MODERNISM The term Modernism indicates the cultural revolution of 20th century and the literary productionof this

period. Modern literature infact expressed first of all the reaction against all the ideas, the conventions and the tradition of 19 th century. e r e t h e m o s t i m p o r t a n t a n d s i g n i f i c a n t f e a t u r e s o f t h i s r e v o l u t i o n a r y a n d i n n o v a t i v e l i t e r a r y movement!" the #rea$do%n of traditional literary genres&" the fragmentation of traditional ideas of time, place, plot&" the ne% use of syntax, grammar, punctuation&" the emphasis on unconscious and psychology&" the use of myth, classical literature, oriental philosophy&" the use of free verse.There are t%o generation of Modernists, so, the novelists and the poets of this period are dividedinto t%o different groups characteri'ed #y different features and interests.The poets that #elong to the first generation of Modernists are ('ra )ound, *illiam +utler ,eatsand Thomas -tearns (liot. They expressed, through the ne% themes and techni.ues intruduced #yModernism, a realistic and sym#olical description of the %estern civili'ation during the difficultyears that follo%ed the *orld *ar /. 0s for the fiction, %e have to remem#er 1ames 1oyce and2irginia *oolf. Through their psychologycal novels, they explored and analyse the unconscious andthe mental processes.The main aspects of the -econd 3eneration of Modernists are the involvement in the *orld *ar //and the interest in politics and social pro#lems. They also promoted a return to the traditional formsand the use of a less o#scure language.*ith the first generation they shared the use of myth andclassical tradition. *ystan ugh 0uden and 3eorge 4r%ell are the most important mem#ers of thissecond group. MODERN POETRY /n the 20th century the (nglish poetry changed profundly and %as deeply influenced #y t%o literaryand artistic movements! /magism and 2orticism. Imagism %as an anti"romantic 0nglo"0merican literary movement %hich flourished in 1909. it %asstarted #y the (nglish philosopher T.(. ume, %ho advocated the use of precise poetic imagery,indipendence from traditional conventions and experimentation in free verse. /nspired #y 5rench -ym#olism, 6hinese and 1apanese poetry, /magism %as a reaction not only against the pastoralismo f t h e 3 e o r g i a n s # u t a g a i n s t 7 o m a n t i c i s m i n g e n e r a l . / t a i m e d a t a t r u t h f u l a n d c o n c r e t e presentation of the %orld according to principles %hich may #e summed as follo%s!" use of a common language and of precise and exact %ords&" creation of ne% rhythms to express ne% moods&" a#solute freedom in the choice of su#8ect&" presentation of precise images, not vague and generali'ed&" creation of hard and clear poetry, never indefinite #ut magnificent and sonorous&" search of concentration, as the very essence of poetry.The term /magists %as coined #y ('ra )ound, the second leading exponent of the movement. eset do%n an imagist creed %hich forms the first modernist manifesto. Voricism %as a literary and artistic movement that developed as an offshot of 6u#ism, and more particularly of /talian 5uturism. /t %as launched in 1922 #y *yndham 9e%is, an american %riter.T o g e t h e r % i t h ( ' r a ) o u n d h e e d i t e d + l a s t , T h e 7 e v i e % o f t h e 3 r e a t ( n g l i s h 2 o r t e x . T h e movement extolled the #eauties of the

machines& in literature it %as a reaction against /magism. +utli$e /magism, also 2orticism %as an anti"romantic movement. /t violently attac$ed 7omanticismand middle class values. /n its aggressivenes and cele#ration of energy, speed, dynamism, visualand ver#al violence, it closely resem#led 5uturism and other avant"garde movements.

