Christopher Kane

LFW SS14: Day 4

Day 4 dawned sunny, bright and absolutely freezing! For some reason unbeknown to anyone even myself, I decided to do bare legs. This was perhaps due in part to the equally inexplicable fact that me, Nik and Serena stayed up until the wee hours eating Reece’s Pieces and giggling like teenagers after a few too many cocktails at the Belstaff, Purple Magazine and Dominic Jones parties. Not exactly a rock n’ roll end to the night but on the back of ten (I think) days and nights of fashion week fun, it was enough to make me feel a little on the deathly side when my alarm went off at 7am. Frost bitten knees and bleary eyes aside, there was no way in hell I’d even consider skipping show number 1, Roksanda Ilincic.


I wore: Maje shirt, AllSaints Jacket & Skirt, Massimo Dutti boots & Jaeger London bag
Image by Holly McGlynn

This season Roksanda partnered with The London Bridge Quarter, resulting in the Shard providing a suitably spectacular venue with citywide views of bright autumn morning. As one would expect from one of the city’s shining design stars, Roksanda’s FROW line up included Samantha Cameron, Natalie Massenet, Kim Hersov, Paula Reed, Ruth Chapman and just about every other major editor, buyer and fashion face on the planet. After a fairly sizeable wait – Monday morning of LFW is usually when some of the top shows take place, meaning major delays when everyone inevitably gets stuck in traffic – the first look hit the catwalk and despite my, ahem, fatigue quite how brilliant it was registered instantly.

For SS14 Roksanda Ilincic delivered acid brights, graphic prints and neon colour blocking while somehow managing to convey the air of elegance we’ve come to associate with her. Cinched waists and full skirts were paired with boxy tees and jackets in sculpted neoprene, as if to really drum home the message that Roksanda does a hell of a lot more than just cocktail dresses. Asymmetric hemlines, chiffon pleats and flowing ribbons of fabric were juxtaposed with harder edged looks featuring jagged mesh prints and intricate laser cut overskirts. Roksanda Ilincic isn’t a designer one would usually associate with embellishment but this season she went for it and her gamble paid off big time. The final looks were adorned with gob stopper plastic and gleaming gems, strikingly stunning in a way that was both harsh and compelling.


Roksanda Ilincic SS14 (images via

Other than the fact she makes really nice stuff, what I find so impressive about Roksanda Ilincic is the way she moves her aesthetic on each season. While everything she designs has a quality than is inimitably Ilincic, her past few collections have each been markedly different to what we’ve seen previously. This time around Roksanda demonstrated the scope of her skill with athletic touches and a tomboy air (enhanced by chunky, neon Nicholas Kirkwood flats) I could never have predicted but completely and utterly fell for. Judging from the thunderous round of applause that accompanied the finale, I wasn’t the only one seriously impressed by Roksanda Ilincic’s bold SS14 collection. Who knows what she’ll have for us next season? Whatever direction the designer decides to take, you can be damn sure she’ll nail it.

The only problem with holding a show halfway up a sky scraper is the issue of getting everyone back out. This was especially the case after Roksanda when we found ourselves with mere minutes to get across town for Christopher Kane and a high heeled stampede ensued. Once we’d managed to get downstairs and locate Naomi’s car it was time for one of the most panic stricken journey’s of my life. That sounds dramatic I know but come on, you just don’t miss a Kane show! After quite literally sprinting halfway around Clerkenwell we made it just in the nick of time and, oh, thank God we did. If anyone is nuts enough to still doubt the sheer, mind boggling scope of Christopher Kane’s talent this this collection should have definitely put a stop to that.


