LONDON FASHION WEEK
DAY THREE
Sunday 19th September 2010
ACNE
As if to add to the slightly eccentric aura that hovers over this Swedish brand, Acne chose Kensington Palace, and specifically Princess Margaret's former apartment, in which to launch itself on the catwalk. It then proceeded to blot out all trace of the walls, doors and floors. Dotted around the maze of 'salons' were men (were they ushers?) wearing too-short trousers, bow ties and funny hats that lit up messages. Pretentious, moi? Mais oui! Silly, really, when you think about it, because the collection is very good and would have stood up just as well on a regular catwalk. Highlights were: the nude leather jacket with native American stamp detail; black leather pieces studded with ball-bearings; the navy or red knee-length cotton jumper that zipped up at the back with black leather pulls; a silver python jacket, and the matte-black python clutch with a black rock clasp. In fact, there was much to admire if you're a fashionable urbanite. Acne it's not just a label, it's a mind set.
As if to add to the slightly eccentric aura that hovers over this Swedish brand, Acne chose Kensington Palace, and specifically Princess Margaret's former apartment, in which to launch itself on the catwalk. It then proceeded to blot out all trace of the walls, doors and floors. Dotted around the maze of 'salons' were men (were they ushers?) wearing too-short trousers, bow ties and funny hats that lit up messages. Pretentious, moi? Mais oui! Silly, really, when you think about it, because the collection is very good and would have stood up just as well on a regular catwalk. Highlights were: the nude leather jacket with native American stamp detail; black leather pieces studded with ball-bearings; the navy or red knee-length cotton jumper that zipped up at the back with black leather pulls; a silver python jacket, and the matte-black python clutch with a black rock clasp. In fact, there was much to admire if you're a fashionable urbanite. Acne it's not just a label, it's a mind set.
ANTONIO BERARDI
Let's start near the end: an army-green mac thrown over powder-pink satin in the form of a lady's blouse and loose, low-crotch trousers, followed by the sweetest of finale dresses spilling silk crocus buds down the front. This looked fresh and interesting for a man who likes the sucking-in and curving-out of voluptuous, polished tailoring, and it was a shame not to have seen more of the former, because when Berardi is on "delicate" form, few can touch him, such is his eye for detail. He also does the aforementioned curvy tailoring with aplomb, but perhaps we're not feeling so va-va-voom at the moment, because, while beautiful, the front section of white and black tailored, panelled, body-con pieces didn't stir us as much this season. The looser he got, the better it looked, whether it was a casual white/cream tuxedo or a floaty grey chiffon mac or a frosted silver jacket over romantic nude chiffon. Maybe what was being highlighted here was the dilemma faced by designers with established businesses: please the loyal customer or please the press.
Let's start near the end: an army-green mac thrown over powder-pink satin in the form of a lady's blouse and loose, low-crotch trousers, followed by the sweetest of finale dresses spilling silk crocus buds down the front. This looked fresh and interesting for a man who likes the sucking-in and curving-out of voluptuous, polished tailoring, and it was a shame not to have seen more of the former, because when Berardi is on "delicate" form, few can touch him, such is his eye for detail. He also does the aforementioned curvy tailoring with aplomb, but perhaps we're not feeling so va-va-voom at the moment, because, while beautiful, the front section of white and black tailored, panelled, body-con pieces didn't stir us as much this season. The looser he got, the better it looked, whether it was a casual white/cream tuxedo or a floaty grey chiffon mac or a frosted silver jacket over romantic nude chiffon. Maybe what was being highlighted here was the dilemma faced by designers with established businesses: please the loyal customer or please the press.
JULIEN MACDONALD
It was great to see Julien Macdonald on romantic form. "I'm goin' softer as I'm getting older," he said with a smile backstage, post clinch with Elle Macpherson. Gone was the sexed-up, party-prowler gear of yore and, in its place, a softer femininity. The show opened with fresh promise: crisp utility jackets with matte-gold hardwear and webbing straps shrugged over sheer, milky-hued negligées and babydolls felt like a positive new direction from the King of Cling. There were, of course, a feast of beautiful, fluttering gowns one in duck-egg blue shot through with dainty yellow flowers was particularly pretty. But by the end of this tour around the boudoir and a very nice boudoir it was, too one couldn't help wonder how the show might have played out if he'd really sunk his teeth into more of the functional sporty stuff. It was as if Julien had decided that exquisite dresses, and only exquisite dresses, are the way forward, when actually he's got so much more to give.
