Even though autumn is my favourite time of year I’m already obsessing over next spring’s collections, one of the most exciting trends being all things aquatic.

The sense of the sea bed that infiltrated Sarah Burton’s collection for Alexander McQueen was all consuming - sleek black leather beckoned images of glossy scales and marine flanks, meticulously designed jacquards were formed in a suitably crustaceous style, and silk chiffon was ruched, circled and ribbed in oyster prints, with some pieces fashioned from coral. Sarah Burton continues to do wonders to my favourite house!

Lagerfeld’s collection for Chanel too took inspiration from below, Florence Welch emerging from within a clam to perform What the Water Gave Me in an appropriately aquatic style. The staple house shapes were there in drop waists and two-piece tweeds, but lightened with oceanic emblems. Iridescent strips of fabric flailed like seaweed, organza was transformed into spongelike ruffles, and strings of pearls were worn as belts. Meanwhile, the models gliding down Donatella Versace’s catwalk were like the daughters of Neptune himself, encrusted with jewelled starfish, their white silk rolling into surf – the Versace disc logo hovering behind, like the tide pulling moon.

Having been mildly obsessed as a child (going as far as to visit the Tintin museum in Louvain-le-Neuve, Belgium) I was crazy excited to get an invitation to the first ever screening, worldwide, in the universe, of Tintin’s shiny new 3D incarnation “The Secret of the Unicorn”

The story (a loose amalgamation of three classic Tintin tales) begins with our boy reporter buying a model ship of the famous “Unicorn” from a flea market. Hidden inside the ship is a rolled parchment, one of three clues needed to track down an ancient treasure long ago lost with the Unicorn itself. The action which ensues is a tour de force of adventure - from Agatha Christie style murder plots, a heart racing escape from an industrial freight ship mid-ocean, to a wonderful motorbike chase through a Moroccan market town. The action does not let up for a moment!

When I first ecstatically heard that Steven Spielberg was making a Tintin movie, I was sad that it was not a live action flick. 3D motion capture animation has always freaked me out a tad - humans so lifelike in their imagining, and yet alien in reality. Nevertheless, the film is just breathtaking in its beauty, a high point being when the Saharan desert landscape transforms into rolling ocean waves as the imposing figure of the Unicorn sails us into a flashback - genuinely spine tingling stuff.

Those familiar with Hergé’s tales will see all their favourite faces here - Simon Pegg and Nick Frost stumble into the action as the much loved bumbling Thomson and Thompson brothers, whilst the three book story arc introduces long standing Tintin companion, the sarcastic whiskey loving Captain Haddock - portrayed brilliantly by Andy Serkis, stealing most of the film’s biggest laughs.

It is safe to say that any fan of the original stories will love this film, even if some of the innocent charm has been lost in high tech translation. But who honestly cares? Tintin in the 21st Century is easily the best Spielberg output in a decade and one that sits happily alongside Hergé’s legacy - opening up the much loved franchise to a whole new generation. I can’t wait to see it again when it hits the cinemas next week - now I just need to buy the old TV box set.

After the 40s nostalgia of autumn 2011, looking towards spring one of my favourite trends is the return of the Roaring Twenties!

Ralph Lauren was the first to Charleston his way into the trend, with moth eaten cashmere sweaters, dainty silk neckerchiefs and elegant cloche hats. Floral bias-cut dresses and silk pajama pants in various pastels moved into a more masculine interpretation of the decade in three-piece pinstripe suits – all with a choice of shorts or pants. But, evening wear has always been Lauren’s forte, coming this season in the shape of shimmering metallic column gowns and red carpet sparkling flapper dresses.

Frida Giannini emblazoned flapper dresses with images of the Chrysler building and classic art deco motifs at her Gucci  show. Jackets with similar geometric designs and Deco buttons continued the twenties inspiration, whilst leather shifts were cut so meticulously the fabric was transformed into thigh skimming fringe – definite party favourites for awards season. Veronica Etro found inspiration with the Chrysler building also, in block prints, and her signature house motifs were transformed into Art Deco delights. Deep v-neck shift dresses added to the party atmosphere of the decade, and closed the show with a jazzy flourish.

A celebration of the British woman, the October issue of Vogue pays homage to the English greats, most notably an interview with British Hollywood royalty Jane Birkin, and Lisa Armstrong’s must-read feature “England Made Me”. So who better to grace the cover than soulful London songstress of the moment, Adele.