Christopher Kane SS14 (Images via

This season the designer’s starting point was, to put it simply, flowers. But of course, there’s never anything simple about a Christopher Kane collection. His blooms took the form of metal teardrop cut outs inspired by sterilised petals, arresting images of floral reproductive organs concocted from gossamer applique blooms and shimmering sylphlike bias cut slip dresses with skirts and straps contorted by embellished clips loosely referencing those one might use to examine a plant specimen. Sounds odd? Well then look at the pictures. It worked, in an exquisite, magical, how-the-HELL-did-he-think-of-this kind of way. From the razor sharp midnight black tailoring to the pastel hued slogan sweatshirts (I smell a cult hit…) to the patterns created not from print, but intricate cut out patters, everything about the show was utterly hypnotic and unlike anything else I saw here in London or across the pond. Christopher Kane took another step towards fashion world domination this season and I for one am more than happy to dress under his rule.


Christopher Kane SS14 (Images via

After what I’m sure you’ll agree was a cracking start to day three, it was time for another high speed dash across town for Marios Schwab at the Topshop venue. Since wangling my way in during my first ever LFW, I haven’t missed a Marios show and I never intend to; he just gets stronger by the season and he started off pretty damn good! A master of second skin silhouettes that mould, sculpt and enhance the female form, Marios Schwab was at his body conscious best for SS14 delivering an array of slick looks featuring carefully positioned airbrush prints. Wicker like mesh detailing and matching caps added intrigue to immaculate monochrome looks while backpack esque straps brought shimmering sequinned numbers back down to earth. Denim dresses with deliberately frayed hems sat seamlessly alongside gossamer fine lace creations and red carpet floor sweepers with meticulously embroidered underskirts that we caught a flash of as the models stalked the catwalk. If the collection’s name, “Contours” hadn’t given us the hint then the svelte sexiness that exuded from every look drummed Marios’ message home; these frocks are all woman.


Marios Schwab SS14 (Images via

Season in, season out, the Burberry Prorsum show is always a major LFW highlight for all who are lucky enough to attend. From the crisp white card invitations featuring a 3D cut out of London to the welcome email “from Christopher” all guests receive on arrival and star studded FROW to the collection and it’s reliably fabulous finale, everything about it is so perfectly done I can’t even imagine the organisation it takes to pull the whole thing off.

LFW Alexa Cheung, Poppy Delevingne, Jamal Edwards and Kevin at the Burberry Prorsum Womenswear Spring_Summer 2014 Show

Alexa Cheung, Poppy Delevingne, Jamal Edwards and Kevin Stytrom on the FROW


Anna Wintour… Like I needed to tell you that!

Gabriella Wilde, Simon Neil, Alison Mosshart, Paloma Faith, Sienna Miller, Harry Styles, Suki Waterhouse, George Barnett and Naomie Harris at the Burberry Prorsum Womenswear Spring_Summer 2014 Show

Gabriella Wilde, Simon Neil, Alison Mosshart, Paloma Faith, Sienna Miller, Harry Styles, Suki Waterhouse, George Barnett and Naomie Harris

With so many other wonderful components, it would be almost tempting to overlook the clothes themselves and it’s a true testament to Mr Bailey’s design prowess that he manages to make them standout as the star of such a spectacular show. Remember how much I adored (and still adore, it’s only September after all!) Burberry’s AW13 collection? Well my feelings for the SS14 offering are every bit as impassioned.


Burberry SS14

Indeed, in some ways the looks felt like a very natural progression from the latex pencil skirts, cheeky PVC trench coats and playful heart prints Bailey put down the catwalk last season. The hint of kink remained while the autumnal colour palette had been replaced by sugar sweet pastel shades of lilac, mint and blue, dusky pink, buttery neutrals and hits of rich rose. Incidentally, the collection was entitled “English Rose”, a perfect name for some of the most deliciously, unashamedly feminine ensembles I’ve ever laid eyes on.

Burberry LFW

Burberry SS14

Figure hugging, sheer lace pencil skirts and matching buttoned up blouses played a game of peek-a-boo paired with softly cocooning knits and coats and leather grab clutches adorned with embroidered blooms. Thicker fabrics were masterfully manipulated, folded origami style to form knot front detailing or sculpted trench style evening dresses cinched at the waist by embellished belts. As the collection progressed, glittering gobstopper embellishment grew to cover trench coats and almost painfully gorgeous skirts realised in candy coloured lace. Cara Delevigne closed the show clad in a playful plastic cape. As the models made their final walk, a torrent of rose petals rained down from the ceiling to the sound of deafening applause.

