July 15 2010
My first writing assignment when I was a student and fashion rookie was to review Avsh Alom Gur’s show at London Fashion Week. It remained memorable for two reasons. One: as a result of a mix-up with the seating, I was whisked to the front row and seated next to Bobby Hillson (a former Vogue illustrator – her counterpart at US Vogue when she held the post was Andy Warhol – and founder of the prestigious fashion MA course at Central Saint Martins). Sitting beside this mentor to some of fashion’s great names – McQueen, Galliano, Stephen Jones, to name but three – I found myself enthralled by her pre-show stories about the fashion set as rebellious young students and her accounts of Coco’s glamorous shows in the 1950s.
And two: the prints were fabulous. Bobby turned to me after the show and said, “Great prints, don’t you agree? He always does prints so well – very bold, yet still so wearable.”
Since that show, Alom Gur’s prints have remained etched in my fashion consciousness, yet I’ve never bought any of his work – mainly because I’ve never been able to find it. But a couple of weekends ago, while perusing the collections in Palette – a little boutique in north London – I found some Avsh Alom Gur numbers from his spring/summer 2010 collection (pictured). The ankle-length tee dress stamped with vibrant digital prints (£645) is my favourite; it’s the first time he has used digital printing, as in the past – and in the collection I reviewed – he used traditional silk-screen prints. Now if I could only find his printed headscarves…