OK Ladies, Now Let's Get in Reformation

It is not uncommon I realise, but the change in season and a taste of what sunshine actually looks and feels like makes me feel buoyant.

I allow myself to daydream about what I will be wearing in the months ahead when (a) I might actually fit into something that isn't capacious (b) we can bare shoulders, go sans-jacket and flash an ankle or calf with reckless abandon (c) it is balmy.

Hopefully, my repertoire may include one or two pieces from major cult eco-label Reformation - which not only creates exquisite designs, but seems intent on revolutionising the fashion industry.

Created in 2009 by dynamic designer and environmentalist Yael Aflalo, the Downtown LA based brand offers style with a conscience, with their mission being to lead and inspire a sustainable way to be fashionable. To ensure their creations come at a fraction of the environmental impact of more conventional fashion, all Reformation pieces are produced by either responsible manufacturing partners in the US or overseas using sustainable methods and materials. They also source natural fabrics and materials like Tencel, repurposed vintage pieces and recycled 'deadstock' fabric while incorporating better practices throughout their supply chain.  In summary, they make killer clothes that don't kill the environment.

It may officially be my new obsession but Reformation is by no means a new label; it has been knocking about since 2009 and has been adorned by those cool LA girls and a heap of famous faces since then. It has been on my personal radar since Sienna Miller started wearing it circa 2014 - like the beautiful Felice Jumpsuit below - but it's at the top of my wish-list again right this minute. I have spent an inordinate amount of time hungrily poring over the Reformation website and planning what I might treat myself to if the budget stretches (and when my belly stops stretching).

Reformation is great for a number of reasons.

• They make bold, factual statements about the Impact of Fashion that make you stop and think. Like Fashion is the third most polluting industry in the world, and the second largest consumer of water. Making fabric uses water, energy, chemicals, and other resources that most people don’t think about, or ever see. We think knowledge is power, so we talk about resource use, climate change, and other impacts of fashion. This made me stop and think. It's facile to preach about LOVING fashion (which, sincerely, I do) and to casually affix #fashionlover to your Tweets and your Insta pics without giving any real thought to how lovely things are actually produced and what they might be doing to destroy our planet.
• They use a tool on their website called RefScale which tracks the impact each of their garments has on the environment. For example, if I were to purchase this sunshiny Caftan Dress (can I, please?) I would know that this garment required 252 gallons of water versus the industry standard of 1832 gallons of water and therefore I would save 1580 gal. This makes me feel happy.
• Reformation Founder and CEO Aflalo is Making Earth Day her Every Day. The concept is that while most of us might be a bit cynical and assume we can’t individually make a big difference, Reformation have the data to prove that, hell yes, we can. For the lucky people who bought some Reformation stuff in the past year, they saved 250 million gallons of water - a number that will surpass 1 billion next year.  To celebrate, they're launching a new super sustainable Earth Day Collection, which is really lovely. Power to the People.
• The clothes have the wow-factor and are undeniably sexy but it's not in-your-face sleaze which I'm not up for. It is confident and multifaceted. Their design mission is to make effortless silhouettes that celebrate the feminine figure. I'm always up for this.
• It is reasonably affordable and they offer free worldwide shipping. This is attractive but terrible news for my bank balance which will soon be maternity-leaved. 
• Their Addilyn Dress in Barnyard is not only jaw-droppingly gorgeous, it is advertised as engineered for easy access and currently on the home page features a pretty lady breastfeeding near a tree somewhere verdant and lovely. Hurrah! I would like to think this will be me in Walthamstow in the coming weeks. It won't, but I can dream.
• Their Instagram account actually made me salivate. Then want to be on holiday, all year. Or living in LA. Neither of which will be happening anytime soon, so for now I'll Insta-stalk.
• The website is a design feature in itself - you could spend hours looking at it (oh no I didn't!). It has ornate Fabric Swatches, designs have lovely names like Moonshadow, Fruitcake and Rose Dazzle (how beautiful is that? Hi, potential baby name!*) and there are also Stories - a kind of inspirational moodboard with selected pieces that have great titles like Delicate f*cking flowers and Keep that effortless thing going. I'm certainly not a delicate f*cking flower and I'm not sure I have that effortless thing to even keep going, but by the grace of God I WILL FIND IT - and keep it going. 