The design of the clothes we wear has been influenced by trends, restrictions of law or economics, and by the types of materials theyre made from them. This section on fashion design will focus on fashion for women and trace the history of the clothes women wear. In their books, Charles Dickens and Jane Austen note the importance of fashion and of the female seamstress and her role in creating clothes that the upper class was judged upon and that the working classes judged upon their ability to last. In 1 !! the fashion was for women to wear long skirts, corsets and elaborate amounts of fabric if they could afford it. During the "#!s and "$!s, hemlines began to rise and a set of couture fashion houses emerged which designed clothes that reflected the growing desire for clothes that helped people to enjoy themsel%es. Coco Chanel and Jeanne &an%in from 'rance produced chic clothes and populari(ed certain looks and styles. )erhaps they were the reason we now refer to fashion design rather than clothes design* +ationing during ,orld ,ar -wo and economic depressions had a radical effect on fashion during the #!th century. .any fashion houses closed during the war as most women could not afford to buy clothes that weren/t necessities and many materials were una%ailable. )eople began to customise and make their own clothes from whate%er materials were a%ailable. 0.ake do and mend1 became many household/s motto. 'lour sacks were unpicked and sewn into dresses for girls during the 2reat Depression in America and in the 34 during ,,II e%ening dresses were made out of silk

from airmen/s parachutes, jumpers were unpicked and knitted again and slippers made out of fabric scraps to prolong the life of your shoes. +ead an article on Make do and mend: design for thrifty times ,hen denim material was used by &e%i 5traus in the 1 th century to make strong and durable clothes for gold miners he began a phenomenon. Designers and makers ha%e gone on to create denim jeans for cowboys, mo%ie stars and fashion icons and the material is now the default choice for many people wanting to be fashionable but also a little edgy.

Controversial fashion
Clothes say a lot about a person, but how you wear those clothes can say e%en more. +olling up your skirt at school, or wearing a tie back to front, can be a form of e6pression as much as donning an Armani suit. In these ways, perhaps we/%e all got a bit of fashion designer in us* Clothes can portray you in a sweet and innocent or dark and dirty light. 7ne fashion that often gets referenced for its rebellious connotations is )unk. 8i%ienne ,estwood is often seen as the doyenne of punk for her work styling the 9ew :ork Dolls and former husband .alcolm .c&aren/s band the 5e6 )istols in the se%enties. )unk was all about anti establishment so leather, (ips, chains and slogan -;shirts were common themes in her designs. ,estwood/s fashion empire was born out of her first store &et I- +ock, which dealt in fifties inspired clothes and memorabilia at a time when <l%is was making his comeback. It has since taken on many different names

and refurbishments, but can still be seen on the 4ings +oad as the ,orld/s <nd.

History of Vivienne Westwood

1970 = 7pens &et It +ock with husband .alcolm .c&aren at >$! 4ings +oad, Chelsea 1972 = &et It +ock is refurbished and renamed -oo 'ast to &i%e selling leather clothing with (ips and chains and -;shirts bearing slogans and pornographic images alongside (oot suits. 1974 = 5hop renamed 5e6 and sells rubber 5?. nipped clothes and her ubi@uitous -;shirts. 197 = 5e6 )istols play their first gig wearing clothes from >$! 4ings +oad, now renamed 5editionaries. 19!1 = ,estwood presents her )irate collection at 7lympia, which references historical dress for the first time. -he shop is renamed the ,orld/s <nd . 19!2 = ,estwood shows in )aris for the first time 19!" = Aer collaboration with .c&aren ends 1992 = 5he is made an honorary senior fellor of the +oyal College of Art and awarded an 7B< 199" = Designs her own tartan for her Anglomania collection 199! = &aunches Boudoir perfume 1999 ; 7pens a 35 flagship store in 9ew :ork/s 5oAo 200 = ,estwood is made a Dame. Aelen 5torey, fashion designer turned professor of fashion science, describes the clothes she now designs as a 0-rojan horse1 for other things she wants to say. 'or her, fashion design has been a way to e6plore meaning

and personality and to communicate ideals. 0,hen I was asked to write a book about the journey from fashion to the end of fashion, it/s called 'ighting fashion, I felt that fashion was for the years before a woman knew who she was. -hat there/s something about the e6ploring. And I looked to all the older women who I admired and they had an absolute certain style. And I suppose I/m more attracted to the certainty of that than I am to the %ulnerability of finding out who you are.1 0I was interested in surface in those years when I was trying to create my own surface and then once I had got that out of my system I became far more interested in the process of why we are what we are and why we do what we do. And that/s %ery rarely dealt with wholely in the aesthetic.1 Aer ,onderland project, a collaboration with scientist -ony +yan, uses dresses that dissol%e in water to suggest how real solutions can be created to enable a more sustainable world. 0,onderland brings together the worlds of art and science,1 says 5torey. By working together, +yan and 5torey ha%e been able to use their different backgrounds to spark new ideas on the application of science and disco%er practical solutions to current ethical issues. -he disappearing dresses are made from dissol%ing te6tiles designed by -rish Belford at Interface, at the 3ni%ersity of 3lster. -he material dissol%es in water, creating %ibrant underwater fireworks. In e6hibitions, the dresses are hung from scaffolds and gradually lowered into giant goldfish bowls of water, and this display pro%okes watchers to @uestion the en%ironmental sustainability of our current fashion industry and what happens to used clothing.

