The second day is upon us and NOKI has been in since eight this morning, conducting his trademark subversive customisation. Meanwhile, the film has come back from yesterday's shots: ladies and gentlemen, we give you Miss Naomi Campbell!! If you've been listening to the live stream and have heard us all fawning over her, have a look in the Polaroid Gallery to remind yourself just how extraordinarily beautiful she is.

STOP PRESS: Jane How -sorely missed from the Bring & Buy shoot, but understandably busy - took delivery of a beautiful baby boy this morning. Congratulations from everyone at SHOWstudio and i-D!!

We found that yesterday proved to be a bit quiet with the video stream showing just the dressing room, so today we started with the camera showing the set so you can see what's going on in the shoot. Not content with just that, however, we've managed to cobble together a second streaming setup so you can check out what's going on in the dressing room too.

Due to bandwidth limitations (at our end, and yours) you'll have to channel flick between the streams. Don't do it too rapidly though or your computer might have trouble keeping up.

We've also had a number of people saying they are having problems getting the stream. The top fix for this is to go into your QuickTime preferences and change your 'transport preferences' to HTTP rather than UDP. This will get round a number of firewalls which might be stopping you from viewing it properly.

Zhangyixi's heartbreaker e-mail sent to Paul Bruty's own site, super-reload.com this morning tugged on the team's heartstrings to the extent that we thought that if we hadn't time to receive Zhangyixi's granny's garment, we should at least blog the memory of it:

From: "cha he"
Date: Thu, 28 Jul 2005 03:52:45 -0500
To: Paul.bruty@super-reload.com
Subject: from China
I should say sorry at the beginning ,I can't register in showstudio and can't send mail to you . So I search your mail from your links.....So.....sorry
I saw the project(bring&buy)from your web,it's super!It give me much inspiration.....I have a garment ,my grandmother's garment which designed and made by my grandmother herself when I was a little girl....but when I grow up my grannie passed away before last festival......I know I love her deeply...

I wanna tell other people more about my grannie and her garment which records my country and my personal memoy....though it doesn't have a brand.

But it's too late and I live so far from Europe....

Say thank you anyway.....you give us a chance to reminisce.....

Best wishes

Zhangyixi

The shoot has now finished for the evening. We will re-convene at 10:00 GMT tomorrow morning.

We may be just about to start the third and final day of the Bring & Buy shoot, but work on other ongoing projects continues unabated. Landon Bradley (known to the Liberty Ross 'Dress Me Up, Dress Me Down' project as 'James San'), has finally received his prize, the unique full-body impression of Liberty herself. He sent us a picture to confirm that it has officially been installed in his Vancouver flat. Who did he invite to officiate at its inauguration, we wonder? We haven't seen Liberty for a couple of weeks...

Never one to disappoint, Katy England brought not only herself, Alister Mackie and ballet dancers from The Royal and Kirov Ballets along to today's final day of the Bring & Buy shoot: she also delivered a surprise donation from the Alexander McQueen studio. This dress is one of two made for Naomi Campbell, cut from the material used to fashion the famous feather design dress from McQueen's Spring/Summer 2003 collection. The other, worn for Naomi's birthday that year, was red. This blue one was secreted into the archive...until now. Today it re-enters fashion currency for the shoot, and in September you can bid to make it your own.

Following shots by Katie Grand, Jacob K, Nancy Rohde, Jonathan Kaye, Jamie Surman, Erika Kurihara, Jodie Barnes, Simon Foxton, NOKI, Francesca Burns, Sarah Richardson, Tal Brener, Cathy Edwards, Judy Blame and Nelson, Katy and Alister are busily customising their garments to dress Ivan Putrov and Daria Pavlenko, from The Royal and Kirov ballets respectively. They will be followed by Nicola Formichetti, who is styling up designer Gareth Pugh and Kylie Minogue's dancers with the help of a host of shiny black balloons, looks like! The grand finale is courtesy of designer Ann-Sofie Back, whose pattern-cutter from Kazakhstan has agreed to model.

Click into the live video stream to witness the ultimate end-of-term atmosphere before the fashion industry officially breaks for holidays in August. SHOWstudio, however, as you well know, never sleeps and will be with you throughout the summer, come rain or shine!

As anticipated, Nicola Formichetti, Gareth Pugh and the dancers put on quite a show; Ann-Sofie Back meanwhile threw things off-kilter with her witty styling. We're now on to the very last shot, which is taking place without its author-by-rights, Martin from the band Selfish Cunt. Promising to return to recite his poem 'Britain is Shit' whilst setting fire to one of the red carpet gowns, Martin went off for a little comfort break...never to return. Ah, well, we'll have to proceed without him!

Martin from Selfish Cunt got his wish: the most glamorous and elegant couture dress went up in flames to the sweet, sweet sound of 'Britain is Shit: Fuck the Poor'. And here's us thinking we were trying to redress that situation? The politics of fashionability, eh? It's so confusing.

i-D have delivered all the garments from Bring & Buy back to SHOWstudio. Of course, the stylists weren't able to use all of the 150 garments donated on the shoot. So Eisuke, our faithful studio assistant, and Amy, our fashion intern, are sorting them all out on rails so that every piece can be photographed for the EBay sale. Ross has expressed a desire to be photographed in Björk's swan dress, so keep an eye on the studiocam in case he sneaks in through the night for a private photoshoot!

