Editorial Assistant – Print & Online (12 month contract)
Editorial Assistant – Fashion (6 month contract)
Editorial Assistant – Features (6 month contract)
Pigeons & Peacocks is a fashion and lifestyle magazine and website like no other. Published by LCF, the magazine is distributed internationally and has built up a loyal following worldwide due to its intelligently crafted inspirational content. We have three new opportunities open to London College of Fashion graduates.
Join us in one of our three new editorial roles and you will have the chance to gain valuable experience working on the production of both our online and print editions. These are highly creative roles.
You will be expected to work within a small team to support the editorial process, liaising with writers, photographers, designers and production staff; helping to generate ideas for content with detailed research; and tackling a range of administration. Your efforts will help us to produce our annual issue, keep our website and social media channels up-to-date and ensure that all courses and disciplines taught at LCF are represented.
With a relevant degree (or equivalent) and experience, you will be ready and equipped to take on this busy and varied role. You have a good understanding of the fashion industry as well as the editorial process. What’s more, you can work independently, drawing on your initiative when required. Good with people and great in a team, you will be an organised professional who is ready to work hard and learn.
Find the Editorial Assistant roles here:
Louis Vuitton SS11 illustrated by Deborah Jameson
By Style Bubble’s Susie Lau. Illustration by Deborah Jameson.
After Rodarte SS11, I did my usual round of gauging opinion by asking a well-known Hong Kong fashion journalist what she thought and she said “I don’t think Chinese people will wear that” motioning to the neck to illustrate the high necks that had appeared on the dresses; resembling cheongsam collars. I, on the other hand was too dazzled by the Mulleavy sisters’ newly softened approach to notice any Chinoiserie notes of the collection that may or may not be Chinese women’s tastes.
Then just under a month later, Louis Vuitton closed the SS11 season of shows with a parade of glamped-up Chinese razz-ma-tazz femmes, rife with Mandarin collars, cheongsam-style dresses with thigh high splits, embroidery of bamboo, orchids and pandas – everything that conjured up a glamourized vision of an ‘exotic’ Chinese costume, filtered down from 1930s Shanghai straight to the 1970s where a laviscious intent lies beneath the clothes. From there, a more straightforward link to China, as the looming economic superpower and spending heavyweight was presented for us to speculate upon. Some reviewers interpreted the collection as an appeal to this market, which to me seems too generalistic a statement, and certainly contradicts what the journalist said about Rodarte.
To be fair, Rodarte’s collection in contrast to Louis Vuitton only really nods to Chinese detailing whilst retaining their usual mish mash of influences (an ode to emotive 70s suburbia-derived textures and a girlish naivete). I therefore only use Rodarte as a starting point to my query.
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