The final presentation for day 1 of menswear was held at the Felicities PR showroom and proved popular with press and buyers alike with some of London hottest menswear boutiques in attendance. Clever cutter, Stefan, talked me through the Orschel Read collection that focussed on tailoring with innovative detailing that included creating a suit jacket collar out of a pleat so that each front jacket panel was cut in one continue piece. Jackets had great back seam detailing and Stefan really is a master of his craft. The key he told me was to create exciting and creative details without making something unwearable, it is a particular difficult task in menswear yet the Orschel Read brand does it with ease. There were again smart city shorts (as seen across several shows today) and soft knits to give the collection a softer, casual separates option. Colours melted from striking Mulberry hues (I was particularly taken with a dip dyed coat) to bold turquoise and softer neutral tones of grey and mint.
A striking, bold and well crafted collection that will surely gain Stefan the attention he deserves.
Tag : spring
Oliver Spencer showed at the Topman show space in the old sorting office. The eclectic collection of tailored suiting and smart separates played host to slim cut jackets and rolled hem chinos in neutral, bright blue and several hues of reds. A country heritage vibe also filtered through with waistcoat and matching jackets in brown tweed hues.
While shirting played a key roll, blazers were also layered over abstract circle print tees. Collarless baseball jackets were interspersed with the more traditional suiting styles to add a younger touch to the collection and came in both canvas and in suede styles as well as suede and leather bodies with canvas sleeves. A touch of the ‘pyjama’ trend from the womenswear shows remained with paisley printed suiting.
Ushering in a trend for understated, elegance.
The mix of young and older grey haired models signalled Oliver Spencer’s style for suiting a range of clientelle and while his more youthful client may reach for his parka style jackets his more discerning customer had more city mac styles.
Trouser legs were slim cut with rolled hems, again showing the versatility of the brand for smart and casual wear.
A varied collection but with a strong signature style for block colour and easy to wear pieces.
Endell Street is only a baby, by London Standards. It didn’t even exist till the mid-nineteenth century, when a clutch of Victorian philanthropists joined forces to eradicate one of the West End’s most notorious slums. In its’ place they created a miniature ideal city – church, orphanage, workhouse, swimming baths, schools and hospitals – which epitomised the era’s forceful aristocrats-know-best do-gooder spirit.
So it seems a little appropriate that a modern initiative which has more than a little element of philanthropy about it (salvaging Britain’s menswear industry, instead of starving street urchins or women of dubious virtue) should make its’ home in Endell Street’s old hospital. And it seemed appropriate, too, that the first day of the London Collections: Men shows should start with Lou Dalton – a low-key but fiercely passionate designer who’s been embedded in the capital’s menswear scene for several years now, straddling the conflicting worlds of historic craftsmanship and contemporary instinct.
Spanish shoe designer Pedro Garcia founded this family business in 1925 (three generations back). Since then every shoe has been crafted in the town of Elda located in Alicante. The book release of “Pedro Garcia, Three Generations of Shoemakers” documents the memoirs of its founder and was presented during the Fashion Footwear Association of New York expo. The pages travel through the eventful life of being an entrepreneur, the expansion of the company, to the desires to reach multiple European markets including United States. Garcia’s book was published in three languages to match the his vast retailers that include Neiman Marcus, Nordstrom, to “online department store” Net-A-Porter.
The Pedro Pedro show was a collection of separates and two pieces. The first dress had a paper bag waisted cut out in beige with a knee length pencil skirt, setting the show off to a classy start.
This sophistication continued with a palette of tan, black, grey, navy and white. Sketchy looking prints featured strongly throughout the collection with a regal looking horse motif.
Most of the collections bottoms sat high on the waist, paired with draped crop tops revealing a cheeky bit of stomach. Lapels and pockets were tipped with flashes of gold adding to the luxury while wide square shoulders created a modern take on the power dressing.
Lime yellow crept into the collection in swimsuits and light dresses proving a much needed summery feel.
