Bailey’s Pride. Burberry SS18

February 20, 2018February 20, 2018 | Design & Culture by Ed

So, what to expect from a designer’s final collection, especially after a 17 year-long tenure as a creative director and the person in charge for the brand’s business side? Well, pretty much anything. Christopher Bailey‘s last collection at Burberry was meant to be a blast. And there really are the reasons to praise the designer this season. “My final collection here at Burberry is dedicated to – and in support of – some of the best and brightest organisations supporting LGBTQ+ youth around the world. There has never been a more important time to say that in our diversity lies our strength, and our creativity.” Pride and optimism was reflected in everything, from the puffas to sweatshirts covered in raibow. The Rainbow check, the latest iteration of Burberry’s most iconic symbol and designed as part of Christopher’s dedication of his last collection to LGBTQ+ communities, featured throughout the show. It was nice seeing that a brand like Burberry, so established and all, goes for an important matter!

Still, I’m on fence with this collection. The capsule of reissued archive pieces from the 1980s and 1990s rereleased felt new to Burberry, but the idea is quite pinched from Gucci’s current bootleg obsession. In overall, the collection was more Alessandro Michele, than Christopher Bailey. There were some clear signs of Demna Gvasalia and Phoebe Philo inspired tricks there and there – like over-sized, Vetements-y hoodies or Céline-ish lace dresses and plastic bags. In other words, I think the label tried hard this season to be relevant and look 2018. Nevertheless, Bailey had his big, last word to say with the collection. Where will we see him next? The time will tell.

Collage by Edward Kanarecki.

Lady Bird. Molly Goddard AW18

February 19, 2018February 19, 2018 | Design & Culture by Ed

While looking at Molly Goddard’s autumn-winter 2018 collection, I was just impressed with the way this young designer does everything so effortlessly, with so much joy. And, simultaneously, with success. Although Goddard usually goes for party-themed venues, this season the set was an industrial kitchen, probably inspired with those in hotels. Models stopped for a bottle of wine, casually, or a chat. Was it an unofficial after-party scene we all witness from time to time? “It’s where I always end up at a party,” the designer said. “Usually that’s the best part of the night.” Few seasons ago, Molly stormed the London fashion week with her signature, over-sized tulle dresses and a cool, ‘what a girl likes’ mood. Right now, the designer moves towards new territories of 90s crop-tops and gingham, so that she doesn’t feel trapped in a garment she is known for making so well in her studio. “It gets very boring to be confined to the pretty bracket,” she said. “Being girlie is fine, but I think that girlie is often misinterpreted as wishy-washy or prim. I’m the opposite of prim.”

Still, it was the ‘dress’ part of the show that really got everyone talking. The last looks, kept in happy shades of pink and orange, somehow reminded me of Christina from Lady Bird – the main character in Greta Gerwig’s debutant film, starring the phenomenal Saoirse Ronan. Just like Lady Bird, the Molly Goddard girl is a beautiful soul in the middle of a difficult world. Still, she’s got balls to go against the flow. Was that an unintentional tribute to all the Lady Birds out there?

Collage by Edward Kanarecki.

Victorian Girl. Simone Rocha AW18

February 18, 2018 | Design & Culture by Ed

Except for Matty Bovan‘s collection which was a bomb, it seems that the London designers prefer to revisit their archives this season. There’s no way Simone Rocha can go wrong with her signature dresses with ‘leg of mutton’ sleeves and meticulous embroidries – her customers adore them. Even though the collection was filled with Rocha classics, his time around, the designer immersed herselft into Victorian-era fashion and brought lots of bows, ruffles and ornaments that richly decorated the bustlines. Although Victoriana is a hard thing to do for contemporary designers (falling into the ‘too literal’ trap…), Simone pulls it off like no other, making her delightful gowns look precious, but not over-dressed or forced.

Collage by Edward Kanarecki.

Slowing Down. JW Anderson AW18

February 18, 2018 | Design & Culture by Ed

The autumn-winter 2018 collection from J.W. Anderson was the first time the eponymous label showed womenswear and menswear together. Jonathan Anderson just felt it’s the right time to decrease the number of collections per year and… slow down the pace. This certain ‘chill’ has its reflection in the collection’s mood, which is a compelling set of over-sized, laid-back knits, ruffled blouses in paisley and maxi-dresses. In other words, nothing ground-breaking is going on in here – but does it make this collection less intriguing? Absolutely no. There was something very sensual about this offering – the subtly sheer pants and trench coats worn on bare body are just that.

Collage by Edward Kanarecki.

Not Just A Lady. Matty Bovan AW18

February 18, 2018 | Design & Culture by Ed

London fashion weeks couldn’t ask for a better start. With his first solo show (without the support of Fashion East), Matty Bovan has not only presented his best, most grandeur collection yet – it was also a beautiful tribute to his late grandmother. “So, it was about my grandma, this strong woman, and this north Yorkshire world of walks on the moors,” said the designer. But don’t expect anything overly preppy and neat from Bovan. Indeed, granny-ish tweed was present all over the collection, yet the way how the designer treated it is incredible. Slightly ragged and ‘pulled’, the tweed was used for nomadic coats, exaggerated in silhouette blazers and skirts that had layers of tulle underneath. As if we were the witness of Coco Chanel going mad with her signature fabric!

In fact, it felt that London’s hot blood reached the heights of Alexander McQueen or Vivienne Westwood’s rebellious (and simultaneously captivating) extravagance. Especially, with the last five looks, which featured one-of-a-kind ball-gowns and head-pieces made of balloons. Sounds naive, but the effect was more than jaw-dropping. Matty, thank you for making London London again.