Behind The Scenes. Molly Goddard SS24

September 17, 2023 | Design & Culture by Ed

This season, Molly Goddard played with the notion of a “behind the scenes” moment: what’s happening behind the surface, or closed doors or… the clothes. The spring-summer 2024 show took place at Christie’s auction house on King Street, the other occasions upon which the designer would tend to visit were during the set up of displays. She elaborated: “When there are these masterpieces just lying on the floor: it’s kind of amazing to see and very exciting, which I guess in some way is connected to the collection.” Goddard fashioned a fair few masterpieces of her own in a lineup that focused on nudging the mechanics of garments to the surface, turning them inside out in order to create a patina of production. She said she’d done her research in the National Theatre Costume Hire, examining the stitched clockwork of garments ranging in style from Regency to contemporary. Long skirts were shirred at the hip to create drape down to edged froths of pale ruffled petticoat. The trademark tulle skirts were teamed with loosely corseted tops whose sheerness exposed the geography of boning and corsetry that defined their gentle geography. A dusty pink woolen cardigan was edged with a two-inch strip of satin, like some old granny blanket left bundled in the cupboard of a spare room. Washed out red rose prints used on more skirts and knitted into another cardigan – magenta paneled at the shoulder – added to the sense of comfortable, domestic nostalgia. A precise excavation of the deeply familiar but also overlooked, this was a quietly masterful collection. Said Goddard: “What I enjoy most is when I get really stuck in to how to make clothes; the techniques and the fabrics and the fit.” That pleasure in Goddard’s process was evident in its result.

Collage by Edward Kanarecki.
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Fetishization of Pain. Mowalola SS24

September 17, 2023 | Design & Culture by Ed

Mowalola Ogunlesi delivered a sharp start of London Fashion Week. Mowalola, the brand, is fast, furious, and at times obscene, but in a creatively vital way. Backstage of her spring-summer 2024 show, the designer, said the collection had been sparked by her first-ever viewing of David Cronenberg’s Crash. “I was really excited by the fetishization of pain through crashing,” she said. It prompted her to imagine “a whole universe that resides on the street,” filtered through a prism of ecstatic jeopardy. But Mowalola doesn’t stick to one reference. Masturbating anime girl prints; off-the-shoulder bombers with faux Highway Patrol patches; thigh-highs and micro skirts inspired by street walkers. A lot of stuff that Ogulensi’s customers will love. All that, like the excellent dirty denims, seemed to emanate a conceptual solar system adjacent to some of Glenn Martens’s work at Diesel. The pants that flashed cracks at the back and crotch hairlines were maybe subject to the influence of Alexander McQueen’s gravity. This was good company to keep: however the gartered, bisected pants and skirts, now a Mowalola signature, were all Ogunlesi’s own. The flags-of-the world theme was another highlight. This also ran into a poignant EU skirt meets Union Jack cap look. The extreme contrast of volumes in some sportswear looks made the generic appear particular.

Community. Martine Rose SS24

June 13, 2023 | Design & Culture by Ed

The spring-summer 2024 menswear fashion month has kicked off with Martine Rose‘s dynamic fashion show in London. “Before there were actual club venues as such, people from so many communities co-opted community centers and youth clubs to put on their club nights. All over London, wherever waves of immigrants have come in, you saw them – West Indian, Turkish, Polish, Irish – everyone has had their own community centers. They’re really important, the life-blood, ” Rose said. ”And this one – at St Joseph’s Parish Centre – is untouched. I thought it would be fun for people to sit down, have a drink, and feel pulled into participating in something.” Her living celebration of London subcultural codes opened on a blast of reggae. Out walked the totally believable Martine Rose cast of characters in clothes layered in her subversively kinky takes on men’s and womenswear. “I love playing with gender lines. I find it very sexy – I love men in women’s clothes and women in men’s clothes. It’s things that I’ve played with a long time. And I think it’s a real proposition. Not a gimmick, you know, a genuine proposal.”