In the meantime I am seriously considering the following pieces when the time is right:

Labels like Reformation make me feel hopeful. They are doing great things for the planet, they produce beautiful clothes and they make me believe there could actually be life after maternity wear.

Amen.

*I'm joking, Alex.

I think...

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Dior, Maternity Leave and I

This week I am 37 weeks pregnant and, according to the BabyCentre App, our baby is now the size of a stalk of Swiss Chard.

Swiss Chard! Once again I ask myself, what exactly am I growing in my tummy and what is it with BabyCentre's obsession with vegetables?! Last week it was romaine lettuce, the week before a honeydew melon and not so long ago the baby was the size of an average cantaloupe melon no less. All this talk of fresh legumes quite frankly is not helping with the queasiness.

Ah, yes, nausea. Hello darkness, my old friend. You have returned with a vengeance to torment me and now I am finally, officially On Annual Leave Before Maternity Leave you seem intent on ensuring I take to my bed and weep which prevents me from being in my preferred state - on the move and Getting Sh*t Done. For those who know me, you'll know I'm not a natural relaxer. Slobbing out has never been my thing. Call me crazy, but the concept of a duvet day fills me with dread. I have to be suffering from full-on flu / concussion / hangover or sprawled on a beach lounger with a good book to spend a few hours supine DURING THE DAY. However, the nausea and lethargy is winning this battle, shuffling has replaced power walking and try as I might, I can't go for a stroll for longer than 30 minutes without urgently needing a pee. So, I admit defeat - it's time to put my feet up when the waves of sickness wash over me.

I've made myself a deal though and there is one important clause to this contract. If I'm going to rest up, it will be on my terms. No Reality TV (URGH), idling on Instagram, twitting about on Twitter or, worst of all, faffing on Facebook. It will be didactic and I will be kind to my brain as well as my body. I will gobble up films, books and documentaries that have been lurking about on my viewing list for months, and that are, let’s say, relatively educational from a fashion, film or music perspective. That's fair enough, right?

I'm pleased to report my first venture into this unknown world of Resting has been a resounding success. My inaugural film selection, Dior and I, was extraordinary.

This beautifully tailored documentary transports the viewer into the illustrious world of the Christian Dior fashion house. Specifically, it provides an insight into the creation of designer Raf Simons' first haute couture collection as new artistic director of Dior womenswear in April 2012.

Directed by Frédéric Tcheng, the behind-the-scenes account allowed me to be a voyeur into this pressurised, sometimes ridiculous but always incredible world of haute couture. The fashion microcosm was waiting with bated breath for Simons’ debut and the documentary perfectly captured the lead up to his first catwalk show - the emotion, dedication, and hard work that went into the making of 54 perfect handmade outfits in only 8 weeks.

It was an absorbing piece of film-making, with the director using words from and images of the iconic Monsieur Dior, which lends an almost spectre-like presence to the film. I really warmed to the hugely creative Belgian designer Simons; he seemed rather bashful to me, calm and intelligent and intensely focused on his craft but always showing great respect for his team of collaborators.

Justly, the documentary pays homage to the ateliers, the petits mains, who deliver Simons' vision and many of whom have been at the fashion house for years - they are an important part of the brand and its heritage. As Simons reflects in Dior and I, ‘designs change, but not the atelier’. Watching them work their magic is nothing short of enchanting.

What I absolutely loved the most though was the creation of the clothes. Oh, the beautiful, alluring and enchanting vestments and the in-depth profile the documentary gave to their conception and creation with the team working into the night and dealing with the pressure and skills involved in producing fashion art.