High Street fashion

It is fair to say that Arkadia 2roup dominates the Aigh 5treet. ,ith se%en of the 34 Aigh 5treet/s most famous names ; -opshop, Dorothy )erkins and <%ans among them ; under its banner, most 1C;$D year;olds will ha%e at least one item of clothing in their closet from one of these retailers. -a%eta In%estments owns the group, which in turn is owned by retail impresario 5ir )hilip 2reen. -opshop in particular has won acclaim internationally for being on the cutting edge of fashion. It has brought a taste of high design onto the high street by collaborating with famous designers, including Christopher 4ane, +icholl 9ichol and Jonathan 5aunders. But it has been the shop/s ongoing collaboration with 4ate .oss o%er ele%en lines that has been the biggest hit. -he 34 high street has pro%ed particularly adept at offering the latest fashions, shortly after they appear on the catwalk, at affordable prices. )rimark has been one of the latest contenders to -opshop/s crown as king of the high street. -he retailer originated from Dublin, where in 1 C the first store opened under the )enney/s name. )rimark has had to face some hard @uestions about its work practices o%er the years as consumers @uestion how ethical mass fashion can be. According to a company spokesman, )rimark shares EF of its supplier factories with other high street and international brands. -he company audits its suppliers and has recruited ethical trade specialists, trained its buyers in ethical sourcing and has engaged with 927s to help monitor the supplier side. -he retailer is also working with other retailers on li%ing wage rates.

But, in light of the rise in internet shopping, is there still a place for the Aigh 5treet* )rimark certainly thinks so. 0,e think the high street will continue to ha%e an e6tremely important role,1 said a spokesman. 0Customers like to see and feel the products, and we ha%e no current plans to de%elop online ser%ices.1

Functional fashion
'ashion can be as much about functionality as it is about aesthetics, uniforms being the prime e6ample. 5tyle often goes out the window in these instances and polyester, blockish shapes and garish colours pre%ail. Aowe%er, one fast food outlet took a stand against unflattering outfits when it enlisted British fashion designer Bruce 7ldfield to design its new range of uniforms for its staff.

McDonalds
In April #!!G .cDonalds launched its new staff uniform as part of the company/s o%erhaul of its restaurants. By summer #!!G it had been rolled out to its 1,#!! 34 restaurants. Bruce 7ldfield was gi%en the task of creating a uniform that would fit employees of different si(es and shapes and be practical, wearable and durable. 7riginal trials of the uniform resulted in positi%e feedback from staff and once the tweaked %ersion was rolled out, half reported back that customers reacted to them in a more positi%e way since they started wearing it. 0Bruce 7ldfield was impressed by the e%idence he had seen about us as an employer and so the partnership was a natural fit. Ae was also impressed by the work of the +onald .cDonald Aouse H+.ACI which pro%ides home away from home accommodation for the parents of seriously ill children in hospital.1 .cDonalds

spokeswoman &ink to workwear fabrics section of the -e6tiles article.

Sophia Kokosalaki
It/s not what you/%e got, it/s what you do with it that counts. -his should be the philosophy attributed to 2reek designer 5ophia 4okosalaki/s intricate designs. Drawing from her Aellenic roots, 4okosalaki is best known for her use of drapery in her work, reminiscent of the traditional garment worn by women in ancient 2reece, the peplos. -hese romantic details are often ju6taposed ne6t to the less romantic leather. 5he saysJ 0I like to design functional apparel that also allows you to look interesting.1 In 1 G 4okosalaki graduated with an .A in women/s wear from &ondon/s prestigious Central 5aint .artin/s College of Art and design. 5he debuted her first collection at &ondon 'ashion ,eek the following year before going on to spending two years as a guest designer at Italian label +uffo +esearch. It was here that she de%eloped her passion for working with leather. It was in #!!E that 5taff international ac@uired a controlling stake in the 4okosalaki brand. Aer clothes can be seen on celebrities from 4irsten Dundst through to Aelen .irren.

