London Fashion Week SS18

Paul Costelloe.


My team and I produced the samples for Paul Costelloe for London Fashion Week SS18.  They’re fantastic people to work with and the designs and fabrics are fabulous.  Fashionworks London helps Start-ups, that’s what we’re good at.  Sometimes however, we get asked to produce work for more established designers and if we can, we will.  We learn things from these successful brands that we can pass on to our young start-ups. We’re also proud to be chosen by successful brands because it gives our young start-ups confidence in us.  They’re confident we’ll do a good job for them…. and we will.  My team were all carefully chosen for their expertise and I manage everything down to the last detail. We have expert pattern cutters, sample machinists, printers, pleaters, embroiderers, graders – craftspeople who make your vision a reality. We’re second to none. The secret to a successful business is simple: Give 100% to the client. My clients expect nothing less from Fashionworks London.  We won’t disappoint you.

The well known designers such as Paul Costelloe didn’t become successful over night and when answering questions about their success and what advice they can give young start-ups, I’m always eager to hear what they have to say. I asked Paul Costelloe what advice he would give to a young designer launching a label and his reply was “Start high and stay high”.  He went on to say “If you start low, you’ll stay low and never get off the ground”. I gave these comments some thought and realised that he was absolutely right. It’s what I tell my young clients when they’re worried about their prices.

Often when I’m giving a consultation, I hear young people say “I don’t want to charge too much or people may not buy my clothes”. This is not true. There are many women and men looking for great clothes that are well made, well finished, made from quality fabrics,  wonderful details.  They’re willing to pay the price. So, take Paul’s advice… Start high!

During my consultations, I look closely at your designs, listen to your objectives, discuss your vision and make constructive suggestions to enable us to help you make this vision a reality.  Every young aspiring fashion entrepreneur who has come to my consultations has been very inspired and has left with a wealth of information.  Here’s what some of them have said afterwards:

“It was great meeting you yesterday I really enjoyed the session. I felt that you understood my vision which is extremely reassuring and I left your office feeling very optimistic”. Heba Zayed.

“It was lovely to meet you last week.  Thank you very much for sending over the itemized quote for the patterns, toiles and samples.  I also appreciate that you have included subsequent information about the photoshoot and how to move forward there.  The timing looks good from my side”. Nina Kraus

“Nice to meet you on Friday and thank you for talking Josh and I through processes and the potential direction we can look to go in”. Co/Ordinate Clothing.

Next month 3 of our clients will be launching their new collections in London.

Will Solomon launching at Harvey Nichols, Knightsbridge.


Tress Clothing launching at YKK, Shoreditch.


Not Tonight Josephine launching at Fairbank Studios, SW London.


Take Paul Costelloe’s advice and start high and stay high!  Fashionworks London helps start-ups start!  It’s what we do best…. your success is our success!  Book a consultation with Katy Cordina and make your vision a reality today.  The fee is refunded, so you have nothing to lose and everything to gain – a bright sunny future running your own fashion label awaits!




Fashionworks London………………… Where Start Ups Start!


You already know the practical work I do to get your work successfully produced but you may not know that I also help young designers like you succeed on the business side. I’ve been doing this quietly for some time and now I’ve decided to make it more available to select clients.

Essentially, I have 25 years experience in the business of fashion and can save you costly mistakes and time and money  – and I’d love to work with you!

Fashionworks London Business Success is where I guide you to identify the Big Vision for your business and a practical step by step plan to make it happen. You can expect my direction to lead you through the maze of production and sourcing, photoshoot and look book, pitching the product and getting it to market.

The programme outlined below can be tailored made for your requirements but generally this is what is offered. I’m really excited about my new photography and styling team who will work exclusively with Fashionworks London clients at a special rate to give you a head start.

In addition, we are collaborating with the best marketing and PR people,  who will drive your collection to market with an extensive sales and marketing programme.

I will continue to guide you through the process until you have fully launched your label. We go at your own pace within the time frame, prior to the season when you are aiming to launch.

Step One.
Capturing the Right Capsule Collection. This is critical for your success… the collection has to flow. I will go through all of your designs and edit the line up until we have the perfect collection to launch you.

From concept to creation. You’ll be presenting this collection as a representation of your brand and it has to be the very best it can be, the right pieces, the right silhouettes, fabrics etc.  Once we have finalised your designs, we will source the right fabrics for your collection. It’s very important that you source these fabrics from reputable mills and I can help you with this important task.