The climactic catwalk finale at the end of Dior and I, when Simons’ creations are unleashed to an audience including the Princess of Monaco, Marc Jacobs, Donatella Versace, Marion Cotillard, Alber Elbaz, Stella Tennant, and Riccardo Tisci, is absolutely breathtaking. There is a hugely touching moment when the designer is captured alone on the balcony weeping with nerves just before the show must begin.

For his Dior debut at 51 avenue d’Iéna, Simons blanketed five rooms with a profusion of blooms from ceiling to floor that had even Anna Wintour impressed.  The clothes were nothing short of spectacular and the collection featured a blend of modern, clean and structured garments with a femininity and elegance that remained respectful and true to Dior.

The strapless gowns with clinched in waists and voluminous tulle sat below the knee at mid calf, a length I absolutely adore. A palette of black, grey, velvety midnight blue and soft pastels contrasted beautifully with the illuminating neon make up.  Trouser suits were simple but oh-so-chic and a striking printed Bucol silk coat and dress was inspired by spray-painted canvases done by Simons’ longtime friend and collaborator Sterling Ruby. Fashion history in the making.

Simons says ‘I don’t want to suggest in any way I am talented enough to compare myself with Mr Christian Dior…’ but I disagree. 

Dior and I actually moved me to tears. That's not the pregnancy hormones talking, honestly, or the Swiss chard-induced nausea. It was simply my love of fashion and the result of being Christian Dior'd from my head to my toes.

Maybe this resting thing is not so bad after all…

Don Letts at Punk London and a very special trip on the London Eye...

Punk.London has crashed noisily into London, bringing with it a year of events, gigs, films, talks, exhibits and more. All in celebration of 40 years of punk, the genre-busting cultural phenomenon that allowed a whole generation to speak up without submission.

The capital’s cultural organisations will tell the story of punk through art, design, film, fashion, literature, photography and, of course, music - fantastic.

Fittingly, it's not without controversy; Joe Corré, son of late Sex Pistols manager Malcolm McLaren and Designer and Businesswoman Dame Vivienne Westwood is planning to burn his collection of punk memorabilia, estimated to be worth around £5m, in protest that Punk.London has been backed by The Queen. “The Queen giving 2016, the year of punk, her official blessing is the most frightening thing I’ve ever heard. Talk about alternative and punk culture being appropriated by the mainstream". A true demonstration of anarchy or a bit of a spoilsport? You decide.

One of the many features that intrigues me the most is Don Letts Presents Punk on Film at the BFI on 1 August 2016. Director, DJ and musician Letts will host his curated season of exciting films that highlight the diversity of the punk movement, including the intersections between the Jamaican music scene and punk. Not to be missed.

Last summer I took a captivating trip on the London Eye to hear him open his mind (and heart) about the iconic Joe Strummer, co-f0under of The Clash, as part of the 32 Londoners series on assignment for RockShot Magazine.

It seemed a good time to revisit my exciting trip...

I’m ashamed to admit a mild fear of heights. On a supposedly ordinary Tuesday evening, as I gazed up at the gigantic Ferris wheel looming on London’s Southbank, all 135m of it framed by a glorious blue sky, I started to wonder if I had the stomach for it.

I needn’t have worried. Any acrophobic fears evaporated as I hopped on board The Eye just as the capsule doors closed and the sight of the indelible Don Letts came into view. It was clear this was no ordinary Tuesday evening.

I was embarking on a very special rotation for a preview of 32 Londoners, returning following last year’s sell out programme. The prestigious event features 32 talks held in each of the London Eye’s 32 capsules on 32 extraordinary Londoners. This year’s subject is Adopted Londoners, with expert speakers celebrating iconic figures, past and present, who were born outside of the city but came to be associated with it.

With its great history of cultural diversity, London has long been a beacon, attracting the great and the good to its streets. No more fitting a subject than the fascinating Joe Strummer of The Clash, punk rock’s most political vocal outfit, and whose story remains a permanent feature in London’s rich tapestry. Who better to captivate the audience with his story than British musician, DJ and film director Don Letts, born and bred in the city, and a strong influence on the band.