Although the collection was gorgeously consistent there was much of the same with cropped tops and high waists – incredibly ready to wear, sophisticated throughout.
The collection began well with dainty pink, black and blue florals on near sheer white suits, turn up straight leg trousers and flowing skirted sheer tops. The sheer blouses continued worn with black trousers and a vibrant pink jacket. The hair of the models was dip dyed and the collection became so as well, sheer tunics hanging low at the back continued this girly yet sophisticated tailoring.
Skirts were split at the front and back and the hems sat mainly on the knee although shorts rose to the mid thigh in chic city wear. Nude and black featured strongly especially with nude and black underwear peeking intentionally from below the garments, through slits, cut out backs and deep V necks plunging to the waist.
Turquoise and yellow also featured and sported gorgeous sparkling studded embellishment in patterns matching the prints.
This collection was all about feminine work wear, sheer suits worn over body suits, girly colours, embellishment and fitted waists. The sheer elements of the collection were complimented by the light scattered prints and the dip dye which was seen in yellow, black, silver and turquoise.
The final outfits featured a gorgeous, sparkling, multicoloured beaded trim that was subtle enough to stay classy but added a touch of glamour to the final outfits.
The White Tent show was made up mainly of pin stripe in varying colours starting with black and white draw stringed macintosh coats with navy blue pinstriped cropped trousers. A few flashes of muted green in feminine dresses with wide skirts and through to red. Other than pinstripe the first outfits only really featured grey jersey as an alternative.
Metallic silver crept into the show with high shine laser cut shorts and foil like jackets.
The second half was more interesting with more rain macs but this time in a light sheer khaki with pockets and worn over tight cropped trousers.
Very consistent and ready to wear.
This collection seemed to centre around native American influences, featuring wrinkled washed out colours, feather like smudged prints and styled with sparkling circular glasses and rainbow painted lips and faces.
Many prints were used in this collection while the dresses were loose shift style, draed rather than structured and many of the shapes seemed accidental and thrown together. One print featured was a 3d cube print that was used sparingly on satin – another gorgeous print was a photographic print hundreds of small negative images on the fabric, another was covered in mutli coloured stripes that centred around and black and white striped square and a final favourite was a humming bird print that was computer manipulated and smeared. The collection closed much better than it started for me.
Although the shapes in this collection were uninspiring and nothing new the prints were gorgeous and I greatly enjoyed them.
The Filipe Fiasca collection was full of chic looking shapes and gorgeous organic colours featured in dip dye style and splattered prints. Structuring began subtly with excess fabric flowing into shapes rather than being deliberately chunky. In collaboration with Triumph underwear there wear some gorgeous pieces of underwear, vintage style with high waists and cone shapes bras, embellished with sparkling black studs.
The dip dyed style fabric seemed almost accidental and was really beautifully created, fitting so well with the shapes displayed. The sophisticated shapes were mainly very wearable and would suit an office and the blazers were divine. Hemlines varied, featuring maxi dresses, mini dresses with high round necklines and many dropping just above the knee. Although there were a few pieces that didn’t seem to fit this collection was overall really beautiful and enjoyable show!
The finale piece was a dip dyed grey and white maxi which the model unzipped and stepped out of at the end, displaying the high waisted underwear, covered again in the black shimmering large studs. When the designer came out to great applause he ran down the runway hand in hand with the last model who he then picked up span around and sprinted back – beautiful to see a girl running in her stilettos with a gorgeous satin creation flying behind her!
Ricardo Andrez’s collection was all menswear – the show began with a geometric kaleidoscope print similar to those popular a few summers ago. Next came t-shirts worn with tiny weenie men’s briefs in white with orange print. The ready to wear collection was jazzed up with cut outs on sleeves shoulders and legs and leather look fabric was popular in short shorts and jackets. An interesting print was a mottled grey stone look fabric that was used for a large portion of the show mixed with salmon, gortex like fabrics and the digital kaleidoscope prints. All of the bottom halves of the outfits were incredibly tight fitting and nothing was spared- honestly I could see the outline of evvvverything. The collection was ready to wear and interesting and I really loved the prints but I felt that the kaleidoscope look has been done before.
