I spent a good deal of day 3 preening and having an amazing time at the Topshop Unique Show but that didn’t mean that there wasn’t more fashion going on! Some of Britain’s biggest hitters showed their latest wares (or should that be wears) and my ‘must-have’ coat list is expanding at a frightening rate. It will be a real challenge to put a top 10 together this season! #FirstWorldProblems
Flashes of red
Justin and Thea’s Preen collection was a little ‘polished punk’ (that’s my new phrase – don’t wear it out) and was reportedly influenced by a post-apocalyptic film called ‘Jubilee’, hence perhaps the slashes of red. Leather skirts had slits, kilts and biker jacked reigned supreme (a personal YES!) and studs and zips featured heavily- some pockets you could even zip right off. Handy. Holly Fulton’s show was also a teensy bit punk inspired but if course a lot of Art Deco featured too. There were lipstick dresses, love token prints, drop waists and lovely geometric cube-type patterns.
Topshop Unique also showcased plenty of patent red leather and scarlet patterned separates, but you’ll have to switch to our Topshop blog to read all about it! And Paul Smith clashed his deep reds with opulent deep pinks and rich plums for some beautiful tonal colour-blocking that looked fresh but refined.
Ladies in red at Preen, Holly Fulton, Topshop Unique and Paul Smith
Check mate
Mulberry referenced the 1990s (which has been EVERYWHERE this fashion week) with skirt and trouser combos and textured checks…although the occasional woodland animal snuck in…thank goodness! It wouldn’t be Mulberry without them. Emilia Wickstead’s collection was similarly English but very prim and proper, as you’d expect. Plaid, pleats, impeccable tailoring and flared feminine shapes with occasional rose prints combined for a modern twist on heritage ladylike.
Temperley London channelled Hitchcock muse Tippi Hedren, which gave the collection a sexier, broodier mood than the super summery floral collection of this season (surprise surprise!)I loved the early sixties shapes and will have to invest in a pair of cats eye glasses.
Different checks at Mulberry and Temperley London
Pattern and print
In recent years London has emerged as the premiere fashion capital of print and day 3 was particularly prodigious on the print front. Temperley London and Vivienne Westwood gave us very different stripes. Jonathan Saunders’ show was typically restrained with a focus on beautiful colours and texture but there were also stripes too. Sexy but totally wearable, he told Vogue that it was all about womanhood, 1950s pin-ups ad Diana Dors. I adored the slightly jarring but muted colour palette and the underwear as outerwear details were just the right amount of naughty. It was incredibly sophisticated and provocative in a quiet but sexy way. LOVED it.
Print: Temperley London, Vivienne Westwood, Whistles and L’Wren Scott
High street favourite, Whistles, gave a presentation of its new collection for the first time at LFW and there were interesting camouflage-like patterns as well as lust-worthy leather separates. Arguably the contemporary queen of print, Mary Katrantzou, took a darker, more sophisticated and slightly sinister direction to her usually exuberant and fun prints, often composed of florals and unusual found objects. For this collection she was reportedly inspired by the black and white photography of Steichen, Clarence White and Alfred Stieglitz. But it wasn’t all about the print. Japanese origami shapes drew attention to the stark landscaped printed on the garments.
L’Wren Scott, who also showed at LFW for the first time, was inspired by artist Gustav Klimt and swirly lines defined her glamourous collection. Matthew Williamson injected some much needed winter sunshine into his collection and I picked out this delicious zigzag dress as one of my favourite pieces. Masculine tailoring and androgyny was the focus of Richard Nicoll’s show, which also featured zigzags, but in a furry way. There were also subtle florals and plenty of grey felt tailoring.
Print: Mary Katrantzou, Jonathan Saunders, Matthew Williamson and Richard Nicoll
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