By Cheryl Ong, First Year Law
The Croft Magazine // The University of Bristol Charity Fashion Show showcased pieces which in my opinion were timeless. It took place on a classic catwalk stage, accompanied with futuristic visuals and production by Limbie Cinema.
Fashion is dynamic and encapsulates a vision of a tasteful future – designers assemble a collection, put on a show for their work, and let it out into the world for others to make what they will of it; and BCFS is no exception.
The atmosphere was vibrant and loud as smoke and neon lights made the runway come to life and pulsating music filled the room with excitement. As models started strutting down the runway, they oozed power and confidence. There were several installments showcasing looks from a whole host of brands, with designs ranging from casual wear to holiday attire to couture.
In supporting Off The Record, a local mental health charity, the show fiercely challenged pressure surrounding body image and instead I picked up on a sense of belonging. It was clear that the models had been selected for their individual stage presence and charisma rather than on account of how well they might conform to certain body standards.
The first designer of the night was SHH streetwear, showcasing pieces that embodied a prolific and wandering mind. Graffiti instantly came to mind, and I enjoyed the visual mixture of tie-dye, pattern and colour which gave off a cool aura. These designs seemed reminiscent of everyday wear and I could definitely imagine them being at home in a bustling city street.
Lydia Jackson’s standout looks came next on the runway, accompanied by some stunning visuals on the screen. Her pieces not only were grand, but seemed to celebrate an array of cultures. I particularly enjoyed the platform shoes and veil-like headpieces teamed with evening gloves. Pops of neon and varying textures of mesh felt cool and innovative.
Gloria Jane Royer, a relatively new designer from London, explored fashion with an innovative yet sustainable mindset and had designs that screamed uniqueness. The moment I saw the extravagant designs and contrasting colours, I could not help but smile from cheek to cheek and be in absolute awe. They had a masculine whisper, but indubitably reinforced feminine power; this mix allowed for apparent duality and translated strength. The textures and mediums used were very inventive, with slight subtly weaved into it, and each piece seemed like a piece of artwork – something you will never forget.
WILDAPPAREL showcased pieces that belong in a museum, and are what I would call ‘vintage-versatile’. The pieces were so special; I immediately pictured them in a section of the Louvre or a Venetian museum. A 70s influence was threaded throughout, evident in fitted tops tucked into flared trousers. I loved the delicacy of the looks, especially the beautiful, intricate lace. The models were also so confident which carried and celebrated the artistry.
Hukka was the next brand, showcasing a holiday-themed collection. The combination of prints and colours were minimalistic yet caught people’s attention.The ski wear shown looked both cosy and trendy. Designs included: head-to-toe neon yellow, subtly colourful prints and monochromatic patterns. Flashes of unusual fabric made a case for statement outerwear. The beachwear had a similar idea behind it, but focused on block colours that will never go out of style.
2Point5D, a Bristol based indie brand, was one of my favourites of the night. It encompassed the meaning of youth, and had some of the most wholesome designs I have ever seen. It was authentic yet retro, showcasing 90s extravagance and endearingly reminded me of Clueless. I particularly enjoyed the layering of vibrant block colours – knee-high boots matched sunglasses and earrings, all completed with a soft-toy bag. Such fun!
Grace Haggerty designed some incredible menswear pieces and definitely wore her edge on her sleeve. I have always been a fan of menswear but Haggerty took it to the next level. Neon two-piece suits with sharp tailoring is how her designs are best described. The collection was strong and imaginative – I was particularly into all the layering.
The designs of Miss Crofton lingerie were simple and clean, fitting for everyone. A see-through dress came across as utterly mystical - the meshwork was extremely delicate and gorgeous - and it had an ethereal-like softness.
Closing the show was Edge o’ Beyond, a luxury lingerie brand from London. The pieces were very intricate - my personal favourites sported floral embroidery. I also enjoyed how the entire collection had a certain fierceness to it and yet remained feminine and pretty. The menswear designs were very bright and energetic, signalling a sense of fearlessness. The show ended with everyone dancing to “I’m Every Woman” by Chaka Khan and “September” by Earth, Wind & Fire – a wonderful way to end the night!
Meet the team behind FUZE: Managing Director Jazz Zervos aims to showcase a wide range of talent
In a nutshell, all the pieces were extremely unique, memorable and fun. Each designer incorporated their own individuality which ultimately complemented the whole collection. BCFS had diversity in its collections and had something for everyone. All the varied styles came complete with a wash of creativity and a serious edge. The thought put into each piece was evident, making the models feel empowered and confident, which led to the fashion show raising over £10,000 - a huge success!
Featured: BCFS Facebook - Soul Media / Giulia Spadafora
Find The Croft Magazine inside every copy of Epigram Newspaper
