40 posts tagged "London Fashion Week"
“I wanted to capture the energy of childhood—when there are no rules,” offered Piers Atkinson of his Spring ’14 collection. This season, the milliner, known for his cheeky feminine toppers, designed a range of embellished girly pink, canary yellow, and lavender wares befitting any little princess. “In my story in my head, the girl is dreaming about being a pop star or a movie star—and it’s her birthday party,” Atkinson said of the range, which he’s aptly dubbed It’s MY Party. This concept is brought to life via sweet little headbands garnished with silicone and Swarovski-crystal cupcakes, a cake headpiece with a crystal strawberry on top, and a paint-splattered coned creation that looks like one of those paper party hats you got when you were a kid. Other cheerful standouts include a pink cotton baseball cap, which, topped with a bow, has an opening in the back for an eighties-style über-high ponytail; a piece that resembles a veritable explosion of cotton-candy-hued tulle; and headbands and berets with Atkinson’s signature diamanté veils, only this season they’re augmented with colorful nail decals, tiny pink bows, and—get this—googly eyes.
Atkinson did have some help conjuring this childlike whimsy. He invited two young ladies—Tui, age 12, and Miel, age 14—to visit his studio and learn about millinery. It’s these girls who star in Atkinson’s Spring ’14 Instagram campaign, which debuts exclusively here, and will be rolling out on @PiersAtkinson and @Styledotcom over the next few days. The snaps are covered with those playful virtual stickers everyone’s so fond of lately, and the designer will be handing out illustrated posters with packages of actual hat-themed stickers to those who visit his London fashion week installation at Somerset House.
“I think people tend to think about hats as a bit old-fashioned, a bit posh, a bit rich old lady. But actually, anyone who comes into my studio can put on a hat and have a good time. What I’m trying to do is express that anyone can wear a hat and enjoy herself,” explained Atkinson. As for what he dreamed about during his early years, the milliner admitted, “I wanted to be a pop star, an astronaut, and a costume designer. So I made one of them come true, in a way.”
Huishan Zhang might have graduated from Central Saint Martins only three years ago, but the 30-year-old designer has already made a lasting impression. Currently gearing up for his third season at London fashion week, Zhang, a native of Mainland China’s Qingdao, has proven his capacity to innovate and produce quality garments—and he’s followed up with commercial viability and high sell-through rates at retailers such as Neiman Marcus, Browns, and Harvey Nichols. In addition to being short-listed for the coveted Dorchester Fashion Prize last month, Zhang is also the first contemporary Mainland Chinese designer whose work has been acquired by the Victoria and Albert Museum in London. And his achievements have propelled him into the fashion limelight, making him a promising talent who bridges the divide between East and West.
For Spring 2014, Zhang will showcase a thoughtful hybrid of couture-like influences (the manipulation of fabric from Madeleine Vionnet and Madame Grès’ sculptural fashions) with the traditions of ancient Chinese mathematics. “There’s been a lot of brain work this season!” exclaims Zhang, who’s given us an exclusive sneak peek at his forthcoming collection. “Haute couture and Chinese arithmetic are both very precise, sharing a type of perfection.” Specifically, Zhang will feature smocking grids and trigonometric shapes that mold to the female form. He was also inspired by Man Ray’s double-exposure technique and penchant for surrealism.
After winning a British Fashion Award in 2012, and creating a host of illustrations to promote London fashion week last season, Manolo Blahnik is, for the first time, officially joining the LFW schedule. The Spanish-born, Somerset, U.K.-based purveyor of chic-for-your-feet will debut his Spring ’14 collection during a presentation on September 15.
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.