The badly translated press release insinuated that the collection would be computer based, speaking of bloggers and the online generation. The collection began with tube dresses to the knee with a net layer to the floor, which almost looks a little technical then turns to pastel loose fitting dresses with V lines fur trim and metallic plastic jewellery. The colours used mainly to begins with are washed out blue and yellow in both mens and womenswear. Ruffles and layers are a theme with a mixed length pencil skirt in yellow featuring two ruffled layers on the hem. The next colours to appear is a dusty salmon with tiny fringed lines across the entire garments and mixed with garments in a white, purple and green pixelated prints. The collection took a slightly wintery turn with magenta padded coats and jackets, long sleeved dresses mixing pink with sheer black and rouched lines of navy blue.
Although the collection didn’t seem in context to the press release the collection was wearable and elements were gorgeous.
This show began with some very sport luxe pieces amplified by the peaked visors that the collection was styled with. A first interesting piece was a plaid maxi shirt in the menswear which was different but an obvious development considering how many maxi shirts we have seen in the womenswear so far.
High shine fabrics were common worn with sporty leather jackets and some relaxed tailored pieces including long shirt dresses for the women with structured, sleeveless shoulders. This collection had a grungy deconstructed edge and was accessorised with rubber band cuffs that zipped through the inside arm. The deconstruction continued subtly withstructured organza in brush stroke prints, the silhouette that was loose and boyish was altered by this structuring that occasionally widened from the waist but usually from above or below.
Menswear also featured shorts/skirts that were shorts on either the back or front and a skirt on the other… these were interesting… especially when a dressing error meant that a pair fell down on the run way.
This show is renowned for its insanely attractive models and divine tailoring and it did not disappoint.
Starting with very traditional, dapper tailoring with wide full cravat style neckties, fastened with sparkling pins, worn with shirts, waistcoats and full suits. The first suit grey with black details and lapels and then red moving through to a grey and purple plaid. The collection turns more casual with geometric black and white print suits and then shorts, sleeveless shirts and cropped suit jackets. The colours swing between pastels and brighter, yet washed out shades and t-shirts featuring damask style vintage prints featuring the brands cross logo. Knitted polo shirts with low slung necks also feature in a variety of vibrant colours, two tone shirts and all accessorised with two tone gorgeous shoes, plaid trainers, and long, tied leather belts. Lilac was a shade used often as well as an off white-green shade.
After all this beautiful tailoring the show took a turn… for swimwear. The shorts were tiny briefs in a variety of the colours featured throughout the show and geometric patterns, mainly triangle shapes, running short side details as well as contrasted waistbands.
But in all honesty? No one was looking at the swimwear…
This collection oozed wealth; it began in all white and gold with twisted roses of white net all over a skirt and jacket. The menswear was yacht fashion – think European sleaze on the Riviera. Cropped chinos worn with open patterned shirts, polo shirts with gold branding and gorgeous tailored jackets in purple, pink, green and white. Accessorised with shiny gold shoes, men’s gold belt charms and gorgeous leopard fur bags the collection was perfectly executed for the market that it was aimed at – the rich and famous.
Women’s dresses and skirts generally reached the knee; gold studded belt details crossed the waists and backs as well as printed gold foil spots that reached down the dresses. Many sheer details were sexy without revealing too much, overlaid with white lace, pleated and sequinned. Sequinned all gold skirts were paired with white skirted tops and the rose appliqué featured strongly. The evening pieces became incredibly glamorous, the fabric a sparkling mix of zebra and leopard in maxis split to the thigh and billowing behind the models.
The collection was not to my taste, it was well executed and perfectly made and styled but it was not something I’d ever consider wearing…. unless I had a yacht and a mansion.
