Watch this behind the scenes look at the life of a London Fashion Week model. Natasha from Storm Model Management gives us an inside glimpse from the back of her Mercedes-Benz.

RAKE menswear presents this promotional video ahead of their London Fashion Week AW12 show.

London Fashion Week The Daily proudly presents a back-of-the-Mercedes interview with Rake menswear designer, Clive Darby.

Tell us a bit about the Rake Lounge collection?

This is our second time presenting Rake Lounge. We have two collections, Rake Lounge and Rake mainline, and the philosophy for both collections is exactly the same, it’s really about flexible pieces that can be broken off and worn in any number of ways. Rake Lounge is specifically about evening-wear, cocktail-wear and party-wear, but again the looks can be broken up, and the pieces can be worn with say a t-shirt or polo-shirt. But the main thinking behind both RAKE lines is that each piece within the collection works with its counter-part, but at the same time will also work with any other piece within the collection.

What’s the inspiration behind your AW12 collection?

We really looked at the sixties and seventies, that jet-set era, you know the ballsy rock-stars mixed in with the gentry; so the inspiration and the way we approached it was imagining everything a RAKE gentleman would pack for a weekend away for a house-party at that time, so the collection has an all encompassing quality.

What do you think distinguishes our London men, in terms of style, from the other chaps across the globe?

I don’t think they are afraid of trying actually; there’s a London attitude in a way, and it’s not just about the men, there seems to be a bit more of an energy where Londoners have fun  playing around with things. And I think the London crowd in a way, or English fashion generally, is about indiviuals and personalities coming through the clothes rather than being conformative and wearing a uniform.

And is there any menswear trends that you predict for AW12?

Well I think there will definitely be a more relaxed approach to dressing this season. Very much about the separates, which is obviously very fortunate for us as that’s where we do fit in. I think it’s about mixing and matching and having a bit more fun with clothes, whilst maintaining an edge with the indivual putting their stamp on their clothes. A key trend I see going forward this season is the softer, more refined tailoring that has the ability to go from ballroom to bar to restaurant.

Do you have a muse or anyone specific that you think of when you are designing? Do you have a RAKE man in mind?

We do have a specific guy in mind all the time, but it is not agesist in any way what so ever, it can be someone in their late thirties, or fifties or sixties. But with the RAKE man, it is more about an attitude and mindset, and how he would carry a certain item off. But definitely when the RAKE team is creating a new collection, a lot of thought and a lot of detail goes into each piece and who would wear it.

Do you have a favourite piece of clothing in your wardrobe & why?

Yes, there’s this cardigan that I bought from Browns when I first came down to London, and for some reason it has always been with me and it’s one of those things that when I always put on it touches this sense of memory. It is amazing that it has survived so long in my wardrobe. It’s a little bit like having a favourite smell, it can give you a sense of comfort and make you feel great.

What motto should a designer live by in order to survive LFW?

‘God loves a trier’, it’s what my father always said to me. I think sticking with it, that’s the big thing, sticking with it.

 And last but not least what’s the cheekiest think you’ve every done in the back of a car?

You make me blush just thinking of it … I think I once remember getting a goodie bag and leaving all the items I did not want stuffed down in the back of the car,  and I remember having a pang of guilt after thinking of the person who had to do the cleaning job.

PHOTOGRAPHY BY SHANIQWA JARVIS

REPORT BY YASMIN COKE

LFW 2012- Clive Darby

London Fashion Week The Daily proudly presents a back-of-the-Mercedes interview with designer, David Koma.

Congratulations on receiving the BFC NEWGEN sponsorship again this season, what has this meant for you?

It’s the fifth time I’ve received this sponsorship, and every time I feel super happy because without their support I would not be able to achieve all the amazing things that has happened to my brand. I am forever in love with NEWGEN and the whole team – their support is amazing.

What’s the inspiration behind your AW12 collection?

This season we were inspired by Marchesa Luisa Casati portraits and dog racing, with its sports element.

And does that link to the Olympics in any way?

Not really. I love how the greyhound has an elegant and aristocratic look, and the whole energy behind dog racing is great. One of the key elements is twenties menswear with high collars and quite thick shirts.

You like to incorporate interesting fabrics – from metal tubing to fine python skin – into your designs; what exciting materials can we look forward to seeing this season?

The mix of material and textures is very sixties minimalism, with quite twenties arc-deco intricate elements. This season we used a lot of contrasting materials, as we had a lot of technical and industrial materials with neoprene – and even some materials that are not meant for clothing – mixed with silks, jacquard and cashmere. The overall look is quite clean, quite directional.

Was there ever any other profession you wanted to do?

Not really, I always loved art, sculpture and painting. I was very young when I decided I wanted to become a fashion designer, so I don’t really remember anything before that.

