LONDON FASHION WEEK
DAY FOUR
Monday 20th September 2010
CHRISTOPHER KANE
Kane is the master of taking something that could be repellent and turning it into the main event of his collections. Last season's leather and floral embroidery had a good run on red-carpet starlets. Those young girls will lap up the attention-grabbing fluoro shades of his latest offerings, too. Kane opened with a series of laser-cut skirts and argyle-knit tanks or cardigans in the colours of highlighter pens vivid yellow, green and tangerine that would not do his native Scots' pale complexions any favours. Princess Margaret was his starting point, and as the show progressed it was easy to make that connection; he took the neat tweed skirt suits of her youth with their boxy jackets and reworked them in acid organza and lace. Later, Kane incorporated rich tattoo prints into dresses and knits, some of which were trimmed in an increasingly intricate way with fluorescent piping. His collections are always an assault on the senses, but there was plenty here to delight fans, from those piped looks and patterned knits to the light, full-skirted dresses. Editors will be clamouring to shoot those vivid little suits, too.
Kane is the master of taking something that could be repellent and turning it into the main event of his collections. Last season's leather and floral embroidery had a good run on red-carpet starlets. Those young girls will lap up the attention-grabbing fluoro shades of his latest offerings, too. Kane opened with a series of laser-cut skirts and argyle-knit tanks or cardigans in the colours of highlighter pens vivid yellow, green and tangerine that would not do his native Scots' pale complexions any favours. Princess Margaret was his starting point, and as the show progressed it was easy to make that connection; he took the neat tweed skirt suits of her youth with their boxy jackets and reworked them in acid organza and lace. Later, Kane incorporated rich tattoo prints into dresses and knits, some of which were trimmed in an increasingly intricate way with fluorescent piping. His collections are always an assault on the senses, but there was plenty here to delight fans, from those piped looks and patterned knits to the light, full-skirted dresses. Editors will be clamouring to shoot those vivid little suits, too.
ERDEM
"It was all about the Ballets Russes," said Erdem Moralioglu backstage after his pretty show, set beneath the plane trees of Bedford Square in Bloomsbury yesterday. The location, along with the beautiful soundtrack (by Igor Stravinsky), made this feel like an escapist, magical show from the start. And the clothes, which began as a series of pale cream and white silk-and-lace dresses with doll-like shapes and delicate lace collars or fluttering caped backs, had a fantasy feeling, too. This was a girlish collection shown on models who were glowingly fresh faced, their heads circled with a halo of French plaits. Gradually, Erdem introduced colour at first a smattering of blood-red embroideries that soon morphed into red lace dresses with full skirts. His signature prints eventually appeared, combined with stripes or cut into complex patchworks, or spliced with lace and then overlaid with a smattering of crystal or embroidery. He closed his show with a series of gowns featuring a romantic gardenia print the last of which floated along with a long train that was simply dreamy.
"It was all about the Ballets Russes," said Erdem Moralioglu backstage after his pretty show, set beneath the plane trees of Bedford Square in Bloomsbury yesterday. The location, along with the beautiful soundtrack (by Igor Stravinsky), made this feel like an escapist, magical show from the start. And the clothes, which began as a series of pale cream and white silk-and-lace dresses with doll-like shapes and delicate lace collars or fluttering caped backs, had a fantasy feeling, too. This was a girlish collection shown on models who were glowingly fresh faced, their heads circled with a halo of French plaits. Gradually, Erdem introduced colour at first a smattering of blood-red embroideries that soon morphed into red lace dresses with full skirts. His signature prints eventually appeared, combined with stripes or cut into complex patchworks, or spliced with lace and then overlaid with a smattering of crystal or embroidery. He closed his show with a series of gowns featuring a romantic gardenia print the last of which floated along with a long train that was simply dreamy.
MARK FAST
Fast found fame quickly for his super-stretchy, totally unforgiving knitted dresses, after moving swiftly from completing his MA at Central Saint Martins to showing at LFW a couple of years ago. The trouble with a strong signature look is that the people lauding you one minute may be hungry for progression the next. Fast's latest collection featured more of those meshy micro dresses, some of which were decorated with vibrant fringed skirts that became more colourful as the show progressed. Other knits were mixed with plastic panels or sheer sections, or adorned with chunky crystals. Fast named "Amazonian reptiles and butterflies" as among his inspirations and there were certainly lots of vivid colours in all that fringing and in the bright yellow, pink and tangerine dresses. This time round, he included a "bride" at the end or, at least, a solitary white dress shown separately. It would take a brave bride to wear his long white dress with its fringed skirt and fringed sleeves. Fast's knits are innovative and exciting, but it would be great to see him loosen it up a little once in a while, too.