Love Ella. X

Posted on by Ella Catliff in Fashion Week 3 Comments

Vogue Festival 2013: Day 2

Vogue Festival day 2 dawned sunny and bright. Feeling distinctly smug for having left the AMAZING opening party at an uncharacteristically sensible hour the previous night, I donned one of my favourite Spring-in-the-city ensembles and trotted down to the South Bank, via Starbucks of course. It was perhaps not quite sunny enough for shorts. Naturally I wore them anyway and my knees were blue by the time I arrived but I’d be damned if I was going to put tights on. First up was British Vogue Editor, Alexandra Shulman in conversation with Victoria Beckham, easily one of the most hotly anticipated sessions of the weekend.

Vogue Festival

Vogue Festival

Vogue Festival

Vogue Festival

The sheer excitement surrounding Victoria’s appearance was a true testament both to the marketing genius that is brand Beckham and the unequivocal success of her eponymous fashion label. Cast your mind back a decade or so, could you imagine a WAG taking center stage at such an event? Then again, no one expected her designs to be so brilliant. I can imagine that this was a thought going through many minds in that auditorium. As Alexandra Shulman introduced Victoria as “a phenomena” you could practically feel a ripple of agreement pass through the audience.

Victoria Beckham & Alexandra Shulman - PLS CREDIT MORGAN O'DONOVAN.jpg

I have the upmost respect for Victoria Beckham, both as a designer and master of self-reinvention. I’ve also heard from countless sources that despite what her pap shots might indicate, Victoria is actually charming, funny and really rather lovely. While we did get the (no doubt accurate) impression that every word uttered, picture taken and question posed had been very carefully scrutinised, Victoria’s self deprecating sense of humour and total passion for her work was plain to see. I’ll admit, it wasn’t my favourite talk of the weekend but Mrs Beckham still delivered a few pearls of wisdom, not to mention witty one liners.

“Ultimately I’m designing clothes that I want to wear myself”

“There were a lot of raised eyebrows… Those that could raise their eyebrows that is” – on her critics

“I’m very aware of how much the fabrics cost, how much the details cost… Yes I like to be creative BUT I am running a business and I’d like to be here in 20 years time” – on creativity Vs commerce

“When I’m in bed I visualise what I’m going to wear the next day… I had this conversation with David and he said he does the same with football…” – on wardrobe planning

“I want to make women feel empowered and confident and beautiful… A lot of attention goes into every detail that makes women feel good” 

“Be prepared to start at the bottom up, put in a lot of hours… But you’ve got to be passionate about it” – on cracking the fashion industry

After leaving the auditorium we all filed out and made our way straight to talk number two, “Building a British Brand”. This was another session I was particularly looking forward to, not least because of the incredible panelists: Alexander McQueen CEO Jonathan Akeroyd, accessories Queen, Anya Hindmarch, Jimmy Choo Co-Founder Tamara Mellon and designer-of-the-moment Christopher Kane.

Christopher Kane - Vogue Festival - pls credit Morgan O'Donovan.jpg

Vogue Festival

As Alexandra Shulman explained once we had taken our, “despite having innovative design talent, Britain historically hasn’t been one to build big brands.” However all that has started to change in recent years thanks, in part, to these four sartorial pioneers. I’ve probably said this five or six times by now so apologies for the repetition but this was yet another talk that reinforced the fact that these days, creativity is nothing without business sense. Not since the heady days of the nineties has cool Brittania been so, well, cool and it’s not surprising that homegrown brands are embracing their heritage as an integral part of their identity and marketing strategy. But is there even such thing as a truly “British brand”? What makes said brands special? And how did Jonathan, Anya, Tamara and Christopher grow their businesses from low-key London start-up to global fashion player? These were just a few of the questions that cropped up during a fascinating forty five minutes…

