Jonathan Saunders: "This was a heady James
Hunt-ian Rush of 70s overload, reworked with tremendous panache." Photo: Lloyd Macallister
JONATHAN SAUNDERS: VROOM WITH A POINT OF VIEW
If points were handed out for hard work, Saunders would
be on 10 already. The floral embroideries, prints, luxurious textures on
his sporty bomber jackets and jogging pants - this was quality stuff.
This wasn't one of those safe, bland collections but a heady James
Hunt-ian Rush of Seventies overload, reworked with tremendous panache.
(Not so) hidden among all that satin and slouch are some amazing pieces
that will add vroom to any wardrobe. "Minimalism," as Saunders said
backstage, "is over."
Lisa Armstrong
MATTHEW WILLIAMSON: ALL GROWN UP
Matthew Williamson was Janus-faced this season: he
looked both forward and back. The opening number - a zingy coral suit in
a minimal cut - corroborated his pre-show assertion that his
jet-setting boho babe had grown up. The cheery printed shirt dresses and
cigarette trousers that followed would fit in her working wardrobe,
while lace shift dresses with appliqué flowers would do for evening
soirées. Sienna Miller, in the front row, whooped with delight: this
considered bohemia suited her perfectly.
Ellie Pithers
CHRISTOPHER KANE: FLOWERING ON ALL FRONTS
"It's such a pretty thing," said Kane, "but you never
really know the anatomy behind it." He was describing both flowers and
the female body part for which blooms are used as a metaphor. This
collection used crocodile clips to lift skirts and reproduced clinical
cross-sections of a buttercup, a carnation and an obscure orchid. There
were a couple of slogan sweats, a sprinkling of crystal. Intelligent and
dispassionately womanly, this collection surely makes him a shoe-in for
designer of the year.
Luke Leitch
ERDEM: MONOCHROME GOES POP
Once Erdem had explained he was inspired by Eton's
school uniforms, all became clear - sort of. The black-and-white
palette, duchesse silk rugby shirts, shrunken seersucker blazers and
oversized cadet jackets, many wrapped in tulle or a-quiver with
feathers. All that was missing was the art department's paint boxes.
Erdem is wonderful with colour and, while it's good he's honing his cut,
some sunshine wouldn't have gone amiss. That said, these are exquisite,
for-life pieces.
LA
PAUL SMITH: STILL FEELING THE BEAT
"The clothes I wear - I wear these clothes for me." This
was the lyric that blasted out at Paul Smith's show, and it would be
hard to pen a more fitting mantra for this relaxed, confident outing.
Sir Paul opened and closed with a louche suit, first in cornflower blue
and then buttercup yellow, that bore his signature
borrowed-from-the-boys stamp. Blazers came with exaggerated lapels and
ruffle detailing at the elbow; sheer white shirts were jazzed up with
floral printed backs. Smith is back on song.
EP
OSMAN: THE SLEEK SHALL INHERIT THE EARTH
Judging by this, Osman's finally at peace with his role
as keeper of the wearable wardrobe. Hallellujah because it's stupidly
hard to find classic but interesting clothes out there. His expanded
repertoire included super-flattering slim trousers, cut with that
all-important little kick-out just above the ankle, A-line skirts in
soft pastel neoprenes, eye-popping yet elegant prints, and a series of
sculpted, understated tops. The jumpsuit also got an Osman make-over -
it will be the red carpet choice of every indie starlet.
LA
ANYA HINDMARCH: BAG ME UP SCOTTY
Against an inky, planet-studded backdrop, an invasion of
bags descended on wires, while models in anonymous black dresses (not
Hindmarch's) ascended to float among those sleek-looking top-handled
totes and Berocca-coloured snakeskin clutches. For once one could
justifiably say one was in bag heaven. The star? Her new Weightless
Ebury in flamingo orange - not weightless at all, it turned out, but
heavily stuffed so that it would work with the wires. But
that's showbiz.
LA
MARY KATRANTZOU: ROOMY AT THE TOP
Minimalists look away now. Or rather don't. These are
for enjoying even if you don't wear them. Big puffy skirts (and very
tight ones), big puffy strapless dresses (and tight ones) and more
belts, buckles and chains than a Lib-Dem conference after-party (in
their dreams) Katrantzou is not for days when you want to blend into the
background. It is, however, technically brilliant. Those chains,
buckles and pockets were trompe-l'oeil prints, as were the brogue
details, painstakingly placed to provide the most flattering silhouette
possible, given that in essence, you're wearing a tent or a bandage.
Loud to the point of deafening, these are clothes you can dance to as
well as in. No wonder her business is booming.
LA
RICHARD NICOLL: NO NONSENSE ELEGANCE
"I'd wear everything in that collection," the fashion
editor seated next to me said after Richard Nicoll's ice-cool show.
Believe it or not, this is a rarely uttered sentence at fashion week,
but this season Nicoll honed his clean aesthetic to present clothes that
will sell as well as inspire. Drop-waisted dresses with sheer panels in
shiny white, grey and bubblegum pink looked easy to pull off, while
graphic black-and-white tailoring provided a tough counterpart. If
you're after pragmatic but poised wardrobe injections, Nicoll is your
man.
EP
ANTONIO BERARDI: RED CARPET HERE I COME
Berardi's focus on modern glamazons is a smart move.
When it comes to look-at-me dressing (think Gwnyeth's side-buttage
dress) he's a master. There was nothing quite so flesh-revealing here -
just plenty of asymmetric-hemmed dresses, rippling crimson chiffon
trains and ebullient silver and black trouser suits - all impeccably
done, because Berardi is a stickler for cut and embellishment. And
therein lies a quandary because while he undoubtedly gives great red
carpet, his most beautiful handwriting is to be found in his chic
understated tailoring that never makes the catwalk. It would a pity if
that got overlooked in the flash, bang what a picture mêlée.
LA
ROKSANDA ILINCIC: A CAREER HIGHLIGHT
Thought neon was over? Roksanda Ilincic has other ideas.
In the capable hands of London's colour-combo oracle, traffic cone
orange, acid green and sunshine yellow somehow managed to scream
elegance in the form of princess skirts with nipped in waists and
panelled, pleated kick hem dresses. A laser-cut silk tabard worn over a
simple white tee and slim-cut black trousers was symptomatic of this
collection's edgy take on femininity - and those flat patent Chelsea
boots with bows will be everywhere next season.
EP
MULBERRY: WHAT'S THE STORY, HOPE AND GLORY?
This was Emma Hill's last collection for Mulberry after
six years and all her pet projects were here: from Wedgwood pastels and
naïf prints to slick leathers and chunky shoes, plus sundry nods to
Blighty and the usual canine line-up. Those boxy tunic tops and A-line
skirts - that sexy librarian look - and the overall playfulness of the
prints could only be British. The bags are getting more serious:
streamlined and luxurious-looking, they're still feminine. Whoever takes
over from Hill should remember that.
LA
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