Fast found fame quickly for his super-stretchy, totally unforgiving knitted dresses, after moving swiftly from completing his MA at Central Saint Martins to showing at LFW a couple of years ago. The trouble with a strong signature look is that the people lauding you one minute may be hungry for progression the next. Fast's latest collection featured more of those meshy micro dresses, some of which were decorated with vibrant fringed skirts that became more colourful as the show progressed. Other knits were mixed with plastic panels or sheer sections, or adorned with chunky crystals. Fast named "Amazonian reptiles and butterflies" as among his inspirations and there were certainly lots of vivid colours in all that fringing and in the bright yellow, pink and tangerine dresses. This time round, he included a "bride" at the end or, at least, a solitary white dress shown separately. It would take a brave bride to wear his long white dress with its fringed skirt and fringed sleeves. Fast's knits are innovative and exciting, but it would be great to see him loosen it up a little once in a while, too.
PETER PILOTTO
The Peter Pilotto show notes looked ominous. "Taking their cue from the classic refinement and chic minimalism of Seventies Yves Saint Laurent" Then, just when it felt like we were going to be transported back in time (yet again), we were hurled into the future. Tellingly, it took designers whose signature is trailblazing print, drape and tactile fabrics to do this. Pilotto and his partner, Christopher De Vos, created an ambitious ultra-modern collection, including optical-illusion print dresses that were sliced, draped, pleated and panelled. Streamlined yet three-dimensional, some had loose, flyaway panels that swirled around the models as they walked down the platform of the old Waterloo Eurostar Terminal. "Our starting point was a scarf flying through the air," said De Vos to describe the Isadora Duncan effect. Complicated pattern cutting was offset by the use of featherweight fabrics, like papery parachute silk and sensual "liquid" jersey in a cool palette of blues and putty. Thrown into the mix were zippered jackets, textured tweed gilets, lean knits with turtlenecks and trousers. "We found a Seventies book on rock climbing in California, which brought in a sporty element that contradicted the usual elegant retro look and added a touch of the unexpected," said Pilotto. I'll say!
The Peter Pilotto show notes looked ominous. "Taking their cue from the classic refinement and chic minimalism of Seventies Yves Saint Laurent" Then, just when it felt like we were going to be transported back in time (yet again), we were hurled into the future. Tellingly, it took designers whose signature is trailblazing print, drape and tactile fabrics to do this. Pilotto and his partner, Christopher De Vos, created an ambitious ultra-modern collection, including optical-illusion print dresses that were sliced, draped, pleated and panelled. Streamlined yet three-dimensional, some had loose, flyaway panels that swirled around the models as they walked down the platform of the old Waterloo Eurostar Terminal. "Our starting point was a scarf flying through the air," said De Vos to describe the Isadora Duncan effect. Complicated pattern cutting was offset by the use of featherweight fabrics, like papery parachute silk and sensual "liquid" jersey in a cool palette of blues and putty. Thrown into the mix were zippered jackets, textured tweed gilets, lean knits with turtlenecks and trousers. "We found a Seventies book on rock climbing in California, which brought in a sporty element that contradicted the usual elegant retro look and added a touch of the unexpected," said Pilotto. I'll say!
ROKSANDA ILINCIC
The clusters of flowers that decorated the pillars at Roksanda Ilincic's venue on Bloomsbury Square were a hint of what the colourist had in store for us for Spring/Summer 2011. Pale hydrangeas were tied with dusty-pink roses, along with eye-popping pink hibiscus. This was a breezy collection with plenty of airy volume that was occasionally cinched at the waist with a loose ribbon tie. Ilincic opened with an eye-popping bubblegum-pink kaftan top with a silvery trim, before moving into light, breezy separates that were laid-back and elegant; there were charmeuse blazers and duster coats, wide-leg slouchy trousers and sheer organza tees, all accessorised with silk bandanas. It felt as if the birth of Ilincic's first child this summer might have had some sway on the easy, forgiving silhouettes here. Not that she has given up on her cocktail dress-seeking fanbase there were plenty of the draped and gathered silk frocks we know and love her for, in incredible colours including dusty pink, pearl-grey, teal and Wedgwood blue.
The clusters of flowers that decorated the pillars at Roksanda Ilincic's venue on Bloomsbury Square were a hint of what the colourist had in store for us for Spring/Summer 2011. Pale hydrangeas were tied with dusty-pink roses, along with eye-popping pink hibiscus. This was a breezy collection with plenty of airy volume that was occasionally cinched at the waist with a loose ribbon tie. Ilincic opened with an eye-popping bubblegum-pink kaftan top with a silvery trim, before moving into light, breezy separates that were laid-back and elegant; there were charmeuse blazers and duster coats, wide-leg slouchy trousers and sheer organza tees, all accessorised with silk bandanas. It felt as if the birth of Ilincic's first child this summer might have had some sway on the easy, forgiving silhouettes here. Not that she has given up on her cocktail dress-seeking fanbase there were plenty of the draped and gathered silk frocks we know and love her for, in incredible colours including dusty pink, pearl-grey, teal and Wedgwood blue.
DAY FOUR FAVORITES!!!!
Designer names: Peter Pilotto and Christopher De VosOrigin: Pilotto is half-Austrian, half-Italian and De Vos is half-Belgian, half-Peruvian.
Career highlight: “Winning the Best Emerging Talent Award at the British Fashion Awards in 2009 was an honour for the brand.”
Design background: The designers met whilst studying at Antwerp's Royal Academy of Fine Arts in the year 2000.