In addition, I can put you in touch with printers, pleaters, haberdashers, zips, buttons, trimmings etc. Your ‘Little Black Book’ will soon be full of invaluable resources and contacts.

Step Two.
Look Book and Fashion Shoot. Why is this important? It’s your ‘shop’ window. The fashion shoot and the styling must represent the collection to showcase to your target market. Images are needed for your website, Instagram and your look book to send to buyers and editors. It’s not just showing off your designs, it’s speaking a thousand words and ideas. I can put you in touch with the best people, headed up by a great photographer who will manage your shoot at a very attractive rate. He will advise you on models, location and how to put it together. We offer Fashionworks London clients a great deal.

If you get either of these first 2 steps wrong, the consequences could mean that you won’t have a successful launch. Get it right and buyers, editors and your target market will look at your work and acknowledge it.

Step Three.
Production. The big decisions you have to make are price points and the market segment you are aiming for. I can help you do your costings and make sure that fabric costs and production costs ensure that there is a margin for profit. My business clients are offered small production runs totally supervised and controlled by Fashionworks to help you get over the initial launch stages.  That will also entail getting your patterns graded, drafting up a technical sheet and if necessary, a construction sheet for the factory. You will also need labels and wash care labels. I can advise you on all of this. It’s vital to your ongoing success to ensure quality and consistent production at the right prices.

Step Four.
Planning and Budgeting for the next season’s collection. It’s critical to plan ahead. A start-up isn’t just one collection. You have to plan for the next season almost as soon as you finish the first season. I can help you plan and budget for this. I’ll show you how and what to do and when to begin planning for season two, ensuring a smooth transition between seasons and something more to impress your customers with.

Step Five.
Build a Reliable Team. Fashion is team work. You might start off at the kitchen table working away on your own, like I did many years ago. Nowadays I can’t operate Fashionworks London and produce top quality collections for my clients without the support of a great team. As your business grows, you will need to build your own team. This might be in your own studio or outsourcing and using freelancers. I can help you and guide you to finding the right team which is crucial for your ongoing success.  You have to keep your overheads low to begin with and I’ll discuss all this with you in great detail.

Step Six.
Build a Brand. Your brand will have its own signature that clients will recognise in the fashion market place. I can help you identify your unique selling point and how to brand yourself.

Step Seven.
Taking it to Market. How are you going to sell your collection? Trade shows? Your own website? Selling to store buyers or distributors? Will you use a good PR company or will you do it yourself? Can you write a good press report? All this depends upon your budget but a good launch really needs a good platform to kick off from.

I can supply you with lists of store buyers both in the UK and overseas. I can supply you with contact details of fashion editors, fashion agents and advise you on which fashion trade shows to aim for and which ones to avoid.  I can also put you in touch with our associates who help market emerging brands and who find agents for your label. Great people who can contact buyers on your behalf and sell your collections. They can propose a rigorous sales campaign and follow through.

Watch this space for dates of my seminars at our offices in Central London. I’ll be discussing more about launching your own fashion label with guest speakers and industry experts ready to answer your questions.

Places are limited, so email me at for your place on our upcoming dates.


Let’s Talk about Will.


On a hot day last August, a good looking young guy in a black hat and tons of swagger called Will Solomon came to see me about his ideas for a new label.  If you know Will, you’ll know he’s a confident young 21 year old who knows exactly what he wants.  He’s an exceptionally talented artist and his show at a Mayfair art gallery over the next couple of weeks is going to be a knock out.  You can check out his fabulous art here:

Will showed me his ideas at the Fashionworks London workroom in Brick Lane.  I immediately spotted an amazing talent.  His wearable art is fantastically subtle in a very ‘in your face’ way.  He takes classic pieces, sweaters, bomber jackets and leather biker jackets and turns them into wearable art pieces that just look amazing…. amazing because they’re all unique limited editions and you cannot miss them.  They stand out in a crowd of ‘average’ like the Queen’s Crown Jewels light up the Tower of London.  Will paints directly on to  the soft nappa leather that we use to make his jackets.  His artwork is also printed onto jersey and canvas to create unique sweaters with zip details, leather sleeves and other great finishing touches. None of the sweaters are the same and Will only runs 10 off at a time, so if you want to wear something nobody else will ever own, then buy a Will Solomon sweater.



Will intended his first capsule collection to be worn by both girls and guys and they look equally at home on both genders. Raf Simmons has done the same in his latest offering for AW17 for Calvin Klein, giving equal opportunity for both genres.  This is a trend I see coming through for the new season’s collections, especially for streetwear.  My other young clients, Tom Bradly and Daniel Ball, whose fabulous streetwear label, Arthur and Adelyne is wonderfully genderless.  I’m going to write more about these guys after their launch.  For now, centre stage belongs to our gorgeous talented Will Solomon.


