the Machine. Welch has a solid history of supporting independent designers (she often wears Hannah Marshall, and has done turns in Roksanda Illincic, too), and for the occasion she picked a Fall ’10 tattoo dress by the Australian label Willow, paired with chunky wedge booties. The combination—a bold, printed mini paired with ankle boots—is one we’ve been seeing more and more of lately, and Welch is the perfect example of why: She looks red-carpet ready but not fussy or prissy. What do you think of the look—is this one that should be turning Scott Pilgrim’s head?
First Chanel, then Louis Vuitton, now Lanvin—the rush to Saint-Tropez continues. Elbaz and co. are the latest to open a shop in St.-T, and they’ve got other plans too—including a refurbished Web site and the new Fall campaigns, like the Meisel-shot womenswear ads starring Magdalena Frackowiak, Anja Rubik, and Mariacarla Boscono (pictured). [WWD]
The World Cup commentator you’ve gotta read is…Hilary Alexander?! Turns out the Telegraph‘s fashion critic has a healthy extracurricular interest in footer—and she’s been live-tweeting games at @hilaryalexander. [Fashionista]
It’s a good time to be a young designer in London. Nike is the latest brand to collaborate with emerging designers, giving Katie Eary, SIBLING, Julian J Smith, Tim Soar, Felder Felder, and Hannah Marshall free reign to rejigger the N98 track jacket. The results, predictably, are loud. [Vogue U.K.]
And bad news for NYC shoppers: As of Saturday, all of Manhattan’s Apple stores are sold out of iPhone 4s. If you want one, you’ll just have to…oh, yeah, order online. Why wasn’t everyone doing this in the first place? [Racked]
If you want to distill the difference between the London fashion scene and the New York fashion scene down to a single particular, this isn’t a bad one: Whereas your typical New York It girl tends to show up to a crowded after-party in something sleek and recently off-the-runway, in London, she wears a vintage bathing suit, fishnets, and a banana on her head. That, at any rate, was the look Noisettes front woman Shingai Shoniwa was working at the Vivienne Westwood party at the St Martins Lane Hotel last night. “Oy, my hair wasn’t working tonight so I put the hat on,” she explained.
And why not? The guy across the room is wearing rhinestone-crusted football pads, and the one elbowing his way to a drink at the bar is kitted out like a goth Robin Hood, after all. Taken individually, some of these outfits border on the ridiculous. Taken together, they put the flights of fancy by London designers into a useful context. A collection inspired by Christmas trees? Why not, says Meadham Kirchhoff. Models wearing crowns made out of pipe cleaners and cake decoration? Why not, says Nasir Mazhar, the Gaga-approved milliner who made the crowns for the label’s Fall ’10 show. A jewelry collection comprising cast vampire bat skulls, scorpions, and giant squid mandibles? Why not, says Dominic Jones.
Jones presented his new collection—his second—on Saturday night at a cocktail party at the Sanctum Soho Hotel. Like his debut, the collection taps a vein of the macabre. Jones explained that he was thinking of predators this time around, and that he’d sourced the skeletons for his metal-cast baubles from college research laboratories, taxidermists, and, in the case of that giant squid, from a fisherman in Japan who caught the thing and posted its jaw to Jones via express mail. “I’m always interested in taking something frightening and making it beautiful,” he noted. “Sort of like, agghhh becomes aahhhh…”
Hannah Martin, another of England’s up-and-coming jewelry designers, works the opposite way. The Cartier-trained Martin makes fine jewelry of incredible refinement, but with an edge of danger; for her second collaboration with designer Hannah Marshall, Martin honed that edge to switchblade sharpness. (That’s her ring, pictured, with Marshall’s clothing.) “This season, it was lots of slashes and slicing, and early images of Grace Jones,” Martin says of the inspirations for her catwalk costume jewels. As for their collaboration, call it kismet—or call it similar names and a publicist in common. The poor guy was constantly fielding requests for Hannah Martin dresses and Hannah Marshall rings. After that, says Martin, “we figured we might as well start working together.” Why not?
In the hierarchy of London fashion, there’s a whole stratum of designers who’ve been thrust up the totem pole recently by the competitive dressing stakes of the music world. Lady Gaga, Rihanna, and Beyoncé, God bless them, have set the pace in ever more extreme image production, and London’s become a happy hunting ground for stylists who want their women to appear unique—and to be the first with a new name.
David Koma, a designer from the Republic of Georgia, fresh out of Saint Martins last year, had Beyoncé and Cheryl Cole (Britain’s biggest tabloid darling as an X Factor—think American Idol—panelist and frock duelist with Dannii Minogue) fighting over a dress. Hannah Marshall, Jean-Pierre Braganza, and Felder Felder, who showed together on London fashion week’s opening day, are in the same sort of zone—in their case, underground, goth-y gone mainstream. It’s certainly broadening out the visibility of young London—even if fashion purists tend to look askance at too much celeb involvement. The litmus test, when it comes down to it, is who can produce something of more substance and quality than stuff that just looks good on stage or video, and fits the general trend. At this round, Koma’s zigzag geometrics in caramel leather and black wool (pictured) looked exceptionally made, and Jean-Pierre Braganza did well to break away from the short and tight into long and printed. Otherwise, someone please tell them the giant box shoulder is O-V-E-R.
There was quite a surprise in store for guests at Hannah Marshall’s first-ever catwalk show in London this weekend. The hotly tipped designer, who debuted her line in 2007 with a collection of 12 black dresses and who has made a signature of all-black looks with a bracingly futuristic silhouette, sent several looks in electric blue down the runway this season—but she swears that’s not a sign of brighter things to come. “I feel like the blue has a nighttime feel that’s in keeping with the mood of my line,” she explained as she gave the new collection a walk-through at her studio in East London. “I was playing with the idea of surveillance, this time around. You know, we have all these cameras watching us all the time, and I was imagining this woman protecting herself against that electronic eye.” The four categories of clothes on Marshall’s runway expressed that idea: Stacked folds of organza create a vertebrae-like armor in the group dubbed “Spine,” for example, and crystal-embellished talons protrude from the looks in “Spear.” And Marshall and director Malcom Pate took the surveillance idea a step further in a video called Encryption that they filmed a week ahead of the show; Pate shot the video entirely in night vision, capturing a model wearing looks from Marshall’s Spring collection as she moves about the hallways of an apartment complex. Encryption is only the most recent appearance of Marshall’s clothes on-camera: The designer made the costumes for the Florence and the Machine video Drumming, and frontwoman Florence Welch has since made a regular habit of wearing Hannah Marshall to gigs and TV appearances. The singer isn’t Marshall’s only friend in high places: The other surprise at Marshall’s show was the appearance of Erin O’Connor, who closed down the catwalk wearing a bustier-topped jumpsuit. There was a version of the jumpsuit in blue, too, but O’Connor wore black.