As we orbited, Letts opened his story with references to his Grammy Award winning film The Clash: Westway to the World and Julien Temple’s film Joe Strummer: The Future Is Unwritten. We were introduced to Strummer’s exotic childhood spent in several different countries thanks to his British Diplomat father, a strained relationship with his non-musical parents and feelings of abandonment.

We got a sense of what built Strummer’s character – exposure to multifarious cultures from a young age, the rebellious streak caused by a loss of faith in formal education and subsequent immersion into music and a ruthless desire for reinvention inspired by the sounds of rock and roll and American folk hero Woody Guthrie. Letts asked the captive audience to draw our own conclusions from life-changing events in the musician’s life; like the correlation between the suicide of his National Front supporting older brother and Strummer’s lifelong fight against racism.

London didn’t disappoint with its magnificent views (as standard) and neither did the orator as he gave us a musical history lesson, bringing the lecture to life with vivid imagery. Strummer listening to Big Youth’s Screaming Target (supposedly on acid one Christmas in Wales) and his first proper band the 101ers, so called after the address of the squat they were living in, 101 Walterton Road.

We went back to 1976; the 101ers playing at the Nashville Room, supported by an unknown new band, the Sex Pistols, where Strummer first caught the eye of Mick Jones and Paul Simonon. History in the making right there and then, as they realised Strummer had the makings of a dynamic frontman and was possibly their missing link. We learnt about Strummer’s radical and ruthless move to join The Clash, including cutting off friends, band members and girlfriends and undertaking a legendary 200 plus drummer auditions to find the vehicle that would make him famous.

With an obvious interest in style (his London clothing store Acme Attractions enticed the likes of the Clash, Sex Pistols and Chrissie Hynde in the mid-1970s), Letts remarked how Simonon was responsible for the most part with the look of the Clash which, to his mind, was inseparable from their sound in a very English way; ‘they looked like they sounded, they sounded like they looked and with Mick Jones, Joe had found his McCartney, his Richards’.

Letts had an articulate and thespian delivery; it was impossible not to be enthused as he referred to The Clash as ‘four sticks of dynamite. They looked good, oozed attitude, sounded f*cking awesome and importantly their songs were about stuff’. With songs like White Riot and London’s Burning, their music seemed like the soundtrack for the climate of the times; ‘music of the people, by the people, for the people’.

There was a noticeable twinkle in his eye as he talked about songs that dealt with politics, social injustice, cultural apathy. As The Eye sliced through the London skyline, Letts took us through important milestones in the Clash’s rich history; signing for CBS in January 1977 which the punk rock purists thought signified the death of punk, the eponymous debut studio album for the label which included a cover of Junior Murvin’s Police & Thieves) and the influence behind one of their most enduring songs (White Man) in Hammersmith Palais; written by Strummer after Letts took him to the infamous venue.

He reminisced about their third album London Calling with lyrics he described as having a ‘musical reportage quality about it’ and their fourth triple album, Sandinista!, which they promoted in 1981 with a historic and exhausting 17-night back to back stint at Bond International Casino in New York. They were supported by Grandmaster Flash and the Furious Five, who the audience welcomed with boos, but Strummer and the band were quick to run out and defend theirs guests. They were way ahead of their game before the explosion of hip hop and rap a few years later.

By 1982, America was under their spell with the release of the last proper Clash album, Combat Rock but when Letts talked about cracks showing in the band’s exterior – drug habits, a relentless work rate, Strummer going into hiding and the eventual disbanding in 1986, he drew from his own personal experiences and appeared genuinely sombre. We heard about the formation of the Mescaleros in the 1990s and releasing Rock Art and the X-Ray Style and Global a Go-Go, and Strummer finding his mojo again by the end of the 20th century; something, Letts noted, he didn’t think he’d ever really seen.