Surely one of the first plus size women to have ever been on the cover (certainly to my knowledge, unless you count Sophie Dahl or Kate Winslet - which I do not), Adele the bombshell has been born. I have always appreciated her beauty, and like her down to earth nature, but have not had that much contact with her music - except for the obligatory singles, which I do generally like. It is seeing her live performances that really make you understand why she is one of the biggest artists in the world right now, and I’ve been meaning to buy her album “21” since she performed at the Brits. Must get to it! Christa D’Souza’s interview with her is really wonderful, and the perfect cover story for a celebration of all women English.

A special shout out in this issue also has to go to my fashion idol Bay Garnett’s “Autumn Sonata” main fashion editorial with English model Lily Donaldson.

Shot off the coast of Sweden by Tom Craig, the spread exemplifies everything I love about this time of year. Big cosy knits, warming day-wear, and the gorgeous palette of autumn. The Swedish landscape and the nostalgic homeliness of an island farmhouse, I am seriously in love with this feature. Why are we having an Indian summer? I want to start wearing jumpers and cardigans, please.

The defeat of the No on Prop 8 campaign provoked a shocked outpouring of grief within the Californian LGBT community that was channelled into a swell of new protest foundations. Conceived by celebrity photographer Adam Bouska and his partner Jeff Parshley, the NOH8 Campaign was one.

A photographic silent protest, the images featured members of the LGBT community and their sympathiser’s duct-taped at the mouth. The ‘NOH8’ slogan painted on one cheek, symbolising the silencing of their voices by Proposition 8’s blatant discrimination of human rights. Beginning at a grassroots level with portraits of everyday Californian’s, the protest quickly built momentum with the participation of politicians, military figures, artists and high profile celebrities. Now, over two years since the campaign’s inception, Bouska and Parshley are taking their message of NOH8 internationally for the very first time. Speaking with them last month at their first international shoot, I discussed the recent developments in New York, the state of gay affairs in modern day America, and why they felt this was the right time to come to London.

“The NOH8 campaign was created in direct response to the passing of Prop 8. It was our way of speaking out,” says Bouska, “but it has grown to encompass all forms of discrimination. We believe all humans should be treated equally, no matter what country or continent you are from.” This is definitely a passionate response from West Hollywood’s photographer of the year, and an opinion Parshley corresponds vehemently: “We want to show people that this is not a California issue. It’s not a US issue. It’s a Human Rights issue, and there are humans all over the world affected.”

After the passing of Proposition 8 with just 52% of the Californian vote, the state’s constitution was amended to clarify marriage as between one man and one woman only. Bouska and Parshley knew that they had to speak out. “We created a photo that speaks volumes without having to say anything at all” says Parshley. “It acts as a tool to create a dialogue, and to educate people. The NOH8 represents the protest. Prop 8 was called Prop H8 because it was literally writing discrimination into the California state constitution. Almost half of California was against it, but because 52% voted yes, it passed. The tape is to symbolise the silencing of our voices when the rights of a minority group go up for vote.”

The specific purpose of the campaign is to promote marriage, gender and human equality through education, advocacy, social and other media, and visual protest. “If we all come together” adds Bouska, “we can address the issue as a driving force and achieve equality for everyone.” Come together is just what the Californian people did, the protest beginning with portraits of everyday citizens from every walk of life. Soon the NOH8 cause was to attract huge celebrity interest and involvement, from portraits of Kim Kardashian and Kathy Griffin, to most recently troubled film star Lindsay Lohan, the kind of support that is invaluable to a campaign of this nature.

Parshley agrees, “It is vital. Each celebrity who has taken part has their own following of supporters and fans; they look up to the celebrity. When someone speaks out for equality, someone who has influence, they help educate and build support. They also show the public that they are not afraid to stand up for what they believe in. It helps encourage other people to stand up and speak out in support of equality.”

No one’s support could have been more influential, or unexpected, than that of Cindy McCain, wife of defeated Republican Presidential candidate John McCain. “We were taken back when she asked us if we would welcome her support by posing for a photo. However, Cindy did great things for us. She showed the country that marriage equality is not a party politics issue,” says Bouska. Her husband John’s staunch opposition to gay marriage was one of the key points of his Presidential campaign. “Because of Cindy’s involvement, we have been seeing more support from the Republican Party. The day her photo was released we had our biggest press day ever. What that did for us is present the NOH8 campaign to hundreds of thousands of new people. She raised a huge amount of awareness through that one photo.”

And has anyone ever turned down the opportunity to take part?

“It’s hard when dealing with celebrities and their teams to really know where the answer comes from,” says Parshley. “Suze Orman did say no herself, and Betty White’s team said she wouldn’t be able to participate. It’s unfortunate because they both have huge LGBT followings. I’m sure these women support equality; it is just unfortunate that we can’t get them to take a stand with us.”