If you’re interested in Will’s limited editions, you can contact him through his website or contact Fashionworks London.

















Raf Simons – The ‘Anti’ Designer

Raf Simons,  designer, has captured the ‘Zeitgeist’… Brilliant is the only word that describes this collection and even that doesn’t say enough. I’m glad he left Dior… not his baby.  Here’s who he is:

“Everyone is paying attention to the wrong thing in my opinion. There’s this huge debate about ‘Oh my God, should we sell the garments the day after the show or three days after the show or should we tweet it in this way or Instagram it in that way?’… You know, all that kind of bullshit. Will all that stuff still be relevant 30 years from now? I don’t think so…My generation especially is shifting now, like me and Phoebe [Philo], Nicolas [Ghesquière] and Marc [Jacobs]. We’ve been around for 20 or more years. We know what fashion was and where it’s heading to. Now it’s a question of what we are willing to do and how we are going to do it.”

Raf has to be my absolute favourite because he has a gift of ‘knowing’ and that’s what a good designer needs.  Streetwear is my ‘thing’ and my passion.  I love working with my young streetwear clients.  It’s a tough call launching a streetwear collection… those subtle elements like making the pockets big enough for the iphone, the fit, the layering, the ‘I’m not fashionable’ attitude that must comes across as the wearer is just not trying. Above all streetwear is the ultimate ‘anti’ fashion fashion.



Walking around Shoreditch during the day and evening, I see some fabulous streetwear being worn.  What I love about Raf’s collection is that he’s taken the concept and moved it up a hundred notches and made streetwear just outstanding… in fact leagues above any other fashion statement. Just genius! Very powerful statements here.


I wish he’d do a women’s streetwear collection like this.  I’d buy it in a heartbeat.  Comfortable, stylish, practical… and of course that special ingredient – Zeitgeist!

All designers should be looking ahead, designing for the future and not for today.  We must look at the political arena, current affairs, global events, cultural fusions, the economy and yes, even Donald J Trump!  All of these must be delved into and researched thoroughly to come up with the most exciting and innovative creations.  When you look back at the sixties, you see the Zeitgeist in the clothes people wore, likewise the ’70’s and every decade past. This next decade must also be represented to form part of our history and Raf’s new collection does exactly that.

This is what is going to be the new trend:


and this:




Says it all doesn’t he?  Legend.

London Fashion Week SS17 – Phew!

Wow!  What a hectic few weeks it has been at Fashionworks London in our studio in Brick Lane.  Big thanks to my SS17 team – Dan and also Tanja who both worked hard to meet some very tight deadlines.  The proof of the pudding as they say…….

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We also moved into our new bigger studio in the main building of the Old Truman Brewery and have a view of half the Gherkin. All in all we got through it and clients got their designs on the rails at London Fashion Week.

One of my favourite collections this SS17 was Caine London.  Hayley and Matthew are just incredibly talented designers, artists and musicians.  They create masterpieces – literally!


Works of art on the back of cool denim jackets.

The rest of the collection is just super cool.

caine-3 caine-2

It was a delight to work for Alistair James this season.  These guys are lovely… I mean seriously lovely.  They look like two peas out of the same pod and it’s not surprising they are partners, both professionally and personally.  What a great launch… everything in the collection is beautiful and divine.  Total attention to details, fabulous prints, amazing silhouettes – just gorgeous.  They gave me a bottle of champagne after it was all over too… in its own little jacket! Can’t complain.


For all young fashion designers out there, my advice to you is to keep going and you’ll get there.  These young designers I’ve helped for SS17 are a true inspiration of what can be achieved if you work hard and then some.  It is a labour of love, no doubt about it….. but let’s face it, we do love it!

My satisfaction comes from seeing you all succeed.  So, if you want to launch your own collection next season, pop in and see me for a free consultation.  My team and I will do our very best to help you.

Copyright – Fashion Designs.

Here’s some useful information on protecting your designs.  Copying is rife in the fashion industry but a designer does have some protection from plagiarism.

Copyright protects the expression of creativity by the author, not ideas. So you cannot protect an idea for a dress, but once it is drawn or painted, it is the drawing or painting of the dress, as an expression of that idea, which is protected, not a garment. These are often protected by design rights.  Copyright arises automatically once a work is created. There is no need for registration. The main provisions for the protection of copyright are contained within the Copyright, Designs ands Patents Act 1988 (CDPA 1988).