The future of fashion is set to be more sustainable, ethical, inclusi#e and all about the internet. In this section we e6plore how the way we buy, choose and e6pect our clothes to be designed is changing dramatically and gi%e an insight into a career in fashion design so you can plan your future in fashion.

Sustainable and ethical fashion Anti waste

.ark &iu launched Kero ,aste, a range of women/s fashion that didn/t cut off an waste any materials, at &ondon 'ashion ,eek in #!!E. By using a cutting techni@ue designed to sa%e the fabric typically wasted in pattern cutting Happro6imately 1DF of the materialI and sewing each garment to make waste into interesting details, &iu reduces waste and manufacturing costs. www.sti@ue.com

Recycled materials
'rom 5omewhere re;thinks the fashion industryLs rubbish, reclaiming and up;cycling as a design solution to an en%ironmental problem. ItLs a sustainable fashion label run by 7rsola de Castro and 'ilippo +icci that makes womenswear collections with lu6ury designer pre; consumer waste ; such as proofs, swatches, production off;cuts and end of rolls. -he operating principle behind the label is simpleJ what happens to the fashion/s industry/s production surplus and lefto%ers at the end of each season* -hey call what they do 0up;cycling1 rather than recycling, and design is the way they turn scraps into beautiful clothes that take into account the balance between consumption and disposal.

In 7ctober #!!G 'rom 5omewhere won the Designer of the :ear and Inno%ation +<J3se award at the +<J'ashion awards. www.fromsomewhere.co.uk

Organic materials
John )atrick 7+2A9IC designs tailored, inspired eco fashion collections for men and women. Inhabitat describes )atrick/s work as the 0ne6t bold step for sustainable style and future;forward design1. )atrick was one of the first designers to de%elop a direct relationship with organic farm collecti%es in )eru, where he tra%elled early in his career to learn more about the production of cotton and handspun alpaca wool. 5ince then, )atrick has helped increase the use of botanical dyes, recycled fabrics, and organic wool yarns, while re%itali(ing traditional techni@ues such as hand;wea%ing and whole;animal leather production. www.johnpatrickorganic.com

airtrade
-he 'airtrade 'oundation, which awards the 'airtrade mark, defines fair trade as being 0about better prices, decent working conditions, local sustainability, and fair terms of trade for farmers and workers in the de%eloping world1. It stri%es to ensure companies pay sustainable prices and operate in a fair and just manner when in business with those who are often the most put upon in society. )eople -ree is one fashion designer M retailer that takes fair trade seriously. .ost of the brand/s organic cotton carries the 'airtrade mark and is working towards getting appro%al for its remaining producers.

0'air -rade enables producers in the poorest communities of the world to work their way out of po%erty, and look forward to a more positi%e future for themsel%es, their families and their communities,1 says )eople -ree spokesman Antony ,aller. 0'or consumers they know that buying 'air -rade products means that they are an acti%e part of the solution of world po%erty, and are helping to send a strong message to multinational companies to rethink their trading policies in the de%eloping world.1 )eople -ree has e6perienced growth across its online and wholesale business during the recession as people look for @uality garments that they feel good about and can wear from season to season. 0Distrust in the financial markets has led people to @uestion business practice and we ha%e seen great support for companies like )eople -ree who are 1!!F fair trade,1 says ,aller. -he company has recently collaborated with Aarry )otter star <mma ,atson on a line, which has helped the brand reach a younger audience. www.peopletree.co.uk

!hrift
-aking a thrifty approach to the fashion you buy and wear can be a consuming pastime. Aunting through racks of clothes in a charity shop and coming up with a designer find is not unheard of. -here is also the added bonus of knowing that your purchase has helped put money towards a good cause. In these recessionary times, the low prices are another appealing trait of charity shop shopping.

