Category: LONDON FASHION WEEK

The BFC showspace was packed on day 4 of fashion week, expectantly waiting for Faustine Steinmetz’s girl army to take to the catwalk. Formerly eschewing shows for presentations to avoid sensationalising the fashion industry, the designer decided to make her catwalk debut back in September and learnt that she could put just as much of her own spin on it as she could with specially-designed sets, showing off her reworkings of classic styles in all their glory. And we couldn’t wait to see how the AW18 Steinmetz woman would be painted on the blank canvas of this season’s catwalk.

Set to the sounds of some of our favourite 90s R&B ladies, the collection was, as ever, a delight to the well-organised mind. Steinmetz’s staple pieces returned with fresh updates, allowing the wearer to concentrate less on what to wear and more on which piece would perfectly reflect her personality and individual style.

A veritable uniform of trench coats, shirts, jeans and slip dresses came down the runway, each nodding to the others with coordinating details and textures, but at the same time retaining its own unique DNA.

Pale green silks and woody browns wovens join the designer’s signature denim; which this season has become deeper and darker than SS18, with knitted and felted additions to both tops and jeans providing texture.

Things are definitely matchy-matchy this season, with layers of sultry silks in different finishes, cosy cream knitwear and denims of slightly different grains and colours building on top of themselves on each model into entire outfits.

Accessories, too, are not exempt from the Steinmetz treatment; Fendi-esque baguettes become beaded and covered in Swarovski crystals, adding a little glamour to casual silhouettes, and the ultimate in Parisian chic, the Hermès horse-print scarf, appeared as slinky below-the-knee skirts and slouchy handkerchief tops.

It’s impressive and, ultimately, completely baffling that Steinmetz approaches each season with the same blueprint, and yet the collections that are revealed are so unique and instantly covetable. They’re at once pieces that you could expect to find in your own wardrobe at home, but also totally fresh and exciting, speaking of a season to come where you can be both up-to-the-minute on-trend and comfortable.

As the models did their final walk and we saw the collection as a whole, it was almost like creating an outfit using that computer wardrobe from Clueless that we all long for – if you loved a top but weren’t sure if the jeans with it would suit, the outfit following along behind it would surely offer you another option that would coordinate just as well. It’s a vision for the future of fashion which inspires and delights – quite frankly, I would wear the Steinmetz uniform any day of the week.

Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Joshua Atkins | Fashion Week Photographer | @joshuaatkins

 

A packed out show as always, Pam Hogg at London Fashion Week did not disappoint. "Sealed With A Loving Kiss" was full of spectacle, drama and drop-dead-gorgeous fashion.

Made for the showstopper, the AW18 collection was anything but subtle, with sheer bodysuits, loud colour, exaggerated headpieces and shiny leather and latex.

Pam Hogg certainly has a sense of fun. Mixing bold with bold, the collection was full of clashing contrasts amongst pieces with a darker, moodier edge.

Coloured frills, piping, and pearl embellishments drew the eye around the silhouette in long lines, elongating the body.

Styled with tall platforms and high headpieces, the models were something out of this world – ethereal creatures inspired by the show's tag line, "eternal return of the goddess."

Key looks included signature bodysuits, sheer fabrics and bursts of tulle, creating the dream dressing-up box for any maximalist.

It's a little reminder of how we could all bring out some more fun through our style.

Words: Sunna Naseer | Fashion Week Press | @sunna_naseer
Images: Mikayla Miller | Fashion Week Photographer | @mikaylajeanmiller

Markus Lupfer returned with his signature juxtaposition of structure and softness. Held in Swiss Church, one of London Fashion Week’s most popular spaces, Lupfer adorned the white hall with large black balloons. Previously, Lupfer has mixed strong silhouettes with intricate details and delicate, flowery accessories. For Autumn Winter 2018, Lupfer looks to contrast several materials, clash colours and mishmash textures. The collection is for the woman with an eclectic taste who still wants to carry herself with elegance and grace.

Toffee brown fleeces took inspiration from streetwear with their relaxed shape and striped sleeves. Lupfer’s must-have jumpers returned and where covered with foxes and fawns outlined with threaded multi-colour sequins. Heavy knits were seen throughout, made of Scottish lambswool, in the form of mid-calf length skirts and v neck jumpers. Winter ready coats were also shown, in stripped army green, with large pink and blue scarves. These knits were paired with hand-painted prints and floral jacquards, reminiscent of Johnny Coca’s debut at Mulberry. Faux fur was also a staple within the collection seen in bracelets, the straps of high heels and arm cuffs that looked like leg warmers. Lace was also featured across the midriff and arms of tops along with sequin covered skirts.