A design can be protected under s4 of CDPA 1988 as an artistic work; specifically as a graphic work which includes a painting or a drawing. Textile designs may benefit from copyright protection but an actual coat or dress (when made) does not.

The author is the person who creates the work, i.e you!  If you have collaborated with another designer in creating the design, the work may be a work of joint authorship with both designers sharing in the rights.  The author is the first owner of copyright under s11(1) CDPA 1988. There are, however, exceptions. These are:

Works made by employees in the course of employment.

Commissioned works.

In the absence of an agreement to the contrary, where an artistic work is made in the course of the employment, the employer is the first owner of any copyright in the work  A copyright owner has the exclusive right to:

Copy the work

Issue copies of the work to the public

Authorise others to carry out any of these activities (ie licences).

If a design is industrially exploited (which will usually be the case for textiles and fashion designs), the protection is reduced to 25 years from when the work is first exploited.

You don’t need to formally register your design to acquire copyright or EC design protection. But keeping a good record of what you have designed is critical. So put a copyright notice on each design: © + year of creation + your name + contact details.

Design rights can be relevant for fashion design. This is a complex area with several possible legal rights. However, the most relevant for a designer would be the EU Unregistered Community Design. This gives a very broad range of protection and can cover: Your design can be protected as an unregistered Community Design for three years. You do not need to register your design or fulfill any other formal requirements. If you decide to register the design, you can choose whether to make a single registration for the entire EU or merely for the UK. A registered design provides protection for 25 years. There is generally no need to worry about registration due to the fast moving nature of fashion. Even if you chose to register your design, you can delay doing so for 12 months from first marketing the design. This means you can wait and see if the design is likely to become a hit before incurring the registration fees.

In addition to the Community rights just described, there is a further UK right called the UK unregistered design right. This protects any aspect of shape or configuration of a design, though not surface decoration. This right can last for up to 10 years from when an article was first made to the design. This right arises from s213 of the CDPA 1988. There is overlap between these various rights. For example, a handbag may be protected as a Community Design and under the UK unregistered design right. © 2009 John/Jane Smith (address and telephone number). • costume design • urban design • product design • packaging design • industrial design ‘the appearance of the whole or part of a product resulting from the feature of, in particular, the lines, contour, colours, shape, texture and/or materials of the product itself and/or its ornamentation’. EU Designs Directive, Art 1(a), RDA s1(2) 4

A trade mark is a sign which distinguishes your goods from those of your competitors. Chanel, Louis Vuitton, and Gap are examples of well-known trade marks. Trade marks are important because they are the attractive force that pulls in your customers. Generally, your name or the name of your fashion label may function as a trade mark. Distinctive shapes can also be trade marks. For example the Burberry check and the classic Louis Vuitton print are registered trade marks. However, any sign that is customary in the trade is unlikely to be registrable as a trade mark. This applies to standard shapes (eg, the shape of a shoe), words used to describe your goods (eg the word ‘coat’ for outerwear) or shapes that result exclusively from the nature of the goods themselves (eg the shape of a dress). If there is a word, phrase, or design that you use repeatedly a trade mark registration may be something you should consider. Trade marks can be registered just for the UK (at the Intellectual Property Office (IPO)) or throughout the EU (at the Office for Harmonization of the Internal Market (OHIM) in Alicante, Spain). Once registered, protection for your trade mark may last indefinitely as long as you continuing renewing your registration every 10 years. When registering a trade mark it is generally advisable to instruct a trade mark attorney to ensure that all of the requirements of registration are met. Once registered, a trade mark registration generally allows you to stop the use and distributing of goods bearing your trade mark. For example, Louis Vuitton can stop the selling and importing of counterfeit Louis Vuitton bags bearing its registered trade mark design. A registered trade mark can be a very powerful tool.

If your business has a reputation (goodwill) in the UK, and another trader misrepresents its goods to be yours, you may have a claim based on ‘passing off’. Passing off operates in a similar manner as a trade mark claim without the need for a registration, but it can prove difficult and expensive to prove that your name has a reputation A registered trade mark avoids some of these steps and associated costs.

You should keep a photographic or photocopy catalogue of your designs, detailing when they were created, so that the date of creation can be proved if there is some future dispute. If you are employed as a designer and create the design in the course of your job, the copyright and/or design right will belong to your employer, not to you. If you are commissioned to create a design the position is more complicated. You should agree with the person commissioning who is to own the copyright and/or design right. If you are asked to send designs to a prospective client include a standard statement of ownership.

