It began amidst the fierce winds of Storm EuniceThe extratropical cyclone that hit parts of Britain and northern Europe last week, as if nature itself were providing a metaphor for the location of the devastated fashion industry these days.
There are no celebratory cocktails in Downing Street, as there have been in the past. (The shadow of Boris Johnson’s “Partygate”“Still glimmering.) The big names — Burberry, Victoria Beckham, JW Anderson — are mostly absent, doing things that don’t follow their own schedules. Rumors flew, later confirmed, that Queen Elizabeth has tested positive for Covid.
Yet despite it all, and even for those like me, still observing from afar through digital lenses, this London Fashion Week contrasts with a wet squib.
Maybe it’s because it’s the first real season since the pandemic began or perhaps because of the lack of big kahunas for the little fish to shine (or maybe even because New York is so low on energy), the The show was filled with ideas and the local heroes refused to play it safe. With rewrite fun is not only expected, but also the norm. How? Let us lead the way.
The Queen is the muse in the dark of the season.
This is perhaps the most predictable development. This is the Queen’s platinum anniversary year – aka 70th anniversary – with all kinds of celebrations ( Platinum Pudding Contest!) marks her status as the country’s longest-reigning monarch. It’s not because of that that her decades-old influence and image is pervasive in any way that’s too obvious (read: head-to-toe monochrome top plus black handbag). Instead, the idea of royalties, semiotics at its most obvious and how they are appropriated and re-appropriated by subcultures, has made news on the runway.
That’s evident in Richard Quinn’s maxi dresses and microflowers on swinging style jackets with matching hats and mid-aged molded silhouettes; He wears a taffeta that wraps his body from the hood to the tailored trousers. In Roksanda’s mix of utility sportswear and epic graphics, with giant opera tubes and anoraks sweeping through layers of explosives. In the shoulder-length gown of the minimalist tea dresses of Emilia Wickstead.
And in Edward Crutchley’s treatise on gay and Goth culture, with its velvet scraps sliding down the torso, cobwebs with holes in them – and reading lists. (Sample: “The First Book of Fashion: The Book of Clothes by Matthaeus and Veit Konrad Schwarz in Augsburg,” Bloomsbury, 2015.) It was mostly worn by burly men to emphasize the point of view of fashion. gender, power, and who can tell exactly which bodies deserve the crown.
Harris Reed summed up the theme with a signature parade of haute couture silhouettes entitled – yup – “Sixty Years a Queen”, after a book published in 1897 in honor of the year. Queen Victoria’s diamond ceremony and featured an exaggerated mermaid dress and a costume wrapped in a giant yellow satin bow.
The special relationship that made a guest – and the upgrade is here to stay.
The lauded (or radical, depending on your perspective) relationship between the US and England may have its ups and downs, but this season, it’s been a source of creative supply for Matty Bovan, who There’s controlled chaos that comes in the form of stars, stripes, denim skirts and savannahs – clichés that are chopped, layered and otherwise flipped upside down. Connor Ives, an American in London, gave his first show with female archetypes from his homeland, including the Kennedys (Jackie in opera gloves and gown during her Paris tour; Carolyn Bessette in her biased wedding dress) and tailor colleagues – all built on a deadstock base.
No longer a niche experiment, upscaling has increasingly become an approach to building a collection. Following that trend, Priya Ahluwalia has come up with a “Nollywood to Bollywood” fusion of cultural works and materials with plaid, silk sari, argyle and denim. And Chopova Lowena has expanded the brand’s fabric and hardware aesthetic to include miniskirts and matte, tactile knitwear.
Same goes for underwear.
For all the bulk and ghosting on sight, there are also body-con lines omitted – most notably in Nessi Dojaka, who continues to play taboo with velvet bottoms, sequins, and even stretchy panties. But also at Simone Rocha, who inspired the Irish myth of the Children of Lir, added see-through dresses and slip-ons to her trademark layers based on layers of mood and material, ruffles and feathers, to create a dress that looks exactly like the now-you-don’t-risk-know-stress.
There was an unexpected appearance.
Not a celebrity but rather, Raf Simons. The Belgian designer swapped his usual place in the Paris schedule to announce his joint men’s and women’s video. Opening with the catchy words, “Ghosts will let you in soon,” the presentation is set in an abandoned ballroom with ornate crystal chandeliers hanging from the ceiling and covered chairs. crimson thin cloth dotted the space, through which their models in vinyl and rubber dresses and jumpsuits change under translucent alpaca outerwear and nylon stomach jackets . Faces are shielded by translucent hats that look like slashes between a baseball cap and a nun’s habit or a military cap and a pelican; Legs are wrapped in patent welds.
Backpacks and handbags were wrapped in bows and wrapped in bright satin, the ends hanging back like a train. Small skeletons dangled from their ears and bony hands clenched their wrists. (Mr. Simons turns out to have a hand with accessories.) The reference is the painting “Dutch Proverbs” by Pieter Bruegel the Elder.
Erdem Moralioglu’s collection is also haunting and quirky at the same time, a tribute to 1930s Europe’s decaying basement through jacquard silk, lace and beads. It was sharper than his usual romantic historicism and more interesting to it.
And a big comeback.
Ozwald Boatengwho founded her apparel brand in 1989, becoming the first Black designer on Savile Row and then one of the very few Black designers to head a French heritage brand when he was appointed creative director of Givenchy Homme in 2003 (he left in 2007), returning to the London catwalk for the first time in 12 years.
He did it with a made-to-order performance with a blend of jade tones and African prints, his Ghanaian heritage and his masterful cuts. . It was a celebration of “Black Excellence” complete with 100 models and pop culture figures strutting and dancing at the Savoy Theatre, including Idris Elba, Goldie and rapper Pa Salieu . The result is a reminder of how much he moves the needle, one stitch at a time.
https://www.nytimes.com/2022/02/22/style/london-fashion-week-fall-2022.html London fashion back to life