76fam is a prime e6ample of a charity shop that has e6plored the nation/s passion for a bargain. 76fam opened its first charity shop in 1 >E on Broad 5treet, 76ford. It was the brainchild of the 76ford Committee for 'amine +elief Hlater 76famI and was set up to help 2reek ci%ilian %ictims of ,orld ,ar II. -he charity now has more than E!! stores across the 34, stocking e%erything from clothes to cutlery donated by the public and organisations. In 5eptember #!!E, 76fam launched its first online shop, which now makes more each week than any of the charity/s indi%idual high street stores. It followed this in #!!G with a collaboration with Aigh 5treet behemoth .arks ? 5pencer. 3nder the clothes e6change scheme the public can donate unwanted .?5 clothing to 76fam and recei%e ND .?5 %ouchers in return. 5o far the scheme has raised N#m for 76fam. 76fam opened three bouti@ues in #!!G across &ondon featuring selected %intage pieces alongside 'air -rade labels and pieces redesigned by fashion students. Jane 5hepherdson, chief e6ecuti%e of ,histles and former brand director at -opshop, consulted on the scheme on a pro bono basis. A further four stores ha%e since been opened across the 34. In keeping with the trend towards online shopping, the charity plans to open a section dedicated to %intage clothing, supported by blogs and ad%ice, in April #!1!. www.o6fam.org.ukMfashion

Inclusive fashion
5itting on a hospital ward in a gown can often heightens a patient/s feeling of %ulnerability. -he Department of

Aealth and the Design Council ha%e teamed up to o%ercome this issue with their Design for Dignity scheme. )atient gowns are just one aspect of hospitals that are being addressed by selected design teams under the scheme, which will tackle ward layouts, toilet and washing e6periences in hospitals and more. American fashion designer Ben de &isi won the chance to redesign the traditional hospital patient gowns so that they significantly reduce the risk of physical e6posure, cater for differences in patient si(e, cultural and religious preferences and are appropriate for a range of acti%ities including sleeping, resting journeys to and from the toiletMbathroom and lea%ing the ward. )rototypes of the new gowns were re%ealed in 5pring #!1!. 'ind out more about the project at www.designcouncil.org.ukMdignity

Online fashion
'ashion shows are e%ol%ing. -he rise and rise of social media has meant that images from catwalk shows are now sent out minutes after a show finishes %ia -witter so the public no longer has for maga(ines to hit the shel%es months later. Comment swirls around the internet on blogs, forums and fashion websites about the collections well in ad%ance of the clothes hitting the shel%es. 0By streaming their shows online, brands take ownership of this real;time fashion communication, in an en%ironment which they can influence, instead of letting others do it for them,1 says the Business of 'ashion founder Imran Ahmed. According to Ahmed , the amount of brands streaming their collections online is growing from season to season.

5ome ha%e e%en e6perimented with the process for AM, #!1!. 0Aowe%er this implies significant change for the fashion system as a wholeO when shows happen, when clothes are sold, and how they reach the consumer. ,e are only at the beginning of the internet re%olution in fashion.1 ,hether this means brands will abandon li%e shows is unclear. +eplicating the e6perience of watching a show li%e and the energy they emit suggests that for the moment the show will go on. 'ashion retail has already been a huge success online. ,hether it/s maternity wear and baby clothing on offer from Jojo .aman Bebe or upmarket designer clobber from 9et;a;)orter, the @uality of the fashion designs they sell must be complemented with an efficient transaction process, and a bit of brand sparkle for a fashion retailer to stand out online. +ead more about how 9et;a;)orter sur%i%ed the dotcom bust thanks to its approach to ser%ice design.