When a manufacturer wishes to use your work you should enter into a contract with one another. You may either LICENCE or ASSIGN your rights. An ASSIGNMENT is more usual since this is an outright transfer of your copyright and the customer will then have full, exclusive, control. A LICENCE is for specific purposes which you and your customer will agree. For example, you allow use of your design for one season or for one market sector. During the period you have licensed your design you remain the copyright owner. Usually an outright fee is paid to you; more rarely a royalty based on sales can be negotiated. You should require your full fee to be paid upfront. Signatures: It is advisable that the invoice detailing the charges and currency is signed by both parties. Usually this is worldwide although you can try and negotiate for a more limited area, eg UK or USA only. ‘This design is protected by copyright © and/or design rights. It is provided to you “in confidence” and you are not at liberty to disclose the design to a third party. Any infringement of the designer’s copyright and/or design rights will be pursued.’ Generally ESSENTIAL INFORMATION Fees Signatures Geographic Area.

Merry Christmas & Happy New Year!

I hope all my clients, past, present and future enjoy a wonderful Christmas and Happy New Year 2016.  It’s a Leap Year so that means great things are going to happen.

If you’re thinking about starting a fashion label, now’s the time to put your ideas into action and call me to set up a meeting.

In the New Year, I’ll be posting some great information on pitching to buyers and fashion editors – from the horse’s mouth!  Forget expensive PR – do it yourself for better results.

See you all in 2016

Bye for now

Katy Cordina0894 london in snow

The Leader of The Pack

I’ve been doing a lot of patterns and samples for leather jackets lately for various designers.  It’s so exciting!  It has taken me back to my teens when we all listened to the Shangri-La’s ‘Leader of the Pack’….In those days, we were either mods or rockers.  Okay, I’m showing my age but it was an exciting time and it was reflected in music and in films such as ‘Easy Rider’ with Peter Fonda and Dennis Hopper – 2 Harley Davison riding hippies who drove across America in search of spiritual truths.  Listen to ‘The Leader of the Pack’ and tell me it’s not exciting!

My first boyfriend was called Giacomo and he drove an Italian 900cc Laverda motorbike…with me on the back of course. We used to belt up and down the German ‘Autobahns’ – Ah! those were the days.  When I was reckless and careless and 19 years old!

Making the patterns for these leather biker jackets has taken me back to my youth and the excitement of travelling on a motorbike. It is a sexy machine…no doubt about it and it’s been portrayed as such by countless film idols throughout the last 50 years or so – Marlon Brando and James Dean spring to mind.  There is an element of ‘naughtiness’ attached to the biker look. Aren’t they gorgeous!

BrandoWildOne james-dean-motorcycle-photo

But what about the girls?  The first rock chicks I remember strutting around on stage wearing a leather biker were Patti Smith and Suzy Quatro.  It’s in the attitude!


suziquatroBack to today….. my favourite bikers have to be from McQueen and Burberry…. it’s all in the details.


See how team McQueen have created an’Innocent’ biker jacket.  They’ve transformed it.  It’s lost the ‘naughty’ image of the past and is now portrayed as very feminine with an almost ‘choir boy’ type of innocence.

Burberry on the other hand have stuck with the modern sexy look… Phew! For a minute I thought she was carrying a whip! The details in these 2 jackets are incredible.. the zips, pockets, quilting details….perfection!  I take my hat off to the pattern cutter who created these two gems..they’re works of art!  A leather jacket like this consists of no less than 30 pattern pieces, all intricately linked like one of those 1000 piece jigsaw puzzles.  I also take my hat off to the machinists who have the task of sewing them up.  They are true masters.  These jackets retail for around £1500 and worth every penny.  You’ll have it for years and see how little it dates.  I’d still wear Patti Smith’s biker style and be very fashionable.

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If your budget doesn’t stretch to these masterpieces there are some good quilted black jackets around that give a similar look and at the moment my current favourite collection is Barbour International.  I had to buy a few pieces from this fantastic every day collection.  The word ‘chic’ doesn’t do it justice!


The Chicara Wax Jacket is a motorcycling-inspired piece…I also love the Barbour Lapwing jumpsuit and the Lapwing dress – now we’re talking my style!  Simple, chic and black!

So guys and girls – get motor biking…. get moving!

Suzi Perry looking good in leather. Timeless, classic… attitude!