 

A personal highlight was a burnt orange overcoat, which took its sharp and structured shape from utilitarian menswear. The coat was paired with a long flowing scarf, of the same orange pattern, which slowly blended into the coat as it draped down. The finishing touch was a black, plated belt with western inspired fringe and silver buttons.

Looks were completed with oversized faux fur clutches and long, flowery earrings that grazed the model’s shoulders. As usual, Lupfer cast a diversity range of women who encapsulated the beauty of the collection. Hair sat behind ears to expose the length of the earrings and nails were painted to match the primary colours of the collection. To complement the collection, make up was subtle and natural.

 

 

Words: Andre Bogues |Fashion Week Press | @andredevb

Images: Andrew Vowles | Fashion Week Photographer

Fashion loves a slogan – it’s one of the easiest and most effective ways to convey a message through clothing. Amid our current uncertain social and political climate, more and more designers seek to make a statement that goes beyond the fashion. From Dior’s “We should All be Feminists” to Gucci and Balenciaga’s self-riffing logos, slogans have certainly had a resurgence of late. If done well, they can reach iconic status and go down in fashion history – i.e. the likes of Katharine Hamnett. However, if done poorly they can feel forced, disingenuous and meaningless.

 

 

Presented against the backdrop of a mock warehouse, UNDERAGE’s AW18 collection had something to say. Inspired by the punk movement of a bygone era of youth subculture, the collection aimed to capture the zeitgeist through a selection of unisex looks adorned with a range of slogans: “We Are Youth,” “Live Fast Die Young,” “Yada Yada Yada” – garments cried out in bold strokes of red, yellow and gold, expressing a contempt for authority and an aim to celebrate rebellion, nonconformity and self-expression.

 

 

A successful slogan should be witty, intelligent and original – if not thought provoking. It should be something that people feel compelled to display upon themselves as a statement aimed at letting the world know who they are and what they stand for. This was lacking here, slogans felt unimaginative and uninspiring; “Yada Yada Yada” – is this what young people really want to proudly wear as an emblem of their beliefs and identity?

 

 

In a fusion of decades of youth culture iconography, brooding models wore spray painted Doc Marten style boots, conservatively tailored pieces; overcoats, trousers and blazers, juxtaposed with more contemporary pieces; hoodies, puffer jackets and bum bags – all screen printed with skull motifs, mock- devoré metallics and graffiti- esque graphics.

 

 

Titled Riots of Our Own this was UNDERAGE’S reimagining of what someone of a similar mind-set to a 70’s punk would wear today. Capturing the essence of youthful rebellion in a post subculture world – in which fashion has become a lot more homogenised, is no easy feat; but quite literally spelling it out across a selection of garish garments is not quite convincing as a particularly fresh or modern approach. Is this what the youth of today, even those who regard themselves as the most nonconforming, want to wear? The sentiment was there but the execution felt crude and somewhat cliché.

 

 

Words: Lucy Hardy | Fashion Week Writer | @lula_har

Images: Mikayla Miller | Fashion Week Photographer | @mikaylajeanmiller

Blossoming prints are a theme in this seasons addition to Claire Tagg’s AW18 collection. A gentle nudge to the soon to be spring season, as the collection adorns a gentle cascade of orchid and floral prints traversing down and across the clothing in a decorative and light manner with some bold colour clashes thrown in between, with the clothing primarily focused on the effect of colour against its neutral white or singular colour base coat.

 

The show space itself even reflects the gentle and subtle themes of Claire’s work, as the models embrace the stage to be fawned over by the and photographers and voyeurs alike. Accompanied by the eloquent compositional music of Ludovico Einaudi’s Divenire, the show set a subtle scene of peacefulness and serenity that reflected the clothing.

 

 

Although Tagg’s collection did feature a few themes of vibrancy, particularly with kimonos and accessories such as flowery hoop earrings (which by the way, we think are really cool).

 

 

The collection itself featured a mixture of subtle pastel colours with splashes of colour blocking thrown into the clothing ranging from hand tied crop tops adorned with sequins to the previously mentioned kimonos, longer length skirts that flow with effortless grace and some avant-garde half coats sustained by straps, accompanied with draping forearm wraps.

 

Surrounded by an all-white stage, it is clear to see how Tagg’s influence has stemmed from the transition and beauty arising from the the development of flowers during the spring and autumnal seasons with the nude and natural makeup palette on the models allowing for the clothing to essentially speak for itself. The models essentially look heavenly while adorned in the clothing, with themes of innocence and virginal beauty lending a developmental story to the collection about the growth of nature as the models descend from the stage in a graceful manner to manoeuvre around the hungry crowd.

 

Words: Nathan Mills | Fashion Week Press

Images: Megan Love | Fashion Week Photographer | Website