London Fashion Week F/W15: a mix between desire and disdain in a constant battle for sanity against creativity. Now that London Fashion Week has come to a close, we reflect on what worked (and what didn’t) at the F/W 2015 showcase.
The other day, I was reminiscing on the days of Galliano for Dior and his divisive, yet inventive and unarguably original legacy, and then, the realization struck me: the current fashion climate, while commendable in that it is allowing so much young talent to blossom in London, is also disappointingly derivative: ideas are either being recycled, ripped off or re-worked to appease the consumer. The days of original graduate showcases have given way to polished and semi-wearable collections that conform with buyers’ strict guidelines for commercial restraint. Surely fashion week is meant to be an exhilarating display of hyper-real creative visions that is meant to inspire the press, bloggers and audiences – after all, one can always tone the collection down at the buyers’ appointments. Sadly, these are all wishes.
Which isn’t to say it was all bad. There were definitely a few favorites that have left lasting memories for all the right reasons—mainly by simply being true to the designers’ aesthetic and by offering an exciting breath of fresh and innovative concepts.
Jonathan Saunders provided a modern refinement of the seventies by presenting folklore embroidery and tasteful bell-bottoms that juxtaposed so beautifully with patterned tunics layered on top of colourful polo necks.
No images attachedJW Anderson (photos below) went against the much loved pre-70s glamour that seemed to be ubiquitous elsewhere and took us back to the 80s with heavy-metal chain skirts ready for the dance floor contrasted against gigantic capes in soft neutrals.
No images attachedChristopher Kane brought us some sex appeal but managed to maintain a classy yet elegant demure which is not the easiest of tasks! Cocktail dresses stripped across the bosom were followed by velvet suits with unusual black taping on the top which surely left us oozing at the clothing.
No images attachedGareth Pugh was a pleasant comeback to London Fashion Week as the much needed drama and sassiness was desperately missed! Taking inspiration from Boudicca and football fans, Pugh showcased monkey-fur shaggy silhouettes with knee-high ink black boots dressed against battle-ready bodices with glimmering needle-like embroidery.
No images attachedWhile the above designers showcased an exciting originality in vision and execution, not all collections were equally as successful.
I wasn’t so fond on the Victorian vision PPQ were throwing forward at the fashion crowd—it was too literal of an interpretation with respect to what modern fashion should be refining into nowadays.
Another underwhelming moment was Julien MacDonald’s display of bondage gothic glamour clothing that looked sadly tacky, and tackily sad, both in respect to the fabric choices as well as applique of clashing textures that didn’t seem to set well—in my stomach or anyone else’s.
Lastly, designer Ashley Williams aimed for the stars when it came to designing her collection but didn’t seem to leave earth—what was shown appeared to be rushed concepts and a disappointing attempt at bringing back 90s glamour which, ultimately, fell flat.
Overall, London Fashion Week offered an unsteady rate of brilliant moments interspersed with disappointing collections—but despite all of its commercial trappings, what remains so invigorating about the event is that, year after year, no-one can compete with London in terms of emerging talent that is growing so rapidly in the capital.