It was great to see Julien Macdonald on romantic form. "I'm goin' softer as I'm getting older," he said with a smile backstage, post clinch with Elle Macpherson. Gone was the sexed-up, party-prowler gear of yore and, in its place, a softer femininity. The show opened with fresh promise: crisp utility jackets with matte-gold hardwear and webbing straps shrugged over sheer, milky-hued negligées and babydolls felt like a positive new direction from the King of Cling. There were, of course, a feast of beautiful, fluttering gowns one in duck-egg blue shot through with dainty yellow flowers was particularly pretty. But by the end of this tour around the boudoir and a very nice boudoir it was, too one couldn't help wonder how the show might have played out if he'd really sunk his teeth into more of the functional sporty stuff. It was as if Julien had decided that exquisite dresses, and only exquisite dresses, are the way forward, when actually he's got so much more to give.
MARY KATRANTZOU
"A room with a view of Palm Beach through Roman-esque arches; random chairs in Tiger Woods' living room, or even a bedroom in the White House." All sound like perfect locations for a fashion shoot. Instead, they were the inspiration for manipulated images by Mary Katrantzou, printed onto her carefully structured outfits, at her first solo catwalk presentation yesterday in Waterloo. Emerging from the trompe l'oeil images of pristine interiors, 3-D detailing spilled into actual tailoring. Like a haberdasher's fantasy, curtain pelmets formed rigid shoulder-lines, draped curtains framed bodices, and "lampshades" became beautifully crafted bell-shaped skirts. "Rooms from different eras became part of each garment," said Katrantzou after the show. Sound tricksy and outlandish? Far from it. The whimsical mixture of the surreal (Magritte was also an inspiration) with a witty sense of fun never detracted from the clever cutting of these highly covetable outfits. It's unsurprising Katrantzou took inspiration from Architectural Digest and The World of Interiors. Another influence came from the locations featured in Guy Bourdin and Helmut Newton's photography.
"I found it interesting that models faced the room in such pictures," said Katrantzou backstage. "But I turned it on its head, with the room being worn by the woman." Instead of being a subject in a setting, the setting becomes integral to the wearer. How hyper-surreal.
"A room with a view of Palm Beach through Roman-esque arches; random chairs in Tiger Woods' living room, or even a bedroom in the White House." All sound like perfect locations for a fashion shoot. Instead, they were the inspiration for manipulated images by Mary Katrantzou, printed onto her carefully structured outfits, at her first solo catwalk presentation yesterday in Waterloo. Emerging from the trompe l'oeil images of pristine interiors, 3-D detailing spilled into actual tailoring. Like a haberdasher's fantasy, curtain pelmets formed rigid shoulder-lines, draped curtains framed bodices, and "lampshades" became beautifully crafted bell-shaped skirts. "Rooms from different eras became part of each garment," said Katrantzou after the show. Sound tricksy and outlandish? Far from it. The whimsical mixture of the surreal (Magritte was also an inspiration) with a witty sense of fun never detracted from the clever cutting of these highly covetable outfits. It's unsurprising Katrantzou took inspiration from Architectural Digest and The World of Interiors. Another influence came from the locations featured in Guy Bourdin and Helmut Newton's photography.
"I found it interesting that models faced the room in such pictures," said Katrantzou backstage. "But I turned it on its head, with the room being worn by the woman." Instead of being a subject in a setting, the setting becomes integral to the wearer. How hyper-surreal.
MICHAEL VAN DER HAM
Any piece by Michael van der Ham is so beautiful, so unique in its construction and so desirable in an age of cookie-cutter, mass-produced schmutter, that it is truly hard to bring oneself to ask the question: what next? Will these brilliant patchworks of fabric and era continue to wow, and, if so, for how long? The designer said that the Forties had particularly inspired his current "montages" and proceeded to point out the introduction of print black rain splashes on silvery silk and ornate patterns, like flocked wallpaper, on devoré velvet all highlighted his incredible instinct for colour. It's no mean feat to make pink, navy, purple, grey and mustard stand up on a single outfit, let alone when each colour comes in a different weight of fabric it's a technical nightmare that looks easy and elegant in his hands. As did the Swarovski crystals, scattered across a yellow clutch, the hip of a dress, encrusting a languid satin cuff. So now that he has conquered this brilliant balancing act, what next?
