With promising young labels front and centre, London Fashion Week certainly feels revitalised, from the captivating Central Saint Martin’s MA show, to the ballsy return of Molly Goddard’s tulle dream.
Though the youngsters certainly made an impression, it was Christopher Bailey’s farwell show for Burberry that was the big stand out. Coming to the brand in 2001, Bailey has completely revolutionised Burberry’s reputation. The brand had for long struggled with its association with Chav culture, something that steered high-end clientele away. Bailey has re-stablished Burberry’s high-fashion credentials by looking towards more innovative ways of using their classical patterns in new, less prominent, ways. Yet, in his last show for the brand, he fully embraces the diversity of Burberry – from the chavs to the high-end.
Even before the show, it was clear that Bailey’s swan song would include a tribute to the LGBTQ+ community. For long Bailey was the only openly gay guy CEO of leading London firms. His claim for LGBTQ+ pride also leaked onto Instagram, yet the show was much more than just rainbow flags. Relating to the full diversity of culture, Bailey went out with a bang as his collection bridged high and low culture, approaching culture diversity with refreshing fluidity, combining classical Burberry elements with new contemporary influences. The high-point itself finished on a peak with Cara Delevingne strutting a rainbow faux fur coat.
Though Burberry in many ways seemed to define LFW, Ashley Williams colourful take on the 80’s highlighted another difference between the NY scene and London. Whereas the New York brands’ also brought out 80’s cuts this season, the colour pallet of the British fashion week seem much brighter. Perhaps the youthful influences had a lot to do with it, however William’s punk attitude definitely also plays a central role. The provocative statements, unconventional colour choices and slogans such as ‘Don’t Know, Don’t Care’, ‘Anxiety’, ‘Happy’ and ‘Girls’ helps William’s Autumn/Winter collection scream out among its peers.
Central Saint Marin’s MA show was, as per usual an incredible glimpse into the crystal ball of British fashion future. And let me tell you, it looks bright. Functioning as a creative playground for London’s youngsters on the rise, the show was a flamboyant reminder of the heaps of fashion talent the capital produces.
Making waves with her tulle gowns, Molly Goddard has been spotted everywhere over the past year, and her LFW AW collection was just further proof that this lady is here to stay. Playing more on gender fluid patterns, Goddard stay on trend, yet she still kept her ballsy feminine side intact. The variation in silhouettes is encouraging, and with a 90’s tinge in her colour scheme Goddard definitely stays at the forefront of British fashion.
Though the colours of London fashion weeks seemed pretty bright, Christopher Kane’s collection took a more toned-down and sensual palette. Inspired by the 1972 book, Let’s Talk about Sex, the designer focused on the human condition and sexuality in all its forms. Perhaps unsurprising then that Kane’s show included a much more nude and transparent take on female clothing. Kane’s sense of elegance made the collection come across as empowering, bordering on armour wear as a contrast to the softer seductive lines.
This year’s London Fashion Week is over, yet it certainly proved how much the city has to the fashion world’s future.