Sure enough, there was a complete and recognizable wardrobe of recurring Rose signatures – her oversized tailored jackets, voluminous floor-sweeping coats, and reappropriated hi-viz workwear and sportswear. To give it a sense of lived-in ownership, she used worn-in, washed, and patinated materials.“Because I never like it when things look new. There’s a kind of make-do-and-mend – like denim we patched with gaffer tape,” she explained. Rose developed the hunched-forward shouderline of women’s leather jackets from looking at the posture of motorbike-riders. Her ideas seem always to come up through those kinds of socially-observed transferences—from the pre-existing, from gestures or half-dressed slip-ups. Her women’s skirts were inside out, with pleats bursting from under linings, creating a cool volume. Then there were her wicked twists of humor. “For menswear, I always like this tension between two poles. I’m using quite classic things like tailoring and sportswear, but the other pole has to be quite far apart. So I was looking at quite stately lady things, like Barbour jackets cut on a ’50s women’s a-line, corsetry, and pearls.” And all of a sudden, you glimpse a very British class joke going on.

The Great Outdoors. Burberry AW23

February 21, 2023 | Design & Culture by Ed

There’s a lot of debating going on whether Daniel Lee‘s debut collection for Burberry was fashion-forward enough. In this patchwork of signature Burberry plaids, outdoor-perfect blanket coats, cozy knits and floor-sweeping English Rose dresses (yawn), it’s hard to seek real fashion novelties – or even witty styling tricks that made Lee’s take on Bottega Veneta so appealing. The new direction at Burberry reminds of the one that Christopher Bailey had for 17 years, in the pre-Riccardo Tisci times. Bailey delivered proper collections that were sometimes cool, sometimes naff variations on the notion of Britishness. No co-incidence that today, Bailey has a mentor-like role for Lee. To be frank, I had no expectations regarding this debut, so I can’t say I’m disappointed. The collection is better than about 80% of Tisci’s work for the brand, but in defense of the Italian designer, he took creative risks that attempted to stimulate Burberry into something more than a brand with classy outerwear.

“I think that the brand is about functionality,” Lee told the press after the show. His men’s plaid trousers, with their horizontal zippered pockets, echoed the shape of technical hiking gear; women’s kilts had the casual air of wrapped-around picnic blankets. You might even really be able to go for a walk on the Yorkshire moors in his heavy-duty climbing boots or cropped wellies. The designer well knows the worldwide fashion appeal of the exaggerated accessory. It showed up in a giant trapper hat, in satchels and saddlebags fastened with a “B” clip and dangling multiple fake-fur tails. One of the models wore a hilarious hand-knitted bonnet in the shape of a duck, complete with a beak and dangling red legs. This sort of bonkers English eccentricity is something Lee should definitely expand on. The designer is very serious about branding and exactly how it can radiate fashion appeal far beyond the mere stamping of logos on everything. The evidence is in the message he delivered at this show on the back of his redesign of the Burberry Prorsum medieval knight on a charger. It was blown up like a flag on a white dress. But the main point about it is the color. It’s a vibrant blue. So is the type that Burberry now uses. After Lee’s success-story of Bottega green, is Burberry blue the new “it” colour? Time will tell.

Collage by Edward Kanarecki.
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Not A Man’s Territory. Dilara Findikoglu AW23

February 21, 2023 | Design & Culture by Ed

Dilara Fındıkoğlu plays with your emotions like no other designer in London right now: she pulls on your heartstrings, makes you feel her pain, and conjures an intensity that makes you feel what she’s portraying in front of you. For autumn-winter 2023, the designer took her guests to a chapel in East London to display her latest collection, and it was a divine experience. While so much of the “Not A Man’s Territory” collection explored sexual tensions (and a pain related to this), there was also Fındıkoğlu’s usual amount of fetishization on display. Latex tights clashed with leather bursting at the seams, tightened together with clips and metal fastenings that intended to make us feel awkward. Likewise, models dropping their demure coverings revealed boned corsets and lingerie dripping in crystals, subverting opulence with the idea of something voyeuristic. Fındıkoğlu’s collections are impossible to not become fixated upon. Models stare into the eyes of the crowd, the heels hit the stone with a sharp sensuality, and performances of others clinging to walls or having a moment to themselves once again draw you in, but in a way that implies we shouldn’t be looking. This is Fındıkoğlu’s power, expressed through looks that also give her power. The most exceptional was the eveningwear. A dress made from black feathers à la Black Swan was powerful. A black satin gown covered in butter knives that curved around the breast and sculpted the hips alluded to finding one’s strength, as if the dress was Fındıkoğlu’s shield. Bravo.