The political climate, which as of late has been turbulent world-over to say the least, expectedly reigns through at Vivienne Westwood’s SS18 show. Circus-like folk music bounced through the basketball court at Seymour Leisure Centre, London, as messages about environmentalism and strategies to save the world danced across the model’s bodies. Westwood implies money makes the world go down as multiple hand-drawn ‘o’s’ represent the zeroes of billions in which our society revolves around. Contemporary dancers and ballerinas donning apron-like dresses, t-shirts and skirts protest with slogans in bold blacks on clean whites. Skirt-suits, v-neck jumpsuits and especially the spades playing card suit, feature prominently; the latter being a victim of Westwood’s decon-recon, as the ace of spades here signifies our reaping of the earth. Playful clown-faced acrobats, flattened water bottles as foot-wear, fish-net stockings full of litter and redesigned suits (the deck of cards-kind as well as sartorial), made light of the collection to those unknowing. Those clued in however, discern that the designer is still firmly holding a middle finger up to the conglomerates of the world.

Words: Emily Simpson


SS18 was the debut collection for South Korean menswear brand D.GNAK. With the designers trademark being the fusion of traditional Korean menswear and western tailoring, this season showed the introduction of new colour and detail. The inspiration came from the concept of ‘inevitable interaction’, with the clothes made suitable for our hyper connected society. Classic Korean silhouettes, resembled by distinct folding and necklines, were blended with suit jackets and leather shorts, held together by the continual use of thick contrasting trims, buttons and silver buckles. Mustard drawstring trousers were worn with long matching zip-lined jackets; while beige sweatshirts were detailed with write rope. Accents of red ran through the collection, perhaps to represent the colour of the national flag, and Korean wording was inked in black on the models foreheads, a graphic reminder to not loose your sense of culture. Inclusively D.GNAK cleverly formed a collection that mixed traditional Korean fashion with the modern influence of western dressing, diverse enough for the streets of London Tokyo, New York or Seoul.

Words: Sarah Barnes 


The Katie Eary SS18 collection was an eclectic collaboration with brands BOY London and Spliffy, all pioneers in the history of British street fashion. This season took us back to the cloth obsessed youths who valued utilitarianism, accessibility and design. Models strutted to vibrating beats wearing pieces that were lux yet had a rough edge and showcased both sexuality and humor. Washed denim jeans from Spliffy were worn low to revel silky boxers, while trackies were reinvented with mesh and netting and paired with oversized parkas, equip with bungey cord belts. Neon colouring was a standout trend with tank tops and macs ranging from emerald greens to electric blues. BOY London logoed silk jumpers and printed hoodies that were worn with rucksacks and vibrant trainers. Eary’s patterns were inspired by the world underneath us and above us, the prominent prints of creepy crawlies covered high cut swimming costumes and flight jackets. The models even looked through bug-eyed masks and astronaut like helmets, proving that two worlds not dominated by humans could dominate the designs that humored our adolescent nostalgia.

Words: Sarah Barnes 


Backstage at Katie Eary SS18 photographed exclusively for FAULT by Chidubem/Lost in Talent



Backstage at Christopher Raeburn SS18 photographed exclusively for FAULT by Chidubem/Lost in Talent



Taking on this savage world, the KTZ SS18 show had themes of ‘Lord of the Flies’ running through its seams. The cast walked down the runway in utilitarian-inspired street wear with unexpected silhouettes, clad in cargo pants, parkas and even a rebellious cover-up, which may have resembled a poncho.For a military-esque look, the khaki, black and silver tones gave it that dystopian feel, and this was felt more with the military badges and outerwear emblazoned with ‘EXTREME NOISE’ and ‘THIS IS REALITY’.


Detailing was well thought out in this collection again reflecting the post-apocalyptic inspiration – knitwear looked partially destroyed with spider-web-like holes, shoe laces were swapped out for cable ties, hems and seams were held together by harsh metal staples and soda can pulls were made into shirts and draped down from baseball caps. In chainmail realness, the models looked like a force to be reckoned with, as if they were about to march into a war with power, instinct and survival being key.


Words: Lizzie Griffin


Strongly influenced by the 70’s, 80’s and the adventurous riders of the Paris Dakar Rally, Belstaff’s SS18 collection was a mirage of luxurious fabrics, bold prints and functional designs. Inspired by the romantic landscape of North Africa, the colour palette resembled sun bleached pastels, bold coppers and burnt oranges. These tones were complimented by 70’s sage greens and 80’s contrasting yellows and blues. The models stood and sat soaked in Belstaff’s heritage denim. Tailored jeans and denim shirts were presented with patchwork details, while a strong sportswear element shone through with oversized Moto jackets. Leather, made for the summer, came burnished in texture and in the form of bombers and biker jackets, refreshed with embroidered Phoenix logos and perforated details, adding a vintage feel. Graphic prints also adorned skirts and knitwear tops, a mix of mosaic and python designs and motorcycle racing stripes resembled the sportswear sponsorships from heyday advertising. Models held suede rucksacks and looked out through structured eyewear, epitomising accessories for urban living. The collection in its entirety focused on lightweight and technical designs such a laser cutting and waterproof nylons to create outerwear suitable for ranging climates and terrains- cleverly fusing decoration and technicality, all through a sepia coloured filter.

Words: Sarah Barnes 


Obsessed with finding the uses of new fabrics and materials, the sustainable conscious Christopher Raeburn catwalk showcased a collection of functionally minded clothes. The show was inspired by Slavomir Rawicz’s “The Long Walk’ – an epic 4000 mile story of adventure and survival across the Gobi desert and the rocky extremes of the Himalayas. Therefore it was only natural to use of techy fabrics, performance materials, e.g. cotton that cools you down and comfy boots made in collaboration with Palladium.


Using a colour palette of neon orange and almost 50-shades of grey, there were also hints of camouflage that fed in nicely to the sportswear-inspired shapes. Tulle was fashioned into sheer sportswear panels and macs, anoraks and parkas were made of cooling cotton protecting the wearer from the sun. With sustainability running through the seams, Christopher Raeburn worked with Exkite making pre-flown kites into authentic, re-made garments, and hanging ribbons read ‘re-made’, ‘reduced’ and ‘recycled’ – an unmistakable environmentally-friendly message. The dessert, the mountains, the urban jungle (a.k.a. any big city) – you could wear this collection anywhere.


Words: Lizzie Griffin