Mark Fast continued to expand the horizons of his brand at his show today. London's knit-meister sent out a variety of innovative new crochets, and he also introduced more cut-and-sew pieces. Perhaps most notably, however, this season witnessed the designer experimenting with a tone—one that was more bohemian and romantic than we've seen from him up to now. The mood was most forcibly reflected in Fast's fringed pieces, such as the halterneck knit dress with a skirt of gold fringe so gossamer, it almost read like hair. But the feeling extended to his flared knit skirts, and his sweet crocheted looks, as well. A pretty crocheted dress with tiers of ruffles was likably gamine; the pale, barely there dress a cascading, asymmetric gown that looked fit for a modern-day Jean Harlow.
Elsewhere, it was nice to see Fast trying his hand at non-knit looks. He introduced a print—a lava-esque abstract rendered in blood red and in orange tones—and applied it to tailored dresses and skirts. He faces stiff competition here; there are designers in London who have built their careers around print, and they've learned how to construct a garment to highlight pattern. Fast hasn't mastered that trick yet, though his most basic effort in this group, a matching miniskirt and crop top, looked decently sharp. Anyway, he's got some work to do in that department.
Of more concern—and at this point, it's a recurring concern—is Fast's seeming disinterest in the fit and wearability of his clothes. The problem isn't universal within his collections, but there were enough red-flag moments here—the shoulder that kept slipping off the first dress; the model hobbling down the runway in her long, skintight, crocheted number; another model who had to carry the train of her gown in her hand—that you really have to wonder whether Fast ever thinks about the real-life women who might wear his clothes. If that's not something on his mind, it should be.