Burberry stole the show on the third of London Fashion Week, as expected. Starting off with moody music and spotlights, the drama began to build, with claps of thunder as the spotlights began to sway from left to right. Then, out came the brand’s ambassador and model of the year Adwoa Aboah. She wore a cashmere silk patterned pink hoody paired with a long white skirt which had the LGBTQ rainbow painted in a column down it, not forgetting the signature Burberry check handbag.
Christopher Bailey’s last collection for the label was evidently a mix of high fashion and street culture that Burberry has represented over the years. Trench coats, lace dresses and formal patterned attire were presented with caps, a rainbow gillets or red spotted trainers. Yes, Burberry was representing the LGBTQ community with the twist on the classic Burberry check. But his mission for inclusiveness did not just relate to LGBTQ, but also represented class differences all in one collection.
Burberry was once known for their representation within British working class culture. The autumn/winter 18 collection had a classic design, but also had neon workwear, full silk Burberry plaid shell suits and oversized graffiti puffer’s. Something that was almost detrimental to the brand, has been adopted with the addition of another comprehensive and sometimes discriminative issue.
The show ended with extreme energy and power with an array of rainbow lights, aided by the much loved The Communards version of Baby, Don’t Leave Me This Way, it is certain that this show will make history.
J.W Anderson presented his first show where womenswear and menswear were presented at the same time. “I am re-configuring the way of shopping – a women’s and men’s continuation developed together for different looks, two different vibes that work together in a conversation,” – Vogue
Decorated with a mushroom installation by artist Martin Belou, the colour palette of the garments were conveniently complemented. Overall neutral, earthy tones that were understated and understood.
Nonetheless, this is J.W Anderson and this equilibrium of colour and style was occasionally juxtaposed. The stand out features of the collection included bursts of paisley, traditionally a look back to the swinging sixties this ideal was quickly contrasted by the footwear.
A selection of models glided down the runway with neon coloured converse. This injection of fun was not just a reference but a collaboration with the footwear giant itself. Which will no doubt be a sort after pair of shoes. The spice did not stop there, with what was questionably the most random addition to the collection, the doughnuts. This small replica treats casually hung on the belt loops of a few male models trousers.
J.W.Anderson, calm, casual and cool – with a few surprises.
AW18! So happy!! 🍊🍊🍊 Styling and Casting: Alice Goddard Make up: @hiromi_ueda with @maccosmeticsuk @maccosmetics Hair: @lukehersheson using @johnfrieda Set design: @sarahedwardssetdesign Music: Earthlings Production: @mybeautifulcity Nails: @saffrongoddard with @essiepolish Thank you @topshop for our wonderful show space Press: @daisy_hoppen ❤️ #LFW #mollygoddard #autumnwinter18 #alicegoddard
A Goddard dress can be spotted from a mile off. Signature tulle princess skirts, layers of gathering and ruffles from head to toe. Nonetheless, autumn/winter 18 Molly has not left her iconic trademark behind but has elevated it. The show was opened by Edie Campbell, in a black stretched bralette with sleeves, her stomach was exposed and she wore a long black ruffled skirt on the bottom. After walking she placed herself upon the rustic kitchen which was the set, poured herself a drink- appearing very nonchalant and cool.
The food for thought was not just relative to the set, Goddard introduced a range of details adding an edge to her presentation. A new check was created, and represented in different distortions adding a psychedelic sense. This was anchored by a multicoloured hallucinatory zigzag print.
Moreover, the prints were just as diverse as the models, an inclusive selection, which should be more of a frequent occurrence within fashion week. We hope Molly Goddard does well within BFC/Vogue Fashion Fund competition. Keep doing what you are doing girl!
Simone Rocha’s autumn/winter 18 was hosted at the ballroom of none other than Goldsmith’s Hall. There was unmissable jacquard patterned carpet, paired with chandeliers, pillars and grand fireplaces touched with gold.
Simone Rocha’s previous collections have always homed femininity in a bold manner. Yet this season it appears the rebel within her muse has pushed her way in. Of course, there is lace, floral and jacquard. And there is no escape of the bold blazer and two-piece suit – modernising her inspirations. Yet, it continued to be elegant and opulent, alike to many previous seasons.
Without warning the strong red tartan was introduced, and the Simone Rocha autumn/winter 18 collection really came alive. Her reference to women in the Victorian times required relevance in our contemporary society. So Rocha gave her a punk edge. Not taking away the very core of the history that makes this collection, but simply adding a sense of uprising. Exclaiming to Vogue – “A Victorian tomboy,”
Both pivotal times in history here in London, yet who would have thought that Victorian nobility and Punk realism was such a perfect clash.