On being a British brand:

“Being British as a brand has a real DNA and people recognise that” – Anya Hindmarch

“The talent from the art schools is really great here” – Christopher Kane

“If we tried to stick to having everything made here we wouldn’t grow as businesses. We need the different skills… But that doesn’t stop (our brands) being British” – Jonathan Akeroyd

On balancing creativity and commerce:

“Creativity without business doesn’t really work and vice versa… They’re equally important” – Anya Hindmarch

“We’ve always seen its a business and that you have to have desirable product… We want it to be profitable… It’s half and half” – Christopher Kane

“Whenever I go with data over my gut it’s been a bad thing… There is a battle between the suits and the creatives” – Tamara Mellon

“For me it’s all about the product, if you’ve got the best designers and the best team… It’s your job to support that” – Jonathan Akeroyd

“Everyone has to commercialise their business at some point but it’s all about keeping the integrity” – Tamara Mellon

On embracing the internet:

“At the very beginning I was nervous… Now I think that (the internet) is incredibly important simply because its extra distribution and extra communication… it’s immediate contact with the customer” – Anya Hindmarch

“The website’s on hold… They cost a lot of money but in the meantime we want to do the best collections we can afford to…” – Christopher Kane

On launching your own brand:

“Keep strong… Be flexible… Get some good experience in brands… To do it on your own these days is very difficult… It’s all about experience and sticking with it” – Jonathan Akeroyd

“It’s a bit like juggling with one leg blindfolded… But excitement and fear as a state of normal is addictive” – Anya Hindmarch

I left the auditorium feeling inspired and, I’ll admit, ever-so-slightly patriotic. By this point my stomach was rumbling pretty aggressively so I decided a trip to itsu was in order. One “Health and Happiness” sushi box later (crab, tuna, salmon numerous other assorted treats, I’d definitely recommend it) I made my way back to the Southbank Centre for what I’m sad to say would be my last session of the Vogue Festival. While it was evident from the lack of mile-long queue outside that “Too Fat, Too Thin… Will We Ever Be Content?” wasn’t quite such a hot ticket as some of the other talks, personally I was very intrigued to see how Vogue’s chosen speakers would broach this inherently sensitive subject. With supermodels David Gandy and Daisy Lowe on the panel, it would be tempting to dismiss whatever opinions they voiced due to their own physical perfection. Then again, we all know deep down that a flat stomach wont really bring you eternal happiness and any girl, no matter how gorgeous, who claims to have no body hang-ups whatsoever is either uncommonly lucky or a bloody liar.

Vogue Festival

David and Daisy were joined on stage by actress and current face of Weight Watchers, Patsy Kensit and Vogue Contributing Editor, Christa D’Souza. While some of the panelist’s contributions were very interesting (especially Christa’s) what really struck with me most was the impassioned reaction of the audience. It was very clear to see that this was a topic everyone could directly relate to in a way they couldn’t to Natalie Massenet or Victoria Beckham’s life story. Ultimately the session didn’t bring any sort of conclusion as to whether any of us can ever hope to be “content” but I thought it addressed some complicated issues and, at the very least, confirmed that we all feel horrid sometimes. So, without further ado here are a few of the highlights…

“I’ve been sent home from a show in Milan for being too big… I was 16… It’s hard being young and having that on you” – Daisy Lowe

“I’ve never been told that I was fat but certainly that I was heavy by my father. It’s sort of been an issue ever since. Now I’m in my 50s I’ve found a modicum of peace and serenity… But I’m still working on it” – Christa D’Souza

“Eating something and feeling awful about it is a form of self hatred” – Daisy Lowe

“60 miles out of london it’s a completely different mindset, a different body… We put way too much pressure on ourselves” – Patsy Kensit

