London Fashion Week has gone so fast. I think it is because New York dragged on for so long that anything else would’ve felt like a flash. I almost didn’t write this post as I thought I was so late, but what the heck, why not? As I’ve said so many times before, London is not my favourite of the fashion weeks. I probably wouldn’t feel that I had missed out if I hadn’t looked at any of the shows. However, there are a few brands that show here that I do love season after season and am always glad to see (think David Koma, Felder Felder etc). I feel like I have experienced all that London Fashion Week has to offer me via instagram. It has been so oversaturated. Another thing about London is that there seems to be a hell of a lot of bloggers in attendance, you know, bloggers that have nothing to do with the shows. I digress… Anyhow, let us begin the important stuff – the reviews – and ignore the rest. It was just a long rambling introduction anyway.
I think Simone Rocha will be a firm favourite of mine in London for years to come. She has only been showing for a few years but each collection she has put out so far has been well received critically and she has a talent that could fool you into thinking she has been at this for decades. Her talent is unsurprising given her father (also a designer) as it is said that some talents are inherited, artistic ability specifically. But perhaps in her case it is both nature and nurture. She went to art school, then graduated from the prestigious MA Fashion programme at Central Saint Martins. This collection, in particular, was said to reference her art school thesis, therefore it is really going back to her roots and what first inspired her as a designer. Gone is the bubblegum pink of a few seasons ago, returning is the moody dark velvet, and in comes the tapestry-like fabrics too. I appreciate how there is always a story, a real source of inspiration, behind Rocha’s collections as you can tell real thought has gone into them. For that reason, they are never derivative and that is something that is quite rare nowadays.
I will say it time and time again: I love David Koma. When he was appointed to the role at Mugler, I rejoyced. Luckily I don’t think the dual-role thing has had much effect on his designs for his own line. They are the same as ever. Whether that is good or not, I’m not sure. I don’t think much changes from season to season with him, perhaps because his design aesthetic just remains the same. I don’t take issue with that because I always like most of what he produces, but in an industry that is all about progress and forward thinking, it may become an issue in the near future. There’s usually leather, there’s almost always cut-outs, and there is always a dash of sex. And that’s what works. The modern take he did on the bell sleeves, however, was a little different.
If there’s one thing I cannot resist, it is fur on a baby. I love it. Ok, it doesn’t have to be real fur but the whole look of it is so cute. My friend bought her niece an adorable faux-fur coat from Zara last year when she was just a little baby and she looked so darling in it that I felt myself melting. Scroll through to the last look on the Felder Felder show and you’ll see the designers taking a bow, you know, with fur-wearing baby in their arms – soooooooo cute. The baby’s coat matched the models who, for the final few looks, wore colourful fur coats in bright turquoise and red, with contrasting coloured cuffs, and to top it all off, the coats were belted – I adored them. As for the rest of the collection, it was rock-n-roll-style, liberated women. There were many sheer pieces, lots of glitz and super short skirts. Basically, I’m looking for a cool girl in a band to snap the collection up and wear it on tour. Who is the modern day Courtney Love? Or perhaps Courtney herself could still wear it?
I, like many other Brits, have a great loyalty towards Topshop. It is a high-street favourite, known for its popularity within the fashion world – a great achievement for a fast-fashion brand who often derives its ideas from the high fashion world (just like every other fast-fashion brand does). Topshop seems to have avoided the fate of being labelled a copier like Zara or Forever 21, and perhaps have done so due to this Topshop Unique line. The clothes themselves are only sold in a select number of Topshop stores, and usually online, and have a more high end price point (think £300 for a coat instead of £80 in the mainline). It helps that the creative director of the brand is Kate Phelan, a British Vogue veteran who left to work with Topshop but still contributes to the magazine frequently: I think she gives the line a certain legitimacy. This collection was said to be inspired by rich English girls (a.k.a anybody who you’d find in Tatler magazine), the kind of girl who wakes up flawless, to paraphrase Beyonce. I think the collection was great, with the exception of a few pieces including the fuzzy, ostrich looking bodices on some of the final dresses. Apart from that, I’d say it was a win.
Tom Ford showed his collection in LA after NYFW had ended. It was officially on the London calendar on Style.com, however. The timing of the event was odd. When it was first announced that Tom Ford would be showing in Los Angeles, people didn’t really understand why. But what’s to understand? Many editors and celebrities (both permanent fixtures at the shows) hadn’t yet jetted off to London. Anna Wintour was at the Oscars this weekend, as were many celebrities who feature prominently at fashion weeks. Does this mean people are skipping London all together? I don’t know. I think it was interesting to see the amount of top models who stayed for the show: Sasha Luss, Gigi Hadid (I know, I hate to call her a top model but she has been walking a lot of shows), Lexi Boling, Karlie Kloss… The show was filled with celebrities like Beyonce and Jay-Z (obviously), Miley Cyrus (who is growing on me as I feel bad for her sometimes), and Naomi Campbell, among others. Everybody donned their sexiest get-ups because this was Tom Ford and he’s the master of that shit. The collection itself was fun. I could’ve done without all the denim but apart from that it worked. I think it was part-Victorian, part-rich-Mob-wife, part-Cowgirl, part-hippy-art-student, and as odd a combination as that sounds, it all meshed together oddly well. I don’t know, maybe I’m going mad.
PS – Lindsey Wixson’s look was the best.
And the rest…
I loved the trumpet skirt of this dress at Mario Schwab, the blood orange colour is so eye catching. It reminds me of Mac’s Vegas Volt lipstick.
I’ve seen a lot of talk saying that perhaps Christopher Kane should’ve been hired for the Gucci role, and I think I’m starting to agree. Or maybe not agree but I definitely see where they’re coming from. I think it’s too soon to judge Gucci’s new creative team (especially since we haven’t even seen a womenswear collection yet). However, Kane’s collection shown in London was brilliant. It had sharp tailoring (look how cinched in at the waist this is!), a brilliant blue crocodile coat – slightly reminiscent of the petrol blue glossy leather coat at Miu Miu last season but distinct enough to not be a copy -, a dress with bandage style wraps that was very Proenza (but even Proenza’s weren’t brand new) that was purely coincidental, and finally a long dress which looked very much like a painting come to life, complete with limbs.
Barbara Casasola created a collection full of wearable separates and dresses. I loved these two looks (x & y).
This one look at Pringle of Scotland was great, so wearable and so easy to recreate. I still find it weird seeing Pringle shows as I totally associate that brand with my grandad who wears the jumpers whilst playing golf. Hey, maybe grandparents are fashionable after all?
Holly Fulton’s use of sheer organza was insane. These two tops in particular (x & y) were so stunning and had the perfect amount of glitter on them without making them look cheap. Also, this dress was pretty. I’d buy it.