Wednesday, 20 August 2014


We have been dying to play dress up with feature Moxham's powder-coated steel pieces here on Concrete Collar for a while now and our recent reunion in London afforded us that opportunity. Madeline Moxham, founder of the studio, is a 'self-confessed anti-jeweller' who favours minimalism, monochromatic tones, leather and hardware. Her stockists include Harvey Nichols and Whistles and she was recently interviewed by Vogue. Each harness, anklet, cuff, necklace and crown is skilfully assembled in her enviable South London studio - a crisp white, sun-filled room filled with inspirational art work. 

Another London-based talent who's work we have been lusting after since we attended her AW14 show at London Fashion Week, is blogger-come-fashion-designer, Charlie May. Her use of white and cream tones, crisp tailoring and innovative materials made for the perfect marriage with our Moxham crowns and cuffs. A favourite of many the power blogger, Charlie May's Autumn/Winter collection will blow your minds. Keep those eyes peeled. 

This time, our destination was Dame Zaha Hadid's design for the London Olympics Aquatics Centre. Inspired by the fluid geometry of water in motion, its undulating roof covers three pools and can seat up to 2,500 spectators. The topic of its spectator capacity is one that has caused much controversy since its opening. During the 2012 Olympics, a temporary seating system designed by Hadid was erected, allowing the aquatics centre to accommodate up to 15,000 people. Unfortunately, it was discovered all too late that some 2,400 of these had limited views of the pools. The architect staunchly denied the possibility of this, stating that her design had in fact delivered almost 3,000 more seats than was called for, all of which had uninterrupted views. Rather awkwardly, neither Dame Hadid, nor any of her team members, were invited to the attend any of the games.

Following the Olympics, the centre underwent a transformation process which saw the removal of its controversial seating wings. Although we would not usually see ourselves as members of the Hadid fan-base, its transformation to a public swimming pool along with its vertical garden wall breathes life in to what would otherwise be yet another Olympic ghost park. 

Ciana wears

Charlie May mesh waistcoat

MOXHAM AW14 collar
Zara white patent bluchers

Becky wears

COS mesh waistcoat dress

Zara cut out cleated sole shoes 

Friday, 8 August 2014


Phs: Concrete Collar

A slice of Brutalist heaven in E2 - Keeling House proved to be the perfect backdrop for our exciting collaboration with Stills AtelierAs always, we were drawn to sensuous, minimalist silhouettes and brought these to life against the raw canvas of light and concrete. 

This iconic structure was designed by Sir Denys Lasdun (best known for  the Royal National Theatre, on London's South Bank). Completed in 1957, this 16-story tower block in Bethnal Green is a cluster of 4 blocks of maisonettes arranged around a central service tower. 

Unlike a flat slab or tower block, Lasdun designed Keeling House with four wings that each look onto another, encouraging contact between neighbours. Between the central lift tower and the front doors of the apartments, tenants had to pass communal 'drying areas' for laundry and storage, where he hoped that social interchange would be as natural as in the streets below. 

Thankfully this concept did not extend to the balconies which all face outward and offer panoramic views over the city of London. Now Grade II list, it was converted into luxury apartments between 1999 and 2001 by local architects Munkenbeck and Marshall. Eight penthouses were built on what had previously been the service roof of a 15-storey building. 

When can we move in?

Read our interview with Stills' head of design Korrie Vulkers here

All clothes are from the  Stills Atelier Fall Winter 14 collection- in stores this month.

All styling and photography is our own.

Special thanks to Leighann! 


We are big fans of the work of Vogue photographer Annemarieke van Drimmelen and her latest campaign for Stills didn't disappoint. Shot against a stark urban backdrop in Los Angeles, Juxtapositions is a labour of light and shadow.

As the AW14 collection hits stores, we interviewed the head of design for Stills - Korrie Vulkers to find out what inspires her work.

CC: Who is the Stills woman?
KV: She is a mature woman. She has a certain confidence and elegance. She has made her choices in life, knows where she wants to be, but in an unassuming way. Her way of dress is sophisticated but comfortable, contemporary but feminine.

CC: Your work strikes an interesting balance between functionality and elegance, androgyny and femininity. How do you go about achieving this?
KV: I am always looking for contrast in the collection. Contrasts in material, in shape, and in silhouette. For instance, a sharp blazer with a soft silk blouse gets more interesting when it is worn with comfortable jogging trousers. The fluffy surface of a chunky knitted sweater comes to life on a leather fitted pencil skirt; it’s in the contrasts in shape and in material.

CC: How do you tackle innovation in materiality and construction?
KV: Every season, we start with experiments in our in-house atelier. Making toiles of new shapes and constructions, new sleeves and shoulder-shapes, different volumes and proportions. At the same time we test new materials. We even try to invent our own material. For example, we might combine many layers of unfinished, torn silk to create a new material with a soft, hairy surface.

CC: In your opinion, what is it about the work of renowned photographer Annemarieke van Drimmelen that makes her the right choice for the Stills campaigns?
KV: It’s in her gift for intimacy and light. Annemarieke portrays women in a way that’s very vulnerable and at the same time strong. The light is often natural, which creates dynamic composition in her pictures. She works with the softness and the strength of a woman, the sensuality and the power.

CC: Your work is very architectural, from the way it is constructed, to its silhouettes, to your choice of fabrics and to the tones that you favour. Has this always been the case?
KV: Mostly I let the material dictate the shape; and consequently I do have a personal preference for strong fabrics. I like to work with construction often seen in traditional menswear; my favourite items in a collection are often the coats. Coats allow bigger shapes, strong silhouettes and real construction.

CC: Has the style of any particular architect or architectural era ever influenced your own personal aesthetic?
KV: Though he’s not really an architect, Anish Kapoor is one of my favourite artists. I like how he works with proportions, how he uses his materials and colour. His work is surprising, fascinating and astonishing. You have to take time to live through it and really experience his work. It is an adventure.

CC: The Stills stores were designed by architects Doepel Stijkers, to whom you were said to have given a carte blanche. The architects said of the design, ‘We based our concept on the clothing collection. Pivotal to Stills fashions is a feel for the structure of the material and for good workmanship, and that’s what we translated into the space.’ Did you anticipate that your designs would influence their concept so heavily?
KV: Not really, but they did a great job in translating the structure of a textile material in their design. The linear effect of yarns in a handloom is shown in the grid that is used the shop interiors.

CC: Could you tell us a bit about the Stills AW14 collection?
KV: This Fall 2014 Stills collection is about new textures, fluffy and soft surfaces, abstract patterns and creative translations of textile art. Sheila Hicks and Anni Albers, both artists working with tapestry, inspired us for Fall 14. There is special attention for the knitwear this season, with lots of textures and contrasting materials.

See our exclusive shoot featuring the AW14 collection here.