32 posts tagged "London Fashion Week"
The London shows wrapped yesterday and, to our surprise, the city—known for its vibrant (in every sense of the word) young talents—gave us clothes in uncharacteristically subdued hues. Not that that’s a bad thing. As Marc Jacobs‘ show poignantly proved, gray is emerging as a prevalent Fall tone (perhaps a rebellion against the techno prints and acid shades we’ve seen in seasons past). And this held strong across the pond, with designers like Mary Katrantzou (above, center), J.W. Anderson, Richard Nicoll (above, left), and Thomas Tait favoring the shade. (Not that they were married to it. Tait, Nicoll, and Anderson each had splashes of orange, too.) Katrantzou—London’s princess of vivid prints—was a particularly unexpected (and successful) color convert, showing a meticulous collection that consisted mainly of black and gray, with hints of emerald, lilac and cobalt. But most surprising (and thrilling, for that matter) was Meadham Kirchhoff (above, right). The designers ditched their rainbow sequins and beloved disco palettes in favor of an almost entirely black, white, and ash Fall range. That’s not to say it was bland—vinyl ruffles (like the ones that trimmed the designers’ skirts and trousers), no matter what the shade, could never be bland. But it was indeed a directional departure from their typical kaleidoscopic mix. Don’t be mistaken—London’s pared-down palettes don’t mean the fog has taken over, and there were plenty of colorful clothes on offer to prove it. However, a few of the city’s talents have figured out that they don’t always need to employ prints and brights to pack a serious punch.
London fashion week is upon us, and who better to get things rolling than McQ? Instead of putting on a show, the label (McQueen’s competitively priced sister line) is launching a sneaky guerrilla campaign that will break tomorrow. The project features McQ’s very first fashion film, which, shot by Roger Deckker, was inspired by twentieth-century avant-garde Czechoslovakian and postwar Italian cinema. (Come on, it’s McQ. Did you really expect anything less?) Shot against backdrops of modern London and the British countryside, the film debuts McQ’s Fall ’13 collections with vignettes that are at once romantic, unsettling, futuristic, and nostalgic. “The film and imagery capture McQ’s youthful aesthetic, offering something that remains true to the brand’s rebellious and urban heritage,” says Alexander McQueen CEO Jonathan Akeroyd. Take a first look at the new men’s and women’s collections in the brand’s Fall ’13 mood images (above) and film (below), both of which debut on Style.com.
No ifs, ands, or buts about it: The Brits love their hats. And, seeing as they’re fond of supporting emerging designers, it makes sense the London fashion crew would champion bright new milliners, too. (After all, they need something to wear with their up-and-comer-designed duds.) Curated by Stephen Jones and supported by the Royal Ascot (which hosts the most hat-tastic horse race in the UK, and possibly the world), the four-year-old initiative welcomes three new milliners this season—Aurora (designed by Aurora Ozma), Emma Yeo, and Moody and Farrell (designed by Eloise Moody, whose work is pictured, left). They join veterans Piers Atkinson and William Chambers. “The Fall ’13 Headonism milliners usher in a new wave of excitement in millinery, combining London’s individuality and fine craftsmanship,” Jones told Style.com. “These three [new designers] complement perfectly the astounding talents of the witty Piers Atkinson and poetic William Chambers.” Headonism’s Fall ’13 hatters will unveil their new collections at an exhibition at Somerset House on the first day of London fashion week, which begins on February 15.
In London, a city known for nurturing young talent, the newest designers are often found off the official calendar. Style Bubble‘s Susie Lau took a spin through the farther reaches of London fashion week to report on the names you need to know next.
Season upon season, the focus on London fashion week increases exponentially. While it is still known as the hot spot for young talent, what is being showcased on the official schedule are almost all established brands: Jonathan Saunders, Christopher Kane, and Mary Katrantzou are hardly newbies. As the LFW schedule becomes increasingly packed—most editors experienced grueling 9 a.m. to 9 p.m. days—the number of up-and-coming graduates have spilled over into quite an impressive off-schedule that is mainly being facilitated by Vauxhall Fashion Scout, an organization established as an independent showcase of grassroots designers.
“These are designers that are starting out. This is what London is renowned for: new creative talent,” says Martyn Roberts, organizer of Vauxhall Fashion Scout. “VFS is the starting place and then they hopefully move on to LFW on-schedule and Paris.” A stone’s throw away from the main Somerset House venue, VFS is staged in the grand Freemason’s Hall, where over 30 designers showed their collections, including international imports who see London as the perfect place to showcase their work. For instance, Korean designer Hwan Heo and his brand Heohwan Simulation impressed with a slick collection (pictured, left) of monochrome photo prints spliced into shift dresses and precise tailoring, reflecting the designer’s menswear training. One of Istanbul’s up-and-coming talents, Zeynep Tosun, played with equestrian looks in a plethora of sheer fabrics and sportswear-derived detailing.
In the last few years, the Central Saint Martins M.A. and B.A. programs have produced many graduates, who have started their own labels and have also found a place at VFS to show their collections off-schedule. Standouts included design duo Sam Leutton and Jenny Postle, who refined their crafty aesthetic to use finer-gauge knits and fun elements like hammer beading and fringing to produce a vibrant show that demonstrated their love of uplifting color and texture mash-ups.
Myrza de Muynck is determined to bring back the shell suit by rendering it in pastel colors and decorating with delicate embroidery and beading. Phoebe English, who was picked up by Dover Street Market two seasons ago, created “intimate shells” inspired by organic forms in black and white for Spring ’13, with bugle-beaded sleeves and clusters of beads embellishing these shells. Hellen van Rees (pictured, left) used nubby Chanel-eque tweeds and jutting silicone blocks to create an abstracted take on ladylike attire. Away from VFS—off-schedule of the off-schedule—Adam Andrascik staged his own wholly independent show in a gallery and used subtle deconstruction in his minimal collection (below) that added a rather grown-up perspective to London’s reputation for the weird and wacky.
Label: Anya Hindmarch
Need to know: The invitation for handbag designer Anya Hindmarch’s Spring ’13 presentation in London had more than a few editors wondering what was in store—it said, “Bottoms, Bags, and Beauty Spots.” When they arrived, they were treated to the cheeky show they had been promised, with the carousel filled with bags being the main attraction. One of our favorites, the Bathurst, came out of an expanding pompadour wig, and the Duke style, which features a clock face, sprung out of the wall as a cuckoo clock as the bags spun on the moving two-story house set. The designer herself appeared as the grand finale, playing the Wurlitzer organ while butterflies flew out into the audience. It was Pomp & Pleasure (the name of the collection), indeed. Watch the presentation in the video above.
She says: Hindmarch found inspiration in an old music box, a Wurlitzer organ, and a two-dimensional pop-up book. In handbag terms, that translated into bright prints of damask, moiré, Georgian illustrations and oil paintings, and ornate curtain tassels that were re-created in leather and guillocheé boxes, with shapes ranging from a satchel to cross-body bags.
Where to find it: Harrods, Harvey Nichols, and Anya Hindmarch stores.