The Marques Almeida collection was all acid wash, bleached denim except for a few pieces. The collection began with oversized sleeveless dresses, short at the front revealing denim shorts, all frayed and fluffy at the edges with cuffed half leg trousers beneath that seemed to hold themselves up with rouching on the leg. The collection continued with the loose fitting, sleeveless tops and t-shirt dresses as well as skirts and crop tops – most toting the mixed length hems we have seen so much of this season. White long sleeves sheer tops began to appear with opaque bibs and soft distressed fabrics, still frayed at the edges. For variation we started to see flashes of darker blue denim before the collection returned to icy blue. With cut outs on the arms and shoulders this collection looked hip and fresh. Finally we saw knotted, chunky, white knitwear jumper dresses that were long and fitted slim to the body. The last outfit featured a gorgeous full length jacket – long at the front and cropped at the back.
The collection was interesting yet a little repetitive. At the end the designer’s family gave them a standing ovation and a granny on the front row began to cry uncontrollably with pride, so being a bitch is a little hard!
Stella McCartney did was she does best, sent easy, wearable silhouettes that hang on the body down the runway one after another. McCartney didn’t let down and updated her Savile Row suit that fits to perfection. White silk pants topped with a men’s over-sized single button blazer over a light lace detailed top was simply chic. McCartney mixed up her suits and amped up her usual neutral and eggplant pallet with pops of vivid blue, green and maroon. Stella kept a good thing going from her FW11 collection that was filled with sexy cut out cocktail dresses and closed out SS12 with the same,this time trimmed in an updated baroque like detail, white swirly embroideries outlined cutouts on colorful pop art meets baroque-esque looks. Prints upon prints kept coming down the runway which was a nice change for a McCartney show and added a sweet mix to Stella’s simple silhouettes.
It’s official, we’re all going to be wearing fruit and floral prints and racing around in crop tops and full skirts. The Dolce Gabbana collections are always massively influential on the high street looks and the cute 50’s vibe with floral, chilli and pomegranite prints is a sure fire hit.
Full, high waisted 50’s skirts , mini skater skirt shapes and high waisted shorts were all on the agenda. Structured, cropped, bodices and long line pencil silhouettes all made an appearance too.
Embellished flower shapes and lace cut outs adorned several shift dresses and skirt suits that were very ‘Mad Men’. Pastel blue, red, yellow, green and aubergine and monochrome tones showed off a varied and vibrant palette. A mixture of fifties prim and retro swimwear silhouettes the collection was the fun and flirty look we’ve come to expect from one of Milan’s most loved design duos.
If Mary Antoinette had fallen in with the wrong crowd she would’ve worn Meadham Kirchhoff. They’re show space is always impeccably styled to match the collection.
The catwalk area covered in streamers and balloons lay the ground work for a collection of fun and frivolity that encompassed fashion, dance and performance art.
A troupe of teenage dancers entered the catwalk over powdering their faces and lining their lips in thick lipstick before braking into a frenetic dance.
This signalled the arrival of the models who were kitted out in cartoon knits, frill tiered mini dresses and crochet/laser cut out pieces. I loved the cotton candy coloured full fur skirts and jackets.
The second phase of the show saw a host of tiny child ballerinas run out and perform in the centre before a gold curtain dropped to reveal the models on a tiered platform like the inside of jewellery box. One at time they stepped off and made a circuit of the runway.
This really was roccoco in style with brocade embellished jackets and mini skirts that pulled silhouette ideas from the era, they were incredible. Beautifully tailored, pleated and gathered and while in the setting they remained avant garde they were clearly very saleable too. Again full skirts prevailed and helped maintain the drama that is Meadham Kirchhoff and as a little ballerina hoped onto the top tier and stood ever so still, she began to rotate mechanically we were in no doubt that for just five minutes we’d left Waterloo and fallen into a Meadham Kirchhoff wonderland