CATWALK REPORTS FROM THE LFW DAILY
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Sunday 21st February 2010
Richard Nicoll
The show notes read: “Low-fi glamour and utilitarian deconstruction.” But who could have guessed that Richard Nicoll’s presentation would be so utterly feminine and polished? Because Nicoll’s fashion vision errs on the side of urban simplicity, what better candidate to come up with a wardrobe for the modern working girl? Even if – as it also said in the notes – this was inspired by Nicoll’s own wardrobe. “I studied menswear, so I always reference it in my work,” said the 32-year-old designer, wearing a plaid shirt over a white t-shirt and casual slacks post-show.
His get-up, in fact, couldn’t have been further removed from the pale grey flannel jackets and pelmet skirts he sent out in his opening numbers. His slouchy and yet precision-cut tailoring showed why this London-born, Australian-bred designer recently won his Cerruti gig (he will present his first collection for the Italian giant at Paris Fashion Week next month). This was followed by a series of ingenious slashed, pleated and draped separates gleaned from the construction of bin bags and off-licence carrier bags. (Where does he shop, Harrods?) He even did a skirt that was inspired by a plane blanket. Sinuous matchy-matchy suits – which came with either long or short trousers or skirts (this designer is all about democracy, remember) – echoed the Parisian feel of the soundtrack, which ended up rather fabulously with David Bowie. Pleats and chiffon panels prettified sporty shapes, along with a colour palette that moved from grey to rust and petrol blue.
Although he referenced Seventies Parisian sensibilities (YSL with some sheer blouses) and slipped in his favourite Linder Sterling punk graphics on plain white t-shirts, there were also a few nods to the Eighties and Nineties – particularly with rucksacks, velvet, taffeta and the Eighties stylist reach-for, a bulldog clip (Swarovski-crystal encrusted).
There were no real definitions between day or evening wear, but he did offer a new luxe ensemble that would be perfectly acceptable for both: a gravity-defying featherweight tulle shirt in smoky blue, which appeared to morph into opaque rust velvet trousers. Delicious. Other highlights included Le Smoking jacket over a chiffon anklelength skirt and the best sweaterover-chiffon-maxi yet (which surely we’ll all be wearing come September?)
“It was so beautiful and so now,” said Susie Lau, blogger and Editor of Dazed & Confused’s website. “No one has done utility in a pretty way until now.” “I loved it,” said Grazia’s Paula Reed. “He did that manwoman thing in such a romantic way. There’s been a lack of romantic and tender clothes in London, but Richard nailed it.”
Report By Julia Robson
Todd Lynn
A ripple of excitement went through the crowd as the lights went down for Todd Lynn yesterday – and then the paparazzi descended. Who were they here for? I spotted Marc Almond sitting next to Roland Mouret, but as the show commenced, a beam of light hit Mouret’s other neighbour – Janet Jackson! The show went on to be what you’d imagine the undead in a fashionable bar in True Blood would wear. Forget studs and chains – these vampires would be wearing Todd Lynn while standing around looking serious yet sexy. Todd designs brilliant jackets and slim trousers – a modern urban uniform of androgynous cool. His outfits operate on a one-colour basis; the colours in this show were pale nude, honey, tobacco brown and grey. Fabrics included suede, leather, wool and canvas. Matching high-heeled Louboutins were worn, and fox fur sprouted dramatically from shoulders. “It was about the hunter becoming the hunted. And, as always, I studied military uniform through the ages,” said Lynn. And the Janet connection? “We worked on her last video together. She flew over to see the show.”
Report by Melanie Rickey
Louise Goldin
A platoon of futuristic, uniform-clad models marched to Louise Goldin’s beat yesterday wearing protective, quilted, belted-wool layers; think panelled, patent-leather sharp shoulders and combat minis, and treggings with jutting hips. “I was inspired by the future of the military and origami,” said Goldin after her show. Using a camo palette of forest green, black and petrol blue, pleats and sculptural folds created cocoonlike jackets and coats with articulated sleeves, but these warrior women were no victims. With padding on the elbows and ammunition armstraps, they were taking no prisoners.
Despite the defensive mood, Goldin has reason to be optimistic for the future after winning the BFC’s 2010 Fashion Forward initiative and £30,000 prize, sponsored by Coutts & Co and supported by the London Development Agency (LDA), in January. “It was amazing to receive the support from the funding,” she said. “It enabled me to put on this show, but the most important thing was the mentoring.”
