London fashion week holds a special place in my heart. Not only because it's where I currently live, but also because there's always a rebellious spirit in the air. Home to the most experimental, dark and beautiful brands in the world, London truly stands out from the other fashion weeks not only in it's outlandishness, but also in it's ability to celebrate true talent. Here are my favorite shows of the season.
Mother of Pearl, like Delpozo, was one of my favorite
collections last season. What’s great about these types of brands, that aren’t
household names yet, is that you get to see them grow and flourish before your
very eyes. It was therefore especially amazing to see Mother of Pearl complete its
first collection without the assistance of an artist, and yet still retain the
artistry. The show married sporty silhouettes to grungy floral prints while
still retaining an effervescent cool that’s rarely seen in the A/W shows.
Particularly interesting was the outerwear, with silhouettes ranging from short
bombers to ankle grazing coats. It was a lot to put into one show, but there
still existed a clear train of thought connecting each look to the other. Amy
Powney showed London that she doesn’t need an artist to help, because she is
one.
Christopher Kane has finally opened a flagship store in
London. As amazing as that may sound it also puts into play the effect of
commercialization, which plagues most designers today, and threatens to tame
their creativity. So, naturally, I was a bit apprehensive before this show,
because I thought Kane would lose his edge. I was proven completely wrong. The
collection Kane put out was extremely daring and out there, with blatantly
sexual (the words electric orgasm were mentioned) references and starkly
different fabrics. The colors alone were to die for, but what was really
amazing were the figures sketched out in blue red and white he put on the
clothes. The fabric choices were almost fetishistic, with loads of velvet,
leather, lace and fur. The collection could have easily gone overboard but Kane
smartly utilized a restrained (almost innocent) silhouette, with high
necklines, ruffles and flowing skirts. Kane
played on the notion that sex sells, and by the looks of it, he’ll sell well.
The mood at Erdem was even more bohemian than usual. Now, I’m
not a fan of boho, but when it’s done as glamorously as this, and with an
insane woman as a muse, I’m down. Erdem dreamed up a fantastical creature,
inspired by the art installation “The Collector” by Helly Nahmad. In this
installation, an extravagantly overcluttered apartment is shown, portraying what
it looks like when personality spills from inside us into the outside world.
Depicting a woman’s fall from grace and sanity never seemed so beautiful, with
an ombre coat going from restricted black into a satin pink, almost literally
depicting a descent into madness. The frayed edges of the dresses mirrored a
frayed personality, bursting at the seams. Feminine and graceful silhouettes
were paired with almost utilitarian outerwear and accessories, showing the
stark contract of life before and after the fall. Erdem works best when he has
a clear figure to design for, and this collection proved particularly strong.
Gareth Pugh has come home. After several years of playing the away field, Pugh decided to play home, and return to his roots, both literally and stylistically. With sacrifice on his mind, Pugh showed a dark collection inspired by the brutish side of Great Britain, with face paint mimicking the warriors of days past or perhaps even the football fans of today. Pugh may be singular in his choice of color, but he makes up for it in his choices of fabric and silhouette. Oversized tailoring warped the models bodies into proportions that seemed almost protective. Pugh is unique in the fact that only he can show a collection involving both a Mongolian fur coat and a dress made out of straws and still make it work. The show closed with a literal waving of the flag, as one should when they claim victory.