As New York becomes the largest state in America to legalise same-sex marriage to date, you would not be foolish to have thought California equal in it’s potential as one of the most liberal states of the US. Bouska agrees, “I think that, because we all thought the same way you are thinking, Prop 8 would never pass. We were overly confident, and that was part of the problem. The Yes on Prop 8 campaign was extremely well funded and organised.” With such an outpouring of shock and disgust over the proposed amendment to the constitution, the organisations that were working for equality couldn’t help but be slightly disorganised. “There was a bit of head butting about how to go about things. If we all work as one big force, we will get more done!” The state senate’s passing of marriage equality in New York, a city of such huge international stature, is surely the biggest achievement for the cause thus far, and one that shall have shockwaves across the entire nation.

“We watched the live stream of the Senate hearing in the NOH8 Campaign headquarters. It was a great day!” says Parshley. “Now we need to work with the amazing organisations that worked tirelessly on this, and carry the momentum on to other states”

Though as Bouska reminds us, “they have full marriage rights, but we still need their voices!”

Besides the obvious legal advantages of marriage equality that come down to basic human rights, including those of the next of kin, the emotional resonance of the campaign is about acceptance.

Whilst being accepted from the start, Parshley was not exposed to homosexuality growing up. “I believe in smaller towns, gay people don’t feel like they can speak out and tell their friends and family about their sexuality. When I was growing up in New Hampshire, there was no talk about  ‘Gay Issues’ or ‘Gay People’. There were no TV shows featuring gay characters to teach me what ‘Gay’ was.” Bouska had a similar experience. “Growing up in small town Illinois, I wasn’t exposed to gay culture. There were not many ‘out’ people at my high school, if any. I knew what my feelings were, I just wasn’t educated enough at the time to know those feelings were homosexual.”

As liberal and open minded, as the population may have become, the idea of portraying a same-sex lifestyle to be as normal as a heterosexual one is still built on such instability. The concept of protecting the sanctity of straight marriage is one fervently encouraged. Why should people still be so afraid of exposing their children to the normality of gay relationships, at an age when learning of all other aspects of sexuality? Can the idea of nurturing or promoting homosexuality really be one that holds any ground in the twenty first century? “I know some people still believe it” says Parshley, “Oddly enough though, those people are straight. I’m not sure I ever met a gay person that told me they chose to be gay.”

“ I think now with social media and the Internet, there is plenty of information that young people can access” says Bouska. “The organisations promoting marriage to be between one man and one woman use the topic of teaching kids about gay sex in schools as a way of scaring people into voting against equality.”

“ I think people fear what they do not know. I cannot say where these feelings develop from, but one thing I do know?” adds Parshley, “Discrimination, ignorance, is learned.”

With modern day heterosexual cultures and institutionalised homophobia, suicide amongst the LGBT community is comparatively higher than that of the general population. Add the use of the gay community as a political wedge issue in efforts such a Proposition 8; one of the greatest benefits of full-blown same-sex marriage would be actively embracing equality across the board of sexuality. Bouska believes “We can show the younger generation that they are free to live their lives with pride; they no longer have to hide who they are. From what I see, the younger generations are already more open to homosexuality. The more they know they have support and that there are people just like them, the more comfortable they will be with it.”

Two years down the line, what better moment to launch the NOH8 campaign internationally, starting with a photo shoot that took place in London’s gay Mecca, Soho, a day after this year’s Pride celebration. “We felt that because London, and the UK, has been progressive in their equality laws that it would be a great starting point internationally,” says Bouska. “We asked our supporters where they would like to see us take the campaign and we got a large response from London. We planned to be here during the Pride celebrations so that we can help bring a sense of activism back to the festivities.”

Whilst the introduction of Civil Partnerships has been a colossal step forward for the state of gay affairs in the UK, many can see it as a further segregation of the LGBT community. “From what I know about Civil Partnerships, it appears to be the same as marriage. Why not just call it marriage?” says Parshley. “Why should the LGBT community be any less equal to all heterosexual couples in the UK?”

“In addition to the one thousand plus benefits that a marriage licence provides as opposed to civil unions,” adds Bouska, “no one group is more superior to another. We are all humans here, and no one should have to settle for anything less than their neighbour or friend.”

For several years TV and movies alike have deigned to explore the workings of fashion, but so often these tributes are quickly translated into sardonic spoofs.