Best of BritishJ 'ashion Designers

#y ollie Moat

The first ever couturier %as +ritish. 3ranted, 6harles 5rederic$ *orth %or$ed in )aris, #ut he %as #orn in +ourne, (ngland in 1:2; #efore heading to the 5rench capital to #ecome the favoured designer of <apoleon ///=s court, %here he dre% upon the history of costume to create ela#orate, lavish go%ns. 4ver the past 1;0 years fashion has moved %ay #eyond *orth=s spangled sil$ tulle and corsets, and some of the most progressive style movements have #een do%n to +ritish designers. They %ere responsi#le for the -%inging -ixties and )un$ after all. -o as %e cele#rate >ueen (li'a#eth //=s diamond 8u#ilee, %e thought %e=d also ta$e a loo$ at some of the most influential fashion designers her ?nited @ingdom has producedA $i#ienne %estwood

Vivienne Westwood 9et=s #egin %ith argua#ly the most influential, not only has Bame 2iv had a career that=s spanned five decades Cso farD #ut she %as also, along %ith her one time partner Malcolm Mc9aren responsi#le for a %hole fashion genre E pun$. /n the -eventies, inspired #y -FM, #ondage and #i$ers she #egan designing pieces that incorporated tartan, chains and safety pins, sold at her infamous @ings 7oad store and %orn #y the li$es of the -ex )istols. /n her later years *est%ood has #ecome more $no%n for her curve"hugging, corseted dresses.

Westwood in her punk days and Vivienne Westwood Red Label S/S 12

SHOP VIVIENNE WESTWOOD RED LABEL

&tella 'c(artney

Stella McCartney Mc6artney had a roc$y start to her career Cand the shouts of nepotism %eren=t helped #y the fact she roped in @ate Moss and <aomi 6amp#ell to model in her graduate sho%D #ut a fe% seasons into her position as 6reative Birector at 5rench la#el 6hloG she hit her stride %ith .uir$y designs that %ere #oth sexy and girlish. ?pon launching her o%n eponymous la#el in 2001 she undertoo$ a more gro%n"up, tailored

aesthetic, attracting a high"profile cele#rity clientele %hich has meant her dresses tend to #e u#i.uitous red carpet staples. 4ne thing that has al%ays remained constant, as a lifelong vegetarian, is her refusal to %or$ %ith leather or fur.

Stella McCartney S/S 12 and Chloe S/S 01

SHOP STELLA MCCARTNEY

)urberry

ho!as "urberry 4ne of +ritain=s oldest la#els, +ur#erry didn=t start out as a fashion company, #ut #ecame famous for a type of hard%earing, %aterproof fa#ric called ga#ardine, created #y founder Thomas +ur#erry in 1:H0. /t %as used #y 0rmy officers for their uniforms and 7oald 0mundsen, the first man to reach the -outh )ole. 0s the 20th century progressed, popularity of their Trench coats soared and their trademar$ chec$ %as unfortunately adopted #y -eventies foot#all hooligans. The name of their cat%al$ collection, )rorsum, is the 9atin %ord for Ifor%ard= and that only really happened for the la#el in 2001 %hen ,or$shire #orn designer 6hristopher +ailey too$ the creative reigns E his modern and directional ta$e on classic (nglish style %o%ed the critics and turned the la#el into one of the industry=s #iggest hitters.

"urberry #rorsu! S/S 12 and an ori$inal "urberry advert

SHOP BURBERRY PRORSUM

*le+ander 'c,ueen

%le&ander Mc'ueen 7ight from the %ord go, %hilst cutting his sartorial teeth as a tailor on -avile 7o%, 9ondon #orn 9eeMc>ueen really earned his reputation as the Ihooligan of fashion=, famously chal$ing o#scenities into the lining of a #la'er for the )rince of *ales. 0fter studying at 6entral -aint Martins -chool of 0rt he %as discovered #y the iconic late stylist /sa#ella +lo%, %ho fell in love %ith the mix of ex.uisite tailoring and delicate #eauty of his designs. /n a controversial career he %ent on to popularise lo% cut trousers nic$named I#umsters=, de#ut a collection called I ighland 7ape= and had a spell at 3ivenchy#efore launching his o%n line at the start of the 21st century. Mc>ueen too$ his o%n life in 5e#ruary 2010 and %as succeeded at his la#el #y his former assistant -arah +urton, %hose collections since have earned rave revie%s, and %as responsi#le for @ate Middleton=s dress at last -ummer=s 7oyal *edding.

