With chaotic final fittings backstage in Milan and bloggers Instagramming their avocado toasts every morning, we decided to spice up our LFW runway review this time and be a little EXTRA- because why not? So instead of having our own critiques on the glitter and sequins of the british runways, we’re adding more #sauce with our favorite fashion editors.. Because as Tim Gunn puts it “drama + drama = MORE DRAMA”. From Burberry’s pastel organza rain coats to Erdem’s tea-time floral dresses, we’re here to give you the best of what Britain has to offer.
Burberry by Marriam Mossalli – Fashion Editor & Founder of Niche Arabia
Thank God for Burberry the 90’s are back! Christopher Bailey unapologetically brings the British house’s synonymous plaid back in full form… after years of the house trying to make us forget!? (#BurberryBrit you were supposed to remain in the MET as the head-to-toe uniform for the 90s US rapper (or the average cockney white dude). Also, why was Cara there? I know they claim to have “discovered” her- but that’s like saying u discovered Kylie Jenner- kendall (or poppy) was already big? #JustSaying
Halpern Studio by @missghesquiere
Without a doubt my favorite designer of the past year and IMO (and according to Linda Fargo) the biggest emerging talent right now. HOWEVER.. there’s always a however isn’t there? The collection wasn’t as cohesive as the last. Last season was a long, liquid riot of swishy-haired disco glam. This season was more considered and that’s where many of the looks took a wrong turn. The long tulle dresses and Balmain-esque high waist minis looked last minute; and some looks were so fabric heavy as to look almost hijab-appropriate. His forte this season was definitely in the minidresses with brilliantly draped swathes of sequin fabric. So liquid. The gravity-defying cocktail shapes with artful waves of stiffened lamé were also ace. These two models captured the movement, zest for life and drama that makes Halpern, Halpern. He’s got so much he can extrapolate from. What a talent. Also I am GETTING those pants this season. By hook or by crook.
Christopher Kane by Sarah Mower – Chief Fashion Critic of Vogue
Cleanliness is not necessarily next to godliness—it’s frequently a polite, plastic cover for absolute filth. This is the covert paradox of perve that Christopher Kane was gleefully probing in his Shacklewell Lane studio a couple of days before his collection went on the runway today. “It’s about the perfect wife with a cleaning habit,” he laughed, sliding his eyes toward his mood board, where, alongside an array of duster cloths, mopheads, and trash bags, there were photocopies of the biography of Cynthia Payne, a South London brothel keeper who was famously busted in the ’80s for entertaining Members of Parliament and other gents of the British establishment behind the squeaky-clean frontage of a suburban terraced house.
It started so you couldn’t read it, with a floral wallpaper-print coat, with wide black satin lapels, and jewel-embroidered mesh kitten-heel shoes. In Kane’s mind, that tailoring represented the arrival of the establishment chap, perhaps deviating to Mrs. Payne’s on the way home from his Mayfair club. On second glance, the girl had fringed earrings made of cotton mop strands. And she was wearing a tight red crystal choker. Promises, promises…
David Koma by Mark Holgate – Fashion News Director of Vogue
How to keep your head when all around are losing theirs to the grungy/awkward/ironic cool of conceptual sweatshirts, skater pants, and supersize MA-1 jackets? That’s the question someone like David Koma must be asking himself right now, because where they see the street, he sees only sparkle and shine. Backstage at his Spring 2018 show, Koma laughed when the question came up. “I consider fashion as an art,” he said. “I explore that through my identity. And I always listen to my instincts—and what the David Koma girl wants and feels.”
While the mood might have been va-voom sexiness turned all the way up to Full Speed Ahead, there’s one thing that was for sure here: Koma has exemplary cutting and finishing skills—his clothes are impeccably made. That was evident in the way he molded black leather for the opening of the show, making it at once severe and sculptural (a riff on a Kerry Vesper artwork he has at home) and on the other, contrasting it with the cascading softness of the frills, or in the application of the “hours and hours” of beading that graced the closing looks. It’s also true, of course, that there are plenty of women in the world who want clothes that cover—or just about cover—every curve; they’d rather hang their heads in shame than have a hoodie covering them. And yet . . . what would have been nice to see here is a little more movement in the direction of the other side of the street, as it were, putting a counterintuitive impulse into the collection. By all means, keep cutting tight, but also occasionally cut loose.
Erdem by Samantha Conti – Bureau Chief of WWD
Count on Erdem Moralioglu to lift the veil on some fascinating moments in costume history. For spring, it was the 1958 meeting in Leeds, England of Queen Elizabeth II and Duke Ellington. A black-and-white photo documenting that encounter anchored his mood board backstage, the images around it spiraling — like Moralioglu’s imagination — from the Cotton Club in Harlem and Ella Fitzgerald to coronation portraits and official engagements. “What if the Queen kind of went to New York, and what if Dorothy Dandridge ended up in Buckingham Palace?” he mused backstage, referring to the African-American actress and Academy Award winner. “It was this weird kind of switching of roles.” The collection remained pretty much true to his period narrative, pinging between the sultry, wispy dresses fit for a Thirties jazz club and the young royal’s wardrobe when she met the American bandleader: strong-shouldered tailoring and flaring or bulbous Fifties cocktail dresses.