When Tyra Banks begun her search for America’s Next Top Model the shoots had meaning; the models had clients, and they were given real products to sell. The five finalists thrown into a squalid one bedroom Parisian hotel room were forced, albeit synthetically, to live the way working models do. As the show reaches its one hundred and fifty second ‘cycle’ (probably), they stay in five star penthouses and are asked to model as natural disasters. One particularly misfortunate girl is dealt the card of “Blackout” and proceeds to throw limbs left right and centre to evoke all encompassing darkness. Obviously she gets the boot, but what is she really given to work with, and to what end? The talent, needless to say, has waned.

Meanwhile, whilst I love them, the ‘fictitious’ lead characters of shows and movies like Ugly Betty and The Devil Wears Prada stumble awkwardly into the fashion world and use it as a foot on the journalistic ladder. They do not fit in, and thus are mocked and slandered by their less noble colleagues. They are not without flaws themselves, but are grounded by the morals of their friends and family. Should they succumb to fashion they will find themselves surrendering their morals too.

In light of these misconceptions, the industry is taking steps to become more accessible itself, with the somewhat misguided Running in Heels revolving around three rather inept Marie Claire interns, and the brilliant Project Runway which shows just how much talent one needs to make it as a designer. One wonderful development that allows the general public access to this privileged world is through the live streaming of fashion week. Burberry, D&G and Louis Vuitton amongst others have taken to the web and allowed customers and fans alike real-time access to the runway, and the chance to snap up pre-orders before the designer has even taken a bow. Teamed with social networking site Twitter, the real world of fashion is more accessible than ever before with the ability to gain insight into the minds of top models, designers and journalists instantaneously.

Whether or not the fashion industry is something to be understood, one must remember that high fashion is fantasy. When people look at the avante garde designs of McQueen or Galliano and scoff at the thought of it walking down the street, they miss the point entirely. It is an idea presented, an emotion or belief transformed into living art before our eyes. Is fashion competitive? Yes. But it is the passion that makes it worthwhile.

Last month I got the chance to help out X Factor pal Matt Cardle with some threads for his red carpet appearance at the Brit Awards.

Wearing a grey tweed two-piece suit, check shirt, silk tie and pocket square, and some gorgeous leather accessories, Matt wowed the crowds in his Tom Ford ensemble. He still can’t stand to have his collar done up though! It was really fun to work with Matt again, especially on such a big event, and the team at Tom Ford were amazing - tailoring everything to perfection.

When this year’s X Factor ended in December, I was asked to take two weeks to go on tour with Matt as he promoted his single and new book. Even though I was absolutely knackered (this is all taking place at midnight on the final) I rocked up to the contestant’s house at 5am and a fortnight of madness began. We were mostly trudging around London for interviews and TV appearances, and so Matt was most comfortable in his normal casual threads. His mini-concert at the Whiteley’s shopping centre and an appearance at the “Millies” military awards were two highlights - Matt wearing a suit from Marc by Marc Jacobs for the latter. It was very surreal to be in the same room as David Beckham, and to spot myself in a picture of him and Matt later that week…

Once Matt’s single had enevitably reached number one in the charts, off we went on our book tour of London, Manchester and Birmingham. It was really great to get some time away and the hotel we stayed in up in Manchester was absolutely gorgeous - private rooms for each of us, and a wonderful festive vibe in the run up to Christmas.

It was such a fun fortnight, and I could definitely get used to this entourage business. Matt is one of the nicest guys you could meet, and I really hope he succeeds with his music - hopefully X Factor has finally found a credible male artist who go can the distance.

It’s been and gone already, but back in autumn I assisted the spectacular Bay Garnett (contributing editor of Vogue) on a magical evening-wear story for the November issue.

As if being on location for two days in Highgate with the Vogue team wasn’t enough, our girl for the shoot was none other than actual supermodel and living legend Jessica Stam (also one of the loveliest models I’ve met btw).

Shot on celluloid film by photographer Lina Scheynius, the pictures have a fantastic vintage quality to them that perfectly capture the nonchalant sixties glamour of autumn winter’s evening-wear trend. I was still working for Vuitton by day at the time of shooting and it was great to use a gorgeous sequined lace pussy bow blouse in one of my favourite shots.

Lina has an amazing eye for lighting and used the thick wooden shutters on the french doors to great effect, especially in this shot of Jess on a cushioned floor, wearing Christopher Kane’s leather and chiffon shift dress encrusted with Swarovski crystals. We had an exhibitionist cat on set too, who makes a brief appearance in this scene!