Inevitably, the magic had to end. Strummer’s last stage performance in 2002 was a benefit for the striking fireman, at the Acton Town Hall in London, the show that would also see him play with Mick Jones for the first time in almost 20 years. Sadly, Strummer passed away a few months later with an undiagnosed heart defect at the age of 50. At his funeral, attended by two dozen firemen in full uniform who he had played for earlier that month, a stetson sat on top of the coffin adorned with the words Question Authority. Ask me Anything.

The event was undeniably informative, but it was the way Letts peppered the talk with anecdotes and personal memories delivered with a smile in that rich, distinctive London accent (like when Strummer ran off with his girlfriend) that made it so endearing. He gave us a unique insight into the real Joe; someone who spent all night after gigs talking to anybody that wanted to speak to him with a ‘never ending source of relentless energy that was absolutely infectious’. An interest in what punk rock could be, as opposed to what it was. Someone who was far from perfect but that was OK to Letts; that meant keeping Strummer’s memory alive in a practical and very real way – something to aspire to.

Most powerfully for me was how Letts presented Strummer’s legacy as a constant inspiration. ‘Because he believed in music as a tool for social change, not just a soundtrack to passive consumerism. Because he was living proof that music didn’t just reflect change, it could affect change too’. The audience enthralled, he asked us, to consider ‘…in this cultural climate that feels like punk rock that didn’t happen where are the Joe Strummer’s of today?’

As our very special rotation drew to a close and we touched back down again in 2015, Letts ended his speech with a simple denouement, gazing out at the city surrounding us in all its glory. ‘Strummer, The Don salutes you’.

As do we, Don Letts, as do we. Thanks for the memories.

This feature first appeared on RockShot here.

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Chanello

Ah, fashion. My great love. My escape from the quotidien.

You've been overlooked recently what with some terrific music opportunities and my attentions turned to whether full-belly or demi-belly maternity jeans are the most snug and offer maximum coverage - rather than what's exciting and progressive.

Temporarily neglected, perhaps, but never replaced. I still get the same giddy sense of excitement when I clap my eyes on some magnificent fashion. This time it was Karl Lagerfeld, and his Chanel Spring/Summer 2016 Couture show in Paris, that had my heart all a flutter.

Cara and her puppy Leo on the FROW, the new breed of supers in Gigi, Bella and Kendall-form and an entirely recyclable wooden eco-structure on the Grand Palais complete with manicured lawns and a lily pond were all good and well, and perfect Insta-fodder. But for me it's the clothes. Always the clothes.

The collection featured a muted and elegant palette of ivory, my absolute favourite colour taupe, mushroom and navy. There were dirndl skirts and a more voluminous take on the Chanel bouclé two-piece suit we all know and love (AND REALLY WANT BUT WILL NEVER HAVE) with a classic fitted jacket and over-sized elliptical sleeves. Models, including Edie Campbell and Lindsey Wixson, wore stunning dresses pared with billowing capes twinkling with rhinestones and some had sleeves embellished with feathered bees and applique petals.

For me, the show stopper was worn by Kendall Jenner, a floor-length sculptural black gown with elegant lace layers that showcased the shoulders.

Accessories included wooden-soled wedges, a nod to the surrounding eco-structure, and hair beautifully rolled into a style that was, apparently, inspired by a Picasso sculpture. Makeup was dramatic with double liner in an elaborate shape.

Glittering, enduring and classy.

A world away from maternity jeans, but comfort must prevail. For now...

AV Robertson for ASOS BLACK, and what I really want for Christmas.

Anyone stuck for what to buy me for Crimbo? In need of help / a gentle nudge?

OK, I'd really like this dress please. It is A V Robertson for ASOS BLACK and simply glancing at it makes me feel happy. Will you just look at that craftwomanship? It is luminous.

