LFW

Naturalness. Margaret Howell SS20

| Design & Culture by Ed

I feel like a dummy, because until this season, I’ve never really taken a serious look at Margaret Howell‘s fashion. Actually, I don’t think the designer calls her work ‘fashion’: it’s far, far from disposability and every season newness. The London-based label’s unfussy, quiet way of being is as charming, as the clothes it produces. The spring-summer 2020 is a classical Margaret Howell line-up: utilitarian, tailored, minimal, but not austere. The loosely-fitted, short-sleeved shirt-dress (that came in different colours and a Lucienne Day graphic pattern) is one of the very few pieces I’ve seen this season that instantly becomes the fine thing to really invest in. Suiting, with higher buttoning, looser cut jackets worn with tapering trousers tucked into slouchy socks and flat leather sandals, other times collared shirts atop Bermuda shorts. Everything kept in a beautiful, warm, earthy colour palette. It’s a yes, yes, yes!

Collage by Edward Kanarecki.

Tulle, Knits and Love. Molly Goddard SS20

| Design & Culture by Ed

Hello London! And again, I’m in love with Molly Goddard. Even though her spring-summer 2020 collection is all about her well-known signatures – dresses made of acres of tulle and delightful colour palette consisting of candy pink, lettuce green and bold blue – there’s a certain factor behind Goddard’s style that never gets boring. Her fashion is not about being precious or pristine. Those looks are made for summer picnics, outdoor walks, brunches with your friends… also, I’m really obsessed with Molly’s expanding selection of knits. The ribbed sweaters with big bows and ties at the shoulder are so good. And there’s nothing better than a classical black cardigan and a voluminous, sheer skirt in coral.

Collage by Edward Kanarecki.

It’s a Ball. Richard Quinn AW19

| Design & Culture by Ed

Since the Queen herself took a seat front row at Richard Quinn’s show exactly a year ago, the designer’s show is a must-see show in London, that’s for sure. While the majority of the looks were all about Quinn’s signature, bold floral prints, the first looks were coats in tartan plaid and houndstooth – nothing more British than that. But then, when you go through the next looks, you might realise they don’t differ strongly from this what we’ve seen in the last seasons from Richard. What seemed to be a novelty was black latex, used for long gloves and tights that peaked from underneath the over-sized ball dresses and equally voluminous lady-like coats. I thought it looked restricting and uncomfortable on the models, through. Couture touches are Quinn’s specialty: black tulle went with gorgeously embroidered dresses and the feathered ‘hoods’ that closed the show were the ultimate highlights. Still, hope to see the designer slightly change his repertoire next season, as he gets repetitive.

Collage by Edward Kanarecki.

Time for Fantasy. JW Anderson AW19

| Design & Culture by Ed

Jonathan Anderson’s autumn-winter 2019 collection was a play with construction. From the architectural grey coats and statuesque shoulder pads to fluid-like drapes and airy, over-sized frocks, this was a JW Anderson line-up, where you can actually turn to a number of completely different things. Also, as it turned out, Anderson wanted to go ‘fashion’ this season, in this today rare, uplifting, statement-making manner. “The idea of a woman walking on clouds – this idea of fantasy and imagination in fashion,” he backstage. “I mean, that’s why we do it.” While the last few shows he presented for women at his namesake brand felt overly sophisticated, this one was a like a much-needed, carefree moment. Not ridiculous or pretentious, but joyous and with a bit of distance.

Collage by Edward Kanarecki.

Kinky Things. Christopher Kane AW19

| Design & Culture by Ed

Christopher Kane loves the topic of sex in fashion. If you think of some of his previous seasons’ sex-related hits – like the lace, C-string details or the illustrations from ‘Joy of Sex’ book placed all over the dresses – it’s clear that Kane understands sexuality quite differently than majority of other designers. It’s nothing shallow or obvious, that’s for sure. The autumn-winter 2019 collection was about kinky fetishes, of all sorts. Latex, chainmail elements, leather, lace, even fantasies on food and balloons (conveyed in cheeky prints), were intriguingly incorporated into brilliant garments, like a lady-like coat or an evening gown. The fluid-filled plastic details, that appeared on Kane’s runway a couple of years ago, had something slinky about them, but they were far from tacky. However, if you’re not crazy for kink, feel free to pull the theme apart, and here we are with a collection filled with gorgeous daywear (see the cardigans, knee-length skirts and shirting) and equally good eveningwear. But then… why not go a bit down the risky path?

Collage by Edward Kanarecki.