A YOUNG designer who is causing ripples on the British fashion scene is set to launch her second collection at the end of London Fashion Week this week.
Claudia Ferguson, 23, is to reveal her latest 22 creations at a closing event in the capital on Friday.
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Already she has attracted the attention of renowned celebrity fashion stylists and has been featured in OK! magazine and national newspapers.
Ms Ferguson, who grew up in Burnley and went to school in Blackburn, said: “It’s unbelievable how my dresses have created such an interest in such a short time.
“I love to allow ladies to show off their figures in dresses that are sheer class and very sexy all at the same time.”
Her clothing is especially popular with TV presenter Lizzie Cundy, who has worn her designs four times.
Now the former Queen Elizabeth’s Grammar School student has launched her business CC Couture by Claudia Croazzo, named after her mum’s Italian family’s name. The family has been involved in the retail of fashion wear and clothing in the Bassano del Grappa region of northern Italy for the last 50 years.
Ms Ferguson was educated at St Joseph’s Park Hill in Burnley and also completed an art and design course at Blackburn College.
She went on to win a place on the fashion design and styling degree course at the University of Salford.
After graduating she worked on a spring summer gym-wear collection for Neu Apparel in Manchester but her passion was to move to London.
She secured a position working on the knitwear collection for Jacque Vert who have more than 470 outlets across Britain.
Ms Ferguson said: “My experience there was invaluable.
“But my aim was always to set up my own fashion house.
“When I presented a collection at the Portobello Young Fashion Designers show in February that was when things started to take off.
“I was invited to show at a fringe event at the Mint Leaf Lounge Bank during London Fashion Week.
“My dress collection was shown alongside a jewellery collection which together looked fabulous.
“Initially the plan was for my collection to open the show,.
“But when the organisers saw it they decided it should close the show, which was very exciting.”Read more at:sexy formal dresses
The fashion industry is in the midst of a major revolution. As each fashion week season rolls around, a larger number of designers can be seen embracing a new approach to their big runway reveals: “see now, buy now.”
The movement, ushered in by an increasingly impatient and digital-and-mobile minded bunch, ditches the fashion industry’s traditional six-month catwalk-to-store lag time in favor of an approach that mirrors its name. Consumers can now buy looks off the runway right after the show is over.
Filled with perks for shoppers of the digital age — many of whom will march into their nearest Apple store should an app take more than a millisecond to load — the “see now, buy now” model simultaneously challenges both veteran and emerging design talent.
Here are three reasons why.
A Mega Shift in Supply Chain Strategy
In order to earn a ticket on the “see now, buy now” train, traditional fashion firms and designers must significantly retool their supply-chain operations. And, like every millennial’s favorite Facebook relationship status: it’s complicated.
Adapting to a new supply chain model of any kind is difficult, but a significant acceleration in speed-to-market — which a “see now, buy now” model would require — can is more of a major supply chain overhaul, which can be catastrophic.
Of course, having a nimble supply chain and the financial resources in one’s corner can aid the process.
For now, Burberry and Tommy Hilfiger are among the top fashion names to make the switch to “see now, buy now.”
Trade-Off Anticipation for Immediacy & Accessibility
Some of the fashion industry’s top creative heads have been openly against the “see now, buy now” model because they believe it hinders the emotional elements of desire and anticipation birthed by “the wait.”
Most notably, François-Henri Pinault, CEO of French luxury conglomerate Kering, has rejected the approach.
In a memorable sound bite in February, Pinault said fast fashion “negates the dream” of luxury and “there are some brands for which a runway show is a communications event.”
With Gucci, Balenciaga, Saint Laurent and other popular fashion houses under Kering’s command, the company’s public refusal to adopt the model could temper momentum.
Pressure on Creativity & Quality
Faster fashion has become one of the industry’s more polarizing topics. On one side are those who believe that the key to survival is keeping up with consumer demands for immediacy, on the other are those who say that the only way to accomplish that is to sacrifice quality and creativity. Fashion designers and executives clinging to the latter perspective believe that even if consumers say that they want everything right now, they don’t mind holding on a bit longer for the best possible product.
Last year, in a heavily cited interview with System magazine, former Christian Dior creative director Raf Simons lamented about the ever-increasing pace of fashion and a lack of time for the “incubation” of ideas.
Similarly, Italian designer Ermanno Scervino told Reuters in March that he has no intentions of joining the “see now, buy now” crowd.
“It is not for me, it is not for [products of] excellence,” he said. “We have long [designing] time frames. I am not interested.”Read more at:backless formal dresses
What is “American” fashion? I don’t mean fashion made in America — that much is obvious (though considering most high fashion in America is manufactured in Italy, that’s an interesting point for discussion too). But ideologically, what does it constitute? What makes a collection, or a designer, especially “American?” To a set of jet-lagged eyes, that seemed to be the question that occupied New York designers in their spring/summer 2017 collections.