“I think to a certain extent I have broken eyes… Some of us are hard wired to be neurotic about weight”  - Christa D’Souza

“There aren’t many high end designers who cater for a curvier woman. If a beautiful size 16 woman wants to go to a ball she can’t go to the high end designers… That doesn’t seem fair to me” – Daisy Lowe

“I think we live in a culture of dissatisfaction… Self love should be part of the curriculum at school” – Christa D’Souza

“I work with the most beautiful women in the world but there’s so much more than that…. Someone could be the most beautiful woman im the world and if I don’t have a laugh with her we don’t connect, I don’t see the beauty” – David Gandy

“When there is so much food around what’s fashionable can be choosing the path of most resistance… It becomes a moral issue” – Christa D’Souza

Much as I adore my university course, it does occasionally prevent me from going to things I really, really want to attend. My tutor probably wouldn’t agree with me on this and to be honest, he’d probably have a point. But on this occasion I had to skip out on the final two sessions (Alber Elbaz and Donatella Versace… Boo!) in order to finish some left-to-the-last-minute work for the following morning. All in all, I thought the Vogue Festival 2013 was a fantastic, fascinating, fun way to spend a weekend. I definitely hope to go again next year and strongly recommend booking yourself a ticket.

Love Ella. X

Posted on by Ella Catliff in Fashion 8 Comments

London Fashion Week AW13: Day 4

London Fashion Week

I wore… Jumper & Jacket: Jaeger London, Skirt: Urban Outfitters, Shoes: Isabel Marant, Shirt: Paul & Joe Sister, Bag: BoBelle London.

London Fashion Week day 5 was a very early start which, given the fact I’d had a not so early night, was more than a little bit painful. It took a LOT of effort to drag myself out of bed but I certainly wasn’t going to miss Peter Pilotto. The dynamic design duo have been a favourite of mine (and basically everyone else’s) for fair few seasons now and the fact that everyone from Leandra Medine (who apparently owns the Isabel Marant stiletto heeled cowboy boots in every colour… jel) to Natalie Massinet made it there on time was a testament to how in demand they’ve become. The collection itself was, dare I say it, one of the duo’s strongest yet. Slightly harder edged than last season’s offerings, the printmasters offered up sculptural shapes and a fiery palette that exuded in-your-face (but very stylish) attitude. Besides the cacophany of kaleidescopic prints there was embossed leather, gold embroidery and a medley of textures ranging from ponyskin to incredible, woven fabrics. Cinched waists, flared hems and svelte silhouettes were given a futuristic feel with slicked back hair while scuba detailing and sweatshirts introduced an element of atheltic chic unlike any other incarnation of “sports luxe” you or I have ever seen. All in all, it was an utterly incredible and inspiring collection from one of the most exciting labels in the business. I suspect there may be another Peter Pilotto pre-ordering “incident” on my part this season.

London Fashion Week

Peter Pilotto AW13

I felt a good deal more sprightly after leaving the show and made for the nearest Starbucks in an attempt to thaw myself out with the help of an extra hot latte. Unfortunately my time tested cold battling technique failed me on this occasion and by the time I arrived at Somerset House I felt like an icicle. But, my weather woes  were soon forgotten after taking my seat next to fellow bloggers Ella and Naomi for the Michael van der Ham show. Michael is another London designer who’s work I adore and have watched develop from the start. Having fallen hard for Van Der Ham’s past three or four collections, I was unsure whether it would actually be possible to top them this season… Well, it was. Michael’s AW13 woman might be a little more subversive than last seasons pastel clad princess but this new, moody undertone worked perfectly in combination with richly elaborate fabrics. The patchworking techniques that first captured the fashion world’s attention have come a long way and they were pretty incredible to begin with. This time around we were treated to artfully worked creations in everything from silk crepe and crisp cotton to opulent brocades and gossamer fine chiffon. A darkly seductive palette of forest green, navy, khaki and russet was enhanced with fiery red print and shimmering metallic embroidery. I don’t have the slightest clue how Michael achieved the almost burnt effect that added an air of divine decay to his rich fabrics but, like the painstaking silver embellishment of cuffs and frankly the entire collection, it was completely and utterly exquisite.