The dress is the creation of Amie Victoria Robertson, a 2014 Central Saint Martins graduate who bases herself in London town and specialises in iridescent embroidered womenswear and bold, beautiful accessories. With an internship CV to shout about (Christian Dior Couture and Alexander Wang anyone?), and a stint at Marc Jacobs in New York and Paris as a Design Assistant, the experience has clearly stood her in good stead. Her debut collection, created in homage of the great British Summer, combined oversized black polo necks with cut-out sections and beautifully hand-crafted opalescent flowers with Swarovski crystals and pearls - and caught the attention of Vogue no less.

I saw it first in LOOK Magazine, where a model stood like a beautiful glamazonian against a backdrop of neon (God's Own Junkyard, just round the corner from my gaff). The royal blue colour is striking, I love the thickness of the woven fabric and a bit of futuristic shine and metallic is always good for the season that was made to sparkle. The 3D floral embellishment makes the price tag worthwhile and the loose fit, although appearing to fall loosely over the body, is given a slick and dressy look with applique.

The dress is part of a clothing and accessories selection for A V Robertson for ASOS BLACK, based on her graduate collection, and was launched in early November just in time for Christmas. It features her signature 3D embellishment, tunics and A-line miniskirts and prices start at £85.

So, A V Robertson for ASOS BLACK V-Neck Mini Shift Dress with Embellished Detail, all I want for Christmas is you.

Seasons Greetings.

AV ROBERTSON

AV ROBERTSON FOR ASOS BLACK

When I grow up I want to be Carine Roitfeld

When I grow up I want to be Carine Roitfeld.

Along with Julia Sarr-Jamois, Taylor Tomasi Hill and Jenna Lyons she is way up there with people I aspire to dress like, and ACTUALLY WANT TO BE IN REAL LIFE.

Carine Roitfeld is a global fashion icon - model, muse, writer, stylist, magazine editor, visionary. Having spent 10 years at the helm of Vogue Paris, in the much coveted Editor-in-Chief post, she moved on from her impressive tenure to create her very own magazine, CR Fashion Book. Her fashion tome 'Carine Roitfeld - Irreverent' is an opulent visual history and is desperate to be seen on my coffee table (hint hint, anyone who is reading). Karl Lagerfeld once said that 'If you close your eyes and imagine the ideal French woman, it would be Carine Roitfeld' and I concur with Karl.

For me personally, Carine made it perfectly, unapologetically acceptable to wear a faux leather pencil skirt with stilettos in broad daylight - but mon dieu, does she do it with class. She knows the art of balancing sexpot with cult fashion figure is to pair the leather with a cashmere jumper, a snug fitted t-shirt, or mannish tailoring - rather than a deep V which, let's face it, can take the look to whole different level.

CR is back on my radar because she has turned her talented hand to collaborating. It may seem an unlikely association but the 40-piece Carine Roitfeld for Uniqlo collection is unleashed at the end of October 2015 and je suis trés excité.  This is her first collaboration with a brand, and the Japanese giant with its affordable prices, smart casual wear and advanced approach to fabric technology creates a befitting partnership.

The ad campaign, shot by Steven Meisel, provides delicious insight into what we can expect from the range. It mirrors Carine's impeccable elegance perfectly. Simplicity, sleek lines, super chic proportions - all interweaved with CR's magic. She explained in a recent Grazia article - 'I'm very picky. I want my skirt this length, my sweaters are this neckline, the coat is to be a bit shorter than the skirt... My skirts have pockets... I have these little tricks'. Oh to be in the know with these little tricks.

The pieces are to be worn TIGHT FIGHT. The collection is predominantly black (natch), features bountiful punky studs and eyelets and includes the requisite Faux Leather Skirt (£39.90). The fit of the rock'n'roll Carine Faux Fur Coat in leopard (£129.90) is stunning. May I have it now please? My other favourite pieces are the saucy Carine Flocky Printed Long Sleeve Blouse (£39.90) and the snuggly fitting Carine Wool Blended Tight Skirt (£29.90).

I really, really want the Carine Graphic Short Sleeve T-shirt which features a striking illustration of CR's face, but fear it will become a cult piece and at £14.90, will go in a flash.

