Akin to amphitheaters aboard intergalactic spacecrafts, the gradated steps made up of concentric circles at Anya Hindmarch set the stage for the designer’s geometrically influenced ready-to-wear collection. The clinical chill of the avant-garde setting was offsetted by genteel tailoring executed in candied tones. Dominating the show, plush enveloping coats either displayed relaxed dropped shoulders or put cold shoulders on display. However, in the vast scale of the presentation, it was the tiny touches that stole the show- multicoloured leather embellishments that cleverly interlocked formed whimsical ornamentations that proved ingenious.
To describe his sophomore collection for Mulberry, Johnny Coca offered three words, “Uniform without uniformity”. Colours that commonly accompany regalia and regimentals painted the runway in a rich autumnal sobriety but hints of light fluttering satin peeking out from under gabardine coats and ample ruffles brought the spring perspective back in line. Oversized austere silhouettes with streaks of rebellious subversion trigger notions of the current fashion furor. The indisputable standout? Innovative renditions of regatta stripes; refreshingly classic.
If the previous collection highlighted spelled class, this line up at the Topshop Unique spring showcase is a restrained reworking of crass ’80s glamour. Hinged on blown-out shapes and the often gaudy styles of the era, Topshop delivered a collection with muse, punk artist, Linder Sterling fueling the New Wave revival. The show started out with androgynous and pared back designs, then slowly transitioned into the vinyl vision we all knew to expect.
Perhaps the most sincere ode to springtime, Paul Smith‘s English roses are but a picnic basket away from a prance through a field of daisies. Poppy ginghams and floral prints aplenty, the eminent British designer expressed his playful side with this womenswear collection. Still noteworthy are the tailored ensembles, relaxed but not sloppy, languid yet conveying polished ease.
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