LFW | Autumn Winter 17 | Day 3
| Anya Hindmarch |
Anya Hindmarch show was built upon the collection’s central motif of kurbits, a Swedish folk art style, whose symmetrical two-dimensional fronds and florals featured on bags and outerwear. Hindmarch’s hygge-and-hot Scandi sirens scaled and descended the hairpin runway in high shiny bloomers and Nordic knits or pastel cable-knit romper suits. Over these was outerwear in felt and wool—often paneled with grids of shearling—with shearling collars and kurbits motifs in cut leather panels. Below, clog mules with Gucci-esque shearling inner soles represented a foot flexing challenge on descent. On high, Stephen Jones’s white shearling headpieces and Cutler and Gross’s pastel-strapped spectacles emanated analog mountaineer.
| Preen By Thornton Bregazzi |
The creations designed by Justin Thornton and Thea Bregazzi have a punkish and new romantic nature that made you immediately think of the 80’s club scene. Ruffled white shirts, draped flowery dresses, big volumes. The colour palette features eccentric bright colours, red, purple.
The aesthetic of the designer duo has always been linked to deconstructivism, recycling and mixing female and masculine wardrobes, they revisited all of them adding a political meaning to the collection that grabbed inspiration also from the suffragette movement in the UK in the Edwardian Age.
| Topshop Unique |
Topshop Unique embraced the concept of high-low dressing for fall, with plenty of covetable options for the high-street girl to choose from. For starters, there was a fashionably old-school terry-cloth sweater paired with a ruffled ribbed-knit skirt. A synthetic high-neck top got an unexpectedly feminine spin when worn underneath a breezy floral dress, while a series of massively oversized knit sweaters proved a natural match for some silky soft slip dresses.
Yet it was the outerwear, with its happy mix of textures and vibrant hues, that stood out most. More subdued options included mannish military coats with large utility pockets rendered in either satiny or textured wool. Overall, the collection impressed with its versatility and high-energy attitude.
| Peter Pilotto |
Folksy elements, seen through a modern lens, defined this collection, which designers Peter Pilotto and Christopher de Vos worked with a breezier, more youthful air than in seasons past. One navy blue number was edged in a red and gold pattern that evoked a silk scarf, while another hot pink, one-sleeved silk dress was embellished with pipe cleaners, twisted into leaf shapes.
Adding to the arty-crafty vibe were oversized sweater dresses, sewn with patches embroidered with what looked like Incan symbols. Accessories, too, had a quirky appeal, from the mismatched glass earrings in abstract shapes, to shiny leather riding boots stitched with colorful embroidery.
| Mulberry |
Mulberry has finally put to bed the debate about whether it is acceptable to wear nightwear as daywear, by taking the pyjama trend to its only logical conclusion: the duvet poncho. The iconic British brand’s creative director Johnny Coca unveiled this revolutionary creation at his London Fashion Week show and honestly we think we may never wear anything else again.
| David Koma |
It wouldn’t be a David Koma show if that didn’t translate into a volley of body-con numbers destined for the closets of those high-powered vixens who naturally gravitate toward his high-energy collections. Deep V-lines, bare shoulders and sinuous silhouettes were at the forefront here. Koma embellished them with grosgrain ribbons, metal tubes and in lieu of real-life ammo, plexiglass ornaments, which imbued the dresses — as well as some slim-cut suits — with a distinctly graphic, almost futuristic aesthetic.
| Temperley London |
Temperley London had quite a few riffs on the pirate shirt, which makes it impossible to resist this hot take on the show. The capes and cropped corduroy jackets with an embroidered frogging pattern looked sharp, as well, and Temperley was onto something with her digitized green-and-lavender floral, best deployed in a blowsy frock of fil coupe jacquard. The backstory was rather charming—speaking after the show, Temperley explained that she’d gotten various of her friends to send her snaps of their own tattoos—but the idea could have been executed with a lighter hand. The same could be said of the animal prints and embroideries: The patterns embroidered onto tulle dresses came off as likably weird, but Temperley could have left it there and skipped the prints. At any rate, the designer’s many dedicated fans will have no trouble extracting the winners from this seafaring collection. When Temperley was on her game here, it was anchors aweigh.
| MM6 Maison Margiela |
MM6 delivered an excellent performative riposte to diffusion prejudice this evening by making the point that these are real clothes, cut by real designers, and made with real craft. Frankly, the clothes made that point, too. The paper cup heeled boots were funny, as was the USB charging cord belt (which really needed an adaptor). The nutty weathered shearlings and crushed velvet skirts and jackets were highly handsome.
| Mary Katrantzou |
When it comes to making far-out prints look super chic, you can always count on Mary Katrantzou. For her fall 2017 collection, she took her signature prints to another level, using scenes and characters from Disney's Fantasia on an array of dreamy cocktail dresses, luxe evening coats, and beautiful double-breasted jackets that were unveiled on the runway. The 1940 classic, you’ll probably remember, is comprised of several wondrous animated vignettes set to classical music. Katrantzou took inspiration from the fifth vignette in Fantasia, titled "Pastoral Symphony" with music by Beethoven.