Report by Emma Sibbles
Julien Macdonald
In a grand setting in Whitehall, Julien Macdonald continued to set the pace of change in his label. Thanks to new backing, in the space of a year, he has revved it up to modern luxury status. From the off, we recognised that the equestrienne was an inspiration, as girls with bedroom hair and come-hither eyes strode out in tobacco riding capes bonded with black leather over leather and suede panelled jodhpur leggings; or extravagant looped Aran sweaters with a grey pegged trouser and fierce, high ankle boots. Then came the great coats, a biker-and-coat combo, and shredded knitted dresses only Julien can do best. The curveball? Sexy negligée dresses – and what fine filigrees they were in black and pink or navy and black; long and short; pleated and fluted. What was the sexy horsewoman doing with a bare breast on show beneath gauzy black lace under her riding cape? Backstage, Julien’s inspiration became clear: “It was Jilly Cooper’s novel, Riders,” he grinned. “By day, they ride horses, and by night, they do naughty things to men in stables.” Don’t you just love Julien?
Report by Melanie Rickey
Meadham Kirchhoff
Jaws dropped when the Meadham Kirchhoff show began. Used to seeing black, moody collections from Ed Meadham and Ben Kirchhoff, the Arabic rugs, streams of tinsel on the floor and Stravinsky’s Rite of Spring should have been a clue that this would be a bit different. The first look was a celebration of colour with a red mantilla worn over the face, topped with a tinsel tiara. Beneath that were two layers of floral dresses and long- john trousers, I think… There was so much to take in at once! Among the best individual pieces in this riot of a collection were the hand-painted biker jackets; the embroidered long skirts; the piles of Indian-inspired bangles created in collaboration with Erickson Beamon; red “nightie” dresses, orange floral blouses and the long event gowns. Oh, and the tinsel-embroidered shrunken- wool cardigans and sweaters. “We wanted to do as many pretty, amazing things as possible and put them all together,” explained Meadham. “It’s a narrative that begins in southern India and ends in southern Spain.” And success. Meadham Kirchhoff has arrived.
Report by Melanie Rickey
Aquascutum
We’ve been keeping a close eye on developments at Aquascutum, holding our collective breath last season when the business was sold. Six months on, the brand, in the safe hands of fashion businessman Harold Tillman, is transformed, and its show last night was a pleasure to behold. Thus far, London designers have been treading safely when it comes to making new statements for A/W 10. Not Michael Herz for Aquascutum. He went long, long, long in a colour palette of navy, grey and military green, alongside camel wool, gold jacquard and black leather. Think a long, tailored skirt with a white shirt and a short, belted jacket with flat, silver dance shoes. Or wide-leg trousers worn with a tiny, belted padded jacket, again with a white shirt. Throw in a cape, a long, slim, covered- up dress and a trench and you’ve got the collection in a nutshell. But it was Herz’s confidence that made this a show-stopper. “It was inspired by The French Lieutenant’s Woman,” he said, “and it was my conviction to carry on the long silhouette I started for S/S. It’s the way the girls walk, wearing long with flats. It just feels right.” And it did.
Report by Melanie Rickey
Twenty8Twelve (Presentation)
Eclectic is ever the watchword for sisters Savannah and Sienna Miller’s fashion label Twenty8Twelve. With Sienna as the poster girl for the mid-Noughties Boho look, a certain reckless style is apparent. However, her Central Saint Martin strained sister provides a touch of restraint. “I’m a lot more classic,”Savannah told The LFW Daily. “I’m more punky and a bit messy,” replied Sienna before their show. “Together we create what we both love.”
Held at a sumptuous Arts and Crafts mansion by the Thames, the pair offered a “3D, multi-functional event”, which included a louche film shot at Detmar Blow’s country pile in Gloucestershire, a series of relaxed collection stills – with a decidedly morning-after-the-night before feel to them – and models reclining on antiques-strewn podiums amid the invitees. “It’s Scottish mixed with Eighties Blitz Club with a nod to peace campaigner Johanna Lawrenson,” explained Sienna of the collection. Very eclectic indeed.
Report By Heath Brown
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