Florilegium: Corrie Nielsen SS13

2010 Fashion Fringe winner Corrie Nielsen is renowned for her wonderful ways with pattern cutting, which only went from strength to strength paired with a romantic floral theme in her SS13 collection Florilegium, finished off with striking millinery in collaboration with Emma Yeo.
Flowers have always fascinated me from the little girl entranced by those in the back garden and merrily exploring the grand grounds of stately homes to the fine art still-lifes in the National Gallery. In this collection Nielsen particularly looked to the stunning grounds of London's Royal Botanic Gardens, Kew. Both the ornate forms of hot houses and the beautiful natural structures of the plants they host have informed the intricate shapes seen here at London Fashion Week.
Studying the botanical blueprints conceived by Makoto Muryama led to a greater understanding of how flowers are intricately constructed and contrasting delicate and tough elements, from the pretty petals to sepals, stamen and anthers, creating entrancing shapes through the sculpted fabrícs.
The etheral colour palette showcased pretty muted tones of pale duck egg blue and rose pink along with cream, white and soft hints of black. Shimmering silks looked every bit like blossoming petals.
I absolutely love the revelry amongst the flora and fauna in the collection, creating a fine floral fantasy.

Corrie Nielsen AW12: Vestiarium Scoticum

One of my London Fashion Week highlights, Corrie Nielsen's AW12 collection Vestiarium Scoticum was a truly sumptuous affair transporting the eagerly anticipating audience straight to the Scottish Highlands. The collection was named after a book documenting Scottish fashion and the iconic tartan print, the ancient manuscript delved into the subtleties of how each tartan is steeped in history from the clans who produced their unique patterns. 
This collection is an ode to the sweeping Scottish countryside, and milliner Emma Yeo referenced this in her use of pheasant feathers, eloquently elongating the silhouette. In a thoroughly modern touch a striking black tartan transfer was also applied to the models' faces, complemented by elegant statement buns in their hair.
The show opened with a vibrant red tartan, but soon moved into the base of monochome, supporting the Gothic feel of the collection. Nielsen played with layering and mixed in with the traditional tartan I saw sweet polka dots. They were dotted over a the tartan design of a skirt harking to the kilt and also placed on the the models' hands.
I really loved the placement of light and airy tulle, perhaps referencing the spacious open air of Scotland, and thought it particularly gorgeous where gathered pristinely in an extravagant collar. The muse of this collection seems strong but this soft choice of fabric also suggests a fragility within.
Having worked for Vivienne Westwood for six years from 2000, Corrie Nielsen's signature sculptural take on tailoring shines in the grand designs of this collection with striking voluminous details such as strong shoulders and peplums. These contrasted with sleek, wearable pieces such as pencil skirts and I adored the ladylike feel of the nipped in waists. However, the two finale looks swept away any thought of practicality.
The penultimate look saw an almost angelic soft but structured white top and a stunning skirt reminding me of the exaggerated Rococo dress silhouette. Then the very last decadent look captured a dark, foreboding, dangerous feel in the magnificently cut cape.
From start to finish this show held the audience firmly in its grip. The 2010 Fashion Fringe winner, Nielsen is an incredibly exciting talent and this was an extremely exciting showcase of her talent which I am sure we will see plenty more of.