%le&ander Mc'ueen S/S 12 and the %le&ander Mc'ueen (bu!sters(

SHOP ALEXANDER MCQUEEN

(hristopher -ane

Christopher )ane -cottish designer @ane=s rise to fame %as rapid, than$s to his -pringJ-ummer 0H collection, %hich sho%cased #ody sculpting dresses in #right neon shades %ith glittering details, and the space age couture aesthetic %as an instant hit. @ane %as snapped up #y 2ersace to design their 2ersus line, %hilst continuing his o%n eponymous la#el %hich he runs %ith sister and muse Tammy. *hat=s interesting a#out @ane is that he refused to rest on the successful loo$ he=d already esta#lished and instead each season sees a ne% style, %ith the past fe% seasons seeing the designer experiment %ith gothic, floral em#osses leather, rain#o% hued tulle and appli.ue, and minimal metallics.

SHOP CHRISTOPHER KANE

Christopher )ane S/S 0* and Christopher )ane S/S 12 'ary ,uant

Mary 'uant 0long %ith 5renchman 0ndrG 6ourrKges, >uant is one of the -ixties designers %ho ta$es credit for the mini"s$irt, a garment %hich literally revolutionised %orld fashion. +ringing fun and fantasy to fashion, *elshJ(nglish >uant %as ideal for the youth.ua$e roc$ing +ritain Cthough she set up her store in 19;;, her designs didn=t ta$e off till several years laterD. -he also #rought hotpants to the style ta#le and %as one of the first models of 2idal -assoon=s directional Ifive"point= haircut.

+ean Shri!pton posin$ with he Rollin$ Stones in a Mary 'uant dress and a Mary 'uant !ini,dress 'atthew %illiamson

Matthew Willia!son

The $ing of I#oho chic=, this some%hat outdated term no% refers #ac$ to %hen Manchester #ornMatthe% *illiamson resurrected the hippy luxe aesthetic to huge popularity at the start of the 21st century. ?sing #right 8e%el tones and tactile luxurious fa#rics, his pieces too$ influence from the 5ar (ast and -eventies #ohemia and %ere championed #y the li$es of elena 6hristianson, -ienna Miller and )lum -y$es. -ince moving #ac$ to 9ondon 5ashion *ee$ after sho%ing in <e% ,or$ for several years, *illiamson=s collections have ta$en on a more traditionally girlish, pretty loo$.

Matthew Willia!son S/S 00 and Matthew Willia!son S/S 12

SHOP MATTHEW WILLIAMSON

-atharine .amnett

)atherine -a!nett !eetin$ Mar$aret hatcher amnett founded her la#el in 19H9, #ut it %as in the early (ighties that she really rose to prominence, as one of the first designers to use fashion as a political and ethical tool. er slogan t"shirts Clater adopted #y the #and 5ran$ie 3oes To olly%ood %ith a more playful messageD, %hich expressed mantras such as I 6hoose 9ife= and I ;:L Bon=t *ant )ershing=, the latter of %hich she %ore to meet then )rime Minister Margaret Thatcher. amnett has continued to have strong political vie%s a#out the fashion industry, declaring in 200: that designers at 9ondon 5ashion *ee$ %ere racist for not including enough #lac$ models, and her t"shirts have continued to spa%n hundreds of imitations.

)atherine -a!nett slo$an t,shirts /onathan &aunders

+onathan Saunders 0n example of a +ritish designer at the start of his career, -pringJ-ummer 12 has #een the -cottish designer=s most successful season yet, %ith an eye"catching collection that included many of the year=s must"have pieces. 0 print specialist, -aunders de#uted at 9ondon 5ashion *ee$ in 200M and his aesthetic has since matured into #right and cheery tailoring %ith a feminine t%ist and he has ta$en up a post at /talian luxury la#el )ollini as %ell as colla#orating %ith Topshop on a line.

+onathan Saunders %/W 0. and +onathan Saunders S/S 12

SHOP
0aul &mith

ONATHAN SAUNDERS

#aul S!ith <ottingham #orn -mith is one of +ritain=s most famous modern tailors, %hose contri#utions to mens%ear earned him a @nighthood from >ueen (li'a#eth //. -mith started his #usiness in his hometo%n in 19H0, opening up his o%n shop. is #right and inventive approach to shirts and suits sa% the #usiness expand to 9ondon and eventually #ecome a glo#al #rand, %ith t%elve different collections all cele#rating his mixture of the classic %ith the .uir$y.

#aul S!ith S/S 12 and #aul S!ith S/S 0.