Any piece by Michael van der Ham is so beautiful, so unique in its construction and so desirable in an age of cookie-cutter, mass-produced schmutter, that it is truly hard to bring oneself to ask the question: what next? Will these brilliant patchworks of fabric and era continue to wow, and, if so, for how long? The designer said that the Forties had particularly inspired his current "montages" and proceeded to point out the introduction of print black rain splashes on silvery silk and ornate patterns, like flocked wallpaper, on devoré velvet all highlighted his incredible instinct for colour. It's no mean feat to make pink, navy, purple, grey and mustard stand up on a single outfit, let alone when each colour comes in a different weight of fabric it's a technical nightmare that looks easy and elegant in his hands. As did the Swarovski crystals, scattered across a yellow clutch, the hip of a dress, encrusting a languid satin cuff. So now that he has conquered this brilliant balancing act, what next?
DAY THREE FAVORITES!!!!!
Name: Basso & Brooke is the label of Bruno Basso and Christopher Brooke.
Design background: The duo won Fashion Fringe in September 2004 and have been showing independently at LFW from February 2005. The launch of the resort collection for SS10 has proven to be a boost not just in terms of sales, but also in opening other areas of development.
What is your signature style?“Playful, subversive, individual.”
Name three things that are inspiring you for spring/summer 2010:“Jeff Koons, hyper-reality and Herb Ritts”
What sums up quintessential London for you? “The Wolseley.”
Where in London do you find most inspiring? “Parliament Hill fields.”
What sums up quintessential London for you? “The Wolseley.”
Where in London do you find most inspiring? “Parliament Hill fields.”
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Designer name: Mary KatrantzouOrigin: Athens, Greece
Design background: Mary attended Rhode Island School of Design and then completed both her BA and MA at Central Saint Martins. She has previously worked for Sophia Kokosalaki and freelanced for Bill Blass, amongst other designers.
What is inspiring you for spring/summer 2011: “Fashion photography, the World of Interiors, vintage lampshades and Architectural Digest"
What are your design signatures? “A hyperrealist aesthetic, bold graphics and industrial jewellery.”
How would you describe the Mary Katrantzou woman? “She has a liberated spirit and a strong sense of style.”
What encapsulates fashionable London for you? “Somerset House during London Fashion Week.”
What do you hope the new decade will mean for your brand? “I hope to establish its identity and to develop it into an aspirational brand. That means lots of hard work!”
How does London influence your designs? “It's a constant source of energy and inspiration to live and work in London. It has a reputation for great fashion, influential museums and strong education. That all becomes part of your formation.”
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JULIEN MACDONALD
Designer name: Julien MacdonaldOrigin: “I’m from a little town called Merthyr Tydfil in Wales.”
Career highlights: “Meeting the Queen to receive an OBE.”
Stockists: Harrods and various boutiques worldwide.
What he says: “My designs are sexy, high octane, powerful and liberating.”
Name three things that are inspiring you at the moment: “Helmut Newton is a constant reference for every collection. I never tire of looking at his visions of strong and sexy women. Secondly, the filmWhite Mischief with Greta Scacchi. I love the juxtaposition of cultures: tribal versus 1940s glamour. Greta Scacchi has an uncompromisingly strong and sexy character, even if it causes her downfall, and the costumes are sublime. I also find Histoire d'O, (The story of O) inspirational. It is a film by Just Jaeckin, the same director asEmmanuelle. Even though the dialogue is rather outdated, the bare breasted gowns, S&M collars and cuffs by Cartier are wildly erotic.”
Who is your ideal customer? “I love confident women who are not afraid of their sexuality: Charlize Theron, Angelica Huston, Charlotte Rampling... I love women so my list is endless.”
A visitor is in London for an afternoon. Where would you recommend they go? “The permanent jewellery exhibition at the V&A has just re-opened. It’s utterly magnificent. Above all, the size of the diamonds will blow you away...”
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ANTONIO BERADI
Antonio Berardi has been a visionary presence in the fashion world for so long that it’s hard to believe that his 40th birthday is several years away. Born in the UK in 1968 to Sicilian parents, he studied at the prestigious Central St. Martin’s College of Art and Design in London while at the same time working as John Galliano’s assistant. The collection he created in his final year as a student, 1994, created a professional sized splash, attracting the attention of London buyers, including Liberty and A La Mode. Berardi launched his first professional collection the next season. Antonio Berardi was also a quick learner, not only of the skills of the design trade and the techniques of clothing construction and manufacture, but also of the way to succeed in business. After his first foray into business with a backer in the early nineties, he quickly learned the importance of efficiency of manufacture and promptness of delivery. Soon, Berardi was determined to make his business independent so that his reputation would never depend on outside investors. Today, Antonio Berardi is one of the very few internationally influential designers operating a completely autonomous company. Much of Berardi’s original inspiration came from the collision of cultures he himself embodies—being a proper British Sicilian, equally comfortable in old school London Savile Row tailoring as well as the more colorful, offbeat and freewheeling clothing of Sicily, itself a collision of cultures. Berardi was influenced by his mother, whose impeccable ladylike style was a perfect reflection of her personal philosophy. For her clothing reflected her femininity, propriety, and sense of quality. Galliano was also a profound influence and mentor, demonstrating the value of intensity and being true to one’s personal vision without compromise.