What is the best thing about being a fashion designer?

I think meeting a lot of incredibly talented and inspiring people through this profession. I have met so many amazing people, and I am very happy about that.

You are based in London now, but you are from St. Petersburg, do you every draw influences from there?

The beautiful architecture and historical heritage of St. Petersburg influences me, but I couldn’t say there is something particularly direct that influences me.

What is it you love about London and British fashion?

Everything! London is the most creative and free-spirited city; very energetic and inspiring.

And how will you be celebrating once your show is over?

I will probably go to a nice restaurant with my team. And have a lot of sleep.

What is the cheekiest thing you’ve done in the back of a car?

You don’t really want to know … All the cheekiest things that you can do in the back of the car I have done.

PHOTOGRAPHY BY SHANIQWA JARVIS

INTERVIEW BY YASMIN COKE AND NIAMH CONNOLLY

We follows Matches buyer Natalie Kingham as she attends some of London Fashion Week’s most exciting shows. She offers an insider view on the fashion industry and a buyer’s perspective on catwalk shows.

Watch our exclusive behind the scenes video of Storm Model Anne Sofie, talking about the hectic life of a model during London Fashion Week.

Not many designers score their very own display in the window of a world famous department store in their first season, but that is exactly what happened to MASC duo Duncan Shaw and Billy Yick. After being approached at September’s Vauxhall Fashion Scout exhibition , the designers were given just three weeks to turn around the pieces which ended up being seen by hundreds of thousands of people passing the Oxford Street store.  They also saw their collection sold through the Bright Young Things pop-up shop which accompanied the windows. In fact, their pieces are still available to buy online from Selfridges, as well as at Young British Designers

How do you follow that? For MASC, the answer is a luxurious AW12 collection entitled ‘Shadow Box’. The colours and shapes of this collection have been informed by the film ‘In the Mood for Love’ which Duncan says has a ‘60s mandarin aesthetic- it’s dark and poetic’. Where the SS12 collection used wings to create the silhouette (dresses with fitted bodices jutting into angular pleats), this time it is the rectangle which forms the basis of each piece.

Duncan and Billie both studied at Nottingham Trent, graduating in 2007. After they’d finished, Duncan took up an offer to study at the Institut Francais de la Mode in Paris- he was the only British graduate in the intake. Billie followed him there. ‘Our time in Paris still has a huge influence on our work’ Duncan says, pointing out a Halston style 70s shot on the mood board with the caption ‘Nuits de Paris’.  These two seem so calm and are so clearly completely in sync- they describe how they work on the same mannequin, taking one half each and eventually blending their two creations into a MASC piece.

Where the first collection comprised just two colours and was made up mostly of dresses, the AW12 has a more comprehensive palette (maroon, navy, bright red, cream…) and a foray into different textures with ribbed wool, suede and an innovative material which is printed, glazed and laser cut to create a feather-like effect.

And it doesn’t stop there; the structured scarves are super cool, with their trailing tails and upturned collars. Alongside these, there are leather belts with folded back ends so the smooth and  rough sides of the leather are next to one another- Duncan makes these himself. The pair are very proud that each item is made in London, with materials sourced from English mills and specialist factories here and in Italy.

MASC have also expanded their horizons for AW12 by including trousers (one slim leg, one wide leg style) and coats in the collection. They are passionate about getting the cut exactly right. They have a dedicated pattern cutter, Alice, working with them to perfect the process.  The outerwear is a key part of the  ‘armoured elegance’ philosophy which underpins everything Duncan and Billie do.  There are a couple of short- length shrug on jackets as well as more substantial pieces in amazingly soft mohair- Duncan calls it ‘plush’ and I couldn’t find a better word myself!  Zip makers YKK have been  collaborating with the pair so there are chunky zipped pockets on the coats and also running down the back of dresses.

Different colours and fabric trims have been used on opposing pockets- ‘We knew the collection was very symmetrical’ say Duncan ‘so we decided to break that up a bit by not matching each side on the pockets’. Thus, on the sleeveless coat dress (above and below), one pocket is red while the other is navy.

The look book, shot by Phill Taylor, brings the collection back to its initial starting point, that dark Chinese film ‘In the Mood For Love’. ‘We chose The Town Hall Hotel (in East London) because it reminded us of the hotel in the film- all the dark walls. It was the perfect setting for showing off everything we’ve created’ Duncan told me.

Posted by Bethan Holt, Fashion Junior at Large

Watch our exclusive highlights from London Fashion Week AW12 Day 4. Today’s top fashion moments include the Antonio Berardi, Christopher Kane and Erdem runway shows.