I've just come off the phone to Pete Orrey, who manages Oxfam's section of the EBay site and it looks like we have a date for the Bring & Buy auction of garments: a seven day sale beginning 21 September. We should have a URL for you to peruse the garments in advance soon. You can, of course, familiarise yourself with the lots in advance in our 'Viewers Submissions' gallery.

This morning a package arrived from Maison Martin Margiela for late inclusion in the Bring & Buy auction that has sent the office into raptures (well, me). On the accompanying print out (pictured), the message reads:
Our BLOUSE BLANCHE (white blouse): Originally worn by models in couture ateliers between dress fittings, these white coats (one length for women, another for men) have, over the past sixteen years since our first collection in 1989, become the symbol of the team at the Maison Martin Margiela.

Glory Be!! Perhaps the most coveted piece of fashion ephemera: the white coats the Margielas wear to conduct their legendary press appointments and tend their shops. I confess, I've had the women's one on (with its darling little strap and buttonhole closure mechanism) and it was so flattering that I couldn't bear to take it off.

If any slave-to-Margiela dares bid against me (you hear me, Jonathan Kaye?), I'll scratch their name off the contributor's and/or subscriptions lists !!

Our new project 'Transmissions' has announced its upcoming coverage will be of Cerith Wyn Evans excellent 'Eaux d'Artifice (After K.A.)' which happened every Sunday in July (that's five Sundays), in the oasis that is the London Barbican's Conservatory. I'm sad to say that I couldn't personally attend the majority of them. My task of finding somone to capture events in my absence went awry just before I went away (for most of the Sundays in July), and the rest of SHOWstudio were thrown too far into the chaos of 'Bring and Buy' to rescue my efforts.

Nonetheless I had a great experience turning up for the most quiet and contemplative of the events this Sunday past (31st July) with the help of much-treasured art director and film-maker Marcus Werner Hed. There wasn't really any performance to speak of in the hours we were present: this Sunday had been billed as silent. Rather, powerful telescopes had been placed in strategic points around the foliage-rich corners of the huge glass room, pointing their lenses outwards towards looking possibilities carefully chosen by Cerith for some London EC2 voyeurism (and beyond). Helped along by headphones which played a soundtrack to your viewing, the addition of which suggested something filmic. Marcus (pictured, in the plants) took to the task of creating his version of events on film, inspiringly undaunted by being faced with capturing footage for 'Transmissions' that proposed the least amount of obvious 'performative' ingredients of the whole month.

Go to the experts, Artforum, for a lively written description of being at one of the other performances by one of their London correspondents, Martin Herbert http://www.artforum.com/diary/#entry9307, whilst we wait in anticipation to post Marcus' film just as soon as he is happy with it. We have also been promised more footage -both still and motion- from Cerith's and the Barbican's own documentation, once he has had a chance to look over it all. I will post this with some text that I hope encapsulates Cerith's erudite descriptions of making this project happen and being at the centre of it, which is where anyone who has met him always wants him to be.

Please note a new date for the EBay sale: it will begin on the evening of Sunday 18th September (first day of London Fashion Week) and will run for a week, until the evening of Sunday 25th.

Having assisted throughout the whole of Simon Foxton's 'Sittings: 30 Men' -weekends and all!- and then helped out at the Bring & Buy live shoot last week, our sometimes assistant and most times photographer Wendy Bevan finally found time to come in and show me her book today. What a pleasant surprise, too. This image from a recent body of work that is still in progress, a collaboration with RCA textiles graduate Rowan Mersh, is a stand out from an overarching focus on theatricality (perhaps no suprise from someone whose parents are actors). Whereas the graduate work looked like history paintings, these have a delightful sense of the set-up-and-shoot atmosphere of nineteenth century 'gentleman amateur' portraiture, combined with the aesthetic of Avant Garde, Surrealist photography and Modernist graphics. After hiding her light all this time, it seems our Wendy's one to watch!

Once all the Bring & Buy donations have all been individually photographed (in process), our plan is to display some of the highlights in one of Oxfam's shop windows, to give people a chance to see them in the real before the EBay sale next month. The manager of the Chelsea Oxfam Shop (next to Vivienne Westwood's World's End shop on London's King's Road but one) Selina Verma (pictured, right) came in to meet us and talk through the logistics this afternoon. We think we could put something together for the space of time between the weeks beginning 15th August and ending Friday 9th September, circumstances allowing. Now all we need to do if find ourselves a set designer to create the display!

For anyone who has been keeping an eye on 'Transmissions' they will know this is a posthumous announcement for a post. There has been a gradual tweaking of the Enrico David project footage over the last few days that is now fully concluded and launched. 'Event' has backstage (and a glimpse of performance) film footage of a colossal Enrico David sculpture on stage at the London Barbican's theatre from June this year. The documentation is intended to foreground all ten-foot of 'Mantwat' being brought to a slow animate life to be the huge stage presence for a Merce Cunningham choreographed dance encounter. The film aims to capture the backstage activities: the work-in-progress spirit in which we captured the imagery, rather than document the actual dance performance. Re-cut to reflect that, Salwa Azar's final edit focuses on photographer Karim Rabik's inquisitive hand-held capture of the sculpture being lifted into the theatre tower, his joints being positioned, and the technician's accidental caresses of wooden knees, in order to prepare him for public appearance. There is also a selection of Enrico's sketch-book preparatory drawings from autumn last year, to gives clues about the artist's stages of thinking about this giant man.