As a creative force Antonio Berardi doesn’t have to go to extremes or go far afield to find artistic stimulation. He draws on his roots in English tradition and craftsmanship and on the warmth and expressiveness of Sicilian culture and fusion of traditions. He always has an eye on the streets, from London and Paris, to New York and Palermo. He is excited by music, post-modern art and independent film. He believes in inspiration and that “anything is possible,” and when he comes upon an idea that excites him he believes he will find a way to make it work. Berardi has an artist’s appreciation of the female form and his customers find that his clothes collaborate with the body to enhance their natural curves. Clothing that appears simple on the hanger becomes rhythmically alive on the body. Berardi also has a natural feel for materials and instinctively grasps how new materials can be used to maximum effect, creating original shapes that extend the vocabulary of body language.
Antonio Berardi is a line of ready-to-wear and accessories created for impeccable, urbane women who prefer a striking, classical, dressed-up look, but who respond to advanced fabrics and manufacturing possibilities.
Antonio Berardi is made by the venerable Gibo, who Berardi credits with much of his success, as their advanced technical expertise and creative industrial solutions have enabled him to create virtually without concern for what is possible.
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Matthew Williamson was born October 23rd, 1971 in Chorlton, Manchester. He grew up and studied there until the age of 17, when he was offered a place on the Fashion Design degree course at Central St Martins College, London. The luxury fashion house, Matthew Williamson, was founded in February 1997 by designer, Matthew Williamson and CEO, Joseph Velosa.
In September 1997 Matthew Williamson showed his infamous debut collection, ‘Electric Angels’, during London Fashion Week. Bias cut dresses and separates in exotic shades of tangerine, fuchsia and magenta were worn by models Kate Moss, Helena Christensen and Jade Jagger. This unique collection of bright, intricately detailed pieces defined and set the pace for the highly recognisable Matthew Williamson signature aesthetic.
Following this initial show, Matthew Williamson’s collections have continued to gather momentum, cementing his reputation as an internationally renowned designer and one of the UK’s leading designer talents. In February 2002, Matthew showed for the first time during New York Fashion Week expanding opportunities within the press and attracting a wider audience commercially.
The award-winning Matthew Williamson flagship store first opened at 28 Bruton Street, Mayfair, London in March 2004.
In 2005 Matthew Williamson took over as Creative Director at LVMH owned Italian house, Emilio Pucci, whilst continuing at the design helm of his namesake company. In September 2008 Matthew Williamson returned to London full time in order to focus fully on his own label’s forthcoming ventures and expansion.
In August 2007 TSM Capital acquired an equity stake in Matthew Williamson Holdings Ltd. Baugur Group, which invested in the company in 2006, maintains a significant equity interest in the business. TSM Capital made the investment in collaboration with the Aronsson Group. Combined, Matthew Williamson and Joseph Velosa, the company’s founders, retain the majority stake in the company.
In September 2007 Matthew Williamson celebrated the label’s 10th year anniversary by returning to London fashion week for an anniversary show which included an exclusive performance by legendary artist, Prince. An exhibition dedicated to his retrospective titled, “Matthew Williamson – 10 Years in Fashion” was also held at the Design Museum, London.
In September 2009, Matthew Williamson was invited by the British Fashion Council to return to celebrate London Fashion Weeks 25th anniversary.
Matthew Williamson won the Red Carpet Designer of the Year at the 2008 British Fashion Awards; previously having been awarded Elle Designer of the Year in 2004 and the 2005 Moet and Chandon Fashion Tribute Award. He has also been nominated 3 times for Designer of the Year at the British Fashion Awards.
The luxury fashion house now produces 4 women’s wear collections annually and currently has a customer portfolio which includes 170 prestigious wholesale accounts around the world and also has an award-winning flagship store on Bruton Street, London.
In 2009, Matthew Williamson opened its first US flagship store in New York, accompanied by a further stand alone retail store in the Dubai Mall, Dubai. This was closely followed by the launch of online stores for the UK, Europe and US.
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