Design signatures: Peter Pilotto's vision of womenswear embraces both new and classic perspectives on elegance. Otherworldly prints combine with soft, sculptural shapes to form the handwriting of the design duo, something which evolves and is explored each season as opposed to being reactionary.
How would you describe the Peter Pilotto woman? “She is beyond pure classification of age or style, just like the clothes themselves.”
Name three things that are inspiring you for spring/summer 2011:“An eleventh century Byzantine mosaic, 1970s rock climbers, rapid movement of light.”
What encapsulates London fashion for you? “Dover Street Market's vibe is beyond fashion.”
What do you hope the new decade will mean for your brand? “This will be our decade!”
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Designer name: David Koma
Origin: Georgia. David then grew up in Saint-Petersburg.
Career highlight: “I’m looking forward to it!”
Design background: David studied both his BA and MA at Central Saint Martins College of Art and Design.
Design signatures: “Sculptural shapes, heavy embellishment and a perfect fit.”
How would you describe the David Koma woman? “Powerful and confident.”
Name three things that are inspiring you for spring/summer 2011:“Fernand Léger, spiral staircases and chiaroscuro.”
What encapsulates London fashion for you? “Charing Cross Road.”
What do you hope the new decade will mean for your brand? “The number 10 has always been lucky for me… So here’s hoping for the best!”
What's new for you this season? “I found this season really exciting. I’m challenging myself in every aspect of the design process.”
Where do you go in London to seek ideas for a forthcoming collection? “Central Saint Martins library, as always.”
As fashion fuses ever closer with art, film and music, how has London's vibrant cultural scene influenced your SS11 collection?“It’s difficult to define… just something in the air. I feel myself inspired in London all the time.”
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Designer name: Mark FastOrigin: Winnipeg, Manitoba.
Career highlight: “Those moments I realise what an amazing team I have around me. To have this support and to see the people who make my dreams happen is at the top of the list for me."
Design background: Fast studied for both his BA and MA at Central Saint Martins. He worked for several seasons with Bora Aksu before setting up his own label.
Design signatures: “Intricate, sexy dresses.”
How would you describe the Mark Fast woman? “She is young and effortlessly cool, incredibly chic and likes to have fun on the red carpet.”
Name three things that are inspiring you for spring/summer 2011:“Amazonian reptiles, butterflies and a mix of danger.”
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ERDEM
Designer name: Erdem MoraliogluOrigin: “Montreal, Canada. I lived just outside the city, near a very large lake.”
Career highlight: “Winning a British Fashion Council award.”
Design background: Erdem studied at the Royal College of Art. He worked for a designer in New York before setting up his own label.
What are your design signatures? “Color, optimism and oddities.”
How would you describe the Erdem woman? “A clever person who probably cares little about seasons. She has a lot of conviction and marches to her own drum.”
Name three things that are inspiring you for autumn/winter 2010:“The book Wisconsin Death Trip, the snow and Ryan McGinley’s new photo series called Moonmilk.”
What encapsulates fashionable London for you? “Kingsland Road - from Stoke Newington, down through Dalston and into Shoreditch - you see all walks of life. This mix is what makes London so exciting.”
What do you hope the new decade will mean for your brand? “I would like to explore new steps in fashion to create a further evolution of the brand. By this I mean using new techniques and fabrics, etc.”
How does London influence your designs? “London is a city where everything starts. It’s also a city full of secrets, from the beautiful backstreets of Spitalfields to the storage facilities of the V&A. It’s a great place to get lost and that’s inspiring.”
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CHRISTOPHER KANE
Designer name: Christopher Kane
Origin: ScotlandCareer highlight: “Working with Donatella Versace.”
Design background:Christopher studied at Central Saint Martins for six years. He interned with Giles Deacon and Russell Sage before setting up his own label as soon as he graduated.
What are your design signatures? “I love detail, especially some sort of embellishment that can transform a garment instantly. It’s always good to move out of your comfort zone each season, to learn new things and to challenge your senses.”
How would you describe the Christopher Kane woman? “She is a real individual and a keen follower of fashion. She maybe works in the industry or another creative field. Age doesn’t really concern me; I’m more interested in personality and the way a woman carries herself.”
What is your most recent London discovery? “An amazing Turkish pancake shop on Kingsland High Street. Delicious and cheap food every lunch time.”
Christopher Kane won BFC British Collection of the Year at the British Fashion Awards 2009.
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Designer name: Roksanda Ilincic Origin: London
Career highlights: “Every day something unexpected happens!”
Design background:Roksanda is a graduate of the Central St Martins MA Womenswear Course.
Who is your ideal customer? “Anyone who naturally gravitates to my work will look magnificent in it!”
Name three things that are inspiring you for autumn/winter 2010:“Dark clouds, metal flowers and the Brontë sisters.”
What encapsulates fashionable London for you? “There are many places that capture this, but my vote goes to Bistrotheque.”
What do you hope the new decade will mean for your brand? “I hope there will be many Roksanda Ilincic shops in the world!”
How does London influence your designs? “London has a unique spirit and energy that inspires everybody who lives here.”
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