London calling! With Milan nipping at our heels and Scotland bucking (possibly) for independence, let us focus on the fashion flurry that was the land of the monarchy.
I really like Berardi as a designer. He has proved in the past that he is capable of designing anything extravagant, so it’s nice when he does a paired down collection that works on multiple facets. Don’t get me wrong, the clothes’ sex appeal is always amped up to eleven, but this season saw an approachable hand at the beautifully cut pieces that paraded down the catwalk. Overall, a clean and straightforward outing for Mr. Antonio.
I loved the cuts in this collection! There was a bold graphic effect to all the pieces, even when they were cut in a single color. You could call the pieces simple in their delivery, but no look in this collection would ever be considered boring. He played with every possible line that could be draped at an angle and the results were brilliant. His color story was somber and subdued, and that played to the cutting’s strength. This was one of my favorite collections of the London season.
For for a second, I thought I was looking a Valentino collection. Seriously, check out at the examples. The hair, the styling, the cuts, the overgrown botanical textures – it’s all Valentino. Hell, even the runway looked like a knock off of the Italian house’s current signature catwalk. Was it a nice collection? Yeah, I guess so. It delivered beautiful surface design, even if the flora theme did get a bit heavy handed at one point, but honestly, would it have killed the guy to vary the cuts a bit? I’m letting it slide because it looked very well made, but in the future, Erdem, try not copying something that we’ve seen every season before, from a different house.
I’m officially giving the London season to Mary. Here’s why: First off, she refused to be pigeon-holed as a techy print designer. She really branched out into new surface design territory and it worked. Secondly, the collection was pulled together and cleanly edited. From cuts to color story, there was a smooth sophistication to every look. And lastly, bravo for her taking a chance and trying something new while keeping the essence of her house. Very few designers try this and even fewer succeed. Katrantzou nailed it.
It seems like team Weswood is surfing a wave of nostalgia with this current season, and that’s a good thing. There was a great sense of comfort in the looks that sauntered down the catwalk. We’ve seen a lot of these shapes before, but now, they feel fresh and workable. You can’t deny the house their ability to take the absurd and make it wearable, and let’s face it, these clothes aren’t for everyone, but this season felt more on par with growing trends than seasons past, and for that, they deserve kudos.
WHAT HAPPENED??!!? OK, forget the street castings; forget the styling, and definitely forget the 90’s rave theme. Let’s just focus on the clothes – the hideous, terrible clothes. MK is known for subversive textures and tossing tradition on its ear when it comes to embroideries and techniques, but they have always, sometimes just barely, skated just this side of stupid. This season, they gladly set stupid on a pedestal and paraded out some of the most pointless looks of the decade! Unflattering, ill-fitting and garish don’t even begin to describe this season. These clothes were just plain scary.
OK, Milan is up next.