Spring/Summer 2012 took no vacation from Basso and Brooke‘s defining colour exuberance. While I never fully believe that Bruno Basso and Chris Brooke can top their previous season, they always manage to do so. This season, they used every colour of the rainbow; tropical yellows, greens and blue merged with taupes and mustards in awe-inspiring digital prints. These are the type of special pieces that street style photographers will chase to snap.
Taking note of style rules, accessories were very minimal against the chaotic designs, barring statement chain necklaces and bracelets. Brooke – the brains behind the cutting of each garment – had an an applause-worthy hand in making the diaphonous motifs appear polished and sophisticated. Maximalist meets minimalist. View Post
Welcome to Spring/Summer 2012 at London Fashion Week! First off, Bora Aksu. The collection, “The Unknown”, was inspired by five handwritten Edwardian postcards, and kicked off exactly in that light; heavy violins and strobe lighting for a minute for a minute or two, then a rise of the lights that presented a group of models in garments that were obviously inspired by the early 1900s – hooped underskirts, thick pleating, and gorgeous layers of silk.
Every piece came out with a raw, opulent feel, with serious attention to detail and wild texture. To top it off, every leg in the show was covered with striking tights that were partially comprised of fishnet material, and partially of lyrca. The tights created a spider web effect that spiralled around their legs, and added a seductive feel to the otherwise prim silhouettes. View Post
When it comes to Vivienne Westwood I am never sure what to expect. She is a woman who doesn’t follow trends nor does she like to set them – it just so happens she does. Her Red Label show at London Fashion Week featured everything from an androgynous well-tailored suit to a flowing, feminine dress. Our Lady Vivienne made sure she packed her show with, it seems, whatever she felt like creating. Typical “Anarchy Design” with some welcome restraint as she unexpectedly embraced the lady-like craze. Whatever was going on, it was love. View Post
Caroline Charles took a very detailed note from the success of fifties style for London Fashion Week. While her customer tends to be more mature, there was enough knicker-flashing underneath a mesh tutu to keep the young interested. She slickly introduced glitter where appropriate, kept shapes and trends interesting, and threw gloves on a countless number of lewks (that was for you, Brad Goreski). One-hundred-percent commercial and set to a Happy Days-worthy soundtrack. View Post
One of the reasons I adore London Fashion Week is the fact that while many designers use the gorgeous ‘official venue’ of Somerset House as their venue, there are tons of fabulous shows scattered around the most fantastic spots in my favourite city. For Mulberry, their show took place in the ballroom at Claridges.
It was floral done fashionably, with dozens of giant neon roses decorating the space, alongside life-size Mulberry paper dolls that didn’t stand a chance next to the wardrobe worthy collection. Florence Welch Red hair was attached to the heads of all the models, in homage to model Julia Johansen. Creative director Emma Hill was inspired by “The Secret Garden” and claimed that “it [the design process] always starts with a film”. Most importantly (it’s Mulberry, after all) – along with variations on the Alexa, the trompe l’oeil effect Tillie and chain handled Cory family were finally introduced. View Post