The accessories are a sure-fire way to add a touch of Parisian insouciance. The Carine Tights are monogrammed with CR at the ankle and the Carine Eyelet Belt - depending on whether wide or skinny is your belt-style of choice (for me, it's wide) - have chunky eyelets as the name would suggest and come in at £14.90. I am all over the Carine Silk Tie - presented in polkadot, leopard print or Cami also at £14.90 and will be nonchalantly sweeping one around my neck.

I have fallen for this collection in a big way. I am awaiting 29 October 2015 with nervous, bated breath. Carine Roitfeld for Uniqlo offers people who are not CR the chance to be a bit CR; to waft down the road in something alluring and pretend to display some fabulous French equanimity. It is liberating, chic and on-point.

It will sell out, and I'll be left with the tights, I know, but a girl can dream. See you in the queue.

Carine Roitfeld for Uniqlo is available from the Regent Street store, London and online at uniqlo.com from Thursday 29 October 2015.

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Bradley Theodore exhibits in London

One of the things I love, and always have loved about this majestic city is how day turns seamlessly into evening with fascinating consequences. London's inky nights often throw something your way you couldn't have predicted in a sleepy haze at 6am that morning.

Last night was a case in point. I thought post-work Thursday would serve up a long overdue dinner in Granary Square with two of my very special friends. Instead, I found myself gazing up at the work of celebrated New York City street artist Bradley Theodore and his bold, vibrant images at Old Brompton Gallery, SW5.

Hobnobbing with a medley of photographers, artists and curious art lovers (and some RIDICULOUSLY good looking people may I add) I cursed myself for (a) not giving my overall appearance a bit more thought as I tugged at my Whistles skirt nervously and (b) my self-inflicted participation in Dry October.

So, the artist. Described as 'Jean-Michel Basquiat meets Banksy', Bradley Theodore is already well known in the US for his unique murals in the heart of New York that match key elements of art and fashion, and popular with fashion bloggers who understand the benefits a good 'wall scout' can bring. He is particularly eminent for his murals of fashion heavyweights Karl Lagerfeld and Anna Wintour rendered as skeletons, and has also turned his hand to cover art for albums from the likes of Wu Tang Clan.

The purpose of last night's exhibition was to provide London with a re-creation of all the murals Theodore has produced in NYC. I really loved the vibrancy and boldness of his work, the brilliantly thick strokes and the cobalt blue, navy and primary colours that popped and projected from the canvas. The cadaverous appearance of his subjects is both sinister and beautiful. Using the skeleton as the inner life force of his subjects is his signature and he explains, “There is no deeper delving into your psyche than the very structure of your body”.

My highlights were murals of Kate Moss, Grace Coddington and Diana Vreeland although really I couldn't take my eyes off any of them.

Theodore believes his audience themselves should be the reviewers of his art and so he goes out of his way to make his art available for all to see in the streets of international cities. He demonstrates his commitment to bringing art to the public by inviting people into his art studio to immerse themselves in the creative process. He also conducts live paintings in cities including New York, Los Angeles, and Paris. We had the pleasure of chatting to him last night, and he was charming and down to earth.

As I made my way back to the East End, I reflected on what an interesting, inspiring, if not completely sober, night it had been. Thank you Bradley Theodore for bringing your fashion-influenced work into my life. Thank you London for coming up trumps again.

(Oh and next time Nicola, as you carelessly fling on something for work don't forget you never know what a London night will bring... )

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*Theodore Bradley's solo exhibition is at Old Brompton Gallery from 15-30 October 2015.

The Art of Dressing Up

I'm pretty sure I can remember when it all began.

At primary school our class had a huge dressing up box with vibrant pieces spilling out of it, fit to bursting. I remember scrambling to pluck the same item out of the box with my chubby fingers every playtime.

It was a pillar box red flamenco dress with sequined black polka dots and undulating ruffles in the skirt and sleeves. Always suitably over-dressed, even at five years old. It swished and flared as I span around and even at that age I recognised the thrill that adorning yourself with beautiful things could bring.