London Fashion Week

Michael Van der Ham AW13

The next show on my schedule was one of the most hotly anticipated of the week, Christopher Kane. We all piled onto the press bus and headed in the direction of Cannon Street. Or at least, we tried to. Attempting to drive through central london on a Monday is never exactly problem free but on this occasion the traffic was stationary. Eventually we decided to walk it instead and piled out of the bus and set off in a rabble of handbags and ridiculous shoes, no doubt surprising a few bankers on their lunch break. As soon as we arrived at the venue it was clear that our panic was unfounded, the venue was actually on the top floor of a very tall building and getting everyone in the lifts took almost half an hour. After much jostling we were all in our seats so the show could begin, and what a show it was! If day 4 proved anything to me is that nowhere breeds fearless fashion talent like london. The New York shows may be bigger, bolder and more impressive in terms of A List FROW factor but many collections could (and do) walk straight off the runway and into women’s closets. Not that I’m knocking this, there’s certainly nothing wrong with wearability. But watching the likes of Christopher Kane’s imaginative, innovative creations on the catwalk is really quite extraordinary.

Unless you’ve been living under a highly unfashionable rock for the past few months, you’ll be well aware that PPR, French luxury multi-holdings company  who own Gucci, Yves Saint Laurent and Bottega Venetta to name but a few, recently bought at 51% stake in the Chistopher Kane brand. Given the calibre of Kane’s collections as a independent (read: financially limited) designer, expectations were high now he’s joined the ranks of Stella McCartney and the late, great Alexander McQueen. With a 60 look show that elicited gasps of awe from attendees including Donatella Versace and Salma Hayeck, the talented Scotsman most certainly delivered. The collection opened with a succession of camouflage looks in shades of khaki, cobalt and burgundy (I spy a trend here!) ranging from mini kilts to dresses and coats trimmed in lashings of fur. High shine technical fabrics, sculpted silhouettes and asymmetric hemlines proved that while military chic is back in a big way for AW13 (see Prabal Gurung in New York), it comes in many different incarnations. But army cool wasn’t the only thing on the menu at Christopher Kane, not by a long way. Up next came luscious velvet ensembles deliciously deconstructed with intricate laser cut detailing. The show was truly a remarkable feat of fabric manipulation and sheer sartorial bravery. Some garments were trimmed or even entirely constructed from stiffened feathers. In other cases, semi sheer organza was fashioned origami style into corsages to create exquisitely pretty ensembles with a punky, rough edged twist. Then came an array of simple black looks enhanced with prints so vivid they made your head spin. Finally Kane turned his hand to evening wear with glittering looks covered with unidentifiable (for me anyway) but exquisite sparkling tentacle esque embellishments that gave the impression of dresses visibly crackling with electric energy.

London Fashion Week

Christopher Kane AW13

The show took us through an astonishingly broad yet utterly cohesive range of influences and techniques, truly demonstrating the skill of the designer. If anyone had any doubt that Christopher Kane belonged on PPR’s roster of international super brands then this gobsmackingly brilliant collection will surely have dealt with them.

As I’ve mentioned a couple of times already, the end of a fashion show always heralds and undignified and often frankly dangerous stampede for the exit. Well given the difficulties accessing Christopher Kane’s top floor venue, the scramble to get out was unlike any other I’ve seen. While queueing for the lifts I spied a few people slipping out of the fire exit and decided to join them. Once we reached the ground floor (which took a while… hundreds of stairs in very high heels) I found myself at the end of another queue because it transpired that the way out was through one of those alarmed, “open only in an emergency” doors. After much jostling and debate over whether or not we should just open it anyway someone decided to take the plunge and we piled out onto the street to the sound of the promised alarm wailing and suddenly I felt like a badly behaved fourteen year old skiving chapel all over again. Once again this post is starting to veer into essay territory so I think I’ll leave the rest for next time.

