London Fashion Week Day 3

Mulberry’s appointment of creative director Johnny Coca late 2014 was
expected to be a turning point for the British accessories company, which
suffered a downturn since upping prices of its bags. Financials aside, the
new bag to stimulate consumers next season is the Roxette, which came in a
curly sheepskin version and croc printed calf hair. While the brand took a
hiatus from the catwalk this season, it instead held a presentation at its
showroom. The clothes for AW15 were inspired by the world of Georgian
interiors, known for their Rococo and neo-classical design elements.
Mulberry commissioned British artist Tom Price to create an installation
based on the theme and inspiration. The resulting five largescale arches
with their overspilling ‘blossom’ formed a dramatic backdrop to the
showroom.

Margaret Howell always favours earthy tones and natural fabrics like wool,
cotton, shearling and leather, so expectedly these were the staple fibres
of her collection. Fashion came in the form of knee length tailored shorts
that were thickly cuffed, turtle necks and white shirts were layered
beneath cable knits and tapered trousers hung loose, tightened at the waist
with skinny belts. Models wore headbands with paisley scarves fastened
behind necks, which added a 60s vibe.

Vivienne Westwood, after dedicating the AW15 menswear show to Prince
Charles’ green and charitable endeavours, Westwood used her Red Label
platform to urge everyone to ‘Vote Green’, splashed across her show note
manifesto in bold, red letters. Here, she talked about how her girl is an
art lover who thinks culture is very, very important: “If we had true
culture we would not be in the situation we’re in. Culture has been
replaced by consumption – which is quite a different thing,” Westwood
wrote, continuing: “At the moment we are controlled by the 1 percent of the
world population who are in power. They preach consumption, and they preach
war, and they’re taking us into disaster. We are in incredible danger.
There is no point in voting for the others. She [Westwood’s girl] is going
to vote Green.”

The 60s and 70s theme continued at Topshop, which said the English
countryside and the extravagance of a gilded cocktail hour served as
references. Tate Britain was the backdrop for its autumn winter 15 setting,
which saw sexed-up kilts, Aran knits and fake fur-lined duffel coats,
reminiscent of a girl’s boarding school outfit.

Mary Katrantzou sent models down the runway made of pink sponge packing
material. What proved to be visually intriguing was a provocative mix; a
bath mat bodice attached to a leather skirt embossed with swirling
19th-century paisley, or a molded tank top and a gray knit hobble skirt,
all teamed with velvet May-Jane heals. Elsewhere there was plastic and fur,
brocade and rubber. The trick, however, was that the brocade and print
never felt heavy. This was a modern Belle Époque, with 3/4 sleeve cropped
sweaters in citrus tones and beaded damask dress, some of these piece were
nearing couture.

Jonathan Saunders showed himself to be a master of print and colour. There
wasn’t a single look without a pop of brightness or print. Dresses with
bracelet sleeves and high-funnel necklines had a prim restraint, which was
twisted with lace-up, over-the-knee kinky boots. Clashing prints had a
sixties vibe. Saunders had been inspired by the artists which he referenced
at the beginning of his career: the pop art of Allen Jones and Bridget
Reily.

Images: London Fashion Week AW15