The art of dressing up has inspired me ever since and I’ve had a shot at replicating my very own dressing up box wherever I live - elegant vintage pieces, bold pieces of jewellery handed down, ordered online or purchased from travels around the globe, a rainbow-coloured spectrum of shoes, fringed, printed scarves and thin and chunky belts. You get the picture.

So discovering Gigi's Dressing Room in Walthamstow, London for the first time felt like finding a hidden dressing up box, blowing off the dust and striking rich. In a modest but fitting area of Wood Street Indoor Market, there are clothes, shoes, hats and jewels literally dripping from the ceiling. Each arranged piece is unique and splendid and simply made for trying on.

The owner Galina Sherri (or Gigi to her friends) is the master of the magic. About ten years ago, like most women no doubt, she realised she had far too many clothes (Hmmm. Can you ever have too many, I wonder?) and worked at vintage fairs and markets to sell some of her wonderful vintage finds. Some clever networking at Spitalfields Market helped Gigi hook clients who didn't like the act of shopping itself but needed assistance with styling outfits for exciting parties and performances. Seamlessly becoming a personal shopper and stylist, Gigi went to their homes to save the day and in turn they came to her.

Then, in February 2012, Gigi learned of Wood Street Indoor Market, formerly an old antiques centre and soon to be renovated into a local centre of arts, craft and vintage treasures. Gigi had the foresight to rent a small room there and as if by magic, the dazzling Gigi's Dressing Room was born. 

Things got bigger and better and before long, at the beginning of 2014, she moved her emporium in the middle of the market and The Dressing Room became the dazzling centre piece.

Gigi used to source her beautiful pieces from markets and vintage shops but as she got busier, she started buying into the shop. Clients and excited shoppers would bring their grandmother's prom dresses and fabulous evening gowns (from another dazzling, glamorous era. Believe me, I've seen them and they are stunning) and she also bought from acquaintances who work in the theatre and cinema.

Gigi's pride in the business means she takes personal care of her customers. She wants to make it fun to dress up for parties and events - which is exactly what it should be. Fashion is a hoot; outrageous and fabulous, and it's not to be taken seriously even if it does infiltrate and take over your life quite often.

On my first visit to the Dressing Room, I looked around in silent awe at the items that dripped from the rails. Inwardly vowing not to buy anything because I DID NOT NEED ANY MORE CLOTHES, I smiled politely and got ready to leave after a brisk perusing, a waft of a dress here, a peek at the odd pair of shoes there. Within an hour (yes, I stayed an hour and nearly missed an important appointment) I had been utterly charmed by the quality and variety of pieces on offer and was chatting to the fabulous Gigi like an old friend. She's a clever one; having quietly observed my careful studying from the sidelines, she noticed I couldn't quite leave a beautiful yellow, green and peach satin dress alone and began a gentle, persuasive nudge for me to try it on - you know, just to see what it looks like, just try it on, it'll be fun! Like dressing up.

Unable to resist, I was in the changing room, trying it on and it was in the bag before I knew it. Gigi gifted me an oyster grey and pink pearl ring in a charming vintage box which made the experience even more special.

Fashion addiction can be an expensive habit, but do not despair; since last year outfits and costumes from Gigi's Dressing Room can be hired out as part of her continued effort to discourage consumerism. There's also a lot more to Gigi than dressing up. She runs small sewing and knitting groups and organises fashion events three times a year.

Shopping at Gigi’s Dressing Room is a truly wonderful spectacle. A place to trawl through alluring clothes that coruscate and beckon you from the rails, pop your feet in a pair of retro shoes, admire your fingers in dazzling cocktail rings and much more. It creates the opportunity to try things on, play dress up, fall madly in love with a special piece and have it customised to suit your unique shape. You can float out feeling a million pounds, knowing that you won’t bump into anyone else at that party / gig / performance / festival / wedding in the same outfit you have safely folded in your shiny new bag.

Thank you Gigi, and long live the art of getting all dressed up with somewhere to go.

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