We saw colour block panelled tailoring at Antonio Beradi in Senate House, before heading onto Pringle which showed strong coats and rainbow shades of dip dyed long hair on all the models. We loved the Chrissie Morris sculpted silver block heel shoes for Pringle.

Erdem showcased a very contemporary, fresh collection full of colour, lace and texture against a solid white backdrop at the White Cube in Bermondsey. Then onto a spectacular show at Giles, with burnt out fabrics, metallic, feathers and gorgeous gowns.

Other highlights included; Osman’s brocade trousers. Christopher Kane leathers. At Burberry the shrunken tweed and military green waxed jackets, animal motifs and the orchestrated rainfall, also the gold studded and fox head handled umbrellas were a must have!

McQ stepped up to the next level in a breathtaking show, the beauty and detail of Mcqueen with a more urban edge. Set on an autumnal leaf strewn catwalk that lead Kristen Mcmenemy into an enchanted forest and ultimately a bar in the forest.

LFW 2012- Alexander McQueen

He had his catwalk presentation yesterday, which ShowStudio.co.uk, described as “What Hermes should be doing.” Unfortunately for me, I was turned away at the door. I dashed from Vivienne Westwood, but scheduling and traffic meant the timings didn’t work. Lucky for me, I had time with Thomas last week. He has produced two critically acclaimed London Fashion Week shows already, and has ten global stockists. Yet you are probably wondering: who is he? Well, let me introduce you. He is a a 24 year old softly spoken Canadian boy who graduated from Central Saint Martin’s MA course in 2010 – yup the one that has been run by Louise Wilson for 20 years, the very same one that produced McQueen, Kane, Koma et al. His aesthetic is a little bit American sportwear; a little bit tricksy Japanese cut, and he only makes in Britain.

Thomas Tait isn’t like most of the MA graduates who have graduated onto the NEWGEN scheme though; rather than each collection being about about the big concept, complete with a mood board populated with images from far flung places and exotic women, his inspiration is “in my head,” he says tapping it.

We are at his studios on Mare Street, in the Centre for Fashion Enterprise, (CFE) that supports young designers just starting out. Thomas has two large strip-lit rooms on the second floor.
I’m a fan of his work. It is minimalist, chic, sleek, functional and clever.  Looking at one of his coats with their slightly curved-arms, and asymetric hemlines you just know it will be good, and fabulous to wear, for five years minimum. Thomas is all about cut, texture, silhouette.

His approach is rigorous and woman friendly. Oh, and you want to see him get excited about the cut of one of his jackets, and the way the supple glove leather he has gotten corrugated by a Japanese company – ok he calls it “Japanese Plonge” –  becomes the ribbing at collar, cuff and waistline. He is like a kid being given a candyfloss when the sample becomes ready.
“I’m about how a woman will interact with a garment. I spend a very long time developing the cut and construction of my tailoring.” Indeed he developed a slim-fit trouser for his first collection,  now a permanent feature of his range, which dear readers, has a gusset! Like in a pair of tights! Hold that “eeeewww” forming in your mind because it is actually genius.
Let Thomas explain.

“I want to create a slim silhouette. When you talk to women, its super interesting. I’m fascinated by their neuroses, and how they see their bodies.What do they hate? What are they uncomfortable about? Where do they hate ‘bulk’?  It turned out to be in that area. So I put work into the cut there.” And sure enough, it works. You can’t see the, ahem, gusset. Or as Thomas says, “it creates a visual, but it is not present.”

This gives you a clue to the Tait approach to cut. His collections so far have explored modern outerwear (last winter) and for spring 2012 he is looking at modern sportswear shapes in muted pastel tones; notably a modern riff on the T-shirt shown on the runway three weeks before Celine’s almost identical one. “An American buyer called me back after Celine to tell me “you’re in good company kid,”

For his Autumn/Winter collection, he has taken something of a Varsity route; a vaguely collegiate style. Cue riffs on baseball jackets and denim jackets, skater boy hats, skinny leather and silk velvet pants in off colours, even some denim, “we’ve created it with contrast wax thread top stitch, the jeans are high waisted and flare out slightly. We’ve embossed the back pockets, which makes me laugh a bit. We called the leather jeans “Buffy” and the silk velvet trousers are upholstery weight.” With Thomas its all there in the detail.

His looks are inspired by sportswear, classic tailoring which he gives his own unique twist. The shades of yellow and brown he has chosen are a bit Seventies western; he has developed hats with skatewear brand HUF. “Lots of my mates wear HUF. I have an affinity with the sense of brotherhood in the skate community.”

“I am afraid of mood boards, I can never fulfil on a board what is in my head. My ideas are not static, they are flashes of light, film clips.” I suggest perhaps a moving moodboard – and he laughs. “That will be my show.”

by Melanie Rickey, Fashion Editor at Large