Maybe it’s because this is an election year, for an election that could redefine perceptions of America, both at home and abroad. Look at how the currently unravelling saga of “Brexit” has transformed and polarized opinion of the United Kingdom. Is it facile to reduce Trump versus Clinton down to fashion? No, especially considering that the much-parodied emblem of the Trump campaign is a baseball cap purporting to help “Make America Great Again;” and that pretty much the entirety of New York’s designer community — Diane von Furstenberg, Marc Jacobs, Altuzarra — has banded together to create T-shirts in support of Hillary Clinton. No one’s come out for Trump quite yet — though on Wednesday night, Gucci did launch a range in their Fifth Avenue flagship store, nestled under the Trump Tower. So we got close.
Perhaps that’s what threw New York into an existential crisis: If you’re fighting to help shape America’s future, maybe it prompts you to question what “American” really means — and how it manifests in a few yards of fabric with a four-figure price tag. American fashion is, we’re so often told, commercial. It’s easy. Sportswear. It’s Claire McCardell in the ’40s, with her shirtwaist dresses and flat pumps and stretch jersey swimsuits; it’s the cleanliness of Roy Halston Frowick in the 70s (in work, if not in life); it’s Calvin Klein (although not this season, as the brand dropped off the schedule prior to the first collection by Raf Simons, due next year). It’s probably not Joseph Altuzarra’s sheer stockings and flirty, froufrou skirts, and python-embroidered cherries, with their heavy doses of 1971 Yves Saint Laurent. But that was fun enough.
American fashion is also an Oscar de la Renta ballgown, an Adolfo suit, the anarchic, perennially penniless Stephen Sprouse, the genius of Charles James. American fashion is multifaceted, complex, then and now. What was rewarding, in seeing designers grapple with nailing down its meaning, was their often unexpected conclusions. It wasn’t all jersey. Mary-Kate and Ashley Olsen’s The Row, for instance, which showed in the brand’s chic, three-story walk-up on 71st Street, featured Keds (or The Row’s expensive equivalent) and clothes in folk embroideries with chewy texture, or papery cotton like hospital gowns. If I had to cite an influence, I’d say Donna Karan, in theory if not in practice: The Row makes simple but expensive stuff designed to work in tandem with women’s lives.
Talk about dichotomies, how about walking a block to the Frick and seeing Carolina Herrera? A stone’s throw can be a world apart: She opened her collection with a denim ballgown, which sounds like the sort of thing that should be confined to a Ry Cooder-themed episode of “Say Yes to the Dress,” but actually looked great. Herrera also made ballgowns out of checkered fabric like tablecloths, and big fat Yankee bandbox stripes. And brocade, of course. Herrera’s is a distinct subset of American style: It’s the Oscar de la Renta world (which had a weak, rudderless season lead by the design team, but promises better next when Monse’s Fernando Garcia and Laura Kim fill the vacant creative director position). But back to Herrera: Her ballgowns and slender evening dresses fit in perfectly in her spiritual and physical home of the Upper East Side. There were even a few shirts with exaggerated cuffs, the sort of stuff Herrera herself wears all the time, and looks so handsome in. This is American style too — uptown.
I asked Jack McCollough and Lazaro Hernandez of Proenza Schouler if they felt like they were downtown designers, and they pulled a face. But they’re hardly uptown. “Midtown?” suggested McCollough, with a heavy dose of sarcasm. Maybe just New York, which is the territory plenty of designers wish to occupy, but few straddle as effectively as Proenza Schouler. Case in point: They showed their fall/winter 2015 collection in the Marcel Breuer-designed former Whitney Museum of Art on Madison Avenue; fall/winter 2016 was in the new downtown Whitney. And for spring, their clothes mixed uptown and downtown: There was something fundamentally American about a mink coat cut with all the luxury of a bathrobe (a good thing) and with a print T-shirt wrapped around the waist (a better thing). It’s an outfit you felt you’d never seen before, that did something new and different with luxury. It brought that fur down to earth, and made it feel real, which is an idea so many designers are talking about across the world, but one that feels distinctly American.
Hernandez and McCollough are clever designers; they like referencing clever things. American artists are a particular fetish: This collection’s collaged prints of photographs — of McCollough’s clenched fist alongside randomly Googled images of Greek statues (where they are going for a post-fashion week holiday) — reminded me of the work of John Baldessari. So did the brilliant colors, predominantly Yves Klein blue and Warholian Campbell’s Soup red. Proenza Schouler was showing in a gallery again, so maybe those associations are inevitable.
They’re also clever because this collection felt decidedly, desirably commercial. Is that a dirty word? Not in America. The overriding impression of fashion week was how well American designers can do that, without it (necessarily) feeling lame. Lots of it did, of course. But I couldn’t help but be wowed by Ralph Lauren, quietly nailing that See Now, Buy Now thing everyone’s prattling on about. You watched the show, outside his boutique, then streamed in to see the clothes in store. And, perhaps, buy. His collection was Western-inspired, and he’s making out like a bandit. How American is that?Read more at:sexy formal dresses | backless formal dresses