Ss londonier

Laser scanning examine the sections of the ship above the water, while sonar images the subsea sections. These two data sets are knitted together to create an overall image that gives a detailed view of the exterior of the wreck, as well as the surrounding seabed.

If this happened, the consequences could be catastrophic. Some analyses — as reported in the New Scientist in — suggest that spontaneous detonation of the entire cargo would hurl a column of debris up to 1. Where would they go? I know that for a fact — I did it last Tuesday.

He suggests that a more likely — albeit only marginally less terrifying — scenario is the detonation of a large item initiating a ripple effect through the vessel, which would send munitions flying through the air and scatter hazardous items over a wide area. One concern is that the vessel could be struck by one of the many boats that pass close by every day. Indeed, Harvey says there have been at least 22 near-misses over the last few decades.

In one particularly dicey incident in May , a Danish fuel tanker strayed off course in poor weather and had to take last-minute evasive action to avoid hitting the wreck. Another fear is that terrorists could attack the ship — a concern that, according to Harvey, prompted highly visible armed patrols around the wreck site during the London Olympics.

But the biggest risk factor is undoubtedly the state of the ship itself. Over the years, a variety of suggestions have been made, ranging from the clumsily dangerous option of simply towing the vessel to deeper water to more complex civil engineering solutions involving entombing the wreck in some kind of giant sarcophagus. But according to Welch, careful removal of the munitions is the only serious option. The project would, Welch says, cost tens of millions of pounds. What makes it very difficult is where it is.

Brush stroke prints and the loose threads between layers of organza bonded with plasticised coatings added to the sense of drama and creative flare. The first designer back on the London runways, Saul Nash was in nostalgic mood. His menswear collection, titled Fragment, took a defining feature of his youth, his old school uniform, and pieced together the emotions and meanings behind it. Pieces were adjustable, detachable, and reversible, detailed with rubber key rings, logo adorned school caps and distorted prints of travel cards used by inner-city kids to reach their lessons.

Roksanda returned to her regular Serpentine Galleries location. Saul Nash brought memories of going to school in Hackney to his idiosyncratically performance-focused runway show, with male models sporting hybrid tracksuits and Nikes and getting changed in front of the audience at bus stops.

Supriya Lele brought a confident, grown-up mood to her colourful, s-centric shapes, with cut-out halterneck dresses in soft leather, daring bodysuits paired with wrap skirts and cropped bomber jackets. Elsewhere, Knwls brought heavy-metal biker-girl glam to its sexy skin-tight silhouettes, with bleached denim, cracked leather, sand-splashed hues and cowboy hats.

Unsurprisingly, a host of designers set their sights on escapist scenes. Wrap skirts were embellished with shells, blouses had flowing handkerchief shapes, and ribbed knits were imagined as upside down cardigans. In saying that, there are so many beautiful parts of the coast that really give you a sense of perspective, relief and a moment to reflect in its calmness and sparsity.

Margaret Howell skipped a physical show in favour of a film and a small collection of accompanying appointments — the perfect way for the brand to allow editors to touch the tactile, time-honed fabrications and attention to cut and comfort that the label spends hours deliberating over.

Prince of partywear Halpern also eschewed a physical show, in favour of a digital film created in collaboration with The Royal Ballet. At the Royal Opera House, dancers twirled in fluid silk gowns and dresses drenched in colourful fringing. Christopher Kane and Burberry chose to hold their runway shows through livestream in October, parallel to Paris Fashion Week. The former, presented an offering that meditated between minimalism and more tongue in cheek silhouettes, featuring dresses in fluid metallic pleats or with architectural volumes, satin coats with 3D folds, chainmail tops and jumpers and shirts embellished with the figurative characters that Kane dreamt up during lockdown.