Sunday Night – The Eve of the Funeral Queen Elizabeth II The queue of people waiting to pay their last respects to the late emperor stretched so far in the heart of the British capital that it could even be seen from space.
Across the city, at 8 p.m. and a planned silence across the country, another line of people waited to attend a fashion show. Some things never change.
but it was season one london fashion week like no other. Britain’s longest-reigning monarch died on 8 September, plunging the country into 10 days of official mourning. As fashion shows were about to begin on September 15 and major brands like Burberry chose to close the calendar, some wondered whether Fashion Week would be – or should be.
Beyond my hobby of creating an orderly queue, Britain It is also a country with a national identity forged in a time of heartache and trouble – of which there has been much for designers lately: Brexit and the continuing fallout from the pandemic, and its potential recession,
The show went on, after several designers wept, including Harris Reed.
“It’s been a challenging two years,” the designer, who uses the they/them pronoun, said before her first runway show, adding that the dramatic gender-fluid swirl of the giant crinolines and cartwheel headpieces usually inspired by debutante balls. Is. “Talking with my fellow young designers, most of whom have put their entire brand budgets on the show to drive sales and brand awareness, it is now more important than ever, to support smaller brands. London,
Maybe all the parties of the season were canceled as a sign of respect. But Harris Reed was just the first of many spirited and determined diversions from the latest crop of London’s young up-and-coming labels.
The Y2K hypervixence spiked on the runway from KNWLS, whose mesh print, pleated miniskirt, and uber-low rise flares have created a variety. fast fashion A stunning debut from imitator Chopova Lovena, whose dramatic pleated skirt with punky carabiner clips is now sported by the industry’s best insiders. And special mention to Brazilian designer Caroline Vitto, who showed up with the talent incubator Fashion East. Vitto’s barely-there works focused on cast metal frames that exposed fleshy folds and folds; Her use of curvy models in particular took home her mission of celebrating aspects of a woman’s body, which are often hidden from sight.
Speaking of shining flesh, Nancy Dojaka’s signature sheer splicing and intricate cutout creations provide yet another reminder of why she won the 2021 LVMH Award for Young Designers. And this year’s winner, Steven Stokey Daly, enthralled audiences on his SS Daily Show with a beautifully crafted story inspired by the love affair between early 20th century writers Violet Trefusis and Vita Sackville-West, In which there were signs of the later famous English country. Gardens at Sissinghurst Castle in Kent. “Rabbit” was a code word for their romance. Floppy bunny ears and mustache popped up among the chic knit sleeveless vest, wide-legged trousers, and botanical print.
London Young has long had a reputation for fashion talent, but designer old guard was on hand with an even greater reminder of why the capital’s fashion reputation also rests on the rich depth of its storytelling.
Michael Halpern offers a tribute to his Halpern show, with leopard print velor and cascading sequins personal style of his mother, Cheryl. In her show notes, Molly Goddard wrote that she wanted to capture the joyful mood of “people to have fun,” her hallmark colour-popping cascading ruffles in wearable T-shirt dresses and puffball skirts. And inspired by conversations about women’s bodily autonomy that follow the U.S. Supreme Court’s decision to overturn the constitutional right to abortion, Christopher Kane explores female anatomy, from riblike slivers of clear PVC strips that cut Holding the skirt and bralette together are literal medical depictions of the muscles and nerves that adorn the silk pillar gown.
It was Erdem – whose collections explored the preservation of the past, particularly by those into art conservation – who came closest to matching the mood of the nation. Wide double-breasted trench ballgowns, coats of cut silk and full-skirted dresses with intricate floral embroidery – some shrouded in a dust sheet-esque white veil – were featured especially among the colonies of the British Museum, Like the Sun was starting, was shown specifically to install.
Still what can one do but keep moving forward? with my first attempt men’s clothingSimone Rocha embodied that sentiment in the frescoed hall of the Old Bailey, the central criminal court. England and Wales. Oversize bubble bombers, layers of sequined tulle and grounded with delicate petticoats and corsetry parachute straps — for both sexes — clearly reflect Rocha’s flair for the romantic and practical, breaking new ground.
And at JW Anderson, the designer’s focus was now firmly on — specifically, as the designer put it after the show, the parallel momentary realities we use when we “fall into our screens and become our phones.” ” Guests fought their way through the congested streets of Soho on Saturday night to reach a dangerous gambling arcade where, against the neon glow of slot machines, Anderson presented robes that were entered through portals of digital devices. He used to give birth to a strange universe.
Rompers and halternecks were mini dresses adorned with screen saver stock prints of dolphins, palm trees and goldfish (at one point, models Emily Ratajkowski came in a black tee with gliding pasts with synthetic rubber fins jutting out from her back); shift dress studded with plastic computer keys; oversized sweaters that hang upside down on metal hangers over the shoulders; And the orblique fabric of pixelated glitter or mirrors reflecting the world around us.
Later asked about the optics of the fashion show during a period of national mourning, the Northern Irish designer—whose final look, a black T-shirt with the words “Her Majesty the Queen 1926–2022 Thank You”, used went. Tributes – like the tribute posters that appeared on bus stop shelters around the city – were adamant about how London should face its new reality.
“It felt important to keep going, because this is a time when London There is a need to be together, and right now, some of the young designers in this city are in danger of losing their businesses,” he told reporters backstage as the fun-lovers drank on the night out. “It’s an extremely British attitude.”
This article originally appeared in The New York Times.