This is a very elegant understated cropped leather biker jacket we have just finished for the young designer Frankie Wyld.

Hot off the sewing machine!

British Vogue Magazine – Full of Advertisements and Little Else of Interest.

I want to write about my experience of reading a Vogue magazine this weekend.  Whilst doing my grocery shopping, I passed the magazine stand and noticed that Vogue Magazine was at a special price of £2, so I bought one.  I haven’t read a Vogue Magazine since graduating from St. Martins and after reading this June 2015 issue, I’m certain I wont ever read one again.


The young model on the cover looked like a young Brigitte Bardot with her open-mouthed pout and messy blonde locks, perched on the sand in her gingham bikini…. reminding us that summer time and fun time is on the horizon (not quite though as it’s just started to rain here).

I open the magazine.  First page spread is advertising Dior handbags, second page is advertising Chanel fine jewellery, third page is advertising Prada handbags fourth page is advertising Chanel sunglasses, fifth page is advertising Estee Lauder Double Wear make-up, sixth page is advertising Dior fine jewellery, seventh page is advertising Burberry handbags eighth page is advertising Miu Miu handbags, ninth page is advertising Saint Laurent Paris, tenth page is advertising Valentino footwear and handbags, eleventh page is advertising Louis Vuitton handbags, twelfth page is advertising Louis Vuitton handbags….Phew!  Twelve pages of advertising before we finally reach ‘Inside Vogue’ giving us details of what we can expect between the pages of advertisements.

After reading ‘Inside Vogue’ I turn the page – more advertising!  Fourteenth page is advertising Ralph Lauren’s ‘Ricky Drawstring’ bag and ‘Ricky’ Sunglasses. Fifteenth page is advertising Rolex watches, and sixteenth page is more ‘Inside Vogue’ information.  So far my experience of ‘Inside Vogue’ has been page after page of double spread advertisements. However I press on…

Ah! Seventeenth page is advertising Clinique lipstick, eighteenth page is advertising Lancome Grandiose mascara, nineteenth page is advertising Dior Rouge Brillant lipstick, twentieth page is advertising Patek Philippe watches, twenty first page is advertising Dior watches.  It seems like they come in batches according to product.  There’s clearly a method to this.  I push on getting thoroughly bored by now but also intrigued… I want to count the advertisements I just paid £2 to read.

Ah! Here we have ‘Editor’s Letter’… now let’s see what she has to say…. Mmmn more boring stuff. It begins “Since I’m a sun-lover through and through this issue is usually one of my favourites of the year”… I can’t think why.  So far, it’s all advertisements for merchandise few of us can afford.  I push on.

Twenty second page is advertising Chanel lipstick, twenty third page is advertising Tiffany jewellery, twenty fourth page is advertising Van Cleef and Arpels jewellery, twenty fifth page is advertising Bvlgari jewellery, twenty seventh page is advertising Chopard jewellery, twenty eighth page is advertising Viktor and Rolf feminine fragrance, twenty ninth page is advertising Gucci Guilty fragrances for him and her, thirtieth page is advertising Dolce and Gabbana sunglasses, thirty first page is advertising Giorgio Armani sunglasses, thirty second page is advertising La Perla swimsuits, thirty third page is advertising Fendi handbags.

Ah!  Now we come to ‘Vogue Spy’… ‘Shopping List…What to Buy Now’ it says.  ‘Sweep into cocktail hour’…. I’m told to buy a La Perla swimsuit for £480, gold pendant necklace for £340, Bracelet with diamond £384 and a few other expensive garments to make it look like I’m at least dressed whilst sipping my cocktail.

I won’t bore you any further.  I had just about reached my boredom threshold by this time anyway.


Thank goodness I work with fresh young talent and see the effort these young talented designers make to create their fascinating and innovative collections. All that ostentatious Vogue ‘in your face’ advertising is out of touch with reality.

The world has changed Vogue Magazine…Young designers are creating their own fashion, creating their own tribes online, reaching the far corners of the globe.  The window on their world is vibrant and exciting and fresh and full of energy.  I didn’t see that energy in any of your pages as I turned and turned and turned those glossy advertisements, showing diamonds and handbags. Most of us in this new era of post-austerity would never consider adorning ourselves with all that bling. Vogue magazine is an expensive booklet of corporate advertisements.

Young designers that I work with have the talent to create fresh and innovative collections… even on a tight budget.

Please support young British design talent.  Look for them online and through social media.  You won’t find them inside the glossy pages of a Vogue magazine that’s for sure.