Love Ella. X

Posted on by Ella Catliff in Fashion Week Leave a comment

Christopher Kane Pre Fall 2013

christopher kane

Just last week Scottish fashion wunderkind Christopher Kane released his first ever Pre Fall collection, although one would be forgiven for thinking otherwise, such is the level of creative and technical prowess evident in each and every look included in this delectable selection. Among Kane’s many sartorial skills is an uncanny knack for taking normally non-fashionable things (rubber, sweet wrappers, Princess Margaret style twinsets) and turning them into catwalk dynamite. I was lucky enough to be invited to his SS13 show and got to witness this talent first hand. The designer drew inspiration from Frankenstein’s Monster to deliver an ingeniously original collection that combined plastic wingnuts, ruched plastic and injection moulded rubber with pastel hues, pencil skirts and oversized chiffon bows. You’d have thought after that he’d be out of ideas but as Christopher Kane’s Pre Fall offerings confirm, his supply is limitless.

christopher kane

Far from using the pre season to trot out an array of commercial, wearer friendly style staples, Kane appears to have viewed it as an opportunity to let his imagination run wild. Sculptural suede bomber jackets sit alongside double breasted velvet trouser suits, flippy chiffon minis and floor length gob-smackers in a palette of inky blacks, purples and rich cobalt blues. As always with Christopher there’s something slightly off-kilter, think unfinished hems, sepia toned floral applique and semi-sheer fabrics giving off an eerie sheen. Equally characteristic is the fact that this high risk hint of subversion makes those pretty printed cocktail dresses infinitely more interesting.

Love Ella. X

Posted on by Ella Catliff in Fashion Leave a comment

Weekly Wish List: Boxing Day Sales Edit

My one rule for sale shopping is buy classics. Think timeless, qood quality pieces not last seasons’ uber trends. I know this sounds like a no brainer but on more than one occasion I’ve given in to the attraction of FINALLY being able to afford that seasonal statement piece I’d lusted after since August and regretted it later. I’m a totally militant shopper, something to which many of my friends (and several post-shopping trip ex friends) can attest. But determined and single minded though my retail habits may be, I have never braved the Boxing Day sales. By the time Christmas is over I usually find myself lolling around in a state of bloated, pickled laziness and the idea of queueing outside Selfridges and then entering a scrum so hectic I’ll most likely leave with something utterly bizarre just doesn’t appeal. No, when it comes to the end of season sales online shopping is where it’s at. With this in mind I’ve spent the morning browsing the best Matches, Net-a-Porter, My-Wardrobe and Avenue 32 have to offer to bring you my own personal edit of the Boxing Day bonanza… Happy shopping!

Boxing Day Sales

1) J.W Anderson Waffle Knit Sweater, was £496 now £249, click here to buy
2) J Brand Denim 811 Coated Skinny Jeans, were £260 now £182, click here to buy
3) Church’s Burwood Studded Brogues, were £350 now £245, click here to buy
4) Mulberry Snake Effect Bayswater Bag, was £1100 now £770, click here to buy
5) Christopher Kane Cashmere Leopard Print Scarf, was £650 now £325, click here to buy
6) Smythson Leather Heart Keyring, was £50 now £35, click here to buy
7) Theory Yaisa Leather Sleeve Jacket, was £360 now £252, click here to buy
8) Burberry Wool & Cashmere Blend Beanie, was £150 now £105, click here to buy
9) Diane Von Furstenberg Large Tonda Clutch, was £293 now £146, click here to buy
10) Carven Bow Detail Suede Pumps, were £320 now £160, click here to buy
11) Yigal Azrouel Evergreen Leather Skirt, was £555 now £389, click here to buy
12) Equipment Brett Silk Shirt, was £211 now £105, click here to buy

Love Ella. X

Posted on by Ella Catliff in Shopping Leave a comment