I adored YSL’s monastic collection this season, and Bay used a three dimensional duchesse satin tunic that was heavenly on Miss Stam, as well as teaming a Blumarine zebra print fringed skirt and crisp white Oscar de la Renta organza blouse in two of my favourite shots.

It was an amazing two day shoot, and such an honour to work with some of the industry’s leading creatives.

I’ve fallen somewhat off the radar of late, and that’s all due to a little TV show we like to call The X Factor.

I left Louis Vuitton at the beginning of September, (right after the first staff sample sale in two years.. *drool*) and having met with the gorgeous Grace Woodward was offered a role on the show’s styling team. Amazing! The next three months were the most insane, fantastic, stressful, frustrating and brilliant three months you could imagine.

I probably shouldn’t talk too much about the goings on backstage, lest this blog post come back to haunt me, so I’m just going to have a glance over a few of my favourite looks (that I had a hand in styling) from the series…

For week three’s Guilty Pleasures theme, Rebecca sung Why Don’t You Do Right, Jessica Rabbit’s sultry jazz number from the movie Who Framed Roger Rabbit?

Having left her comfort zone in a skin tight neoprene mini the previous week, Becky wanted to ooze old school glamour for this number and after a mad week of searching for such spectacular pieces I took an eleventh hour trip to Savile Row couturier Hardy Amies. Delving into their archive was the most fantastical treat, and out I pulled this insanely extravagant vintage ballgown. Crimson antique satin with a hot pink underlay and enormous bustle, as Becky slipped into it the entire staff of Fountain Studios found themselves breathless. (We lost the stunning black Stephen Jones hat at the last minute, and let the dress speak for itself during the live show).

Katie was riding high after her week two comeback, and for Guilty Pleasures week was in 20s flapper heaven singing I Wanna Be Like You from The Jungle Book. I found this amazing antique ostrich feather shrug from Lily Allen’s designer vintage store Lucy In Disguise. We teamed them with a Topshop (yes Topshop) shimmering sequin dress that had just enough swish to flip in the air and reveal a pair of nude lace knickers that were painstakingly embellished with hundreds of Swarovski crystals… That was a long afternoon!

During week four’s amazing Halloween theme, I was charged with finding something suitably outrageous for everyone’s favourite Brazilian, Wagner. For his performance of Like A Bat Outta Hell, I took a loooong trip into deepest, darkest Essex and the Moss Bros. tailor’s warehouse base. Who would have thought bright red tails would be so difficult to source? Well, it was. A fantastic and suitably insane look!

Whilst I adored Treyc’s rock Goddess feathered Izmaylova minidress look from Guilty Pleasures, my favourite was for her final performance during American Anthems week. Singing the ultimate power ballad I Don’t Wanna Miss A Thing, Treyc looked absolutely stunning in a pale pink floor length jersey dress by HMH (a brand favoured by Cheryl herself) with a jewelled collar and Jimmy Choos. She felt like an absolute star in this outfit, and I was so sad to see her leave the show the following day. Her vocals are incredible, I really hope we haven’t seen the last of her!

Katie’s final week on the show was all about Rock, and the looks for her two performances are two of my favourites for her. Singing Sex On Fire, Katie showcased her wild side in a simple distressed All Saints dress and fantastic OTT bejeweled Markus Lupfer leggings (I had dozens of people asking me about these on twitter). She looked every part the rocker for sure. Her second song showed a much softer side to Katie, in a floaty, tiered silk floral print Neurotica dress singing Everybody Hurts. We had a lot of fun putting her looks together that week, and so I was sad to see her depart!

For the Final in week ten, I’d gathered more clothes for Becky’s rail than anyone would think humanly possible. Having trawled London for days on end, we were left with three solid rails filled to the brim with ballgowns, cocktail dresses and everything in between. One of my favourite finds was the nude organza ruched Luisa Beccaria ballgown that Becky wore for her rendition of Just Like A Star by Corinne Bailey Rae. With some amazing pleated rose detail on the bust, and a ridiculously long train, as the podium on which she performed began to spin it was pure heaven (not to mention the diamonds courtesy of David Morris!).

In the second half of the final, Rebecca’s performance of Sweet Dreams was thrown into chaos when the dress it was intended she wear had some serious last minute zip malfunctions (seriously, seriously last minute). Luckily, I had this Philip Armstrong gold mini dress on hand, and I think it was even better than the original! She absolutely killed the performance and stormed through to the final two.

What an insane three months it was, but I wouldn’t change anything. Our team was absolutely fantastic, and a special shout out must go to the incomparable fashion director Grace Woodward and 1Direction ringleader/head stylist Trudie Le Marie. How we left with our sanity is beyond me!